Tag Archives: fashion

Pretty Edwardian Girls: Hats, Bows and White Dresses

14 Apr

On this rainy, idle and grey Sunday afternoon, I am dreaming of sunnier, warmer and prettier places; of slow walks by the river, picking flowers and wearing straw hats, of first strawberries and little snails in the dew-drenched morning grass, of blooming roses, neat gardens and little houses of idyllic streets, of gentle green weeping willow leaves, lily ponds, romantic cottages, play of sunlight on the river, pink sunsets, picnics, picking fragrant wild flowers, blowing soap balloons, reading a book under a shade of a tree, life en plein air, like an Impressionist, breathing in the blueness of the sky! Free, happy and oblivious to the passing of time. This idyllic vision of life reminds me of Impressionist paintings and turn of the century, 1890s and Edwardian era, photographs. This is where my thoughts wander these days, and I found a lot of pretty pictures that mostly feature girls wearing white dresses, often with lace details, straw hats or bows in their long voluminous hair, Evelyn Nesbit for one had gorgeous hair.

“I felt like sleeping and dreaming in the grass.”

(Jack Kerouac,  Dharma Bums)

Olga Nikolaevna & Anastasia Nikolaevna in the Finnish Skerries, summer 1910

A lot of these girls are actually the Romanov sisters; Olga (1895-1918), Tatiana (1897-1918), Maria (1899-1918) and Anastasia (1901-1918), whose day to day life before the war and the revolution was pretty carefree and simple, which is unusual for the life at court. I found all the pictures of Romanov sister on this tumblr and there’s plenty to see, I just chose the pics that I found the prettiest. I love Edwardian fashion for girls; unlike grown up women, girls would wear their dresses shorter, reaching the knees, and their hair down, decorated with a bow or two perhaps, and I think this look is more than wearable nowadays too. It’s cute, charming and not unattainable! And the pictures all seem to tell a story. The past seems tangible and real. The girls are seen laughing, playing, hugging, drawing, celebrating birthdays or name days, and it makes me feel that they were girls just as I am, and I wanna join them in their pursuits.

Russian girl, c 1910.

“Sauvage, sad, silent,
as timid as the sylvan doe,
in her own family
she seemed a strangeling.”

(Pushkin, Eugene Onegin)

Anne of Green Gables, by John Corbet.

Really love this beach pic! The Grand Duchesses Tatiana and Olga Nikolaevna of Russia with Anna Vyrubova at the beach of the Black Sea near Livadia, 1909

Maria Nikolaevna with a bouquet of roses on her birthday, Peterhof 14th June 1907

Maria Nikolaevna painting a flower vase in the classroom at the Livadia Palace, 1912

Maria Nikolaevna at the Lower Dacha in Peterhof, 1911

Tatiana Nikolaevna Romanova

Grand Duchess Maria Nikolaevna of Russia with a cousin

Maria, Olga & Tatiana Nikolaevna at the Livadia Palace, 1912

Evelyn Nesbit (1913)

Pic found here.

Evelyn Nesbit photographed by Otto Sarony, 1901

Grand Duchess Maria Nikolaevna Romanova of Russia seagazing.

Anastasia Nikolaevna & Alexandra Tegleva in Tsarskoe Selo, 1911

Edwardian little girl, pic by Andy Kraushaar found here.

Maria Nikolaevna in Crimea, 1912

Tatiana Nikolaevna onboard the “Marevo”, 1906

Olga Nikolaevna in the Finnish Skerries, June – October 1908

Olga Nikolaevna holding a bouquet of roses surrounded by her sisters onboard the Standart, 11th July 1912, found here.

Grand Duchess Olga Nikolaevna in Tsarskoe Selo, spring 1909

Grand Duchess Olga Nikolaevna at the old palace in Livadia, September-October 1909

Egon Schiele’s Heroin Chic Look – Lipgloss and Cigarettes

17 Mar

The distinctive trashy glamour of Egon Schiele’s nudes is unsettling and alluring at the same time, provocative and eye-catching. His drawings and watercolours of skinny, fragile, starved nymphets who look like they live on lipgloss and cigarettes, made from 1910 to about 1914/15, before the war and before his marriage, encapsulate the heroin chic aesthetic decades before was defined and popularised by models such as Kate Moss. Things that connect these drawings and watercolours are the same mood and aesthetic and the same reaction from the public. Schiele’s portrayal of female form was shocking to the early twentieth century Vienna, and photographs of Kate Moss’s skinny body received the same reaction.

