#edwardian silk top

[omgthatdress]

Sorry if it's a stupid question, but I thought you'd be best to answer it. Why was Coco Chanel's "Little Black Dress" so special? I've been going though your early 1900s tags and knee-length dresses existed way before Coco. Black dresses too. Knee-length black dresses too. What was so special about Chanel? I'd argue that Paul Poiret had a much bigger influence on fashion, with some of his looks being 1920s back in 1910s. So why Chanel became so big? Is it all down to business?

It's historical context. One of the biggest things about appreciating fashion history is being able to put it all in context.

Although black dresses were popular evening wear throughout the Victorian and Edwardian era, the dresses of that era were still over-the-top and extremely fancy. The dress was designed by a couturier, House of Worth being the most influential and popular, silk had to be imported and woven, the beading and embroidery and other details hand-crafted by métiers, and then all assembled by seamstresses in the atelier.

Poiret started out with this notion of radically simplifying fashion. His robe de minute was a sort of proto-flapper dress, and it got its name because it only had two seams and could be sewn up in a minute. In spite of this, Poiret couldn't fully escape Edwardian ostentatiousness, and frequently used exotic silks and fancy detailing, still seeing his designs as works of art. His primary supporters were still the titled nobility of old Europe

World War 1 had everything to do with simplifying fashion. Well, that and the Russian Revolution the collapse of the Hohenzollerns and Austrian Habsburgs and the general collapse of the old aristocracy. Couture houses were forced to close, and Poiret was made to serve as a tailor for the French army. When he re-opened his house, he re-opened to a new world.

Chanel viewed clothes through a much more practical lens, rather than as works of art. She made menswear-inspired clothing with clean lines and few accessories, which was much more in line with the new, liberated woman of the 1920s. The little black dress caught on because it was something every woman could wear and every woman could look good in. It was dependable and practical, thus, "the Ford of fashion." Rather than relying on the old, decaying nobles whose money was running out, Chanel's clientele came from the industrial business class that had an endless supply of new money.

Of course, the world would change again after World War II, and Chanel would be usurped by Christian Dior as the new arbiter of elegance and modernity. Dior brought extravagance and opulence back to French couture, and his nipped-waist designs hearkened back to the nostalgia for pre-war times. Chanel was dealing with the fallout of an affair with a German intelligence officer and had to self-exile from France for several years.

Eventually, she returned, but the brand was out-of-date and diminished. Rather than cutting-edge elegant ballgowns like she had made before, the Chanel brand was pretty much just limited to its iconic suits, and as time wore on, it was considered to be something of a stuffy old lady brand until Karl Lagerfeld revived it in the 80s.

[read-write-thrive]

edwina / edith in her lingerie as inspired by @hannaloony and @arisprite ‘s fanart !!! this one’s on the simpler side but I’m planning to do a companion piece with charlotte (and might do more with the backgrounds to really sell the whole “getting ready in their respective eras” thing, not sure yet) and hopefully doing something a little more suggestive with the both of them, again inspired by @hannaloony ‘s piece but using my own interpretations of fem!payneland w/ butch!edwina and fem!charlotte bc i love them

(side note: I know everyone is using Edith and not Edwina but I think Edwina suits my interpretation better for some reason ?? something about ppl hearing “Edwina and Charlie” and getting jumpscared when Edwina is the butch is funny to me,,, still undecided if she uses any nicknames but I’m open to suggestions lol)

previous artwork I’ve done of these characters can be found here: part one (original duo piece) ; part two (alt outfit for Edwina, Edwina sketches) ; this is part three! ; part four (lingerie!Charlotte ;)

notes on the costuming choices for anyone interested:

- i specifically designed these undergarments to work under either of the outfits I’ve given her so far!!

- I decided on combinations as her base layer as they were seen as younger/more casual/athletic, all of which im aiming for with this design. technically these are probably too plain for the era, especially if she was attending a girl's college/finishing school where sewing and adorning and the like would have been taught, but I wanted to keep the masculine energy so I figured some ruffly hems and blue ribbon was a good enough middle ground

- the color palette is inspired by several reproductions I’ve seen online as well as keeping with Edwin’s blue color motif/existing palette

- researching the corset took AGES so here’s a rundown: I wanted it to keep with the casual/sportswear look so I went with a sports corset, meaning it wouldn’t have any hard boning (it was just the hella reinforced material without the actual bones/metal), would have elastic at the sides, and would most likely be an overbust corset despite that not being the trend during the Edwardian era (for the most part/to my knowledge). the examples I was inspired by of sports corsets technically didn’t have visible garters, but literally every other corset I saw did and I can't imagine why sports corsets would have to have the more impractical thigh garters ??? surely you also want to keep your stockings up when running around ??? so I gave them to her anyway

- im keeping the socks/stockings the same as my other illustrations but honestly i struggled to find similar historical examples :/ surely someone at some point wore some heavy duty knit stockings, but maybe my idea of knit is just different from how knit garments, especially socks, were in the era ? regardless im keeping them like this, especially since Charlotte has pantyhose on and I feel like silk/cotton stockings would look too similar

