Well tailored cap sleeve fuchsia satin, boatneck bodice with V-back, fitted to the waist, pleated overskirt with fringed front bow detail and high-low hem stiffened with crinoline over knee length pencil skirt.
Could you do a smut where Jackson from got7 gets jealous in public and whisks you away to have his way with you😅😅 thanks!
“Babe, what do you think of this?” you asked Jackson as you
held up a pleated black skirt in front of him. Jackson’s mouth formed an O
shape as he nodded his head and widened his eyes, agreeing with your choice.
“It will go with that cute shirt you bought earlier, right?
You look so good in black and white jagiya” he smiled before rubbing his nose
right against yours. You giggled at his open displays of affection before
putting the skirt in your basket and heading towards the cash register to pay.
Jackson had wanted to take you out on a date today seeing as
you both finally had some free time. Proper dates were few and far between
these days, so upon asking you if you’d like to go and do some shopping and
have a meal afterwards, you didn’t hesitate to say yes. You loved more than
anything to walk around in public with your boyfriend, holding his hand and
having his arm draped over your shoulders. You were the envy of every woman,
and you didn’t care at all because you loved Jackson more than there were stars
in the night sky.
“I’m gonna have a look at these socks for Gyeomie, (Y/N).
You go ahead and get the skirt, I’ll be right there” Jackson said, hanging back
to have a look at some socks for the giant maknae who seemed to go through
pairs of socks faster than you did underwear in a week. You gave him a quick
thumbs up before meandering over to the till to wait for the clerk to assist
“Sorry for making you wait Miss, there’s a shortage of staff
today” said a voice to your left a few moments later. You turned around to see
a rather tall and handsome looking man, maybe a few years older than you. He
smiled warmly, taking his place behind the till.
“Oh don’t worry, I wasn’t waiting long at all. Just this
skirt” you said, handing him over the basket. He continued to smile, showing
his pearly white teeth that stood out from his darker completion. His hair was
slightly pushed back, held in place and ruffled with a lick of gel as he lifted
the skirt out and scanned the tag.
“You picked a great skirt! I think this would look amazing
on you. You have such a good body – if you don’t mind me saying it” he said, a
hint of nervousness in his voice as he did so. You chuckled, taken aback by how
forward he was but you were flattered none the less.
“Oh…well, thanks for your compliment. The skirt is really
pretty!” You smiled back at him politely while taking Jacksons card out to pay
The clerk bit his lip, his eyes glancing here and there
before catching your gaze once more. “I’m sorry if this seems too forward, but
I think you’re very beautiful. Would you mind maybe…would you like to
exchange numbers?” his voice shook a little, making you blush for what reason
you didn’t know. You silently chuckled at his nervous boyish charm, thinking
back to the time when Jackson first asked you out. Everyone knew Jackson as
“wild and sexy”, full of confidence – which he was. But when it came to you, he
was as soft as a kitten - and when he
asked you out he could barely put his words together to form a basic sentence
which sent your heart soaring at how much you realised he cared for you.
Just as you were about to give the whole “Oh I’m sorry, I have a boyfriend”
speech, you felt an arm snake around your waist, and a firm hand gripping your
hip. You shot your head to the side to see none other than your boyfriend,
steam almost rising from his head as he clenched his jaw tight at the other man.
You then realised that he must have heard the whole conversation. “This will be interesting…” you
thought silently, as the clerk looked up to see Jackson at your side, glaring
“Oh…I…” the clerk said, glancing back and forth between
you and Jackson as you kept your eyes fixed on the ground. “I didn’t realise
she was spoken for. I’m sorry for-“ the clerk began but was quickly cut off by
“Yeah yeah, you’re sorry for hitting on my girl even though
she’s just in here to buy a skirt. This ‘aint no club buddy, don’t come up and
annoy women like that. Plus, you’re meant to be working and your flirting with
customers? Not very professional, are ya?” Jackson said sternly, throwing down
the socks he picked up for Yugyeom on to the counter.
You swallowed hard. You’d never seen Jackson become so jealous
of another man before. You lifted your face towards his, only to see him
burning his gaze straight into the clerks. The clerk fumbled with the socks,
scanning the tag and placing them in the bag with your skirt.
“Uhm…that’s 40,000won altogether…would you like to pay
with cash or card?”
Jackson, without even looking at you reached for your hand
and snapped the card straight out of it, causing you to flinch a little. “Why is he taking this out on me? It’s not
like I asked him to start flirting with me…” you thought as you furrowed
your eyebrows at Jackson who was still avoiding your gaze. The clerk took the
card and swiped it quickly, letting Jackson type in his pin code before handing
it back along with your skirt and Yugyeom’s socks in a bag. Jackson whipped the
card and bag out of the clerks hands before pulling you in front of him and
walking you towards the stores exit.
“Thank you for shopping with us” the clerk said out of
habit, to which Jackson scoffed loudly as he continued walking close behind
you. You both walked swiftly in silence towards the parking lot, Jacksons hands
firmly placed on you as if he were guarding you from some evil threat. You
finally decided to break the silence upon getting into the car.
“Jacks…you’re not mad at me right?” you asked shyly.
Jackson revved the engine before sighing, looking at you
straight in your eyes. “No, I’m not mad at you. I just hate the way other guys
think they can walk up to you and hit on you like that. You’re mine” he said, a
hint of darkness to his voice which you couldn’t help shudder at. He placed his
hands on the wheel before taking off in the direction of home.
“Aren’t we getting something to eat?” you said in a small
“Later” Jackson said, not taking his eyes off the road as he
pulled on to the street where both of you shared an apartment. Why was he being
so cold to you? You understood that he was in a bad mood but you couldn’t read
his actions well at all in this moment. You continued to stay quiet as he
pulled into the complex parking lot. Upon stopping the car, Jackson got out
straight away, grabbing the shopping bag as he did. You quickly jumped out too
so he could lock the car, before both of you headed inside your apartment.
You got in, taking your coat and shoes off before walking
into the kitchen and leaning up against the countertop. Jackson threw the bag
on to the table before sitting down on the chair, his arms crossed over his
chest as he stared at his feet. You hated how he was acting. You hated how he
was completely ignoring you when none of this was your fault. You thought back
to when you were both in front of the clerk; he stood up for you, right? He
told the clerk guy to basically back off and that his flirting wasn’t needed
nor wanted, so why was he giving you such a cold shoulder now? Jackson sighed
and leaned back in the chair, still not even making any attempt to talk to you.
