#crinolette

[resplendentoutfit]

Blogging Victorian Dress-Up

James Tissot (French, 1836–1902) • Too Early • 1873

Pleats, gathered and layered fabric, bows, fringe, lace, — all the rage in the early 1870s. These details were mostly saved for the back, though the sleeves on the pink dress also command attention.

The bustle was still fashionable in the early 1870s, though its evolution had begun. The crinolette (below), gave the back of the dress definition but it was more subtle. The gathering and embellishments of this era were the scene stealers that added that extra umph of style. One could say that the crinolette was a halfway point between the

Crinolette, c. 1870; Victoria & Albert Museum

Fashion historian James Laver quoted a contemporary writer who declared in 1876: “it is now impossible to describe dresses with exactitude: the skirts are draped so mysteriously, the arrangements of trimmings is usually so one-sided and the fastenings are so curiously contrived that if I study any particular toilette for even a quarter of an hour the task of writing down how it is all made remains hopeless.”

I couldn't agree more!

[gogmstuff]

Brief Tour of the 1860s (from top to bottom)-

1860 Julie (Julia Mathilda) Berwald née Åkerhielm af Margrethelund by Maria Röhl (Nationalmuseum - Stockholm, Sweden). From history-of-fashion.tumblr.com/image/174790814314 1280X1749.

1861 I love another by Abraham Solomon (location ?). From cooks0977.tumblr.com/image/669145211964882945; fixed larger spots & flaws & cropped w Pshop 953X1180.

1867 In the Country by Alfred Stevens (location ?). From tumblr.com/beautifulcentury 823X1128.

1869 An Indecisive Moment by Charles Edouard (location ?). From tumblr.com/lenkaastrelenkaa; fixed spots & flaws w Pshop & sized to screen 936X1423.

[historical-fashion-polls]

Been meaning to send this one in for a while! Definitely peak crinolette use here, the skirts are massive lmao

Apologies if the image quality is poor </3

The date is 1865, labelled in the corner 💜

hi my dear! 💖

thank you so much for sending this in! ☺️☺️ I've added it to the queue! 🫡🫡

indeed, the skirts of this period are really something lol I also love it when the coats/shawls worn over the top give the impression of the whole garment being rather tent-like 😆😆

thank you again for submitting this! 🥰🥰

[medici-collar]

Day dress consisting of a jacket bodice and skirt of Jacquard-woven silk, possibly made by Mrs Francis, Great Britain, ca. 1885

This elegant bustle dress displays a dense pattern of violets springing from a bed of vine leaves. The design would have been woven by a powered jacquard loom and is an example of good commercially produced fabric. The floral design complements the construction of this dress, accentuating the closely fitted lines of the bodice and drapery on the front of the skirt. It also flows in sweeping folds over the bustle, which by the mid-1880s jutted out almost at right angles from behind. Bustles were often a separate structure attached around the waist and included crinolettes made of steel half-hoops, down-filled pads and wire mesh structures. By 1885 the bustle was often incorporated into the back of the foundation skirt itself in the form of a small pad attached to the waistband and horizontal rows of steel which could be pulled into a curved shape. This dress has a foundation skirt of grey denim that is cut straight in front and gathered and pleated at the back to follow the lines of the separate bustle worn underneath.

[countess--olenska]

This dress was worn by the donor's grandmother, Mrs Louisa Burrows, in the late 1800s.

Characteristic of women's fashion of this period was the tight-fitting boned bodice, aimed at creating the much desired hourglass shape. However some women rebelled against this tight, constricting style. Inspired by the Aesthetic movement in England, which encouraged good design, originality and self-expression, they began to wear easy-fitting dresses which revived past styles (Walkley 1985). 

This dress borrows elements from Medieval 18th and 19th century fashion, with its loose front and girdle, and hanging sleeves. Such characteristics have been combined with elements of late 19th century fashion, including the bustle, bows and lace, however remains distinctly different to mainstream costumes of the period. The influence of Aesthetic dress is also evident in the dress's embellishment, which features a repetitive floral motif embroidered along the opening and shoulders of the gown. However the dresses bustle at the back may be seen as contradicting 'Aesthetic philosophy', and may suggest that the costume is a fashionable form of Aesthetic dress.

The Aesthetic style was embraced by a relatively small section of the community, and often extended beyond fashion to include visual arts, literature and fashionable living that rejected the contemporary dress and norms of Victorian industrial society and design, and focussed on the idea of beauty and all things 'artistic'. It was popular amongst artists, poets, writers and actors, most famously Oscar Wilde and William Morris. Although experiencing a surge in popularity in the 1870s, Aesthetic dress was nonetheless considered outside of the normal conventions of the time; its unstructured style, particularly for women, thought to be immodest and unfeminine. Aesthetics were commonly the subject of ridicule in cartoons and magazines such as the British satire magazine 'Punch', not only for their 'alternative' clothing, but for their perceived sentimentality, exhibitionism and exaggerated language. 

