#hat with ostrich feathers

[royalty-nobility]

Emperor Francis I

Artist: Martin van Meytens the Younger (Swedish, 1695-1770)

Date: c. 1745

Medium: Oil on canvas

Collection: National Gallery of Slovenia, Ljubljana, Slovenia

Description

The portrait represents the Emperor Francis I Stephen (born 1708 in Lunéville, died 1763 in Innsbruck). In 1729 he became Duke of Lorraine, 1732 regent of Hungary and in 1736 he married the Archduchess Maria Theresa, while her sister Maria Anna married his brother Charles. After the death of Charles VI in 1740 Maria Theresa appointed her husband co-regent in the countries which she inherited, and he was also elected Holy Roman Emperor – he was crowned in Frankfurt on 4 October 1745. Francis, who is wearing the Order of the Golden Fleece, is dressed in a richly embroidered Spanish court dress decorated with lace and is wearing a hat with ostrich feathers. On the table beside him is the imperial crown, which permits a dating of the painting after the year 1745. The style of the picture is characteristic of Meytens’ ceremonial portraits (portraits d’apparat), but the fairly mechanical execution of some details suggests that assistants from the painter’s workshop collaborated on the painting.

[digitalfashionmuseum]

Black Riding Ensemble, 1902, French.

Designed by Morin Blossier.

Met Museum.

[portrait-paintings]

Lady Elizabeth Pope

Artist: Attributed to Robert Peake (English, 1551–1619)

Date: c. 1615

Medium: Oil paint on wood

Collection: TATE Britain

Portrait of Lady Elizabeth Pope

Elizabeth Pope was the daughter of Sir Thomas Watson. He was a prominent investor in the Virginia Company, which ran the English colony of Virginia in North America. Elizabeth might be depicted as a personification of America. First Nation people in America were often portrayed in masques wearing ostrich feathers and clothes with pearls, hence the feather in her turban and the pearls in ostrich feather design on her dress. The pearls and her coral bracelet might also allude to the riches of the American seas. Pearls symbolise purity and were associated with Elizabeth I, the Virgin Queen, after whom Virginia was named.

Elizabeth Watson, an heiress, married Sir William Pope of Wroxton (1596-1624) on 13 December 1615, and it is thought that her portrait may have been painted in connection with this event. She is depicted beneath a laurel tree, with a landscape beyond, and wears a classical mantle of black fabric embroidered with pearls in an ostrich-feather pattern; this pattern is repeated on her hat, which is trimmed with a real purple feather. She has a pearl choker, strings of pearls round her right wrist and a coral bangle round her left. Her chest is bared, with a heavy diamond necklace laid across it, and her left breast is almost exposed. Her long hair hangs down, loose except for a single braid above her arm. This was a contemporary symbol of virginity and brides sometimes wore their hair down thus - one high-profile example being Princess Elizabeth (1596-1662) the future 'Winter Queen', at her marriage on St Valentine's Day (14 February) in London in 1613 (see Robert Rait, Five Stuart Princesses, London 1902, p.75).

[dykeredhood]

The way I’d need to do a bunch of ironing to make a nice fancy pleated cockade to put on my hat

[chic-a-gigot]

La Mode nationale, no. 347, 17 décembre 1892, Paris. No. 14. — Manteaux et pardessus. Bibliothèque nationale de France

(1) Très riche manteau en velours du Nord vert-myrte, couvert de broderies de soie noire. Dos très ajusté, devant droit, avec bas garni par une bande de martre, faisant ourlet. Manches ballon, très brodées, retombant sur un haut poignet uni. Boa de plumes de coq, manchon de fourrure semblable à celle du bas du manteau. Chapeau en feutre gris, entouré par une torsade de velours vert-myrte, et couvert en dessus par deux grandes plumes d'autruche blanches, retombant sur la nuque.

(1) Very luxurious coat in myrtle-green Northern velvet, covered with black silk embroidery. Very fitted back, straight front, with bottom trimmed with a strip of marten, forming a hem. Balloon sleeves, heavily embroidered, falling on a high plain cuff. Boa of rooster feathers, fur muff similar to that of the bottom of the coat. Hat in gray felt, surrounded by a twist of myrtle-green velvet, and covered on top by two large white ostrich feathers, falling on the nape of the neck.

