The Ornamented Being
Ornamented: -verb: Adorn; beautify. Be·ing: -noun: Fulfillment of possibilities; essential completeness.
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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.
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18th Century Commemorative Medal - Execution of Marie Antoinette, 1793
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(Source: bmagic.org.uk)
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This is the concept art by Lisa Keane for Tangled (2010) inspired by L’Escarpolette (The Swing) by Jean-Honoré Fragonard
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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.
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‘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:
(Source: catalogue.drouot.com)
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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.
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I feel like I have seen quite a few of these items before.
Cape vers 1890, en velours de soie noir brodé en perles de jais ton sur ton d’un grand décor floral; col pèlerine montant garni d’autruche noire à découpe festonnée.
Google says: Cape 1890, black silk velvet embroidered with jet beads tonal a large floral decoration, cape collar trimmed with black ostrich scalloped cutout.
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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).
(Source: catalogue.drouot.com)
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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).
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Documents d’une robe démontée, vers 1790, en gros de Tours de soie crème brodé de soie polychrome, filé et paillettes argent d’un semis de fleurettes sur le champ et de larges bordures de feuilles, gerbes de lys, oeillets, plantes ombellifères et graminées autour desquelles sont accrochés des colliers de pierres du Rhin retenant des camées à l’antique en satin imprimé. Bas de robe et corsage démontés, (manques et accidents).
My bad Google translation: Documents a dress removed, 1790, Wholesale Tours cream silk embroidered with polychrome silk yarn and silver glitter with a sprinkling of flowers on the field and wide borders of leaves, bunches of lilies, carnations, umbelliferous plants and grasses around which are hung necklaces rhinestones holding cameos in ancient printed satin. Low dress and blouse removed (gaps and accidents).
Stunning. Look at the cameos!
(Source: catalogue.drouot.com)
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Another example of an item being sold that was originally listed on AA.
Comparing the acution description (especially the dates) is very interesting.
AA lists this item as: Young Lady’s Sea Side Ensemble, c. 1880: 3-piece, skirt, bodice & belt, all in blue chambray trimmed w/ ivory eyelet bands: skirt w/ apron front, hem ruffle & 5 ruffles over bustle back; fitted blouse, front thread woven buttons, band collar; eyelet belt w/ huge chambray back bow, B 30”, W 20”, Skirt L 52”, (couple tiny holes, brown discoloration on chambray) very good; t/w 1 red & white striped cotton shirt waist, excellent. Brooklyn Museum
The current listing describes the item as: Robe pour le bord de mer, vers 1890, en toile de coton chinée bleu ciel, corsage cintré à basques rondes, garnitures de volants et entredeux en broderie anglaise. Jupe à tablier drapé à 5 hauteurs de volants sur la tournure, (usures et restaurations).
And according to google this means: Dress for the seaside, 1890, canvas cotton mottled blue sky, bodice curved round skirts and ruffles trim entredeux broderie anglaise. Skirt apron draped 5 heights of flying on the turn (wear and restorations).
For more images click here
(Source: catalogue.drouot.com)
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Tiffany & Co. - Savoy Headpiece - The Great Gatsby Collection
Tiffany designers crafted a magnificent headpiece in platinum for The Great Gatsby, bringing Daisy Buchanan to life. Features a detachable brooch. Inspired by Baz Luhrmann’s film in collaboration with Catherine Martin. Freshwater cultured pearls, 3.6-6.9 mm. Round brilliant diamonds, carat total weight 25.04.
$200,000(Source: tiffany.com)
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That hem is fantastic!
Robe de jour vers 1885, en ottoman de ton café au lait et chocolat; haut en pointe à effet de veste ouverte sur un corsage à col montant rebrodé en trompe-l’oeil de dentelle. Jupe asymétrique à deux grands volants en dents de scie, pan contrasté sur un côté, traîne drapée tombant depuis la taille, (usures, petites taches et petites restaurations).
