#late baroque fashion

[gogmstuff]

Late Louis XIV - Fripon curls and cleft coiffures (from top to bottom) -

1690s (late) Female portrait by Nicolas de Largillière (State Pushkin Museum of Art - Moskva, Russian Federation). From pinterest.com/pocketmuseum/1600-1699-women-in-works-of-art/1690s/ 1875X2420.

ca. 1700 Une élégante dame by Nicolas de Largillière (location ?). From tumblr.com/sims4rococo76.

1700s Lady with a dog and a monkey by Nicolas de Largillière (Muzeum Narodowe w Warszawie - Warsawa, Poland). From Wikimedia 1782X2353.

[addictedbespoken]

Men Red Velvet 3Pc Fersen Court Suit Period Clothing Floral Embroidered Metallic Detailings French Nobleman Costume Free Lace Jabots & Cuffs

This 18th Century vintage costume for men is inspired from the magical Venical Carnival & Late Baroque fashion. The costume can become the zest of any carnival or themed festival and can also be a perfect costume for wedding groom.

This 3Pc court suit include: •Red velvet justaucorps embellished with Victorian floral embroidery & metal button detailing •Off white paisley print vest embellished with Victorian floral embroidery & have metal buttons closure •Red velvet Breeches with floral embroidery on bottom & metal button detailings & closure •Laced jabots & cuffs

Features: •Intricate embroidered •Lightweight •Soft & Breathable •Comfortable wearing in all seasons

Material & Caring: •Premium Velvet & Eco friendly material •Dry Clean •Dry on low heat or hang to dry for best result

[luxus-aeterna]

from this post

[marianadecarlos]

The Birth of Charles II of Spain Fanart

Warning: This story contains some artistic license

The Queen's pregnancy was approaching its end and had become a matter of utmost importance. The future of the Monarchy depended on this event. On Sunday, November 6, everything seemed to be ready. The doctors and physicians were on alert; the Queen's confessor was near her, and the Chief Steward of her Household was carefully reviewing the arrangement of the items in the birth chamber. To guarantee the success of the event, all the holy relics that were in the Palace and others brought from El Escorial and other places had been arranged in order. There was the staff of Saint Dominic of Silos that the Order of Saint Dominic had brought, the ribbon of Saint John Ortega, from the Order of the Hieronymites; the incorrupt bodies of Saint Isidore and Saint Diego de Alcalá; the image of the Virgin of Solitude and the one so venerated by the royal family, Our Lady of Atocha. It is not easy to find a space so holy and sacred. Everything, then, was ready, the things of the earth arranged to implore God's pleasure. At noon, after a frugal lunch, Philip IV retired to his chambers. At the same time, While eating, Queen Mariana suddenly felt intense pain in her abdomen, realizing that she was about to give birth. She quickly left the table and hurried to the Tower Chamber.

King Philip went straight to his study while looking at Prospero’s portraits. He entered his study, sat down, and began to write to answer the last letter of Sor Maria de Agreda. He wrote with a deep sigh and tears in his eyes.

“ With the long illness of my son, and the continuous help I was giving in his room, I have not answered your letter of the last month...I assure you that what has most exhausted me, more than this loss, is to see clearly that I have vexed God and he sent this punishment to castigate my sins...

(The king reminisces his cherished memories with Felipe Prospero while writing this letter)

Help me as a friend with your prayers to placate God’s just anger and beg Our Lord that, as he took my son from me, He may make his light shine on the Queen, whose confinement we await hourly, and give her good health and guard what is to be born, if his will, for otherwise I do not wish it...

Back in the Tower Chamber, Queen Mariana cries in agony as she is delivering her baby. The royal midwife Ines Ayala told Queen Mariana to push harder. Five other doctors were present at this event in case of emergency. One of those doctors was Dr Bravo. While the Queen was giving birth, the courtiers and Infanta Margarita looked on. 

Ah, Sor Maria, If I had succeeded in following your teachings, perhaps I would not have found myself thus. Pray to our Lord that he may open his eyes, that I may perform his holy will in all things... There is nothing new in the English situation. I, thank God am in good health...

At this point, King Philip was interrupted by a courtier who delivered the news and told the events occurring in the Tower Chamber. King Philip was anxious about the future that lay within a few hours. He prayed heavily to God, asking him to deliver him a son. All could imagine the impatience of the Royal Court of Madrid and Europe, waiting for an outcome of this event. As hours passed, Queen Mariana was still in labor, and the doctors argued over natural forms of treatment. They were anxious as the Queen and the child’s life was at stake. 