—

(2) Longue jaquette demi-ajustée, en lainage gris, broché noir. Elle est boutonnée au cou sous deux petits brandebourgs, recouverts par un empiècement de passementerie noire, s'élevant au-dessus en grand col Médicis, doublé de velours, partir des brandebourgs, la jaquette ouvre jusqu'au bas sous un revers de satin gris, encadrant un long gilet de velours noir, boutonné jusqu'au bas. Manches très bouffantes du haut, très étroites du bas.

Chapeau de velours gris, couvert de nœuds et de coques de satin gris.

(2) Long, semi-fitted jacket, in gray wool, black brocade. It is buttoned at the neck under two small frogs, covered by a yoke of black braid, rising above in a large Medici collar, lined with velvet, from the frogs, the jacket opens to the bottom under a gray satin lapel, framing a long black velvet waistcoat, buttoned to the bottom. Very puffed sleeves at the top, very narrow at the bottom.

Gray velvet hat, covered with gray satin bows and shells.

—

(3) Jaquette très ajustée, en velours moiré hanneton, couverte de broderies de soie noire, avec perles mordorées. Collier et garniture d'astrakan, faisant tout le tour de la jaquette et se retrouvant au bas, autour de la jupe. Manches très brodées, à parements d'astrakan, larges du haut, très collantes du bas.

Petite capote de velours moiré hanneton, dentelée tout autour et garnie sur le sommet, devant, par une touffe de plumes d'autruche noires.

(3) Very fitted jacket, in moiré chafer velvet, covered with black silk embroidery, with bronze pearls. Collar and trim of astrakhan, going all the way around the jacket and ending at the bottom, around the skirt. Heavily embroidered sleeves, with astrakhan facings, wide at the top, very tight at the bottom.

Small hood of moiré chafer velvet, scalloped all around and trimmed on the top, in front, with a tuft of black ostrich feathers.

[jessicas-pi]

For the au ask game! Sabezra in a *flips through my au ideas list* private detectives au

so. yeah. this. this is egregiously late. But it's HERE! At long last!

....to be entirely honest I don't even know what this is. it's sabezra. they're private detectives. let's just leave it at that.

---

"Ezra, what are you doing?"

Her partner in preventing crime (and occasional partner in actual crime---they may or may not have broken into a house once; no one could prove anything) had stopped in the middle of the grim alleyway, staring at nothing in particular.

"Sabine..." he said slowly. "I think this is where I met you."

Sabine did a double-take, looking around with keen eyes. The place didn't seem familiar, but she'd been so distracted on that day, she probably wouldn't know it if she was there.

"Is it?" she asked, strolling back to him, hiking up her long skirt and stepping cautiously around the filth on the ground. "You think so?"

"Mm-hm." A nostalgic smile twitched at the corner of his mouth. "You know, I've still got the handkerchief you gave me."

Sabine grinned at him. "Of course you do. You were in the throes of violent yearning. You couldn't bear to part with it."

"And my nose was still bleeding."

"That too."

"And if you recall, I did try to give it back to you---later." His smile grew proud. "Tracked you down with just your monogram and a glimpse at your face. First bit of detecting I ever did."

Sabine slipped her arm through his, hopping lightly over something that could have been a filthy rag or maybe the carcass of a large rat, as they continued on their trek towards home. The streets cleared up when they got to the main roads, but there was still the inevitable splash of mud.

Mud was everywhere in London.

"I thought you might have been a princess when I saw you on the stairs then," he blurted out, and she tilted her head up to look at him from beneath the brim of her large flowered hat. He gave her a sweetly bashful smile and a shrug. "With those big white puffs in your hair---"

"Ostrich feathers," she filled in automatically, turning her attention back to the pavement and nodding politely to a gentleman and lady who passed by them.

"---and that white dress, too." Ezra laughed to himself. "Golly, you're lucky you kept it. Your old lady wasn't gonna give you a nickel for another one."

