Afternoon Ensemble 1878-82
The Metropolitan Museum of Art
“The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.”
Look at that beautiful Wa Lolita Kimono.
how precious it is.
I have a secret love affair with fanplusfriend’s kimonos….
Dress, ca. 1867. Bodice lined with brown cotton and trimmed with ecru lace. Closes in front with embroidered ecru satin buttons. Wide pagoda sleeves. Small lace purse hangs from one side, for decorative purposes only. Tiny watch pocket at waist. Bust padding added. Skirt cut longer in the back, as fashion moved away from hoop skirts and towards bustles. Vintage Textile
For an art installation entitled Ballroom Luminoso, artists Joe O’Connell and Blessing Hancock created and hung six awesome chandeliers from a concrete underpass in San Antonio, Texas. The chandeliers were custom-made using structural steel, recycled bicycle parts, and custom LEDs that project a field of silhouettes of sprockets, gears, and other shapes onto the blank slate of an otherwise unremarkable industrial surface.
From the artist’s statement about the project:
“Ballroom Luminoso references the area’s past, present, and future in the design of its intricately detailed medallions. The images in the medallions draw on the community’s agricultural history, strong Hispanic heritage, and burgeoning environmental movement. The medallions are a play on the iconography of La Loteria, which has become a touchstone of Hispanic culture. Utilizing traditional tropes like La Escalera (the Ladder), La Rosa (the Rose), and La Sandía (the Watermelon), the piece alludes to the neighborhood’s farming roots and horticultural achievements. Each character playfully rides a bike acting as a metaphor for the neighborhood’s environmental progress, its concurrent eco-restoration projects, and its developing cycling culture.”