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Ампир - женский костюм [13] |
Ампир- мужской костюм [4] |
15 век - женское [9] |
15 век - мужское [4] |
Средневековая обувь [3] |
19 век - аксессуары [13] |
19 век - прически [2] |
Выставки [2] |
Костюм 16-17 веков [0] |
18 век [0] |
Кринолин [1] |
Нижнее бельё [2] |
Мундиры [5] |
Костюм-разное [9] |
Народные костюмы [1] |
Костюм и кино [3] |
Турнюр [2] |
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«Античная мода» с 1794 года распространяется по всей Европе и, по сути говоря, открывает историю костюма 19 века. Несмотря на то, что европейских монархов ужасали события во Франции, мода перешагнула политические и географические границы и вместе со своей союзницей-торговлей беспрепятственно прошла по всем европейским странам. В Англии она проявилась несколько более сдержанно, не в таком откровенно оголенном виде, в Германии, наоборот, с некоторой нарочитой грубостью. В России поначалу, несмотря на суровый климат и длинную зиму, довольно точно скопировали эту моду. |
Costume parisien. 1812 |
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Kalen, the wardrobe's yours....
I’m back this week to talk about women’s clothing. There are lots of layers to those reportedly scantily clad Regency heroines, and today we’re going to look at them all. *grin* To the left we have a fashion plate from 1812 (courtesy of Candice Hern's wonderful collection). Let’s start from the skin out. The very first thing our heroine puts on is her chemise (which she might still call her shift). It’s going to be white. It’s going to be made of linen, and it’s going to be an extremely simple garment, perhaps with a drawstring at the neckline. It will most likely have short sleeves (though it might be sleeveless) and it will probably reach to about mid-calf (you don’t want it to show below her skirts!). In the picture to the right the shift on the left is c. 1810. This is the base layer as it's easy to wash (unlike the stays!). |
ChemisetteA
few years ago I decided to have a go at making a chemisette. The
pattern I tried to copy was from Janet Arnold's Patterns of Fashion, but
never finished it becuase I wasn't too happy with the way it looked.
The fact that it was made from polyester/cotton might have had something
to do with it. |
The ChemisetteRegency fashion (1800-1820) was based on classical principles of flowing Grecian robes. Although gowns enjoyed thin fabric and plunging necklines for evening wear, day dresses required something a little more substantial both for the sake of modesty and comfort in drafty old houses. A tucker or chemisette (a side opening half blouse) answered perfectly, filling in during the day, and able to be removed in the evening should the occasion so require it. They had the additional benefit of being able to be worn with any number of gowns further expanding the wardrobe. |
The day finally arrived! After months of preparation, my husband sallied forth with his hat and his cane, journeying in his "curricle”, to the Book Week Parade! His first duty of the day was his Customary Morning Yard Supervision in the carriage-parking facilities at the front of the school. He was in a prime position to be admired! I overheard many comments in the carpark about how good he looked! Admittedly, some students mistook him for Willa Wonka from the Chocolate Factory… hmmm, there is something seriously wrong there… But these are school kids we are talking about! And I am not really sure how many of them have been indoctrinated by their parents from an early age as to the importance of good English literature! |
Сборник ссылок по теме. 17-20 века |
В предыдущем посте внезапно выяснилось, что никто доподлинно не знает,
что кавалеры времен Браммела повязывали себе на шею, особенно в армии.
Информация об этом разбросана и не всегда верна. Поэтому данный пост я
делаю не сколько для других, сколько для того, чтобы систематизировать
имеющиеся у меня сведения. |
Women's capsPrefix: A short version of this post is also available in Dutch. An extensive article on medieval women's caps and the cap of St. Birgitta (a Swedisch saint of the 14th century) is to be found in:Dahl, C.L. & I. Sturtewagen, 2008, The Cap of St. Birgitta, Medieval Clothing and Textiles vol. IV, pp. 99-129. |