#bustle

[mrs-stans]

@Bustle: #SebastianStan and Sebastian Stan's tongue stun at the 2024 #CFDAs.

[sincericida]

ANDREW GARFIELD and FLORENCE PUGH for Bustle.

“'Ultimately, it’s a story about choosing the life we want for ourselves and making the most of the time we have." Bustle cover stars Andrew Garfield and Florence Pugh on their once-in-a-lifetime love story ‘We Live In Time’ - in theaters NY/LA today, nationwide October 18.”

(X)

[jewellery-box]

Black corded silk bodice and bustle skirt from around 1888

Fashion Museum Bath

[chic-a-gigot]

L'Art et la mode, no. 4, vol. 8, 25 décembre 1886, Paris. Dans les bluets, dessin original de Aublet. Bibliothèque nationale de France

[pastlivesfinery]

Merry Christmas and Happy Holidays ✨🎄💖 - The Queen, 1873 ✨

[mysterioussorcerysummonspirits]

Afternoon dress, American, ca. 1888, silk, linen and cotton

The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette. From The MET

[hotdaemondtargaryen]

EWAN MITCHELL for bustle booth.

“There’s something appealing to me in escaping into the [clothes] I wear for these kinds of things.”

“I’ve always been really apprehensive of doing any press [but] I was waiting for the right job. And House of the Dragon is very much the right job.”

“When you lose mystery, it’s difficult to get it back. It detracts from what I’m trying to do as an actor.”

“I want them to only see the character — I don’t want them to see me.”

Mitchell promises a wild ride ahead. While book readers know to expect “shocking moments” from Aemond, for example, he might go about them in a different way.

“I don’t know, maybe you might even root for him a little bit.”

EWAN MITCHELL IN THE BUSTLE BOOTH QUESTIONNAIRE:

What’s your coffee order?

Black. Seven sugars.

What are the saved weather locations on your phone?

I don’t do weather locations. But right now it’s sunny in Paris.

What’s your sign?

Peace.

Favorite overused movie quote?

“Not my fucking tempo, Neiman” (from Whiplash)

What was your favorite cartoon as a kid?

Tom & Jerry. My Nan had The Cat Concerto on a beat-up VHS tape we’d fire up every day after school. Watching it now never fails to bring tears to my eyes.

What’s one movie or TV show you're currently obsessed with?

Jeff Nichols’ The Bikeriders and I haven’t even seen it yet.

Who is your celeb idol?

My favourite UFC fighter, Dustin “The Diamond” Poirier. I watched him fight in New Jersey this weekend. It was one of the best nights of my life. Pressure makes diamonds...

If you had to be on a reality TV show, what would it be?

The Kardashians.

Go-to karaoke song?

A two-hander with Tom Glynn-Carney of “Shallow” from A Star is Born. He’s got Bradley Cooper’s part. I’ve got Gaga’s.

What’s something that’s inspired you lately?

An incredible little novel by Stephen King named Joyland. There’s nothing better after putting one of his works down and missing the characters.

What is something you would want people to say about you?

Not much. Keep my name out your mouth ;)

[forcedfemme-me]

Ania Chiz for Jessilann for BUSTLE

[disarmluna]

[sincericida]

ANDREW GARFIELD and FLORENCE PUGH for Bustle.

Read the article, because he is wonderful.

[elfgirlcraftworks]

BTS the Afrovictorian ensemble: overskirts

I had some decisions to make. I still need to make 2 bodices

From these fabric choices, each a six yard piece.

But I also still want to make overskirts.

The overskirts take a little more than 4 yards plus an additional 2 to line the rears... hmm...

Oh no. I guess I'll have to buy more fabric. The horror.

But wait, if the backs are fully lined... that means the back can be reversible!

Okay, that works. Let's try the other one.

Wait a minute... I have 2 fronts and 2 backs... what if I made them interchangeable too?

Success!

Now I have a couple of head to toe looks!