You decided you had enough. “Jackson, I didn’t want to say
anything but now I’m just kinda confused. I don’t know what I did wrong, so can
you please tell me why you’re acting like this right now?” you blurted out all
in one go. Jackson didn’t respond as he sat in the same position as if he never
heard you. You let out a frustrated grunt before turning around so you were
facing away from him.
“Fine, behave like a child then.” You murmured under your
breath, but just loud enough for him to hear as you stared out the kitchen
Suddenly, you felt Jacksons presence right behind you, his
chest just ghosting over your back. You jumped slightly, before turning around
to look at him. His face being inches away from yours and for the first time
since leaving the mall, he looked into your eyes. His stare was intense, as if
he were trying to look deep into your soul with his sultry, dark eyes. He
licked his lips slowly as you began to feel uneasy.
“Jackson…” you whispered, desperate for him to tell you
what was on his mind.
“I don’t like it when other guys look at you like the way I’m
looking at you right now. I don’t like it when other guys compliment you and
tell you that you have a nice body, or that you’re beautiful…only I’m allowed
to tell you that.” He said, his voice deep and almost overpowering to your system
upon hearing it. You exhaled, putting your hands on his cheeks and giving him a
cute smile while cocking your head to the side slightly.
“You know that I only have eyes for you, right? You don’t
need to worry about other guys. I don’t want them, I only want and need you.
You know that…don’t you?” you asked with sincere eyes. You stood on your
tip-toes slightly, just high enough to press your lips onto his, giving him
delicate, chaste kisses. Jackson hummed softly, before inhaling sharply as his
arms snaked around your body before he began to deepen the kiss. He nibbled on
your bottom lip as he placed his hands over your ass, giving it a tight squeeze
before massaging it through your jeans. Your breath hitched in your throat as
you ran your hands through his soft blonde locks, feeling his shaved undercut
tickle the palms of your hands. Jackson backed you up against the counter,
pressing his entire weight on you as he rolled his hips into yours. You could
feel his member harden against your abdomen as you threw your head back,
allowing him access to your neck as he began to litter it with small pink and
purple patterns of his teeth and lips.
“Turn around baby” he purred into your ear as he grabbed
your shoulders to reposition you. You turned around, your back lingering against
his chest before he bent you over on the counter. You felt his hands roam to
the top of your jeans, before all of a sudden he was yanking them down your legs
and you were stepping out of them. He placed his hands in between your thighs,
smoothing them over your soft skin before parting them and cupping your clothed
womanhood with his hand. You placed your arms on the cold counter as you
started to breathe heavily.
“I haven’t even touched you and you’re already so wet for me”
he almost moaned. You suddenly felt embarrassed, knowing that he was staring at
you completely bent over, ready and willing for him to take you then and there.
He pulled his hand away – much to your disappointment, as you heard him
unbuckling his belt and letting his own pants fall to the ground, flicking them
away with his foot. Jackson ghosted his hands over your soft mound once more,
before hooking his finger around your panties and pulling them to the side as
he massaged your soaking folds with his finger. You let out a breathy mewl at
the contact as you put your head to the side to look back at him, completely
transfixed by you. He positioned himself
at your entrance - before slamming into
you without any warning. You cried out in shock, pain and pleasure as you felt
his thick length fill you entirely as he thrust deep within you, pushing you
into the counter further and further. He grabbed fistfuls of your hair with his
left hand, while his right kept your panties in place to allow him to continue
drilling you from behind.
“You’re mine. No one else’s. Say it for me (Y/N). Say it for
me right now” he grunted animalistically as the sounds of his skin slapping
against yours filled the room along with your almost sinful moaning and
“I’m yours…all yours and no one elses” you nearly
screamed, only further boosting Jackson’s ego as he began ramming himself into
you even harder, his thrusting becoming more sporadic as you both raced towards
“Who’s the only man who can fuck you like this? Who’s the
only man that can make you scream his name like this?” he said as he gripped
your ass cheek while you held on to the counter for dear life as he hit the
spot deep inside you that sent you flying over the edge. You screamed his name
as you shut your eyes tight and began to see tiny stars, your legs trembling
and shaking from your orgasm as you tried to keep yourself upright. Jackson came
inside you, not being able to hold back any longer with the feeling of your
tight walls contracting around his cock as he filled you to the brim with his
white, creamy seed.
He began to slow down, his movements becoming softer as both
of you gasped for air while riding out your highs. Jackson grew limp, not even
pulling out of you as he rested on your back. You felt him giving you small,
damp and open mouthed kisses on your spine, making you smile gently as you
reached around to find his hand, which he held immediately.
“Maybe you should get jealous more often…that
was….something else” you giggled, teasing him and making him giggle in
“Oh you liked it? Maybe I should then, but I might end up
breaking you (Y/N)” he panted, still a little out of breath before he gently
pulled out of you and helped you off the counter.
“Shower?” you asked as you nuzzled yourself into his body,
both of you drenched in sweat as you heard his heartbeat slowly return to
normal. He pulled away slightly, smiling down at you and taking your hand in
“Shower.” He replied simply, smiling and nodding his head
before the both of you made your way into your bathroom to wash up together.
It is no secret that I have proportions on the heavier side of the norm, and certainly a lot heavier than the ready-to-wear world would deem worthy of accomodating. I stand a not particularly tall 181cm, my weight fluctuates between 100 to 105 kilograms, and I am usually about a 46" chest on a 39" waist. I tend to be a tailors nightmare, as I have a broad chest and thick arms, but still with a large drop. Only one tailor I know has ever said that my proportions are good for tailoring - Yuhei Yamamoto of Caid Tailors. I suspect my heavy build conjures images of a 50’s New Yorker for him - well fed on a diet of burgers and pie, and as American as a Japanese Ivy League fanatic could imagine.
What I have learnt, however, is that for all the things the heavy set man cannot wear, from ankle choking jeans that afflict the early 20’s crowd lately to bermudas and tee shirts, there are some things that almost demand the extra weight to properly effect.
There are some garments that I think benefit from a larger frame to carry them, chief amongst them being the traditional 3 piece suit. With the full leg and high waist of the trouser, the shorter and trim girdle of a waistcoat, and the soft roll of a draped chest coat. Properly tailored, and that is tantamount to the bigger gent, a three piece in a dark formal cloth can amplify the gravitas a bigger man will often possess.
