big tassel

Humasah Sultan on my opinion one of the most stylish woman in The Magnificent Century saga. Yes, perhaps she’s can’t to compete with Hurrem Sultan or Kosem Sultan with numbers of costumes “in her closet”, but she’s obviously can to compete with Hurrem Sultan from the second half of season 3 and later from season 4, for the place of most stylish woman in her middle-age in show.
I also, found Humasah’s style interesting by the fact, that in her costumes was used characteristic features of the costumes of other characters not only from The Magnificent Century: Kosem, but also from original The Magnificent Century. Humasah Sultan in show it’s the quintessential "features” of characters from the saga, she actually combines style in clothes of all her family, such as we saw them in the show, but makes it fitting is only for her with small details and color combinations.

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Let’s talk Elissa design! 

1. Maria Bjørnson’s design for “Queen Elissa”, London 1986. This is the sketch for Carlotta. Originally Christine was to have a much plainer skirt, without an adorned hem and with a simpler apron and backdrape. But already on the sketch for Christine’s costume there’s notes on them going to use “Carlotta’s bustle” instead. I was told there is a sketch for Christine’s revamped version, but I’ve never seen it. So adding the Carlotta design instead, as it’s the closest. It shows a green skirt with a richly decorated red hem, a red apron and red backdrapes. In the sketch is also the scarf, partly covering the hem. For Christine’s costume there’s a false bodice continuation, so the skirt can be put directly on her slavegirl costume and become a gala dress. 

2. Nelly Vágó’s design for Christine’s Elissa costume, Budapest 2003. It shows a petron green dress with a red underskirt, both adorned with broad golden hems. There’s a drape in front, also with a broad golden trim. The bodice is vandyked, with big brooches hanging from each tab, and it closes over a decorated gold bra (the only visible part of the slavegirl costume). The finished costume turned out somewhat different, with a very different skirt construction, and the vandykes of the bodice being created by decorations and not in the actual construction. 

3. Alexandra Byrne’s concept for the 2004 movie gown. Now, Alexandra Byrne seldom makes sketches for her design. She collect photos and other inspirations, and discuss the concept with the costume makers. This is why eventual drawings of her costumes is based on stills from movies (like the one printed in “Hollywood Costume” by V&A, or the ones RUG put out on the movie website back in the days. For the movie’s “Think of Me” she appears to have used Winterhalter’s 1865 portrait of Empress Elisabeth “Sissi” as basis. The fluffy tulle skirt with stars, the short bodice with “bertha” neckline and the stars in the head is a definitive inspiration. But in addition the movie gown also got to pale blue tabs in the back, maybe as a homage to the original stage design. 

4. Roman Solc’s design for Christine’s Elissa costume, Prague 2014. The design picked up the ornamental tab idea from Maria Bjørnson, but featured a planer hem and side drapes as well as a short apron. The bodice was stripy and corseted - this was supposed to be the slavegirl bodice, and the arm straps and “chains” (beads) were also present. The finished stage costume turned out different. It didn’t have the tabs but instead a highly decorated front field on the skirt, and the X decorations at the hem (seen in the original design) was added. The bodice became golden and assymetrical, and was put over the more bra like construction of the slavegirl costume. The armstraps were dropped, as was the little apron. But the side drapes and big tassels were kept.