Dr. Bravo proposed a theory: In the past, Queen Mariana had difficult experiences giving birth to her children. At the birth of Maria Ambrosia, Felipe Prospero, and Fernando Tomas, The Queen had terrible epileptic seizures, and the infants died or lived for a short time. On the other hand, at the birth of Infanta Margarita, the only child to survive, The Queen had been perfectly well. Now why was this? The reason is simple: Just before Infanta Margarita was born, Queen Mariana had suffered several violent nosebleeds. Therefore, what she requires now is to be bled. 

Some doctors disagreed, warning that the proposed action could endanger the Queen and her child. Concerned, Queen Mariana asked the doctors if there were any alternative procedures. The doctors offered different opinions, while Dr. Bravo defended his proposal. As the debate continued, Mariana went into labor with the assistance of Ines Ayala. The infant cries and is alive. The birth of the infant brought joy to all. King Philip became a father once again. When the courtier informed King Philip of the birth, he was overjoyed and immediately visited the tower chamber to see his newborn son. King Philip joyfully held his son and proudly showed him to the Queen and his daughter. When the courtier informed King Philip of the birth, he was delighted and immediately visited the tower chamber to see his newborn son. King Philip joyfully held his newborn son and showed him to the Queen and his daughter. 

Sources:

Carlos, A king who would not die by John Langdon Davis

Happy Birthday, Charles II of Spain!

[dwellordream]

Historical Costumes of England from the Eleventh to the Seventeenth Century

- Nancy Bradfield, 1963

[medea-of-colchis]

Robe à la française, c. 1760-70

[lacelanterns]

Robe à la Française - 1770-75 (Rococo)

A staple of 18th Century (1700- 1799 C.E.) aristocratic and monarchic fashion; adapted from the Mantua (Late 17th Century) and Robe Volante. Fashionable between circa 1720 - 1780.

'Robe à la Française' were only second to court dress in formal wear, it is characterized by the impish and coquettish opulence of the Rococo/Late Baroque movement. The 'Robe à la Française' also known as a 'Sack Gown' or 'French Gown' was fitted in the front with a robe a top of the petticoat layer with a decorative stomacher going under the lace of the stays - covering the chemise; whilst the back had loose Watteau (box) pleats.

[dresshistorynerd]

There is no way to say it pleasantly. Your recent post about Julie... its speculation is a slap in the face of masculine women. Dressing in men's clothing is not a statement against being female, especially in times when male clothes were far more practical than women's. (And especially in the case of a bisexual or homosexual woman!) Behaving "unwomanly" is evidence only in the eyes of sexists. But even today... it is stunning to think that a woman, should her every thought not be recorded, could be deemed a secret man for being masculine! That lingering speculation, despite absence of proof, is rather insulting.

Your reading of my post is extremely dishonest or you didn't actually read the post. The whole time I talk about her as a sapphic woman, because that is what the evidence most point towards. If you think even raising the possibility that she might have been somewhere in the genderqueer or trans spectrum (like some butch lesbians identify as genderqueer and/or trans too), is an insult and means I'm sexist or some shit, there's no way to say it pleasantly, you're probably just a fucking terf.

Now I have no illusions that correcting some of the inaccurate things you said will do anything to change your mind, but because we're already here and I'm allergic to these bad fashion history takes, I'll correct them anyways. This is more for anyone else who happens to see this and actually has some level of reading comprehension.

The women's dress at the time was not necessarily any more impractical than the men's dress. The impractical part of high society women's dress was the skirt that usually had a large trail. But they would also have much more practical dresses for casual usage. High society men wore large wigs that were I would assume pretty impractical. Their clothing, which was well fitted around the torso, closed with buttons and then not very easily adjustable. On the other hand the women's dress was either loose and pinned and belted to fit (in the case of mantua) or laced (in the case of rigid gown) so very easily adjustable even during the day to keep it comfortably fitted to the changes in the body. This would be more practical for anyone, but especially to most afab people, whose bodies can change quite drastically thorough the month.

My point is actually no Julie de Maupin did not have any practical reason to dress in men's clothing. In fact it was impractical for her. As I point out in the post she struggled with the leading female roles, which she wanted to get, partly because her off-stage personality clashed so much with them. (At first) she didn't get as much recognition of performances in leading roles as in supportive roles, partly because the audiences had trouble buying her performances in those roles.