The secret here, although it is no secret to anyone that has studied the likes of Jackie Gleason or James Robertson Justice later in their careers, is that drape and depth are an imperative. And while it is the coat that most men remark upon, and where the significant attention the novice bespoke client lies, a well cut trouser is to a bigger man of the greatest significance. A few tips I have found that have aided me in all my significant girth are as follows;
Depth of rise - The tendency for skimpy, hip riding trousers is an abomination that any man hoping to be viewed as such and not the opposite sex should avoid. This is never more true than in a man built properly through the hips and seat.
As the hips and seat fill out, they also tend to draw upwards. The slim man has hips that begin at the shelf of the hipbone, while the bigger man will find it extending upwards towards the natural waist. The hips grow in proportion and the waist shortens.
Those of us that have put any real thought and study into dressing well are aware that a man cannot look good without looking elegant, and he cannot be elegant unless he is comfortable. Hitching at a low slung trouser and fearing the exposure of a creased shirt tail every time you sit severely inhibits the chances of looking elegant.
The depth of rise should be sufficient that you can sit and stand without the trouser needing to be adjusted each time. If your shirt tails are billowing from the back of your waistband after sitting, you can afford a higher back rise.
Personally I have found that a fishtail trouser worn beneath a waistcoat is an elegant, if slightly archaic option. When I am in three pieces, however, the waistcoat stays on, so the exposure of my braces and fishtail back is unlikely.
Braces - On that point, the trouser is built to hang from the shoulder. I know the proportions of my waist, much like my thigh, tends to shift between sitting and standing, so a slightly looser waist - 2/3 of an inch while standing is usually a safe allowance - and braces to keep the trousers at the correct position makes for a far more comfortable experience.
The brace over belt argument is also supported by the back rise issue - a longer back rise needs to be anchored higher than a belt could usually allow. Hung from the shoulder, however, the trouser falls clean from waistband through the seat and thigh, and there is no unsightly roping to break the vertical line of the leg.
Stride - Seemingly a factor misunderstood by most ready to wear manufacturers is the principle of stride - the difference in volume of the thigh between standing straight to leg crooked. What tends to happen here is twofold - the distribution of weight in the leg shifts, and the back rise through to the knee lengthens as the leg bends. This causes the thigh to occupy all of the extra rise height we have offered in the back of the trouser, and shift forward and down in the front of the trouser leg. Here, without the extra allowance in volume at the thigh, the trouser grips the fronts of the legs, strains the back rise, and leaves a trouser with sharp creases splaying out from the inside leg.
Taper in a trouser is important, especially for a big man - we don’t want to look like we are in oxford bags - but taper it is. There must be enough room in the upper leg to justify the gradual narrowing to the cuff.
Pleats - Hand in hand with the above, and an unpopular choice for nearly all men of my generation, are pleated trousers. The perception of 80’s era chinos with pintuck like pleats cascading from a low riding waistband has poisoned the minds of many from common sense.
Pleats are for medium to high waisted trousers, not low. Pleats should have enough volume, and the waistband not be so tight, that the pleats can accordion open when needed, and fall closed again when standing straight.
The other need for pleats for us bigger men is the visual break it gives the expanse of lap that a full hip creates. Broken evenly with one or two pleats, the trouser fronts are seemingly quartered and diminished. The clean, flat front on a rounder lower torso and hip begins looking like a globe of the earth in its unbroken fullness.
Taper - The taper in the leg depends on two main measurements - that of the hip and of the shoe. None of us want to look like overgrown Oompa-Loompas, shortened to a pear shape with tiny feet beneath a massive waist. At least I hope none of my audience here wants that. Nor do we want to look like Daffy Duck with rail thin ankles and paddles of feet beneath, so the last of our shoe, its size, and how we taper the trouser is important.
I have big feet myself - about a 44 European, so I favour shorter, rounder toed shoes with narrow waists and slightly taller heels and thicker soles. It makes for a shoe that isn’t overly long on my already big feet, but has enough weight at the sole to carry my build, while the narrow waist keeps it looking elegant rather than clumsy.
Conversely, someone with a small foot relative to their height might choose a longer, chiseled last that helps extend the length of foot below the trouser cuff. Or a heavy, gunboat style that will overall add visual weight to the foot.
The taper of the trouser needs to follow the same rules - we neither want to look unbalanced by an extreme taper, nor missing our feet by trousers that flap around too full and long. A good rule of thumb for the bigger gent is that the trouser should fall to the shoe with the gentlest of breaks in the front, and cover the top two or three eyelets of the shoe. A cuff of some depth will help keep the trouser stationed on the foot, and provide the visual weight to balance our, ahem, generous waists.
Much can be said about pattern and colour, their visual weights and how they affect the appearance of a bigger man, but for every rule there is someone whose style and panache is able to squash said rules entirely. I try to remind myself that I am accentuating the vertical as much as possible, especially in the lower body, and setting elegance as the marker of success.
There are some other points that Us bigger folk can carry that a more diminutive build cannot - lapels that look generous on a bigger man can come across as overwhelming on a smaller man. The classical full overlap of a double breasted suit that can look straight jacket like on a small man is entirely appropriate over a fuller girth. And the softer, longer extension of shoulder that is loved by the Northern tailors often balances a larger waist and creates the appearance of a drop from chest to waist, while the smaller man can end up looking like a scarecrow in it.
The soft drape of chest that was the hallmark of the Scholte cut gives a louche elegance to the bigger man, and adds the feel of generosity and ease that elegance demands.
And that brings us back to the original tenet of this piece - Gravitas. Picture Babe Ruth in his bigger years wearing a vested suit with all the softness and comfort as he did his baseball uniform. And in it he commanded respect by his very physicality. He had a gravitas to take something severe and humble it.
But the best example of a bigger man that could put to shame any more regularly proportioned clotheshorse is Jackie Gleason. His portrayal as Minnesota Fats in the 1961 classic “The Hustler”, he epitomizes elegance and gravitas, next to a fidgeting, sweaty and disheveled Paul Newman.
Gleason, a renowned clotheshorse in his personal life, spends the film in a three piece suit with a carnation in his buttonhole. With every shot he takes, his 270 pound figure looks as graceful as sometimes only a big man can be.
WORTH PARIS TRAINED SATIN EVENING DRESS with PASTE JEWELS, 1910-1912.
