#Men's costume

[addictedbespoken]

Men Rococo 3Pc 1700s Historical Period Carnival Costume Long Frock Coat Waiscoat Breeches Free Jabot Cuffs Embroidered Wedding Attire

This 18th Century vintage costume for men is inspired from the magical Venical Carnival & Late Baroque fashion. The costume can become the zest of any carnival or themed festival and can also be a perfect costume for wedding groom.

This 3Pc court suit include: •Beige cotton justaucorps embellished with ribbon embroidery & frill embellishments •Off white raw silk vest embellished with floral embroidery •Off white breeches with metal button detailings & closure •Laced jabots & cuffs

Features: •Ribbon embroidery embellishment on justaucorps, thread embroidery on vest •Lightweight •Soft & Breathable •Comfortable wearing in all seasons

Material & Caring: •Premium Cotton & Eco friendly material •Dry Clean •Dry on low heat or hang to dry for best result

[steakcy]

🎃👻🦇 Red Riding Hood and Big Bad Wolf are out for trick or treat season !!

[hotboysx]

Fantasma

[princesskiwi8]

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A post shared by Britney Williams (@britneywillam45)

[sartorialadventure]

[xxautumnivyxx]

Mumbles something about being comfortable in your own skin when you could wear someone else’s.

[cuddlytogas]

So I accidentally almost got into an argument on Twitter, and now I'm thinking about bad historical costuming tropes. Specifically, Action Hero Leather Pants.

See, I was light-heartedly pointing out the inaccuracies of the costumes in Black Sails, and someone came out of the woodwork to defend the show. The misunderstanding was that they thought I was dismissing the show just for its costumes, which I wasn't - I was simply pointing out that it can't entirely care about material history (meaning specifically physical objects/culture) if it treats its clothes like that.

But this person was slightly offended on behalf of their show - especially, quote, "And from a fan of OFMD, no less!" Which got me thinking - it's true! I can abide a lot more historical costuming inaccuracy from Our Flag than I can Black Sails or Vikings. And I don't think it's just because one has my blorbos in it. But really, when it comes down to it...

What is the difference between this and this?

Here's the thing. Leather pants in period dramas isn't new. You've got your Vikings, Tudors, Outlander, Pirates of the Caribbean, Once Upon a Time, Will, The Musketeers, even Shakespeare in Love - they love to shove people in leather and call it a day. But where does this come from?

Obviously we have the modern connotations. Modern leather clothes developed in a few subcultures: cowboys drew on Native American clothing. (Allegedly. This is a little beyond my purview, I haven't seen any solid evidence, and it sounds like the kind of fact that people repeat a lot but is based on an assumption. I wouldn't know, though.) Leather was used in some WWI and II uniforms.

But the big boom came in the mid-C20th in motorcycle, punk/goth, and gay subcultures, all intertwined with each other and the above. Motorcyclists wear leather as practical protective gear, and it gets picked up by rock and punk artists as a symbol of counterculture, and transferred to movie designs. It gets wrapped up in gay and kink communities, with even more countercultural and taboo meanings. By the late C20th, leather has entered mainstream fashion, but it still carries those references to goths, punks, BDSM, and motorbike gangs, to James Dean, Marlon Brando, and Mick Jagger. This is whence we get our Spikes and Dave Listers in 1980s/90s media, bad boys and working-class punks.

And some of the above "historical" design choices clearly build on these meanings. William Shakespeare is dressed in a black leather doublet to evoke the swaggering bad boy artist heartthrob, probably down on his luck. So is Kit Marlowe.

But the associations get a little fuzzier after that. Hook, with his eyeliner and jewellery, sure. King Henry, yeah, I see it. It's hideously ahistorical, but sure. But what about Jamie and Will and Ragnar, in their browns and shabby, battle-ready chic? Well, here we get the other strain of Bad Period Drama Leather.