Sabine squeezed his arm affectionately. "I could have worn any dress."

"Well, no one would have thought it was a proper wedding if we hadn't got you in white."

"No one thought it was a proper wedding when we did," she retorted. "They thought I was degrading myself."

"Then the joke is on them, because I hit the big time pretty well, didn't I?"

Sabine arched an eyebrow. "You wouldn't have amounted to anything if I hadn't got us into the illustrated papers."

Ezra paused on the pavement as they reached the steps of their lodgings, looking thoughtful.

"You're right. I wouldn't have."

"Then it seems you're lucky you've got me."

He looked right into her eyes and grinned boyishly, slipping into his most intolerably trans-Atlantic accent. "We do make a pretty bang-up team, don't we?"

"A jolly good one," she nodded in prim agreement, adopting an obnoxiously posh tone, and they both giggled, smiling at each other for a moment more before a distant clock chimed the quarter of the hour, reminding them that they were on a schedule.

"Well, I suppose we had best go on in. Our client will be here any minute now."

"I guess so."

And with that, the unstoppable team of Bridger and Bridger ascended the steps of their home at 221b Spectre Street, arm-in-arm.

[areyoudreaminof]

WIP Wednesday: Elucien Week Day 3

Lucien knotted the ropes, fat with sea spray, tightly to the mast. Behind him, he could hear Jurian and Vassa conversing with the Captain. He turned quickly, scanning the deck for her when he spotted the flash of golden curls on the starboard side. Elain was leaning along the railing, chin resting in her hands as she stared dreamily out at the blue waves. Lucien was at her side in a few quick steps, tucking her hair behind her delicate ears, her curls even more wild with the salt air. Her nose was slightly red and freckled along the bridge from only just a week at sea. Lucien wrapped his arms around her waist as she turned to meet him with a smile. 

“You should be wearing a hat under this sun, you know,” he kissed her gently, taking care to remember his sea chapped lips, but Elain kissed him right back with a smile. 

“The hat makes my head sweaty,” she shrugged, “and besides, Vassa has enough hat for all of us.” 

Lucien peeked at Vassa’s ridiculous wide brimmed hat, flourished with a bundle of ostrich feathers. On the last port, she had spotted the thing in a shop window, haggled the poor artisan for it, and now wore it constantly on deck. The first mate had said hats like that were typically seen on Rasñian noblemen, so of course the queen had taken to it like a magpie. Jurian said nothing, just dodged feathers. 

“That thing is heavy,” Elain giggled, “probably heavier than her crown.” 

“Heavy is the head that wears the feathered hat,” Elain snorted with laughter into Lucien’s neck, “We should bring one back,” he mused, “Cassian could really embarrass Nesta quite spectacularly with one.”

[countess--olenska]

Taupe hobble-skirted dress with brown fur hem and cuffs, black sash and hat with rose pink ostrich feathers.

By Madame Handley-Seymour, 1910.

[ellas-journey]

From a thing to wear to an icon of culture 👘

There is this hidden detail in Muzan that when I noticed I could not help but smile. Remember how he said that the thing he hated the most was change? Well coming from someone that had to live in 5 different eras is kinda funny, and it's even funny when you realize that he ended up adopting the Western fashion pretty fast. But that's the twist, if you look at Muzan's vest you come to realize that it's the exact same pattern as the kimono he used to wear. The best part? That was a thing that actually happened in history.

