Yay Pikmin zines are here!! They turned out nice and I’m excited to package and ship them out! Again, it’ll take about 1-2 week to essemble/ship everything, especially for orders that ordered other items along with the zine. Just keep an eye out in your emails if you ordered one to know when yours ships, and thank you everyone again!!

Wedding Ensemble, 1878, American
Met Museum

While white is now de rigueur for bridal attire, the fashion for white wedding gowns originated only in the late 19th century and was not commonplace until the 20th century. This dress is a good example of the more practical 19th century practice of brides wearing colored gowns for weddings. The wedding dresses could then be worn again for other receptions and social events. A well-made and finely-detailed example of the period, this dress would have been described as a “cuirass” or “cuirass style” at the time it was made, a term that refers to the form-fitted bodice. A steel-boned corset helped to achieve the ideal figure for the cuirass style in the 1870s and 1880s.

Cycling Essemble, 1895-1900, British
Manchester Art Gallery

Cycling became an enormously popular pastime for men and women after about 1895, able to combine an energetic sporting activity with a practical means of transport. Women could accompany men and a general feeling of freedom added to the craze. Special cycling trousers or “bloomers” were worn by some female cyclists as a much more practical garment than a full-length skirt which might catch in the bicycle gears or chain. This particular outfit comprises a jacket, waistcoat and bloomers, with a brown felt hat printed with a “time to light-up table” inside, for night-time cycling. 

Although such outfits for women were practical, they were also socially risque, encouraging women to wear a form of trousers, and contemporary magazines, particularly Punch, loved to ridicule cycling women for their brash and masculine appearance. Largely because of this social disapproval, many women cyclists in England preferred to struggle with their thick ankle-length skirts well into the 20th century.

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Backgrounds from our latest film! 6of us’s been workin on it (Flóra Buda, Barbi Takács, Anna Tímár, Enikő Szász, Koska Zoli and myself, Panni Gyulai) Flóra and i did the backgrounds (with a whole bunch of help from Zoli) these specific ones were made by me, the first two (or three?) were based on Zoli’s sketches. I’ll upload soon some other stuffs from this project! It was really interesting and instructive:) 

Ensemble, ca. 1680, British
V&A Museum


In Britain in the 1660s a new style of formal day wear was introduced for men. It replaced the doublet and petticoat breeches. The new fashion was started by Charles II, under the influence of Louis XIV of France. Men now wore a long, fairly tight-fitting coat reaching to the knee. The breeches accompanying the new coat were much more closely fitting than previous ones. Men’s dress continued to be elaborately decorated. This coat has silver braid applied horizontally down both fronts, with cuff facings of blue wool. The ensemble is shown with an equally lavishly embroidered cape. By the 18th century the cape had become a purely functional garment, used only for protective wear outdoors.