See, designers like to point to history, but it's just not true. Leather armour, especially in the western/European world, is very, very rare, and not just because it decays faster than metal. (Yes, even in ancient Greece/Rome, despite many articles claiming that as the start of the leather armour trend!) It simply wasn't used a lot, because it's frankly useless at defending the body compared to metal. Leather was used as a backing for some splint armour pieces, and for belts, sheathes, and buckles, but it simply wasn't worn like the costumes above. It's heavy, uncomfortable, and hard to repair - it's simply not practical for a garment when you have perfectly comfortable, insulating, and widely available linen, wool, and cotton!

As far as I can see, the real influence on leather in period dramas is fantasy. Fantasy media has proliferated the idea of leather armour as the lightweight choice for rangers, elves, and rogues, a natural, quiet, flexible material, less flashy or restrictive than metal. And it is cheaper for a costume department to make, and easier for an actor to wear on set. It's in Dungeons and Dragons and Lord of the Rings, King Arthur, Runescape, and World of Warcraft.

And I think this is how we get to characters like Ragnar and Vane. This idea of leather as practical gear and light armour, it's fantasy, but it has this lineage, behind which sits cowboy chaps and bomber/flight jackets. It's usually brown compared to the punk bad boy's black, less shiny, and more often piecemeal or decorated. In fact, there's a great distinction between the two Period Leather Modes within the same piece of media: Robin Hood (2006)! Compare the brooding, fascist-coded villain Guy of Gisborne with the shabby, bow-wielding, forest-dwelling Robin:

So, back to the original question: What's the difference between Charles Vane in Black Sails, and Edward Teach in Our Flag Means Death?

Simply put, it's intention. There is nothing intentional about Vane's leather in Black Sails. It's not the only leather in the show, and it only says what all shabby period leather says, relying on the same tropes as fantasy armour: he's a bad boy and a fighter in workaday leather, poor, flexible, and practical. None of these connotations are based in reality or history, and they've been done countless times before. It's boring design, neither historically accurate nor particularly creative, but much the same as all the other shabby chic fighters on our screens. He has a broad lineage in Lord of the Rings and Pirates of the Caribbean and such, but that's it.

In Our Flag, however, the lineage is much, much more intentional. Ed is a direct homage to Mad Max, the costuming in which is both practical (Max is an ex-cop and road warrior), and draws on punk and kink designs to evoke a counterculture gone mad to the point of social breakdown, exploiting the thrill of the taboo to frighten and titillate the audience.

In particular, Ed is styled after Max in the second movie, having lost his family, been badly injured, and watched the world turn into an apocalypse. He's a broken man, withdrawn, violent, and deliberately cutting himself off from others to avoid getting hurt again. The plot of Mad Max 2 is him learning to open up and help others, making himself vulnerable to more loss, but more human in the process.

This ties directly into the themes of Our Flag - it's a deliberate intertext. Ed's emotional journey is also one from isolation and pain to vulnerability, community, and love. Mad Max (intentionally and unintentionally) explores themes of masculinity, violence, and power, while Max has become simplified in the popular imagination as a stoic, badass action hero rather than the more complex character he is, struggling with loss and humanity. Similarly, Our Flag explores masculinity, both textually (Stede is trying to build a less abusive pirate culture) and metatextually (the show champions complex, banal, and tender masculinities, especially when we're used to only seeing pirates in either gritty action movies or childish comedies).

Our Flag also draws on the specific countercultures of motorcycles, rockers, and gay/BDSM culture in its design and themes. Naturally, in such a queer show, one can't help but make the connection between leather pirates and leather daddies, and the design certainly nods at this, with its vests and studs. I always think about this guy, with his flat cap so reminiscient of gay leather fashions.

More overtly, though, Blackbeard and his crew are styled as both violent gangsters and countercultural rockstars. They rove the seas like a bikie gang, free and violent, and are seen as icons, bad boys and celebrities. Other pirates revere Blackbeard and wish they could be on his crew, while civilians are awed by his reputation, desperate for juicy, gory details.

