#ostrich plumed hat

[royalty-nobility]

James VI and I (1566-1625)

Artist: After Paul van Somer (Flemish, c. 1576-1621)

Date: c. 1620

Medium: Oil on canvas

Collection: Royal Collection Trust, London, United Kingdom

James VI and I

James VI and I (James Charles Stuart; 19 June 1566 – 27 March 1625) was King of Scotland as James VI from 24 July 1567 and King of England and Ireland as James I from the union of the Scottish and English crowns on 24 March 1603 until his death in 1625. Although he long tried to get both countries to adopt a closer political union, the kingdoms of Scotland and England remained sovereign states, with their own parliaments, judiciaries, and laws, ruled by James in personal union.

[erinsvintageemporium]

Featured Plate: 1877-04 PET01

Colour fashion plate from Peterson's Magazine for April of 1877.

Fashions for April (page 314 & 315)

Fig. 1. -  Walking-Dress of Wood-Colored, Striped Camel’s-Hair. - The front of the dress is of silk, of the color of the camel’s-hair, trimmed with two deep puffs and a ruffle; full silk bows down the front; the sides of camel's hair skirt are trimmed with narrow plaitings of the silk, and the skirt, which is made with a slight train, is caught up a little in the back; deep jacket of the camel’s-hair buttoned down the front, with collar and cuffs of the silk. Bonnet of coarse straw, trimmed with green flowers and cardinal-red ribbon and roses.

Fig. 2. - Carriage-Dress Of Light-Blue Silk. - The front is trimmed with a ruffle having a puffing, and a plaiting above it, and with two wide-plaited sleeves of silk, edged with Spanish blonde, and fastened at the side with large bows; the train at the back is quite plain, and put on some distance below the waist, with several fine gatherings and standing braiding; the basque is deep and plain. Bonnet of blue crepe, with a long, cream-colored ostrich-feather.

Fig. 3. - Walking-Dress Of Black Silk, Made In Polonaise Style. - The front is laid in plaits, and the back is carelessly puffed on a light lining. Light-gray chip hat, with a long, black ostrich-plume.

FIG. 4. - Walking-Dress Of Green Striped Camel's-Hair. - The under-skirt is of the dark-green, with plaited ruffles; the over-dress buttons diagonally from left to right, and is trimmed around the bottom with a worsted ball-fringe; cardinal-red buttons and ribbon trimmings. Bonnet of black straw, trimmed with black satin ribbon, and a spray of cardinal-red flowers.

FIG. 5. - House-Dress Of Brown Cashmere, Over A Black Silk Skirt. It is made polonaise, buttoning from the left to the right; has a worsted fringe around the bottom, and trimmed with bands of dull, gold-colored embroidery on black. Black crepe fichu, loosely tied around the shoulders.

1877-04 PET01

[historypaintings]

The Death of Major Peirson

Artist: John Singleton Copley (American, 1738–1815)

Date: 1782-1784

Medium: Oil paint on canvas

Collection: Tate Britain, London, United Kingdom

Description

The Death of Major Peirson, 6 January 1781 1783 is a large oil painting by the American-born painter JS Copley, showing a dramatic battle scene in a small square lined with buildings. At the centre of the painting, British soldiers in red uniforms support the body of their wounded leader, Major Francis Peirson (1757–1781). Peirson’s blood-spattered white shirt stands out against the bright red jackets of the soldiers, who cradle him below a large, billowing Union Jack flag, behind which flies the troops’ regimental flag, with only the small Union Jack in the upper corner visible. In the right foreground, a mother tries to flee the battlefield with a baby and a child. A golden statue is also visible below the flag. To the left of this group appears a uniformed Black man apparently shooting back at the French forces who have just killed Peirson. In the middle of a crowd of red-clad British soldiers, the man is depicted wearing a navy waistcoat, silver epaulettes, and a distinctive hat plumed with variously coloured ostrich feathers. The intended identity of the Black man is not known, nor is the possible identity of a real person on whom the portrait may have been based. Many of Copley’s contemporaries were slave-owners or had Black servants in their households in Britain. Copley’s own family in Boston, Massachussets, are known to have had in their household an enslaved African child.

