#Fortuny pleat

[featherstonevintage]

La belle époque du Fortuny

Jardin des Modes, November 1979

[digitalfashionmuseum]

Dark Green Pleated Silk Evening Dress, ca. 1910, Italian.

By Mario Fortuny.

National Museums Scotland.

[theredpharaoah]

I need to figure out how he did these hair pleats. Has anyone tried to reproduce this style specifically?

[murmel-malt]

Face, night, & outerwear for Daera?

So sorry this took me ages, Misa! Turns out, words are hard 😭

face: Describe your OC's face. What's their smile like? Are their orbs cerulean? What would someone notice first when looking at them?

My immediate go-to for what someone would notice first about her was obviously her green eyes which are not typical for a Targaryen. But that felt a little too obvious, so I am going with her attitude.  There is a fire in her eyes that is very reminiscent of the Targaryen’s mounts. Some call her stubborn, others spirited; but all agree that in the absence of a dragon to ride, Hedaera Targaryen had to become a bit of a dragon herself.

All of Daera’s wardrobe is very inspired by Mariano Fortuny’s fashion which I am obsessed with. So I included some stuff that has explicitely inspired some of Daera's outfits.

night: What does your OC wear to sleep? Do they have a favorite pair of PJs, or are they more the birthday suit type?

Daera usually wears a simple chemise to bed. It’s thin enough for the warmer climate of King’s Landing and still enough that she doesn’t feel exposed. If a second layer is required for cover she throws on a usually somehow floral-y embroidered/decorated gown. She has one made of heavy velvet that acts essentially like a weighted blanket for her.

outerwear: What's your OC's outerwear situation? Jacket, sweater, cloak? What sort of weather do they deal with most and how do they protect themselves?

Living in the Crownlands she doesn’t really have to deal with extreme weather conditions so when outdoors/on the road Daera opts out of her usual wide, flowy sleeves and light colours and instead simply goes for a tighter fit and a thicker, sturdier overdress in darker colours that are less prone to show any dirt that accumulates on the road (but still never black). When she does need to protect herself from stronger elements she prefers cloaks to wrap herself up in over coats. While her travel fits are less ostentatious and somewhat toned down they are still not necessarily practical as she mostly travels in a wheelhouse and does not take part in any physical activity that requires a special attire.

[ghw-archive]

Charles & Patricia Lester 'Delphos'-style dress and velvet jacket, 1985

[v-as-in-victor]

Oh my textiles people, you are going to enjoy this video!

It's under 7 minutes and contains both pleat history and some at-home pleating technique. And it's very serene.

[mirellabruno]

Mariano Fortuny.

[oldblood]

w/ clothing quality getting worse and thrifting getting harder i’m being forced into sewing beyond just tailoring and making mockups i do nothing with. which is bad in that better fabrics r an immediate price hike

[milfbro]

I guess if you know that ancient egyptians wore pleats you would think any pleating is fair game. But still. Fortuny pleats did not exist in the middle ages or ancient egypt that's not a thing

[nonasuch]

If a time traveler went back, say, 100 years, bought something brand new, and took it with them when returning to their period of origin, would that object be an antique, because it was made 100 years ago, or not, because it has not existed in slow-time for that long?

Oh that’s a good question. Hmm. I think technically no, but depending on what you bring back it wouldn’t matter?

Like, the key would be to pick things that aren’t easily counterfeited in the modern day. If I show up with a like-new Fortuny Delphos, nobody’s gonna care about technicalities or how I got it because they know they can’t be made without Fortuny’s secret pleating technique.

And some things could just be excused as having been forgotten in a box, unused — gold jewelry won’t have a patina from age and won’t show wear if it was never worn, you know?

Whereas a lot of glassware is commonly reproduced and wont be believed as genuine without signs of wear. Or clothing, if made from fabrics that are still available in the modern day, could read as something conceivably sewn by a skilled modern costumer.

[resplendentoutfit]

Dresses as Art: A Selection of Timeless Fortuny Gowns

Mariano Fortuny (1871-1949)

Silk Pleated Delphos Gown in Champagne with Murano Glass Beadwork • c. 1910

The Delphos gown is a finely pleated silk dress first created in about 1907 by French designer Henriette Negrin and her husband, Mariano Fortuny y Madrazo. They produced the gowns until about 1950. It was inspired by, and named after, a classical Greek statue, the Charioteer of Delphi. It is thought that to create the pleating House of Fortuny was famous for, the pleats were stitched down and once heat set, removing the stiches.

Right: Fortuny delphos gown in rapberry silk • c. 1930

Left: Two Peplos gowns • 1920s

Two Delphos gowns, one paired with a Fortuny jacket • 1910s

[featherstonevintage]

La belle époque du Fortuny

Jardin des Modes, November 1979

[the1920sinpictures]

1920 Peplos dress by Mariano Fortuny. Made in apricot silk the dress uses his unique pleating method and the signature Murano glass beads to weight and embellish the hem of the tunic. Stenciling was another signature of his work and the belt of this Peplos is stenciled in silver with a band of leaves. From Attire’s Mind, FB.

[argentasterdisaster]

Design Lore- Wedding Gowns of Inquisitor Evanui Lavellan and Ambassador Josephine Montilyet*

*this is all related to my headcanons concerning these characters, please don't take anything I write here as actual canon*

I do not agree that these ladies waited over a decade to get engaged. they were quietly married as soon as Eva's arm healed. This is their blow- out vow renewal ceremony.

This is a very long post. Strap in.

