Since we're all here, let's all look at my beloved Ana María Martínez who sang "Sweet Dreams of Joy" from Viva Verdi, which was one of the Best Song nominees!!!
Not today Justin
I'd rather be in outer space 🛸
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@fashionsfromhistory
Since we're all here, let's all look at my beloved Ana María Martínez who sang "Sweet Dreams of Joy" from Viva Verdi, which was one of the Best Song nominees!!!
Reblogs in a chain now get their own notes
The reblog chain is one of the things that makes Tumblr unlike anywhere else. All the notes on reblogs are attributed to the original post, no matter which branch people actually liked or reblogged. We want to keep encouraging conversations, and give contributors the recognition they deserve.
Soon, you'll be able to like, reblog, or reply to any part of a reblog chain, and that note will go to that reblog's author. Each reblog will have its own counts, instead of one aggregated number from every version of the post. And yes, you’ll be able to like multiple posts in one chain.
If a reblog doesn't add anything, the love flows up to the last person in the chain who did. Your post doesn't lose notes just because people spread it quietly.
Past notes will stay on the original post — we're only changing what happens from here on out. Retroactively re-attributing all of them would be... a lot.
This is just the beginning. More changes are coming as we keep building this out – stay tuned!
It’s very clear that you all have strong feelings about Tumblr and about this change. We hear you. The passion people have for how Tumblr works is one of the things that makes this place special.
As this rolls out over the next few days and you explore it, we’ll keep reading your replies and reblogs, so please keep sharing your questions, concerns, and ideas.
Your creativity has always been the heart of Tumblr, whether you’re the original poster or adding something brilliant in the reblogs, and nothing about this change is meant to limit that.
If you’d like to talk directly beyond the comments, leave a reply and we’ll follow up with as many of you as we can. We want to work with you to make Tumblr better.
This is such an absolute nonsense update. While a lot of this blog is me doing what I want, I do take notice of what people enjoy and attempt to add it to the docket. I already struggle with keeping up with the blog due to IRL stuff and this absolutely nukes my desire to do so.
Shoes that belonged to Marie Antoinette
In the Collection of Musée Carnavalet – Histoire de Paris
Currently on view at the Victoria & Albert South Kensington exhibit Marie Antoinette Style
Portrait of Marie Antoinette in Court Dress by François Hubert Drouais
1773
Marie-Antoinette is shown here at the age of 17. She was already married to the future king Louis XVI, and a year later would be queen. She wears formal court dress: a silk gown with embroidered stomacher, needle lace and silver trimmings, and a jewelled necklace. A leader of fashion, Marie-Antoinette was at first celebrated for her taste but came to be criticised for her extravagance. She died at the guillotine in 1793. This painting appears to be one of several versions derived from an earlier portrait of Marie-Antoinette as Hebe, goddess of youth, executed by the same painter Drouais for Louis XV of France in 1772 and currently in the Musée Condé, Chantilly.
Currently on view at the Victoria & Albert South Kensington exhibit Marie Antoinette Style (Accession Number: 529-1882)
Armchair
Jean-Baptiste-Claude Sené & Other Artisans
1788
This chair and its pair (W.7-1956) were almost certainly part of a suite made in 1788 for Queen Marie-Antoinette's cabinet de toilette at the Palace of Saint-Cloud -- the rest of the suite comprising two further armchairs (one at Versailles, the other sold at Sotheby's New York, 22 October 2005, lot78), a sultane (daybed without a back), a bergere armchair and a fire screen (all in the Metropolitan Museum; inv. no. 41.205.1-3a,b), and a footstool (untraced). The frames were made by the joiner (menuisier) Jean-Baptiste-Claude Sené (1748–1803), carved by an unidentified carver, and painted and gilded by the painter-gilder (peintre-doreur) Louis-François Chatard (c. 1749–1819), who eventually delivered the suite to Saint Cloud. The suite is recorded in an inventory of Saint Cloud taken in 1789. At the top of this chair is carved the monogram MA for Marie-Antoinette, queen to Louis XVI of France. It was probably part of a suite delivered in 1788 to the Château de Saint-Cloud, Sene supplied similar suites of chairs to Versailles and the Tuileries. The armchair bears all the hallmarks of neoclassical style, popular in France after 1775, with its straight, tapering legs and decorative elements which include classical columns with Ionic capitals and laurel and acanthus leaf motifs.