On the night of 5–6 January 1781, a small army of French legionnaires launched a surprise attack on St Helier, the capital of Jersey, a Channel Island which had been controlled by the British since 1066. The French captured the Governor, Colonel Moses Corbet, forcing him to sign a document of surrender. However, in defiance of Corbet’s instructions to stand down, Peirson leapt to defend Britain’s possession of the island, leading his men to the market square of St Helier to engage. There he was fatally shot ‘in the moment of victory, after the French had given way,’ as reported in the Glasgow Mercury (11 Jan 1781). The setting of St Helier is depicted in careful detail, facing onto Royal Square along what is now Peirson Place, with the statue of George II in the background. Likewise, in this and other paintings, Copley tried to produce accurate portraits of models to populate his works. In this work, Copley has paid close attention to depicting the likenesses of two figures in particular whom he may have drawn from life: Adjutant Harrison, who cradles the fallen Major, and Clement Hemery, who stands at Peirson’s feet, wearing the blue uniform of his artillery company. In addition, Peirson and probably other figures in the painting were based on models and existing portraits in paintings and statuary. Historians have suggested the possibility that the Black man in this painting was actually modelled by one of two Black servants employed by Captain James Christie (Kamensky, p.320–1). On departing for Jamaica, Christie had left behind two servants named Abraham Allec and Isaac Burton in a rented flat in Golden Square, just a few blocks from Copley’s residence. He had taken them both into his service during his tour of duty in South Carolina. Both were most likely formerly enslaved, had fled to British lines in search of freedom and were taken into Christie’s retinue as ‘servants,’ wearing his livery and being bound to his and his family’s service, although probably not strictly owned by him (Kamensky 2016, p.320). Although the exact position of Allec and Burton in Christie’s household is unknown, at the time Britain was profiting heavily from the trade of enslaved people and the position of so-called ‘servants’ in British households was often closer to enslavement or indentured labour.

Copley’s painting heroises Peirson and celebrates the British victory, epitomised by the Union Jack held aloft above him. At the time, British colonial forces were on the brink of losing their American colonies in the American War of Independence, and despite it being little more than a minor skirmish, this victory did much symbolically to revive confidence in the British Empire. Indeed, the engraver and printseller John Boydell commissioned Copley – who had, since moving to London in 1774, already made his reputation there with The Collapse of the Earl of Chatham in the House of Lords (1779–81, Tate N00100) – immediately following the battle in order to take advantage of the moment. Copley accordingly created a fantasy in his work. The propagandistic aims of the picture were apparently successful – when it was first exhibited to the public in May 1784, crowds of people came to see it and, according to one contemporaneous critic, ‘the chorus of praise reached all the way to Buckingham Palace’ (quoted in Wilson 1990, p.35).

This pro-Empire propaganda also informed the inclusion of the Black soldier, whose act of retaliation for the death of the fallen British major isn’t borne out by any historical evidence. Rather, the figure was apparently designed to signify and falsely romanticise the fierce loyalty of the British colonies and people subjected to British exploitation. As Richard Saunders writes, ‘The thought of the duty-bound servant faithfully seeking retribution for a superior’s death undoubtedly warmed the hearts of many Englishmen of similar station’ (Saunders 1992, p.32). The soldier’s elegant livery is striking, especially the plumed ostrich feathers in his hat, which are out of place given the painting’s setting at the remote edges of the American War. The ostrich feathers lend an air of opulence to the soldier’s uniform, reproducing tropes of exoticity that were commonly brought to bear on representations of Black people in art of the period. Overall, the soldier’s elegant dress was probably chosen to elevate the status of the officer the Black soldier served, whose intended identity is also uncertain. Copley’s key to the painting, the ‘Description of the Picture of the Death of Major Peirson,’ published by Boydell on 22 May 1784, labels the figure as ‘3. Major Peirson’s black servant’, but this identification seems to be a later decision. Indeed, in one of Copley’s preparatory sketches (Tate N04984), he labels the man as ‘Capt. Christie’s Black Servt.’. A Glasgow newspaper did mention that a Black servant of Captain Christie ‘distinguished himself greatly’ in the battle (Glasgow Mercury, 18 Jan 1781) but the changes Copley made in the identification of the figure speak more of an artist serving the propagandistic aims of their painting, with little care as to the actual identity of the man.