- i went back and forth on a corset cover, but ultimately went without one bc 1. it gave me a more interesting way to pose her lol and 2. i couldn't tell if corset covers (and similar garments that went over top what we have here) would have been worn with athletic attire ? like I have her in bloomers in both of her outfits thus far so I figured no petticoat or slip, but early brassieres/corset covers/bust improvers/etc are just a big ??? from me

- a note on her hair: so if you look at all three of my illustrations of her you’ll see that her hair is totally consistent and while I can try to say that’s intentional it’s really just bc I keep going back and forth on little details about it. for example, in the first illustration her ears are completely exposed vs in the second they’re mostly covered—the exposed ears read as more butch to me but also would’ve been pretty inappropriate and I wasn’t sure if that’s an area would Edwina would rock the boat too much, hence me going back on it in the second illustration. also, I’ve gone back and forth several times before on it her hair is actually cut short or if it’s worn in a faux/“nervous” bob (which I just learned that name for lmao). on one hand, having it actually cut short is 100% more butch and leans into the practical/athletic vibes. on the other hand, it would be a drastic move for a repressed, bullied, 16 year old at an all-girls school to pull, plus it would put her ahead of the trend by several years. in the end, I think of it this way: the Edwin that we meet reads as effeminate to a modern audience, but 80% of that is through mannerisms, not direct costuming, and even what we do get from costuming is skewed bc we are a modern audience perceiving an Edwardian subject. so I figured sticking Edwina with traits she could wear as either masc or fem but chooses to wear bin a more masculine style would shorthand that sort of how-you-wear-it approach to gnc (plus I’ve been there done that when closeted so it felt extra fitting)

- that whole rant aside: I went with the faux bob but, in the name of her being in the process of getting ready, wanted to show it in a half-done state that we would never see Edwina in otherwise ! the idea with the undone side is that she’s taken out the rags she wore her curls in overnight (I don’t see her using heat but if she did it would be before this) but only tucked half up before putting her corset on. is that the actual order of how you would/should do this? fuck if I know. I also am not 100% certain if the curl pattern/hair density is accurate between one side of her head and the other, but without an exact reference this is the best you’re getting

- speaking of things being out of order, I do know that if you’re deciding to don a corset anytime soon, it’s best to put your shoes on beforehand! especially if they’re lace-up boots like our girl here wears, as bending over in a corset to tie them is not fun. thankfully, she’s in a sports corset so it wouldn’t be too bad, plus she has to step into her bloomers so I figured keep her in her socks was the right choice

- there’s a halfhearted attempt at a background here with some dark wood panelling and red/orange/brown tones thats honestly just me wanting some contrast/interest while also keeping it simple. we'll see if i do anything more complicated than that anytime soon lmao, these pieces take long enough as is !!

hopefully tumblr doesn’t fuck up the cut (again) so not everyone has to read all of this, but tysm to those of you who do!! I put a lot of thought and research into these pieces and love sharing what info I find so feel free to talk to me about any and all of it !!!! and hope you enjoyed ofc

[eolewyn1010]

Downton Abbey Fashion 18 - post-war evening dresses

I feel like all the dresses I personally find beautiful are the ones that are not allowed to come back for another season. Unfortunately, this applies to a large part of Cora’s early wardrobe.

Interestingly, while I’m pretty sure she wears this champagne evening gown at least twice, I think she never wears it without the dark brown velvet robe. At least I don’t remember having seen the sleeves of the dress. The colors are a nice enough match, but nothing on either piece points to them having been made as a set. The dress is embroidered in crystal or glass beads, the coat apparently in pearls. But anyway, this dress is lovely!

More velvet, this time in plum over a pink silk base layer. Plus a little white lace trim. So far, so nice, although I don’t know why they made the sleeves of yet another fabric instead of working out something similar to the deep cowl collar. But fine, the beige works as a nice backdrop to a little flower embroidery.

Cora can’t keep off the velvet this season – time for some black. It’s fashionable black, not mourning black, so Cora can afford to pretty it up with netting on sleeves and shoulders, tassels on the sleeve hems, a big brooch in the front, and some gorgeous lace gloves that I desire with a vengeance. Despite this being a quite heavily decorated dress, I think the neckline would invite a discreet little necklace. Ah well.

*sigh* This red silk work is quite an iconic look, and one that stays into season 3. I’m gonna level with you: I think it outstays its welcome. I don’t like this one. Oh, it’s a fine dress in theory; the embroidery is lovely, the red shades coordinate well with the golden shoulder straps, I’m a fan of the fluttery sleeves. But the cut of this bodice isn’t doing Cora’s figure any favors. Is there any reason to make her waist look so disproportionately short without really hitting the Edwardian empire waistline?

Much better. This goes a lot more into 1920s styles with the drapey chiffon top, and I think the hip overlay (sash?) looks very pretty. It’s the only heavily embroidered piece, which seems unusual for the muted coloring of the dress, but it merges very nicely into the wide sleeve cutouts with the jewel trim.

Yay, black dresses with embroidery are keepers for season 3. Okay, this is not the worst of them; the gold thread with beads makes for a pretty cute look, but why does Cora wear a sleeveless dress for Christmas? Or is this a shirt? The skirt is greyer, so it might be separate.

