#historical hair and makeup

[saturngalore]

the roaring twenties 🎺

[spineless-lobster]

Some pyrrha art for the soul (her husband is here to pick her up)

[marzipanandminutiae]

me, fuming that my mother wouldn't let me wear long skirts or grow my hair much past shoulder-length until my mid-teens but also aware that that WAS how things often went in the late 19th century, wherein I now get most of my aesthetic inspiration:

[childishchickens]

[dazzelmethat]

Incoherent Deci dump I did for fun. She's always fun to draw, love her for that dead fish lookin stare she has. Ming dynasty Deci, a bonus Jiangshi deci, and a face study of Caldera (Deci's human self).

I realized when scrounging around google images and pinterest that I dislike looking for outfit refs on it. I love my pictorial dictionary books I use for western inspired historical garb, if anyone has any recommendation for a non-western book about costume designs I would be very grateful ...

[nostalgia-tblr]

i want to write more historical au fic, it was so much fun😭

[tragically-jane-doe]

Every time I see a woman on tik tok who is just doing a off version of pin curls I die a lil more inside or like doing the WILL RAGS CURL MY HAIR?!? yes yes they will if you do it correctly and not have your hair sopping wet

[savage-kult-of-gorthaur]

BECAME A HUGE FAN OF HER WORK OVERNIGHT, AND SHE'S EASY ON THE EYES, TOO -- I REMAIN ENTHRALLED!

PIC(S) INFO: Spotlight on English actress Jodie Comer playing French noblewoman Marguerite de Carrouges in the medieval period/costume drama "The Last Duel" (2021), directed by Ridley Scott.

Costume Designer: Janty Yates

Cinematography: Dariusz Wolski

Resolution at 2560x1707 & 1107x1707.

THE PLAYLIST: "When the project came your way, what about it was so intriguing about it? What made you want to jump on board?"

JODIE COMER: "Oh, gosh. I mean, there were so many factors. I mean, obviously one is to work with “the” Ridley Scott. It’s a very, very obvious one. I think what really kind of drew me when I got the email and I got a kind of summary of the story that it’s loosely based on a book. And I knew I was meeting Ridley, and I didn’t actually have the script yet. So I bought the book to try and see what it was all about. And I was so kind of struck by how much information there was about this event and these men. And there was just so little about this woman who was at the heart of it, who was the one who suffered from this act. And then it was really speaking with Ridley and Matt, Ben, and Nicole, and realizing what their goal was and the format of the script. And this idea of perspective is quite dangerous to me, just to play around with that. And ultimately, her own hero[ism] and actually the only reliable narrator, to give her a chance to tell her side and play around with the perspective. I was actually having to really kind of step out of my instincts from my own character and be of service to the other characters and really try and think about what they needed from me for their stories to be truthful. So, it was a really interesting process."

Sources: https://theplaylist.net/jodie-comer-revisits-ridley-scotts-mastery-of-the-last-duel-interview-20211224, The Guardian, Glamour UK, various, etc...

[fillejondrette]

cosmic justice

[lenakluthor]

i have to leave for my headshots in two hours and i’m STRESSED

[swaggy-skeletons]

being a nerd is awesome tbh like i love being a nerd

[anim3h3ll]

If I see one more post calling Pickles gay for being in Snakes N' Barrels... I'm going to flood the Metalocalypse tags with hair metal.

[zombeesknees]

#idiots. but they’re MY idiots

The Musketeers, ep.1x8

[tessied]

I'm currently doing the readings for a class and one of the books is a collection of European missionaries first accounts of Japan in the 16th century, and some of these points are so abhorrent. God forbid Japanese women do makeup and dye their hair.

[marzipanandminutiae]

two movies that play with history in costuming in ways that make Brain Go Brrrr for me:

Jingle Jangle, A Christmas Journey (2020). the actual plot was very much a "this is fine but I'm not the intended audience and I didn't watch it as a child, so it will never have the nostalgia factor and it doesn't particularly compel me as an adult. and that's okay!" situation

but the COSTUMES. oh my god. Cheyney McKnight calls this "Afro-Victorian," and they did it in such an amazing way. one part that struck me is the way the clothes change over time- they didn't have to start it with 1860s-inspired fashions and then make the 30 Years Later timeskip clearly 1890s. it's a fantasy land; people would have forgiven them. but they DID and it's SO COOL

beginning of the movie. the hoops! the little perched hats! this is clearly like 1865, but it works in a lot of both fantastical twists and colors and patterns inspired by various African cloth-dyeing traditions

main character's adult daughter, after the timeskip. puffed sleeves! menswear-inspired tailoring! this is clearly Fantasy 1890s!

main character's granddaughter and her friends post-timeskip. honestly, I say African-inspired textile colors and prints, but some of these would definitely not be out of place in classic European Victorian fashion. mostly the plaid on the white girl here. appropriate skirt lengths for little girls! Cute BootsTM! hats on 99% of the female characters in this shot!