This is reflective of stereotyped, dehumanising depictions of Black people at the time. It also echoes the contemporaneous position of Black men within the British army, which by the end of the eighteenth century had become the biggest single purchaser of enslaved African men, deemed dispensable in the defence of British colonies (see Roger N Buckley, ‘The British Army 's African Recruitment Policy, 1790–1807’, Contributions in Black Studies: A Journal of African and Afro-American Studies, vol.5, September 2008). Historian Jane Kamensky has commented on the ‘sensational’ effect of Copley’s depiction of a Black figure in such an active role, considering this a ‘striking departure from the figuration of black bodies in European painting’, referring to a tendency for European artists to represent Black figures in passive, subjugated roles (Kamensky 2016, p.326, 323). She argues that Copley’s inclusion of the man in this very active role serves a propagandistic function as it supposedly elevates ‘British liberty’ over the ‘false freedoms of the Americans and their French allies’ (p. 323). This she positions as a positive ‘progression … in the direction of black freedom’, which she sees as beginning with Copley’s earlier depiction of a Black sailor in a position of relative prominence in the painting Watson and the Shark 1778 (National Gallery of Art, Washington) (Kamensky 2016, p.324). However, she concludes that the fact that there is no evidence to support Copley joining any abolitionist cause or of his family freeing their enslaved child makes it impossible to connect Compley’s depiction of Black figures in both paintings with an antislavery conviction. Whether or not one detects antislavery sentiments in Copley’s painting (an assertion that is vague at best), his evident disregard for the individual identity of the Black man in the scene typifies a widespread recourse to undifferentiated, symbolic typology in the treatment of Black people as artistic subjects.

[thedeadleafs]

Geisler & Andrews, 1919

"Blue duvetyn suit with front of dull red duvetyn embroidered with threads of silk and chenille and bordered with moleskin to match the collar and cuffs. Black hat trimmed with ostrich plumes. Navy blue peachbloom suit trimmed with Australian oppossum and brown velvet hat faced with brown kid, which is embroidered in chenille. Suits and hats from Franklin Simon & Co."

"FASHIONS that express the joy of victory…"

New York Tribune, Oct. 5, 1919

[designedandplated]

Teal day dress, 1824.

Chapeau de gros de Naples, orné de plumes d'Autruche; Robe de marceline, garnie en crevés de satin

Hat made of gros de Naples, decorated with ostrich feathers; Marceline dress, trimmed with satin slashes.

My scan with the writing intact was unfortunately not as high quality as the torn one, but I have still transcribed and translated the text.

Gros de Naples is a plain weave silk from Italy.

[wildbeautifuldamned]

EXTRA LARGE BLACK HORSEHAIR HAT W CASCADING OSTRICH PLUMES ebay antiquewardrobe

[lyricwritesprose]

Here's the thing. A lot of people think of Kelda Wineberry as a joke. Because she is a bard, and her criteria for falling into the sheets with someone are pretty much consenting and moving and that's it, and also she's a halfling wearing a human hat with a huge ostrich plume, which means that the hat, at first glance, appears roughly the size of Kelda and has usually slid down over her eyes. I gotta admit that I've sometimes underestimated Kelda.

Never again.

Because she not only managed to improvise an anti-panic ritual on the fly, she figured out a way to calm down someone who doesn't breathe. Like. Where do you go with that? Take a deep breath in—nope, he doesn't. Let out your breath slowly—he can't. So she engaged his concentration by asking him to list a bunch of things starting with the same letter, and then another list, all the time plucking gently on her lute. I honestly don't think she was spellcasting. He probably would have known, and panicked. It was just a soothing background to what she was saying.

At length, Janis—who was more than a little singed by whatever Dread Isithamar fired into their chest—coughed, and moaned, and then passed out again.

"You see?" Kelda said. "They're going to be okay. Honestly we've had to do this before. They worship the Lady of Dawn, not the Lady of Standing Back And Making Wise Choices. How about you? How did you get—well—in this state, without a blood ritual?"

"I." Isitiamar can't blink, or I think he might have. "Well, the thing is, I really, really like research."

"Yeah?"

"So when my time came to die—my order gets taken personally by the Lady of Sunset, you know—I didn't turn around to see who it was, I just said, 'Piss off, I'm working.'"

"And?"

"And apparently she sort of—did. Now, you people were talking about a scroll? And an eclipse that's going to end the world? You have to understand, we can't have that. My library is in the world!"