--------------

There’s something with this season and brown dresses. It doesn’t always work in the wearer’s favor. I mean, I like this pleated wrap style, but the head scarf really washes out Rosamund’s beautiful ginger hair and the dress doesn’t give any other color pop either.

Hey, look, it’s a black dress with golden beading. You know what this means: It’s spectacular enough to stay into season 3! I’m getting very tired of this, but I can’t just bitch. The chiffon sleeves are cute, and there’s this style of little grape bundle earrings that pops up here and there across the show.

A black dress I find remotely interesting? Can only be here for one season. See, this one pulls off the empire waist Cora’s red silk dress didn’t want to commit to. And the top is basically just one big stretch of gold brocade (plus or minus some black chiffon for the sleeves). Damaged brocade, by the look of that second image. Is this an original? Is that why they couldn’t keep it around?

One of the subtler favorites of mine: The use of these black scallops is just delicious, how they open to diamond shapes on the arms (over barely visible chiffon that has exactly the color of Rosamund’s skin) and are held together with actual diamonds. I love it, it’s wonderful despite not having made a spectacle out of it.

These shots are not great, but this is rather a lovely dress, albeit one that is in Edwardian style and is thus beginning to look out of fashion. The skirt is some silverish blue velvet that pairs nicely with the paler-colored top, all crepe-work wrapped in a V over a simple light blue base layer. Also, behold the trim. It sparkles!

[isagrimorie]

Really great Kathryn Hahn interview!

Some great quotes:

If I look at the book of my life, [Agatha]'s like on the spine — I'm hoping in the middle.

[snip]

It’s remarkable, really, how Hahn carries herself completely differently, seeming to have the mannerisms woven into her DNA. Hahn credits the comics with helping her develop this. “Traditionally, she's shown much older with this fabulous gray hair up, this Edwardian look with the corset, and there's hardly any skin showing. That's my favorite Agatha,” Hahn gushes. “There are definitely Agathas in which she’s in the bustier with just a strip of gray, which is fantastic, but I love the Agatha that's very 'from another era.'”

[snip]

Hahn also shouts out her movement coach, whom Elizabeth Olsen originally hooked her up with back on WandaVision to help differentiate their magical hand movements (“her is chaos magic; mine was learned — it was important for us to develop our own vocabulary”)

I LOVE, love how Kathryn Hahn put emphasis on Agatha being more of a 'Wizard' (DND 5e) flavored Witch. Agatha loves Magick (with a K) and the craft of it. She treats Magick like a scientist/academic.

It makes me go back to what Agatha was accused of, in the first place. Learning Magick Above Her Station.

It's very informative because it tells me that her mother and coven forbade her from learning anything above the fundamentals of Magick.

And, she's never filled up that gaping hole her original coven left her.

On a more personal note, however, the purple coat we see in Agatha All Along holds a special place in her heart. “That coat was made with so much love by so many hands, and you could feel it when you put it on — how many hands were on it, how much power was in this garment. There were hand-drawn runes on the silk on the inside — protection ruins. It really did feel like a sacred garment.” Viewers will often see Agatha dramatically flipping the coat like a cape as she turns, which is no accident. “That was definitely for Daniel and for those amazing seamstresses that worked on it,” Hahn admits. “I was like, ‘I gotta give him a twirl because this is too good.’”

Shout out to our beloved purple coat! I hope Agatha gets to retrieve it! Also, I would love to see the inside of her coat! It sounds lovely!

Kathryn Hahn: “There's big, big feelings and big stakes already in there. I understood her bravado and her masking and her layers on top of it — her shell that's centuries old. Who can get in there, and who can't, and why? It's kind of like the spell at the beginning of the show. It feels like she's underneath her own protection spell.”

I love how Hahn put it-- Agatha is under her own protection spell!

While Hahn and Plaza didn’t hang out much, they sent each other poems and songs relating to their characters to prepare. When I press for details, Hahn pulls up the top of her shirt to cover her mouth. “There’s a lot… maybe we'll have to come out with some of those songs and some of that playlist. There definitely was one between us and the producer that we kept adding to as the show went on. Maybe one day we'll have to.” She tugs on her collar, fanning herself. “I'm getting sweaty thinking about it because I don't want to spill anything, but there are some really fab songs.”

She might not be able to reveal much about that just yet, but she does share a funny anecdote about talking to Plaza regarding a film that's not on their character mood boards. “I remember once, I was like, ‘Have you seen Fire of Love, that documentary about the two volcanologists?’ I remember she said she was looking at it and trying to find clues, and I was like, “Oh, no — I just thought it was a good movie,” she says with a laugh.

I love that in between making their character histories together, they have this funny anecdote.

 Considering Agatha is 350 years old, I’m curious as to what Hahn thinks she listens to. She ponders this thoughtfully. “I think she loves a really long Wagner,” she finally decides. “A long opera. And then, I think that she also loves a pop song. I think she would love a rave. I think she would be really fun to dance with — she would definitely be dancing by herself, though. And I think that she loves a chant. She loves old little ditties that mean something to maybe some old guys, but she's kind of taken them over and made them her own. And I think she loves anything that's practical — any sort of wailing in the woods with a fire going. I think she would love Eurovision. I think Eurovision, she would be in the front row.”

