the kyoto costume institute

Jeweled heels

1925

These are Art Deco period heels referred to as “jeweled heels”. They are a sample from a time when heels were custom-ordered. With enamel manufacturing put to practical use on shoes since the end of the 18th century, and the implementation of Bakelite and similar resin treatments in 1909, the heels radiate a glossy shine. Moreover, they show the subtle workmanship of geometric designs, and limestone and metal bead application, At that time in Paris, couturier and artisans specializing in custom-order footwear created luxurious shoes. Craftsmen who signed their names on shoe designs, like Andre Perugia, also appeared. Then, in the 1920s, Western European women began exposing the leg below the knees for the first time. When compared to the existence of footwear up until that period, this becomes an important matter. Shoes which utilize functionality paired with small engraved designs and various historic moldings. Of these shoes, 1920s footwear that reflects art deco designs can be said to exhibit a special charm equal to a kind of objet d'art.

The Kyoto Costume Institute

Photo by Takashi Hatakeyama

Hi anon who asked about tech theatre books:

Here’s some I’ve used in class!

Props:

The Prop Building Guidebook by Eric Hart

Stage Management:

The Stage Management Handbook by Daniel Ionazzi

Costumes:

The Magic Garment by Rebecca Cunningham

Fashion Anthology from the Kyoto Costume Institute

Misc Tech:

Theatrical Design and Production by J Michael Gilette

Drawing and Rendering for Theatre by Clare Rowe

A History of Western Art by Laurie Adams

Play Directing by Hodge McLain

Script Analysis for Actors, Directors and Designer by James Thomas

Immersive Theatres by Josephine Machon

Theory:

The Empty Space by Peter Brook (every theatre person should read this)

Theatre/ Theory by Mark Fortier

Theatre/Theory/Theatre by Daniel Gerould

Theatre in Theory 1900-2000 by David Krasner

Basically any theatre history/art history books you can get your hands on will help. They will provide primary resources for historically accurate designs! The more you know the better! Sorry lighting designers, I dropped my lighting class so, I sold my book off!

And some how, I didn’t have a core book for my set design class? Idk??

6

More embroidered petticoats!

Remember that post with two embroidered petticoats? Well, I found some more and now I TOTALLY NEED ONE!

Images from top:

  1. “Macaroni” jacket and embroidered skirt, late 18th century, France.
  2. Jacket and embroidered green petticoat, Kyoto Costume Institute.
  3. Silk & metallic thread embroidery and bobbin lace on silk petticoat, ca. 1760, Portugal, LACMA.
  4. Linen petticoat with wool embroidery, mid 18th century, New England, The Museum of Fine Arts Boston.
  5. Cotton petticoat with silver embroidery, late 18th century, New Spain (Mexico), National Museum of History.
  6. Linen petticoat with wool embroidery, mid 18th century, America, The Museum of Fine Arts Boston.
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I know I am kind of late, but now that Prince is gone (WTF 2016?! FIRST BOWIE! THEN RICKMAN! NOW PRINCE! JUST STOP ALREADY!!) let’s remember that one of his principal fashion influences was the 18th century menswear. And what a way to wear it: it was the 80s and 90s, the cravats were acceptable and the purple suits were a must for this gorgeous macaroni prince. So, let’s take a look at 18th century purple menswear from Prince to Hamilton, from brocades to velvets.

Photos from top:

  1. Prince performs at the Forum in Inglewood, California on February 18th 1985.
  2. Coat, waistcoat and breeches, mid 18th century, Kyoto Costume Institute.
  3. Formal suit in purple silk, 1770-1780, Museum of Fine Arts Boston.
  4. Court dress coat, 1785-1790, England, Victoria & Albert Museum.
  5. Daveed Diggs as Thomas Jefferson in Hamilton, costume design by Paul Tazewell.
  6. Purple and black brocade suit, French, 1780-90, Met Museum.
  7. Miniature of Charles-Claude de Flahaut, ca. 1779, Jean-Baptiste Weyler, Victoria & Albert Museum.
  8. Embroidered panels for a man’s suit, French, 1780s, Met Museum.
  9. Still from Marie Antoinette (2006), costume design by Milena Canonero.

At-home gown - Brand Iida Takashimaya - Label S.Iida, “Takashimaya” silks & embroideries. Kyoto - c. 1906

Source : Kyoto Costume Institute ; “kimono-style indoor garment exported from Japan to Western countries. Iida Takashimaya, the predecessor of the present Takashimaya department store, was a major kimono retailer in the Meiji era, and aggressively engaged in foreign trade business as early as the end of the 19th century. In the late 19th century a Japan boom spread in the Western countries, partly through world expositions held in various places. Westerners favored Japanese kimonos, sometimes remaking it as into fashionable dresses. In the 1880s, women in the West started to wear kimonos as indoor wear, which was less subject to social constraints, and kimonos became widely popular in Western countries up until the early 20th century. The Japanese word "kimono” is said to have first been used in France in 1876. Now in America and Europe it is generally used to indicate a loose robe worn indoors.“

1838 American dress from the Kyoto Costume Institute. This sort of dress design strongly reflects the beauty and femininity idealized by the romanticism that was at its peak in the 1830s. Romantic artists perceived beauty and femininity in delicate female figures with pale skin and an air of melancholy. Their art tended to be idealistic, drawn to the mysterious, including figures with no physical reality, such as fairies and angels.