As someone with a background in fashion and design, the fashion choices of characters is always an extremely important facet to me when it comes to understanding who those characters are at their core.

Games are no different, in fact they're probably one of the mediums where fashion design shines the most. You can usually tell exactly what sort of person a character is at a glance based on the design choices made and how every piece of their outfit is styled.

I love Dragon Age, so I figured I'd have fun with this little project and go ham.

Josephine and Eva deserve that much after so much time.

Style of Gowns:

The simple sheath- style dress we see in Cullen and Sera's wedding scenes would not work for these two, Josie in particular.

I was originally designing something from scratch, with hints of Italian Renaissance styles, a little Jacobian, metallics, etc. but then this fabulous 80s Mugler caught my eye.

It's perfection.

Swap the colour, tweak the sleeves, fuller skirt, some bows on the neckline, and done!

Eva's I wanted to keep more in line with what was in-game, but fancier. Adding sleeves to this 60s Valentino did the trick, as did the bodice shape of Lady Sibyl's harem pants frock from Series 1 of Downton Abbey.

Colour Palettes and Materials:

Historically women married in their best dresses. For people of means that meant very elaborate, costly things. They rarely wore white wedding gowns, preferring bright or deep colours for their gowns, or most expensively, metallic fabric.

Cloth of gold and cloth of silver were preferred by noblility, and those with the coin for it often made full outfits from these fabrics.

Examples include the wedding gown of Empress Ekaterina II of Russia, and the coronation gown of Queen Maude of Norway (yes, I know it's actually gold lamé, but there are almost no examples of actual cloth of gold left and old style lamé is a good approximation to the look of the OG).

As the head of a now-prosperous noble family who dealt with trade, Josie would be familiar with these and many other fine fabrics. Now that she can afford to splurge a little, she'd have a choice of the best. The skirt is cloth of silver with gold coloured silk satin for her bodice and sleeves.

I took inspiration for the bodice from the the colour of Artemesia Gentileschi's Ester Before Ahasuenus, and the texture of the silks in Vittorio Reggianini's La Soireé.

Eva's gown, while simpler in shape and style, was no less elaborate in construction. The pleats on the Valentino gown remind me so much of Mariano Fortuny's Delphos gowns that were all the rage during the early part of the 20th century. She chose a fine light linen for it's construction, in a colour she liked over whatever was more fashionable. In this case a light rosy pink with darker pink as a base for the embroidery panels.

The embroidery is where things get deep in my headcanon (and my feelings), as traditional embroidery patterns are something that I've always been particularly interested in. Both as a hobby, and the historical and cultural traditions and motifs that are tied into embroidery as an art form.

It's an artform historically practiced by women, an industry made and defined by women. Stories, techniques, designs, patterns: passed from mother to daughter, sister to sister, friend to friend, from generation to generation for centuries. The textile tradition of a culture tell the stories the men wouldn't commit to memories, the stories few will ever commit to words. Stories of love and history, changing trends, aesthtics, personal style. Stories of the individuals who wore the clothes.

Historically women of the family came together to work on the embroidered items in a bride's trosseau. It's the case with the heirloom embroidery that still exists within my family, and I'm sure many other families as well. I'd like to believe the Dalish do something similar to this.

I chose heavy embroidery for Evanui's gown because as the First to the Keeper, she would know the importance of traditions like these within families and clans. And Clan Lavellan has lost so much. This is her way of represent her traditions, and her personal story on her body on what would be one of the happiest days of her life.

And it's also a way for the women of Clan Lavellan- Evanui's sisters, cousins, aunts, and friends- to come together and show a most cherished member of the Clan all their love and support during this happy occasion.

Poppies for beauty and remembrance, and twining stems and leaves reminiscent of the elfroot icons you see in game. They're done in the style of Hungarian style red work embroidery, a personal favourite of mine.

Veils and Headdresses:

I lifted a blue version of the flower crown Queen Guinevere wore for her wedding in Excalibur for Josie. With everything else going on in the outfit, a simple mesh veil works.

Eva wears a short veil of dark pink linen with some simple embroidery along the scalloped edge. It's a shortened, simplifed version of historical headwear in the vein of wimples and henins. She wears it with a flower band in the popular face-framing style of the mid-1800s.

It's a look that's perfect for elves!

Shoes:

These aren't shown, but I did think of them!

Josie wears Roccoco-style heels like those depicted in François Boucher's Marquise de Pompadour, coloured gold of course. Eva wears something more Romantic, Jacques-Louis David's Mlle Ducreux in pale pink and red would work.

And yes, her shoes are full shoes. She got tired of having her feet cold and wet in traditional Dalish footwear.

Final Thoughts:

While I'm nowhere on her level, the biggest inspo for this little exercise came from one of my favourite illustrators, Beverlie Manson. In particular the paintings she did for Cinderella and Snow White and Rose Red.

In all, this has been far too much fashion, and even more headcanoning for one measley piece of fanart. Like I said, I went ham on this. Maybe too much ham, but that's but besides the point.

These are designs I will be definitely be returning to sooner rather than later.

So...how did I do?

[gentlyepigrams]

Peplo dress by Fortuny, c. 1930.​​​​​​​​​​​​​​​​​​ Crafted from finely pleated silk, the dress featured a simple yet sophisticated design inspired by ancient Greek attire. Credit: MET Museum

[ghw-archive]

Mariano Fortuny Delphos Dress and Velvet Coat - 1920-30's - Dress: Silk - Coat: Velvet stenciled with metals - The Arizona Costume Institute