regencytimes asked: What made you so interested historic fashion? It's the one thing that drew me to being a history major, and I would do nothing but study the fashion of th16th-20th centuries if I could get away with it.
I have no idea actually. I have loved period films since I was a wee lad. While most kids were watching Nickelodeon I was watching Gone With the Wind or To Catch a Thief with my grandmother. Somehow that got me into costume design which led me to study fashion design, and now I want to be a costumer again.
clearlyhere asked: I just have to say what a happy girl I am, now that I've found your blog! I almost studied apparel design... and I almost wish I had just looking at this blog! It's so much fun, and satisfies my costume/fashion obsession! Keep up the great work!
It’s never too late! and Thank You!
itsahit asked: Really liked your Tumblr till I saw the Linx fur coat post. Unfollowing you because there are better ways to be fashion forward, without wearing fur.
As I said, I would never use or condone the use of new fur. However, I can appreciate vintage pieces. Especially a well cut one. You are entitled to your opinion and I appreciate your feedback.
Elsa Schiaparelli | c. 1938
More Impossible conversations spam. This linx coat and hat were perfection. I have a weakness for vintage fur (VINTAGE PEOPLE! I would never use new fur in designs). that hat…THAT HAT!
Elsa Schiaparelli | Court Presentation Ensemble | c. 1938
Another piece I loved from Schiaparelli and Prada: Impossible Conversations. Schiaparelli was inspired by Regency silhouettes for this gown. The glass beadwork is incredible in person.
Elsa Schiaparelli | c. 1938
I finally went to Schiaparelli and Prada: Impossible Conversations at the met yesterday. I absolutely fell in love with this gown. It is stunning in person. I particularly love the sleeves. They are a perfectly dainty interpretation of the large shoulder pads of the era.
Galerie des modes et costumes français 1778-1787
Rice Bowl Dress | Carolyn Schnurer | c. 1952
For her “Flight to Japan” collection, Schnurer adapted elements of Japanese costumes and textiles, as well as architecture and decorative arts. In this example, the neckline, inspired by a reversed kimono, emphasizes the wearer’s collar bones and delicately frames the face. The geometric textile pattern is inspired by sekkazome paper (meaning snow flower or snowflake dyeing), a technique in which mulberry paper is accordion pleated, folded into various patterns and dip dyed. The skirt, which is vertically boned, was inspired by Japanese oilcloth parasols. This effect creates a graceful A-line silhouette and was a practical alternative to the cumbersome crinoline petticoats prevalent in the early 1950s.
Jessie Franklin Turner | Tea Gown | c. 1940
Teagowns or “negligees” as the style was sometimes called at the time, were adapted from strictly at home wear to dinner and evening dress in the 1930s. This particular teagown, one of her most well-known design types, exemplifies this alternative form of formal dress and Turner’s luxurious and unconventional design aesthetic. The use of sumptuous materials and textures, combined in pleasing ways, was a signature element of her designs, seen here in the expert juxtaposition of taffeta, lace, chiffon and satin. Turner was also known for her interesting, often unexpected, color combinations, shown in this teagown in the use of calming celadon satin, chiffon and lace contrasted with the softest of pink and vibrant magenta details.