Of course, Agatha's a fan of Opera and Eurovision. Love that for her!

She’s excited for eagle-eyed fans to try and spot it — along with all of the details that will become meaningful after the entire show is out. “Agnes' house was so witchy, and there are so many Easter eggs in there. I can't wait for people to see that again after watching the whole show. There are so many little things that pay off later.”

What this tells me, is we should comb through Agatha's house and see the clues that might pop up!

[resplendentoutfit]

Edwardian Fashion: A Brief Overview

The Edwardian era (1901-1914) is the last period in British history to be named after the monarch who reigned over it. Although Edward VII reigned from 1901 to 1910 to be succeeded by George V, the Edwardian period is generally considered to have ended at the outbreak of the First World War in 1914. The Edwardian age was known for the excesses, elegance, and strict social rules modeled by the wealthy.

The era's fashion was characterized by expensive fabrics and trimmings, and a mature, distinguished look. Some notable features of Edwardian fashion include: Corsets and long skirts were still common, and women often wore high collars during the day. Evening gowns featured silk satin fabrics, empire waists, and column silhouettes, and were often embroidered with beads or lace. The Gibson Girl style was also popular, featuring embroidered blouses, shirt collars, and waists worn with ties or cravats.

The Edwardian silhouette was that of the S curve – a shape that pushed the hips back and the bust forward, exaggerated by floppy blouses that hung over the waist at the front.

Lingerie style dresses were the preferred attire of tranquil femininity and upper-class lleisure.

Widely caricatured in newspapers and propaganda throughout the 1890s and 1900s, the New Woman was denounced for adopting more masculine styles of dress such as tailored jackets, and bloomers or 'bifurcated skirts' for cycling – not to mention her implied sexual freedom and shockingly masculine habit of smoking.

Dramatically large hats such as this one that almost covers two heads, were seen everywhere in the Edwardian era.

The S silhouette was achieved with a corset that put less pressure at the waistline by pushing a woman's chest forward and her hips back. Also helping the look were dress tops and blouses that were looser than Victorian clothing previous was.

[threadtalk]

This pink gown, replete with pleats, is utterly stunning. Dating from 1900, this comes courtesy of the amazing New Canaan Museum & Historical Society in Connecticut.

The pleats in bubblegum pink satin give a surprisingly modern feel to the gown's structure, but it's a fairly simple gown in terms of its silhouette. The train is lovely, and the stripes of silk accentuate the organic flow of fabric. The neckline hearkens back to the early Victorian period, and the bodice does as well. But fun fact--this is a changeable gown. It had two different tops! This would allow a woman to shift from day to evening wear.

Remember, most dresses didn't come in a single piece until the 20th century. This allowed for more customization, but also a better fit--especially considering all the elements below the skirt itself. By the time we hit 1900, we're in the center of dress reform conversations: lovely though they may be, many wondered if clothing impeded a woman's place in society. By the late Victorian Period, dresses had become quite constrictive, heavy, and ungainly. That was not always the case, of course, but you'll notice that toward the Edwardian period clothing becomes far more free-fitting, loose, and comfortable.

[gorbalsvampire]

@silkenred tagged me in a thing, a special thing for people who have OC outfits for occasions and vibes, and felt I deserved to show off some of Jenni's wardrobe.

Thus, I have spent my birthday morning time wrassling with the Pinterest collage maker to bring you the following images.

WHAT WOULD YOUR OC WEAR…

Casually?

Ms. Zhao struggles with the concept of "casual," and a fit generally ends up somewhere between gymwear and business casual with an Edwardian flair. No tie, velvet on top, denim down below. Shirt and jeans, but it's a sharp shirt. Or it's no shirt at all.

Formally?

Loligoth. Dark academia. Champagne socialist. None of these are quite the vibe, but it's in between those poles, somewhere. Form fitting, gender contorting. This Kindred has a job to do, and you are making it difficult.

In the bedroom?

There's a harness under the jacket, and it's not just for keeping guns and knives in. There are straps, stark against pallor. Sometimes, things are too tight for comfort. Sometimes, they're silk and slip off with a word.

Bonus tattoo refs with this, since it's the only place you'll see all of them. The cutout tool decided none of these images were befitting its services, so it's all a bit square and sharp. Which, to be absolutely fair, is what Jenni's like in bed, so…

If you wanna do the thing, especially if you're @gwenynen-bach or @friends-of-beetlejuice , you do what you've got to do, but do what you want to do as well.

[emberfrostlovesloki]

Emily x Girly!reader [Mood Boards + HCs]

All photo credits after the cut.

I made these mood boards and HCs for my love @silk-spun as she is the queen of pink/girly things. I hope you like these, sweetheart!

I hope everyone is having a good ending to your week. Please be kind to yourself! - Love Levi 🩷

HCs

Emily will buy you anything cute and pink if she thinks you'd like it.

Emily will spend hours in the makeup store and at the vanity as you shop for makeup and put it on because it makes you so happy, and she loves to see you happy.

Emily adores when you wear bows in your hair or on a collar, or socks. She thinks they match your pretty personality so well.

You love to spritz perfume on Emily before you take naps so you can just breathe in the scent of honey and flowers that are perfect for Em.

