#historical fashion publication

[fashionbooksmilano]

Costume Balls

Dressing up history 1870-19927

Edited by Cynthia Cooper, Photographs by Laura Dumitriu

5Continents, Milano 2024, 288 pages, 246 colour and black-and-white illustrations, Hardback, 25,4x 34,3cm, ISBN: 979-12-5460-071-9

euro 50,00

email if you want to buy booksinprogressmilano@yahoo.it

A century and a half ago, extravagant costume balls and skating carnivals were the pinnacle of society’s entertainment, bringing forth a kaleidoscopic array of characters, most drawn from history. The opportunity to reimagine oneself as a noble hero or heroine from the past was no less than the chance of a lifetime. Participants acquired extravagant costumes and flocked to the photographer’s studio, as attested by the sheer abundance of mementos of these occasions in the McCord Stewart Museum’s collections. The book is intended to accompany the exhibition “Costume Balls: Dressing Up History, 1870-1927” at the McCord Stewart Museum. Montreal. A lead essay presents an overall view of the fancy dress phenomenon, and the major events in Canada with their colonial underpinnings. Other essays look in turn at the commemoration of these balls in art, photography, and publications, a decolonizing perspective on the representation of Indigenous and other marginalized peoples in fancy dress, and the ephemeral nature of the extant objects. A section consists of detailed profiles of astounding garments, with several images to show views of each that cannot be seen in the exhibition: interior construction and labels, closeup views of textiles and materials, and comparisons of archival photographs of ball guests in costume. The book is the first historical fashion publication to explore fancy dress in such detail. Exhibition : McCord Stewart Museum, Montreal, November 14, 2024-August 17,2025

Un secolo e mezzo fa i balli in costume e i carnevali sui pattini erano l’apice dell’intrattenimento sociale. Erano un’occasione per trasformarsi in personaggi storici, nobili eroi o eroine del passato, e rappresentavano un’esperienza indimenticabile. I partecipanti sfoggiavano costumi stravaganti e immortalavano il loro splendore negli studi fotografici, lasciandoci un’abbondanza di ricordi conservati oggi nelle collezioni del McCord Stewart Museum. Dietro l’esuberanza di questi eventi si celavano però anche messaggi più profondi, legati al destino coloniale e al futuro imperiale dell’epoca. Il libro accompagna la mostra “Costume Balls. Dressing Up History, 1870-1927” al McCord Stewart Museum di Montreal e offre una panoramica completa del fenomeno dei balli in maschera, sintetizzando le ricerche più recenti e analizzando i principali eventi in Canada e le loro radici coloniali. Altri saggi esplorano la raffigurazione di questi balli nell’arte, nella fotografia e nei libri, offrendo una prospettiva decolonizzante sulla rappresentazione degli indigeni e di altre popolazioni emarginate, e sulla loro natura effimera. Una sezione presenta profili dettagliati di abiti straordinari, con immagini che ne mostrano aspetti non visibili in mostra: la costruzione interna, le etichette, dettagli ravvicinati di tessuti e materiali, e confronti con fotografie d’archivio degli invitati ai balli. Un libro unico nel suo genere, che offre una visione completa e affascinante di un periodo storico ricco di fantasia e teatralità.

02/11/24

[marzipanandminutiae]

let's play "spot the undervalued historical sub-field!"

source, source, source, source, COMPLETELY UNSOURCED STORY TREATED AS A SOURCE IN ITSELF DESPITE BEING- AGAIN- NOT A SOURCE AT ALL, source, source, source...

being a clothing history specialist is fucking exhausting, guys

(also enjoy those history myths, or at least mischaracterizations. "they were SO GROSS that their hair was FULL OF VERMIN ALWAYS and they only cared enough to MAKE SPECIAL HEAD-SCRATCHERS, not DO ANYTHING ABOUT IT!!! EWWWW!!!")

[designedandplated]

Mourning Dresses for woman and child, 1st September 1809.

[milcahsmeikerblog]

12/19/2024

Hey guys! A little late here, but the Lettie and Betty game is finally now LIVE!!! Yes, I'm posting this from the UK because China wouldn't allow me from posting on Tumblr. As promised, you have your double sized paper doll revival scene maker with the color variants!

