#european fashion heritage association

[sim7mfv]

Russian/Slavic Bimbo Core

The Russian/Slavic Bimbo is an aesthetic trend that became popular on TikTok in 2022 and 2023. The visual markers include: heavy furs, ushankas, neutral colors (particularly whites and creams), snow boots, grainy images, and eerie backgrounds. As the name suggests, this aesthetic is heavily associated with former Soviet countries in Eastern Europe, or rather an American fantasy of these nations. This aesthetic follows a growing American fascination with Eastern Europe within the past few years. In 2019, A$AP Rocky released “Babushka Boi'' and donned a floral head scarf tied below the chin in the traditional style of a slavic grandmother. In fashion, designers such as Demna Gvasalia, Gosha Rubchinskiy, and Lotta Volkova have incorporated their slavic heritage into their designs. However, the Russian Bimbo harkens back to a bygone era of furry fashion that has largely disappeared. The aesthetic combines y2k bimbo sensibilities (such as micro-mini skirts and chunky boots) and a fantasy of a Soviet princess. Interestingly, the aesthetic is embraced by slavic girls as well, but they tend to take a more authentic approach and use their mothers’ and grandmothers’ clothing to achieve the look. Non-slavic American girls are more likely to emphasize the bimbo over the Russian and pair a micro two piece skirt set with a acrylic ushanka. In addition to the y2k bimbo trend, the Russian Bimbo also plays on the sugar baby glorification on TikTok. There exists a stereotype of Russian women as transactional when it comes to romance and sex, which provides them with a luxurious lifestyle. Similar mentalities exist within trends such as “female manipulator” and “tradwife”. It seems as though young women have rejected the “girlboss” narrative and have decided that if they are going to be sexualized anyways, might as well lean into it and get a fur coat out of it. Of course, this is an oversimplification of a far more complex gender dynamic that exists in Eastern Europe, but the romanization of this stereotype certainly plays a role in the popularity of the aesthetic. Lastly, a theory I have about the appeal of European ethnic cultures such as Scandi-chic, French girl and this Slavic Bimbo is an ability to pull influence from other cultures without the fear of being accused of cultural appropriation. In the 2010s when cultural appropriation became a buzz-word, the accused included Selena Gomez for Indian-inspired performances, bindi-wearing Coachella girls, a teenage girl who wore a qi-pao to her prom, and many more. People have looked to other cultures for inspiration for millennia, and there exists no “pure culture” that has not incorporated aspects from many others. I believe the Russian bimbo aesthetic is so appealing because it offers the satisfaction of the exotic without the fear of being called a racist.

[mahashankh]

PAISLEY PATTERNS

Paisley Patterns: A Rich Tapestry of History and Style Paisley patterns, with their intricate and elegant designs, have captivated the world for centuries. Originating in the East and popularized in the West, paisley patterns have become synonymous with timeless style, cultural heritage, and artistic expression. Let's delve into the rich tapestry of history, symbolism, and contemporary relevance of paisley patterns. Historical Origins: The roots of paisley patterns can be traced back to ancient civilizations, particularly in present-day Iran and the Indian subcontinent. The pattern takes its name from the town of Paisley in Scotland, which became a prominent center for textile production in the 19th century. However, its design heritage is deeply rooted in the traditions of Persian and Mughal cultures. In Persia (modern-day Iran), the paisley pattern, known as "boteh" or "buta," originated around 200-650 CE. It was initially a symbol of fertility and rebirth, representing the shoots of a date palm or a floral motif. The Mughal Empire of India later embraced the paisley pattern, incorporating it into textiles, jewelry, and architecture. The motif was favored by emperors and courtiers, signifying wealth, power, and luxury. Popularity in the West: Paisley patterns gained popularity in the West during the 18th and 19th centuries, primarily due to the expansion of trade and the influence of the British East India Company. Importation of luxurious Indian textiles, including shawls adorned with paisley designs, captured the imagination of European fashionistas. Paisley shawls, with their intricate and mesmerizing patterns, became highly sought after by European nobility and the fashionable elite. Scottish weavers in Paisley played a significant role in producing these shawls, leading to the town's association with the pattern. Symbolism and Meaning: The paisley pattern is rich in symbolism and carries various meanings across cultures. It is often associated with the natural world, representing plants, flowers, and leaves. The curved teardrop shape that forms the core of the pattern is said to resemble a budding shoot or a seed, embodying growth and vitality. Furthermore, the paisley motif has been linked to the concept of eternity and spiritual enlightenment. Its intricate and continuous design is believed to symbolize the cyclical nature of life, representing a harmonious balance between birth, death, and rebirth. Contemporary Applications: In the modern era, paisley patterns continue to inspire designers and artists across various creative industries. Fashion designers incorporate paisley motifs into clothing, scarves, and accessories, adding a touch of timeless elegance and cultural allure. Interior designers use paisley patterns in upholstery, wallpapers, and home decor items to create a sophisticated and eclectic aesthetic. Moreover, paisley patterns have become a staple in textile design, where they are often combined with other motifs, colors, and techniques to create unique and contemporary interpretations. The versatility of the paisley pattern allows for experimentation, blending traditional designs with modern aesthetics, and infusing a sense of cultural fusion into textiles. Paisley patterns also hold significance in social and political movements. In the 1960s, the paisley motif became associated with counterculture and the "psychedelic" era. Its vibrant and swirling designs were embraced by the hippie movement, symbolizing peace, love, and a rejection of societal norms. In conclusion, paisley patterns are an enduring testament to the fusion of cultures, the evolution of design, and the power of symbolism. From their ancient origins in the East to their global popularity today, paisley patterns continue to captivate and inspire with their intricate beauty and timeless allure.

TYPES OF PAISLEY PATTERNS

Paisley patterns come in various forms and variations, each possessing its own unique characteristics and design elements. Here are some popular types of paisley patterns: - Traditional Paisley: Traditional paisley patterns feature the iconic teardrop-shaped motif, often intricately detailed and symmetrical. These patterns are typically composed of curving lines, swirls, and floral motifs. The teardrop shapes can vary in size and are often arranged in a repetitive, symmetrical manner, creating a sense of balance and harmony. - Paisley Border: This type of paisley pattern focuses on the border or edge of a textile or design element. It is commonly used in fabrics, such as scarves or borders of garments, where the paisley motif frames the edges, adding an elegant and decorative touch. Paisley borders can be simple or complex, featuring various elements such as flowers, leaves, or geometric shapes. - Paisley Fill: Paisley fill patterns refer to the complete filling of a surface or fabric with paisley motifs. The teardrop shapes are densely packed together, forming a continuous and intricate pattern. These designs are often seen in textiles like upholstery fabrics or wallpaper, where the paisley motif covers the entire surface, creating a captivating visual impact. - Paisley Jacquard: Jacquard-woven paisley patterns are known for their intricate and detailed designs. Jacquard looms allow for complex patterns to be woven into the fabric, including paisley motifs. Paisley jacquard fabrics are often used in upholstery, curtains, and high-end fashion, adding a luxurious and textured element to the design. - Paisley Damask: Paisley damask patterns combine the elegance of damask fabric with the beauty of paisley motifs. Damask refers to a weaving technique that creates a reversible pattern with a subtle sheen. Paisley damask patterns feature paisley motifs incorporated into the damask design, resulting in a sophisticated and timeless fabric often used in high-quality home textiles and formal apparel. - Modern Paisley: As with any design style, paisley patterns have evolved over time to suit modern aesthetics. Modern paisley patterns may incorporate bolder colors, simplified motifs, and experiment with different scales and arrangements. These patterns often blend traditional elements with contemporary design elements, catering to a more contemporary and eclectic audience. - Ethnic Paisley: Paisley patterns have strong ties to different cultures around the world. Ethnic paisley patterns draw inspiration from specific cultural traditions and incorporate unique design elements. For example, Indian paisley patterns may feature intricate henna-inspired details, while Persian paisley patterns may incorporate symbolic elements from Persian art and culture. Ethnic paisley patterns celebrate cultural heritage and provide a distinct and authentic aesthetic. These are just a few examples of the types of paisley patterns that exist. The versatility and adaptability of the paisley motif allow for endless variations and interpretations, ensuring its continued relevance and popularity in design and fashion.

