These two fashion houses, both established by sisters, made beautiful, delicate, airy and feminine gowns in the early 20th century. Callot Soeurs (Callot sisters) was a prominent French fashion design house which opened in 1895 in Paris. The fashion house was operated by the four Callot sisters: Regina, Marie, Marthe and Joséphine. The eldest sister, Marie, was trained in dressmaking and they were all taught by their mother, a lacemaker. The sisters began by working with antique laces and ribbons to enhance blouses and lingerie. They were among the first designers to use gold and silver lamé to make dresses. Three of the Callott sisters. Right, 1907 Left: Callot Soeurs, ca. 1926. Silk, silk and metallic lace, and imitation pearls and opals. Indianapolis Museum of Art. Right: Two evening gowns circa 1912. Left, Callot Soeurs Negligée - detail - 1898-1902 - by Callot Soeurs (French, active 1895-1937) From the Met Museum They designed day wear, lingerie, exotic gowns with an Oriental theme, and evening dresses made from antique fabrics and lace. Their gossamer silk lingerie creations were embellished with bands of exquisite lace and bouquets of silk flowers. Callot Soeurs were among the first designers to use silver and gold lame during the 1910s and 1920s for evening wear, thus their vintage designs were popular with actresses and high society patrons Source The piecing to refashion antique laces into a garment requires the skill and sensitivity of "couture hands," such as those that sewed the renowned lace-embellished Belle Epoque dresses from Callot Soeurs. -quoted from The Met website, where most of these images were sourced. Marie served as the primary designer for the house until 1927 when her son took over the business. However, he could not survive in the highly competitive market and, in 1937, the House of Callot Soeurs closed and was absorbed into the House of Calvet (Marie-Louise Calvet) under the Callot label. EDIT: Adding this beautiful Link about these gowns found in pristine condition! ❀ ❀ ❀ ❀ ❀ ❀ ❀ ❀ ❀ ❀ ❀ ❀ ❀ The house of Boué Soeurs was established by sisters Madame Sylvie Montegut and Baronne Jeanne d'Etreillis, who worked together under their maiden name Boué. Their establishment opened in Paris in 1899, with a New York house opening in 1915. Their designs were extremely feminine, incorporating fine hand-made lace and delicate embellishments such as embroidery and the ribbon flowers seen on the FIDM Museum example (See link for photos). Filet Boué, a floral patterned lace worked on a mesh ground developed by the Boué Soeurs own lacemakers, became a signature of the house. The sisters were also noted for use of gold and silver textiles, which they had to purchase from theatrical supply companies. FIDM link Here are some beautiful examples of delicate ribbon rose trim. Sylvie and Jeanne Boué took an interest in design at a very early age. In a 1922 article in Arts & Decoration magazine, Jeanne wrote: "From our earliest childhood Madame Montegut and myself have craved the beautiful: our desire first took shape in the collecting of dainty ribbons, soft silks, all luxurious materials, flowers, laces – everything that expressed beauty in form and color. We began by dressing our dolls in the prevailing mode and later found an outlet for our love of the beautiful in creating our own attire." Signature elements included fine Alencon and Duchesse lace, embroidery, ribbonwork, and gold and silver textiles. While some of their evening dresses retailed for $145-150 in the 1920s, designs with more exotic materials could cost as much as $2,000. Among the house's more elegant offerings was the robe de style, a design popularised by Jeanne Lanvin, which they continued to produce into the 1940s. Wikipedia Left: Les Modes (Paris) January 1926 Robe de Style par Boue Soeurs Right: Beautiful Robe de Style Left: Paris Fashion - 1926 - Dress 'Aurore' by Boue Soeurs Bottom Left: Les Modes (Paris) May 1928 "bouquetiere" robe du soir par Boue Soeurs Bottom Center: Embroidered lace dress by Boue Soeurs, French, winter 1925-26. Bottom Right: Les Modes (Paris) November 1927 "Serenade" Robe du Soir par Boue Soeurs Left, Portrait of Baronne Jeanne d'Etreillis and her children, published in Les Modes in 1913

Stays, 1760s, pannier c. 1775, shift c. 1780.