Related to Aesthetic dress was the Rational Dress, or Dress Reform movement, that began in England in around the 1850s and continued throughout the 19th century. However unlike Aesthetic dress, which rebelled against the fashion norms of the period, this movement actively promoted a reformed dress style that combined comfort, health, convenience and beauty. In 1881 the Rational Dress Society was founded in London, and began publishing a Gazette that outlined the following philosophy: 'The Rational Dress Society protests against the introduction of any fashion in dress that either deforms the figure, impedes the movement of the body, or in any way tends to injure the health. It protests against the wearing of tightly-fitting corsets, of high-heeled or narrow-toed boots and shoes; of heavily-weighted skirts, as rendering healthy exercise almost impossible; and of all tie-down cloaks or other garments impeding the movements of the arms. It protests against crinolines or crinolettes of any kind as ugly and deforming reforms' (RDA 1978). 

While initially Aesthetic dress was worn in limited artistic and dress reform circles, in the 1890s the style had been adapted for fashion and worn informally in the home as tea gowns and 'at home' dresses. As such it is difficult to ascertain whether the wearer, Mrs Louisa Burrows, was a firm follower of the Aesthetic movement. Also in the Museum's collection is a boned bodice worn by Mrs Burrows in around 1900. Nonetheless, this well-provenanced dress gives insight into the influence of Aesthetic dress on Australian fashion during the late 19th century.

Source

[marzipanandminutiae]

Hi! Could you do an evolution of the crinoline? (with actual dates, not "late 1860s", 'cause that always confuses me. Like do you mean 1866-1869 or 1867-1869??? But I digress) Thanks!

I can see how that would be confusing!

There's very little in the way of exact dating involved, I'm afraid, because humans aren't a monolith or a machine. There's no point at which everyone says, en masse, "okay, time to switch from round to elliptical cage crinolines!" and suddenly that is All You See Forever.

But roughly 1865 is when you start to see skirt volume shift backward and the shape of the crinoline change:

(Godey's Ladies' Book, April 1865.)

by 1867, the new shape has reached its zenith while still being a crinoline shape rather than the soft bustle of the early 1870s:

(Another image from Godey's, October 1867.)

and then by 1869, skirts are almost verging on bustle territory, and may be supported by a so-called "crinolette" instead of the full, wide crinolines previously in fashion:

(Il Bazar, February 1869.)

so roughly 1865-69 are the dates for the elliptical cage crinoline, with the round cage crinoline in prominence from its patenting in 1856 to around 1865.

Hope this helps!

[darkandstormydolls]

How well different periods of Victorian women’s fashion would do as ghost outfits, according to my own heavily biased and completely arbitrary opinions:

1830’s

No. Are you kidding me? Look at those sleeves. You would be laughed right out of Ghosttown. The skirts are full, but they’re ankle length and floofy all the way around. (And again, the sleeves.) Combined with the hairstyles of the period, the overall effect is utterly ridiculous. I know some people love the 1830’s for their “whimsy” or “fun” but I just think they look silly. This was an entire decade where of sheer silliness and tomfoolery.

2/10

1840’s

Okay, improvement. We have tamed The Sleeves, thank heaven. The skirts are still fluffy, but not too fluffy, and a little longer, which helps a bit. Considering the general calmness of this period, it could work as a ghost outfit. The hairstyles have calmed down, any floof at the sleeves is down to a bishop sleeve, which could be a little nice and ghostly, and these dresses usually look a little simpler (although the amount of plaid that makes an appearance in this era is not helpful) and could make a nice classic ghost outfit. It’s not the best, but it’s not bad.

7/10

Crinoline Era

As the name suggests, this is the era of the Big Freaking Skirt. This is partially a positive (the DRAMA) and partly a negative. I’ve always thought of the 1850’s as the Sweet Lolita of the era, with all the floofy skirts and flounces and rows of ruffles. It calms down a bit by the early 1860’s, but it’s still a lot of big round floof. The flared pagoda sleeves of this era could be nice and ghostlike, but the overall frilliness and fringe rather detracts from the effect. Just like the 1840’s, it’s not the best, but it’s still not bad.

7/10

Crinolette Era

This era has some positives, one of those being that I like it and it will therefore be ranked rather highly. This was a short, transitional period, but it managed to get a lot of the positives of the former and following eras with few of the negatives. The sweet Lolita look is lost as the fullness of the skirts shifts towards the back, leading to the beginnings of the trailing, back-heavy skirts that dominate the later Victorian era. Now, I think that sweepy, trailing skirts are a great part of a ghost outfit, so this is a huge positive. We still have dramatic sleeves, and the trim is a bit more sedate, but the skirt is still a little bulky for optimal ghosting.

8/10

1st Bustle Era

(Fashion plate because it was strangely hard to find a good extant dress)

Now we’re getting somewhere. Skirts that sweep dramatically behind the wearer? Perfect ghost clothes. Other than that, there’s not a ton to say. We’re not quite in trains always all the time territory, but they do show up, and that’s always a nice addition. There’s plenty of frills and ruffles to drift dramatically about. And I’m definitely not biased because this is my favorite period or anything.

10/10

Natural Form

Now, here we have some positives and negatives. On the plus side, we have trains. Lots of trains. Basically all the time. And a train is always a positive for a ghost outfit. However, with the lack of as much of a significant bustle, the effect of the train sweeping behind is muted by being only on the floor. And with the way the dramatic sweeping skirts are less dramatic, the effect is reduced. Additionally, I think the long-fitting cuirass bodice also dampens the drama of a good sweeping skirt, although that may just be my personal dislike of them poking through.