HISTORY OF PAISLEY PATTERNS

The history of paisley patterns dates back centuries and is deeply rooted in the rich traditions of various cultures. The origins of paisley can be traced to ancient civilizations in the East, particularly in present-day Iran and the Indian subcontinent. Here is a historical overview of the development and evolution of paisley patterns: - Ancient Persia (Iran): The earliest known instances of paisley-like motifs can be found in ancient Persia, dating as far back as 200-650 CE. Known as "boteh" or "buta" in Persian, these motifs were originally representations of plant shoots, specifically the budding shoots of a date palm. The teardrop shape that forms the core of the paisley pattern is believed to have symbolized fertility and the regenerative power of nature. - Mughal Empire in India: Paisley patterns gained prominence during the rule of the Mughal Empire in India (1526-1857). The Mughal emperors and nobility greatly admired Persian art and culture and incorporated paisley motifs into their textiles, clothing, jewelry, and architecture. The intricate paisley designs adorned luxurious textiles, particularly the renowned Kashmiri shawls, which became highly sought after by royalty and the affluent. - The Scottish Connection: Although the paisley pattern's roots lie in the East, its association with the town of Paisley in Scotland played a significant role in its popularity in the Western world. In the 19th century, Paisley became a hub of textile production, specializing in shawls inspired by Indian designs. The town's weavers skillfully replicated the intricate paisley patterns, which became known as "paisley" due to their association with the town. - British East India Company: The introduction of paisley patterns to the Western world can be attributed to the British East India Company's trade with the Indian subcontinent. The company imported luxurious Indian textiles, including shawls adorned with paisley motifs, which captured the fascination of European consumers. The popularity of these shawls in Europe, especially during the 18th and 19th centuries, propelled the paisley pattern into the mainstream. - The Victorian Era: During the Victorian era in the 19th century, paisley patterns became a staple in European fashion and home decor. The intricate and exotic designs of paisley shawls symbolized wealth, status, and refined taste. The motifs were incorporated into clothing, accessories, and household items, such as wallpapers and upholstery fabrics. - Counterculture and Psychedelia: In the 1960s, the paisley pattern experienced a resurgence and took on new meaning during the counterculture and psychedelic movements. The vibrant and swirling designs of paisley became associated with peace, love, and the exploration of altered states of consciousness. The paisley motif adorned clothing, album covers, and posters, symbolizing a rejection of mainstream society and a celebration of individuality and free expression. Today, paisley patterns continue to be admired and utilized in various forms of design, including fashion, interior decor, and art. They represent a fusion of cultural heritage, artistic expression, and timeless elegance, captivating audiences around the world with their intricate beauty and symbolism.

FUTURE OF PAISLEY PATTERNS

The future of paisley patterns is expected to be a continuation of their enduring appeal, with new trends and interpretations emerging. Here are some potential aspects to consider regarding the future of paisley patterns: - Evolving Design Aesthetics: Paisley patterns have a timeless quality that transcends specific eras or design movements. As design aesthetics evolve, paisley patterns will adapt to reflect contemporary tastes. Designers may experiment with different color palettes, scale variations, and innovative techniques to create fresh and modern interpretations of paisley. This could involve blending traditional paisley motifs with abstract or geometric elements, resulting in exciting and eclectic designs. - Technological Advancements: Advancements in technology, particularly in textile printing and manufacturing, can open up new possibilities for paisley patterns. Digital printing techniques allow for intricate details and vibrant colors, enabling designers to explore complex and imaginative paisley designs. Additionally, advancements in fabric technology may offer opportunities for incorporating paisley patterns into new materials, such as sustainable textiles or smart fabrics. - Cultural Fusion and Global Influences: Paisley patterns have a rich history of cultural exchange and fusion. As our world becomes more interconnected, the future of paisley patterns will likely be influenced by global design influences. Designers may draw inspiration from diverse cultures, merging traditional paisley motifs with elements from different artistic traditions. This fusion of styles and cultural influences can create exciting and unique variations of paisley patterns that celebrate global diversity. - Sustainability and Ethical Considerations: With a growing emphasis on sustainability and ethical practices in the fashion and textile industries, the future of paisley patterns may align with these values. Designers may explore sustainable materials and production methods, such as organic fabrics, natural dyes, or recycled materials, to create environmentally conscious paisley designs. Additionally, there may be a focus on preserving traditional craftsmanship techniques associated with paisley, supporting local artisans and communities. - Cross-Industry Collaborations: Paisley patterns have the potential to extend beyond fashion and textiles. Collaborations between designers, artists, and other industries can introduce paisley patterns into various applications, such as product design, home decor, and even digital media. The versatility of paisley patterns allows for cross-pollination across different creative fields, resulting in exciting and unexpected uses of the motif. - Personalization and Customization: In an era of increasing personalization, paisley patterns can offer individuals the opportunity to express their unique style. Customization options, such as digital tools or platforms, can allow consumers to create their own bespoke paisley designs, incorporating personal elements or symbols. This personalized approach can enhance the emotional connection people have with paisley patterns and make them even more meaningful. Overall, the future of paisley patterns looks promising, with their timeless appeal and adaptability to changing design trends. As design, technology, and cultural influences continue to evolve, paisley patterns will remain a vibrant and cherished element of our visual landscape, blending tradition with innovation and inspiring new generations of designers and enthusiasts.