This isn't all of why I like the costuming in Our Flag Means Death (especially season 1). Stede's outfits are by no means accurate, but they're a lot more accurate than most pirate media, and they're bright and colourful, with accurate and delightful silks, lace, velvets, and brocades, and lovely, puffy skirts on his jackets. Many of the Revenge crew wear recognisable sailor's trousers, and practical but bright, varied gear that easily conveys personality and flair. There is a surprising dedication to little details, like changing Ed's trousers to fall-fronts for a historical feel, Izzy's puffy sleeves, the handmade fringe on Lucius's red jacket, or the increasing absurdity of navy uniform cuffs between Nigel and Chauncey.

A really big one is the fact that they don't shy away from historical footwear! In almost every example above, we see the period drama's obsession with putting men in skinny jeans and bucket-top boots, but not only does Stede wear his little red-heeled shoes with stockings, but most of his crew, and the ordinary people of Barbados, wear low boots or pumps, and even rough, masculine characters like Pete wear knee breeches and bright colours. It's inaccurate, but at least it's a new kind of inaccuracy, that builds much more on actual historical fashions, and eschews the shortcuts of other, grittier period dramas in favour of colour and personality.

But also. At least it fucking says something with its leather.

[eddie-redcliff]

a godess and her two creature boyfriends i drew them like this so that i can make an infinate chain of x men holding hands

[psikonauti]

Mstislav Valerianovich Dobuzhinsky (Russian,1875-1957)  

Costume design for Dew-man in “Hansel and Gretel”

watercolor and gouache on paper

[addictedbespoken]

Men Blue Velvet 3pc French Nobleman Costume 18th Century Inspired Carnival Of Venice Rococo Wedding Outfit With Free Lace Jabots And Cuffs

This 18th Century vintage costume for men is inspired from the magical Venical Carnival & Late Baroque fashion. The costume can become the zest of any carnival or themed festival and can also be a perfect costume for wedding groom.

This 3Pc court suit include: •Blue velvet justaucorps embellished with paisley & floral embroidery & metal button detailing •Off white paisley print vest embellished with paisley & floral embroidery & have button closure •Blue velvet Breeches with floral embroidery on bottom & metal button detailings & closure •Laced jabots & cuffs

Features: •Intricate embroidered •Lightweight •Soft & Breathable •Comfortable wearing in all seasons

Material & Caring: •Premium Velvet & Eco friendly material •Dry Clean •Dry on low heat or hang to dry for best result

[hotboysx]

Spooky

[marantictuna]

Since my first post did so well, here’s some more fanart, this time more recent for @hotguycomiczine! This was an amazing project, and whilst reading I knew I really wanted to draw/ put my own spin on Pearl/Scour. They were really one of my favorite characters throughout the whole story.i don’t really remember what weapon she had though so I gave her a big scythe. Loved evil pearl and the zine so much.

[vertigoartgore]

Wolverine by Bill Sienkiewicz (from 1986's Marvel Fanfare #28).

[wickedwonderlandd]

Halloween fit for today. Tried going for a Leon Keneedy lewk.

[solarmorrigan]

In for a Devil of a Night

For the @steddie-spooktober day 30 prompt: "Where in the hell did you find that costume??" Rated: T | Words: 930 | CW: implied sexual content | Tags: established relationship, slutty Halloween costumes: not just for women!, stockings, wouldn't go so far as to say lingerie but it's close, Steve Harrington is a tease, Eddie Munson is whipped Divider credit: @steddiecameraroll-graphics

“Hey, babe?” Steve’s voice floats back towards Eddie from the bedroom. “Can you come help me with something?”

“Yeah,” Eddie calls back, though it takes him a moment to tear his attention away from the slasher flick playing on the TV.

Steve had wandered off about half an hour ago, just when it had started getting dark, saying he had to put on his costume. Eddie’s already wearing his—has been for most of the day, actually—a relatively simple ensemble of a billowy white shirt, a brown leather vest, and a pirate hat (there had also been an eyepatch, but he’d abandoned that early on).

