The Ornamented Being
Ornamented: -verb: Adorn; beautify
Be·ing: -noun: Fulfillment of possibilities; essential completeness
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Guess what I am doing today?
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Does anyone know the source of this? I found it lurking on my usb! The shape is insane. It’s looks like the Victorian answer to foot binding.
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“Wedding Bodice, Weeks, Chicago: 1896, silk taffeta, silk satin, tulle, silk floss, silver mesh, rhinestone, pearl, silver cording. “Worn as part of wedding ensemble by the donor’s mother (née Florence Sanger Pullman, b. 8/11/1868, d. 6/5/1937) on April 29, 1896 on the occasion of her marriage to Frank Orren Lowden (b. 1/26/1896, d. 3/20/1943).”
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“Boots: 1883, high-button style of silk satin brocade with kidskin vamp, quarter, and baby French heel, kidskin decorated with cut-out pattern of rhododendron leaves underlaid with gold-colored kid, scallop-edge closure along side with circular brass buttons.”
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c. 1870
The Met says “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.”
(Source: metmuseum.org)
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MFA
“Wire arch wrapped in black silk tape, narrow (1/8”) metallic-thread ribbon along bottom with long fringe of blue glass beads and gold coils; fringe continues along one edge of white net; a bunch of blue artificial scillia blossoms at opposite end on stems of wire wrapped in gilt paper, gilt paper birch leaves, dark blue leaves of embossed and glazed fabric, scillia blossoms made from cones of fabric painted blue with small gold foil centers.”
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This closeup shows the appliqué and embroidery of Marie’s gown worn to the coronation of Tsar Nicholas II in 1896.