MARKET OF PAISLEY PATTERNS

The market for paisley patterns is diverse and widespread, encompassing various industries and consumer segments. Here are some key aspects of the market for paisley patterns: - Fashion and Apparel: Paisley patterns have a significant presence in the fashion industry. They are incorporated into clothing, accessories, and footwear, catering to different market segments ranging from high-end fashion to casual wear. Paisley patterns can be found in garments such as dresses, shirts, scarves, ties, and even swimwear. The fashion market for paisley patterns is influenced by seasonal trends, designer collections, and consumer preferences for timeless elegance and unique designs. - Home Decor and Interior Design: Paisley patterns add a touch of sophistication and style to home decor products. They are commonly used in upholstery fabrics, curtains, bedding, rugs, and wallpapers. The market for paisley patterns in the home decor sector caters to a range of consumer preferences, from traditional and ornate designs to contemporary and minimalistic interpretations. Interior designers and homeowners often seek paisley patterns to create focal points and add visual interest to their spaces. - Textile Industry: The textile industry plays a vital role in the market for paisley patterns. Textile manufacturers produce fabrics with paisley designs that are then utilized by various industries. These fabrics are used by fashion designers, interior decorators, and craftspeople to create a wide range of products. The demand for paisley-patterned fabrics varies depending on the fashion trends, seasonal collections, and the specific needs of different markets. - Craft and DIY: Paisley patterns have a strong presence in the craft and do-it-yourself (DIY) market. Crafters, hobbyists, and DIY enthusiasts use paisley patterns to create handmade items such as quilts, cushions, bags, and jewelry. The availability of paisley pattern templates, stencils, and digital resources allows individuals to incorporate paisley motifs into their creative projects, making it accessible to a wide range of skill levels. - Global Market Reach: The market for paisley patterns has a global reach, with demand and popularity extending across different regions and cultures. While the patterns have historical roots in the East, they have gained global recognition and appeal. The popularity of paisley patterns varies in different markets, influenced by cultural preferences, fashion trends, and local traditions. Regions such as Europe, North America, and Asia have significant markets for paisley patterns, with a growing interest in emerging markets as well. - Online and Retail Channels: Paisley patterns are distributed through various channels, including online platforms, retail stores, and specialty boutiques. E-commerce has played a significant role in expanding the accessibility and reach of paisley patterns, allowing consumers to explore a wide range of options and purchase products from anywhere in the world. Retail stores, both large chains and independent boutiques, also offer paisley patterned products, providing consumers with hands-on shopping experiences. The market for paisley patterns is influenced by factors such as consumer preferences, fashion trends, cultural influences, and the overall economic climate. Its versatility and enduring appeal ensure a continued demand for paisley patterns, driving innovation, creativity, and market growth in the years to come. Read the full article

[gradrags]

From Classic to Contemporary: Exploring Different Styles of Graduation Gowns

Graduation is a milestone that marks the culmination of years of hard work and dedication. One of the most recognizable symbols of this momentous occasion is the graduation gown. Traditionally, these gowns have followed a specific design rooted in academic history. However, over the years, styles have evolved to offer a more contemporary twist, allowing graduates to express their individuality. If you’re looking for the perfect graduation gown in Abu Dhabi, Gradrags offers a wide range of options that blend both classic elements and modern fashion.

The History Behind Graduation Gowns

Before diving into the various styles available today, it’s important to understand where the tradition of wearing graduation gowns began. The history of graduation gowns dates back to the 12th century when European universities adopted long robes similar to clerical garments. These gowns were initially worn to reflect the solemnity of academia and distinguish scholars from the general population.

In the centuries that followed, graduation gowns became a symbol of academic achievement, with their design largely remaining unchanged. However, as modern times brought new trends in fashion and individual expression, graduation gowns began to evolve, allowing students to incorporate both tradition and personal style.

Classic Graduation Gown Styles

The traditional graduation gown is typically made from black or dark-colored fabric, reflecting its roots in formal academic attire. These gowns are often designed with full sleeves and flowing material, exuding a sense of formality and elegance. The square mortarboard cap and tassel complete the classic graduation look.

For those seeking a more traditional style, Gradrags provides graduation gowns in Abu Dhabi that honor this timeless design. These classic gowns are ideal for graduates who want to preserve the solemnity and academic heritage associated with the occasion. They serve as a reminder of the rich history behind the graduation ceremony, and many graduates appreciate the connection to centuries of tradition.

Contemporary Graduation Gown Trends

While the traditional look remains popular, many graduates today prefer to add a touch of modernity to their gowns. Contemporary graduation gown styles feature updated designs, incorporating a range of colors, fabrics, and fits that reflect the personality and preferences of the individual.

One of the key trends in contemporary gowns is the use of vibrant colors. Instead of sticking to black or dark shades, many graduates now opt for gowns in their school colors or in hues that reflect their field of study. For example, blue may represent a degree in education, while green can symbolize a focus on environmental studies. Gradrags offers a selection of colorful graduation gowns in Abu Dhabi, allowing graduates to make a statement on their big day.

Another modern trend is the use of lightweight, breathable fabrics. With the warm climate of Abu Dhabi in mind, many graduates seek gowns that are comfortable to wear during outdoor ceremonies. Gradrags provides a variety of fabric options that are both stylish and practical, ensuring that graduates remain comfortable while still looking their best.

Personalized Graduation Gowns

Personalization is another trend that has gained momentum in recent years. Many graduates now seek to customize their gowns to reflect their unique journey and experiences. Whether it’s adding embroidered initials, a quote that holds personal meaning, or even a custom-made sash, there are countless ways to make your gown truly your own.

Gradrags offers customization services for graduation gowns in Abu Dhabi, allowing graduates to add personal touches that set their gown apart from the rest. This is particularly popular for graduates who want to commemorate their achievements with a gown that holds sentimental value beyond the ceremony itself.

Sustainable Graduation Gowns

As environmental consciousness grows, many graduates are now opting for sustainable options when choosing their graduation attire. Eco-friendly gowns made from recycled or biodegradable materials are becoming more widely available, offering an environmentally responsible alternative to traditional polyester gowns.

Gradrags is committed to offering sustainable graduation gowns in Abu Dhabi for environmentally-conscious students. These gowns are not only stylish and durable but also provide peace of mind, knowing that you’ve made a choice that benefits both you and the planet.

Choosing the Right Style for You

Whether you prefer a classic look or want to embrace contemporary trends, the most important factor when choosing your graduation gown is to find a style that feels authentic to you. Graduation is a time to celebrate your hard work, and your gown should reflect your personality and achievements.

When selecting your gown, consider the tone of your graduation ceremony, your personal style, and the climate of Abu Dhabi. With the wide selection of graduation gowns in Abu Dhabi available at Gradrags, you’re sure to find the perfect gown that fits your preferences, while also maintaining the dignity and tradition of this special occasion.

Conclusion

Graduation gowns have come a long way from their origins in medieval academia, with today’s options offering a blend of classic and contemporary styles. Whether you’re drawn to the elegance of tradition or prefer a modern twist, Gradrags provides an impressive selection of graduation gowns in Abu Dhabi that cater to all tastes. From timeless black robes to vibrant, custom-designed pieces, each gown reflects the individuality and pride of the wearer. Make your graduation day even more special by choosing a gown that represents both your academic journey and your unique style.

[soccerinstyle]

AC Milan Jersey: A Timeless Symbol of Passion and Glory

AC Milan, one of the most storied football clubs in the world, has a rich history that is beautifully encapsulated in its iconic jersey. This article delves into the significance of the AC Milan jersey, its evolution over the years, and why it remains a cherished item for fans and collectors alike.

The Heritage of AC Milan

Founded in 1899, AC Milan quickly established itself as a powerhouse in Italian and European football. The club's rich heritage is not only reflected in its numerous titles but also in the distinctive red and black stripes of the AC Milan jersey. These colors symbolize the fiery passion and indomitable spirit of the team.

Evolution of the AC Milan Jersey

The AC Milan jersey has undergone several transformations since the club's inception. From the heavy cotton shirts of the early 20th century to the lightweight, high-tech fabrics used today, each iteration of the jersey reflects advancements in sportswear technology and changes in design trends.

Early Years: The original jerseys were simple, with broad stripes and minimal embellishments. These jerseys were made from thick, durable materials suitable for the rough and tumble of early football.

Mid-Century: As football grew in popularity, so did the sophistication of the jerseys. The 1950s and 60s saw the introduction of more fitted shirts and the inclusion of sponsor logos, which added a new dimension to the design.