7/10

2nd Bustle Era

This one is an improvement on the natural form if only by the presence once again of a large, pronounced bustle. Also, it’s not shown on the example, but there are plenty of trains in this era, so we can have the best of both worlds. Other than that, there’s not a ton to say. It’s not optimal (my nemesis the cuirass bodice appears again >:( ) but it’s pretty good.

9/10

The 1890s

Well, there’s a lot to say here. On the plus side, floofy sweeping skirts! On the other hand, well…

The Sleeves make another appearance.

Now, some people love puffy sleeves. And if that’s you, good for you. I am not one of those people. But they aren’t quite as bad as the 1830’s, and they have trailing skirts to make up for it, so I rank it higher.

7/10

1900-1901

(This pic may be a few years later, but you get the general idea)

This is quite a short era- not fashion wise, it just ceases to be Victorian after a couple of years.

I’d say it’s pretty good. The sleeves have tamed down from insane to simply dramatic, the skirts are still dramatically sweepy, and the fondness of this era for delicate white lingerie dresses makes it an excellent choice for ghost outfits. My one bone to pick with it is the loose pigeon breasted fronts, which aren’t much my taste and I think don’t quite fit the others (In my opinion at least, one of the few consistent features of the entire era is the fitted bodices, and this part kind of sticks out dramatically), but it’s not that significant.

8/10

[ghoulishjester]

"Frankenstein's Monster"

Song Fic - POINT OF NO RETURN - Lana Lubany Pairing: Platonic! Peony Vectrum (OC) x Thadeus Becile Summary: Peony, Thadeus' close friend, died due to unforeseen circumstances. He couldn't stand that a woman he cared for had been murdered at a young age, and a mother no less, so he uses Peony as the beta experiment to bring back another woman he cared for, Delilah. Genre: Angst Word Count: 3,240 Warnings: Resurrection, talks of death, arguments, descriptions of corpses, sad mother stuff, crying, and iggy being slightly traumatized along with peony, bug mentions

Goosebumps had decorated the middle-aged man's skin like a popcorn ceiling. He was staring at his own creation before him. It looked like an abstract masterpiece with all of the machinery he had crafted with his bare hands. "Finally, it is finally finished..." He sounded exhausted, physically and emotionally within his own vessel. He looked over to the darker part of the room, eyeing the silhouette that lay still on the floor like a mournful statue. It was Peony's cadaver.

She had her hands crossed over her form. The very same form that was dressed in a vibrant yellow dress of her time. A crinolette type of dress that was mixed with a bustle. Her hair was symmetrical, her deep brown hair with the bangs long and twisted and tucked behind the ears, and the rest of her hair is parted and ordained with swirls and braids. Her once lively peach-colored skin had been dulled to that of a dusted bone. Her makeup is now almost gone and stained on her epidermis. A silent sob wanted to rack his body, but he pushed that feeling down. He had to focus, he had to do this! For her, for Delilah. He knew he was being selfish but, wouldn't his friend want to aid him in bringing someone he loved back to life?? Wouldn't Peony understand how dire this situation was??? Isn't that what friends were for?? He walked over to her, thankful that her eyes were closed at this time. He couldn't have bared to do this if she was staring at him with those dark eyes of hers, once they were filled with the joys of life, now possibly filled with maggots, eating their way around her skull. He lifted her up gingerly, wincing at how stiff she was, feeling as if he was carrying clay to an altar as if they were acting in parts. She was Galatea and he was Pygmalian. Except there was no love here, just the sense of greed and remorse hanging in the air and swirling in a sickly tornado of emotions. A metal thud rang in the air, as her body hit the metal table, making him cringe with worry. It didn't sound good, but it had been nothing. He went behind the placeholder and flipped some switches, causing a high-pitched humming to commence. Next was the most dangerous part of the process, dealing with the green matter. This sweet rock candy-like mineral glowed within its container. This would be the key to her revival. He placed on thick leather gloves and grasped the rock, his hands forming a prayer stance as he shut his eyes, quietly slipping silent prayers from his mind to his mouth, praying that this would work. He placed it in a cylinder metal container, the stone thumping gently against the floor of the tube before being closed off from the outside. His feet retraced back to the switches. His finger was idle around the final switch that would start this process. Wincing and his body movements placed him back away from the lever, before finally pulling it down. An orchestra of blaring noises erupted within this space, and the giant metal chandelier from above the table struck down lightning against the young woman's carcass. The bolts of electricity danced along the nerves that laid dormant in her body. Something was happening. Her once stiff hands soon became soft and even slid down to her sides. Her plain brows now adorning a worried expression. "I-It's working!" He exclaimed, watching as her body was seeming to fill with some sort of life! His hope-filled orbs were soon replaced with a look of confusion and fear. The more the lightning bore down on her, the more she changed. Her skin slowly turning into a shamrock green, a dark ink like substance oozed out from under her eyelids, and creaky groans left her mouth. No no no! This is not how it was supposed to go! Thadeus tried pulling up the lever again, but it wouldn't budge! He tried and tried again but halted, even jumped slightly when screams erupted from the area where she lay. He glanced back over and his brows stitched together as he saw her eyes fly open. The sclera of her eyes now bore an onyx color, and the iris of her eye

was now a bright neon green that seemed to glow from how vibrant they were against the darker color palette she now bore.

