Tuesday, 10 March 2015

Victorian fashion


During the Victorian era the Victorian women wanted to wear flattering gowns that exaggerated their figure by using corsets to clinch in the waists which makes the bust more prominent and also accentuates the lower body, then the chemise is a metal framed skirt which was 3 times the circumference of a normal gown to make the bottom area look more extravagant to show status and the more exaggerated the dress the more important you were seen by others.   

Before the time when Queen Victoria was in power men were the main focus of fashion, but with a queen in power, women surged to the forefront.  The role of the wife became to show of her husbands status and wealth to the public, with the husband himself receding into the background.
 

In the 1840's, Full skirts were supported by a vast array of petticoats.  These petticoats were made of horsehair, or stiffened with cane and padding.   

The overall look of the dresses didn't change much during that time frame.  The sleeves started to become wider in the 1850's.  The skirts expanded in size as more and more petticoats were worn.  Added flounces on the skirt would help create a wider look. 

           

In 1856, the cage crinoline was reinvented.  The skirts which had previously reached maximum width were free  to expand even farther.  The hoop was round in shape, somewhat bustled behind. The skirts were made of straight widths of fabric pleated into a waistband.     

In 1860, the front panel of the skirt is very slilghtly gored. Very quickly, the side panels of the skirt become gored also. Skirts will get narrower at the top every season, and the panels ever more gored. 

By 1863, the hoops took on an eliptical shape, with the back fuller that the front. The skirts are often gored in the front and sides, the back are still straight breads of fabric.   During the Civil War, hardships caused a decline in the amount of fabrics and trimmings used in the dresses.  The excessive flounces became fewer and finally disappeared. 

1867 saw a reduction in skirt size all together due to the weight of the chemise effecting the female figure especially regarding the waist and hip area. 




Jamie Reid

Jamie Reid is a British artist who designed artwork for the Sex Pistols album, Never Mind the Bollocks 


In 1947 anarchy and influential British artist Jamie Reid was born in London, England. Raised in a politically active family, Reid went to  Croydon College in London 

Reid left Croydon in 1970 Already a committed anarchist, Reid connected himself with the Situationists, a group based in France that advocated for a strain of libertarian Marxism. 


 In 1978 was the end of the British punk scene however Reid continued to work as an artist, infusing his work with his political leanings. He's worked with a lot of artists to protest nuclear weapons, racism and a fairer criminal justice system. 

This is my favourite piece of work by Jamie Reid his God save the queen poster really stood out to me among all the rest especially as he pushed the boundaries of art with the controversial interpretations from the general public regarding covering the queens eyes and mouth which in some option could  symbolise the end of the Queen like how you see in a lot of scary movies with a image of a person with their eyes scratched out which I actually like the whole rough cuts out creates texture and surface within the image all the ransom note style typography is really interesting