Emily starts to wear more rings and jewelry because you get her some simple ones she can wear in the office.

Emily loves to make you breakfast in bed with some coffee and sparkling water because she wants you to relax in the morning.

Every morning Emily guesses the color of your underwear and you always make sure to send her a picture to show her if she's right or wrong in her guess.

Emily loves braiding your hair and adding little charms and bows to the ends.

Want to be added to my tag list? Please see this post, CM Tag List (linked)

Want to request a fic or mood board? My requests are open. Please see this post before requesting, CM Request Post (linked)

______________________________________________________________

Photo credits

Mood board 1:

Top Row: Left (@happyheidi) Center (@happyheidi) Right (@fyi-iyanni)

Middle Row: Left (@findher) Center (@weemsicalweems) Right (@fradenburg)

Bottom Row: Left (@stargirlies) Center (@happyheidi) Right (@pxsieszn)

Mood board 2:

Top Row: Left (@edwardian-masquerade) Center (@astralember) Right (@edwardian-masquerade)

Middle Row: Left (@astralember) Center (@enid-rhees) Right (@astralember)

Bottom Row: Left (@edwardian-masquerade) Center (@astralember) Right (@fairmaidnelly)

[aprillikesthings]

I wrote on my 60's au fic, yayyy

For all the (bordering on excessive) research I've done for this fic, I have intentionally not looked up anything about how trust funds work, much less how they worked in the 1960's. I have Adora a week after her 18th birthday just sneaking her birth certificate and some "paperwork" from her mother's file cabinet when she's not home and going to the bank and pulling out a little cash, since it's her money now, right??

Anyway, now I have a draft of the scene of her buying a red jacket which is something I've looked forward to writing!! There's an irony in the fact that she wears that red jacket for the entirety of canon because she's uncomfy in any clothes so she just keeps wearing what's familiar and gives her purpose (per Nate on twitter), but in my fic Adora buying her red jacket is a big Fuck You to her mother and makes her feel cool and even kinda hot for the first time.

Anyway want to read my first draft of this scene, it's a bit over 400 words--

(side note before going in: antique/thrift stores/flea markets in the 1960's often had Victorian/Edwardian things for CHEAP. That stuff was the same age then, as buying stuff from the 1950's and 60's is now, but apparently there was just more of it? I dunno how often I've read about hippies buying clothes from that era by the pound for almost nothing and then cutting them up to make new things.)

A week after Adora's 18th birthday party, she found her birth certificate and other paperwork in her mother’s file cabinet. She went to the bank after school and smiled at the teller and pulled several hundred dollars out of her trust fund. 

That weekend, Adora and her friends went downtown, and stopped at a dusty antique store with racks of super-old clothes. They took turns trying on a top hat and laughed while the shop owner scowled. 

Glimmer grabbed a purple velvet skirt made of real silk with a small rip at the bottom. “I can cut it shorter. Maybe make a top out of what I cut off, or even just the lining.” She showed them the lining, a beautiful lavender satin. 

Perfuma dug through strings of beads and looked at each one separately before putting it back or setting it aside. 

“Damn. It’s too small.” 

Adora looked up to see Bow struggling out of a red jacket. She walked away from where her and Glimmer had been flipping through a rack. 

The jacket was a vivid red wool, trimmed in gold braid and brass buttons. There was fur lining the collar and cuffs. It looked like something from a marching band, or maybe an old-fashioned military uniform. It was amazing. “Let me try it on.” 

Adora pulled off her green letterman jacket and draped it over a nearby rack before taking the red jacket from Bow. She put her arms through the sleeves and knew before she looked in the mirror that it fit. 

Her reflection startled her, a little. It wasn’t just that it fit, it made her look…cool. Really, really cool. 

But she also looked…hot. That was a new feeling. She turned in the mirror, admiring herself.

“Wow. Adora, you have to buy that,” Bow said. 

Glimmer looked over. “Oh hell yeah.” 

It smelled a little like moth balls. It was also missing the top button.

She sighed. “My mother hates it when I wear red.” 

Perfuma looked over and then gave Adora an up and down. “Hmm. Red’s a good color on you, though. And I saw a brooch that might work for the missing button, hold on.” She came back and dropped it into Adora’s palm: it was a gold wing. She pinned it in place of the missing button. It fit, somehow; like the jacket was intended to have a wing for a top button.

Glimmer walked up behind her and made eye contact in the mirror and grinned conspiratorially. “You know, it’s cold in the summer in San Francisco. My aunt complains about it.” 

Adora grinned back. 

(author's note: ahahahaha yes the jacket is based on one of the ones Jimi Hendrix wore, not that Adora knows who he is yet)

[antiquatedsimmer]

Here's Download for my Fav Edwardian cuties! Sorry tumblr wouldn't let me put the whole family in one post :(

DOWNLOAD LUCILE HERE

DOWNLOAD JOSEPHINE HERE

DOWNLOAD HELENA, EDDY & SILAS HERE

TOGETHER DOWNLOAD ON MY PATREON (FREE)

REQUIRED CC LINKS UNDER CUT:

Keep in mind if you want your sims to look EXACTLY like mine you'll all of it. But you are free to redress them and change things up as you please :)

These sims were exported with S4TI if anything is missing or incorrect let me know so creators may get proper credit.

