#costume armor

[armthearmour]

A pair of elaborate puffed and slashed Arm Harnesses, Germany, ca. 1520, housed at the Musée de l'Armée.

[missylanieous]

Happy chainmaille day! Here's the chainmaille shirt I made for @its-voxid ^_^

This project was a year in the making o.o

[streetmaille]

Anodized Chainmail Halter Tops are here! Perfect for dance festivals and Halloween costume armor 🎃

Upgraded this idea from years ago with a new pattern and anodized aluminum so there’s no gray rub off. So happy with how it turned out, it’s so much easier and more comfortable to wear.

Available in two adjustable sizes here: https://www.streetmaille.etsy.com/listing/1542164831

[zegalba]

Jean Seberg in Saint Joan (1957) Dir. Otto Preminger

[cat-cosplay]

"I don't wanna talk to you no more, you empty headed cat bowl wiper! I fart in your general direction! Your mother was a hamster and your father smelt of elderberries!"

[lmaowh-at]

Lanns n Starks lineups/costumes sketches that I will probably add other houses to. Tywin and Joff & the rest aren't here because I was lazy and Cerseis dress took all of my energy. Don't ask me about inspiration or historical basis for these

[quantumbluejay]

Armor painting! Almost done with the torso piece (in this case a full cuirass, since it’s front and back--there are lower articulated front pieces not shown here) of the costume. Next onto the shoulder pieces! The trick will be to manage to do it next time without my cat engaging in periodic raids against the paintbrushes

[theinimitablefuckstormkilligan]

My daughter came out to me as gay this year's pride, and to celebrate she got her own armour. Has to be my favourite family photo.

[bikiniarmorbattledamage]

This is truly stiff competition for the worst case of willful false equivalence we've ever seen.

So, for those not aware: Ongoing embarrassment to gamers and the gaming industry, Mark Kern (former lead on FireFall), has been desperately trying to get Gamergate 2 going on X/Twitter... well after others have given up. If you need to get caught up on Mark, I recommend this video by documentary maker and experienced game developer, Dead Domain:

One of the latest fiascos in this mix has been the comparison of responses to character designs from Hades 2 (Aphrodite, left) and Stellar Blade (protagonist Eve, right). The post isn't by Mark, but is part of the general harassment campaign he's trying to lead.

If you're somehow not familiar with Aphrodite, she's the Ancient Greek goddess of love, lust and hot girl shit. It is absolutely perfect characterization for her to show up to a battle (or anything else) nude but for her hair teasingly covering the intimate parts of her body. But the buried lede here is, you don't fight her in Hades and nothing about Hades 2 indicates she'll fight there either, she just likes the aesthetic and has no reason not to indulge.

Stellar Blade will release on 26 April 2024, so we can't really give an informed discussion of her character. But what we do know is the studio head is the illustrator from Blade & Soul, Eve is described as being a member of "the 7th Airborne Squad" engaged in an "operation to reclaim the planet from the Naytiba", and the promotion material promises "an enthralling narrative filled with mature themes, mystery and revelation. Embrace the relentless pace, with no time to pause between moments where critical, story-changing decisions are made."

It's to be compared to games like Nier: Automata, Devil May Cry 5, Jedi: Fallen Order and Sekiro. And the screenshots look like this:

And yeah, unlike Bayonetta she's not supposed to be an unstoppable force of nature (and fashion) who is immune to self-doubt, she's supposed to be the scrappy underdog last survivor of her team.

Weird they gave her a costume that conveys... the opposite of literally everything they're supposed to be trying to tell you about her.

-wincenworks

[sartorialadventure]

[armthearmour]

Steel Brocade: Puffed & Slashed Costume Armor

Surviving to this day in the collections of the world’s most illustrious museums are a group of three armors. These armors have much in common, but most striking is the attempts made by their armorers to render in steel a convincing portrayal of the puffed and slashed clothing fashionable to the early 16th century.

Though this fashion is synonymous with the landsknecht mercenaries who may have been responsible for popularizing it, the puffed and slashed style was enjoyed by members at all levels of society.

Portrait of Duke Henry of Saxony by Lucas Cranach the Elder, 1514, Staatliche Kunstsammlungen, Dresden.

The earliest of these three armors is housed at the Wallace Collection. Consisting only of a cuirass and arms, this armor is, at first glance, rather underwhelming when compared with the other armors in this group. Though the embossed bands styled with etched slashes embellished with gold provide the impression of a puffed and slashed doublet, the execution is all rather stiff, and lacks the impressive volume and fullness exemplified by the other armors.

It is for this reason that this armor, previously considered contemporary to the KHM and Metropolitan examples, has received relatively little attention. However, recent scholarship by Dr. Tobias Capwell suggests that this work is not, indeed, contemporary to the other examples, and is rather about ten years older, dating to ca. 1515. Dr. Capwell also considers this piece to be the work of Konrad Seusenhofer, a favored armorer of the Emperor Maximilian I.

Seen through this lens, not as a poorly executed contemporary of greater armors, but as a less developed ancestor to them, this armor takes on new life. It speaks to innovation and experimentation; an early attempt at a technique which would later be perfected.

The second in this line is the garniture of Wilhelm von Rogendorf, housed at the Kunsthistorisches Museum in Vienna.

This armor is unique for its condition, which is remarkably good. Not only does this armor retain more of its pieces than the other two, it is also accompanied by a number of “pieces of exchange,” elements which could be swapped out so the armor could be worn in the field.