Modern Era: Today's AC Milan jerseys are marvels of modern engineering, featuring moisture-wicking fabrics, ergonomic designs, and vibrant colors. These advancements not only enhance performance but also ensure that the jerseys remain stylish and comfortable.

For more details and to purchase your very own AC Milan jersey, click here.

The Jersey as a Cultural Icon

The AC Milan jersey is more than just a piece of sportswear; it is a cultural icon. Worn by legends like Paolo Maldini, Franco Baresi, and more recently, Zlatan Ibrahimović, the jersey embodies the pride and glory of one of football's greatest clubs.

Symbol of Unity: The jersey unites fans across the globe, transcending geographical boundaries and cultural differences. Whether you’re watching a game at San Siro or following from afar, wearing the AC Milan jersey is a powerful statement of allegiance and support.

Fashion Statement: Beyond the pitch, the AC Milan jersey has also found a place in the world of fashion. Its striking design and rich history make it a popular choice for casual wear, showcasing a blend of sporty flair and cultural heritage.

Collecting AC Milan Jerseys

For many fans, collecting AC Milan jerseys is a cherished hobby. Each jersey tells a story, marking significant moments in the club's history. From commemorative editions celebrating major victories to rare finds from the early days of the club, these jerseys are prized possessions.

Tips for Collectors:

Authenticity: Always ensure that you are purchasing authentic jerseys. Look for official club tags, high-quality materials, and reputable sellers.

Condition: The condition of the jersey significantly impacts its value. Mint condition jerseys, particularly older or limited edition ones, are highly sought after.

Provenance: Jerseys worn by players or associated with specific matches or events can be especially valuable. Documentation or certificates of authenticity can enhance the value of these items.

Conclusion

The AC Milan jersey is a timeless symbol of football excellence. Its evolution mirrors the growth of the sport itself, while its cultural significance continues to unite fans worldwide. Whether you are a die-hard supporter or a collector, the AC Milan jersey is a must-have item that captures the essence of this legendary club.

For more information on football history and memorabilia, you can explore resources like the National Football Museum and the FIFA Museum.

[safarpublishing02]

The Ushanka Hat: A Symbol of Warmth and Tradition

The ushanka, also known as the Russian fur hat, is an iconic piece of headwear known for its distinctive ear flaps and historical significance. Originating from the cold regions of Russia and Eastern Europe, the ushanka is designed to provide maximum warmth and protection against harsh winter conditions. This article delves into the history, design, cultural significance, and modern adaptations of the ushanka hat.

Historical Background

The ushanka hat has a rich history that dates back to the early 20th century. Its design was inspired by various traditional headwear used by the indigenous peoples of Siberia and the Russian Far East. The term "ushanka" is derived from the Russian word "ushi," meaning "ears," referring to the hat's characteristic ear flaps.

During World War II, the ushanka became widely recognized as part of the Red Army's winter uniform. Its practical design, which includes the ability to tie the ear flaps up or down, made it an essential item for soldiers facing the extreme cold of the Eastern Front. The hat’s widespread use by the military helped cement its status as a symbol of Russian resilience and practicality.

Design and Materials

A traditional ushanka is made from sheepskin, rabbit fur, or other animal pelts, with the fur side turned inward for insulation. The exterior can be crafted from various materials, including wool, leather, or synthetic fabrics. Modern versions of the ushanka may also use faux fur, making them more accessible and animal-friendly.

The defining feature of the ushanka is its ear flaps, which can be worn down to cover the ears and neck or tied up on top of the hat. This versatile design provides flexibility, allowing the wearer to adjust the hat based on weather conditions. Some variations also include a front flap that can be folded down to shield the forehead and face.

Cultural Significance

Beyond its practical use, the ushanka holds a deep cultural significance in Russia and Eastern Europe. It is often associated with Russian identity and heritage, appearing in folklore, literature, and art. The hat is a common souvenir for tourists visiting Russia, symbolizing a connection to the country's history and traditions.

The ushanka has also found its way into popular culture and fashion. It has been featured in numerous films, television shows, and music videos, often as a symbol of Eastern European culture. The hat's unique and recognizable shape makes it a popular choice for winter fashion, blending traditional design with contemporary style.

Modern Adaptations

In recent years, the ushanka has seen various modern adaptations. Designers have experimented with different materials, colors, and patterns, creating versions of the hat that appeal to a global audience. Faux fur ushankas, in particular, have gained popularity due to growing awareness of animal rights and sustainable fashion.

Additionally, the hat has been embraced by various subcultures, including streetwear enthusiasts and outdoor adventurers. Its warmth and practicality make it a favorite for winter sports and activities, from skiing to hiking.

Conclusion

The ushanka hat remains a timeless piece of headwear that seamlessly combines functionality with cultural heritage. Its ability to provide warmth in extreme cold, coupled with its rich history and symbolism, ensures that the ushanka will continue to be cherished and worn for generations to come. Whether as a fashion statement or a practical accessory, the ushanka stands as a testament to enduring style and tradition.

[spookyarbiterkitty]

Exploring the Art of Hairline Shapes

In the realm of personal aesthetics, the contour of one’s hairline holds a profound significance. It frames the face, accentuates features, and contributes significantly to an individual’s overall appearance. Hairline shapes are not merely arbitrary lines; they are artistic expressions that can evoke a variety of emotions, convey cultural identities, and even symbolize social status. From the sleek curves of a widow’s peak to the soft wisps of a rounded hairline, each shape tells a unique story about its bearer.

One of the most distinctive hairline shapes is the widow’s peak. Named after the peaked cap worn by widows mourning their husbands in Victorian times, this hairline forms a distinct V-shape at the center of the forehead. Often associated with mystery and allure, the widow’s peak has been immortalized in literature and cinema as a symbol of elegance and sophistication. Count Dracula, with his iconic widow’s peak, epitomizes the enigmatic allure of this hairline shape, adding a touch of mystique to his character.

Contrary to the sharp angles of the widow’s peak, the rounded hairline exudes softness and femininity. Characterized by gentle curves that frame the face, this hairline shape is often associated with youthfulness and innocence. It can create a halo-like effect around the face, enhancing features and imbuing the wearer with an angelic aura. Throughout history, artists have depicted goddesses and nymphs with rounded hairlines, capturing the ethereal beauty of this timeless archetype.

In contrast, the straight hairline exudes a sense of strength and stability. Defined by its clean, horizontal edge, this hairline shape is often associated with confidence and assertiveness. It provides a solid foundation for hairstyles and can create a bold, sculptural effect when paired with angular features. From ancient warriors to modern-day leaders, individuals with straight hairlines have long been revered for their unwavering resolve and steadfast demeanor.

Beyond its aesthetic appeal, the hairline shape can also hold cultural significance. In some societies, certain hairline shapes are associated with specific ethnicities or ancestral lineages. For example, the high, flat hairline is a common trait among individuals of East Asian descent, while the deep, angular widow’s peak is more prevalent in European populations. These variations reflect the rich tapestry of human diversity and highlight the intricate interplay between genetics and cultural heritage.

Furthermore, hairline shapes can serve as markers of social status and identity within certain communities. In ancient Egypt, for instance, the royal elite often shaved their hairlines to achieve a high, pronounced forehead, symbolizing their exalted status and divine lineage. Similarly, in medieval Europe, the fashion for plucking or shaving the hairline was prevalent among the aristocracy, distinguishing them from the common populace and reinforcing their privileged position in society.