Candlelight silk having white tulle short sleeve, square neckline and bodice overlay decorated with prong-set pastes, seed and bugle beads, boned bodice with horizontal front pleats, trained skirt flaring below two angled pleats to one side affixed beneath a narrow tulle side panel with beadwork and a large jeweled tassel, skirt back tucked into high waist and having rounded train.
so i was bored, a tad bit tired, & extremely motivated to expand my vocabulary & improve my writing, so i figured i’d share. under the cut is a LONG ASS masterpost of anything you could think of to improve vocabulary & such. there will most likely be a part two considering i have so much left to write, & i’ll definitely post that if people enjoy this one ! like/reblog as you please, i just hope this helps some people !
silk having ice blue short sleeve and pleated high waist with front and
back bow detail, chiffon overlay, cutaway and edged in cloth flowers,
lace and tulle bodice insert, the sleeve and waistband trimmed in beaded
tulle with diamante, crystal beaded tassels, trained skirt with blue
satin bow detail, corset interior
It’s in the middle of a shopping centre where you find yourself encircled by fortunate couples and cheerful families, many parents pushing their children in strollers or holding their little hands as they keep them close and away from straying off into the crowds. Harry’s beside you, rambling on about some place in Las Angeles, you lost interest when your eyes began to focus on the darling families walking around, particularly the babies that are cradled in the arms of their mother or father. Harry mannerly tugs you into an establishment, needing a new shirt and tie to wear to an event to promote his upcoming album in a week. Your eyes skim over the several flawlessly pressed shirts on the set up display of tables, the shirts ranging from different colours and a fabrics. “What colour is your dress, love?” He examines kind-heartedly, his hand gliding over the soft Fine cotton broadcloth formal dress shirts. “It’s black,” you respond, eying a certain shirt that would appear dashing while pinned against your husbands torso. His hand dances along a few different shirts, trying to find one he will be comfortable wearing most the night, to say he’s nitpicking with dress shirts would be an understatement. You tolerate him when taking his sweet time contemplating different shirts, occasionally looking at you for approval. “I like this,” you finally hold up an Executive Collection Traditional Fit Wing Collar Formal Dress Shirt. A Fine cotton broadcloth with classic five front pleats and French cuffs. He glances up, distracting his eyes from the black dress shirt he’s been eying. “Is it comfortable?” He calls into question, causing you to stifle a laugh.
“No shirt is going to be comfortable with how fussy you are.” You wear a smile, handing him the shirt for him to decide whether he will wear it or end up shoving it in the back of the wardrobe to collect dust.
After what feels like hours of contemplating different shirts and broadcasting your opinion, you leave the store hand in hand with Harry, along with four new stylish shirts for him to choose from, along with two new neck ties. Your eyes can’t help but find themselves glistening at toddlers that bounce around on their parents arms, a desire you wish to have. You can’t help but pays attention to the countless baby stores that are full of young parents and soon to be parents, finding adorable outfits for their little ones arrival and journey in the world. You had imagined to be on the road of creating a family by now, to be up at all hours of the night with your own baby and not the ones you deliver and monitor as an OGYN. You had expected to be planning birthday parties and play dates by now, to have little feet scuttling around and waking you up at all hours of the night, keeping you on your toes.
You laze around on the couch, flicking through the stations on the television to find something to entertain your while you relax on your time off away from the hospital setting. “You’ve been quiet since we got home, what’s running through that sweet mind of yours?” Harry inquires while he falls into his chair, getting comfortable as he rests his arms on the arm rest. “I haven’t had wine in over a year.” You update him of how you’ve neglected to touch any sort of alcohol, including wine in an attempt to conceive.
“Would you like a glass?” He advances, more than happy to push himself to his feet and pour you a glass of wine of your choice from the fridge. You shake your head, “since our last discussion of continuing to try, it’s been seven months and nothing has happened,” you advise him, reminding him of how you’re still without baring a child after keeping quiet about your frustration each month you’re given the news of not being pregnant when your period arrives on schedule. “I’ve had one scare, one damn time I was late.” You continue, a sigh escaping his lips as he gives you a sympathetic gaze.
“It’ll happen.” He reassures you like he always does, whenever you fret about this he never knows what to say to make you feel better, it’s like he’s programmed to remind you that it’ll in the course of time happen, that it will happen when you both least expect it. “When? When I’m old?” You mutter, wanting a baby now, not later. “I’ve waited long enough.” You press,
“It'll—” his voice behind but you swiftly cut him off,
“No! Don’t tell me it’ll happen or it’ll be okay.” You raise your voice a bit, your emotions beginning to heighten. He looks at you, not uttering any words of advice or assurance. He keeps his lips pressed into a firm line, his eyes staring at you aimlessly. “I uh, I don’t know what to tell you then.” He gently answers, looking down at his phone in an attempt to break the tension,
“I want a bloody baby.” You mumble, lowering your voice, noticing it isn’t fair to take it out on him, it isn’t his fault. “Am I that much of a bad person that I shouldn’t have kids?” You question, beginning to wonder if it’s just not meant to be. Maybe you’re not as good with kids as you’d like to think you are. Your nieces and nephews love playing with you and love when you baby sit them, you’ve never once had a problem in all the years you’ve watched the little ones. Harry can’t help but chuckle at your ridiculous comment, earning him a hard glare from you, “sorry, I shouldn’t find that amusing.” He clears his theist, “maybe our little one just isn’t ready to come to us yet. Give it a little more time.” He assures you, probably just as frustrated as what you are— after all he is also the one going through the struggles with you, he has to witness you crying every month you receive your period. This has just as much a tole on him as it does you, he is just better at hiding it than you. “Then why can’t we have a baby? It shouldn’t be this hard.” You huff, unsure of how other couples are privileged enough to end up pregnant after their honeymoon.
“C'mere,” he gestures towards you, opening his arms for you to go to him, you shake your head, “do I have to come to you?” He challenges, raise a brow as you stay positioned on the couch, not moving. “Don’t make me come to you,” he grins, a small chuckle escaping from you as you defy his multiple demands, “alright.” He pushes off the chair, standing to his feet and coming over to you, a cheeky grin exposing his dimples. He leans down to mildly lavish kisses on you, his hands pressing to your sides, his fingers beginning to humor you. “No.” You whine, trying to wiggle from his tinkling grasp, giggles escaping from you. “I told you to c'mere.” He smiles, amused by your giggles and terrible efforts to escape his prying hands. He gives into your pleas and stops his hands from tickling your body as he falls beside you on the couch, his hands carefully pulling you into his lap. “Have I ever told you how beautiful you are?” He whispers, his arms holding you tightly and securely, his scent filling your senses.