[chic-a-gigot]

La Mode illustrée, no. 49, 9 décembre 1883, Paris. Toilettes de Mme Coussinet, rue Richer, 43. Collection of the Rijksmuseum, Netherlands

Robe en moscovite gris acier, velours ciselé et soie brochée de même couleur. La jupe courte en moscovite uni, disposée en gros plis tuyaux, est garnie de quatre plis. Une écharpe en soie brochée est drapée sur le devant de la jupe et reparaît pour former le pouf par derrière. Très grand gilet Louis XV, en velours ciselé, avec jaquette Louis XV, faite en muscovite unie. Cette jaquette est largement ouverte sur le gilet. Sur le bord inférieur de celui-ci se trouve une fente dans laquelle passe l'écharpe, pour former des paniers sur les hanches et pouf derrière.

Dress in steel gray Muscovite, chiseled velvet and brocaded silk of the same color. The short skirt in plain Muscovite, arranged in large pipe pleats, is trimmed with four pleats. A brocaded silk scarf is draped over the front of the skirt and reappears to form the pouf at the back. Very large Louis XV waistcoat, in chiseled velvet, with Louis XV jacket, made of plain Muscovite. This jacket is widely open on the waistcoat. On the lower edge of the latter is a slit through which the scarf passes, to form baskets on the hips and pouf behind.

—

Toilette de jeune femme. En satin merveilleux bleu pâle uni. Jupe ronde, garnie devant en tablier de quatre larges bandes de velours grenat. Tunique à paniers sous laquelle tombe de chaque côté un panneau plat entouré d'une broderie représentant des roses nuancées depuis le rose pâle jusqu'au grenat. Le corsage, fait en forme de guimpe, boutonné derrière, montant, est froncé à l'encolure. Collier de velours grenat, noué sur le côté, relevant une ruche de dentelle blanche. A l'extrémité des manches, bracelets de même velours, avec nœud pareil.

Young woman's ensemble. In plain pale blue marvelous satin. Round skirt, trimmed in front in an apron with four wide bands of garnet velvet. Tunic with paniers under which falls on each side a flat panel surrounded by embroidery representing roses shaded from pale pink to garnet. The bodice, made in the shape of a wimple, buttoned behind, rising, is gathered at the neckline. Garnet velvet necklace, tied on the side, raising a ruffle of white lace. At the end of the sleeves, bracelets of the same velvet, with a similar bow.

[pastlivesfinery]

Le Moniteur de La Mode, 1886 🩷

[mysterioussorcerysummonspirits]

Evening cape, Maison Pingat, French Designer Emile Pingat, 1885–89

Emile Pingat had a proclivity for designing carefully finished dresses and outerwear which made him one of the top three French fashion designers during the second half of the 19th century. Active between 1860 and 1896, Pingat was adroit at manipulating multiple textiles and trimmings into a cohesive and elevated garment. He was inspired by design elements of other cultures and often reinterpreted them into his own work, making them unique and intriguing. His elaborately decorated and impeccably tailored outwear was particularly sought after.

The bustle silhouette was the prevalent style of any 1880s woman's wardrobe. This cape mimics that silhouette, allowing the wearer to maintain the shape created by her dress underneath. The rich color of the royal blue velvet is evocative of the original wearer who at that point in time would have been seen as a precious jewel who required continual attention and assistance. That perceived helplessness is also reflected in the cape's lack of armholes, which would limit easy mobility. Pingat's treatment of the trim completes the luxurious quality of the garment with a liberal application of guipure lace in vertical lines emphasizing the statuesque, but somewhat removed, appearance of the wearer.

[neilsanders]

HUSTLE and BUSTLE

[bebemoon]

look for the name: EVEY

@resurrectionfern

{top images} selkie "fête des fleurs 'love story'" organdy empire-waisted dress w/ petticoat and adjustable bustle

{hair} ancient future golden, silver and dangling shell trinkets pendants strung into model's scarf-warpped curls

alkemia "foxfire" perfume

gucci black leather multi-strap heeled boots w/ pearl strand detailing