Anyway, you can make a scene with both girls...

Or either dress Betty or Lettie alone, whatever is your pick.

Head off to this link to play:

Have FUN! Can't wait what you guys make there!

[mystxmomo]

Small compilation of some design stuff for book of industry, because that story is going to be in production hell for at least two years. I'll grab the proper inspiration for some of their clothing down the line, I forgot to save it on the sheet.

[gonguji]

dior  pinpointed  my  curiosity  towards  kabu's  veil  &&  i'mma  be  honest  . . .  there  isn't  much  information  on  such  specific  piece  of  headwear  but  the  overall  details  in  the  traditional  historic  headwear  does  make  sense!

[isisanea]

Old and pretty dresses

[nightingale-prompts]

The Nightingale Family-DC x DP prompt

(Shameless Addams family inspired prompt)

News travels fast in Gotham, especially in affluent circles. A new family has arrived in the city, old money at that. They had taken up residents in the old mansion overlooking the Historic Gotham Graveyard.

The Nightingales had a way of letting their presence be known. They were rarely seen in public. The eldest Jasmine Nightingale however had made waves working at the Gotham Asylum as a psychologist. She was often escorted by her younger brother Dan Nightingale. The public really started talking when Jazz was seen talking with Harley Quinn.

There were two children that lived in the Nightingale manor. They were elusive to say the least as the family didn't attend the parties of Gotham.

It wasn't until Damian Wayne got an invite from his classmate Danielle to visit their manor that someone saw the lives of Nightingales. This invite had been received after Damian carefully befriended the youngest Nightingale to investigate their connections.

That's how the Waynes ended up at a dinner party.

The manor was bleak to say the least and that's saying something in Gotham. The buildingbwas made from black stones and gargoyles perched on the roof. The garden was wilted and full of thrones that crept up the walls.

Bruce felt a sense of Deja vu as he approached the door and rang the bell. Tower bells rang out as the face of Jasmine Nightingale appeared. She was dressed in black dress pants and blazer. Her lips were painted to match. Her red hair had a striking white streak through it which had become a fashion trend since the family's arrival to girls wanting to seem mysterious.

"Good Evening. It is so nice to meet the infamous Waynes." She shook Bruce's hand. Behind her, the sounds of clanking metal was heard. "That is just my younger siblings playing. You don't you boys join while I talk to your father.

Despite only being a fresh-faced 20 year old Jazz carried herself like a confident adult. A certified genius in psychology who graduated early she also handled the inmates at the Asylum well enough that escapes are at an all time low.

"She's got it all" was what Harley said.

Bruce's admiration of the young lady was only matched by his suspicion. The house the Nightingales lived y had once belonged to the Al Ghouls. There was no telling yet if there was a connection.

He took a seat in the living room with Jazz tea already prepared. She poured two cups of black tea. Not black as in the type of tea but the color of the drink. Bruce cautiously sniffed the black liquid, it smelled earthy and acidic. Poison.

"Do you like it? I made it myself. I added the belladonna myself. It has a sweet taste so you don't need sugar. The kids have sweet tooths but we avoid added sugars. They love nightshade." She smiled drinking.

Bruce put the cup down. So they drink poison at a young age. They must be part of The League of Assassins. But why are they here?

"If you don't mind me asking. Why did you move to Gotham? Your parents-" Jazz put a hand up as she finished her cup.

"Mr. Wayne I'm sure you are no stranger to parents leaving before their time nor the concept that not all parents deserve children. Now I can't confirm or deny if that is the case for use but you can understand that it's a private matter." Jazz said sternly.

That wasn't an answer.

Upstairs Danny and Danielle played with Elle's new toys. Swords from Dan's trip to Portugal. He even sharpened them. They were currently tearing through the mansion.

Tim and Damian caught them while Danny had successfully pinned Elle to the ground.

"Dami! Help!" Elle yelled catching Danny off guard as Damian tackled Danny to the ground.

"Alright, alright. You can go next." Danny rolling Damian off him and passing him the sword. "Im taking a break."

