#Modern magazine

[visuac]

hydro millenium

[sweatermuppet]

from an article titled "apathy hinders gay liberation movement" published in vol 2 issue 11 of Modern Pink Magazine, Nov 1990

[jeanharlowshair]

Modern Screen Magazine, April 1949.

[fresherfriut]

[bressynonym]

prime cuts 🥩🔪

[go-see-a-starwar]

Hayden x long black coats 🖤 2003 | 2005 | 2024

[sualne]

front cover

[nalyra-dreaming]

🚨🚨🚨🚨🚨

[leflambeur]

By Julian Song for Modern Weekly Style

[the-cricket-chirps]

René Gruau

Advertising illustration for Miss Dior (Collection of Parfums)

Christian Dior, Paris, 1949

[marzipanandminutiae]

Hi, this is a bit of a shot in the dark on my end, but I have a fashion inquiry (and I apologize if I sound ridiculous at all; I’m a bit at my wit’s end).

Is there a good way to research forms of casual Victorian garb? I feel like I’m going a bad route by inserting the word ‘Victorian’ into any search because it results in rather fancy things (or modern twists on such that are purchasable). Would it be wiser to site dates in search? Is this going to fruitless?

Sorry for taking up any time if this is out of wheelhouse. But if you do answer, I really appreciate it.

I'll do my best! Focusing on womenswear, because...well, that's what I know best. But if anyone wants to chime in about the gentlemen, please do so!

So, casual Victorian doesn't always read as Casual to us nowadays. Standards of casual clothing- that is, clothing one wears for everyday life when nothing special is going on -were rather higher than we have today.

This is an illustration of matchstick-makers in London's East End c. 1871, done by one Herbert Johnson. The women have their sleeves rolled up and aprons on, but when they leave the factory (rolling their sleeves down, adding hats to go outside- which most of them would have done; it was part of looking Respectable) they might be indistinguishable to us from any other women of the same era wearing not particularly bustle-y skirts. Some of them probably have on the commonplace Matching Skirt And Bodice dress format of the era; others have on blouses made from the same patterns as those worn by middle- and upper-class women.

Also note that they have on ribbons, chokers, earrings...they're just like us. They like wearing things that make them feel Put Together, even though they're doing one of the lowest-valued, most dangerous jobs open to women at the time. Because people have always been people, regardless of time or social class.

And for middle-class women and up, Casual might be even harder to distinguish from "fancy" to us today.

This is a mid-late 1880s day dress with a skirt length suitable for lots of walking, from Augusta Auctions. Could not tell you the social status of the woman who owned it, genuinely. Probably not the absolute poorest of the poor, but beyond that...this is a dress you could potentially wear to run errands. Even to go to work, if your job wasn't especially physical. Because. I don't know. It's a Day Dress. You wear it for day things. It's not especially formal, because then it would be made of a more delicate material and probably have a longer skirt (unless it was a Serious Dancing ball gown). Possibly also a lower neckline and puffed sleeves, if it was exclusively for the most formal events.

The idea that a dress was "fancy" just because it had ornamentation wasn't really in their cultural vocabulary.

Here is a group of women playing croquet in what looks like the early-mid 1870s. They're just hanging out! Having a good time! They're probably middle or upper class, but that's what they wear to chill outside with friends- to play a lowkey sport, even.

So yeah, it can be hard to map Victorian everyday clothing onto our "jeans and t-shirt" understanding of what makes an outfit casual. They had skirts and blouses for most relevant decades, but even those outfits often end up looking formal to us nowadays because of what I call Ballgownification- the idea that, since we only wear clothes that look even vaguely like what they had for extremely dressy occasions, we assume everything we see of their clothing was dressy.

(Someone please ask for my rant about Ballgownification)

Searching for "day dress," "walking dress," "blouse," "blouse waist," and "shirtwaist" (the last for the late 19th-early 20th century when that term became commonplace) might help. Best of luck!

[visuac]

fight club

[sweatermuppet]

from two questions by silas denver melvin, published in bleating thing magazine

[jeanharlowshair]

Modern Screen Magazine, September 1942.

[secretceremonies]

The Modern Screen Magazine (Jun-Sep 1931)

[hotdaemondtargaryen]

magazines talking about ewan mitchell's performance as martin for the fontaines d.c. ‘in the modern world’ music video.

UPROXX about the ‘in the modern world’ mv.

“Mitchell embodies the track’s deep emotion conflict heard when the band sings: I feel alive / In the city / You despise / Wait for the day / When you come / Riding on by / Seems so hard just to be / If it matters / You complete me.”

“Throughout the video, Mitchell literally fights his off in a series of suspense car jujitsu matches.”

“After narrowly defeating foes (…) Mitchell just barely makes it home to fight another day. Isn’t that the sad story of life?”

KNOTORYUS about the ‘in the modern world’ mv.

“You need a good actor to get [carjitsu as a physical manifestation of emotions] across in just a few minutes of sweaty seatbelt-choking action, but Ewan Mitchell is the right man for the job. Nailed it. Pinned it. Heel-hooked it.”

PROMONEWSTV about the ‘in the modern world’ mv.

“The director who made her music video debut with the intense drama of Here's The Thing (after her acclaimed feature debut Hoard) quickly returns to duties with the Fontaines with an extraordinary piece of work for In A Modern World: a surreal comedy-drama, featuring an incredible central performance from Ewan Mitchell (House of the Dragon, Saltburn) - as a character engaged in the netherworld of a very niche, indeed bizarre and dangerous sport.”

“It's car-jitsu - jiu-jitsu, within the interior of a car.”

“Invented just a couple of years ago, in Chicago, Mitchell's character is the protagonist through which Carmoon explores an absurd yet compelling experience.”

“At first, its just the raw, explosive physicality involved of clashing bodies within a ridiculously small space - which is surprising and hugely intense in itself.”

“Then the director adds another dimension to the brutal clash of bodies - what is happening outside the car, the voyeuristic relationship of passers-by who become the audience to Mitchell and a succession of combatants, a kind of sexual frisson that is created through the intensity of the action.”

“The parallels with another in-car activity is undeniable.”

“It's Fight Club crossed with dogging.”

“Horrible, painful to watch yet hilarous, it's mesmerizing stuff, a fever dream.”

“And it's hard to undersell how good Mitchell is in this.”

“Or how impressive it is in terms of the vision and world creation by Carmoon.

“Just great.”

NME about the ‘in the modern world’ mv.

“Directed by Luna Carmoon, who previously shot the video for ‘Here’s The Thing‘, the video stars Ewan Mitchell (House Of The Dragon, Saltburn) and sees him jump into the brutal, passionate and fetishistic theatre of a Car Jitsu bout.”