Just Let me Pin on My Flat, Frilly, Fancy Abs… Stomacher and matching Gown, mid 18th century Stomachers were an essential part of a woman’s wardrobe beginning with a rise of pairs of bo…
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This is such a gorgeous detail of a painting. Love the ruff and the earrings. The quilted fabric too. via
The corset seen on Queen Elizabeth I's funeral effigy in 1603 has been carefully restored by costume historians ahead of an exhibition at Westminster Abbey this summer.
Portrait of a Lady, 1600. Detail.
In Fine Style: The Art of Tudor and Stuart Fashion , at Buckingham Palace, includes famous artworks from the Royal Collection, as well as some examples rare surviving garments from the period.
Portrait of a lady by Luigi Miradori (1600- c. 1656)
Ensemble Mid 17th Century Italy or Hungary Hungary Museum of Applied Arts
Old London Bridge, c 1600. See separate key. Scanned from original artwork. Hugh image with enormous amounts of detail.
Nobel woman with Coiffure à la Hurluberlus at the court of Louis XIV. Versailles 17th century. Costumes historiques de ville de Achille Devéria.
I realized I never quite got around to posting about the 1670s gown I made earlier this year. It's mostly based on the satin bodice in Seventeenth Century Women's Dress Patterns. The instructions and patterns offer so much detail there wasn't much else to research in terms of construction. This was for a film shoot at Bacon's Castle, and it didn't seem like the lady of the house would need something quite so elaborately trimmed. I also needed something slightly later in date than the extant in the book, the event occurring in 1674. I settled on the look of these gowns, the bodice being untrimmed with split sleeves, a style seemingly common in many 1670 portraits. I didn't want to be too far ahead with the fashion. Margaretha Van Raephorst by Johannes Mijtens, 1668 Portrait of a Lady by Adriaen Backer, 1676 Lady Cullum by Sir Peter Lely, 1670 Lady Mary Gough by Mary Beale, 1670 I already had just enough red silk taffeta for the project, swaying me to not purchase yards of expensive silk satin. I did decide to do the entire project by hand (despite the time crunch) because the boning channels were running stitched rather than back-stitched. So much faster. I know I made some minor alterations, particularly to the seams because of lack of trims, but most of the steps were closely followed. I made the chemise for it as well, though to be honest neither it nor the gown are fully finished in the pictures. I still have to bind the lower tabs and fell the chemise seams. It's still wearable! I have something I'm wearing it for in November again, so perhaps by then. I'll also need new hairpieces as the ones I used then were barely passable and I'm now almost a red-head.
I’ve gotten quite a long way on my 1660’s dress, and the base of the bodice is nearing completion. Time for a blog post about the interior, as it’s quite interesting on it’s…
My newest commission! DesignsFromTime - Etsy
A collection of armour, pots and paintings that sets out to connect the courts of Henry VIII and Elizabeth I with Ivan the Terrible lacks only the marshalling presence of Fiona Bruce-ski
Two Prisoners Chained. 1600-08. Peter Paul Rubens Flemish 1577-1640. black stone and stump, pen,brown ink enhanced with white gouache. http://hadrian6.tumblr.com
Pair of man's or woman's mittens of crimson silk velvet and white silk satin, c1600, English
Russian, made in Moscow around 1880. These magnificent gold pendant earrings are designed in the Renaissance style of the 1500s – early 1600s. The earrings are […]
The exhibition Shakespeare, the Stuff of the World brings together more than 100 outfits, from Gertrude's gown to Banquo's blood-stained doublet
Woman's boned bodice, 1660s, ivory satin, trimmed with bobbin lace with parchment & coloured silk
St. Sebastians Martyr (detail), circa 1620-1630 Jacob Matham (1571 - 1631), was a Dutch engraver and pen-draughtsman, whose critical fortunes were mainly bound up with the name of Hendrick Goltzius,...
Depending on the period of your embroidery, you need to understand the hairstyles, jewelry, ruffs, and head coverings to get your lady right...
Présentation de la mode de la fraise des années 1560 à l'an 1600 Dans son sens le plus strict, la fraise désigne les collerettes plissées ou godronnées faisant le tour complet du cou, fermées sous le menton et constituant un vêtement indépendant de...
Оригинал взят у kardiologn в Миниатюры Hercules and Hesione, Raoul Lefvre, Histoires de Troyes, 15 century Franais : 2 octobre 1369 - Remise de lpe de conntable Bertrand du Guesclin (enluminure du XVe sicle) Bibliothque nationale…
Jan Siberechts was a landscape painter, a genre on which he focused from a young age and his earliest known works are of this type...
Last week’s Rate the Dress entry was an 1860s gown transitioning from late crinoline to early bustle. The general consensus was that the transition was a bit problematic – the lace hip ruffle, and unresolved bustle fullness, plus the hard-to-swallow (pun intentional) from a modern viewpoint high throat, but that the dress still had a lot of lovely points – earning it a respectable but not stellar 7.6 out of 10. This week we’re looking at a 17th century portrait featuring Elizabeth Craven, Lady Powis, in a coordinating jacket and skirt featuring embroidered flora and fauna. The elaborate embroidery on the skirt and bodice highlight Elizabeth’s skill as a needlewoman, and her knowledge of plants and animals. The sheen of fabric suggests that the embroidery might have been done on silk, rather than the more common linen. This, along with her sumptuous double-pearl earrings, pearl necklace, and lush lace cuffs and collar, demonstrate her wealth. The portrait makes a clear statement about Elizabeth’s status and accomplishments. Does it do an equally successful job of speaking …
Bodice Worn by Marie de Medici 1575-1600 Spain MFA
Domenico Fiasella, Bacchus and Ariadne
Frédéric Soulacroix (1858-1933) was a French-Italian painter. Soulacroix was born to well-known fresco painters and sculptors, Charles Soulacroix and Giacinta Diofebo. By the age of 15 years, in 1873, Frédéric entered the Accademia di Belle Arti of Florence, and, in October 1876, he was admitted to its School of Painting. He remained in Florence for many years painting often romantic genre pieces in costume of the 18th or early 19th centuries. His works can be seen at the Museum of Arts of Philadelphia and at the Lord Mayor collection Mansion House in London.