Danny loved playing with his little sister but baby games are tiring.

"They let you play with swords," Tim exclaimed. This wasn't something he expected, sure it was normal for Damian but Damian is weird and was raised by assassins. Damian didn't do it for fun, it was training.

Damian and Danielle ran off while fencing.

"You must be one of the Waynes. Elle has been excited to have your brother over." Danny said politely if not a bit dismissive.

"Eh, yeah. Your sister said we should join you." Tim said a bit awkward. " You have another brother right?"

"Oh, yeah. He travels alot but he's relaxing right now. He's probably swimming." Danny shrugged.

Tim had heard of Danny. They went to the same school but Danny was part of a program that allowed him to come to school when he felt like it. The program is for young engineers who want to work for Wayne Industries. He mostly worked on small experimental projects. So far Danny's superconductor tech was revolutionary but impossible to replicate. Danny somehow managed to make a more effective coolant than anything they had created in the lab.

"You have a pool?" Tim knew that the mansion didn't have a pool.

"Of water? No." Danny shrugged but gave no further answer.

"I see, so what do you do?" Tim tried to sound normal like he was talking to his friends and not someone he was trying to probe.

"Anything, everything. I was going to recalibrate my telescope but I have a laser to test." Danny walked off expecting Tim to follow.

Testing was just cut a bunch of things in half. Tim got some great info on making an explosive ice canister and foam bombs. Tim made sure to get his number to hire him to make some gear for him.

The Nightingale kids were absolutely lawless. They destroyed everything in their path.

Elle had dragged Damian to her room to show off her toys. She used to travel with Dan until she started school. She picked up a bunch of items. Cult artifacts, shrunken heads, voodoo dolls, cursed puppets, knives, swords, and the homemade taxidermy Elle made from roadkill. She also had a pet dodo bird named Ernesto who had a bed next to her bed. Ernesto took a liking to Damian and sat on his head. The way he shows his affection

Soon enough Dan came upstairs to check on Elle and Danny.

"You kids, need to get ready for dinner. Sharpen your nails and teeth." He said before going back to the kitchen.

"What does that mean?" Damian asked.

"You don't sharpen your nails. Well good luck at dinner." Elle said bemused.

Dinner was...horrifying. Watching the family chat happily as they ripped apart the moving food as it came to life. Damian was actually excited as he skewered the cheese and broccoli casserole that screamed at him.

"Father, why can't we do this at our home?" He asked.

[robotblues]

Ensemble

probably French ca. 1730

[bones-ivy-breath]

L'aiglon by Edmond Rostand, featuring Mlle Maria Legualt as Marie Louise, April 1900

From the New York Public Library.

[racefortheironthrone]

Nobody is making anyone go into scriptwriting. No one is born in a Netflix company town where their dad takes them into the script mines at age 12. Fuck writers who want to get paid more than once for the same job. They should only get residuals AFTER all the people who do REAL WORK, like construction, grips, costume, makeup & animators etc. Most of them are much better at their jobs than writers especially for streaming services, and they are what screenwriters can lean on & novelists can't.

People need to realize that the unions for white collar people like WGA or SIEU or NEA (public sector unions are why cops who kill the people they were supposed to serve & protect remain employed get pensions) is not the AFL-CIO or any other historical union fighting for the lives of the people who built the country's industry and made it run, any more than the NRA are the Minutemen of 1775 New England.

First, go fuck yourself, you fucking scab. No, seriously - you don't come to my blog and spout off about what workers deserve unions and decent pay and what ones don't, like it's your fucking decision. The intellectual labor that writers perform is just as real as any other work done on a film set - "all who labor by hand or brain" is the inherent logic of industrial unionism for a reason.

Second, writers aren't asking to get paid more than once: residuals are deferred pay, you absolute moron. In Hollywood, whether it's writers or actors or voice talent or whatever, you get a small fraction up front - it's usually an ok check, depending on the union's day rates and so forth, but you can't make a living off stitching these together - and then most of your pay comes from monthly royalty checks that provide you with the income you need to live off when you're between jobs.