And the other point. The modern concept of fashion doesn't entirely apply to the past. Now fashion is seen as self-expression. Even being into fashion is seen as an indication of certain personality. This was not the case in the time when Julie was alive. Back then fashion was much more social decorum. To be able to participate in the high society you had to keep up with fashion. There were people who were more fashionable than others, sure but they were mostly just the richest young people around, and that made them most fashionable. Fashion was not for self-expression, it was mostly for expression of hierarchy. It was also for political expression. (There's an interesting paper on the contemporary commentary of the politics of the court fashions, which I will link here, when I'm on my desktop.) It was not about what you wanted to wear, but what you wanted others to think about you.

In addition to that at the time clothing was integral part of gender (arguably still is judging from all the conservatives loosing their minds when a man dares to wear a dress). Women in breeches and men in skirts were seen as transgressing on gender. This can be seen even in the mid 1600s conservative reaction to when women's riding habit first appeared (they never change do they?). They complained that the women were basically indistinguishable from young pretty men and like the women were even wearing skirts (seen below)? Part of this was that both the women and men were shaping their silhouettes with their clothing to gain the fashionable feminine and masculine silhouettes, which meant that different shaped bodies could still achieve either silhouette.

Looking through this lens we can ask, why did Julie wanted to be seen as transgressing on gender even though it hindered her career? I think there could be many answers to this question and one could be that she wanted to be seen as not-woman (or maybe not entirely woman). We can never know, because we don't have any of her thoughts about her androgynous expression surviving to this day.

[selkmoth]

painting at chattsworth house, UK

[mearchuimhne]

It’s that time of the year when I pretend I’m not a trash goblin

[literaryvein-reblogs]

more words for characterization (pt. 4)

Age

adolescent, afresh, ancient, antiquarian, antique, big, childish, crude, doddering, elderly, fresh, full-grown/full-fledged, green, hoary, immemorial, infant/infantile, junior, late, medieval, mint, modish, new, novel, older, old-fashioned, originally, outdated/out-of-date, passé, quaint, refreshing, secondhand, stale, state-of-the-art, undeveloped, up-to-date, well-preserved, youthful

Appearance

adorable, aesthetic/esthetic, artistic, beautiful, comely, crisp, dapper, decorative, desirable, dressy, exquisite, eye-catching, fancy, fetching, flawless, glorious, good-looking, graceful, grungy, hideous, homely, irresistible, natty, ornate, plain, pretty, refreshing, resplendent, seductive, spiffy, striking, stylish, ugly, unbecoming, willowy, with-it

Genuineness

abstract, actually, alias, apocryphal, apparently, arty, authentic, baseless, beta, bona fide, circumstantial, concrete, contrived, credible, deceptive, delusive, dreamy, ecclesiastical, empirical/empiric, enigmatic/enigmatical, ersatz, ethereal, factual, fallacious, fantastic, far-fetched, fictitious, foolproof, fraudulent, good, hard, historical, honest-to-God, illusory/illusive, imitative, indisputable, invisible, just, lifelike, made-up, magic/magical, make-believe, matter-of-fact, metaphysical, monstrous, mystic/mystical, mythical/mythological, nonexistent, openhearted, ostensibly, paranormal, physical, positive, pretended, quack, quite, realistic, right, sincerely, specious, spurious, supernatural, synthetic, tangible, true, unearthly, unnatural, unthinkable, unvarnished, unworldly, valid, veritable, wholehearted/whole-hearted, wrong

Movement

ambulatory, brisk, clumsy, fleet, fluent, frozen, gawky, graceless, immobile, indolent, itinerant, leisurely, lifeless, liquid, lithe, maladroit, migrant/migratory, motionless, moving, nomadic, oafish, passive, pendulous/pendent, portable, restless, roundabout, sedentary, slow, speedy, static, vibrant, winding

Style

adorable, baroque, becoming, black, bold, brassy, cheap, class, classy, contemporary, country, cultural, dashing, dowdy, eat high on the hog, exquisite, featureless, flamboyant, floral, flowery, formless, futuristic, garish, gay, glamorous, gorgeous, grand, graphic, hot, improvised, informal, innovative, kinky, loud, lush, luxurious, mean, meretricious, modish, neat, new, obsolete, old-fashioned, orderly, ornamental, ostentatious, outdated/out-of-date, palatial, picturesque, plush, posh, prevalent, quaint, refined, resplendent, rustic, scruffy, sharp, simple, sleazy, smart, snazzy, spiffy, spruce, stately, state-of-the-art, stylish, swank/swanky, tacky, tasteless, tousled, two-bit, unbecoming, unworldly, up-to-date, vogue

NOTE

The above are concepts classified according to subject and usage. It not only helps writers and thinkers to organize their ideas but leads them from those very ideas to the words that can best express them.

It was, in part, created to turn an idea into a specific word. By linking together the main entries that share similar concepts, the index makes possible creative semantic connections between words in our language, stimulating thought and broadening vocabulary.