Finished in 1523, as attested to by the date etched on the right shoulder strap, this armor was made for the Count Wilhelm von Rogendorf by Kolman Helmschmid and etched by Daniel Hopfer.

Wilhelm von Rogendorf himself was heir to a new, up-and-coming German noble family.

A medal showing Wilhelm von Rogendorf as a Knight of the Order of Calavatra, dated 1536, Kunsthistorisches Museum, Vienna.

Born in 1481 the second son of Kaspar von Rogendorf, Wilhelm became heir to his family’s estates when his elder brother Sigmund died in 1507, by which time Wilhelm was already a courtier at the Habsburg court. He entered into the service of King Charles I of Spain (later Emperor Charles V) no later than 1517 and was appointed Governor of Friesland. In 1522, Wilhelm accompanied Charles to Spain where he commanded a regiment of 4,000 landsknechts and was again placed in charge of a restless border territory. In 1524, he successfully captured the Fortress of Fuenterrabía from the French, which won him great praise from the Emperor. Shortly thereafter, Wilhelm was named Captain of the Imperial Bodyguard and given the governorships of Catalonia, the Cerdagne, and the Roussillon. Additionally, he was appointed to the Spanish chivalric Order of Calavatra. Wilhelm would retire from court in 1539, but would be recalled in 1541 to command Imperial troops against the Ottomans in Hungary. He would be killed later that same year at the siege of Buda by a stray cannonball.

Though Wilhelm’s armor is now displayed in its parade configuration, the surviving pieces of exchange attest to the fact that it was also an armor for combat. The cuirass is equipped with the long tassets common to the early 16th century. A pair of holes can be observed at the top of the last lame.

These holes correspond to holes at the top of the half-cuisses which accompany this armor, showing that these cuisses would be pointed to the tassets rather than worn separately.

In the rear, the cuirass is accompanied by a rump-defense, also known as a hoguine. Small turning pins near the waist allow this to be removed for combat.

Both spaulders

and gauntlets

survive. Additionally, the KHM retains the armor’s right vambrace

while the Wallace Collection holds the rerebrace and couter for the left arm.

Recently, these pieces were assembled to show what the arm harness for field as a single unit would have looked like.

This armor would also have been accompanied by a gorget, now missing, and a helmet. Frequently, this armor is displayed alongside a close-helmet, however it is more likely the armor would have been accompanied by a burgonet similar in form to this example from the KHM.

One final, unique surprise this armor holds is a hidden lance rest which is incorporated into the turned edge by the right arm. This rest folds down to allow a light lance to be braced atop it, and when folded up, is nearly invisible so as to not ruin the smooth surface of the breastplate with the prominent staples typically required for affixing a lance rest.

The third and final armor of this group is housed at the Metropolitan Museum of Art in New York City.

The least complete of these three armors, it may also be the most visually impressive. Comprised of only a backplate, hoguine, and arms, the puffs and slashes of this piece (also by Kolman Helmschmid and Daniel Hopfer) are ornately cusped. The slashed regions, displaying the gilded “fabric” beneath, and heavily etched to resemble an expensive silk brocade.

The sleeves of this armor are even more voluminous than those of the Rogendorf armor, though they are similarly articulated and provide the wearer with a surprising degree of mobility. It is thought that this armor may have been made for prominent Polish nobleman Jerzy Herkules Radziwill.

Interestingly, the hoguine of this armor is composed of two separate plates, rather than a single solid plate. Where the hoguine of the other two armors terminates in a decorative fabric border, the Met armor continues into two more articulated lames, covering the top rear of the thighs. Holes along the bottom edge suggest that this armor may have been accompanied by fully enclosing cuisses which pointed to the bottom of the fauld and hoguine.

Sources

“A Pair of Gauntlets.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/540164/.

“A Pair of Spaulders with Besagews.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/372772/.

Cranach, Lucas the Elder. “Portrait of Duke Henry of Saxony.” Staatliche Kunstsammlungen Dresden. https://skd-online-collection.skd.museum/Details/Index/246875.

Krause, Stefan. Fashion in Steel. Vienna: Kunsthistorisches Museum, 2017.

“Landsknecht Costume Armour.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/372771/.

“Left Upper Cannon and Couter.” The Wallace Collection. https://wallacelive.wallacecollection.org:443/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=60736&viewType=detailView.

“Open Burgonet.” Kunsthistorisches Museum Wien. https://www.khm.at/en/object/503346/.

“Parts of an Armour.” The Wallace Collection. https://wallacelive.wallacecollection.org:443/eMP/eMuseumPlus?service=ExternalInterface&module=collection&objectId=60519&viewType=detailView.

“Portions of a Costume Armor.” The Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/27790.

“Vambrace.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/372773/.

“Wilhelm von Rogendorf.” Kunsthistorisches Museum Wien. https://www.khm.at/de/object/1409642/

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[missylanieous]

Another couple of scalemaille halter tops for the pile! This time in a Harley Quinn inspiration and a silver one.

[xxautumnivyxx]

As a dragon I would hoard so much stuff

[edenabsentia]

thot maiden or gay knight? personally i'd choose gay knight

[steampunktendencies]

Dracula's Armor from Bram Stoker's Dracula (1992) Costume Design by Eiko lshioka

[cat-cosplay]

He's my S.P.E.C.I.A.L. boy.