Kate Moss by Corinne Day

In the beginning of this year I watched a new documentary about Egon Schiele called “Egon Schiele: Dangerous Desires (2018)” made to commemorate the 100th anniversary of his death. It which was super cool and I loved it to death, it was hard not to like it: the soundtrack was rock music and the first lines were spoken by Iggy Pop, who clearly appreciates Egon Schiele’s art. One woman says something really interesting in the first two minutes: “If someone were to show you a Schiele watercolour and ask you: ‘when do you think this was done’, I think the answer would be: yesterday.” I partly agree; as a nostalgic person who romanticises the past, I would never believe that something as great could have been painted yesterday, but I agree in that his drawings, great majority of his art, appears not modern but timeless.

I can’t really say “modern” because Schiele wouldn’t agree. In one of his watercolours from prison he wrote: “Kunst kann nicht modern sein; Kunst ist urewig.” or “Art can not be modern, art is primordially eternal.” I don’t think this can be said about all art, but Schiele truly succeeded in creating art that is eternal. When you look at it now, it doesn’t seem out of place, kitschy, or strange, on the contrary, those colours and lines on papers that he held in his hand sometime in 1912 still have so much to say – or scream. And Schiele’s art goes so well with modern music as well, rock music particularly; in his self-portraits of the tormented artist staring right at us from the canvas, you can imagine a streetwise yet vulnerable heroin addict from the song “I’m waiting for the man” by The Velvet Underground, or the raw and trashy sound of The Stooges’s “Raw Power” or the sleek sound of urban alienation from David Bowie’s Berlin-era albums.

Egon Schiele, Nude against coloured background, 1911

I like Schiele’s paintings, and I also enjoy looking at pictures of Kate Moss, particularly those from the 1990s, it’s just an aesthetic thing, I don’t care for her personality or her life choices, although her love life is interesting. I look at a picture only to get a shot of beauty in my veins and possibly a seed to inspire my future reveries. I am certain that Kate Moss would be a perfect model for Schiele. His ideal was a thin, fragile, bony body with that elegantly wasted look; protruding spine and collar bones, under eye circles, ribs peeking under thin layer of skin, strange complexion with patches of unnatural colour…. The heroin chic look that Schiele clearly painted decades before, has become synonymous with Kate Moss whose appearance at the beginning of her career was in stark difference to the perfect and unattainable looks of the supermodels of the previous decade. Calvin Klein spoke in her defense back in the day: “For them, what is real is beautiful—looking plain is beautiful. What is less than perfect is sexy.” Schiele liked strangeness and imperfections and never resorted to idealization.

Kate Moss by Bettina Rheims, 1989

Egon Schiele, Girl with black hair, 1910

Schiele’s models were often girls from the streets, pretty prepubescent street urchins hungry for attention and amusement. He was young and poor and probably couldn’t even afford a proper model, and why would he when these little things were around, looked and behaved unpretentiously and were a good thing to draw. In his book about Egon Schiele, F. Whitford wrote: “Physically immature, thin, wide-eyed, full-mouthed, innocent and lascivious at the same time, these Lolitas from the proletarian districts of Vienna arouse the kind of thoughts best not admitted before a judge and jury.” The same words could be used to described the teenage Kate Moss; thin, wide-eyed, with full lips and gorgeous high cheek bones, on the pictures taken by Corinne Day for The Face magazine in 1990 she looks innocent and vulnerable, a bit shy, hiding herself behind a straw hat. In 1990 this working class nymphet from Croydon, a drab suburb of London, had already left school, and despite being a rich and famous model today, back then the prospects were bleak and she was in a similar position as the street urchins who posed for Schiele. Her beauty wasn’t yet recognised, but she did attract the attention of some designers very early on such as John Galliano who chose her for his spring/summer collection 1990 and saw her as his “Lolita”; the half-child and half-woman appeal made her stand out.