With one final push, he was able to finally throw up the lever, stopping this entire process. The only audible noises that were now heard were the power off of the machine, slight sizzling from possible fried hair, and the moans she let out. Her moans were filled to the brim with exhaustion, and topped with pain.

Soon, this failure of a phoenix tried sitting up, failing, and opting to just lay there. "Where..." She tried to ask something but trailed off as her eyes struggled to adjust to the room. Thadeus walked over to her, grasping her hand in his, his thumb gently grazing over the unnatural color of her knuckles. "You're in my lab, Peony, you're safe-"

"Thadeus...? Mm, I thought you were in Africa...?" He paused, the cogs in his brain spinning around this question. Was that the last memory she had? Was the last memory not her being murdered by a mystery man? He brushed aside his inner thoughts and focused on her.

"No, I-I came back- How do you feel??" He couldn't string his words together correctly, just stumbling over his own speech due to the abundance of tangled-up nerves that now took vacancy within himself. "I'm hurtin'....my body hurts....why am I here...?" Her southern drawl came to light as she got more conscious on the hardened state of her hopefully not-permanent bed.

"You-" He pursed his lips together, trying to think of an excuse to say to his friend. "You had an accident...I came over right away-" He wrapped her arm around his shoulder, earning himself a whine from the funeral participant. "Let's get you to bed, huh? How does that sound?" He walked with her out of the room, flicking off the light with his slightly free hand. She gave a lazy nod, her head lolling to the side like a broken bobblehead. "Sleep sounds nice....I wanna shower...." She added, Thadeus gave her another nod. "Yes, I will draw you a bath- later though... you need to sleep right now, ok? You've dealt with so much while I've been gone..." He cooed, gaining another nod from her. "M'okay..." Once they arrived at the guest room, he gently placed her down, her muscles relaxing as she practically melted within the nest of blankets and cushions. "Anything else?" He asked, rubbing her arm. "No...tea... can I have some sweet tea...I want something... warm..." With the last words of her sentence, she struggled, but successfully wrapped herself up within the puffy ivory coverings. "'nd pajamas..." "Pajamas? Alright, you would have to wear mine, they might be quite bigger than you but, they have adjustable string- Well the pants do but-" She shushed him and nodded. "S'fine...I don't want to be in this dress..." He gave a curt nod and quickly exited the room. He would be making the tea himself and gathering the new set of clothing himself since he decided at that moment he knew what was best for her. He soon found himself in his kitchen, placing the kettle on the stove. He grabbed his mix of Assam tea. While making himself preoccupied with preparing her beverage, he found himself muttering to himself. "What if she rots the next day...no no, that's not how it works...but- she's green- I need to make changes...I need to-" "AAAAAAAAAAAAAAAAHHHHHHHHHHHHH!!!"

He dropped her flower-decorated fine china, the glass splayed out across the floor in a chaotic pattern of hazards. What he had just heard vibrating against his eardrums was Peony's screech. "PEONY?!" He shouted out, immediately rushing his body towards the stairs, practically launching himself upwards towards her resting area. Once he passed the threshold, he noticed she was no longer resting on the guest bed. Light, now shining out of the lavatory within the room, caught his attention. He walked in and saw the objects scattered and thrown around the place in a fit of panic from her. She was staring at herself in the mirror, looking as if she is face to face with a resident of the underworld. She might as well have been with the way her appearance radically changed. There's something in my mirror ~ And it lacks a soul ~

She kept touching her face, as if she was made from clay and that she can alter herself, her skin felt as stiff as clay anyhow, and yet, soft and cold like water washed over her. "What...what happened to me..." She paid no mind to the British man behind her. It whispers in my ear ~ "You're all alone" ~ "Peony- you're alright, okay?" He took some hesitant steps towards her, his hands reaching out. "Everything will be okay-" He flinched when she whipped around to stare at him, her undead eyes boring into him, making a shiver worm up his spine with her uncanny valley outward form. Ana maek, ana maek (I'm with you, I'm with you) ~ "Why aren't you freaking out about this?!" She shouted at him, her brows forming together to make an angry scowl. Stammering was the only way he could respond to her frustrated question. She began to sob, the black substance roaming down her cheeks and droplets fell from her chin and onto the surfaces of the sink. There's someone in my mirror, and they're not at home ~ "Well- I- the experiment does have some side effects I suppose that I didn't expect to come up-" "Experiment?" She interrupted him, her voice was as cold as ice, yet as monotone as a machine. Her eyes continued to stare into the mirror but were now locked onto him, like an eagle. Raising the stakes To fill a void ~ "Yes- well um- you see-" "Spit. It. Out." He slightly winced at the cold tone she continued to use. "You passed away while Peter and I had our ... 'disagreements'." Her once angry guise melted into that one of horror and confusion, her eyes landing down at her hands. Outstretched and in front of her, flexing her fingers before they began to tremble. Ran out of space And out of choice ~ "I'm ... dead ...?" She asked, her palms now placed down on the cool sink island. Her face pointed down, so he couldn't read her expression. "You were dead! I-I revived you! I brought you back-" "You desecrated my corpse by turning me into a monster!" She turned around and threw the bar of soap at him, it hitting his chest and forcing a grunt to come out. Now my memory’s gone So I traveled far to the point of no return ~ "I-I had to Peony- I just had to-" She walked up to him, her pointer finger repeatedly jabbing into his pudgy chest with each word she vocalized. "You had to?? You HAD to?? What made you huh?? Don't you know what REST in PEACE means?!" She yelled in his face, her inkblot tears now flying onto his clothing. I tried, I tried but nothing's caught on I believed the faces by me ~ "I- I-" She got angrier by the second. "You- You- You what huh?? Spi it out! Why did you have to bring me back?! I-" "I had to bring you back for Delilah!" He finally redirected the shouting at her, soon regretting it as he saw her evident shock. "Delilah...? I... You used me as a guinea pig...?" Her bottom lip trembled. 'Til I saw them bathing in blood In the point of no return ~ He held her close, while her body shook around with tears against him. "No- no- I ... Peony I cared about you so much I had to bring you back ... " He mumbled into her hair, swaying side to side with her. "If you cared about me ... you would have let me rest ..." She mumbled into him, her hands gripping at his vest. Aswat hilwe bidanek (Pretty voices in your ear) Min awal yom (From day 1) ~ "I... I don't know what to tell you Peony ... I really don't-" "I cannot show my face to anyone, I am a monster, I-" This time, she let out a hard cry, her grip getting tighter. "I cannot show my face to my son- my Lulu... you should have let me rest, so he can keep the image of his mother as pretty as a flower... instead of as rotten as some dangum weed!" She gently began to hit him now, but he didn't budge. Baatiki illi biddek (I'll give you what you want) Bs arbi hon (Just come close) ~