Wanting or not, the clothing that the people used to wear represents the history they lived through. "To look seriously at art objects of the everyday, such as clothes - their discourse and practices, their meaning-bearing forms and their codes of internal and external interpretations - in an essential, and often neglected, component of any study of modern aesthetics." - Slade, 2009 Yofuku [Western Clothing] is a type of clothing that is now common all over Japan, but during a lot of time, it was a type of clothes that only selected few grew up with. The 1st contacts with these types of clothing [even if extremely different from what we now call western clothing] was in the 16th century when the Portuguese arrived in Tanegashima. With them came not only different shapes but also different fabrics. But the “true” introduction to western fashion would only happen with Commodore Matthew Perry, catharsis to the Meiji restoration, where Emperor Meiji would start to dress in a typical western military outfit, and soon after the empress would start to aper in the typical victorian dresses. In the Edo period clothing visually distinguished the social classes. "Certain articles of clothing visibly differentiated people of diverse social classes, and simultaneously distinguished an individual within a specific group. The materials, motifs and construction of military campaign coats, for example, marked their wearers as men belonging to the military class." - Milhaupt, 2014; Samurai ranked on the top, followed by farmers, artisans, and merchants on the bottom. What happen was that most of the times the samurai where poor while the merchants lived in economic success. But samurai had the privilege of using certain types of fabrics and patters, even tho most of the times they could not afford them, and so, the merchants would start to adapt the fabrics and patters they were allowed to were and would end up becoming the patrons of arts and fashion. The trends of fashion would later be documented in ukiyo-e, and not only in the work of art sense, but also in pattern books were people could browse the prevailing styles. After the 1st contacts with the westerners, what would start to happen is that slowly but surely the Japanese would start to integrate the western ways of dressing into their lives. The Japanese started to introduce some of its elements with the kimono, shoes, hats, gloves, glasses, umbrellas, etc. Then in the 19th century a full change would happen starting from the man in the highest classes to the man in the lowest classes. The emperor decided to cut his topknot in 1872 and started to dress in western clothing in official appearances, also changing some of the more cultural habits like eating meat and more wester kind of meals. In the official portraits he appears adorned with a French-style military uniform with ornaments in gold and ostrich feathers. Before this, the emperor was never a public figure, so when pictures of the Meiji Emperor became available, and he started to appear more publicly the nation would have their eyes on him and start to imitate him. Women would, for the longest time still dress in the now classic kimono, that would develop as a symbol of the old and traditional Japan. The idea of the western clothing being associated with a modernized Japan and the Kimono [that literally means “thing to wear”] to a traditional country came from the fact that the emperor would choose to wear western clothes in more formal, international events, and for religious national events would choose the traditional Japanese court dress. The western clothes will end up being a symbol of the modernization of Japan, and the Meiji government would use it as yet another tool of national control. For all the Japanese born after 1945 the western clothes became the norm. Most families would end up transforming their kimonos into western clothing pieces, and the patterns sold for kimonos would double for kimonos and western clothing.

But it is funny to notice how despite it all Muzan is the one being presented in western clothing and Ubuyashiki is the one in traditional clothes, always being the contradiction of the other, but also it can also be interpretated as the Ubuyashibi family being "trapped" in the past since in hundred years the corps never killed an upper moon, the history never changed. And Muzan in his ever-changing cycle of his life, in the changing of eras and changing of personas he decided to reuse the only thing he could: his clothes. And just like him, they would adapt through the times.

MILHAUPT, Terry Satsuki. 2014 - Kimono: A Modern History. London: Reaktion Books [Ebook]; SLADE, Toby. 2009 - Japanese Fashion: A cultural History. Oxford, Berg. [Ebook];

[cressida-jayoungr]

One Dress a Day Challenge

November: Oscar Winners

Barry Lyndon / Marisa Berenson as Lady Honoria Lyndon

Year: 1975

Designers: Milena Canonero and Ulla-Britt Söderlund

It's interesting how there are certain periods that pop up over and over again in the Academy Award-winning costume designs. The 1920s are one of them, and the 18th century (as a whole) is another.

I had never seen this film before watching parts of it to make screencaps. I see why people say that every frame looks like a painting! She could have stepped right out of a Gainsborough canvas. The movie covers the period from the 1750s to the late 1780s.

Lady Lyndon wears this brown day dress in a brief scene where she comes to say goodbye to her husband before going out for the day with her children. The deep frill of lace around the collar is very attractive. But it's the hat that really draws focus, with the satin bow and ostrich feathers.