“A few times, you’re only saying that to make me feel better.” You shake away his flattering and smart compliment, not believing his affable words.
“I’m saying it because it’s true. How about this weekend, we go up to the cabin and you can spend all weekend wrapped up in my arms and we can spend the whole weekend trying?” He presents, and you shrug. You highly doubt a change of scenery will unexpectedly alter anything. “Do I need to tickle you to get a yes or no?” He engages in playful teasing, his fingers circling your tickle spot.
“We can try.” You agree, figuring there’s no harm in travelling to the cabin on the lake where it’s serene and relaxing.
CaSH Fabrics® is a clothing and accessory line accompanying Sabotage Communication’s perfume CaSH; a perfume that smells of money. The clothes bestow a further avant-garde note and give the hard, unorthodox scent a visual edge. CaSH Fabrics® are offered in certain sizes and as original prototypes. These include sweaters in moth design, exits made in tied-together bed sheets and an appropriate packaging; “An einen Haushalt” engraved urns. CaSH Fabrics® not only sets itself apart through stylistic breaks, but also through reduced, wearable design and functional surprises: leather pants with front pleats, ski-shorts with pressed pleats, creased jeans, stretched rib top 80’s, t-shirts with sweat marks with fitting accessories such as 100kg bags, chokers, ties, denim hoods or 3,3m blue denim stolas with babyblue silk fringes. CaSH Fabrics® was presented on the 5th of June at 10pm in the parking garage “Parkhaus Westbahnhof”, Felberstraße, 1150 Vienna.
TEMPLIER & RONDEAU PARIS EMBROIDERED SILK AFTERNOON GOWN, c. 1908.
Dusty rose silk charmeuse having cream embroidered net high-neck bodice insert and long sleeve, pleated silk wrap-front bodice with heavily embroidered short chiffon sleeve, inserts and center oval, draped and angled skirt, self tassels at back and ends of self chain suspended from waist, trained skirt decorated with net inserts and Celtic knot appliques, satin under-skirt with pleated hem ruffle.
Hi! I'm trying to get started on the jacket for my Alois Trancy costume, but I'm having a hard time figuring out which pattern to use. As of now I have Simplicity 2333, but I don't really like how there's a seam at the waistline because Alois' jacket doesn't have one. But I also want the inverted pleats in the back but I guess I'm just lost. Do you have any suggestions on where to start?
Thats a good pattern!
I say, use it, but just dont do the seams on the front. You’ll need them in the back for the inverted pleats. But the front can be clean. Just tape together the pattern shapes of the front top and the front bottom, to draft out one whole piece.
A fine brilliant yellow Spitalfields brocaded silk robe à l'Anglaise, circa 1750,
Woven with brightly coloured large scale oriental poppies, posies and swags, the ground figured with arabesques and wine silk spotted cartouches, the robe with linen lining to bodice, pleated front robings, double tiered engageants with bows, the hem lined in fine yellow silk; with matching petticoat front panel trimmed with pinked furbelows; and a stomacher trimmed with rosettes and braid
WORTH PARIS BROCADE EVENING DRESS with DIAMANTE BOWS, c. 1900.
2-piece orchid satin brocaded with large-scale floral stems in white, back-lacing boned bodice having blue satin and lace cap sleeve and neckline trim, decorated with a pattern of metallic cord bows having prong-set pastes, tiny sequins and clear beads, blue satin bows at shoulder, trained skirt having large pleats, the front appliqued with three diamante bow forms to either side of divided center.
The longest post in the history of the world, and no, I am not proud of that. I am apologizing in advance for when it breaks everyone’s tumblrs.
^^^This is our object of study: the well-dressed male of 1825-1835. The silhouette of the ca. 1830 gentleman bears an interesting resemblance to that of his female counterpart: an hourglass figure, exaggerated by having extra puff in the sleeves, extra width and height in the collar, extra body in the skirt of the coat, and a tightly cinched waist. Both the male and female silhouettes rely on sloping shoulders, a padded chest, a narrow waist, and a lot of curves in the hips:
^^^Probably from the earlier end of our period of study (ca. 1825).
^^^Probably from the later end (ca. 1835).
The most basic layers to a ca. 1830 male outfit are essentially three: 1.) the shirt; 2.) the trousers; and 3.) the braces. Sometimes underwear is involved as well, but that’s questionable. As far as these men were concerned, their shirt was their underwear, and, similar to the ladies’ chemise, the shirt can be considered the base layer (and the layer most improper to show in public).
It sounds pretty grotesque, but aside from extant clothing, some of the best ways to get a good look at these under-layers of male clothing are A.) drawings of dead or injured people on barricades, and B.) pornography (as usual). Ironically, female undergarments are represented more commonly than male ones in images of the period, obviously because the artists and their audience were mostly heterosexual men who liked to get their kicks drawing/looking at half-naked ladies. Men almost never represented their own undergarments in images, though, except in the above circumstances. Art showing barricade fighters in 1830 is good for looking at shirts and braces. I’ll give a few examples when I can. Pornography is good for looking at how trousers work (duh), plus other fun things like nightshirts and such. No, I’m not going to give any examples here. But if one were hypothetically to search for “Achille Deveria” on Google Images, I think it would become obvious what I mean. Hypothetically, of course. >__> Even allowing for some artistic license that might stretch the truth of how these garments really worked, these sources shouldn’t be ignored by the costume historian, because what other chances do we have to see people of the past in a state of undress?
^^^An 1820s extant example.
Men’s shirts ca. 1830 were cut a bit loose and long (long enough to cover the genitals), usually with a slit on each side for mobility:
The collars of these shirts are easily recognizable to anyone familiar with portraits of this period. They were cut high in order to accommodate the tall cravats/stocks of the period and were closed with one or two buttons before the cravat was tied. They could be worn stiff and upright, which would cover part of the jawline, or soft and folded down over the cravat.
^^^The collar of the shirt can be seen extending up from the cravat, covering the sides of his jaw and whiskers.
^^^Showing the button closure on the collar, which would be hidden beneath the cravat when the man is fully dressed. You can see how stiff the collar can be.
