The Ornamented Being

‘Vest feminine silk in two colors. With wide straight neckline, decorated with chopped technique with floral motifs and trimmed with satin stitch set blue. It closes in the back with eyelets. The female portraits of the time, namely the Queen Maria Luisa of Orleans made by the painter Carreño de Miranda, show us this kind of genuinely Spanish doublet’.

Baroque, ca. 1670 -1695; Güell Viscount Grant, 1934; Museum Traj

French skirt, c. 1710

Museum of Arts and Crafts, Zagreb

I love the textiles and colours

‘Ladies bodice’

17th century

Abegg-Stiftung

c. 1660

I don’t know who this belongs too but I want to say it’s a baroque gown from Hungary but I could be completely wrong there

1720s-1730s

The V&A says: Pattens were worn to lift the shoe out of the dirt and damp. Being somewhat heavy and clumsy, they were mainly used by working-class or country women.

These pattens, however, have pointed toes to fit a fashionable woman’s shoe and a depression at the back where a small heel could sit. The shoe would have been fastened into the patten by means of ribbon-laced latchets. All this, and the fact that the latchets are covered in velvet, suggests that the patterns were worn by someone of considerable wealth.

A Good Polychromed Wood Mannequin Head and Torso, 18th century, the female form with glass eyes and long blonde curled tresses, wearing antique stomacher.

Muff 1680, French, made of silk

MFA

Empress Maria Theresa  (1717-1780) 

Cesare Auguste Detti  (Italian, 1847-1914) – Les  amiants

Stefano della Bella | Ballet Costume Study for a Gardener | Pen and brown ink, with brown wash and watercolour, over graphite | 276 x 202 mm | British Museum

The costumes designed by Stefano della Bella were re-created by the thirds years during the 2012 costume show.

Silk and Linen Jacket, c. 1700-20, Platt Hall, Manchester Art Gallery