It turns out that the lich the adventurers had been hired to slay had never actually killed anyone before until the impulsive paladin of the group swung first. Now, as the healer tries to revive them, the rest have to calm the ancient undead mage down from what is undeniably a panic attack.

[bridechic]

The ostrich plumed dress inspired by Bernard Newman's gem in the movie, Top Hat.

[firstpageseoagency]

The Feather Effect: How Ostrich Plumes Elevate Fashion – From Glamorous Boas to Statement Fans

Introduction

Ostrich feathers have captivated the world for centuries, known for their unrivalled softness, length, and luxurious movement. Today, they are prized across industries — from high fashion and event décor to theatrical performances and craft projects. Whether you are considering investing in ostrich feather fans, adorning yourself with ostrich feather boas, or purchasing ostrich feathers in bulk for large-scale applications, understanding their origins, uses, and quality markers is essential.

In this blog, we explore the enduring appeal of ostrich feathers, offering expert insights, real-world examples, and practical advice to help you make informed choices. Whether you are a designer, event planner, performer, or craft enthusiast, this guide will elevate your appreciation and usage of these exquisite natural wonders.

1. Historical Significance of Ostrich Feathers

Ancient Civilisations

Ostrich feathers symbolised power and prestige as far back as ancient Egypt, where they were associated with Ma’at, the goddess of truth and justice. In Roman and African societies, feather fans were used by the elite during ceremonies and processions to signify high status.

Fashion Evolution

During the 18th and 19th centuries in Europe, ostrich feathers adorned hats and gowns, defining aristocratic fashion. By the 1920s, they became an iconic part of flapper fashion — think lavish feathered headbands and flamboyant accessories that embodied the spirit of the Jazz Age.

Cultural Symbolism

Beyond fashion, ostrich feathers have remained a staple in ceremonial dress across African cultures, traditional carnivals, and parades worldwide, highlighting their deep-rooted cultural resonance.

2. Ostrich Feather Fans: Elegance in Motion

Design and Construction

Ostrich feather fans are meticulously handcrafted. Artisans select premium-quality feathers for their softness and uniformity, attaching them to durable frames made from materials like bamboo, plastic, or wood. The craftsmanship ensures the fan opens smoothly and showcases the feathers in full splendour.

Performance and Entertainment

Feather fans are synonymous with burlesque and stage performances. Their fluid movement captivates audiences, enhancing dance routines with grace and sensuality. Fan dances, popularised by legends like Sally Rand, continue to enchant audiences today.

Modern Applications

Beyond entertainment, feather fans have found a place in high fashion and luxury photo shoots, often used to create dramatic effects. Interior designers also incorporate large feather fans into opulent wall displays and statement pieces.

3. Ostrich Feather Boas: Timeless Fashion Accessories

Construction and Varieties

Ostrich feather boas are crafted by hand, with artisans selecting feathers based on softness, length, and colour vibrancy. Compared to marabou or turkey boas, ostrich boas are lighter, softer, and drape more elegantly. They are available in a wide range of densities and colours to suit every occasion.

Fashion Statements

The roaring 1920s established ostrich feather boas as the epitome of glamour. Today, they are popular at themed parties, weddings, theatre performances, and drag shows. Their timeless appeal makes them a go-to accessory for anyone seeking instant sophistication and flair.

Care and Maintenance

To keep ostrich feather boas looking their best:

Store them in a breathable garment bag to avoid moisture damage.

Gently shake to fluff them before use.

Spot clean with a mild soap solution and air dry.

4. Bulk Ostrich Feathers: Versatility for Various Industries

Event and Wedding Décor

Bulk ostrich feathers are a favourite among event planners. They create stunning centrepieces, majestic arches, and dramatic backdrops that leave a lasting impression. Feather centrepieces, particularly using white or dyed ostrich plumes, are popular at luxury weddings and gala dinners.

Fashion and Costume Design

Couture designers often incorporate ostrich feathers into gowns, capes, and accessories to add volume and movement. Stage performers also embellish costumes with feathers to enhance visual impact under the spotlight.

Crafts and DIY Projects

For crafters, ostrich feathers offer endless possibilities — from embellishing hats and masks to creating unique home décor pieces like feather lampshades.

Purchasing Considerations

When buying ostrich feathers in bulk:

Check the feather grade (drab, spad, floss) depending on your project.

Choose reputable suppliers who guarantee ethical sourcing and quality assurance.

