Dancing in the "get up" sounds like a challenge.!
I have been searching out every picture/portrait of QE1 I can find and
minutely looking for further clues as interpreted in the discussion. I've
made my way in the local theater world with 40 years of interpreting
historical costumes from such resources; I have made a certain reputation by
being able to translate the look (at least) into a reacognizable 3D garment.
This particular Era has been quite familiar in past production
design...but never to the scale or historicity I am now attempting in
miniature. Thank you all for giving me new eyesight with which to solve the
design problem I have set for myself.
Progress! The sleeve sets are installed in the bodice and I am happily at
work making tiny beaded gold lace rosettes to be applied to the whole gown
in its many parts! The edges of all are souched with tiny pearls. By
counting the numbers as they appear on the hanging sleeve, I have been able
to work out the approximate scale for the placement of the roessetts. I am
making an attempt to follow the *repeat of three* which I believe Hunnisett
worked out for her Ditchely Gown. The major demarkation from the Portraits
is that my background fabric is already textured...it being a 1950's 1/8th"
woven ribbon fabric.
LA!! Kathleen
----- Original Message -----
From: "Cin" <[EMAIL PROTECTED]>
To: "Dawn" <[EMAIL PROTECTED]>; "h-cost" <[EMAIL PROTECTED]>
Sent: Friday, December 15, 2006 6:43 PM
Subject: Re: [h-cost] 0f belts and hanging sleeves
Dawn wrote:
Funny, I see this same red as the shadow of the sleeve, robe, etc, not
as a
second skirt. I needed another reason to go back to the UK!
Here's some of the copies. What do you think?
http://www.tudorplace.com.ar/images/Eliza32.jpg
http://www.tudorplace.com.ar/images/Eliza29.jpg
http://www.tudorplace.com.ar/images/Elizathanksgiving.jpg
I'm looking at the Ditchley portrait, the allegory of Elizabeth and
therefore England standing over the world. This is explicitly what
Kathleen asked about.
I think we're looking a different pictures all of which are painted by
Mannerists, which means they are explicitly not "photo-perfect" copies
of what the painter saw. (Especially since in Elizabeth's case the
painter almost never saw Elizabeth herself. As I understand it, he
usually saw a Lady of the court modelling Liz's gown & jewels plus an
official portrait of Liz from which to model her face & hands.)
In your examples, I dont see open robes, and yes, in your
illustrations, the overskirt exposes a huge swath of forepart. When I
challenged someone to find a large forepart, I meant a large *extant*
example rather than a picture. I do not know of any in the
Manchester, V&A, NYMet or Harwick collections that could ever be as
wide as those illustrated. The only exceptions I know of are those
widened in a later period, and my knowledge is far from encyclopedic.
This is fun! Thanks for challenging my views & implementations.
Certainly we'll never know the right answer and I'm more than happy
with my interchangeable ensemble solution. I'm not making these
ridiculously complex clothes for political ends as Liz was. My aim is
much more social. I wanted to prove I could dance in that get up!
There's video proving I can.
--cin
Cynthia Barnes
[EMAIL PROTECTED]
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