The Ornamented Being
Ornamented: -verb: Adorn; beautify. Be·ing: -noun: Fulfillment of possibilities; essential completeness.
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Oh look it’s a new dress I have to make now.
CHANGEANTE SILK GOWN, 1815-1825
Green & gold silk tqaffeta, square neckline, draw string back neckline, very high narrow inset waistband, CB knife pleated into waistband, tubular long sleeves, small train, B 32”, High W 27”, L 48”-53”, (stains on F skirt, bodice & sleeves probably altered from an earlier style) very good. BM
AA says:
(Source: augusta-auction.com)
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Oh bless.
Wedding Ensemble (Bridesmaid)
(a) Attributed to House of Paquin (French, 1891–1956)
Met(Source: metmuseum.org)
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If it was anyone other than Keira Knightley playing Anna I would be thrilled. As it is something just broke inside me. This is going to be The Duchess all over again. Elaborately designed sets, beautiful scenery, gorgeous co-stars, the most beautiful costumes money can afford, and an empty flat performance.
I do believe I will stick with my Greta Garbo and Vivienne Leigh versions.
Edit: Well no. I’m not happy with the casting either (poor Jude Law) but I am happy so far with the costumes I’ve seen.(Source: iwatchstuff.com)
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In costuming, it seems like shoes are always the hardest thing to re-create for the appropriate look you are trying to achieve. The “Astoria” in white is a beautiful shoe that can be left as is or dyed to match your creation. The American Duchess designed them from extant examples for costumiers and re-enactors, but they are also wonderful for all of my friends who do Steampunk and Lolita, as well!
P.S. I am wearing mine for everyday use too…they are too beautiful to keeps under wraps :-)
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I am ordering mine in black….too amazing!
Click on the photo for ordering information
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c. 1880
The Met says: The nuances and contrasts between the plain faille against the subtly figured aubergine and cream silk are particularly effective on this gown. The train in particular shows interesting contrasts. Using that kind of detail on the train shows the level of awareness and scrutiny under which the design of the dress would be under. This particular form of dress, with the very tight bodice which is almost indecent, is fairly rare since it was a short lived trend.The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.
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Skipping ahead of ourselves into the early 19th century.
c. 1914-19
The Met says: Pietro Yantorny (1874-1936), the self-proclaimed “most expensive shoemaker in the world”, was a consummate craftsman utterly devoted to the art of shoemaking. Yantorny sought to create the most perfectly crafted shoes possible for a select and exclusive clientele of the most perfectly dressed people. This pair of mules was made for Rita de Acosta Lydig (1880-1927), an avid collector of lace and antique textiles. Lydig dressed in a strongly personal style, often displaying Orientalist tastes in her attire. These mules are inspired by the Turkish babouche; the consequent allusion to the harem was especially appropriate to a boudoir slipper, although it is possible that Lydig wore them with one of her many harem dresses. The fabric is identical to that used in Near Eastern footwear, and was probably either collected by Lydig or embroidered to order.