"Callum and his father moved away after your funeral- I... " He refused to call him her husband, not after the way he treated her. He sucked in a breath before continuing his thought. "He said he didn't want Callum to grow up around death-" With this news, she cried harder than earlier, slipping out of her grasp and onto the tiles below, sniffling hard. Thadeus knelt and continued to hold her sorrowful form.

I don't want it, I don't want it ~

"I've lost everything..." She mumbled, her sentence laced with years worth of aches. He let out another trembling sigh, rubbing her back in a circular motion. "Well, Peony-" "Daddy?" The man froze, that was not her voice. That young voice came from behind him. He slowly turned his head and locked eyes with his only child, Ignatius.

Min alb il mayye shuftek (I saw you through the water) And now I'm yours ~

"Ignatius- w-what are you doing up, son?" The young child just rubbed at his eyeball, his other hand grasping his elephant plush. "I heard noises, and Auntie Peony ... did she come back from heaven ...?" He yawned after speaking his turn, Thadeus frowned. "She did but- shes tired- and so are you- why don't you sleep?" Ignatius shook his head quickly. "No, I wanna see Auntie... "

Raising the stakes To fill a void ~

"Auntie isn't in the mood-" Before he could finish his sentence, Iggy ran around him to look at Peony, but her face was hidden, veiled away in shame of her appearance. "Auntie! It's me! It's Iggy! Why won't you look at me?" Thadeus huffed in his child's way. "Ignatius, listen to me-" Peony peeped an eye at him, she did want to see her nephew, she really did. They were in no way related by blood, but her and Thadeus were so close as friends that Ignatius saw her as if she was blood.

Ran out of space And out of choice ~

Ignatius dropped his beloved stuffed animal, it hitting the ground as he let out a yelp and ran out of the room. This hurt Peony badly. Tears kept pouring and pouring out like a broken dam. "I told you I am a monster!" Thadeus looked between the two rapidly before letting her go gingerly to go after his son. "Ignatius! Ignatius come back!" He went to his room and found his son hiding under his blanket, the child was clearly scared.

Now my memory’s gone So I traveled far to the point of no return ~

"That wasn't Auntie...." "Ignatius, it was Peony- she's just... sick.... in a way you will not be able to understand until you are older, okay?" He tried to plead with his child, but he wouldn't budge. He rubbed his face and sat on the bed, Iggy peeking his head out a little to look at his father. "Listen, remember how those medical books I used to have said people can look different when they're sick, like pale, or even spotted?" Ignatius nodded his head at the question. "Well, Peony is severely sick and, she is here to stay with us."

I tried, I tried but nothing's caught on I believed the faces by me ~

"She's going to live with us? But-" "She can't go back to Callum, I know she is his mother but, she is afraid of scaring him, but she knows that you're a big brave boy, and you can act fine around her. She loves you, Ignatius." Iggy took time to process this answer his parent has given him. "Do you think you can be brave? Your Auntie needs comfort and, I think you can comfort her." Ignatius gave a slow nod this time, worried.