5. Ethical Sourcing and Sustainability

Feather Harvesting Practices

Responsibly sourced ostrich feathers are collected during natural moulting cycles or as by-products of the meat industry, ensuring no harm to the birds. It is important to seek suppliers that adhere to humane practices.

Environmental Impact

The ostrich farming industry is comparatively eco-friendly, with low carbon footprints and high resource efficiency. Supporting ethical suppliers helps promote sustainable agriculture.

Consumer Responsibility

To shop responsibly:

Ask suppliers about their sourcing policies.

Look for certifications or statements confirming humane practices.

Choose natural-dyed or eco-friendly processed feathers where possible.

6. How to Choose Quality Ostrich Feather Products

Identifying Quality

High-quality ostrich feathers exhibit:

Even length and symmetry

Soft, fluffy plumes without broken quills

Vibrant, uniform colouring

Little to no odour (indicative of good processing)

Supplier Evaluation

Before purchasing:

Read customer reviews.

Request sample images or feather samples.

Enquire about the grading system and return policies.

Budgeting and Pricing

Feather prices vary based on grade, processing, and rarity. Premium ‘floss’ feathers, used in luxury fashion and décor, command higher prices but deliver unmatched aesthetic value.

7. Case Studies: Ostrich Feathers in Action

Fashion Industry

Luxury designers like Gucci and Ralph & Russo have showcased gowns adorned with ostrich feathers, enhancing their movement and visual drama on runways globally.

Event Planning

A case study from a luxury Cape Town wedding featured towering ostrich feather centrepieces in white and gold, creating an opulent atmosphere that guests still rave about.

Entertainment

Burlesque icon Dita Von Teese’s performances often feature custom-made, oversized ostrich feather fans, illustrating how these accessories contribute to storytelling and visual spectacle.

Conclusion

Ostrich feathers are not just accessories — they are a statement of elegance, history, and artistry. Whether you are investing in ostrich feather fans, flaunting a feather boa at your next event, or buying ostrich feathers in bulk for creative projects, choosing quality products from ethical suppliers ensures a lasting impression.

With their versatility across industries and timeless appeal, ostrich feathers continue to enchant and inspire. If you are ready to elevate your designs, décor, or wardrobe, explore responsibly sourced ostrich feather products today and experience their transformative beauty first-hand.

Discover the world of ostrich feathers — where luxury, history, and artistry meet. Visit https://fancyfeather.com for more info.

Article Source

[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.

—

(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.

—

(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.

[missvintage5000]

Check out this listing I just added to my Poshmark closet: Vintage 60s Black Straw Hat with Feather Plume.

[regina-del-mare]

The Lady Unknown

At evening times above the restaurants The sultry air’s harsh and stale. The spirit of the spring-time pestilence Reigns over drunken muffled wails.

And further up in dusty alley ways, Beyond the summer cottage sloth, A baker’s shop sign glistens gaudily, And children’s cries are heard above.

And every evening in the countryside, Amidst potholes with bowlers tipped, The seasoned dandies saunter gratified, Amusing damsels with their wit.

Lakeside the creaky oars reverberate To flirty squeals of lady folks, And astral discus, dull and obdurate, Squirms in the sky above it all.

And every night my faithful soul mate Stares back from hollows of my wine, Akin to me, subdued and desolate, To mystic liquid he resigned.

Around the nearby tables mesmerized The waiters sleepily repass, And drunkards with the rabbit-like red eyes Proclaim, “In vino veritas!”

And every night as if the time was set (or am I dreaming in this daze?) A silk swathed maiden’s misty silhouette Glides through the restaurant's drunken haze.

And slowly moving through the drunken guests, Without an escort, indiscreet, Emitting perfumes and exquisite mists She settles at the window seat.

And her snug silks exude the ancient tales, And doleful plumes atop her hat Cascade and twine over the wispy veil, In rings her narrow hand’s beset.

And overwhelmed by strange proximity I look beyond the dusky veil, And see the shore of charming verity, And the charmed distance to prevail.

I am entrusted with deep mysteries, Endowed with the Sun to hold, And acrid wine awash in sorceries Have pierced through fissures of my soul.

And ostrich feathers in cascading swells Are swaying softly in my brain, And deep blue eyes as deep blue sinkhole wells Bloom in the distance on a plain.