In contemporary times, the pursuit of the perfect hairline shape has fueled a thriving industry of cosmetic procedures and styling techniques. Hair transplant surgery, for example, offers a solution for individuals experiencing hair loss or receding hairlines, enabling them to restore their youthful appearance and confidence. Meanwhile, hairstylists employ various cutting and styling methods to sculpt and enhance the natural contours of the hairline, creating bespoke looks that reflect their clients’ unique personalities and preferences.

However, amidst the quest for aesthetic perfection, it is essential to recognize the beauty of diversity and embrace the natural variations in hairline shapes. Just as no two faces are alike, no two hairlines are identical, and therein lies their charm. Whether soft and rounded, sharp and angular, or somewhere in between, each hairline shape tells a story of heritage, identity, and individuality.

In conclusion, hairline shapes are not mere lines on the forehead; they are artistic expressions that convey a wealth of meaning and significance. From the mysterious allure of the widow’s peak to the soft femininity of the rounded hairline, each shape has its own unique charm and symbolism. Whether influenced by genetics, culture, or personal style, the contour of one’s hairline is a defining feature that shapes perceptions and reflects the essence of who we are.

[oraiotisimeras]

Emilio Pucci

[trapstarczech]

Trapstar Czech: Unveiling the Fusion of Trap Music and Czech Culture

In a globalized musical landscape where genres transcend borders, a unique phenomenon has emerged in the heart of Europe – the Trapstar Czech. This fusion of trap music with the rich cultural tapestry of the Czech Republic has given rise to a new wave of artists who are not only redefining the country's music scene but also challenging the conventional perceptions of what it means to be a Trapstar.

The Trapstar Czech movement is a testament to the universal appeal of trap music, seamlessly blending with the diverse traditions and narratives of Czech culture. While trap music is often associated with the gritty realities of urban life, Trapstar Czech artists infuse their music with a distinctive Central European flair, creating a sound that is both authentic and innovative.

One of the key figures leading the Trapstar Czech movement is Pavel "PraguePulse," a rapper and producer whose music encapsulates the spirit of the Czech streets while embracing the trap genre's signature beats and rhythms. His lyrics, delivered in both Czech and English, bridge the gap between the local audience and the global trap community, showcasing the versatility of the Trapstar Czech movement.

What sets Trapstar Czech apart is its ability to marry the traditional with the contemporary. Artists often draw inspiration from Czech folklore, historical events, and societal issues, infusing their trap beats with a narrative deeply rooted in the country's identity. This unique blend not only attracts local audiences but also captivates listeners around the world who appreciate the authenticity and cultural richness embedded in Trapstar Czech music.

The rise of social media has played a pivotal role in amplifying the Trapstar Czech movement. Platforms like YouTube and Instagram have provided these artists with a global stage, allowing them to share their music and cultural perspective with audiences far beyond Czech borders. The Trapstar Czech hashtag has become a rallying point for fans, creating a community that celebrates the intersection of trap music and Czech heritage.

Beyond the music, Trapstar Czech artists are making waves in the fashion and art scenes. Collaborations with local designers and visual artists have resulted in a distinct Trapstar Czech aesthetic that blends streetwear with traditional Czech elements. The movement's influence extends beyond the auditory realm, permeating into visual arts and fashion, creating a holistic cultural experience for its audience.

[benpike]

New York City’s Tourist Attractions - Big and Small

New York City (NYC) is the quintessential American metropolis, offering visitors a cornucopia of diversions. Measuring approximately 301 square miles, NYC is a bonanza of financial, cultural, fashion, educational, research, and political activity. This compact city, with an estimated population hovering over 8.3 million, is an international tourist destination offering visitors big and small attractions.

NYC was named after the Duke of York (King James II of England) in 1664. Before its settlement, NYC was home to Algonquian tribes (including the Lenape). During colonization, the Portuguese, English, and Dutch (credited with naming Wall Street) were the first to make their mark on the city. Since its settlement, the city's long history of immigration from countries worldwide has left an indelible mark on the city's architecture, art, food, and culture.

This influx of people from every continent is probably best represented in the city's most apparent landmark, the Statue of Liberty. A UNESCO World Heritage site, the Statue of Liberty was a beacon for immigrants arriving in the country during the 19th and 20th centuries. Tourists can view this landmark from various areas in Manhattan, including the High Line and Battery Park. Travelers can also visit the monument's crown by climbing the 162 stairs to the top and then tour Ellis Island's National Museum of Immigration. The museum features heirlooms and artifacts belonging to immigrants who arrived in the US through Ellis Island.

Another big museum in NYC is the Museum of Modern Art, which embodies pop culture and 20th-century history. Here, visitors can see works from artists and creators worldwide. Painters installed at MOMA at one time or another include Pablo Picasso, Vincent Van Gogh, Salvador Dali, and more modern artists such as Andy Warhol.

NYC has several museums, including the Metropolitan Museum of Modern Art, another UNESCO Heritage Site. Also known as the MET, the museum features artwork from around the world. Past collections have included art from Egypt and classical antiquity. The museum has a permanent Greek, Roman, Egyptian, and Islamic art collection.

Most of the city's various museums have entrance fees. However, tourists can also enjoy visiting places that are free of cost, such as Central Park and Brooklyn Bridge. While many associate Central Park with Manhattan, the park runs through other parts of the city. Visitors can tour the Bethesda Fountain and the Mall to see centuries-old trees blanketing the area. Other notable places to relax include the Conservatory Garden and Shakespeare Garden. The park also contains the Billy Johnson and the Heckscher Playgrounds for families traveling with children.

Additionally, the Brooklyn Bridge is a freebie that allows tourists to visit one of the country's historic landmarks. Noted for its engineering, the structure is one of the country's oldest suspension bridges and runs over the East River, connecting Manhattan with Brooklyn and the Financial District with Chinatown. Visitors can also enjoy Brooklyn Bridge Park, which was once an industrial district and a transportation depot for immigrants. The park contains promenades, playgrounds, basketball courts, a roller skating rink, gardens, and six piers along the riverfront.

Finally, those who want to view the architecture of NYC in its earlier days should visit the Grand Central Terminal. Upon entering, the visitor will see the building's neoclassical architecture. Once inside, marble floors, nickel and gold-plated chandeliers, and a sky-themed ceiling transport the person to another time. While it costs nothing to enter, visitors can dine at its upscale and moderately priced restaurants and shop at its European-style market, the Grand Central Market, and some of its pricey stores.

[lucysfashionmarketingunit1]

"Christian Dior" Spring Summer 1995 by Gianfranco Ferrè "Backstage Hair & Make-up by Aldo Coppola" - YouTube

Fashion Channel. (2012). "Christian Dior" Spring Summer 1995 by Gianfranco Ferrè "Backstage Hair & Make-up by Aldo Coppola". [Online]. Youtube. Last Updated: 2 April, 2012. Available at: https://www.youtube.com/watch?v=D4oJngt9H5M [Accessed 23 November 2023].

Piotr Szaradowski. (2019). Many Archives, One Fashion Story: Gianfranco Ferré at Christian Dior. [Online]. European fashion heritage Association. Last Updated: 8 September, 2019. Available at: https://fashionheritage.eu/many-archives-one-fashion-story-gianfranco-ferre-at-christian-dior/ [Accessed 23 November 2023].