Source ⚜ Writing Basics & Refreshers ⚜ On Vocabulary

[addictedbespoken]

Men Blue Velvet 3pc French Nobleman Costume 18th Century Inspired Carnival Of Venice Rococo Wedding Outfit With Free Lace Jabots And Cuffs

This 18th Century vintage costume for men is inspired from the magical Venical Carnival & Late Baroque fashion. The costume can become the zest of any carnival or themed festival and can also be a perfect costume for wedding groom.

This 3Pc court suit include: •Blue velvet justaucorps embellished with paisley & floral embroidery & metal button detailing •Off white paisley print vest embellished with paisley & floral embroidery & have button closure •Blue velvet Breeches with floral embroidery on bottom & metal button detailings & closure •Laced jabots & cuffs

Features: •Intricate embroidered •Lightweight •Soft & Breathable •Comfortable wearing in all seasons

Material & Caring: •Premium Velvet & Eco friendly material •Dry Clean •Dry on low heat or hang to dry for best result

[english-history-trip]

15th century (Houppelande the Ritz)

Early 16th century (God please, not the codpiece)

Late 16th/early 17th centuries (That's ruff, buddy)

Mid-17th/early 18th century (If it ain't Baroque, fix it)

Mid-18th century (Big tent party)

Late 18th/early 19th century (Empire state of mind)

Mid-19th century (Hoop springs eternal)

Late 19th-early 20th century (Hustle and bustle)

1910-20s (Ankles aweigh)

[vinceaddams]

Early 18th (and late 17th) century fashions are so under-utilized in vampire media and I think it's a damn shame.

I don't actually think I've ever seen a single image of a vampire character in an early 18th century suit. Hardly any movies set in that era either, and hardly any historical costumers who do it. (Even my beloved gay pirate show set in 1717 takes nearly all of its 18th century looks from the second half of the century. Not enough appreciation for baroque fashion!!)

Yes I love late 18th century fashion as much as anyone, and 19th century formal suits are all very well and good, but if you want something that says old, dead, wealthy, and slightly dishevelled, then the 1690's-1730's are where it's at.

(Retrato del Virrey Alencastre Noroña y Silva, Duque de Linares, ca. 1711-1723.)

There was so much dark velvet, and so many little metallic buttons & buttonholes. Blood red linings were VERY fashionable in this era, no matter what the colour of the rest of the suit was.

(Johann Christoph Freiherr von Bartenstein by Martin van Meytens the Younger, 1730's.)

The slits on the front of the shirts are super low, they button only at the collar, and it's fashionable to leave most of the waistcoat unbuttoned so the shirt sticks out, as seen in the above portraits.

(Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil, 1734.)

Waistcoats are very long, coats are very full, and the cuffs are huge. But the sleeves are on the shorter side to show off more of that shirt, and the ruffles if it has them! Creepy undead hands with long nails would sit so nicely under those ruffles.

(1720's-30's, LACMA)

Embroidery designs are huge and chunky and often full of metallic threads, and the brocade designs even bigger.

(1730's, V&A, metal and silk embroidery on silk satin.)

Sometimes they did this fun thing where the coat would have contrasting cuffs made from the same fabric as the waistcoat.

(Niklaus Sigmund Steiger by Johann Rudolf Huber, 1724.)

Tell me this look isn't positively made for vampires!

(Portrait of Jean-Baptiste de Roll-Montpellier, 1713.)

(Yeah I am cherry-picking mostly red and black examples for this post, and there are plenty of non-vampire-y looking images from this time, but you get the idea!)

And the wrappers (at-home robes) were also cut very large, and, if you could afford it, made with incredible brocades.

(Portrait of a nobleman by Giovanni Maria delle Piane, no date given but I'd guess maybe 1680's or 90's.)

(Circle of Giovanni Maria delle Piane, no date given but I'd guess very late 17th or very early 18th century.)

Now that looks like a child who's been stuck at the same age for a hundred years if I ever saw one!

I don't know as much about the women's fashion from this era, but they had many equally large and elabourate things.

(1730's, Museo del Traje.)

(Don't believe The Met's shitty dating, this is a robe volante from probably the 1720's.)

(Mantua, c. 1708, The Met. No idea why they had to be that specific when they get other things wrong by entire decades but ok.)

(Portrait of Duchess Colavit Piccolomini, 1690's.)

(Maria van Buttinga-van Berghuys by Hermannus Collenius, 1717.)

Sometimes they also had these cute little devil horn hair curls that came down on either side of the forehead.

