mid cent

WFW Anon

I also think the chaperoning TH thing was them messing around.  AM has been riding Tom, teasing him throughout the entire press tour and he absolutely would crash one of his interviews.  Mackie didn’t come prepared, he took it the green bottle (‘juice box’) from the interviewer - you can hear the interviewer in the background saying so, calling it his hydro flask and saying ‘there’s nothing good in there’.  Then this exchange follows:

AM: ‘I’m sorry you’ve gotta deal with that, man.’

BC: ‘Seriously, I’ve been asked to chaperone this guy…unintelligible

Mackie starts to say, ‘I talked to uh…’ the reporter interrupts when Mackie and Tom are joking about the ‘juice box’ being empty, saying he’d heard they don’t even let Peter Parker read the scripts and finally Mackie says to Ben, ‘I talked to Kevin, this is your last interview you have to do with him then we’re going to switch around.’

They knew they were on camera.  They were mid-interview.  My two cents?  I really do think it was a joke.


I really really really really really really really hope you’re right WFW Anon!


TGIFRIDAY FASHION FACT! I’m very excited about today’s topic. The vast majority of the questions I receive are about Western fashion, but this week we’re focusing on the opposite side of the globe and talking about kimonos! Kimono’s are fascinating garments. They are among the world’s most iconic pieces, largely due to the fact that they have remained relatively unchanged for several hundreds of years. So when and how did kimonos get their start?

To start with, “kimono” used to serve as a general term for clothing, not meaning the specific garment until the 18th Century. What we think of now as kimonos actually have several different names, depending on the style. Kimonos today are thought of as a Japanese fashion, but in fact they got their start in China. In ancient China, robes were very common among both men and women. They had the same cross-front closure as kimonos today. Robes were layered upon robes, and wrapped in various skirts and sashes.

The beginnings of the kimono robe actually started as a base robe for these other dressings. In other words, it started out as an undergarment. It had tighter sleeves and was long, while the top robes had very wide sleeves and were often shorter, though this would be covered by the skirts. In the early days of Japan, starting in about 300 BC, there was a strong influence by China on many aspects of Japanese life, from clothing, to art, to farming. This influence waxed and waned for many centuries, interspersed with eras of Japanese isolation.

It was during these times that the Japanese kimono developed apart from the Chinese garments. Around the 9th Century, during the Heian period, separate short robe and skirt combinations faded from style, and long robes took their place (though a half apron was still worn over this.) With this long robe now exposed, fabrics changed from basic linens to rich silks, often with elaborate woodblock printed designs, for those who could afford it. In this era, an excess of fabric was popular, with sleeves expanding to vast lengths and widths, and hems often pooling on the floor. This was also the time when kimonos began to be constructed out of straight pieces of fabric, not fitted specifically to the wearer.

Though this overabundance of fabric faded, hemlines, sleeve lengths, and overall widths of kimonos fluctuated over the next several centuries. In the 14th Century Muromachi period, the kosode robe, formerly the under-robe, became outerwear, and the wide hakama pants (or bifurcated skirt) once worn under the outer-robes were abandoned. This is when the obi was adopted- the long band of fabric wrapped around the waist like a belt. Tying an obi is almost an art form. There are various styles of tying, but with a length of well over 10ft long, it is always complicated.

During the 17th Century (the Edo period,) differences between men’s and women’s cuts became more apparent, with women having longer sleeves and hemlines. The style of kimonos developed during this era are the styles that remain traditional today. Various fabric patterns, colors, and embroidery have been popular throughout the years, and there are some differences between formal and everyday kimonos.

In the mid 19th Century Meiji period, there began to be a strong Western influence in Japan. Western wear was seen as more convenient, particularly trousers, which were easier to move in. The push of Western styles got so extreme that laws were instated requiring government officials to wear Western dress at formal events. Though the laws were ultimately retracted, this government push of Western-wear had a large impact on the downfall of kimonos. Today, kimonos are mainly just seen at formal events or traditional ceremonies. They’ve endured for so many centuries, though, it is hard to imagine that they will ever fade away completely.

Want to learn more about kimonos? Check out these books:

The Story of the Kimono, by Jill Liddell

Kimono: Fashioning Culture, by Liza Dalby

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

Parian marble. Roman copy of the 2nd cent. CE after a bronze Greek original by Myron of the mid-5th cent. BCE.

Inv. No. 56039.

Rome, Roman National Museum, Palazzo Massimo alle Terme.

Origin: From Castelporziano, the ancient Porcigliano, Villa Reale; found in the ruins of a villa of the beginning of the Imperial period in 1906.


Fragmentary Discobolus.

From Castelporziano, the ancient Porcigliano, Villa Reale; found in the ruins of a villa of the beginning of the Imperial period.

The statue, headless and missing its lower legs, right arm and the fingers of the left hand, is composed of fourteen fragments and shows the traces of an old restoration in plaster in several places (on the left thigh, the palm-trunk support and the base).

Parian marble.

Ht. 148 cm (with the base); inv. 56039.

“As with the Lancellotti Discobolus, this statue depicts the culminating moment of action just before the throw. The athlete, whose body is thrown forward in a movement of violent rotation, concentrates his weight onto his right leg; of the missing pieces, the corresponding arm, which carried the discus, was stretched out behind, and the left arm inscribed a deep arc grazing the right knee. There are several divergences from the Lancellotti Discobolus, which allow one to speak of a “version,” rather than a faithful replica, of the original generally attributed to Myron. The left shoulder is closer to the ground and the torso more strongly twisted towards the spectator, elements which confer a greater three-dimensionality compared to the Lancellotti Discobolus and which have been interpreted by Fuchs as modifications posterior to the age of Myron and reprised in the Augustan period, when the statue was executed. This proposed date is consistent with its provenance; the statue in fact comes from a villa built in the Augustan period and reconstructed circa AD 140. On the other hand, D. Candilio, following previous studies, maintains the date in the Hadrianic period. In the Baths of Vedius in Ephesus, a complex of the mid-second century AD, a copy of the Discobolus was fortuitously found which formed part of a larger sculptural group alluding to the imperial cult; this discovery has prompted Manderscheid to formulate the suggestive hypothesis that the placement of statues inside Roman thermae (usually in the palestrae) represented an element of the Hellenic paideia in a structure which for the Romans represented the ideal continuation of the Greek gymnasium.”  Brunella Germini

Literature: W. Fuchs, Die Skulptur der Griechen, München, 1969, p. 176 ff., no. 2269;  Museo Nazionale Romano, Le sculture, A. Giuliano ed., I, 1 (Roma, 1979), p. 180, no. 117 (D. Candilio);  H. Manderscheid, Die Sculpturenausstattung der kaiserzeitlichen Thermenanlagen, Berlin, 1981, p. 43 ff.

Credits: © 2006. Photo: S. Sosnovskiy. ancientrome.com.  Text: museum inscription to the sculpture.  © 2005 г. Description: Museo Nazionale Romano. PALAZZO MASSIMO ALLE TERME. English Edition. Edited by Adriano La Regina. ELECTA, 2005 (First Edition 1998), p. 132.