These shirts were opened and closed by way of a front center placket set with buttons, but the placket did not extend all the way to the bottom hem. In laymen’s terms, this meant that, since it could not be unbuttoned all the way down, the shirt had to be pulled on and off over the head. This is what we would now call a “tuxedo front”:
The sleeves of the shirt had to fit beneath fairly tight coat sleeves, so they could not be too voluminous, but they did have extra material that was gathered to the sleeve holes and cuffs using knife pleats or cartridge pleats. The sleeve hole for these shirts is always cut low on the shoulder, so that the sleeve pleats actually sit down the arm a few inches instead of right on top of the shoulder, like so:
This is done so that there won’t be an uncomfortable, lumpy gather of fabric right underneath the coat shoulder seam; instead, it shifts that mass of shirt fabric down into the most roomy, puffed part of the coat sleeve, where it won’t aggravate the wearer too much.
A really fashionable shirt might have cuffs cut longer than standard modern cuffs; they would be more comparable in length to what we now call the “French cuff.” This was so that they would extend just slightly beyond the long cuff of the coat, sometimes almost to the man’s knuckles:
Shirt cuffs must have been cut to flare out a bit so that the man could retain full mobility in his hands while wearing them.
The front of a ca. 1830 shirt is a product of waistcoat design. In previous decades, waistcoats had been cut higher, such that they covered pretty much the whole front of the shirt, up to the cravat. In this period, some types of waistcoat are beginning to be cut lower than in previous periods, meaning that more of the shirt front is being exposed. This means new designs of shirt are coming into fashion. 1825-1835 shirts can come with a front ruffle or without. When without, the front of the shirt is often pin-tucked into small vertical decorative pleats. Shirts with a ruffle are more conservative, fashion-speaking, a holdover from earlier decades. Without ruffle will be the future of the 19th-century shirt.
^^^An 1820s shirt, probably from the early years of the decade. There is no decoration on the shirt front, only gathering/cartridge pleating that joins the shirt front to the collar. This probably indicates that this shirt was worn with a high-necked waistcoat and a large cravat that didn’t allow any of the shirt front to show beneath.
^^^An 1826 shirt with a ruffled front: another older style of shirt.
^^^A late 1820s shirt, still ruffled.
^^^An 1820s shirt with a pleated front, possibly from the later half of the decade. The style is still somewhat unrefined, with wide, clumsy pleats instead of the fine, delicate ones that would come into fashion in the 1830s.
^^^An 1830 formal shirt, still retaining the conservative ruffle.
^^^An 1830 informal shirt, with pin-tucked pleats.
^^^An 1832 shirt with a plain front (or pin-tucked pleats, it’s hard to tell). By this point, pleated or plain shirt fronts are definitely squeezing out the ruffled shirts.
^^^An 1832 shirt with tiny pin-tucked pleats.
More illustration of how the placket in the front works (on dead people, sadly):
^^^With braces as well.
You see that the shirts can’t unbutton all the way–in the middle example, it’s clear that the shirt is open as far as it will go. Important to remember when writing scenes of men dressing and undressing: shirts go over the head.
Shirts were typically made of linen (not cotton), and generally the wealthier the wearer, the finer the fabric and the whiter the color. (Linen is not naturally white in color, it’s like a light tannish color, so it needs to be bleached to get a white color.) These shirts were the man’s underwear, and, like the ladies’ chemise, they would be the layer to sustain all the wear-and-tear, the sweat stains, the stank of everyday wearing. Like the chemise, they would need to be sent to the laundress pretty often, so a man would hopefully have the means to keep a number of them to cycle through. With the laundress, the shirts would be washed and bleached, and the collars could possibly be re-stiffened with starch.
Before talking about trousers, we need to touch on the possibility of underwear, or “small clothes,” as they’re sometimes called.
^^^A ca. 1810 example of “small clothes.” These have a simple drawstring waist and are made of linen (I believe).
Underwear meant to be worn beneath trousers or culottes definitely existed–there are surviving examples. Whether they were in widespread use is unclear. It seems to me that, as with ladies’ drawers, there are more surviving examples of underwear for the decades before our period of study, and especially underwear meant to go under culottes (knee-length breeches), like these:
The 1810 “small clothes” example is the only one I’ve found that appears to be designed specifically for use under long trousers. I mean, one can see why underwear would be, ahem, a good idea, especially considering how dreadfully tight these trousers could be. On the other hand, considering how dreadfully tight these trousers could be, the unfashionable pantyline you’d get from boxer-briefs like these is pretty sad to think about. I’ve heard that shirttails in this period were so long because they were meant to kinda tuck around your parts and act as underwear. Hm. On the other other hand, if you were wearing leather riding breeches, it would seem prudent to put something substantial between your bits and that chafing leather, yikes!
So, trousers. Typical trousers of this period have a distinctive cut, very different from modern trousers, but quite suitable for the needs of the overall outfit ca. 1830. Firstly, they have an extremely high waist, so that the waistcoat can solidly overlap them, so that you’ll never have that awkward moment when you “flash” polite company with a glimpse of your shirt. Secondly, these trousers are similar to waistcoats in that they have two fastening devices: a fly of some kind in the front (usually a buttoned fall front fly), and then a tightening device in the back, whether laces or a buckle. Thirdly, these trousers often have stirrups at the bottom of the leg, which go around the shoe and hold the trouser legs down. And fourthly, these trousers are almost always cut with a baggy seat, even if the legs are cut to be tight (though pantaloons are sometimes tight throughout).
Why the baggy butt? Hm. I always assumed it was to allow greater mobility, but it could serve a number of other purposes, from modesty (speaks for itself) to better fit (allows for the pants to be adjusted to fit a greater range of body shapes) to silhouette (extra fabric around the butt and hips gives more fashionable flare to the coat skirt on top of it). Maybe all of the above.
^^^I knew the 2012 musical movie of Les Mis was going to be a “Serious” adaptation when photos of these beauteously baggy pants came to light. Without baggy butt pants, your Les Mis is just, well, the stage musical:
No baggy seat here, no sir.
In general, the musical movie had lovely historically-accurate trousers for its men:
Ca. 1830 trousers came in several types, with three main variables to distinguish them: the material they’re made of, the cut of the leg (length, width, tightness), and the type of fly closure.