The problem is that, historically in Hollywood, residuals have been structured with a very long "tail" - the payments start out relatively low and then get more generous over time as the show has more seasons and (presumably) goes into syndication. This doesn't work with streaming's new business model, where increasingly shows are getting 2-3 seasons max and streaming services have become increasingly quick to not just cancel shows but yank them off their servers in order to avoid paying residuals.

So what WGA writers are fighting for is a system that ensures writers (but also actors and other creative workers, because the unions pattern bargain) get a fair share of the show's revenue, even if the show is only given 2-3 seasons.

Third, the U.S labor movement would not exist today if it wasn't for white collar workers and public sector workers. About half of the U.S labor movement - 7 million workers - is public sector, and those workers are overwhelmingly women of color, mostly working as either teachers or postal workers. Likewise, about half the U.S labor movement is made up of white collar workers, and we're graduate students and adjuncts and lab researchers, teachers and social workers, administrators and IT departments.

I'm both public sector and white collar, and I'm a member of an NEA union. I'm an adjunct professor who earns $6,000 a course and it's my job to get working adults with jobs and families who've never gone to college or who've been out of higher ed for a decade to graduate with a bachelor's or a master's. If you don't think that's real work, you're free to research and write all the lectures and powerpoints, deliver those in an entertaining and educational fashion, answer a flood of questions from students who need help navigating academia, and then grade all the midterms and finals and research papers.

[designedandplated]

Women's Purple Day Dress, 1880.

[tarre-was-right]

FINALE - You might want to read the propaganda this time. Lots of misinfo in fandom on these two in particular.

Remember, this is NOT about who would win in a fight. This is about who makes the best leader for Mandalore as a whole.

Explanation post

Seeding

Propaganda below the cut! You can submit more on this post and I will reblog it back to here! I was going to keep the text-only bits above the readmore, but we got enough in that it takes up more space than I thought.

Yes, I will even reblog the stuff based on fanon, but I will judge you for it.

SATINE KRYZE

Anon: Satine because she served. Mandalorian fashion week would love her. Manda'slay.

Anon: Satine Propaganda: Was supported by the STRONG MAJORITY, led Mandalore to be in peace for NEARLY 20 YEARS, didn't ban mando'a or armour or any part of the culture like fandom claims, is a good fighter, considered EVERY Mandalorian a Mandalorian and didn't discriminate

@lightsaberwieldingdalek: Satine propaganda: she actually ran a functioning government. Not a mercenary band, or a death cult, or a terrorist extremist organisation, an actual functioning government. Yes there was corruption, corruption she did her best to stop to the point of personally getting in firefights with smugglers, but she took a planet devastated by civil war and by the end of her rule she had schools, public works, and a justice system. - Sure, the rest can run military operations (and we don’t know Satine couldn’t, only that she *won’t*) but can they make the bins get emptied regularly to go to the recycling plants?

@lightsaberwieldingdalek: I understand Jaster has the tacticool appeal, and has the iconic armour, but guys. He did an interpretation of some problematic historical values for the more modern day, led a mercenary band, and under unknown circumstances his group started calling him the historical-cultural title of the ruler of their entire cultural group. I know he’s cool looking, and shoots real good, but at most he’s the equivalent of someone who could be a cult leader but doesn’t want to be. - Meanwhile. Satine. You have issues with her ethical code, and she’s not a cool cause she doesn’t wear the armour. And yet she is the one who *actually ran mandalore*. For 20-ish years, and not only kept it stable but built it up from the ruins of civil war! - Yes yes T-helmet cool and military man competence nice, but that cannot equal taking the ruins of a war torn society and turning it into a mostly peaceful (when terrorism happened it was a big shocking deal, not normalised) urbanised people who eat well, have access to luxury and specialised education (get a offworld Jedi to come lecture) and can ACTUALLY BREATH IN THE ATMOSPHERE RUINED BY ALL THE WARLORDS LIKE JASTER TRYING TO FIGHT THE REPUBLIC TO PROVE THEMSELVES.