Currently on view at the Victoria & Albert South Kensington exhibit Marie Antoinette Style (Accession Number: W.6&2-1956)
See more about the conservation of these chairs here: The Conservation of Marie Antoinette's Chair
Eau de Cologne Bottle from the Nécessaire de Marie-Antoinette
c.1787-1788
Musée du Louvre (Inventory Number: OA 9594 12 J)
Currently on view at the Victoria & Albert South Kensington exhibit Marie Antoinette Style
The Sutherland Diamonds
The Sutherland Diamonds, comprising a necklace of twenty large old brilliant-cut diamonds in silver-topped gold collets with two extension lengths and a pair of earrings, are an extraordinary survival amongst British noble jewels: a magnificent and historic collection of diamonds that has been prominently worn at multiple coronations, adapted and reworked over time to suit changing fashions. They might so easily have been broken up were it not for their grandeur, heritage and alleged link with Marie Antoinette. Worn by successive Duchesses of Sutherland from the early Nineteenth Century onwards, the diamonds were the most striking family jewel in the celebrated receptions at Staffordshire House, the grandest town house in London until its sale by the 4th Duke of Sutherland in 1912. Recorded in paintings and film footage of coronations, they were worn by Harriet (1806-1868), wife of the 2nd Duke, and Mistress of the Robes to Queen Victoria, to the Queen’s coronation in 1838 as an enormous upright headband of diamonds. Millicent (1867-1955), wife of the 3rd Duke and Canopy Bearer at the Coronation of Edward VII and Alexandra in 1902 wore the diamonds as a tight choker with a line of diamonds extending down the front, very much in the style of a lavalière of the day. In 1937, Eileen (1891-1943), wife of the 5th Duke, wore them à la mode as a long necklace, or sautoir to the Coronation of George VI and Elizabeth. Tradition links the diamonds to the scandal that contributed to the downfall of Marie Antoinette – the so-called ‘Affair of the Diamond Necklace’. The French queen was implicated in this, one of the grandest jewellery scams in history, and although innocent, her reputation never truly recovered. The connection is unproven, but the size, beauty, and role these diamonds played in royal and aristocratic life in Britain place them among the most remarkable surviving noble jewels.
Currently on view at the Victoria & Albert South Kensington exhibit Marie Antoinette Style (Accession Number: M.10:1 to 3-2022)
Costume worn by Rudolf Nureyev as the Prince in The Nutcracker
Designed by Nicholas Georgiadis for Opéra national de Paris
1985
Centre national du costume et de la scène (Accession Number: D-ONP-85CN001)
Fairy Costume from The Nutcracker
Designed by Pierre Clayette for Opéra national de Paris
1965
Centre national du costume et de la scène (Accession Number: D-ONP-65CN003)
Ensemble
1889
United States
The MET (Accession Number: C.I.55.1.14a–e)
"Paris" Evening Coat
Paul Poiret (Paris, France)
1919
The MET (Object Number: 2005.207)
Winter Ensemble
c.1874
France
The MET (Accession Number: C.I.52.13.3a–d)
Boots with Knitted Vamp
1880-1900
Historic New England (Accession Number: 1946.339)
Cape
Emile Pingat (Paris, France)
1880s
Historic New England (Accession Number: 1997.43)
Costume for Ganna Walska as Cio-Cio-San in Madama Butterfly
Designed by Erté
1923
LACMA
Fashions From History turned 13 today!
My blog is now a teen! Absolutely wild that I've graduated high school, college, and have a whole career now. Thanks for sticking around 💕
Costume for Ganna Walska as Cio-Cio-San in Madama Butterfly
Designed by Erté
1923
LACMA (M.87.80.44 & M.87.80.69a-f)