Kate Moss for Calvin Klein

Kate Moss by Corinne Day, 1993

Egon Schiele, Sitting girl with ponytail (Sitzendes Mädchen mit Pferdeschwanz), 1910

Schiele’s drawings were outrageous and provocative in his day and age just as they are now still. Viennese public had perhaps grown accustomed to Klimt’s nudes, but the vision of the female form that Schiele had presented was a tad too much. Likewise, pictures of Kate shot in the early nineties by a young and ambitious autodidact photographer Corinne Day were considered equally outrageous and accused of perplexing ideas that neither Kate nor Corinne had dreamt of; in the pictures she looked skinny and childlike, but her clothes and poses weren’t childlike at all, mingling sexuality with innocence. Kate Moss’s appearance represented the nihilistic spirit of the decade and a culture that believe in nothing. Hippies had hope, acid and belief in a better world, punks had their anger and outrageous clothes, and nineties seemingly had nothing, to quote Manic Street Preachers: “I know I believe in nothing, but it’s my nothing”.

Pictures above by Corinne Day for The Face magazine, July 1990

Over the ocean, grunge bands expressed their dissatisfaction and in Manchester the youth tuned out in the reviving sounds of psychedelia of bands such as The Stone Roses, The Charlatans and The Happy Mondays. Kate’s “elegantly waisted” look was perfect for Corinne Day’s aims in photography, for her love of realism. A new philosophy required a new look, and strong, over the top and glamorous models of the 1980s were passé. Just like Egon Schiele in his nudes and self-portraits, Corinne Day’s photographs penetrate to the bare essence and expose the truth, and what lies within. Schiele freed the women from Klimt’s suffocating gold and poisonous flowers, and focused on the psychology of their faces. In a similar way, Day freed the model from the excessiveness of shoulder pads and too much blush. Calvin Klein said “For me, Kate’s body represented closing the door on the excessiveness of the ’80s”.

Here is an expert from Maureen Callahan’s book “Champagne Supernovas“: “The culture at large didn’t see Kate that way. Up against the skyscraper supermodels of the ’80s, their very perfection a comment on American supremacy, a small-boned, flat-chested model like Kate Moss was heresy. Someone her size hadn’t been seen since Twiggy in the ’60s; suddenly, Kate and Calvin Klein were accused of promoting anorexia, heroin use, child pornography, and the downfall of Western civilization. She was on the sides of buses, kiosks, and pay phones, naked and draped across a velvet sofa in a ramshackle room, “FEED ME” often scrawled across the ad by protesters.

Under Exposure, Kate Moss by Corinne Day for Vogue UK, June 1993

Here is another interesting passage from Callahan’s book “Champagne Supernovas” about Corinne Day’s photo shoot with Kate Moss: “When British Vogue commissioned Corinne for a lingerie shoot with Kate, Corinne insisted on creative control. She shot in Kate’s London apartment and staged it to look like her own flat: modest and cold, with white walls and gray carpet, exposed wiring, a mattress on the floor. Kate had been crying after a fight with her boyfriend, and Corinne exploited the juxtaposition of distress and seduction, putting Kate in tiny cotton tanks and silk underwear, some of it from a sex shop on Brewer Street. In the finished editorial, Kate, silhouetted by a string of multicolored Christmas lights, looked frail and lost.

Egon Schiele, Nude With Blue Stockings Bending Forward, 1912

To end, here are some lyrics from the song which inspired me to write this post in the first place: “Lipgloss” by Pulp:

No wonder you’re looking thin,
When all that you live on is lipgloss and cigarettes.
And scraps at the end of the day when he’s given the rest,
To someone with long black hair.
All those nights up making such a mess of the bed.
Oh you never ever want to go home.

Egon Schiele, Sitting Female Nude with Yellow Blanket, 1910

Egon Schiele, Lovemaking, 1915

 

Kate Moss and Johnny Depp by Annie Leibovitz, 1994

Egon Schiele, Lovers – Self-Portrait With Wally, c. 1914-1915, gouache and pencil on paper

Fashion Inspiration for Spring: Pretty in Pink

8 Mar

Spring is undoubtedly the best time of the year to wear pretty clothes and also a perfect time to compete with the vibrant flowers that fill the landscape where ever you turn. Who wore a white dress better: you or a daisy? Who looks better in light pink: you or the cherry tree blossom? Who looks more fresh and radiant in pale green: you or the newly awaken leaves on the weeping willow trees? Now’s the time to find out! But don’t be intimidated; flowers are so naturally pretty indeed from dawn to dusk and need no jewellery or make up to embellish themselves, but whereas they have to make do with the same colour and shape of petals all their short life, we can change our petals and be a new flower every day! Let’s be vain us peacocks and dress like there is nothing more important in the world, there isn’t in fact, aesthetic is everything. These days I am so in love with that cute, romantic, doll-like look; Japanese fashion mostly, pink, white, lilac, baby blue colours, flowery, gingham print, old lace, rosy cheeks, ribbons and flower crowns, childish stuff, Marie Antoinette vibe, pink eye shadow and glitter everywhere, childlike clothes of 1960s worn by Anna Karina and Yé yé singers, Brooke Shield’s outfits in the film “Pretty Baby” (1978), hats with flowers and ribbons, dresses that look like wedding dresses… These days I even want to wear a kimono!