Anon: Satine propaganda: she knows what the aftermath of war is like. Jaster knows war from a soldier's perspective, a commander's perspective. But Satine knows it from a noncombatant's perspective. She's seen the aftermath and wreckage it leaves behind. Rebuilding after a war takes far longer and likely costs more than the war itself. I don't think Jaster cares about what happens after the battle. But Satine most certainly does.

@archangelsunited: Efficient and long lasting leader of her faction for years, was able to navigate neutrality with the Republic during the Clone Wars. Excellent Hair pieces.

@publiusmaximum: She allowed her society to experience it's first moment of peace and prosperity in a thousand years. - After she was killed, her society was taken over by fascists and gangsters. In short order Mandalore was razed, made uninhabitable, and her people scattered. - Satine was right about everything.

JASTER MEREEL

Anon: Jaster is the one who should rule Mandalore and all Mandalorians, although he started small he searched to make a new code of conduct for Mandalorian bounty hunters, he tries to keep the culture intact yet keep Mandalore progressive and not stuck in the past and from killing each other.

@spacetime1969: He literally rewrote what it means to be Mandalorian, and he created an entire movement around said philosophy that had a good chance of becoming the controlling party of Mandalore if he hadn't been assassinated. What more do you want?

Anon: Jaster for the win, he's the most recent one who actually knows some shit (as much as I love Din Djarin this poor man doesn't know ANYTHING), besides Jango and Boba but they're both very unstable individuals.

@nerdpickle: Jaster, his philosophy perfectly balanced tradition and reform, keeping the best of both worlds, he was also one of the few people chosen by the people

Mereel is a strong and powerful leader. He defeated the traiter Tor Viszla in battle and even took in a poor, orphaned Concordian child after the battle. No more will Mandalore be forced to consider such petty ideals as peace in order to avoid outright war. Instead, we shall be known throughout the galaxy as the greatest mercenaries the galaxy has ever known. Under his rule, we shall triumph over the foolish savages of planets unconquered and be paid handsomely for it!

Anon: Mereel is a strong and powerful leader. He defeated the traiter Tor Viszla in battle and even took in a poor, orphaned Concordian child after the battle. No more will Mandalore be forced to consider such petty ideals as peace in order to avoid outright war. Instead, we shall be known throughout the galaxy as the greatest mercenaries the galaxy has ever known. Under his rule, we shall triumph over the foolish savages of planets unconquered and be paid handsomely for it!

@archangelsunited: Had a structured document for Mandalorian Culture in the modern (tm) day. He fought with the warriors he sent out and took personal interest in the results of his actions (Jango Fett mentorship). Pissed off Tor Vizla.

@nerdpickle: Satine’s Mandalore was like Switzerland, except without the well trained military, incredibly advantageous terrain, high gun ownership and giant nuclear armed alliance providing a free buffer zone on all sides.

SATINE

@bosooka: Originally here

i wrote way too much for my original draft of this (and it turned into a "fuck jaster mereel" party) so here's an abbreviated version

Why Satine is a Better Ruler Than Jaster in 2 Simple Points

Point #1: Satine actually maintained order on Mandalore for decades

This one is simple. Mereel became Mandalore in ~60BBY and Tor Vizsla tried to overthrow him a mere two years later (and nearly succeeded). He was only in power for six more years before he was betrayed by the very same violent people he allowed to remain by his side because of his belief that a Mandalorian warrior was "merely a highly-paid soldier".

Contrast Satine: ruled from approx. 42BBY until 19BBY, a reign of 23-odd years. For twenty-odd years of her reign New Mandalore was completely peaceful and there were no challengers to her authority among the people or elsewhere. Death Watch only became an issue again when they received Separatist (and ultimately Sith) backing, and Dooku discarded them for being useless. Had Death Watch not allied itself with Maul's Shadow Collective I don't think she would have been overthrown at all.

