bustling bustling bustle bustling bustling b-b-bustling
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27th May 2012
Reblogged From eurohist
Notes: 892
William Heath (1829)
This is what I see when I look at fashions from 1829. Pretty sure it isn’t actually satire :)
(Source: justaprettybird)
bustling bustling bustle bustling bustling b-b-bustling
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In addition to the Versailles glide, Versailles was also known for it’s hairstyles and makeup. Although a contributor of many fashions to Versailles, Marie Antoinette cannot be credited with the creation of the powdered hair fashion. It was necessary for everyone to have powdered hair (by 1770,…
“Renaissance Fashion”
Court of Catherine de’ Medici
Ladies Clothing
The Renaissance fashion evolved when Catherine de’ Medici had introduced the fashion of ruffs, and Marie de’ Medici that of small collars. Dresses tight at the waist began to be made very full round the hips, by means of large padded rolls, and these were still more enlarged, under the name of certugadins (corrupted from vertu-gardiens), by an arrangement of padded whalebone and steel, which subsequently became the paniers.
Under the last of the Valois, men’s dress was short, the jacket was pointed and trimmed round with small peaks, the velvet cap was trimmed with aigrettes; the beard was pointed, a pearl hung from the left ear, and a small cloak or mantle was carried on the shoulder, which only reached to the waist. The use of gloves made of scented leather became universal. Ladies wore their dresses long, very full, and very costly, little or no change being made in these respects during the reign of Henry IV. At this period, the men’s high hose were made longer and fuller, especially in Spain and the Low Countries, and the fashion of large soft boots, made of doeskin or of black morocco, became universal, on account of their being so comfortable.
Pics By BC “Flowers” 2011 - My Florence (Italy)
“Aesthetic dress was part of a wider aesthetic movement, supported by artists and bohemians such as Oscar Wilde, who were rebelling against the contemporary fashion which they saw as restrictive, deforming to the natural figure and over embellished. Instead they preferred looser cut garments which followed the Medieval and Renaissance look in Pre-Raphelite paintings.
They believed looser, un-corseted styles were more conducive to good health, and could therefore show more natural beauty. In mainstream fashion, the use of bright and gaudy analine dyes was scorned by the Aesthetes, who preferred materials such as silk and velvet dyed in softer natural colours like sage green, amber and terracotta. ”
Not sure of the accuracy (or the grammar), but it’s for laughs.
“Women’s underwear served two purposes in the 18th century. The first function, carried out by the shift or smock, was to protect the clothing from the body, in an age when daily bathing was not customary. Made of very fine linen, the shift was the first garment put on when dressing. Over the shift went the linen stays, heavily reinforced with strips of whalebone. Their purpose was to mould the torso to the fashionable shape and provide a rigid form on which the gown could be arranged and fastened. The hoops were also made of linen and stiffened with whalebone or cane. They shaped the petticoat of the gown to the appropriate silhouette. At various times during the 18th century, this profile varied from round, to square and flat, to fan-shaped.”
