Что почитать: свежие записи из разных блогов

Записи с тэгом #платья из разных блогов

Gun_Grave, блог «From the Cradle to the Grave»

Dressing up in a Natural Form era suit

Gun_Grave, блог «From the Cradle to the Grave»

Les Femmes de l'Avenir

 «Женщины будущего» (фр. Les Femmes de l'Avenir) – серия из двадцати открыток, опубликованная в 1902 году в городе Нанси под редакцией знаменитого печатника Альберта Бержерета (1859-1932). Бержерет был успешным бизнесменом, а его студия стала ведущим производителем открыток во Франции. В 1900 году ею было выпущено 25 миллионов карточек, а к 1903 году – 75 миллионов.
 На карточках серии изображены женщины в традиционно мужских профессиях. Мы видим журналиста и солдата, врача и адвоката, военного генерала и моряка.
 Источники: раз, два и три.

Gun_Grave, блог «From the Cradle to the Grave»

Wedding dress and shoes

  Еще больше, в лучшем качестве и с историей лежит здесь.

2010-EE5622-2500
2010-EE5693-2500
2010-EE5587-2500
2010-EE5713-2500
2010-EE5718-2500
2010-EE5586-2500
2010-EE5720-2500
2013-GV6236-2500
2013-GV6397-2500
2016-JA7745-2500
2016-JB1392-2500
2016-JG8872-2500

  Wedding dress and shoes by Stern Bros, New York, 1890 (made). Heavy cream corded silk wedding dress and trained skirt, bodice with accentuated waist and dramatically flared peplum, shirred leg o'mutton sleeves. Embroidered with pearls, pastes and gathered silk lisse (crêpe chiffon). Shoes of white satin embroidered with bronze and crystal, silk stockings.

Gun_Grave, блог «From the Cradle to the Grave»

Afternoon Dress: Bodice and Skirt


Найдено на пинтересте.

Gun_Grave, блог «From the Cradle to the Grave»

Wedding ensemble, 1878


 While white is now de rigueur for bridal attire, the fashion for white wedding gowns originated оnly in the late 19th century and was not commonplace until the 20th century. This dress is a good example of the more practical 19th century practice of brides wearing colored gowns for weddings. The wedding dresses could then be worn again for other receptions and social events. A well-made and finely-detailed example of the period, this dress would have been described as a "cuirass" or "cuirass style" at the time it was made, a term that refers to the form-fitted bodice. A steel-boned corset helped to achieve the ideal figure for the cuirass style in the 1870s and 1880s. American. Отсюда.

Gun_Grave, блог «From the Cradle to the Grave»

American dress, 1890


 This dress is in keeping with the interest in historical revivals popular in the 19th century. The long puffed sleeves refer to both Elizabethan and early 19th-century styles. The оne-piece construction indicates it was probably intended for formal reception at home. American, silk, linen. 1890. Отсюда.

Gun_Grave, блог «From the Cradle to the Grave»

Lillyxandra

Пока наводила порядок на дайри, нашла этот старый пост. Поправила в нем фотографии. Ну и утащила сюда — пусть будет.

И вот еще:

Gun_Grave, блог «From the Cradle to the Grave»

Emile Pingat Evening cape, French, 1891

Pingat's interpretation of Plains Indian motifs оn this cape is indicative of his fascination with incorporating other cultures' designs into the contemporary couture vocabulary. This style of embroidery pattern, although distinctive amongst other late 19th-century European designs, is iconic of Pingat's work.

Отсюда

Gun_Grave, блог «From the Cradle to the Grave»

Emile Pingat Evening cape, French, 1885–89

 Emile Pingat had a proclivity for designing carefully finished dresses and outerwear which made him оne of the top three French fashion designers during the second half of the 19th century. Active between 1860 and 1896, Pingat was adroit at manipulating multiple textiles and trimmings into a cohesive and elevated garment. He was inspired by design elements of other cultures and often reinterpreted them into his own work, making them unique and intriguing. His elaborately decorated and impeccably tailored outwear was particularly sought after.
 The bustle silhouette was the prevalent style of any 1880s woman's wardrobe. This cape mimics that silhouette, allowing the wearer to maintain the shape created by her dress underneath. The rich color of the royal blue velvet is evocative of the original wearer who at that point in time would have been seen as a precious jewel who required continual attention and assistance. That perceived helplessness is also reflected in the cape's lack of armholes, which would limit easy mobility. Pingat's treatment of the trim completes the luxurious quality of the garment with a liberal application of guipure lace in vertical lines emphasizing the statuesque, but somewhat removed, appearance of the wearer.

Отсюда

Gun_Grave, блог «From the Cradle to the Grave»

Emile Pingat Evening capelet, Paris, c. 1890


 Purple sequins over-lap to form feather patterns оn yoke above flounces of Alencon lace, printed ribbon woven white & lilac chiffon & black lace bottom flounce, high collar & front openings trimmed in chiffon & black lace, black silk gros-grain bows to back, changeante copper silk lining, label "Maison Emile Pingat A.Walles & Cie 30. Rue Louis Le Grand Paris", L 17", excellent; t/w 1 black velvet cape, high ruff collar w/ jet bead trim.
Отсюда.
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