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@iamthequeenofbitches
Shout out to dick van dyke for having the name we all wish we had
Why canât my local library be literally magic ;_;
bro oh my god ⌠vanilla extract
vanilla extract smells wonderful but tastes horrific on its own. but mixed with sugar and flour and cream it tastes just like it smells. we need the support of others to reach our full potential
no man is an island everyone is vanilla extract
itâs hilarious to me when people call historical fashions that men hated oppressive
like in BuzzFeedâs Women Wear Hoop Skirts For A Day While Being Exaggeratedly Bad At Doing Everything In Them video, one woman comments that sheâs being âoppressed by the patriarchy.â if youâve read anything Victorian man ever said about hoop skirts, you know thatâs pretty much the exact opposite of the truth
thing is, hoop skirts evolved as liberating garment for women. before them, to achieve roughly conical skirt fullness, they had to wear many layers of petticoats (some stiffened with horsehair braid or other kinds of cord). the cage crinoline made their outfits instantly lighter and easier to move in
it also enabled skirts to get waaaaay bigger. and, as you see in the late 1860s, 1870s, and mid-late 1880s, to take on even less natural shapes. we jokingly call bustles fake butts, but trust me- nobody saw them that way. it was just skirts doing weird, exciting Skirt Things that women had tons of fun with
men, obviously, loathed the whole affair
(1864)
(1850s. gods, if only crinolines were huge enough to keep men from getting too close)
(no date given, but also, this is 100% impossible)
(also undated, but the ruffles make me think 1850s)
it was also something that women of all social classes- maids and society ladies, enslaved women and free women of color -all wore at one point or another. interesting bit of unexpected equalization there
and when bustles came in, guess what? men hated those, too
(1880s)
(probably also 1880s? the ladies are being compared to beetles and snails. in case that was unclear)
(1870s, I think? the bustle itself looks early 1870s but the tight fit of the actual gown looks later)
hoops and bustles werenât tools of the patriarchy. they were items 1 and 2 on the 19th centuryâs âFashion Trends Women Love That Men Hateâ lists, with bonus built-in personal space enforcement
Gonna add something as someone whoâs worn a lot of period stuff for theatre:
The reason you suck at doing things in a hoop skirt is because youâre not used to doing things in a hoop skirt.
The first time I got in a Colonial-aristocracy dress I felt like I couldnât breathe. The construction didnât actually allow me to raise my arms all the way over my head (yes, thatâs period-accurate). We had one dresser to every two women, because the only things we could put on ourselves were our tights, shifts, and first crinoline. Someone else had to lace our corsets, slip on our extra crinolines, hold our arms to balance us while a second person actually put the dresses on us like we were dolls, and do up our shoesâwhich we could not put on ourselves because we needed to be able to balance when the dress went on. My entire costume was almost 40 pounds (I should mention here that many of the dresses were made entirely of upholstery fabric), and I actually did not have the biggest dress in the show.
We wore our costumes for two weeks of rehearsal, which is quite a lot in university theatre. The first night we were all in dress, most of the ladies went propless because we were holding up our skirts to try and get a feel for both balance and where our feet were in comparison to where it looked like they should be. I actually fell off the stage.
By opening night? We were square-dancing in the damn things. We had one scene where our leading man needed to whistle, but he didnât know how and I was the only one in the cast loud enough to be heard whistling from under the stage, so I was also commando-crawling underneath him at full speed trying to match his stage positionâwhile still in the dress. And petticoats. And corset. Someone took my shoes off for that scene so I could use my toes to propel myself and I laid on a sheet so I wouldnât get the dress dirty, but that was itâI was going full Solid Snake in a space about 18âł high, wearing a dress that covered me from collarbones to floor and weighed as much as a five-year-old child. And it worked beautifully.
These women knew how to wear these clothes. Itâs a lot less ârestrictiveâ when itâs old hat.
I have worn hoop skirts a lot, especially in summer. I still wear hoop skirts if Iâm going to be at an event where I will probably be under stage lights. (For example, Vampire Ball.)
I can ride public transportation while wearing them. I can take a taxi while wearing them. I can go on rides at Disneyland while wearing them. Because Iâve practiced wearing them and twisting the rigid-but-flexible skirt bones so I can sit on them and not buffet other people with my skirts.Â
Hoop skirts are awesome.
Hoop skirts are a fucking godsend in summer. Nothingâs touching your legs. Itâs like wearing a big box underneath whic youâre naked, temperature wise.
Did this with a bustle rather than a hoop skirt, but was quite comfortable running around in said bustle, shirt, full corset, gloves, and overskirt in 117 degrees for a con. It was far more comfortable than the more modern dress i wore the next day.
Writer Note: this is fascinating research information not restricted to just the Victorian era under discussion. Though itâs stating the obvious, the obvious often needs to be stated: when seemingly-awkward garments like crinolines and hoop-skirts (or ruffs, or houppelandes, or etc.) were everyday wear, the wearers knew how to move in them because of practice.
For instance, how not to clear a table with a gesture while wearing sleeves like theseâŚ
Fashionable footwear has been weird for centuries. Think of chopines, pattens, poulaines, non-fetishy-y high heels, or platform boots worn with bell-bottom jeans so long and wide that without the platforms they trailed along the ground. The 1970s is called âthe decade that style forgotâ for good reason.