(Viago in drag Portrait of a lady, Italian School, c. 1690.)

Enough suave Victorian vampires, I want to see Baroque ones! With huge wigs and brocade coat cuffs so big they go past the elbow!

[inlovewithregencyera]

My Fair Lady: Late Baroque Era Set

(no fancy thumbnail this time, sorry) ♫ < baroque music

Please READ ALL OF THIS before downloading. I will not answer an ask if it was answered here. Read.

This is a late 17th-century/early 18th-century Baroque Set. You will get 25 items for women, girls, and toddlers! Towards the bottom, I will give you tips to start a Baroque Era Save (people to find on gallery and men/boy attire).

I would like to thank @the-melancholy-maiden @linzlu @sychik @batsfromwesteros @vintagesimstress @cringeborg @acanthus-sims @stereo-91 and sims 2 creator maya40 for the stuff I've used to make all of this. I'm sure there are more creators but I cannot recall their names off the top of my head. DM me if you see a piece of your mesh here so I can give proper credit. I would also like to thank @belleophile for testing these items for me.

The stuff in this set can work for the late 1660s-early 1710s.

WHAT YOU GET: You will get 3 hat hairs, 1 for each age I listed above, 2 Fontanges for adults that work with the hat slider mod, 4 adult hairs, an adult baroque hair comb piece, 1 adult baroque sash accessory used for court and portraits, 1 ribbon hair piece to go with a hair, and 13 dresses (2 1670s/1660s mantuas, 1 1680s-1710s Habit used for Hunting or Riding, 1 1690s-1710s court dress used for court occasions, 1 1690s-1710s jeweled portrait dress and 1 1660s-1670s portrait dress with sash, and finally 7 1690s-1710s mantuas used for everyday, formal, and seasonal wear. I've included 1 dress for a child and 1 dress for a toddler as well).

SMALL NOTICE ABOUT THE PIECES: The hairline on the hairs will not behave correctly if you have head shape presets on the sim. I've tried fixing that but no luck. If I manage to fix it, I will update it. The Hat Hairs are found in the HAT category and are not compatible with hairs you MUST download the hair files that I'll be including with them. This being said, if you remove sim clothing while they have the hat hair on, it removes the hair override too. It's strange, but just put the hat back on and it should fix. The comb, and ribbon accessory are also found in the hat category. The Sash is found in the GLASSES category. The 1660s-1670s Mantuas are not compatible with shoes, leggings, or socks. I've removed these options in CAS tools so you shouldn't have to worry about clipping. The Barbara 1670s Dress has a sash meshed onto it, and because of this does not behave well with bigger bodies. The same applies to the Henrietta 1670s Dress, as the pearls don't behave with bigger bodies. Same with the Sarah 1670s Dress jewels. The 1690s-1710s Mantuas will have small gaps if the sim is plus-sized. I have tried to fix these issues, but no luck. The hat hair fontange looks a bit gray without reshade or a lighting mod. @northernsiberiawinds has some good lighting mods. Other than that, it's fine. Below, is how it will look white with a lighting mod.

Everything has AT LEAST 20 swatches. Some things have more. There are only a few things that don't have this many swatches.

Here are some pics up close of what you are getting.

Here are some pics/fashion plates from this era.

Did I forget the 1680s mantua..? Oh no! Luckily, I've included this surprise 1680s dress you'll be getting as well for reading all of that. So 26 items! (here you can see hat hair fontange without lighting mods installed)

BAROQUE SAVE TIPS: These dresses will work for winter, summer, and traveling wear. Just add a fichu for summer wear or a shawl. For winter wear just add some long gloves and a cape. For men's stuff from this era, @stereo-91 has recolored some acanthus outfits which can be found here. I'll show you how they look below. I also recommend going to his gallery (ROTAMETERS91) as he has AMAZING builds for this era. For a little boy, @acanthus-sims has some stuff that can work.

DOWNLOAD

[canisalbus]

What kind of clothes would Vasco wear after Machete's death? He tends to wear bright and warm colors, and I was wondering if he would start wearing dark and cool colors to reflect his inner state

I also had thought that he might start to veer towards more somber shades. In reality, late 16th century fashion was dominated by dark colors, if you look at portraits from late renaissance/early baroque eras you quickly notice that pitch black was the most fashionable color (compare that to early and high renaissance fashion from 1400 to 1550 which was visibly more vibrant and colorful). I might be bending the timeline a little bit by having him dress in vivid blues with gold accents, but it's his signature style and I think it mirrors his luminous, free-spirited and approachable personality well. After Machete's death he might've experienced a period where jewel tones had lost their luster to him.