So today I have decided to do something a bit different. I’m going to share a collection from my favourite designer. I discovered him some time ago and I have followed him closely since then. The surface decoration, the shape, the influence, and the use of lace just speaks to my creativity.
Without further ado may I present the Spring/Summer 2013 Collection of Hamda Al Fahim.
Just walked in from our rehearsal at The Queen’s Gallery. It’s hard to believe that after nearly eight months this event is a little under 48 hours away.
This final year has flown by so quickly and I can promise that once my two models walk out of the dressing room you will find me in a corner crying tears of joy, stress, relief, and a little sadness. It’s been a good three years at this University and I graduate in a few weeks. It’s a terrifying thought. But onwards and upwards my friends, onwards and upwards.
Accession Number: 1885N1536.12
‘… It was intended to exploit the popular feeling of revulsion in Britain caused by the French Revolution…’
© Birmingham Museums and Art Gallery
Diamond tiara circa 1826
Thank you to simonerein:
Eccezionale Antica Tiara in Diamanti
Christie’s Auction: CEPTIONAL ANTIQUE DIAMOND TIARA IN
composed of numerous flowers, buds, leaves and ears old cut diamonds in yellow gold, with seven marquise-cut diamonds mounted on ouches rolled back, beginning sec. XIX, within original box which also contained earrings in lot 470 natural pearls and natural pearls long necklace lot 471
From a document of the following are shown to us by the seller information we report only as a historical curiosity:
Tiara with group of flowers and natural ears with gold (topaz?) Which is divided into two pieces in order to “be able to have use of the notice and Boche performed in 1826 by jeweler Thomas Zamparo commissioned by the ND Co.ssa Dona Marina -Grimani on the occasion of the marriage of his son designed NHCO. Marco Antonio with NDCo.ssa Catherine Manin.
As I am entering into my final project as a student I thought it would be a good idea to record my thoughts on my project and share my work with you. Our final costume is meant to be a representation of who we are as makers and as creators. I have had a life-long love affair with ballet and with the 18th century so I saw no better way to express myself than to combine the two. My hopes are to re-create a historical ballet costume that could be found in a modern production. I have chosen an 18th century design by Jean-Baptiste Martin entitled Paysanne Galante (1722) used in the Ballet de la Provencale and other dances. The second portrait is one of my favourites because in my mind she represent Payanne as a real costume. It’s one thing to have a drawing of an idea but it’s another to find a living woman wearing something similar.
More information on this project can be found on The Mended Soul
My mother pointed out last night that this design I am bringing to life is the epitome of an Ornamented Being. I can’t explain the reason but that thought warms my heart.
I am so proud of all of my friends who were able to participate in this gorgeous event!
For more information on The Netherfield Ball (for those with access to BBC2 it’s on right now!) please click me.
‘Corps à baleines, vers 1760, en toile de lin bis et damas bicolore vert à dessin d’arabesques de fleurs et oiseaux, piqûres rectilignes soulignant les baleines. Découpe crantée en pointes devant et basques étroites. Laçage à oeillets dans le dos, (doublure déposée, usures)’.
My bad google translation: Whalebone bodies (stays), circa 1760, in linen and bis-color green damask design with arabesques of birds and flowers, straight stitching highlighting the whalebone. Cut into wedges notched front and narrow skirts. Lacing eyelets in the back (lining filed wear).
If you don’t mind the quick history lesson I find these to be one of the most interesting items for sale simply because of the decoration. If you will note like the previous pair of stays I posted from this site (where three tabs are left in plain in fabric) the only decorative fabric on this pair of stays is the center front where they would actually be seen. Covering the entire surface would have been considered a waste of money as the gown would have covered the fabric.
One of the things I talked about when I interned in the Margaret Hunter Millinery Shop in Colonial Williamsburg was about fabric. Everyone could dress the same but it was the fabric that was expensive. So in the 18th century (and previous centuries) the parts of your clothing that would never been seen would have been covered in a plain or different fabric.
Another good example of this is a petticoat from Whitaker Auctions here:
Corset griffé, Aux Iles Marquises, Mme Brédian, Paris, vers 1875, satin de soie crème entièrement baleiné, bordé de volants de tulle brodé, rubans rose et d’une fleur de ruban crème devant. Laçage à oeillets dans le dos, ouverture frontale par 4 fortes agrafes métalliques.
Google says: Corset scratched, the Marquesas Islands, Ms. Brédian, Paris, circa 1875, cream silk satin fully boned and lined with embroidered tulle ruffles, ribbons and a pink flower cream ribbon before. Lacing eyelets in the back, front opening by 4 strong metal clips.
Watch out for this costume at the Jane Austen Festival in Bath! Ensemble, réunissant une jupe, un corsage et un col, vers 1810-1815, jupe en mousseline de coton des Indes brodée au point de chaînette d’une haute bordure de feuillages, roses, lilas, muguets et autres fleurs des champs. Corsage taille haute en mousseline pékinée, croisé devant, décolleté en v, manches longues ajustées bordées de volants en dentelle de Lille. Col volanté en mousseline à la forme d’un croissant de lune, (rares petits trous, reprises anciennes, sans taille). My bad google translation: Together, bringing a skirt, a blouse and a collar to 1810-1815, chiffon skirt Indian cotton embroidered chain stitch a top border of leaves, roses, lilacs, lilies and other flowers. Bodice high waist chiffon pékinée, cross front v-neck, long fitted sleeves lined with lace ruffles Lille. Chiffon ruffled collar shape of a crescent moon (rare small holes, old times, no cutting).
I have an event in a few weeks and I have a feeling I might might something similar to this gown. I find the short sleeved spencer (in this case it is referred to as a caraco) to be very interesting.
Ensemble réunissant une jupe, un caraco et une guimpe, vers 1815-1820, jupe volantée en organdi brodée dans le bas d’un semis de marguerites, guirlandes de fleurs et festons. Caraco dans un petit façonné soie en oeil de perdrix de ton champagne, manches ballon travaillées en fronces retenues par de petits noeuds. Décolleté souligné par une ganse de satin, fermeture lacée dans le dos. Guimpe assortie à grand col festonné (quelques reprises sur la jupe, état superbe pour le caraco).
My bad google translation: Bringing together a skirt, a jacket and a wimple, to 1815-1820, ruffled organza skirt embroidered at the bottom of a planting daisies, flower garlands and festoons. Caraco in a small shaped silk birdseye your champagne, balloon sleeves worked in pleats used by small knots. Neckline highlighted by a braid of satin, lace closure in the back. Wimple matched with large scalloped collar (a few times on the skirt, superb condition for the jacket).