Neither of them have plans for the night, no Halloween parties or other engagements, just the intent to watch a few scary movies and hand out candy, but Eddie had talked Steve around to dressing up anyway. The kids at the door always love it when Eddie is committed to acting out his costume, and he has every intention of pulling Steve into the bit.

It would help, of course, if Eddie knew what Steve’s costume is, but Steve’s been stubbornly secretive about it – says it’s a surprise.

And, to Steve’s credit, Eddie is very surprised when he gets to the bedroom.

His eyes are glued to Steve’s ass for a solid few seconds before he can take in any other part of the costume, but that really isn’t his fault; it nearly has a target on it, wrapped in tiny, shiny red shorts that draw Eddie’s attention immediately. A long, red, pointed tail hangs from the waistband of the shorts, and Eddie can only curse it for partially obstructing the otherwise perky, rounded view.

Then Steve turns around.

The shorts are, if possible, even more obscene from the front, doing almost nothing to obscure the bulge of Steve’s cock. The fun doesn’t end there, however. The costume (such as it is) doesn’t seem to have come with shoes, but Steve’s made up for that with a pair of silky-looking, red thigh-high stockings, the elastic tops squeezing into the meat of his thick thighs in much the same way Eddie would like to be doing right now.

There are little devil horns situated on top of Steve’s head, poking out from his artfully tousled hair, and there’s red glitter—glitter! Never let it be said that Steve Harrington half-asses his seduction attempts—spread around his sultry, heavy-lidded eyes and over the tops of his cheeks.

It should look cheap and ridiculous, but like just about everything else he puts on, Steve manages to make it sexy. Eddie has had to come to terms with his growing appreciation for preppy polos, and he supposes now he’ll just have to accept his attraction to lamé short shorts.

Unfortunately, since the overall effect of the ensemble has kicked Eddie’s brain offline, the first thing out of his mouth is neither suave nor appreciative.

“Where in the hell did you find that costume?” he blurts.

Steve gives a rolling shrug. “Costume shop,” he says, twitching his hips to the side so that his tail swings out. He grabs it and twirls it in a lazy circle. “I know devils and demons are usually your thing, but I hoped you wouldn’t mind me borrowing the shtick for the night.”

“Uh, no– no, not… at all.” Eddie shakes his head quickly. “Are you, uh– planning to answer the door like that?”

“No,” Steve answers with a smirk. “I thought we could just put out a bowl of candy with a sign telling people to take one, and then we can stay in the bedroom all night.”

Eddie blinks at him. “Steve, that’s a terrible idea,” he says. “’Take one’? No kid in their right mind would take just one. The candy will be gone in fifteen minutes, and then we’ll have kids ringing the doorbell, and when we don’t answer, we’re gonna get egged or some shit.”

With his smirk melting into a frown, Steve drops his tail and crosses his arms over his bare chest, one hip popped out in a way that somehow manages to convey judgement.

“Are you seriously arguing with me right now?” he asks, at once bitchy and incredulous.

“Oh my god.” Eddie takes a moment to stare into the middle distance, letting his brain recalibrate. “What is wrong with me?”

He ducks out of the bedroom, already halfway to their tiny in-home office when Steve calls after him, “Where are you going?”

Eddie backtracks, popping his head back around the doorway. “I’m getting a piece of paper to make the sign.” He points a finger at Steve. “You stay right where you are. I need two minutes to set this up and then I’m gonna come back and ravish you.”

Steve smile is back, soft and amused. “Okay. Go ahead, I’ll wait right here.”

Eddie dashes through writing up the sign (does it matter if it’s legible? It’s just going to be ignored) and is on his way to the kitchen for a bowl when something occurs to him.

“Hey.” He ducks back into the bedroom doorway. “Didn’t you say you needed help with something? What was it?”

Biting his lip, Steve drags a hand down his ribs, over his stomach, and hooks a thumb in the waistband of his shorts. “I need help getting the costume off.”

Tearing himself away to finish setting up the candy is the hardest thing Eddie thinks he’s ever had to do, but with the prospect of Steve to come back to, he manages it (if only just).