Within my soul a treasure’s buried And I’m the keeper of the key, So right you are, grotesque inebriate, I know, the truth resides in guilt.

Another good translation with a proper understanding of wordplay.

[avernale]

Crisis, Witch of Swords by QuixLox on Twitter

My OC, Chryseis "Crisis" Red-Skies, preparing a spell, drawn by QuixLox on Twitter. [Image description: An uncolored line drawing of a woman wearing wide-brimmed hat with an ostrich plume, a coyote half-mask, a high-collared cloak clasped across her chest, a cravat, and folded-cuff gloves. In her right hand is a rapier, and her right hand is held up to shoulder-level, elbow down, with a magic circle projected around her wrist. Shoulder-length bangs frame her face, the rest of her hair pulled back into a ponytail that descends below her shoulders.]

Posted using PostyBirb

[calebdoerksen2]

💙 MILITARY UNIFORM UPGRADE 💖

💖💂‍♂️ I love soldiers and military style! This passion, as well as all the Napoleonic-style art I make and the Napoleonic photos I follow, led me to the idea of taking my old marching outfit I made myself and giving it an upgrade to make me really look like I’m ready for battle and ready to march. 💂‍♂️It may not look the best, considering that I don’t have sashes yet and my cardboard epaulets need to be replaced with real ones, but it does look good enough to match the style I love the most out of a military uniform.

Recycled from an old dress shirt I had many years ago. The jacket trim and cuffs were made out of fabric from a blue cloth tote. To make myself look fancy and regal, I got a white jabot tie (which I always love to put on my soldiers!). I also have my own set of vintage white gloves and dark boots. The shako was made by taking a taking a cruise captain’s hat and attaching some red ostrich feathers to it to make a big fluffy plume. I made the sabre myself with some cardboard, glitter glue (silver and gold), tape for the grip, and some white string for the tassel. ⚔️ And I thrifted a drum from a thrift store to make a marching beat if I decide to be the drummer. 🥁

I also made some photoshops of me firing a cannon. I picked the ones that really stood out to me, which are the big bursts of flame and smoke. The original photo of me shows me pulling a wire, which I think is the best method of firing a cannon (it’s actually a black USB cable), and I used a fan to blow my plumes back as I fire the cannon since I love to show the plumes being blown whenever a cannon is fired in my art and animations. QUAKE! BOOM!!! 💂‍♂️💣💥 Time to blast some enemy soldiers! 💖

#shako #feathers #plumes #sabre #drum #napoleonic #custommade #costumeideas

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Antique 1912 Edwardian Silk Plush Hat w Huge Rose Pink Ostrich Plumes Buckle ebay isadorafedora

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The Elegance of Feather Centrepieces and Adult Feather Angel Wings in Event Decor

In the realm of event décor, certain elements possess the transformative power to elevate an occasion from ordinary to extraordinary. Among these, feather centrepieces and adult feather angel wings stand out for their ability to infuse elegance, drama, and sophistication into various events. Particularly, ostrich feathers have garnered acclaim for their luxurious appearance and versatility. This comprehensive guide delves into the allure of these decorative components, offering insights into their applications, design considerations, and practical advice for incorporation into your next event.

The Allure of Ostrich Feathers

Ostrich feathers have long been synonymous with opulence and grandeur. Their unique characteristics make them a sought-after choice in event décor.

Unique Characteristics

Soft, Fluffy Texture: Ostrich feathers are renowned for their soft and voluminous plumes, which add a touch of elegance and movement to any arrangement.

Luxurious Appearance: The inherent sheen and fullness of ostrich feathers contribute to a lavish aesthetic, making them ideal for high-end events.

Historical Significance in Décor and Fashion

Historically, ostrich feathers have been emblematic of luxury. In the early 20th century, they were prominently featured in fashion, adorning hats and garments of the elite. Their resurgence in modern décor signifies a timeless appeal that transcends eras.

Designing Feather Centrepieces

Feather centrepieces serve as captivating focal points in event settings, offering versatility and adaptability to various themes.

Types of Feather Centrepieces

Single-Coloured Arrangements: Utilising feathers of a single hue creates a cohesive and elegant look, allowing for seamless integration into monochromatic or minimalist themes.

Two-Toned and Layered Designs: Incorporating two or more colours adds depth and visual interest. For instance, combining black and red ostrich feathers can result in a striking contrast, suitable for dramatic settings.

