#empire costume

[costumedump]

Costume For Joaquin Phoenix As Napoleon Bonaparte

Napoleon (2023)

Designed By Janty Yates And David Crossman

Art Of Motion Picture Costume Design (2024)

ASU FIDM

[silkentine]

Dear sister! Dear sister…

[rhapsoddity]

Anyone ready for Halloween? 🎃

[witchinatree]

so glad they made phoebe spengler queer purely because if she did all that over a MAN? i'd be so disappointed. for melody though? that's just an integral part of being a baby gay

[rogerdeakinsdp]

Denise Richards as Trish in EMPIRE (2002) dir. Franc. Reyes — costume design by Jacki Roach

[armthearmour]

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

[artsfavoritehorn]

I got an overwhelmingly interested response from everyone about my T2 experience so while I compile those posts about that, I'll share with y'all the best pic I've ever taken (and I've seriously debated multiple times just sending it as a holiday card to my family members and telling them happy holidays from me and my new boyfriend🥰😋 but haven't gotten around to that yet LOL) may I present to you the photo of when Art took me to the prom 🤡

This was taken way back in the summer of 2019 and it was one of the best days of my life, it was before Terrifier got crazy big like it is now so the lines were much shorter 🥲🥹 he was so adorable and sweet and it was so cute asking him in character if he would be okay with doing a prom photo pose and he instantly nodded his head yes with that big ol' smile and instantly turned me around and came right up behind me and wrapped his arms around me (and if you look closely you can see that he was also literally holding my fingers between his 😳🥵😂) I love my clown boyfriend and we are very happy together!!!🥰😋

[clarydrawz]

The Copper King of Pixandria!

[thesilicontribesman]

Roman Silver Serpent Ring from Caerwent, Newport Museum and Galleries, Wales

[wardrobeoftime]

Domina + Costumes

Antonia's red, orange & golden dress in Season 02, Episode 07.

// requested by @idreamhistory & @butterfliesjewels2134

[jeannepompadour]

Códice de Trajes, costumes from the realms of Charles V, Holy Roman Emperor and King of Spain, made in Germany in mid 16th century (1540s-1550s)

Prussia

Prussia and Friesland

Schwabia and Elzach

Juelich

Frisia

Germany

German dance

[costumedump]

Costume For Vanessa Kirby As Josephine Bonaparte

Napoleon (2023)

Designed By Jancy Yates And David Crossman

Art Of Motion Picture Costume Design (2024)

ASU FIDM

[ophelias-lamentation]

A Song of Ice and Fashion- House Tyrell

ft. the hairstyles from my other series

I wanted the Tyrell’s and the reach to wear a lot of pastels and floaty fabrics since it’s described as being really warm all the time. I went with a regency style since the regency era is known for being romantic and flowery also the fabrics are perfect for warm weather since they allow sweat to evaporate really easily. I also just really like the empire waist for the Tyrell’s since it would be really uncomfortable for a warm weather area to have tight fabric along the entirety of the torso.

[bloomyforest]

Day 4 + 5: Season 7 Wizard Scar and Emprires Season 1 Witch Gem

The plan was always to put these together btw as my goal is to make multiple group photos (i suppose). I just separated them to have 10 per column :^

[yourfavehaskenergy]

mark hamill when he wore that gold outfit in the 1970s had kenergy

Mark Hamill When he Wore That Gold Outfit in the 1970s has Kenergy!

[armthearmour]

Steel Brocade: Puffed & Slashed Costume Armor

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Both spaulders

and gauntlets

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

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

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

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

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

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

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

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

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

Sources

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

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

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

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

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

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

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

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

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

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

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

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