The material that trousers are made of depends on what they’re being used for. If the trousers are for riding, they’re usually made of leather, like this crazy green (!) pair:
Short breeches are often used for riding (they allow for greater range of motion in the knees, presumably), but as the above example shows, they could use full-length trousers also.
If trousers are just regular day dress trousers, they’re made of linen or cotton. If they’re evening dress pantaloons, they could be made of linen or some silk blend.
In Les Misérables, Victor Hugo writes lovingly about trousers made of a material called cuir de laine, which were apparently something of a byword for fashionable dress ca. 1830. When Joly is lamenting his estrangement from his mistress Musichetta, Bahorel’s advice involves these magical trousers: “‘My dear [said Bahorel], then you have to please her, be fashionable, make effects with your knees. Buy a good pair of cuir de laine trousers at Staub’s. They help.’” (Grantaire’s rejoinder–”‘How much?’”–reminds us of the enormous expense of being in fashion. The absurdity of using pants to heal one’s broken relationships is not lost on me, but apparently cuir de laine trousers were so awesomely-omg-incredible that they were worth the expense. ;)) But what is cuir de laine? At first glance, one might translate “wool-leather,” or maybe “lambskin.” The Fahnestock/MacAfee/Wilbour translation inexplicably translates “doeskin” in the above passage, but “double-milled cassimere” for the same phrase in a later passage. (I’ll give them the benefit of the doubt and assume by “doeskin,” they mean the fabric called doeskin, not the actual skin of a deer.) As it turns out, cuir de laine is indeed a woven fabric, not a leather: the 1831 supplement to the Dictionary of the Académie Française defines cuir de laine as “a woolen fabric, very heavy.” This woolen fabric, then, seems to be another fashionable choice for trousers, though most of the examples of long pants that survive today are made of linen, not wool. (Culottes, that is, breeches, are more commonly made of wool.) Staub’s, as implied in the Hugo quotation, was the premier tailor’s shop in Paris in this period, and was referenced as such by other writers of the time as well (notably Balzac). I’ll discuss tailors at more length in a later post (when I have more space to spare!).
As for color, trousers usually come either in black or, more commonly, in some light neutral color somewhere between white and tan. Because these pants are made of linen or cotton, an off-white, yellowish, or tan color could be the natural color of these fibers.
Nankeen was a popular fabric used for trousers, known for its yellowish color:
Nankeen gets its name from Nanking/Nanjing, the Chinese city that used to produce this fabric from a cotton with a natural yellow color. In later years, regular cotton was dyed to have this yellow color, and this also was known as nankeen. It was a fabric highly in demand in a period that valued light-colored trousers.
Besides cream or yellow or tan, sometimes you see pants represented in some other light tone, like a pale blue-gray:
(I’m never sure if fashion plates are colored that way to represent white pants, or if they really mean that pants came in a light blue-gray. I haven’t yet seen an extant example that was actually that color, though since fabric dyes can degrade over time, perhaps I shouldn’t expect to…?)
^^^A range of trouser colors on display in this 1830 image.
The cut of the trousers’ legs can vary quite a lot in this period. There are some that are cut wide, loose, and baggy from top to bottom. There are others cut as tight as modern leggings or skinny jeans. Some are tight in the legs and baggy in the seat, while others are tight throughout. Some have a straight, loose leg, while others have a leg that tapers down from a wide hip to a narrow ankle, while still others have the opposite (a leg tapering from a tighter hip to a wide ankle, like a modern boot cut or even bell-bottom). Some are cut with a rather high ankle hem (i.e., the trousers end above the ankle), while others are cut like a modern boot cut and practically touch the ground behind the heel. Some have stirrups and others do not. Some of this variation is year-to-year (as in, some cuts are more popular in 1825 than in 1835), but some is within the same year (as in, within 1830 alone, several different types of cut are possible).
^^^Child and adult versions don’t differ too much.
Besides regular day dress trousers, which most of the above examples illustrate, there were trousers better known as pantaloons, which were cut very tight and intended for evening/formal dress:
^^^Note the curvy cut of these, meant to hug the leg. Linen itself is not an especially stretchy material, so just as with medieval leggings, 19th-century pantaloons were cut to the shape of the leg and cut on the bias to give the fabric extra stretch. Also note the buttons along the ankle: absolutely necessary to fit tight-ass leggings over the foot (as many people today surely know well).
The fly on trousers is one of their most important features and another detail that varies from one pair to another. There are two families of fly in this period: fall front, and center. Fall front flys are far more common in the 1820s-early 1830s, with the center fly gaining ground from the later 1830s onwards. Fall front flys can be either wide…
…but both types obviously serve a practical purpose.
A wide fall is defined as a flap extending all the way to the side seams: in other words, across the entire front of the trousers. A narrow fall is a flap that only opens about 25-50% of the front and is constructed from a more complicated pattern. (Urg, the hardest thing ever to make a pattern for…)
The flap is held onto the pants by buttons, usually three across the top for a narrow fall and five for a wide fall, as seen in the above examples. The mystery is what lies beneath the flap (no, you dirty-minded people, I mean how the trousers are constructed beneath!). Let’s see the two above examples open:
Button heaven! Can you imagine being in a rush to take a piss? Or, even worse, being drunk out of your mind and being in a rush to take a piss?
You can see that there are 2-3 buttons assigned just to hold the waistband closed. The bottom-most button on the waistband doubles as the center button keeping the fall front fly closed. Then there are two buttons below the waistband, to keep closed the modesty panel beneath the fly. (Anyone who’s seen these things in action should remember that the fly does buckle up a bit when a guy sits, so a modesty panel is necessary to keep, um, impertinent ladies’ prying eyes out.) There are an additional 2-4 buttons on the sides to keep the rest of the fly closed, then even more buttons lined up above those, along the top hem of the waistband, which are where the braces are supposed to button onto the trousers. Whew!
The fall front fly had been around since before trousers had been around. The 1790s sans-culottes abandoned their culottes for trousers like these…
…but the fly remained the same as that found on culottes. (BTW, who doesn’t love sans-culottes trousers in cute patriotic tricolor stripes?)
Here are some interesting fly pictures:
^^^These two shots show the corner buttons of a wide fall fly, but also the line of buttons above it, where the braces would be buttoned on.
^^^Lots of buttons! To close the waistband, to close the fly, to attach the braces.