If Anything is missing it should be easily replaced.

Lucile Doyle Harrington: Hair | Hair Ahoge | Soft Belly Mask | Eyes | Socks | Baby hairs | Eyebrows(Impact) | Lipstick | Skin Overlay | Teeth | Eyelashes | Fingernails | Blush | Skin Detail Pores | Skintone |

Everyday: Skirt | Collared Body Suit | Cardigan | Boots | Dirt Overlay | Apron

Formal: Inner Lace Top | Hair & Bow | Shoes | Silk Shawl | Dress

Athletics: Dress & Coat | Shoes | Hat

Sleepwear: Night Cap | Nightgown | Slippers

Party: Shoes | Collared Body Suit | Dress | Hair Swimwear: Wet Hair | Swim Dress | Swim Shoes

Summer: Skirt | Hat | Top (SimFinds Warning) | Silk Shawl | Shoes

Winter: Hat | Scarf | Shoes | Dress & Coat

Josephine Coombes: Teeth | Beauty marks | Puff sleeves | Eyes | Stockings | Wool Socks | socks | eyebrows (Impact) | Eyelashes | Skin Overlay | Everyday: Shoes | Hair | Blouse | Skirt (NewWomanSet by gilded Ghost Old CC)

Formal: Hair & Roses | Shoes | Dress (ravishing rosette gown by GildedGhost/ old CC) |

Athletics: Hair | shoes | Uniform | Maid Cap

Sleepwear: Slippers | Nightgown (Budoire Belle by Gilded Ghost/old CC | Hair

Party: Shoes | Collared Bodysuit | Hair | Dress |

Swimwear: Wet Hair | Shoes | Swim Dress

Summer: Hair | Shoes | Skirt | Skirt Recolor | Blouse | Hat | Apron

Winter: Hat | Hair | Shoes | Scarf | Dress & Coat ( Old CC LINK )

Thank you to all the CC creators and their hardwork! Seriously it's very much appreciated!

[trishmishtree]

I made a ruffly Edwardian c0rset cover!

In hindsight, maybe making the fashion layer of my Edwardian c0rset out of dark blue silk wasn't the wisest choice if I'm going to be wearing lightweight sheer summer blouses and dresses over it. But I don't mind because now I get to enjoy owning a ruffly c0rset cover.

It's basically just a loose fitting tank top with a few rows of ruffles sewn to the front of it. I got my pattern by tracing the top part of my combinations.

The c0rset is worn over bust and hip padding (oh hey if you look closely, you can see the hip pad I made months ago and never bothered to take pictures of). With the bust pad, it makes my bust 2 inches larger than it actually is. With the added ruffles from the c0rset cover, the proportions look a little off and make me look too top-heavy. It probably also looks off because I'm standing on a chair in front of my bathroom mirror, so it makes my top half look bigger. But I think it'll look more correct once I get around to making a fluffy floor-length petticoat.

(Disclaimer: I don't tight lace my c0rsets because I'm short-waisted and very not-squishy so my waist measurement doesn't change when I wear them. If my waist looks small in these pics, it's because I'm padding out my hips and bust. Bernadette Banner just so happened to release a video on this very topic today if you want a more in-depth explanation.)

Btw here's how it looks if I just want to wear the c0rset cover but don't feel like putting on the c0rset:

[offorestsongs]

the new birthday cards series got me thinking so

Lysander -> famously wears silly Edwardian-esque night gowns ; hair in a loose braid (actually he used to just sleep with his hair completely down until Vil learned about this and became absolutely horrified and then drilled some basic hair care into Lysander’s head)

Rosienne -> mostly wears some cute silk pjs sets but sometimes sleeps in old oversized shirts with faded prints of some children cartoons ; puts his hair in a satin bonnet to protect his curls

Kalle -> gets annoyed when they feel Too Much Fabric on their skin at night so they usually sleep in some shorts and tank tops but they don't care much how they look ; don't care much about their hair, but they put their little braid down

Swallow -> mostly just wears whatever random shirt he grabbed, has maybe one set of actually nice flannel pjs for winter ; sometimes he puts his hair down but sometimes he forgets and sleeps in his ponytail + often sleeps with his piercings bc he forgets about them too

Eliott -> buys kids pjs sets on purpose bc he thinks they look cuter (he's short so they usually still fits), usually sleeps in a soft jumper as well ; either wears his hair in a ponytail or completely down

[twinkpriest]

Feel like Michael is a type to go all out Victorian aethestic but just sweaters at home.

oh 100%

i think he really enjoys late victorian/edwardian/belle epoque silhouettes specifically.. probably secretly has a silk top hat and wool cape stashed somewhere in his closet

the minute he gets home though he's immediately like. 'i need put my comfy clothes on and wash my face this instant'. sweater mode activated. do not ask him to go anywhere he is home for the evening thank you

[eolewyn1010]

Downton Abbey Fashion 83 - festive occasions in 1925

We have three celebratory occasions this season: Mrs Hughes’ and Carson’s wedding, of which only two outfits don’t get repeated in everyday situations. Mary’s wedding to Henry Talbot, which is a little on-a-moment’s-notice affair for which also only three people bothered to get new dresses. And Edith’s wedding to Bertie Pelham. Which is poorly-lit for the most part. *sigh*

I’m surprised Violet of all people would get a new dress for Mary’s blitz wedding. It’s a pretty typical Violet deal and also beige, but I’m slightly inclined to forgive that because the curlicue applications on her collar and lapels are gorgeous. And the little bits of darker piping set in to highlight the pattern; it looks really nice. I also get a look at the back construction and the piping that goes around there, and, while the second hat is a repeater, the one for the wedding is new, and it’s a pretty sweet deal with the black and white plumage.