Point #2: Satine kept Mandalore out of places it didn't belong

As we've established, Mereel had no issues with Mandalorians being mercenaries, used however their clients saw fit. I won't go into the weeds of the ethical implications of mercenaries and why they are illegal under international law on Earth, but in short: letting anyone pay one to kill others is the easiest way to become the cudgel of a fascist. Coincidentally exactly what the Fett clones become when Sidious uses them to exterminate the Jedi. Mereel's "reforms" of the Mandalorian ways did not prevent his troops from getting into a fight they couldn't win against the Jedi on Galidraan (and yes, the Mandalorians shot first:

not that anyone in the fandom remembers this...) after they but an insurrection down on behalf of the corrupt governor of the planet. To be clear, the True Mandos knew that the governor of Galidraan was corrupt and most likely harboring Tor Vizsla, but they still agreed to kill "insurrectionists" for money. Their problems came when Death Watch arranged to make it look like they had also killed women and children. Truly a war between saints and monsters.

Meanwhile Satine: the head of the Council of Neutral Systems, she refused to take sides in a war pushed by the greedy and violent. Yes, she was briefly protected by clones when it comes to light that Death Watch is aligned with the Separatists, but it was immediately followed by the Republic attempting to militarily occupy Mandalore and Satine risking life and limb to keep her people autonomous. Satine refused to become a useful idiot for warmongers, even knowing that it would have been economically advantageous for her to do so. Unlike Jaster Mereel, she has ideals that she values more than credits. He would have accepted an offer from the highest bidder and turned Mandalore into a machine of war for the Sith, just like his Crusader ancestors once did.

Tl;Dr

Satine was actually respected as an authority on Mandalore for literal decades and was only challenged by a miniscule faction of terrorists who had to get foreigners to interfere in their political processes (FML) in order to actually take power from her

Satine kept Mandalore out of conflicts it did not belong in, which largely protected it from military occupation and destruction until the year she died; Mereel made a career out of interfering in the affairs of other planets if they were paid to do so

Unlike Mereel and his successor, Satine had morals to motivate her decisions that were not the pursuit of cold hard cash, including the protection of Mandalorian independence and neutrality

[doyoulikethissong-poll]

Bing Crosby - White Christmas 1942

"White Christmas" is a song reminiscing about an old-fashioned Christmas setting. Written by Irving Berlin for the 1942 musical film Holiday Inn, the song won the Academy Award for Best Original Song at the 15th Academy Awards. Originally sung by Bing Crosby, it topped the Billboard chart for 11 weeks and returned to the number one position again in December 1943 and 1944. His version would return to the top 40 a dozen times in subsequent years.

Since its release, "White Christmas" has been covered by many artists. Crosby's version is the world's best-selling single (in terms of sales of physical media), with estimated sales in excess of 50 million physical copies worldwide. The Guinness Book of World Records 2009 Edition lists the song as a 100-million seller, encompassing all versions of the song, including albums. Crosby's holiday collection Merry Christmas was first released as an LP in 1949, and has never been out of print since.

The song established that there could be commercially successful secular Christmas songs - in this case, written by a Jewish immigrant to the US. Before 1942, Christmas songs and films had come out sporadically, and many were popular. However, "the popular culture industry had not viewed the themes of home and hearth, centered on the Christmas holiday, as a unique market" until after the success of "White Christmas" and the film where it appeared, Holiday Inn.

The version most often heard today on the radio during the Christmas season is the 1947 re-recording. The 1942 master was damaged due to frequent use. Crosby re-recorded the track on March 19, 1947, accompanied again by the Trotter Orchestra and the Darby Singers, with every effort made to reproduce the original recording session. The re-recording is recognizable by the addition of flutes and celesta in the beginning. In 1974, the 1942 recording of the song by Bing Crosby and The Ken Darby Singers was inducted into the Grammy Hall of Fame. In 1999, National Public Radio included it in the "NPR 100", which sought to compile the one hundred most important American musical works of the 20th century. Crosby's version of the song also holds the distinction of being ranked No. 2 on the "Songs of the Century" list, behind only Judy Garland's "Over the Rainbow," as voted by members of the RIAA. In 2002, the original 1942 version was one of 50 historically significant recordings chosen that year by the Library of Congress to be added to the National Recording Registry.

"White Christmas" received a total of 74,5% yes votes!

