The Ornamented Being
Ornamented: -verb: Adorn; beautify. Be·ing: -noun: Fulfillment of possibilities; essential completeness.
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‘The Rocket Dress’
The 1938 version of ‘Marie Antoinette’ is the only version I will watch over and over again.
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Portuguese Court Gown, LACMA, c. 1845
I’ve seen this gown in Paris, it’s stunning!
(Source: lacma.wordpress.com)
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I’m sure someone will reblog this and be negative about it but I don’t really care. My mother is a strong woman and I am proud to take after her. She raised me to be very independent and it’s one of the reasons I was able to say farewell to my home and move to London alone. I have always known that if I was ever trapped in a tower I wouldn’t need a prince to rescue me, I can save myself.
That said I hope that one day I will find a man who will say something like what is inscribed on this ring. Who knows maybe I will find him and maybe I won’t. I’m only 23, I have time.
Gold ‘posy’ ring
England, 18th century AD
British Museum
‘Many are the stars I see but in my eye no star like thee’
The term ‘posy’, based on the French ‘poésy’, describes the amatory verse or rhyming motto with which the rings are engraved. Here the inscription reads: ‘Many are thee starrs I see yet in my eye no starr like thee’.
The practice of giving gold hoop rings engraved with mottoes at betrothals or weddings was common in England from the sixteenth century onwards, and continued until the late eighteenth century. ‘Posy’ rings could, however, be given on many other occasions as tokens of friendship or loyalty, and ‘posies’ are also found on religious and memorial rings. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer. Most of the sentimental mottoes were taken from popular literature of the time, such as ‘chapbooks’ (pamphlets), or from collections on the language of courtship. A few customers would supply their own composition for the goldsmith to engrave.
The outside of the hoop was often decorated to enhance the message or to form part of the message itself. Coloured enamels could be used, or chased motifs, like the sixteen stars on this example. The inscriptions were usually enamelled in black, which makes them easier to read, although very few survive with all their enamel. The language and the style of the inscription helps us to date them.
S. Bury, An introduction to sentimental (London, Victoria and Albert Museum, 1985)
C. Oman, British rings 800-1914 (London, Batsford, 1974)
O.M. Dalton, Catalogue of the finger rings, (London, British Museum, 1912)
J. Evans, English posies and posy rings (Oxford University Press, 1931)
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Calling all followers, I have need of your assistance! I am working on my final project for Uni and I am looking for extant examples of back lacing 18th century bodices or any information on 18th century dance costumes.
There are officially a couple thousand of you so I am very hopeful that someone will have spotted something. Any help is appreciated, thanks so much loves!
Sorry, the first bodice is from FIDM, the second is from the Met, the third is the inside of Sofia Magdalena’s wedding gown, and Marie Antoinette’s apple green bodice.
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Photo reblogged from SHE'S A FIGHTING ROBOT
Sailor Moon engagement rings!
Sailor Jupiter
Sailor Moon
Sailor Venus
Sailor Mars
Sailor Mercury(made on http://www.gemvara.com)
AAAAHHHHH
Asuka.
Moon Tiara Magic get on my finger right now.
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I’m sorry I haven’t been posting as much as usual! As you can see I have been very busy trying to prepare my Buckingham Palace ‘In Fine Style’ costumes for a photo shoot tomorrow afternoon. This is the second of three journeys to get all the costumes to Uni! Only one more to go! Hurrah!
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Lady’s mule slippers with long, narrow Continental toe, early 18th century
Lady’s shoes, Swedish, c. 1700
Sofia Magdalena’s coronation shoes, 1771
Queen Desideria’s coronation shoes, 1829
Queen Lovisa Ulrika’s coronation shoes, 1751
Queen Victoria’s white silk atlas wedding shoes, 1881
Queen Desideria’s silk shoe, including a silk bow decorated with 31 gold-colored spangles
Mrs. Cappelen’s shoes, covered in white silk, from Paris c. 1850
Absolutely fantastic article! Please make sure to stop by and let her know how much you enjoyed the post!
‘In fact, some have described shoes as “candy for the eye, a poetry of the feet” ‘.
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While you won’t find me in the audience for The Great Gatsby I would still like to share this with you!
‘If you’re seriously committed to getting the look, then we have the ultimate investment piece:Tiffany & Co’s headpiece ($200,000) was crafted exclusively for The Great Gatsby.’
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I know I haven’t watched The Mentalist in forever but is the way they filmed the colour changed on the show? It seems so subdued and dull. I thought it use to be much brighter. And something is odd about Grace’s hair, I thought it was more red. Is this just me?
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#5913 - c. 1986 JUNE ANDERSON Stage Worn Opera Gown and Original Massive Slip! This EXTRAORDINARY, SUMPTUOUS gown arrived to me from the owner and WOWed me! And as you can see from my website, it takes a lot to WOW me!!! The gown weighs an astonishing 9 pounds and the half slip under weighs ANOTHER 9 pounds!!! I have no idea how they moved in these gowns, but they did! I have photos (don’t come with the gown, just up on the website) of the original sketches by Michael Stennett (thank you Michael!!). The gown is in a wearable size of 35” bust, 27” waist and 41” long from waist to hem in front, 70” long in back. Excellent condition!! This gown was designed by Mr. Stennett for Susan Patterson and created by the San Francisco Opera Company, and then worn by June Anderson the following year for the same production. June Anderson’s name is inside the gown, and Susan Patterson’s name is inside the slip. Huge gold bullion tassels hang down the front, metallic embroidered fabrics…. just a masterpiece! Breathtaking! NEW LISTING!
$ 12,500.
(Source: antiquedress.com)
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c. 1900
V&A: Pair of black silk knitted stockings embroidered with green sequins and green and gold beads. Decorated with a winding silver snake that curls twice around the lower leg and whose head rests on the forepart of foot.
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Darlington, Runk & Co. (American)
c.1880–85
Met
The textile is killing me with beauty.
(Source: metmuseum.org)
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c. Late 1870s
Met
There were some similarities present in the extant gown and the fashion plate which I found pleasing so I posted them together.
Gorgeous details on both the dresses. Le Salon de la Mode 1886