[royalty-nobility]

Portrait Of William I of The Netherlands

Artist: Joseph Paelinck (1781–1839)

Genre: Portrait

Depicted People: William I of the Netherlands

Date: 1819

Medium: Oil on Canvas

Collection: Rijksmuseum, Amsterdam

Description

Portrait of William I (1772–1843) as King of the United Kingdom of the Netherlands. Standing, at full-length, in the gala uniform of a general. Over his right shoulder the sash of the Military William Order. Over his uniform wearing a red robe lined with ermine. To the right the royal throne, to the left a table with on it the map of parts of Java (Bantam, Jacatra and Cheribon) in modern-day Indonesia, and also a pillow with crown and sceptre and a hat with ostrich feathers.

[chicago-geniza]

What's up everyone, it is too hot, I threw up, fainted, and designed a redneck Edwardian debutante hat. it's hunter green with a white ribbon and a plywood motif down the center of the ribbon, splitting it in two, plus three camo-tinted ostrich feathers bundled with an orange ribbon. the veil is orange

[phrynefishersfrocks]

The first outfit of "Murder & the Maiden" (Season 3, Episode 2) is a luxurious red velvet coat over a silver camisole and matching pants, complete with a shaped straw hat accented by feathers.

Known as the Coral Dreamcoat, Phryne's coat is made of a silk shot coral velvet with silver silk lining. Closer examination reveals godets (triangular inserts of fabric to add movement and width) of the velvet lined with silver piping on each side, along with a front tie and upturned sleeves with beaded decorations hanging from the ends of each.

"[The coat] has a front tie, which gives it lots of movement. Gareth Blaha, who's really quite sensational with finishing pieces, made these beautiful dangles off all the sleeves and the front tie." - Marion Boyce, Costume Exhibition Catalogue

Serving as a backdrop for her coral coat is a scoop-neck camisole with a wide hem, and flared trousers are made of a matching grey faille. Topping it all off is an authentic 1920s straw beret, adorned with a few thin maroon swirling feathers on top of a coral and maroon ostrich feather pouf and decorated with two gold buttons.

Phryne also brings along her grey woven handbag with a golden clasp that has been seen previously in 2x01 and 2x02, and ties in with the silver in her coat lining and her camisole and pants. She finishes the look with grey suede heels, white leather gloves, and glass bugle bead earrings.

Season 3, Episode 2 - "Murder & the Maiden"

Screencaps from here, promotional photos from various sources (x, x, x, x, x, x), costume exhibition photo from Dayna's Blog.

[maturemenoftvandfilms]

The Duke of Edinburgh

CHAPTER ONE: The Thirst is Real

Featuring Prince Edward, Duke of Edinburgh

I had been invited to join the Royal Family at the Order of the Thistle Service at St Giles' Cathedral in Edinburgh, Scotland. Apparently, the service celebrated Scotland's highest honor of chivalry and appointed Queen Camilla, and Prince Edward, The Duke of Edinburgh, members of the Order of the Thistle. I dressed in formal suit and drove over to the Cathedral, and I was escorted through security to my seat.

Shortly thereafter, the Royal Family arrived, minus William's wife, Kate while her chemotherapy treatment for cancer continues, or Princess Anne who is recovering at home after an incident involving a horse. The ceremony featured plenty of pomp and ceremony, with The King and Queen, The Prince of Wales and The Duke of Edinburgh wearing the iconic green velvet robe and black hats topped with white ostrich feathers while Sophie opted for a soft pink dress and matching hat.

Charles looks every well considering what he's been through, Prince Edward looking more desirable by the day, and their wives looking homely as usual. William looked handsome, with his mother's good looks, and a hint of Charles in him. Maybe in another 10 to 15 years, I'll make a run at him. I greeted each one with a handshake and bow before finding our seats.

Throughout the ceremony, I would scan the crowd admiring the many men at attendance. Occasionally, Edward and would lock eyes, give a small smile before quickly looking away. This happened any number of times. I could not help but stare at him, then look at Charles. With him going though his recovery treatment and I passing Andrew along, I wonder if I should shift my focus the youngest son of the Queen and Prince Phillip.