Grand ballet in three acts and nine scenes, with a prologue and epilogue Music by Cesare Pugni Libretto by Jules Henri Vernoy de Saint-Georges and Marius Petipa Décor by Heinrich Wagner (Prologue, …

Мария Мануэла Португальская, первая жена Филиппа II, портрет работы неизвестного художника, Прадо: И, глядя на розовое платье, причёску и цветы... ...я вспомнила это: Цветочки Лусии меня преследуют уже третий месяц. :)

Portrait of a young girl; Unknown artist, Dutch or Flemish, c. 1660.

historical-movie-costumes: I love them as well but they are not accurate at all. Like most costume dramas they made the costumes in order to appeal to modern audiences and portray a message. One huge inaccuracy that stands out are the colors. Lucrezia wears a lot of pastel colors before she is married in season 1 to represent her innocence with colors like baby pink (Later on she wears dark colors like blood red and dark blue to show how she has matured, although she wears a few pastel colors in later seasons but mostly to show moments when she is particularly happy). In this time period however, only dark dyes where used by the rich because they where more expensive and displayed your wealth. So she would never have worn dresses in those pastel colors. @historical-movie-costumes The Borgias’ costumes, while gorgeous and I would cut a bitch over most of that fabric, are also a weird mix of some details from the 1490s, and a lot of inspiration from the 1520s-30s. They compress Lucrezia’s historical timeline quite a bit, but for dating purposes–Alexander became pope in 1492, she married Giovanni Sforza in 1493, it was annulled in 1497, she married Alfonso d’Aragon in 1498, and he was murdered in 1500 (the show ends here–1502 she married Alfonso d’Este and in 1519 she died of childbirth complications). So everything the show covers takes place between 1490-1500. I’m sticking mostly with her clothing, since the other women’s tends to be stylistically similar, and I’m just not going there with the guy’s buckled-up doublets and leather pants (what IS it with costume shows and leather pants?). Late 1480s-90s clothing: Straight neckline with minimal to no cleavage, sleeves mostly snug along the arm with underdress puffing through the separate pieces, especially at the elbow. Brocades and patterned fabrics do show up, but not extensively. Believed to be Lucrezia herself modeling for The Disputation of St. Catherine of Alexandria (patron saint of librarians), Pinturicchio, 1498. That’s a crown and then a halo around her head, the aging process has made it look a little funky. (Lorenzo Costa, 1488: The Daughters of Giovanni II Bentivoglio and Ginevra Sforza, Cappella Bentivoglio, San Giacomo, Ferrara.) (Vittore Carpaccio, 1495: Meeting of the Betrothed Couple (detail) Venice, Galleria dell'Accademia.) 1493: Portrait of Bianca Maria Sforza,by Giovanni Ambrogio de Predis. Brocade AF, but also probably her best gown at the time, not an everyday or even church dress. Unknown Florentine Painter - ‘Portrait of a Lady,’ c. 1500. The lacing on the lower sleeves is awesome, not entirely sure what’s going on with the closures across the bodice. The Borgias Costumes: A Vanozza costume sneaking in, because this is actually one of the more accurate dresses, especially the sleeves. Neckline is low, but its construction–the two side pieces coming together over a central one–is a step in the right direction. Not a big one, but it’s a step. Also not a bad start here. The majority, however, have slashed or paned upper sleeves, a much lower neckline showing the undergown (or at least looking like it shows the undergown; most costume shows live in fear of the dreaded undergown, so these may be plackets added onto the gown to look like one instead). The strong V shapes typically made by the construction of the 1490s gowns is replaced by a straight bodice, frequently made of one piece, with back or side-lacing rather than front. The skirts are visibly gathered into the bodice, rather than being cut from one long piece (of all costume choices, I do understand this one as fabric conservation at the cutting stage, but there are ways to hide it). Most of her skirts are also made of panels of different complementing fabrics, so you have these vertical lines of pattern running up the skirt–again, understandable in a “we could only find so many saris we liked” and a way of getting the most out of limited yardage of specific fabrics, but not accurate. As much as the overskirts splitting to show an underskirt underneath is a favorite look of mine in both historical and modern clothing, and she is getting great dramatic skirt wingage here, nooooope. Second wedding dress, so historically taking place in 1498. Headroll, voluminous upper sleeves, bodice of the dress is in fact an underbust, with only the undergown covering the actual bust. Pretty good shoes, though. About those headrolls, fluffy sleeves, waist seams, and low necklines… Raphael’s Lady with a Unicorn, 1505, has some similarities in the bodice and skirt, but not