Gauze dress, ca. 1826-1827 by KSU Museum Via Flickr: White plain cotton gauze dress with yellow embroidery (A) and yellow silk shoulder brace (B). Dress with high waist, scoop neck, long sleeves with puffed shoulder, hem with 5 tucks alternating with embroidered wool sprigs, yellow silk bands at cuffs. Braces: yellow silk taffeta shoulder brace with tabs alternating on each side. As the 19th century progressed, the high waistline of the first decade began its descent to the natural waistline. At the same time the sleeves became fuller and the skirt began to widen. By the mid-1820s, the first leg of mutton sleeve of the century appeared as in this dress. English, attributed, ca. 1826-1827. Cotton gauze/silk. Silverman/Rodgers Collection, KSUM 1983.1.31ab.
Your clothing pieces are so unique and thought out, where do you get your inspiration?
Thank you! This is a very kind thing to say. T/////T
Inspiration-wise, I think I’ve answered a part of that in this post though vague and glossed over… but I can sort of try to elaborate more on clothing, at least some aspects.
For the most part I tend towards fantasy settings, so I often look to older historical examples as a base (the varying silhouettes back then were much more interesting in my opinion, if less convenient at times). And while my draws are along the lines of ‘fantasy’ clothing, I like to consider the practicality of the outfit and think of the parts in layers, even if the clothes I draw may be improbable to sew together in reality.
Just a quick example of how gorgeous the shapes in historical clothing can be:
(from google, search historical renaissance/tudor clothing & should see them!)
Look at that impeccable fashion. Ah, such wealth so obviously displayed.
I actually don’t know very much about tailoring nor fashion design, but I wish I did. Knowing the terminology, taking details like seams, button placements and just the overall sewing patterns into account, etc. can add more integrity into a design that may otherwise feel ‘generic’ or ‘plain’.
(eg. peplums, scalloped edges… modern cuts are easy to find references for.)
So.. building up a visual reference library is a must. And since art is about inspiration, reference, and learning, taking the time to research into a bit of the clothing articles (their history, their make, their reasoning–why and when did the people dress the way they did? What did their clothes communicate? …Why the gigot sleeves? The perforations in brogues?) lends yet another layer to the drawing. It’s a layer that many people may not see, but those who are informed can and will. I remember our favourite layout professor would go on about the verisimilitudein our fictive settings, our fictive creations.
I digress, because the clothes I draw aren’t so deep-rooted being as fictional fantasy lalaland as they are, but that’s the general idea I have behind mine when I draw. Of course more on a superficial level of ‘what looks cool :D?’ with the plastering of character-specific motifs everywhere, but perhaps that is part of what lends them appeal? That’s by the judgment of the audience, so I can’t say.
And I’ve mentioned this before, by my own preference I also like simple clothing– simple repeated shapes overall with embellishments at areas to hopefully draw interest to the right places. Although detail is beautiful (just think of all the (3D) armour sets in mmorpgs like ffxiv), I find simple appeal is most memorable to me when differentiating key characters’ aspects from another. Silhouette, Focal points, … there is actually so much more I could go on yammering about, but I feel that would need a post all on its own (and there are people who can detail it far better and more concisely than I ever could).
This is why I usually like the Tales of games… their colours and designs are all bold and relatively simple.
Anyway, recent design example that might elaborate my meaning.
Pretty obvious where I drew inspiration from seeing the first picture above, no? But hopefully also different enough to stand as its own. I find it incredibly fun to take apart and put together a character’s wardrobe, so that is why I tend to doodle the shirts under or draw jackets separately and so on. I like for it to make sense how they wear the clothes, fanciful design or not.
And below, expanding on my ‘favouring practicality’ featuring pencil/brush wraps as detachable sleeve cuff decor– simple idea, hopefully kind of cute function? The thing with drawing and imaginary creations is that you can bend that reality’s rules, so nevermind impracticality if the setting allows for it.
Wow!! I’ve rambled a lot so I’ll stop here, none of which was with assurance but an insight into a part of my thought process nevertheless. I hope it was… somewhat interesting to read or think about; I personally also love seeing others’ processes and the differences from mine when they reason their designs, so thank you so much for asking!
I’ll leave some tumblr links here, because there is also this much and more on this site alone to inspire…
Day Dress, Gustave Beer, Paris, France: ca. 1895, two-piece dress of bouclé silk, layered satin silk, gigot sleeves, trimmed with cut-work, velvet and embroidery. “This is a Renaissance revival dress. The thick cloth of bouclé and smooth satin, the slits used effectively throughout the dress, and the decorations typical of the Renaissance revival all convey the nostalgia for the grand past which was felt at the end of the 19th century.”
2-piece having boned back-lacing bodice with deep point, over the elbow puffled sleeve with slit side and tulle insertion, pleated chiffon neckline ruffle and bust ruching, trained skirt divided at center front and sides to reveal tulle layer with graduated rows of silk bands over taffeta underskirt with hem pleats, silk skirt panels having spear tip hem, stiffened train faced with buckram and lace pleats
VELVET GOWN with APPLIQUE and EMBROIDERY, c. 1908.
Emerald green 2-piece with lace high neck insert and sleeve, bodice appliqued with colorful embroidery and cordwork and trimmed with ball tassels. Slightly trained pleated skirt having horizontal curving pleat with tassels. Together with a jacket of the same velvet with gigot sleeve and embroidered cream silk trim.
with Appliques. Hirsch
& Cie. (1882-1976) Amsterdam, c. 1893, silk.
In the 1890s
ladies wore dresses with large gigot sleeves that made the shoulders
look broader and the waistline smaller. In this period, skirts were
wider at the back, an effect here further enhanced by the train. The
dress resembles a costume
an outfit consisting of a jacket and a skirt. The blouse is a false
shirt front. The decoration is a striking combination of appliques
and woven floral motifs.
Rijksmuseum Amsterdam. All rights reserved.
2-piece black satin brocaded with repeating white floral devices, boned bodice with gigot sleeve and lace shoulder ruffle, mauve silk bodice insert under black tulle decorated with scrolls of black, white and gold beads, beaded velvet stand collar, velvet waist band, silk flowers, skirt decorated with self ruffles and bows backed in mauve silk