'Til I saw them bathing in blood In the point of no return ~

Thadeus called her in, and she came quickly but was hesitant to enter. In her grasp was the stuffed animal that he dropped in the guest room bathroom. Ignatius slowly came out, but even at his young age, noticed she was more scared than he was. "T-Thank you for bringing Stumpy... " He shyly said to her, earning a sob mixed with a chuckle in a quiet tone. "Daddy told me you were sick and... I wanna help!" He walked over to her and hugged her legs, making her balance wobble a bit. "It seems you're already helping me feel better, doctor Ignatius." She joked and kneeled down, hugging him and wiping away her 'tears', not wanting to stain his light forest green pajamas. He parted from the hug and flexed his nonexistent muscles. "I'm strong! So is my healing!" Peony felt herself smile for the first time tonight before just laughing. "Yes, you are." It was an hour later, and Ignatius is now asleep in his bed after being read another story to wind down his energy, the toy in his grasp. Peony was in the resting room, the fireplace in front of her and Thadeus. They both sipped from tea, but Peony did not so much. "So, what now?" She asked him, and in return, he placed down the cup of tea he prepared earlier. "Well, I am hoping you will stay here, with us, so I can monitor you and... make sure you-" "I'm glad that you are not going to compost me." She tried to joke but it caused a sour look on his face. "I would never. I brought you back because I genuinely care about you... also even if I did compost you, Ignatius would be mad at me." "Yes, he would. I'm glad to be saying, I'll miss my Lulu but... your boy needs a mother figure." Thadeus nodded, staring up above the mantle at his late wife in the portrait of his entire family together. Ignatius was standing, and so was he. His wife was sitting down in a chair. His hands were on both of them and a stoic look on his face along with his wife, that contrasted with the goofy smile his son had plastered on. "He does indeed." He took one final sip before continuing a mindless conversation with his freshly resuscitated friend.

a/n YEAHHHH ANGST, Peony Vectrum is an oc of mine that i've had for a while who is a master of yellow matter before her untimely death. I wrote so much for her, and ever since this song came out, I just had to write for her!

[cuilpantielthesleepyscribe]

Dolly | Oneshot for Victorian AU

1867, London

The doll was spectacular. A work of art, truly. The head was bisque with hair set into the latest style, painted by a skilled hand with dark eyes, dark eyebrows, and softly blushing cheeks. The body and limbs were white kid leather, clothed decorously in lawn chemise and drawers, trimmed with broderie anglaise and silk ribbons. Over it went a real tiny crinolette and petticoat with layers of frothy Irish lace, cartridge-pleated by hand onto a waistband.

The pink silk satin gown was in the latest French fashions, and came with a day and evening bodice, a separate overskirt, and matching handbag and satin shoes.

The day bodice was modestly high-necked, trimmed tastefully in white imported Brussels lace, dark pink silk ribbon, and tiny red silk ribbon rosettes. Appropriately, the skirt was also trimmed to match, making a highly fashionable - but not vulgar - day dress. The matching handbag, filled with tiny calling cards, and little satin pumps completed the daytime ensemble.

The addition of the evening bodice and overskirt, however, transformed the gown. The low neckline and nearly-nonexistent sleeves were trimmed with more Brussels lace and pink silk ribbons. In the center of the neckline was the star of the show: a red silk rosette spilling over with real seed pearls. Fashionably gathered and looped, the overskirt was similarly festooned with Brussels lace and silk rosettes spilling seed pearls.

Mr Joseph Hill, Savile Row suit tailor lately possessed of an increasingly wealthy, eccentric, but otherwise pleasant and generous Chinese client, had to admit that his niece - herself a former seamstress for London's rich - had done a fine job on perhaps the most lavish doll ensemble to ever grace English soil.

Mrs Victoria Wright pressed her lips together, eyes dancing with mirth. "I know what Mr Chan told you about wanting a present for his little girl's first birthday, but do you know the real reason he's paying for this?"

This being a doll, ensemble, and accessories worth more than many women's actual finest gowns.

Joseph frowned. "No. He told me it was because he felt sorry for being so far away from his daughter all the time."

What on earth could have compelled the man to commission such a lavish gift for an infant otherwise? Had he upset his wife somehow?

Victoria seemed barely able to contain herself. "Well, did Mr Chan tell you about the rude tailor who turned him away before he came to you? Mr Carter just up the street?"

Joseph nodded slowly, wondering where this was going.

"He told me that he secretly bought out Mr Carter's landlord and fabric suppliers not too long ago. This is Carter's entire month of rent and supplies money. For a fine dolly for the young miss to gum on!"

Joseph had to quickly set the doll back down so he wouldn't drop it while laughing.

Notes:

The doll ends up being named Miss May (from Cantonese mui gwai fa, rose) Rose, and is the Victorian AU counterpart of canonverse's Lady Merilwen.

Victoria is entertained (and paid) enough by the whole affair that she offers to continue updating and expanding the doll's wardrobe as needed, and make matching doll-and-little-girl dresses when the young miss (Pan) is a little older.

Aside from sheer spite, the doll does actually serve two practical purposes:

It helps Mrs Chan (and later, Mrs Beeton) stay updated on the current fashions in London, which is important, seeing as Mrs Chan does occasionally go in for business.

Years later, it helps them teach Pan the kind of British manners and norms that will be essential for her to know, as someone whose family does business in the British Empire and is intended to marry into a trading or aristocratic family.

Shortly after Pan gets the doll, Mr Chan gets a letter from his sister-in-law and brother politely requesting that as the other girls in the household (Pan's older cousins) quite admired their baby cousin's doll, would he mind helping them buy and send over more? It doesn't need to be the monstrosity that is Miss May Rose, but the girls would like to have matching dolls to play with their cousin. Being a generous brother and uncle, he obliges.

Aside from this and an occasional commission for new doll dresses, most of the rent + supplies money actually goes to a fund supporting poor Chinese sailors, with all receipts meticulously kept in a book. An errand boy is sent with a copy of it (and some choice newspaper articles) to Mr Carter's shop one fine day after Pan's presentation in 1883.