Veronica Horwell. (2007). Gianfranco Ferré. [Online]. The Guardian. Last Updated: June 19, 2007. Available at: https://amp.theguardian.com/news/2007/jun/19/guardianobituaries.italy [Accessed 23 November 2023].

[cobieunit2blog]

Charles Fredrick Worth

(this video gives a brief overview of Charles Frederick Worth and who he was)

(This video gives a more in-depth view of Charles Frederick Worthand his signature looks and how his legacy lives on)

References:

Charles Frederick Worth (no date) Encyclopædia Britannica. Encyclopædia Britannica, inc. Available at: https://www.britannica.com/biography/Charles-Frederick-Worth (Accessed: January 4, 2023).

Charles Frederick Worth (no date) Metmuseum.org. Available at: https://www.metmuseum.org/toah/hd/wrth/hd_wrth.htm (Accessed: January 4, 2023).

Charles Frederick Worth - Google Arts & Culture (no date) Google. Google. Available at: https://artsandculture.google.com/story/charles-frederick-worth-the-metropolitan-museum-of-art/cgXBLFjMklCtIQ?hl=en (Accessed: January 4, 2023).

Journal → fashion & history (no date) Understanding Underwear: The Victorian Crinoline | European Fashion Heritage Association. Available at: https://fashionheritage.eu/understanding-underwear-the-crinoline/ (Accessed: January 4, 2023).

Victorian bustle: Hidden secret behind the 1880s silhouette (no date) VICTORIANA MAGAZINE. Available at: http://www.victoriana.com/Victorian-Fashion/victorianbustles.html (Accessed: January 4, 2023).

[eurfashion]

A Greek-orthodox nun. Easter, Holy Sepulcher, old city, Jerusalem, 2017.

Photo: Gali Tibbon.

[creature-wizard]

So this is a post from a white person, to white people getting into paganism and such trying to find “their culture.” I’ve watched a lot of people stumble through this and make same mistakes over and over, so I’m going to talk about some of them. So first of all, the whole DNA thing. I’ll cut to the chase: you can’t tell what “culture” you belong to based on your DNA, and having some DNA commonly associated with certain regions doesn’t necessarily mean you “belong” to the cultures that live there. The idea that DNA = culture = country is just white supremacy. This whole thing of, “Oh, I’m some percent Irish and some percent Swedish” fails to acknowledge how borders and territories have changed throughout the years, and how it’s always been normal for people to move around and make babies with people from other parts of the continent. Your culture is defined more by who raised you and what they raised you with. Now of course, if you’re a white American, your ancestors might have assimilated into “American” culture and tried to hide any obvious markers of their heritage; plus that whole thing where a lot of stuff has been appropriated from marginalized people. Like, just because your family’s in the cattle industry doesn’t entitle you to wear faux Native American fashion simply because it’s been a thing for years. That said, your culture is might be much closer to you than you think. What are your parents’ surnames? How about your grandparents’ surnames? Assuming your ancestors didn’t change their names to assimilate, that can be a clue right there. It’s not perfect, because people moved around Europe and surnames got around, but it’s a start. Your family might have traditions, quirks, and whathaveyou that trace back to somewhere in Europe. The kind of things your family chooses to eat and how they cook it. The kind of things they believe about ghosts and fairy beings. Their general assumptions and values. Again, not perfect, because people swap stuff all the time. (Just because my grandmother learned how to make a good marinara sauce and passed that down doesn’t make me Italian, lol.) But it can be a clue. You’ll probably have to talk to your family and dig up genealogical records, immigration records, and things like that. This, plus the other stuff is going to help inform you on what “your culture” is. I’ve noticed that there’s this commonplace expectation that your culture is is going to be this wondrous, idealized fairytale thing that’s going to be so unlike what you know already that it’s going to be like stepping into another world. And like, no. You’re probably going to find that it’s full of things you’re already familiar with and just took for granted. It’s not like we just tossed out everything from our past and started over from scratch. Also, you’re going to find that a lot of your culture is Christian. Not everything is going to have a pagan origin, even if it doesn’t really “look” “Christian.” Most of European Christianity has always been syncretic - not because of any wicked plot of the Catholic Church, but because that’s what people who convert do. If you’ve grown up being damned sure that fairies exist, you don’t stop believing them just because they aren’t in the Bible. You might, however, try and explain their existence through a Christian lens. Just because somebody’s Christianity includes elements of pre-Christian belief, doesn’t make it any less Christian. And of course Christians are still people who need fun and stimulation and will come up with all kinds of whimsical, silly things to entertain themselves. Puritanicalism is the exception, not the rule. Also, unless “your culture” is indeed of Greek or Roman origin, don’t expect it to work like Greek or Roman culture. Most Europeans were still into the whole animism, ancestor worship, local clan god thing when they converted to Christianity. They had places of worship, sure. But they didn’t have big urban temples or some big central government to decree what the “official” pantheon was. Be aware that your culture won’t always be pretty or nice. There’s going to be some nasty stuff in there somewhere. And there are good odds that your ancestors were not violently forced to convert, but did so willingly. Anyway, if there’s one thing I hope you take from all of this, it’s that people need to understand that while DNA might can give you hints about what culture(s) you belong to, it’s not the be-all, end-all, and what you were brought up with and who those traditions come from is generally more important.

[badgerfrogs]

in modern atla aus, i’ve noticed people tend to make zuko/toph/suki either chinese, japanese, or occasionally korean. atla draws from a lot of different sources, and i don’t think any of those are the wrong choices to make! however, i do think it would be interesting to see some other cultural/ethnic interpretations. (the examples i’m giving below are based on the assumption that fics involving them would take place in a country beside those mentioned, with the gaang being immigrants or children of immigrants.)

for zuko, the fire nation does draw a lot from imperial japan, but a fair amount of their architecture, regalia, and other cultural aspects come from southeastern asian countries (zuko’s firelord regalia is drawn from thai theatre costumes — another win for theater nerd zuko). i would love to see more fics with viet, thai, or even mongolian zuko (i’m currently working on one where ursa is from central vietnam). with zuko, because ursa is canonically from a different part of the fire nation from ozai, he could also be mixed asian: ursa from one country, and ozai from another, or ursa being a part of diaspora from a different country but growing up in the same place as ozai. hawaiian ursa is another possibility: the comics may be controversial, but her hometown of hira’a is inspired by japanese-settled hawaiian villages in the twentieth century (the name hira’a is a contraction of hirahara, the first name of one of the first japanese people to become a hawaiian settler, according to the atla wiki). taiwanese ursa is another possibility. singaporean zuko could be interesting as well, due to the multiculturalism in singapore and the diverse cultural influences of the fire nation.

toph’s hometown of gaoling in canon is fairly obviously inspired by china. however, rather than just pegging her ethnicity as “chinese,” her family coming from a specific ethnic group or region could be interesting. toph’s specific style of bending is based on chu gar southern praying mantis, which is a martial art originating from the hakka people, one of the most diasporic chinese community groups, which lends a lot of possibilities to her modern cultural heritage. her earth rumble outfit is influenced by european fashion styles — perhaps her grandparents or great-grandparents could have immigrated to europe, and then her parents to another country? or her parents could have met when her father immigrated — he looks a bit different from a lot of earth kingdom citizens (most notably because of his brown eyes). the earth kingdom also has influences from central asian cultures, so mongolian toph could also be a possibility.