Elton Johnâs stage platforms arenât as exaggerated as you thinkâŚ
And then there are the doeskin breeches claimed in some fiction as fitting so tightly the inside had to be soaped to get them on, going commando was compulsory, and the wearer couldnât sit down.
Youâd certainly believe it from portraits like this one, âHunter in a Landscape with his Dogsâ, said to be General Thomas-Alexandre Dumas, father of Alexandre Dumas the novelist, with legs apparently clad in just a thick coat of paint. (X-skin breeches would seem more suitable for hunting, but these may represent cotton âinexpressiblesâ which really did fit like that.)
Like the supposed problems with crinolines etc., not true. Research and reconstruction has shown that doe / buck / sheepskin breeches have natural stretch and recovery; a common comparison is to old, well-worn jeans. Of course the artist also wanted to show that his subject âhad a good legâ (look up âartificial calvesâ and be amused) and wasnât letting realism get in the way of doing so.
This is a bit more like it.
Nowadays âdeportmentâ seems to have an aura of outdated snobbishness - upper-class debutantes learning to curtsey, or walk with books balanced on their heads - but âporteâ in French means âcarryâ and the old meaning of deportment was âhow to carry yourselfâ; how to move properly, without inconveniencing yourself or others.
Various historical-costume books point out that âmoving properlyâ in some periods - memory suggests the court of Louis XIV at Versailles was one - meant a sequence of artificial, prescribed gestures, partly enforced by the clothing and partly by court protocol. IIRC one description was of âmovements as precisely delineated as the steps of a formal danceâ, and getting them wrong resulted in social mockery.
Elizabethan men were taught, as part of their deportment, how to move while wearing the long rapiers of the period; that hand-on-hilt stance in portraits isnât drama, itâs control.
Once familiar with the length of the sword, they know exactly what shifting the hilt one way or another will do to the rest of it - and the people, furniture and crockery behind them - without needing to look. IIRC the technique is still taught to actors today.
Crinolines, bustles, bloomers, breeches, inexpressibles and all the rest were clothing; after reading about peculiar but oh-so-stylish ways of standing and moving like the âGrecian bendâ and âAlexandra limpâ, the Kinkâs satirical 1960s hit âDedicated Follower of Fashionâ isnât just a song any moreâŚ
:->
Even better than the version I posted before.
I would note that I have a RenFaire style corset and I have run significant distances, sword fought, and danced in various styles without any discomfort. The only thing I canât do is bend over. It actually forces you to pick things off the ground safely. Itâs not wasp waist tight, partly because I have abs and donât compress like that (which might be part of the wasp waist thing. Being able to do that said you didnât have absâŚand thus didnât work for a living, which has often been a thing with womenâs fashion).
This is all really interesting and new to me! And I have thought of deportment as a snobbish thing all my life, but now Iâm wondering if early lessons in it would have been a good thing for clumsy and oblivious folks like me.Â
Somebody shouldâŚI wonder if I can convince some cosplayers to do a panel about this. Both for authenticity and because some of them need to learn what happens to their sword when they turn around quicklyâŚ
Iâm amazed how few people understand what wearing a real corset is like. It isnât uncomfortable in the slightest to me, and itâs actually quite fun. People think if you wear a corset youâre going to crush your bones or something. It just simply isnât true.
If youâre intentionally waist training (itâs a kink with some people) then it will have an effect. Otherwise, a correctly-fitted corset provides more support than a typical bra, it also supports your back - I do wonder if women had fewer back problems in times when they were common, and I do know women who wear them instead of back bracesâŚ
honestly? even serious waist training (which isnât always a kink) shouldnât hurt hurt. Depending on the person and how the corset fits there might be some tension, sure, but thereâs this whole process that you should be going through when you first get your corset(seasoning) that basically allows your body to get used to it. It might be a little uncomfortable for someone unused to it, but a properly fitting corset wonât hurt (it can also increase flexibility in the obliques â I wasnât even seriously waist training last school year and I still felt looser in the sides at the end).
Some people today wear corsets because it def provides a lot of support to large breasts, and custom corsetiers sometimes specialise in making medical corsets for scoliosis and stuff.
And yeah, corsets really often were worn by working women! Not just the delicate ladies in parlours, but also farm women who had to haul 50 lb sacks of feed or whatever. The corsets would function the same way a weightlifterâs belt or back brace would today, keeping everything aligned and providing support.Â
With the super heavy dresses and skirts, too, it helps to provide support for the weight of the cloth over the hips so the skirts donât sag.
Twelfth Night is, beyond being a comedy, extra hilarious, because a director has only two choices when casting it. 1) find a man and woman who look alike enough to play the âidenticalâ twins Viola and Sebastian, bringing the audience into the chaos and confusion of the characters, OR, even more hilariously 2) cast a man and woman that look nothing alike and every time a character mentions how alike they are, the audience just loses it.
I saw a musical adaptation where Viola was about 4â11 and Sebastian was about 6â2 which was equally hilarious
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One Million Farewells
tchaikovsky's swan lake đŚ˘
âHills are on fire with color in the Alpsâ đ by | Ryan Resatka
The Alps - Adelboden, Switzerland