Extant dolls and clothing inspiration spam:

1890s doll with 1860s dress, chemise, drawers, and hoop skirt petticoat

Anne Lloyd, Photo (2018), “Miss French Mary” Fashion Doll, c.1875

“Miss Fanchon” doll and accessories, late 1860s–1870s

"Miss Fanchon" doll gloves and handbag, with real working clasp and buttons.

Miss Fanchon doll during restoration, with real hair and kid leather body - including detailed hands and feet - clearly visible

Fashion plate. Fig. 9 - Artist unknown. The World of Fashion, vol. 42, no. 507 (March 1866). Source: Google Books

Dress with day and evening bodice, British, ca. 1865

Ensemble, consisting of evening bodice, day bodice, additional overskirt, and matching handbag. Designer: Depret, French, ca. 1867

[memoriae-lectoris]

An article in the 1860 edition of Godey’s Lady’s Book reports that ‘the best people’ preferred ‘the trailing bell shape’ of a wire crinoline.

Crinolines would continue to change in both shape and size and, by the end of the decade, had transformed into the crinolette. The crinolette was small and consisted of half hoops and horsehair flounces only at the back which served to support a lady’s draped skirts and train. As the size of women’s skirts shrank, corsets became tighter and less forgiving.

In 1868, Edwin Izod invented the process of steam-moulding. Corsets were sprayed wet with starch, stretched tight over steam-heated iron torso moulds, and dried into shape. This resulted in corsets that were more curvaceous. They were also stiffer, more restrictive, and strong enough to squeeze women’s bodies into the desired hourglass silhouette without breaking.

[maddiecopesblog]

The Rational Dress Society was an organisation founded in 1881 in London, part of the movement for Victorian dress reform. It described its purpose thus:

The Rational Dress Society protests against the introduction of any fashion in dress that either deforms the figure, impedes the movements of the body, or in any way tends to injure the health. It protests against the wearing of tightly-fitting corsets; of high-heeled shoes; of heavily-weighted skirts, as rendering healthy exercise almost impossible; and of all tie down cloaks or other garments impeding on the movements of the arms. It protests against crinolines or crinolettes of any kind as ugly and deforming... [It] requires all to be dressed healthily, comfortably, and beautifully, to seek what conduces to birth, comfort and beauty in our dress as a duty to ourselves and each other.[1]

In the catalogue of its inaugural exhibition, it listed the attributes of "perfect" dress as:

1. Freedom of Movement. 2. Absence of pressure over any part of the body. 3. Not more weight than is necessary for warmth, and both weight and warmth evenly distributed.  4. Grace and beauty combined with comfort and convenience.  5. Not departing too conspicuously from the ordinary dress of the time.[2]

[distortedplatinum]

You have a lot of OC's to pick from, so, er, whoever you want to answer these for, can I have 2, 10, 13, 22, and 33?

2) Do their table manners live up to Lorenz's standards?

I have already answered here.

10) As a child what did they want to be when they grew up, if different to the path they ended up on?

As a child, Ksenia just wanted to be free of her mother. She didn't know anything about the life outside her cage. When she finally got out, she realized that she wanted to help everyone with her powerful healing magic.

13) If they're a mounted unit what would they name their mount?

She's an infantry unit.

22) How did they decide on their personal/post skip outfit, and was the price or the aesthetic a bigger factor in their decision?

As a magic user who can levitate, she doesn't need to be pratical, she chose that big layered gown because she liked it a lot. Even in Three Hopes the crinolette isn't a problem when she can blast you with a pillar of light before you try to go near her.

33) What sort of cook are they? Both in terms of between Flayn and Ashe/Dedue, and do they lean more towards cooking (meals) or baking (sweet things) or both?

Uuuh, we can say that she tries. She's something in a mid-range, can cook the simple dishes but when things become complicated she will probably make a mess. Not the worst choice but neither the best.

[random-racehorses]

Random Real Thoroughbred: TIPPET

TIPPET is a bay mare born in Great Britain in 1886. By PLAY ACTOR out of CRINOLETTE. Link to their pedigreequery page: https://www.pedigreequery.com/tippet4

[dazblogfashion]

For this project we had to research different information during the Victorian era to show how fashion has changed during the different time periods starting off with the Victorian fashion of clothing.

I did my research based on the different people that had introduced the different type of fashion.This is how I would find out how it all started and who invented that piece of material and style to go with the clothing they are at that point of view.Then I found some pictures to support my research and improve my understanding of this specific era and what is trending at that time for the people.

Bustles

In the Victorian era they used a thing called a bustle. This was used for dresses to add extra fullness or to support the drapery. Bustles were common to wear in the 19th century. They are worn under the skirt in the back just below the waits to keep the skirt from dragging as it was a very heavy fabric to use and this would tend to pull the back of the skirt down and flatten it as it would destroy the style they are going for and it would not suit it. Bustles were a very common thing to wear as it was very fashionable at that period in Europe and the United States the most in the 1870s and 1880s.They used padded cushions for the back as the focus of a bustle is used at their hips in the back of their skirt or dress. At this time, they thought it was very elegant and popular to wear.

Alexander Douglas-He was the original person to discover and create the bustles at that time as he did some research to try and use more volume in his clothing style. His aim was to add volume to his fashion. This was a very successful style that went to plan as it turned out exactly how he wanted it to. He became famous for it in that period. Alexander patented the bustle. It took almost another decade for Douglas's invention to gain popularity in the Victorian era. During this decade, fashion had reached the heights of the skirt circumference arms race that characterized mid-nineteenth-century; ladies' fashion.