the other is The Favourite (2018)

early 18th century is severely underrepresented in film. the 1690s-1710s were gorgeous and I will die on this hill. plus the way they play around with laser-cut trim and exaggerated hair and makeup is heightening the period look, not watering it down to suit modern sensibilities

Queen Anne and her lover are doing something here; I forget what. I liked the movie, but it wasn't a- pardon the pun -favorite

would she have been wearing full-on masc clothing to shoot? probably not. is it reasonably accurate masc clothing for the era, but Stylized? yes! Also This Is Hot so I'm not complaining. maybe I'd be more into butches if they wore historical menswear...? anyway I digress

holy Tim Burton wet dream I love it so much

do I think Black Panther deserved to win the Oscar that year because the designer had to create a whole visually cohesive clothing culture from scratch? yes. do I still love the costumes in this movie? YES.

so like. it's not that I require 100% accuracy! I just like movies to be having a conversation with history rather than shouting over it, if that makes sense. (also avoiding my specific pet peeves- just be normal about corsets and put women's hair up/add hats where there should be hats. please?)

[abtrusion]

wait where are all the trans guys

Historical-anthropological research, especially the work taking place before the 21st century or outside the West, tends to focus entirely on transfeminized groups. So when reading these works it’s pretty natural to ask — wait, where are all the trans guys? This is a reasonable question with a few clear answers; this post is something quick I can point people to.

The central condition of transfeminized groups' absorption into feminist activism has been to accept a kind of symmetry with select TME groups through the understanding of trans femininity as "gender variance." Under this framework, transfeminized groups' social position can be understood as a consequence of gender variance and some abstract violation of cis norms; this was proposed by people like Susan Stryker and Emi Koyama [1], among others, and continues to structure trans inclusion today. It also fails when considering several basic aspects of these groups:

Transfeminized groups are associated with hyperspecific labor practices, most frequently sex work, but also hair styling, drag, makeup artistry, acting, and other forms of 'gender work.'

Metropolitan transfeminized groups appear in the archive as highly clustered and active groups connected with, but usually intensely split from, the masculine men they fucked.

Transfeminized groups become a kind of 'third gender' on an epistemic level; they are Known to wider society before and after “coming out” in a way that USAmerican transmasculinity has only recently vaguely approached.

Transfeminized groups are heavily clustered in labor practice, social organization, and epistemic position, although this is not universal -- certain strains of USAmerican transfemininity have become a bit more labor-agnostic in the last two decades, not-so-coincidentally alongside more general currents of gender-labor liberation. The messy strains of trans male identity recovered from the archive and from current practice tend to lack labor, social, and epistemic coherence. As Aaron Devor notes in FTM, his 1997 history of FTM men, trans men in the 20th century tended to transition out of cities and into the countryside, finding low-profile places they could exist in. These practices, and the earlier "female husband" practices described by Jen Manion, relied on the labor-agnostic nature of transitioned manhood in order to disappear from public life. Transfeminized groups, on the other hand, are categorically restricted from the main form of economic life historically available to women -- marriage. Their labor practices are heavily constrained and have almost always revolved around some form of 'gender work:' as Susan Stryker put it, you need to get people to pay you for being a trans woman. Transmasculinity pushes away feminized restrictions on labor; trans femininity is labor.

Because transfeminized identities are so often labor-identities, and because their specific brand of 'gender work' and hormonal/silicone/surgical embodiment usually requires both specialized training and community support, nearly every metropolitan center in the world developed highly centralized transfeminized groups over the course of the 20th century [2]. As Ochoa notes, this visibility is partially due to epistemic visibility (everyone knows what a trans is), partially due to group structure (people work and train each other), and partially due to the selectively visible demands of finding clients. Fledglings come in with a way of being that is always already visible to society, but changing the body to match and learning how to fully enact and slowly contest the third-gender labor-identity they've been given takes a lot of community support.

So as labor-identities, transfeminized groups tend to a level of labor/community/epistemic coherence that has no clear counterpart. The news archives we have of trans men (as seen in Manion) position them as singular and easily absorbed back into the female gestalt; the cisgender feminist/gayguy/AIDS researchers that form the bulk of historical-anthropological work saw them as unnecessary to their grand theories of gender; the communities themselves have been materially fractured and, for the groups that rise out of lesbian-feminist activism, only partially committed to their own existence. The result of all this is that there is no clear equivalent to the "transfeminized groups" of Jules-Gill Peterson; there is no symmetry to trannydom, and while additional work to unearth trans manhood in the archive remains extremely valuable, sometimes the necessary level of label-coherence and social existence just isn't there.

[1] Stryker, "My Words to Victor Frankenstein Above the Village of Chamounix: Performing Transgender Rage," Emi Koyama, "The Transfeminist Manifesto" [2] As seen in Namaste, Invisible Lives, Prieur, "Mema's House, Mexico City," Kulick, "Travesti," Newton, "Mother Camp," Ochoa, "Queen for a Day," Hegarty, "The Made-Up State," and plenty more. Most of these works came out in the late 80s and 90s due to a combination of the feminist "third gender" craze, the burgeoning field of masculinity studies, and AIDS.