for suki, there are also a few different possible modern interpretations. the one i find most compelling, but would also probably require the most research to do it justice, is okinawan suki. my knowledge of okinawan history isn’t that comprehensive, so if anyone else knows more about it please correct me if i’m wrong, but there are some parallels with kyoshi island: somewhat like how kyoshi island seems separate from a lot of the earth kingdom, okinawa is legally a part of japan but is culturally different. in atla, chin the conqueror attempted to colonize kyoshi island before kyoshi split it from the mainland, and kyoshi islanders appear ethnically different from the rest of the earth kingdom; okinawa was previously ruled by the ryukyu kingdom, and then was invaded and annexed by japan (and later colonized by the u.s. — a whole other issue) after the ryukyus refused the request of a japanese ruler to help his military campaign against china, and okinawans are culturally and ethnically a different group from japan. though these outcomes are slightly different, the cultural and ethnic identification difference strikes me as similar, as well as the historical struggle against colonization. the kyoshi warriors could be a group suki organized to protest against american bases in okinawa, or a cultural heritage association for suki and other okinawan girls to connect with their culture.

and some assorted extra ideas: airbender ty lee theory lends itself really well to ty lee being half-tibetan or the descendant of tibetan diaspora in another asian country; south asian influences are also big in the fire nation, despite the lack of characters who look south asian other than a few, so half- or quarter-south asian zuko could also be cool; south asian jet and haru is also an interesting concept; mai’s name is the cantonese pronunciation of “sleeve of a robe,” so she could be from hong kong or macau (the two places where the cantonese dialect is/was an official language).

[rwmarketingunit2]

Victorian fashion

The Victorian period created an elegant, exaggerated look for women with tight corsets, bustles, crinolines and huge hooped skirts. Victorian skirts contained vast amounts of fabric meaning the normal woman would have only had a few outfits as these were very expensive. In the Victorian era a very popular garment was corsets for women to scheme that desired hourglass shape they was looking for. A corset was an undergarment set with strips of whale bone which was soon replaced by steel. Corsets were seen as really unhealthy for the women’s body causing fainting from compression of the lungs, cancer, birth defects, etc although was still a huge fashion statement in the Victorian era providing women with power, social status and respect. However unlike any other corset garments created before this time Victorian corsets didn’t end at the hips infant they went a few inches more than the hips causing problems for those who wore them as they wouldn’t have been able to sit for hours apart. Tightlacing had a huge negative impact on the woman’s body however was one of the main factors of achieving the small desired waist all women wanted. Tightlacing was the start of a huge controversy a group of voices formed to go against tightlacing and it eventually worked doctors eventually concluded patients and journalists wrote articles criticising women who sacrificed their health for the sake of fashion. Corsets weren’t always looked upon In positive ways some people saw the damage of corsets and the obvious health risks that came along with it.

[image of a Victorian woman tightlacing]

Originally the crinoline which is another popular Victorian garment was used to make under skirts and a dress lining however the stiffened fabric was designed to hold out and widen women’s skirts to achieve the illusion of the tiny waist. A crinoline was made of horse hair and Cotten or linen and could reach up to six yards however was soon replaced by a structured hooped petticoat. The hooped crinoline became very famous in the fashionable society of England by the end of this era. The features of this garment made crinolines very dangerous if not worn properly or with care causing meant deaths to women in the 19th century who has their crinoline get caught.

[image of a Victorian crinoline]

A bustle is a padded undergarment used to add fullness or support the drapery at the back of a women’s dress in the Victorian era. Many of the dresses worn by women in this era consisted of huge masses of long draped fabric the skirts of these dresses would fall straight or the bustle was worn to support the drapery giving the skirt below the waist a bigger appearance.

These devices above were used to add fullness to the back of the skirt, the various styles of the bustles were created with wires, springs, padding and fabric. Although many people believed lace looked out of place within the bustle they were often incorporated into the design. By the 1880s the bustle began to be incorporated within the skirt it’s self however they began to decrease after this until they had disappeared all together.

[examples of the bustle]

Harvard referencing:

(2019) YouTube. YouTube. Available at: https://m.youtube.com/watch?v=qkEGN-Nm5mU (Accessed: December 5, 2022).

(2021) YouTube. Available at: https://youtu.be/sxtBXOZ5vAg (Accessed: December 5, 2022).

Crinoline definition. design and how to make one? (2020) Victorian Era. Available at: https://victorian-era.org/what-is-crinoline.html?amp=1 (Accessed: December 5, 2022).

Journal → fashion & history (no date) Understanding Underwear: The Victorian Crinoline | European Fashion Heritage Association. Available at: https://fashionheritage.eu/understanding-underwear-the-crinoline/ (Accessed: December 5, 2022).

Monet, D. (2022) Victorian era women's fashions: From hoop skirts to bustles, Bellatory. Bellatory. Available at: https://bellatory.com/.amp/fashion-industry/Fashion-History-Victorian-Costume-and-Design-Trends-1837-1900-With-Pictures (Accessed: December 5, 2022).

Susana Aikin (2019) The victorian era and women's corsets, Susana Aikin. Available at: https://www.susanaaikin.org/post/the-victorian-era-and-women-s-corsets (Accessed: December 5, 2022).

Victorian bustle: Hidden secret behind the 1880s silhouette (no date) VICTORIANA MAGAZINE. Available at: http://www.victoriana.com/Victorian-Fashion/victorianbustles.html (Accessed: December 5, 2022).

[dwellordream]

“…The ideas that animate Harlequin romance novels, Game of Thrones, and Disney movies alike can be traced back to the nineteenth century. Look at the paintings of the Pre-Raphaelites and others influenced by them—works like John William Waterhouse’s “Lady of Shalott” (1888) and Frederic William Burton’s “The Meeting on the Turret Stairs” (1864)—and you’ll see some very familiar figures.

These canvases reflect popular Victorian understandings of medieval ladies: passive, slender, aristocratic, the objects of knightly devotion. These women have never laboured in the fields with sunburned necks or callused hands. Their clothing and flowing hairstyles are eclectic, designed more to make nineteenth-century audiences think about a distant, misty, heroic past than to accurately reproduce any given moment in the Middle Ages. And, they are, invariably, white.

Art doesn’t exist in a vacuum. These paintings were produced when European imperialism was at its zenith; when Darwinian theories of evolution were twisted to justify colonialism and social hierarchies based on race; and when a supposed early-medieval “Teutonic”—or Germanic—ancestry for the white Protestant populations of Britain and North America was claimed to be the reason for the explosive economic growth of those regions.

They were also painted at the same time that white people in Europe and the Americas were enjoying steadily increasing standards of living—in large part thanks to the backbreaking, and often coerced, labour of those in colonised places. Black and brown women helped to shape history, but Victorian society excluded them from the category of “lady” because of the colour of their skin.

Nineteenth-century thinkers drew on the medieval past in order to justify racial and class inequities, or burgeoning notions of nationalism. These thinkers racialised the medieval lady. They idealised her as white, passive, and unsuited to manual labour. In doing so, they made her into a rationale as to why her elite, white, female descendants could sip tea in parlours while brown and black women toiled in the fields—or in their houses—to bring them that tea. The status quo was given such a venerable heritage that it was made to seem natural, even inevitable. Such ideas were then, and are now, pervasive and insidious. They were absorbed by white women, by Disney animators, by the makers of Halloween costumes, and even by those who write histories.