After the service, the four members of the royal family separately toured the garden party, meeting a large number of guests and despite grey clouds that threatened rain only a few spots fell. Before I left, Edward slipped a note into my palm. After I got in my car, I opened the note and read it. It said, "Meet me at the back gates of Edinburgh Castle at midnight tonight, Edward."

I knew where he was referring to and as midnight approached, I made my way to back gates of Edinburgh Castle, walking in the moonlight. I came to the ruins and as I approached Edward came out from behind a wall wearing a jacket, a light blue button up shirt with sand-colored boots. He turned toward me, smiled nervously, and motioned for me to follow him.

The journey across the grounds of the estate was unbearable. Cameras to dodge, security for the prince to nod away. But we found a small cottage and as soon were inside Edward pulled me towards him and kissing me passionately.

“Well, there’s a nice way of welcoming someone, Your Highness.” I grinned as I pulled back from Edward.

“Call me Edward, please.” He replied breathlessly, “I jacked off thinking about you often after that time in the woods. And no sign of you for months and here you are!”

“Sorry about that." I replied, “It has been a busy year dealing with your brother's affairs."

Dealing with both his brother's affairs, I thought, chuckling to myself as our eyes met, and he kissed me gently on the lips. I could feel the bulge growing in my shorts and could see Edward had noticed as well. With a twinkle in his eye, Edward kneeled and slid my pants and shorts off, throwing them onto a nearby chair.

"What a lovely cock." Edward crowed before he took all of my cock into his mouth. Then he tightened his lips and pressed with his tongue and slowly sucked his head up my shaft. Oh God! He repeated this again and again and my cock got harder and harder. Then his tongue was licking my head and under the ridge surrounding it. Damn, no problems about deep throating with this laddie. He just took me right in without hesitation.

“Oh, fuck yes.” I moaned in delight as I started to thrust, and face fuck the prince.

The feeling was electric and euphoric as he reached around and gently fingered my ass while sucking harder and fast on my cock. As much as I wanted to make it last, my body began to show him an orgasm was coming. He immediately changed course, got up from his knees and kissed me passionately.

Frantically, we both took off our remaining clothes. I partially unbuttoned his shirt and reached in. He wasn’t a bodybuilder by any means, but while his upper torso was wiry it was also surprisingly muscular, especially for a man his age. His chest had a little hair, compared to Charles and his nipples were cute and hard. I began licking one nipple, stroking his cock with one hand and feeling his ass with my other. His eyes told me he was enjoying me, but I wanted more. We both got properly on the bed, laying there with our arms around each other, stroking each other’s neck and shoulders.

I found his nipples again, and after lightly twisting the plump buds. I bent down to suck on them hard as they got plumper, going from side to side while his Edward ran his hand through my scalp. Back and forth I went, sucking on Edward’s nipples while the sounds of my suckling filled the air. His chest heaved as his breathing grew more rapid, working down his lean body until I reached his royal 8" cock which stood upright, surrounding by a cloud of brown fur.

My hand deftly peeled the crinkled foreskin down to expose the head, which my tongue toyed with until my mouth engulfed the cone. My lips slid down his shaft until they were buried in the pubes, and then I bobbed up and down the stiff dick, pausing occasionally to go down to the loose hanging balls as the prince’s legs churned in place. The end came far too soon for Edward as my skills coaxed his orgasm despite his best efforts to delay it.

That orgasm was exquisite however, as once it started it seemed to go on forever. Waves of pleasure kept rushing up and down his aged body as I kept sucking Edward’s dick long after he was drained.

“That was…” Edward said as he searched to find the words, and after failing simply pulled me close to him.

“I thought you weren't new to all of this.”

“I'm not," He replied, "but I have only been with three men before my marriage to Sophie and each has awakened me to more and more pleasure. I like the feel of a cock in my mouth, I enjoy feeling it spasm as I suck it dry. And only one of them had fucked me and I quite enjoyed it.”

