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OP: when somone asks me what did ancient chinese do since they weren't supposed to cut their hair (cr 黛夕，兔小姐的发饰）

Yknow when you meet a conservative and you get to play a little game I call "are they a nazi? or just incredibly stupid?" Though sometimes it's a trick question because they're both.

buried-in-stardust

Demonstrating the rope dart (繩標; sheng2biao1)

[eng by me]

Chantal Thomass S/S 1984

Photo: Paul Van Riel

#chantal thomass #1980s #80s #fashion #1984

Dietmar Sterling A/W 1985-86

Photo: Paul Van Riel

#fashion #vintage #80s #1980s #dietmar sterling #1985

Dietmar Sterling S/S 1986

Photo: Paul Van Riel

#Dietmar Sterling #fashion #vintage #80s #1986

3liza

Meiji period fashion was some of the best in the world, speaking purely from an aesthetic standpoint you can really see the collision of European and Japanese standards of beauty and how their broad agreement even in particulars (the similarity between Japanese and Gibson girl bouffants, the obi vs the corset, the obi knot vs the bustle, the mutual covetousness for exotic textiles, the feverish swapping of both art styles and subjects) combined and produced some of the most interesting cultural exchange we have this level of documentation for. Europeans were wearing kimono or adapting them into tea gowns, japanese were pairing lacy Edwardian blouses with skirt hakama and little button up boots. haori jackets with bowler hats and European style lapels. if steampunk was any good as an aesthetic it would steal wholesale from the copious records we have in both graphic arts and photography of how people were dressing in this milieu.

3liza

«The botany professor,» from Kkokei Shimbun, October 20, 1908. she's wearing a kimono blouse or haori, edwardian skirt or hakama, gibson girl bouffant, a lacy high-collar blouse with cravat and brooch, and a pocket watch with chain

1910-1930 (Taishō era, right after Meiji, which I should have included in my OP) men's haori with western lapels

applesforhela

I have a love for both kimonos and bustle dresses, so I love seeing how the two fashions influenced each other over this period. And thanks to Pinterest, I have pictures!

Victorian tea gown that clearly started as a kimono. It still has the long furisode sleeves, but now they’re gathered at the shoulder and turned around so that the long open side is facing the front instead of the back. Similarly the back is taken in with curved seams to fit the torso and pleated below that for the skirt.

Woodblock of a woman in a a bustle dress made with colorful patterned fabrics and examples of how a woman could style her hair with it.

More prints to showcase hairstyles, two women wearing western wear and two women wearing kimonos.

This next one’s modern, but it involves hoopskirts so I’ll add it in because it makes me so happy. There’s been different styles of wedding fashion that take kimonos and give them a more modern look. Often this involves taking a kimono and then cutting and resewing it into a new dress. Very pretty, but it can’t ever be worn like a traditional kimono again. But now there’s another trend where the bride wears a hoopskirt with a white skirt, then you take the kimono and drape it on. The back of the kimono covers the front of the dress, the long sleeves fall across the sides or the back, and you still wear an obi with it. The result is pretty and the kimono itself doesn’t have to be altered at all.

And because you mentioned steampunk, I have to add in these two:

nonasuch

Personally I’m a big fan of Taisho Meisen kimono, which are what happen when the Japanese textile industry abruptly gets access to aniline dyes, new spinning and weaving technology, and the concept of Art Deco:

fartyrobbins

@distance-does-not-matter

themakeupbrush

Vogue Hong Kong March 2022 “Armor of Couture”

wildbeautifuldamned

Perry Ellis Vintage Spring 1988 Fornasetti Hand Knit Faces Pullover Sweater M ebay glenn_closet

fashionbooksmilano

Gruau

Art direction by fashion curator Joelle Chariau. Introduction by Ulf Poschardt

Schirmer/Mosel, München/Paris/London 1999, 175 pages, Text in French and German. The English translation pamphlet is laid in and unmarked. ISBN 9783888149429

euro 320,00

email if you want to buy: [email protected]

René Gruau (1909 - 2004) was a fashion illustrator whose exaggerated portrayal of fashion design through painting has had a lasting effect on the fashion industry. He was one of the best known and favorite artists of the haute couture world during the 1940s and 50s. Gruau was hired by major designers (Pierre Balmain, Christian Dior, Jacques Fath, Balenciaga, Elsa Schiaparelli, Rochas, Lanvin, Elizabeth Arden, and Hubert de Givenchy) and worked for numerous magazines (Marie-Claire, Femina, Elle, Vogue, Harper’s Bazaar, Flair, L'Officiel, Madame Figaro, and L'Officiel de la Couture. His artwork is recognized and commended internationally in some of Paris and Italy’s most prestigious art museums. This book is folio size, larger than the earlier book published by Rizzoli in 1984 and contains more than 100 full page color reproductions of his work. 09/04/20

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