Violet’s final outfit on the show is obviously dusty Crawley purple, but she once again has a nice embroidery around the trim; I think those are black lilies. How goth of you, Violet. Other than that, silk satin, white lace blouse with a scratchy-looking neckline, and – oh, she leaves the show with a darling hat on! A new hat, I think; she didn’t wear this before Edith’s wedding, and it’s got golden leaves applications on cream and more dusty purple, plus a cute buckle and dusty pink feathers. Slay, queen. And RIP, Maggie Smith.

--------------

Isobel’s church coats for the various weddings were repeaters, so I only have a gloomy, grainy shot of her at Edith’s reception. It’s dark grey and underwhelming, although the fabric has this look of, like, shimmering splinters? Could be voided velvet. The front has one of those deep Vs and the sleeve cuffs repeat the plain fabric, and Isobel didn’t even have the decency to wear a contrasting necklace or a showy hat. Whatevs.

--------------

Lady Shackleton is nowhere to be seen at Edith’s wedding, but since Henry is her nephew, she’s around for his and Mary’s shindig, and she wears a goddamn beige coat. The mottled weave of it is nice enough, the collar has a cute little flowery embroidery, the hat looks like a piece of postmodern pottery with a lace trim slapped on, and the blouse she’s wearing under that coat is honest-to-god Edwardian, complete with a puffy pigeon chest. Fascinating.

--------------

Cora has the only new outfit at Edith’s reception beside Violet. Swallowed by the beige curse, she presents this sandy dress with lace at the hem, sleeves, and making up the yoke. Nice lace; love the flower motif and the scallops. But was a color to contrast it really too much to ask? Even dusty Crawley purple would’ve done. The hat is nice enough with more lace applications and white feathers, and the collar is admittedly nifty, two ribbon ties crossing over the throat and then hanging over her shoulders down the back. Still would have preferred to talk about the lady in the background with the golden printed coat and the glorious plumage on her hat.

--------------

Mrs Pelham has apparently learned simpering from Cora. Her outfit is boring; it’s just plain brown silk satin mostly covering a slightly more interesting lining fabric with some golden beading. I like the ruffled shoulder seams and the flowers on her hat, but please, someone bring me something else than brown before a brown background with yet more brown on top of it!

--------------

…Huh. Well, Rosamund went all-in for Mary’s wedding. Everyone else is like, “less is more”; she is like “I will compensate for ALL of you!” I think with a subtler hat this outfit might work. The ensemble is very lively with black roses and greenly-outlined leaves on cream, but red is a good color to contrast this, and a tassel element would not be considered unusually busy for the time. I even like the rose. Just put it on a less busy hat, that doesn’t have a curved brim and translucence and a cream trim going on.

For Edith’s wedding, she decided to blend into the crowd after all. I only get this one halfway clear shot of her, and she wears a brown dress with some glittery beading in vertical lines that, under her chest, run into a more intricate pattern of zigzags and curlicues. Where are your red contrast points now, Rosamund? A hat with some feathers, a necklace that may as well be not there, and the lighting is not making this any better.

--------------

The beige curse also got to Laura. For the church, she was still wearing fur and a reddish rust shade; now, the best I can say about her dress is that its shimmering gives it a bit of a golden impression. At least it’s a nice material, set off against plain chiffon sleeves that coordinate with her hat. It just isn’t much else.

--------------

Mary’s first wedding guest outfit is the better of the two (bride fashions go into a separate post later), and I cannot fathom that this lovely deep red dress never shows up again after Mrs Hughes’ and Carson’s wedding. It’s Mary’s color! It’s got a stylish asymmetrical neckline! It’s nice material! And it has this cool gathered element on the front! All this makes up such a chic, classy look that I can’t believe she would never wear that again. Not even the hat, a pretty simple and adaptable style, makes a reappearance.

For Edith’s wedding reception, the theme is apparently “brown”, so Mary is already adventurous by adding in gold. And where Edith takes the wild prints and adventurous colors of art deco, Mary takes the sharp, geometrical motives and the metallic looks. Set together from various diamond shapes, this dress ends up looking, while as shapeless as the 1920s do, quite glamorous. I only wish the longer chiffon sleeves were either plain or not there at all.

--------------

Edith also has an outfit exclusively for Mrs Hughes’ and Carson’s wedding which we never see again, this silvery chiffon and satin ensemble with a boat neckline. I really like this look on her; it’s so simple yet so elegant, in particular that yoke panel and the turquoise jewelry she chose to pair with it. Also, cute hat with an even cuter twig-shaped pin.

