reading in skirts

for a minute, let me talk about the several reasons why no matter how many months have passed since this day, i still cannot stop staring at this certain candid: 

  • namjoon’s skirt i hate how nobody appreciated this enough
  • look at how ironed namjoon’s clothes are [i wonder who pressed them]
  • those pants fit him so pleasingly i find myself staring again and again
  • how namjoon glows in the sunlight
  • namjoon’s skirt !! the ‘in bloom’ shirt concept for 화양연화 promotional activities, it’s a massive bag of yes from me
  • that hair color on yoongi a smol strawberry cupcake i’m not okay at all
  • that soft smile on his face
  • the fact that yoongi is actually dressed in the clothes that namjoon described his ‘ideal type’ to be wearing: “t-shirt, jeans and red converse highs, that’s it”
  • does anybody want to speak about how good that flannel looks on him
  • and yoongi looks so smol, almost like he’s under boyfriend! namjoon’s protection
  • matching couple clothes
  • the rude amount of boyfriend material in this picture 
  • they might as well just be holding hands
  • also have we spoken about namjoon’s skirt !!!!
  • this candid alone is fanfic/drabble worthy
  • god save me
  • SUGAMON/NAMGI RISE

I just met Mark Gatiss and I showed him my Sherlock tattoo and he touched his heart and awwwed and shoot my hand and his hand was warm and firm and then he tried to read my skirt to figure out which Sherlock Holmes story it was from and he couldn’t figure it out but he said it’s “definitely from the Adventures of” and then I asked him who his favorite character to write is and he said “Sherlock, of course” and I said “of course, he’s your brother” and he said “of course, he’s my brother!” But loud and snippy like Mycroft and it gave me life

(hera)
she waits for her husband
she loves him, probably more than anyone else ever did
definitely more than the boy under his fingers
or the girl in his sheets
she waits because she has to
a lonely soul will break alone
a kaleidoscope of broken shards
she paints her nails pink and pretends she doesn’t care

(aphrodite)
she wears short dresses and shows
dark skin, round cheeks, thick thighs
people call her fat and unhealthy
but she laughs at their ignorance
and puts pearls in her ears
the mirror calls her beautiful
the magazine covers don’t

(artemis)
she wears black combat boots
bright red ilps over clenched teeth
her mother always told her that real girls wear skirts and dresses
instead of skinny jeans and military jackets
real girls keep their heads bowed and their tongues locked
real girls don’t bite and claw their way out
real girls don’t need to

(athena)
she’s no one’s first choice
not in school, not at home
her arms are heavy from the books she
keeps neatly tugged under her arm
eyes hidden behind thick reading glasses
short skirts and long woollen jumpers
they always take from her
but never give

- modern myths | r.m

9

It’s time again for FRIDAY FASHION FACT, and today features another designer bio! We’re talking about the self-proclaimed “King of Fashion” himself, Paul Poiret. Always ahead of his time, Poiret is remembered for his innovative, exotic, and often shocking designs.

Paul Poiret was born on April 20, 1879 in Paris. His father was a cloth merchant, and his family had very little money. From the time he was a small child, Poiret was obsessed with clothing. When he was just a child, Poiret was sent to work as an apprentice to an umbrella maker, where he would gather scraps to make clothing for his little wooden doll. By the time he was a teenager, Poiret was actively trying to break into the fashion industry. He went around the city peddling his sketches, eventually selling 12 to the prominent Parisian dressmaker Madeleine Chéruit.

Poiret continued selling sketches until, in 1896, he was hired by Jacques Doucet. Working his way through the ranks at Doucet, he was ultimately promoted to head tailor. The first Poiret design produced by Doucet, a red wool cloak, sold over 400 orders- an extremely impressive number for the time. Poiret was forced to leave Doucet to complete mandatory military service. When he completed service in 1901, Poiret was hired by House of Worth. He did not last there long, though. Poiret was tasked with creating simplistic pieces, deemed the “side dish” to the opulent designs the House was known for. Unfortunately, some of his designs were seen as too plain by some of Worth’s royal clientele, who where horrified by their starkness.

This extreme reaction did not deter Poiret. In fact, it spurred him to create his own design house. As soon as Poiret began creating designs for his own name in 1903, he broke convention. Poiret believed in the body shaping the clothes, rather than the reverse. He did away with petticoats, and in 1906, he rejected the corset, as well. Though he was not the only designer at the time to do so, his outlandish designs made him the most prominent. He used the theatre as his main platform, because by dressing actresses, Poiret could get away with creating more artistic or exotic styles. He credited a mantle that he made for the actress Réjane in the play Zaza as the piece which launched him into stardom.

Paul Poiret drew inspiration from across the globe. He is well known for dresses modeled after exotic costumes worn in the Russian ballet, kimono inspired robes and coats, and harem pants and lampshade tunics drawn from fashions worn in what is now Turkey. His goal was to “liberate” women from Western fashion, though with creations such as the hobble skirt, who can say how liberating his designs actually were. Beyond being an innovator in terms of style, Poiret was an innovator in terms of branding. In 1911, Poiret launched the École Martine, an interior design division of his fashion House. He was also the first French designer to create a fragrance line, Parfums de Rosine, launched that same year (London designer Lucile released a perfume line a few years earlier.)

