Preamble
For your convenience I have listed below the other post in this series:
The Art of Costuming - Historic (Part I)
Introduction[1]
Ever since Adam's fig leaf human beings have fabricated their own clothing, not as a protection against the heat and cold nor to ensure modesty, but more importantly to enhance their appearance. Functionality has often taken second place to adornment.
Ceremonies have also played a vital role in determining dress. Whether it is body paint or specially made garments for special ceremonial occasions, whatever is the motivating factor, human imagination has no boundaries.
Aboriginal women ceremony in Australia.
Costumes also play other functions such as designation of rank and/or office as in the military, police, fire brigade and even in religion.
Pope Francis gives final blessing at Cardinal Law's funeral.
The differentiation in gender also plays an equally profound role in determining the ultimate shape of all things worn.
A man and woman's modern Octoberfest costumes.
Each of us practice this art: whether we want to attract, defend, conform, challenge and insult - we can do so by dressing appropriately, inappropriately or within our age or outside of our age, and whatever the choices we make in order to get a reaction or lack of a reaction we want, what we wear says a lot about us.
This post will explore the art of costuming in a historical context.
The Art of Costuming - Historic (Part II)[1]
The past decade has seen the emergence of a new art form, namely costuming. It is not the costuming of the stage or the cinema, nor special event costuming such as Halloween. It is not necessarily the wearable art of the galleries, although much of the work is so well crafted it is considered as such. It is not a static costuming displayed in museums on mannequins. This new art of costuming is dynamic and although it is on display it moves because it is worn by human beings.
Imperial Army Officer, Germany, ca. 1480.
Design and Construction: Elizabeth Pidgeon and Carl Ontis.
Model: Carl Ontis.
Photograph courtesy of Stephen Jacobson.
Lady Calitha.
Design, Construction and Model: Barb Schofield.
Photograph courtesy of Linda Sweeting.
The Legacy of Power.
Design and Construction: Barb Schofield and Mary Hudson.
Models: Jan Finder, Laurel Cunningham-Hill, Mary Hudson, Barb Schofield & Richard Hill.
Photograph courtesy of Stephen Jacobson.
Elizabethan gown from the wardrobe of Lady Sibyl Whitaker.
Model, Design and Construction: Jwlhyfer de Winter.
Photograph courtesy of Stephen Jacobson.
Mary Shelley's Day Dress and Mary's Pelise-robe.
Design and Construction: Jwlhyfer de Winter.
Models: Jwlhyfer de Winter and Kira Lentaigne.
Photograph courtesy of John Williams at Mary Shelley's mother's grave in Camden Town.
Renaissance Wedding Regency Costume.
Model, Design and Construction: Jwlhyfer de Winter.
Photograph courtesy of John Williams at Audley End House, Essex.
Thrift store fantasy Rococo Masquerade.
Model,Design and Construction: Jwlhyfer de Winter.
Photograph courtesy of Barron Scott Levkoff.
Ophelia Dress; a pre-Raphaelite gown.
Model, Design and Construction: Jwlhyer de Winter.
Photograph courtesy of John Williams at Kelmscott Manor, Oxfordshire.
Note: Former home of William Morris and Dante Gabriel Rossetti.
Reference:
[1] The Costume Maker's Art, Lark Books, North Carolina (1992).
For your convenience I have listed below the other post in this series:
The Art of Costuming - Historic (Part I)
Introduction[1]
Ever since Adam's fig leaf human beings have fabricated their own clothing, not as a protection against the heat and cold nor to ensure modesty, but more importantly to enhance their appearance. Functionality has often taken second place to adornment.
Ceremonies have also played a vital role in determining dress. Whether it is body paint or specially made garments for special ceremonial occasions, whatever is the motivating factor, human imagination has no boundaries.
Costumes also play other functions such as designation of rank and/or office as in the military, police, fire brigade and even in religion.
The differentiation in gender also plays an equally profound role in determining the ultimate shape of all things worn.
Each of us practice this art: whether we want to attract, defend, conform, challenge and insult - we can do so by dressing appropriately, inappropriately or within our age or outside of our age, and whatever the choices we make in order to get a reaction or lack of a reaction we want, what we wear says a lot about us.
This post will explore the art of costuming in a historical context.
The Art of Costuming - Historic (Part II)[1]
The past decade has seen the emergence of a new art form, namely costuming. It is not the costuming of the stage or the cinema, nor special event costuming such as Halloween. It is not necessarily the wearable art of the galleries, although much of the work is so well crafted it is considered as such. It is not a static costuming displayed in museums on mannequins. This new art of costuming is dynamic and although it is on display it moves because it is worn by human beings.
Design and Construction: Elizabeth Pidgeon and Carl Ontis.
Model: Carl Ontis.
Photograph courtesy of Stephen Jacobson.
Design, Construction and Model: Barb Schofield.
Photograph courtesy of Linda Sweeting.
Design and Construction: Barb Schofield and Mary Hudson.
Models: Jan Finder, Laurel Cunningham-Hill, Mary Hudson, Barb Schofield & Richard Hill.
Photograph courtesy of Stephen Jacobson.
Model, Design and Construction: Jwlhyfer de Winter.
Photograph courtesy of Stephen Jacobson.
Design and Construction: Jwlhyfer de Winter.
Models: Jwlhyfer de Winter and Kira Lentaigne.
Photograph courtesy of John Williams at Mary Shelley's mother's grave in Camden Town.
Model, Design and Construction: Jwlhyfer de Winter.
Photograph courtesy of John Williams at Audley End House, Essex.
Model,Design and Construction: Jwlhyfer de Winter.
Photograph courtesy of Barron Scott Levkoff.
Model, Design and Construction: Jwlhyer de Winter.
Photograph courtesy of John Williams at Kelmscott Manor, Oxfordshire.
Note: Former home of William Morris and Dante Gabriel Rossetti.
Reference:
[1] The Costume Maker's Art, Lark Books, North Carolina (1992).
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