Pic found here.

Pic found here.

Handmade dress, found here.

Eleanor Hardwick shoots for Rookie Mag

Pic found here.

Pics found here.

Pics found here.

Art by Lethe, found here.

Pic found here.

Pic found here.

Pic found here.

Pic found here.

 

Victorian Influences in Lolita Fashion: Cuteness meets Modesty

10 Jan

I do not dress as a Lolita, but I sure love adding a bit of that cuteness to my wardrobe, and I love the style, not only because it’s cute, slightly eccentric and a bit over the top, but because it is heavily inspired by Victorian fashion. And I made a few collages to illustrate the point.

Contemporary Lolita fashion, which originated in Japan in the 1980s and 1990s but has since gained world wide popularity and attention in fashion magazines, is heavily inspired by certain eras of western fashion – mostly the Victorian fashion or the period from 1830s to early twentieth century. So, it’s a Japanese style inspired by the west, or, more specifically, it’s a romantic vision of the western fashion as seen by the Japan. Lolita fashion isn’t the only occurrence when the Japanese take something from western culture or fashion, twist it around and turn into something fascinating and new, and cover it with a thick layer of cuteness. The aim of Lolita fashion is to look cute or “kawaii” and girly, but there’s also an emphasis on modesty and refinement; nothing tacky, too revealing or too tight-fitted would be accepted into Lolita style.

Silhouette

A typical Lolita dress has a tight-fitted bodice and a wide skirt; either a bell-shaped skirt which flares out from the waist down and ends just below knees, or an A-line skirt which is also flared, but more subtly. While the waistlines may wary; natural waistline is by far the most popular choice, but a high waist and an empire waist similar to the Regency era fashion are also common, the skirt is always wide, like an upside down flower in bloom, it is never tight-fitting or short. This silhouette brings to mind the crinoline dresses from the mid nineteenth century, but they were floor length, while the Lolita dresses are shorter and have more in common with the Victorian fashion for little girls and teenage girls.

Headwear

Lolita headwear tends to be elaborate and distinctly Victorian. Usually a bow or two, but when it comes to bonnets, they are very similar in shape and decoration to the bonnets worn in the early Victorian era, c. late 1830s and early 1840s. Lolita bonnets tend to be even more elaborate, with frills, lace and flowers, and not to forget the ribbons that tie under the chin.

Hair

Lolita hairstyle have very little in common with the hairstyles that women wore throughout the Victorian era, but they have a lot in common with the hairstyles typically worn by little girls and teenager girls before they had their debutante balls and tied their hair up as a sign of maturity and accepting the new womanly phase in life. Lolita fashion has a taste for long hair, worn sometimes in pigtails but mostly in long silky ringlets that look just very similar to the way girls wore their hair in some old Victorian photos, and the way hair was styled for child roles in period dramas set in the Victorian era.

Bodice (Blouse)

In cases where the attire isn’t a one-piece dress but instead constitutes of a skirt separate from the bodice, a white blouse is a popular option, often decorated with subtle lace detailing, little bows or interesting collars. White blouses were often worn by Victorian women, mostly in the late Victorian era and well into the early twentieth century too.

Gloves

And lastly, gloves or lace mittens, a staple piece of a respectable Victorian lady’s wardrobe, which sadly isn’t so fashionable anymore, but a Lolita, especially the Classic Lolita would never leave the house without them.

Fashion Inspiration: Please – consider me a dream

20 Dec

Awhile ago I found these pretty pictures of dreamy girls wearing unusual almost circus-like make up with a lot of glitter and pink eye-shadows, often dressed in a bit old fashioned white gowns with lace, holding porcelain dolls or bunnies in their arms, or little tea cups, feathers tangled in their silken hair, smiling or just looking wistful. I was instantly captivated with the whole aesthetic so I thought why not share them with you! They all look so utterly dreamy and I thought this quote would suit the mood of the pictures perfectly:

“Please – consider me a dream.”