Each of these lines were named after one of Poiret’s two daughters. His wife Denise, who Poiret married in 1905, served as his muse. Poiret stated that “My wife is the inspiration for all my creations; she is the expression of all my ideals.” It did not last, though, and the marriage ended in a messy divorce in 1928. Unfortunately, this was just a contributing factor to the downfall Paul Poiret faced in his later years. He was drafted back into the military during World War I, but when he returned in 1919, he was greeted by a company on the edge of bankruptcy. Designers like Chanel took over with their sleek and impeccably constructed fashions, while Poiret’s designs were intended to be impactful from afar. His designs were not as unique as they once were, as several designers built upon his creations. Also, the rise of the flapper meant that women no longer were in need of his “liberating” styles.

Ultimately, Poiret was unable to regain his popularity. He fell into debt, and had to leave the company he created. The House closed in 1929. He was forced to spend the remainder of his life working odd jobs, even resorting to being a street artist. He died in ruin in 1944, nearly completely forgotten. It was only thanks to his close friend Elsa Schiaparelli that saved him and his name from oblivion- she even paid for his funeral. Despite the sad end to his life, Paul Poiret remains one of the most iconic and influential designers of all time.

Want to learn more about Paul Poiret? Check out these book:

King of Fashion: The Autobiography of Paul Poiret, by Paul Poiret

Poiret, by Harold Koda

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!

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Heinz doesn’t really wear clothing that’s considered more feminine. Left over from his childhood, I think. Thanks for the ask. -P

some capricorns: me, @xxsoadeathsoldierxx , and @strawberry-jambouree !! fun fact: u dont have to draw hands if u draw hooves instead

10

TGIFRIDAY FASHION FACT! Several of you have asked me to talk about the history of hobble skirts. It’s not surprising, since it is such a controversial garment, even shocking to a modern eye. It seems to embody the restrictions and oppression women throughout history had to endure. The name itself flat-out states that it is a garment which hinders movement. So how did this binding style become fashionable?

To start with, what exactly is a hobble skirt? It’s pretty self explanatory. It is a skirt that narrows at the bottom, forcing the wearer to take small steps. There were several different types of hobble skirts. A stereotypical hobble skirt was cinched in at the knees or ankles. Other styles tapered in towards the hem. Yet they were not always quite as restrictive as they appeared. Some styles had hidden pleats or a cross-over design that allowed for greater range of movement.

It is believed that the first true hobble skirt was created by Paul Poiret in 1908 (read his bio here). The rumor is that he was inspired by Edith Berg, who tied rope around the knee of her skirt to prevent it from flying up when she joined Wilbur Wright aboard his plane to become the second woman in history to take flight. However, the tapered style of hobble skirt likely stemmed from a case of miscommunication.

Bodices and skirts at the time were becoming more form-fitting, as the exaggerated proportions of the early Edwardian Age fell aside. The narrow styles were depicted in Parisian fashion plates and sent across the ocean for American dressmakers to replicate. It was not uncommon for fashion plates to be slightly exaggerated in order to emphasize the desired silhouette. As a result, Americans interpreted the look as much more restrictive than it was intended to be. However the look came about, it quickly caught on. 

The key thing you should realize about hobble skirts is that they, like many modern women’s fashions, may not have been the oppressive garments they initially appear to be. Compare them to stilettos or make-up. Many people see these things as demeaning or even dehumanizing fashions inflicted by the patriarchy. Yet many women find them to be empowering. The interpretation ultimately lies with the wearer. This dichotomy also applied to the hobble skirt.

The hobble skirt reached peak popularity in the early 1910s, coinciding with women increasingly entering the workforce, as well as gaining social and financial independence, both main rallying points of the suffragette movement which was in full swing at the time. Of course, women were not about to wear hobble skirts to the workplace. They were reserved for more formal occasions, or situations intended to flaunt high fashion. Yet many women felt that shedding their large petticoats in favor of a style that emphasized their curves was a sign of empowerment. It didn’t matter that they had to measure their steps, the scandalous style commanded attention. Some critics of the fashion saw it as vulgar, while others thought the restrictiveness dangerous. Some proponents took the opposite view and thought that the limitation of movement would stop women from becoming too wild. It was certainly a subject of dispute.

Practical or not, refined or salacious, there is no doubt that the controversial hobble skirt was incredibly popular. It became so prevalent, in fact, that public transportation cars were even modified to be closer to the ground so that women would not have to take to large a step to climb on. It was only when World War I struck, and practicality became priority in dress, that the hobble skirt fell out of fashion. It has not completely disappeared, though. Just look at the classic pencil skirt, and you will realize that the descendant of the hobble skirt is alive and well today.

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!