[marzipanandminutiae]

my other favorite antidote to ahistorical applications of the Hair Up = Repression trope in historical media is in my own most beloved Crimson Peak

Edith's hair is always up when she's healthy and in control of her life, doing proactive things and taking steps to get what she wants. pretty much all the time in Buffalo, and then at Allerdale when she's exploring the house before the poison really starts to take effect. even when she and Thomas consummate their marriage, a moment in which her hair could realistically have been down given the context

it really serves, once her hair is down all the time, to signify that she's losing herself and getting weaker- both physically and as a character within the story

Lucille has a bit less symbolism, or perhaps just a dark mirror of the way these things often work in modern media- she's letting her hair down because she's not hiding or repressing anything, but it's not a triumphant moment. it's a loss of control, in a negative way, as her life completely unravels around her. and showing off things she kept hidden for a very good reason (and she's trying to hold it together still- her hair is almost never seen all the way down; it's braided for most of the climax)

Hair Up In Public was a marker of adulthood for a woman in that era, NOT repression. a sign of normalcy, yes, but also of maturity and power. and they make good use of it that way rather than imposing a modern framework on historical fashions

[ranticore]

some more horse guy fashions, specifically historical

erased the mandolin for this one goodbye mandolin i couldn't be bothered drawing you

so my thought process for this is like what would a society of, lbr, british ppl who are horses value and how would that translate into what they wear if they specifically don't have a taboo against nudity. these fashions are pre-florian conversion (florian was the guy who gave them all government-mandated shame) and considered traditional (the full coverage dresses are also traditional but to a post-florian period so those would be called like. idk. classical). they were still in use in the enclaves north of ironwall for quite a while. anyway returning to the point, the answer to 'what they value' is movement. in actual horses, herd hierarchy and social function is based off movement - free movement for animals for whom the flight response is so strong is an incredibly important thing. dominance in horses is expressed and reinforced by controlling and curtailing the movement of subordinates. for these people, free movement was enhanced by kinetic fashion - free-flowing garments like capes, loosely-pinned headgear with feathers and floaty cloth, and noise-generating devices like bells and chimes were all used to elaborate and enhance the appearance of somebody's gait. the overall look was mostly based off of morris dancers (pheasant feathers, bells on the legs, handkerchiefs) because i like the tie-in to suppression of folk dance by puritans. i think these guys would have some great folk dances

in much the same way trainers are just normal everyday footwear now, game kerchiefs/flags were worn in non-sports contexts because it suffused into the mainstream and became Cool. the flags were used in a game similar to tag rugby if you've ever seen that played (where snatching people's flags is used instead of full contact tackling, forcing someone who's been 'tagged' to stand still until the flags are returned). as i said before somewhere, centaur team sports go incredibly hard.

the tail ornaments were status symbols and in appearance a bit like the traditional show turnout of shire horses. woven grass and straw could be used for a temporary ornament like these, but metal or carved wood were really impressive, and very common gifts of favour between romantic partners. more flags could be hung there if you wanted to be really cool

variations of this style of mane décor were also employed (they loved their ribbons)

in the same time period, Ironwall fashion was a little bit different. These expensive caparisons were usually purchased secondhand after a real horse was done wearing them, with distinct front and back halves of different length. The garments would usually have the original liveries removed and replaced by generic religious iconography as few centaurs would ever have their own heraldry. Later, in the Georgian and Victorian eras, full coverage to the pasterns with a single undergarment was the only acceptable option (that's the classical style now) The rest of the picture is self-evident, but centaurs at the time wore additional... equipment on the withers which were called a variety of very colourful names but mostly referred to as gelding bars (as in, they will geld you if you sit on them). they were metal and spiked. these were introduced by the florian government to discourage the grossly inappropriate contact of one person's legs around another. previously there was no great taboo against riding on a centaur's back, it wasn't super common but nobody was like "this is basically public sex" until our pal centaur cromwell i mean florian came along and decided this was the work of the devil. young people were also made to wear these to discourage the homosocial behaviour very common to the mid-20s age groups of both sexes, and they also had a place in preventing stallions from wrestling (ironically increasing the danger of their fights because well now all we can do is stand back and kick). the wearing of these devices was mandatory. headcoverings were not strictly necessary, and neither were fully-wrapped tails, but some especially devout citizens took to it quite well.