Note on the quote: “Once while visiting his friend Max Brod, young Kafka awakened Brod’s father, who was asleep on a couch. Instead of apologizing, Kafka gently motioned him to relax, advanced through the room on tiptoe, and said softly: “Please – consider me a dream.”’ from Franz Kafka by Franz Baumer

All pictures found here.

Autumn Fashion Inspiration: Lest I should be old fashioned I’ll put a trinket on…

26 Sep

This autumn I find it so hard to chose between so many different aesthetics to embody; shall I be Poe’s mournful bride with face pale as the moon, dressed in long gowns in white or dusty purple, instead of pearls my neck adorned with invisible kisses; shall I dress as Miss Havisham in a wedding dress, and put on a fragrance of wilted roses and dust, with spiderwebs on my hands instead of lace gloves; or wear my hair in braids with bows and roam the chambers of my castle as a ghost of a Victorian teenage girl, or simply curl my hair and take a porcelain doll instead of a purse and be a child-vampire for all eternity; or a Biba girl dressed in many shades of violet, brown and mauves; or a Pre-Raphaelite muse with flower woven in my hair, my cheeks rosy as ripe apples and lips as pink as rosebuds. Oh, the agony of choice! Is that what Donovan meant when he sang “So many different people to be, that it’s strange, so strange….” in “Season of the Witch”? Anyhow, I instructed my sweet darling bats who reside in the tower of my castle to weave a long veil and a white dress for me, and I kindly asked the butterflies to search the woods and the meadows and make a flower-crown from all the nature’s richness they find; last wild flowers, yellow leaves, rose hips, acorns and birch twigs. Now the only thing left to do is to ask the autumn wind to braid my hair…

A whimsical poem called “Autumn” by Emily Dickinson:

The morns are meeker than they were—
The nuts are getting brown—
The berry’s cheek is plumper—
The Rose is out of town.

The Maple wears a gayer scarf—
The field a scarlet gown—
Lest I should be old fashioned
I’ll put a trinket on.

Picture found here.

Picture found here.

 

Picture found here.

Picture found here.

Victorian Photography: Girls in Silk Cages, Pale and Fragile as Lilies

10 Jun

A friend recently reminded me of the photograph of Ellen Terry that you see below and its mood of sadness and wistfulness struck a chord with me. Naturally, I thought of many other Victorian photographs of girls in contemplation so I decided to share them all in this post; they are perfect for daydreaming.

Sadness (Ellen Terry at Age Sixteen), photo by Julia Margaret Cameron, 1864

All of the photographs here were taken by female photographers: Julia Margaret Cameron (1815-1879) who is perhaps a pandan to the Pre-Raphaelites in the field of photography because of her inclination toward the Arthurian world and medieval romances, and Clementina Maude Hawarden (1822-1865) who often took photos of her daughters and is sometimes called “the first fashion photographer” because many of her photos feature the lovely crinoline gowns from the era, full of ribbons and flounces.

What draws me to these photographs is their dream-like quality; they are like windows to the long lost worlds, they evoke as much feelings from me as a poem can, they portray beautifully the inner world of Victorian girls and young women. Gorgeous fashions and delicacy of the fabrics, dazzling play of light and shadow, a tinge of melancholy and wistfulness. In this long lost world from the other side of the mirror long haired dreamy maidens in their dazzling silk and tulle cages are shown reading or praying, or travelling the landscapes of their thoughts, sitting by the window and gazing into the outside world of freedom and strangeness; girls as fragile as lily flower, with faces pale from the moonlight, yearning hearts and silent tears that smell of jasmine, trapped in claustrophobic interiors of damask and daydreams, touching life only through veils, “seeing it dimly through tears”, drunk, not from cherry cordial, but from the heavy fragrance of roses in their vases. Caught between girlhood and adulthood, in their dreamy interiors, with mirrors and books, they are gazing through the glistening bars of their cages, in silence, for the captive birds sing no ditties.

“I’m wearying to escape into that glorious world, and to be always there: not seeing it dimly through tears, and yearning for it through the walls of an aching heart: but really with it, and in it.” (Emily Bronte, Wuthering Heights)