sleeves. Same with his Portrait of a Young Woman -‘La Muta’, c. 1507-1508. Portrait of a Lady by Domenico Puligo c.1525. Paris Bordone, The Venetian Lovers, 1525-30, Pinacoteca di Brera, Milan. Her sleeves are gathered to maximize fabric usage and puffage, but the bodice is very like Lucrezia’s second wedding dress. Sebastiano Florigerio, St. George and the Dragon, Chiesa di San Giorgio, Udine, 1529. Peter de Kempeneer (previously attr. to Girolamo da Carpi) c1530s. Except that her partlet comes all the way up to her neck, as you can just barely tell by the lines of gold woven into it, and the skirt is of one fabric, this is basically a Lucrezia dress. (And yes, I accept that on-screen clothing is almost invariably going to include more boobage than is historically accurate. This is a fact of costume movies. I will still comment on it.) Bernardino Licinio, Portrait of a Lady, 1532. Yes, I know, they’re all Portraits of a Lady, what are you going to do. Also the embellishment on this bodice is pretty wild. Bassano, Jesus and the Woman Taken in Adultery, 1536. The upper sleeves aren’t paned/slashed, but otherwise, very close in construction. Titian, Portrait of a Girl in a Blue Dress (thank you, Captain Obvious), 1536. Also great example of fancy hair (I admit it, I LOVE The Borgias hair despite its own issues which I’m not getting into here). None of these sleeves have been slashed or paned the way quite a few Borgias garments are, possibly because that Snow White shit came even later, and I’m reaching here. Lucas D’Heere, Girl and Women of Saxony, 1575. Ludger Tom Ring the Younger, Portrait of a Young Patrician Lady, c. 1565 Hans Eworth, Portrait of Lady Mary Grey, 1571. Giovanni Battista Moroni, Luisa Vertova Agosti, ca. 1570 -1575, Musée des Beaux-Arts de Nantes. Taken to terrifying extremes by Elizabeth Littleton, Lady Willoughby, 1573. 1570s, Eleonora of Toledo, 1570s Florence. And to be completely honest, the construction method of long strips of fabric poofing up is later still… Copy of Peter Paul Rubens Portrait of Anne of Austria, c. 1620-1625. This is the Queen of France in The Three Musketeers, Louis XIV’s mom. Anthony van Dyck, Portrait of Marie-Louise de Tassis, c. 1630. Conclusion The Borgias costumes are pretty. Really, really pretty, and there’s a reason Gabriella Pescucci (also of Penny Dreadful, Dangerous Beauty, A Midsummer Night’s Dream, The Age of Innocence and The Brother’s Grimm, among others, and doesn’t it all make sense now) was up for an Emmy for them. But they’re not wholly accurate to any one time, let alone the period in question. For a wide audience, though (and this is Showtime we’re talking about here), I get where they’re going–the idea isn’t to recreate 1490s Rome, it’s to evoke Renaissance Italy as a sumptuous, decadent time. The 1490s clothing, especially to a modern eye, is just edging out of medieval silhouettes and styles, it’s not the image a wide audience has of “the Renaissance,” something carried over in the sets as well. Even though it’s set decades earlier, it’s the heir to The Tudors (also a Showtime production), coming out in 2011 with The Tudors wrapping up in 2010. So that’s the audience and expectations the show is dealing with, and it does a hell of a lot better than The Tudors did. The authenticity geek in me cries, especially because the only way to correct widespread incorrect beliefs and impressions, is to, you know, stop perpetrating them in the first place, but that’s not the job the producers chose for the show. The job they chose–being pretty, decadent Renaissance Italy–it does just fine. If you’re interested in more accurate costuming and storyline, Borgia, first produced by a mixed-nationality European company in 2011 and picked up by Netflix for its final season, is worth a watch, and it continues to Cesare’s death in 1507. It’s far from inaccuracy free, either in costume or plot (the ruff on Lucrezia here is just bizarre), and is less consistent about its inaccuracies, since three different women will be running around in gowns influenced by three different periods, and has a horror of men’s shirt’s as well as women’s undergowns, but it is closer for the most part. It’s also a harsher, grittier show, so heads up there.

Galería Virtual, Sofonisba Anguissola y Lavinia Fontana. Un nuevo espacio visual dentro de nuestra web. Hoy, dedicado a dos artistas femeninas.

Scopri la vita di Luigi Sapelli il Caramba, il primo costumista teatrale che ha cambiato il modo di vestire a teatro.

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Costumi dell’atelier tra cinema e teatro Umberto Tirelli era un appassionato collezionista di abiti antichi, che acquistava nelle soffitte delle famiglie aristocratiche e sulle bancarelle dei merca…

Fifteenth-century Left The woman wears a robe with a fitted waist, the result of lacing in the back. Her skirt hem is tucked into the band around her hips to

I più bei vestiti di Carnevale da donna del 2024: i costumi più amati, originali o economici da sfoggiare alle feste di quest'anno.