Probably the most colorful guest at Mary’s wedding, Edith is the only one who soundly rejects the greys and beiges (well, the shot is from her little outing to the cemetery, but I think she wore this for the ceremony?). We’ve seen this reddish orange dress with little rectangular elements near the end of season 5 when she went out for lunch with Mary, Rose, and Tom, but this time, she pairs it with a glorious dark blue coat with a white and sandy print. Edith also gives a last nod to her Michael-Gregson orange-and-indigo color pairing while looking at her and Michael’s daughter. Thematic congruence!

[throwing-roses-into-the-abyss]

1890s-ish outfit ideas

ok so my town is doing a historical christmas market for the second time ever this year (presumably, I haven't heard any updates yet but everyone around me acts like it's definitely happening so I guess it's happening idk)

Now one of the main inspirations for the outfit is this gorgeous gorgeous outfit from Crimson Peak:

I am. in love. (possibly because this kind of yellow is my favourite colour, though unfortunately I don't have fabric in this colour. ONE DAY). now I'm not going to do a bodice with those full muttonleg sleeves because ew no and also I don't have those skills yet, BUT I do highkey want to somehow incorporate that long bow on the back. (I also want to learn how to do my hair like that)

I also saw this post on instagram and I LOVE this outfit, even if it's about a decade later than what I'm planning. it's fine. there's like 3 people at that entire market that would know this and I know all 3 of them so I can just explain what's up lmao.

For the skirt I have a couple of inspirations that I might do a bit of a mixture of:

On the top left is a picture from a pattern book I have (which is good, because, pattern, even if I have to scale it up and adjust it to my size which will be a hot mess). Top right is a skirt from work that I love so so much, and I've been looking for a dark pinstripe fabric but tbh I already have a fabric and should just go with that instead. I might use the three stripe thing though. Bottom picture is another skirt from work that I was thinking of because of the similar decorations and also. green. because:

The fabric I'm going to use is a dark olive-y green changeant (/shot silk, except I don't think this is silk), so when it moves it gets a purple glow. I got it for free because we had 4 full boxes of unregistered fabrics at work that we filtered through and everything we decided not to keep was up for grabs and I claimed these immediately because I spent a solid couple of minutes just autistically staring at the colours changing in the light while we were folding it. it is, as far as I can tell, synthetic af and probably produced at some point between 1950 and 1980 but also. it's SO SO pretty.

I don't know exactly how much of this fabric I have but it's 2 very big pieces so definitely enough for a massive skirt if I want. I do think I want to use that pattern from the book I have, but I might add some more stripes or ruffles for decoration. idk yet. and also I'm thinking a big bow on the back with the strings going way down. I could make it one of those triangle-y black belts that got especially popular in the edwardian era but were already worn in the 1890s.

As I said, I don't know yet what I'm doing for the top/bodice/whatever. What I AM doing - and already making - is a knitted shawl. I'm using an 1864 pattern which you can find here. The original in the 1860s book looks like this:

BUT I'm making the main portion of it black, because that's what was much more commonly worn here. I haven't decided on the colours for the stripes yet, though I guess I'm probably going with a green to match the skirt.

and that's it so far! 3 months to make the skirt and shawl and decide on what else I'm going to wear, and to also make/find a petticoat or two (I have an actual historical traditional folk dress wool petticoat but it needs a lot of (hand)cleaning and then I need to put new tape on the top and bottom and new hooks and I just. haven't started on any of it yet.)

Oh also, before anyone asks: no I don't have a corset, and I'm not going to make one, because if I buy one it's expensive af and I don't have the time or skills to make one. it's fine. some day hopefully I'll have a corset or two. That said, if I do end up making a bodice I might cheat a little there and put some boning in that. Maybe.

[ladyhindsight]

There's something else! I think it's very noticeable that Cordelia is the most sexualized heroine CC has ever written. If not the most sexualized character, honestly. I found that weird. Did it bother you in ChoG? It keeps going strong in COI

I read adult romance all the time, I have nothing against sex in books. But this hipersexualization of teenagers was abnormal even for what we usually see in CC's writing

I understand that sex is something readers ask her A LOT, so there's that, but it's probably at least partly consequence of the writing too

- R

The hyper-sexualization of teenagers has been the issue since TMI. There was one part in particular in Chain of Gold that I was bothered by.

She could not help but be conscious of how closely the dress clung to her body. The fabric over her hips was so tight that she hadn’t been able to wear a petticoat beneath it, only her combination and a light corset. Anyone could see the shape of her waist, the swell of her bosom, and even the silk draped across the curve of her stomach. The narrow sleeves slipped down her shoulders, uncovering the tops of her breasts; the weight and softness of the material was like a caress. She felt elegant in a way she never had before, and a little wild.

This is a teenage girl, ma'am.

I also found it strange that none of the social issues concerning sex and marriage were present in The Infernal Devices (or at least so prominently) but are now in The Last Hours. Of course, otherwise the marriage plot couldn't happen the way it was written and planned, but it makes me wonder. Shadowhunters live in seclusion, away from the mundane world, so how is it that their society and societal norms and values reflect that of the Victorian/Edwardian era England?