I told him that I would be honored to be his second. He nodded his head yes like an excited puppy and turned onto his hands and knees. He spat into his hand and reached around to prepare his royal love hole. I slowly fingered his tight asshole, gently reaming him so he could accommodate my cock. I gently touched my head to his ass ring. I gently circled with it and then slowly thrust forward, he squeaked as I expanded his sphincter with my cockhead. Then he seemed to relax as I slowly pressed on until I was buried up to the hilt in his hot, tight ass. Just then, I started to thrust back and forth, inseminating my third prince.

There I was, fucking the 14th in line to the British throne, and loving every minute of it. We humped like a couple of dogs in heat. I reached down and grabbed the princely cock in my hand and jerked him as he rocked back and forth on my cock. I was stroking his cock and controlling the rhythm during this mind-blowing dance. I was approaching what would surely be an explosive orgasm, and Edward was reading it and responding to it expertly. His breathing quickened exactly in time with my own.

I could hold back no longer, and I soon blew my load into the prince, heaving with every ejaculation. We finished and collapsed to the bed, giggling like a couple of little girls.

[chic-a-gigot]

La Mode nationale, no. 39, 26 septembre 1896, Paris. No. 18. — Groupe de toilettes nouvelles. Bibliothèque nationale de France

(1) Jaquette de drap vert saule, ajustée, à basques avec pochettes; revers habit; gilet blanc croisé sur une chemise d'homme. Col rabattu, cravate de ruban quadrillé vert et paille. Manches ballon. Chapeau canotier avec pouf de ruban et deux grandes plumes couteau en aigrette sur le côté.

(1) Fitted willow green cloth jacket with peplum and pockets; coat lapels; white double-breasted waistcoat over a man's shirt. Turn-down collar, green and straw checkered ribbon tie. Balloon sleeves. Boater hat with ribbon pouf and two large knife-edge feathers in an aigrette on the side.

—

(2) Corsage de mohair bleu et noir. Corsage montant coupé par des petits velours noirs posés en pointe. Col montant.

Ceinture composée de trois petits velours. Manches gigot.

(2) Blue and black mohair bodice. High bodice cut with small black velvets placed in a point. High collar.

Belt composed of three small velvets. Leg of mutton sleeves.

—

(3) Toilette en lainage tilleul, à pois verts. Corsage plastron à dents de roses, boutonné sur les côtés.

Col montant. Manches gigot. Jupe forme princesse boutonnée sur le côté en haut. Chapeau canotier, orné par un gros nœud de ruban rayé tilleul et noir avec deux ailes posées en aigrette.

(3) Linden woolen dress, with green polka dots. Rose-toothed plastron bodice, buttoned on the sides.

High collar. Leg of mutton sleeves. Princess-shaped skirt buttoned on the side at the top. Boater hat, decorated with a large bow of linden and black striped ribbon with two wings set in an aigrette.

Métrage: 10 mètres lainage grande largeur.

—

(4) Corsage à basques, en satin violet, ouvert sur une chemisette de tulle, recouverte par un rabat coquillé en dentelle blanche. Col montant avec nœud de dentelle derrière; haute ceinture drapée. Manches ballon.

(4) Basque bodice, in purple satin, open over a tulle chemisette, covered by a shell flap in white lace. High collar with lace bow behind; high draped belt. Balloon sleeves.

—

(5) Toilette de lainage bois de rose. Corsage-boléro à grand col rabattu et brodé, ouvert sur une chemisette de surah or.

Col drapé montant, d'où s'échappe un volant de dentelle. Manches ballon, à poignets plissés au-dessus du coude; haute ceinture de velours drapée et à pointe. Jupe plate, plissée derrière.

Chapeau rond, en paille, orné de ruban or, posé devant en oreilles d'ours, avec touffe de plumes d'autruche droites derrière.

(5) Rosewood woolen toilet. Bolero bodice with large folded-down and embroidered collar, open over a gold surah blouse.

High draped collar, from which a lace flounce escapes. Balloon sleeves, with pleated cuffs above the elbow; high draped velvet belt with a point. Flat skirt, pleated behind.

Round straw hat, decorated with gold ribbon, placed in front like bear ears, with a tuft of straight ostrich feathers behind.

Métrage: 10 mètres lainage grande largeur.