Mixed Feather Displays: Blending ostrich feathers with other varieties, such as peacock or pheasant feathers, can yield unique textures and patterns, enhancing the overall aesthetic.

DIY vs. Professional Assembly

Step-by-Step Guide for DIY Enthusiasts: Creating your own feather centrepieces can be a rewarding endeavour. Resources like the tutorial on Entertaining Diva provide detailed instructions for crafting elegant arrangements.

Benefits of Hiring Professionals: Engaging professional decorators ensures precision and sophistication, particularly for large-scale events where uniformity and quality are paramount.

Incorporating Ostrich Feathers into Centrepieces

The integration of ostrich feathers into centrepieces requires thoughtful consideration to maximise their impact.

Advantages of Using Ostrich Feathers

Durability and Reusability: Ostrich feathers are robust and can withstand multiple uses, making them a cost-effective option for recurring events.

Versatility in Various Décor Themes: Their neutral yet luxurious appearance allows ostrich feathers to complement a wide array of themes, from vintage glamour to modern chic.

Sourcing Quality Ostrich Feathers

Reputable Suppliers and Ethical Considerations: When procuring ostrich feathers, it's essential to consider ethical sourcing. Suppliers like Buyostrichfeather.com offer ethically sourced feathers, ensuring quality and sustainability.

Enhancing Events with Adult Feather Angel Wings

Adult feather angel wings introduce an ethereal and whimsical element to event décor, serving both functional and aesthetic purposes.

Applications in Performances and Photography

Theatrical Productions: Angel wings are frequently used in theatrical settings to embody celestial or fantastical characters, adding a visual spectacle to performances.

Themed Photo Shoots: Incorporating feather wings into photo shoots can elevate the visual narrative, offering a blend of elegance and fantasy.

Design Variations

Customisation Options: Feather angel wings can be tailored in size, colour, and design to align with specific event themes or personal preferences.

Material Choices: Ostrich Feathers vs. Synthetic Alternatives: While ostrich feathers offer unparalleled authenticity and luxury, synthetic options provide a cruelty-free and often more affordable alternative. The choice depends on the desired aesthetic and ethical considerations.

Case Studies: Successful Integration in Events

Examining real-world applications of feather centrepieces and angel wings can provide inspiration and insights.

Gala Events and Weddings

Impact of Feather Centrepieces on Ambience: At high-profile galas, towering ostrich feather centrepieces have been utilised to create an atmosphere of grandeur and sophistication, leaving a lasting impression on attendees.

Fashion Shows and Costume Parties

Statement Made by Feather Angel Wings: In fashion shows, models adorned with feather angel wings have captivated audiences, adding drama and flair to the presentation. Similarly, at themed parties, guests wearing feather wings contribute to a festive and immersive environment.

Addressing Common Queries

When considering the incorporation of feather décor, several practical questions often arise.

How to Maintain and Clean Ostrich Feathers

Cleaning Techniques: Gently dusting feathers with a soft cloth or using a mild detergent solution can maintain their appearance. It's crucial to handle them delicately to prevent damage.

Cost Considerations and Budgeting

Budget-Friendly Alternatives: For those on a budget, mixing ostrich feathers with less expensive varieties or opting for smaller arrangements can achieve a luxurious look without overspending.

Ethical Sourcing and Sustainability

Ensuring Ethical Practices: Prioritising suppliers who adhere to ethical sourcing practices ensures that the use of feathers aligns with sustainability values and animal welfare considerations.

Conclusion

Incorporating feather centrepieces and adult feather angel wings into event décor offers a pathway to creating memorable and visually stunning experiences. The luxurious texture and timeless appeal of ostrich feathers make them a favoured choice for high-end events, while feather angel wings add a dramatic, ethereal touch to performances, fashion shows, and themed parties.

By carefully selecting high-quality ostrich feathers, customising arrangements, and following best practices for maintenance and ethical sourcing, event planners and individuals can elevate their décor effortlessly. Whether crafting a DIY centrepiece for an intimate gathering or hiring professionals for a grand-scale production, the beauty and versatility of feathers ensure a breathtaking result.

For those looking to explore the world of feather décor, sourcing from reputable suppliers and experimenting with different styles will open up endless creative possibilities. Start planning your feather-inspired event today and transform any occasion into an unforgettable masterpiece!

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