Charles Worth was a pioneer fashion designer and one of the founders of Parisian Haute Couture. In 1845, Worth left London where he had worked in a goods firm to travel to Paris where he had been employed in a dress accessory shop. After he had developed his skills more in time, he started to continue Alexander's work and designing of the bustle and improve his style so fashion could improve more in the victorian era as fashion will always be one of the biggest things in the world. The Bustles in the 1880s fitted closer to the body as it was smaller and lightweight. This would make it easier to sit down. In France, this was called a Crinolette.

Queen Victoria

The major and important events that happened during the victorian era were: In 1819 when Queen Victoria was born. Queen Victoria was the most well-known and respected important person ever in the Victorian era. She was the queen of the United Kingdom, Britain and Ireland from the 20th of June 1837 until her devastating news of passing away in 1901. She was in reign for 63 years this seemed longer than it actually was than any other previous British monarchy which is why it was named the Victorian era. It was a period of industrial, political, scientific and military change within the united kingdom as so many things have positively and successfully changed This was marked by a great expansion of the British empire.

Here you will see Queen Victoria's full history with the impact and mass improvement she values during the Victorian era as she is the most popular and well-respected royalty herself. She was an inspiration for everyone as she was the main role model for everyone to represent the true fashion.

Here are a few models of dresses created during the victorian period to show their main style in that specific era they were in. The most important thing for their dresses was the volume. The more volume in the dress the better and more elegant.

This was an original dress that belonged to Queen Victoria Lucy Worsley cleverly explained her fashion style and the different materials used in that dress to see how fashion has changed massively from the victorian era to now.

[unit2marketting]

19th century

It was often the structures beneath Victorian clothing that gave women's fashion its form. Corsets (also known as stays) moulded the waist, while cage crinolines supported voluminous skirts, and bustles projected a dress out from behind. Fashionable Victorian women wore an array of other undergarments, from corset covers that hid the lines of their stays, to petticoats for added volume and warmth. Exactly what was worn and how it was made changed rapidly throughout the era, influenced by forces like technological innovation and shifting attitudes towards gender.

1837 – 1849: Points, puffs and petticoats

When Victoria became Queen in 1837, fashion was characterised by low, almost off-the-shoulder necklines for evening and formal wear (higher necklines, collars, and small shawls were worn for daywear), cinched waistlines often forming a low point at the front, and fairly wide skirts protruding to the same extent all the way around. Sleeves often featured sizeable puffs.

This silhouette was created largely by undergarments. Long corsets rounded the bust, held the waist and stomach in, shaped the hips and concealed other underwear worn beneath stays – including chemises (also knowns as shifts), drawers and petticoats. Throughout the period a chemise and drawers were sometimes replaced by a garment combining the two, known as combinations. Corsets were usually made from hardwearing cotton and were hand-sewn. Busks – made of materials like wood or metal – were inserted up the centre front to give a smooth line. Techniques including boning and cording offered additional support. Skirts at this time were large and bell-shaped, supported by numerous layers of petticoats which proved to be heavy, hot and unhygienic. Volume was achieved through tiered, flounced, quilted or stiffened petticoats, the latter providing the most supportive structure for the era's vast skirts. Stiffened petticoats were typically cut from a rigid fabric of woven horsehair and linen called 'crinoline', a name that would eventually come to denote not just the fabric, but the garment itself.

After more than a decade in favour, large, bell-shaped skirts reached their peak, and by the 1860s volume began shifting towards the rear. Skirts now featured a flatter front, with a tapered shape emphasising the back of the body. The supporting structures beneath followed suit; cage crinolines became narrower, mirroring fashion's new contours, and the crinolette – or half-crinoline – emerged.

1870s and 1880s: The bustle decades

The bustle was introduced as a distinct undergarment during the 1870s, supporting skirts which no longer sat over a crinoline, but which were gathered up at the back, projecting out below the waist. Also known as a 'dress-improver', or by its French name 'tournure', the bustle provided a foundation for this new arrangement of skirts via sculpted pleats and ruffles, often stiffened with horsehair.

Victoria and Albert Museum. (n.d.). V&A · Corsets, crinolines and bustles: fashionable Victorian underwear. [online] Available at: https://www.vam.ac.uk/articles/corsets-crinolines-and-bustles-fashionable-victorian-underwear.

‌

[marzipanandminutiae]

Okay the person stating that going outside dressed slightly differently would lead to a public beating has to explain to me how then fashion evolved, like from the crinoline to the crinolette for example. Because not wearing a crinoline would mean that you would be escorted to the town square and beaten by all men in town according to this person, so how could you possibly make the switch to a crinolette?

oh no no, I imagine they mostly assume like...your husband would beat you in private, I figure. or something. so, you know, after he brings home your Government-Issued Crinolette (since he leaves the house and you never do), if you don't put it on right away, he's legally obligated to wale on you

but only with a stick the width of his thumb!

(seriously, though, to be fair, I've never encountered the SPECIFIC belief in Beating As Punishment For Women Dressing Outside The Fashion. I more meant that I've seen people who seemed to think social pressure to look a certain way worked through direct, immediate consequences or explicit/official rules- eg. a Quora question asking why Victorian women were "required" to wear their hair up)