—

(6) Corsage-blouse, en mousseline de soie rose montant et tout froncé sous ceinture-corselet en velours ouvrage; bande transversale semblable au milieu du corsage; col Mercure. Manches gigot, en étoffe quadrillée.

(6) Blouse-bodice, in high pink silk muslin and all gathered under a velvet bodice-belt; similar transverse band in the middle of the bodice; Mercury collar. Leg-of-mutton sleeves, in checked fabric.

—

(7) Corsage drapé et croisé à la taille, en lainage pervenche, pointillé rouge; petit plastron semblable, brodé de petit velours rouge; col Mercure; haute ceinture de velours drapée, retenue par une boucle vieil argent. Manches gigot.

Chapeau canotier, orné de grandes coques de mousseline de soie d'où émergent deux oiseaux de paradis, posés en aigrette.

(7) Draped bodice crossed at the waist, in periwinkle wool, red dotted; similar small plastron, embroidered with small red velvet; Mercury collar; high draped velvet belt, held by an old silver buckle. Leg of mutton sleeves.

Boater hat, decorated with large silk muslin shells from which emerge two birds of paradise, posed in an aigrette.

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(8) Corsage de surah paille froncé mis sous ceinture-corselet, en lainage paille et noir, terminée par un nœud de ruban, avec bas de ceinture en velours; col montant et pointe de guipure sur le corsage.

(8) Ruched straw surah bodice placed under a corset belt, in straw and black wool, finished with a ribbon bow, with velvet belt bottom; high collar and guipure point on the bodice.

Manches ballon, avec volants de dentelle.

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(9) Toilette de soie brochée sur chaîne noir et or. Corsage-plastron retenu par une ceinture de ruban; col montant, avec volant de dentelle blanche.

Manches gigot. Jupe redingote, ouverte devant sur une jupe de soie unie or.

Chapeau petit Louis XVI, garni par une draperie plissée de mousseline de soie or, avec fleurs en cache-peigne et grandes plumes d'autruche, posées droites derrière.

(9) Brocaded silk toilet on black and gold chain. Bodice-plastron held by a ribbon belt; high collar, with white lace flounce.

Leg-of-mutton sleeves. Redingote skirt, open in front over a plain gold silk skirt.

Small Louis XVI hat, trimmed with pleated drapery of gold silk muslin, with comb-cover flowers and large ostrich feathers, placed straight behind.

Métrage: 13 mètres soie brochée, 3 mètres soie unie.

[mercysong-tardis]

✨❤️ Red Moll Flanders costume Summary ❤️✨

This costume was constructed between February -June 2024. I chose it because Alex Kingston told me it was her favorite costume to wear from her time on “the fortunes and misfortunes of Moll Flanders.”

The dress is constructed of upholstery velvet, trim, embroidered polyester, polyester ribbon, thrifted lace (off a bridal veil), hook and eye closures, vintage buttons, and vintage cording.

I already had the stays from my first Moll Flanders dress, so I used those and used the exact same pattern I’d drafted for myself on this dress. I also used the same bum rolls, padding, and frankensheet as a petticoat. The underskirt has a zipper in the back, and pins closed. The red overskirt closes at the front with a clasp. The bodice has the basque attached, and closes down the front by Hook and eyelet closures hidden behind the bows. The bows are all made of Christmas ribbon in maroon, and covered with vintage buttons from my grandmothers stash. I lined the inside with a specialty silk I’ve been saving for a special project. I used it because wouldn’t Moll have a surprise on the inside of her gowns?

The hat is made off a wicker base, covered in velvet and silk, with ostrich feathers from a derby hat store, trim from Johanns, and one of my old velvet hair ribbons.

This costume is based off of the red and orange dress as it appears in the miniseries, with allowance made for budgeting, costs, and the fact that I am not Trisha Biggar with Swedish fabric from the 60s. 😂😂😂

Alex absolutely loved my dress, and the whole look was pulled together by my devilishly handsome Daniel Craig @songinthestars on instagram who braved the dangerous highways for me, just to be called “Jemily” all day.