^^^Two shots of an earlier wide fall closure (ca. 1810). He even has some little secret pockets there under his fall! (So ladies, if you are offended one day to see a guy rudely groping around in his fall front fly, he may not be “adjusting himself,” he may just be looking for some change in his pocket.) He also has a tiny pocket in the waistband, which many of these examples seem to have.
^^^An extremely narrow fall front fly, just wide enough to take care of business. This is what the front looks like when closed:
^^^Two pictures of a center fly closed with buttons. The center fly of course eventually superseded the fall front fly to become the most popular style of fly. This particular example has so many buttons that it’s really no more efficient than the fall-front fly (and perhaps less efficient, if you’re one of those lazy guys who just whips it out of the fall front fly without bothering to unbutton too much).
Before we look at braces, I should say that most of what we look at in these posts is fashionable clothes. There is of course a simpler style of trousers that persists among working-class men from the time of the sans-culottes all the way up to the 20th century. It is essentially a basic set of trousers with a fall front fly, a straight, roomy leg, a baggy seat, and a little slit at the ankles for easier dressing:
There also remain plenty of examples of earlier styles coexisting with fashionable trousers. Culottes are still common among older or fashion-conservative people, and for certain social functions:
Braces are there to hold up the trousers. They are fastened to the top of the trousers by buttons (not clasps like modern-day suspenders) and they are meant to lie completely hidden beneath the waistcoat. Of course, that did not stop fashionable dudes from seeking out fancy decorative ones that no one (except their girl/boyfriend?) would ever see.
Let’s go back to this fellow:
You can see those decorative braces there over his shirt.
We saw plenty of buttons for braces on the front of trousers. Here’s what the back buttons look like (the middle triangle of fabric is the adjustable insert, where the pants would be tightened with a lace):
In this detail from Delacroix’s painting “Liberty Leading the People,” you can see the fall front fly of a soldier’s trousers (partially unbuttoned), and the braces buttoned to the top of the trousers:
On the other side of the painting, there’s this guy, a workingman:
At first I thought he was wearing an apron over his shirt/trousers (many workingmen wear these), but now I’m thinking he’s just wearing his trousers especially high. You can see his braces there, holding his trousers up.
Okay, so we’ve got an 1830 man in a shirt, trousers, and braces. He’s going to reach for a cravat next, then a waistcoat, and finally a coat. Now let’s suppose that our man has maybe a little bit of baby fat around the belly, or maybe doesn’t exactly have the most ripped pecs, or maybe he has skinny little legs that don’t cut a nice figure in skin-tight pantaloons. As Balzac once put it, in the 1830s “men still showed off their bodies, to the great despair of the thin or badly-built.” What’s a fashionable fellow to do to achieve an unrealistically curvy hourglass silhouette? Why, the same thing his girlfriend would do: he’ll corset what’s sticking out and he’ll pad what’s sunken in.
^^^A caricature showing a dandy. Note the strange corset bodice (it bears more resemblance to a female corset of the time than a male one). His coat sleeves are going to be so tight, he can’t even have shirt sleeves underneath, just a little false dickey and cuffs.
^^^Not only corseting, but also padding for sadly skinny hips, calves, and shoulders.
^^^Lampooning the “feminized” and highly corseted fashion popular with military officers of the period. The cartoonist seems to saying that this lancer is so gussied up that he looks like a pretty young lady!
^^^A typical shape for a male corset. It’s cut like a cummerbund, basically, and unlike a lady’s corset, it pretty much only concerns itself with squishing in the belly. It uses vertical strips of either boning or cording to shape the body, and it’s fastened in the back with loops and buttons. As the pictures above seem to indicate, it would have been worn over the shirt and under the waistcoat.
More male corsets:
^^^These pants seem to have a built-in corset function, with boning and laces sewn right into the pants.
Courfeyrac and other super-fashionable gentlemen would have been all over these man-corsets, but it’s not clear to what extent the average guy used them. I’m guessing the average guy back then wasn’t too different from the average guy now–he dressed up when he needed to (i.e., to get laid), and didn’t worry about it all the rest of the time.
So, to sum up:
Gorgeous pants make for gorgeous silhouettes. (And man-corsets don’t hurt either.)
When you see what fashionable guys have to look forward to ca. 1840, it makes ca. 1830 look mild by comparison:
I'm sewing a detailed replica of the Phantom's costume for a doll. I've good pics and descriptions of the cloak, tailcoat, shirt, and waistcoat, but I can't find much on the trousers. In most of the pics, the waistcoat obscures the top of the pants. Can you provide details? Like, are they high-waisted? Is there a notch at the center-back? Are there pleats or darts in front? Does he wear suspenders with them? Any and all info you can provide will be greatly appreciated!
Good evening! To answer your questions, yes the trousers are high-waisted. They do have a notch in the back, no pleats in front, and are worn with suspenders. Modern version of the trousers feature a double satin braid down the side of the leg, while older versions had velvet/velveteen material used for the double braid. Some photos for reference:
Peter Karrie’s stage-used trousers (note the velvet material, these are older style trousers):
….and I just realized I don’t have any shots of me without the waistcoat on. I also don’t have any waistcoat-less Phantom pictures in my POTO photo library. You asked like the most intriguing question ever, apparently! If you haven’t already, check @operafantomet‘s tumblr for references as well. You can catch a peek at the height of the trousers in this BroadwayCon blog, and you can see some more details on my replica trousers in this costume tour video:
If you need additional photos please let me know and I’ll be happy to take some of my replicas. It’s noteworthy that @enchantedseastudio had an authentic pair of stage used trousers to base the replicas off of.
2-piece claret satin brocaded with pink and cream roses, boned bodice with wide lapel, cream faux vest front and pink cummerbund, trained skirt having pleated front panel with ruffle and sawtooth hem over pink pleats, gathered back, train backed in pleated organdy with lace border, silk underskirt with pleated hem
Princess Diana’s Catherine Walker slubbed turquoise silk ensemble worn for a Royal tour of New Zealand, April 1983,
Dress with vertical pleats to front and back bodice, elbow length sleeves, gently gathered skirt; with matching long sleeved jacket
Princess Diana wore this ensemble on the 36th day of the Royal Tour of Australia and New Zealand, April 24, 1983. She visited the Te Poho-o-Rawiri Marae Meeting House, Gisborne, North Island, where she was given a traditional Hongi welcome by the local Maori dignitaries. Princess Diana was photographed wearing this ensemble rubbing noses (the traditional Maori greeting).