But what happens if we take the medieval lady off her pedestal? What kind of woman do we see inhabiting the Middle Ages if we try to peel off the Victorian veneer of chivalry and politesse? Does looking at what medieval people actually did in the past tell us something about our own assumptions concerning race and gender? In part, this is a process where we have to reconsider the language we use. What do we mean by “lady”? What did medieval people mean by the term? Or, rather, since most texts produced in western Europe in the Middle Ages were written in Latin, what were the connotations which they associated with the word domina?

The first key difference is that the modern English word “lady” simply doesn’t have the aura of power which the Latin word domina did in the Middle Ages. A domina was a woman with authority and moral rectitude in her own right, not simply the consort or complement to a dominus (lord). A domina (and holders of other Latin titles applied to women in medieval records, like comitissa, vicedomina or legedocta) administered estates and adjudicated legal disputes. It did not matter whether she held her title by inheritance or through marriage. Those who held titles in their own right, or those who were widowed, could exercise significant power over fiefs and vassals.

For example, when Matilda, countess of Tuscany (1046-1115), was referred to as domina, it was because she controlled a large swathe of northern Italy. She was the mediator during the famous meeting between Pope Gregory VII and the German emperor Henry IV at her great fortress of Canossa. In doing so, she influenced the outcome of a major medieval power struggle. On his accession to the throne in 1199, King John of England installed his mother Eleanor of Aquitaine (ca. 1122-1204), as domina of the French territory of Poitou and gave her authority in all of his lands—a tacit acknowledgement of her political skill.

Eleanor even managed to expand queenly authority in some ways. She seems to be the first queen of England after the Norman Conquest to have regularly collected the “queen’s gold”, a one-tenth share of some of the legal fines paid to the king. This gave her a valuable (and somewhat independent) source of revenue—and with money comes power. As a more modest example, one contemporary of Matilda of Tuscany’s was a woman named Mahild of Alluyes, domina of a far smaller territory in northern France. She wasn’t a player in papal or imperial politics. Yet as wife and widow, she oversaw the affairs of her vassals and witnessed charters which they drew up in the chapter house of the nearby abbey of Marmoutier, which gave her considerable influence over their lives. And there are many, many more dominae in the sources.

Medieval aristocratic women were sometimes seen as passive by their male contemporaries; those with power who broke this mould were sometimes described in plainly misogynistic terms. But equally, their deeds could be lauded. For example, one of the great chroniclers of the early twelfth century, the Anglo-Norman Orderic Vitalis, wrote that the French noblewoman Isabel of Conches was “lovable and estimable to those around her.” He complimentarily said that she “rode armed as a knight among the knights”, and compared her favourably with Amazon queens.

Matilda of Boulogne (ca. 1105-1152), queen of King Stephen of England, was one of her husband’s most capable partisans during the Anarchy—the period of civil war that tore twelfth-century England apart. Not only did she head the government during her husband’s captivity, but proved herself a capable military commander. She directed troops into battle at the so-called Rout of Winchester and arranged for her husband’s release when he was captured.

A generation or so later, the English countess Petronella of Leicester (ca. 1145-1212) participated alongside her husband in the Revolt of 1173-74; she gave her husband military advice, rode armed onto the battlefield, and was even wearing armour when captured. These actions may not have been normal behaviour for a domina—administration and adjudication were more usual. But they were still within the bounds of possible behaviour for a medieval woman without endangering her status as a “lady.”

The Matildas, Mahild, Eleanor, Isabel, and Petronella: it is hard to imagine any of these dominae as the subject of a Waterhouse painting or the centrepiece of a Disney movie. They weren’t always victorious or virtuous; they could be ambitious and high-handed and hold ideas which most people today would find distasteful. And yet, whether medieval chroniclers approved or disapproved of these women individually, they didn’t think the very fact that they were active, decisive, and opinionated was out of the ordinary. Neither should you.

Nor would the colour of their skin have been thought a defining aspect of their status as a lady. There was certainly prejudice about skin colour in the Middle Ages. The relatively small number of non-white people in northern Europe means that we can’t definitively point to a woman of colour exercising political power there. But things were slightly different in southern Europe, in areas like Iberia—modern Spain and Portugal—which was long home to Christian, Jewish, and Muslim populations of multi-ethnic heritage.

While there were religious prohibitions against Muslim women marrying non-Muslim men, there are some scattered examples of intermarriages between dynasties in the early Middle Ages: Muslim women of north African or Arab descent marrying into northern, Christian royal families. For instance, Uriyah, a daughter of the prominent Banū Qasī dynasty, married a son of the king of the northern Spanish kingdom of Navarre; Fruela II, king of Asturias, married another Banū Qasī woman called Urraca. Their ancestry doesn’t seem to have posed a barrier.

Western Europeans may have only rarely had direct contact with non-white female rulers further afield—like the powerful Arwa bint Asma, queen of Yemen (r. 1067-1138)—but when they did, it could be in dramatic fashion. Shajar al-Durr, sultana of Egypt (d. 1257), famously captured Louis IX of France during the Seventh Crusade and ransomed him for an eye-wateringly large sum.

While historical examples of women of colour exercising prominent roles in Europe during the Middle Ages are few in number, skin colour didn’t limit the imaginations of white medieval Europeans. Medieval people often had clear anxieties about skin colour and blackness, but despite this racism they could still envision a brown- or black-skinned woman as a member of the upper classes, just as they did the white-skinned Mahild or Isabel.

For example, the early thirteenth-century German epic poem Parzival centres on the eponymous hero and his quest for the Holy Grail. Parzival has a half-brother, the knight Feirefiz, who is mixed-race. His mother, Belacane, is the black queen of the fictional African kingdoms of Zazamanc and Azagouc; the narrative praises her beauty and her regal bearing. As another example, a Middle Dutch poem written about the same time, Morien, recounts the story of the handsome, noble knight Morien, “black of face and of limb,” whose father Sir Aglovale fell in love with his “lady mother,” a Moorish princess.

However, the most vivid example is provided by medieval depictions of the biblical Queen of Sheba. Scholars think the historical Sheba likely lay somewhere in southwestern Arabia; other traditions place the kingdom in east Africa. Regardless of the queen’s historicity, various traditions grew up around her in the Middle Ages. Some of the most popular of these claimed that she had a son by the biblical king Solomon. She frequently appears alongside him in art, in elegantly draped garb as on the late twelfth-century Verdun Altar, or accompanied by courtiers as in an early fourteenth-century German illustrated bible: a beautiful black woman and a regal queen. When you think of a medieval “lady”—you could do worse than to think of her.

All of this should prompt us to look again, to reconsider how racialized Victorian ideals of womanhood still impact us—both in contemporary popular culture and also in our understandings of the medieval past. When we think about the Middle Ages, we should consider the impact of race, and especially whiteness, on how we think about it. That is not necessarily because our medieval forebears did so, but because our nineteenth- and early twentieth-century ones did so very much.

The idea of the “lady” was one of the useful fictions which they and others employed, glorifying white, upper-class womanhood as an apex of western achievement. This helped to make existing racial and imperial hierarchies seem like they had such a long history that they must be innate, biological: a simple fact of life. But it was a fiction, and a harmful one. If we are to better understand the medieval past, it is one we must set aside.”

- Yvonne Seale, “My Fair Lady? How We Think About Medieval Women.”