Sunday, August 5, 2012
Saturday, August 4, 2012
Like any other period in history, fashion had changed throughout the decade and ancient Greek clothing for women was no different. Common clothing was green, grey and violet. The Himatian was a woolen cloak-like garment that became popular around the 5th century B.C.E and measured around 10 to 12 feet in length. It was originally an outdoor garment, but as the fabric became lighter through the century, it became more comfortable to wear indoors and around city. Another piece of ancient Greek clothing for women was the Peplos which was a loose fitting garment that hung in folds around the upper body, usually in the form of a shawl. They were tied together at the shoulders and further holstered in place with a girdle. Arms were left were bare. Chitons were tunics that were often made of linen and worn by all genders; the only difference was men’s chiton hung around the knees while the women’s chiton hung to the ankles. Like the peplos, the chiton could be open at the right side of the body, but could be closed as well. Amazonian women would wear this garment low with their right breast exposed so as not to interfere with sword practice. Clothing is often a symbol of wear a woman stands in society and although women faced discrimination many Greek women enjoyed certain freedoms that would be alien to women in the later centuries.
Clothing during this period was very comfortable for women and not hard or cumbersome to wear in the coming millennia. These were the basic garments that women wore all around Greece, but in some areas women would wear light veils when going to the markets or special events. Women also wore black veils over their heads during periods of mourning, an ancient Greek custom. Garments similar to the Himation and Peplos would later be seen in post revolutionary France as a way of discarding the traditional, restricting, womanly garments in favor something practical and simplistic yet elegant and sophisticated. French revolutionaries also sought to trace their idealism and rationality back to ancient Greece which explains why ancient fashions were so popular during the late 1700s and early 1800s. Overall, ancient Greek clothing for women was clothing that loose, easy to slip on and comfortable throughout the day.
Farthingales are hoopskirts that were fitted underneath dresses to give gowns proper definition and structure in the 15th and 16th centuries. Farthingales are the beginning of what would later become bustles and crinoline from the Victorian era. These skirt contraptions were originally a Spanish design, but was transferred to England when Catherine Aragon of Spain married Prince Arthur, son of King Henry VII of England. Royal figures were the trendsetters when it came to European fashion. Farthingales were often made of wood or wicker with the earlier versions being made of whalebone around 1580. Farthingales provided a cone shaped appearance allowing women to drape their skirts over the structure, giving women a near perfect form. Women of France and England would wear double skirting over the farthingale to reveal contrasting colors.
The French court produced the wheel Farthingale which was wide and circular around the hoop which allowed the dress to drape over in a circular pattern. This style was transported to England in the late 1570s and the great Farthingale would derive from the wheel farthingale and Queen Elizabeth I can be seen wearing the wheel style in various portraits. The great farthingale was odd in the respect that it hung low in the front while high in the back. The low cut line elongated the waist while shortening the legs in the front. The great farthingale had not survived in history, but Queen Elizabeth I can be seen wearing a style similar to the great farthingale in the 1590s. This style was popular by the late 1500s and became fashionable until the early 17th century and by this time the farthingales had become mostly restricted to court life. By the mid 1600s, however, farthingales fell out of fashion entirely.
Harlem renaissance fashion was about celebrating life within the African American community. The Harlem Renaissance in general was a celebration of art, poetry and black culture. Harlem renaissance fashion took place during the 1930s at a time when many Americans were cutting back due to the depression which also lends to the uniqueness and monumental feat of the Harlem Renaissance period.
Harlem Renaissance Fashion for Men:
Suits during this period were about color and flashiness. These suits were often made of wool. Suits very much depended on the individual and came in many forms including the popular flare pants suit that was worn by mainstream society. Some coat tails of jackets were usually longer with the front end cut around the waist, similar to the tuxedo. The signature suit of the 1930s for men in the African American men was the zoot suit. Zoot suits were often baggy and were often accessorized with a matching hat, sometimes plumed with a feather. Zoot suits were often frowned upon by mainstream society since many Americans at that time were cutting back on materials and this type of attitude would extend into the next decade during the war effort. Despite this, African American men during this period should be commended for choosing to express their individuality when fashion in general had been toned down in uncertain, economic times.
Harlem Renaissance Fashion For Women:
Harlem Renaissance fashion for women was about loose fitting gowns and dresses that were suitable for dancing and party going. Dresses came without sleeves and the shoulders were bare; this was about being comfortable while out and about around town. Shoulder strap dresses were worn in public that spread far apart, revealing the upper back, neckline and collarbone. Many dresses resembled flapper dresses of the 1920s which was suitable for the lively atmosphere that came with the Harlem renaissance. Beads and rhinestones were popular accessories. Chiffon along with silk was popular garments which complemented dresses and gowns. Heeled shoes were popular as well, often open toed which was also in vogue in mainstream society as well.
Harlem renaissance fashion for both genders was about unshackling the bonds of oppression and celebrating life and literature and this type of attitude extended to fashion. African Americans had not had a chance to make large contributions to American fashion until the Harlem Renaissance period which gave them a chance to make unique contributions to the American fashion scene that would extend to later decades.
Feather fashion has reached back far in history across many cultures around the world. Feather fashion includes plumed hats and usually includes such avian feathers as ostrich or peacock. Women adorned their hats with feathers throughout the 17th, 19th and 20th centuries. Women of the early modern era were known for extensively decorating the hats all sorts of items including feathers. Feather fashion was not as popular during the Victorian era since women mostly wore bonnets during the early era, but could sometimes be trimmed with feathery trimmings. Edwardian women of the early twentieth century wore wide brimmed hats which could be decorated with feathers. During the 1920s, women wore turban-like head garments which could be decorated with peacock feathers.
Feather fashion can give any garment a fashionable edge. Feathers were usually reserved for the wealthy who had the means to purchase exotic feathers from across the world to further accentuate their clothing. Feather fashion was meant to exude a certain grandiose sense of style denoting wealth, royalty and pomp, but was also for individuality and expression of the self. Various designers use feather fashion in their clothing lines and can be seen across runway shows around the world. Feathers can be dyed in just about any color which can make a person stand out in a crowd and get noticed. Feather fashion also allows for people to get creative e not only in what headpiece they wore, but with various dresses that can be tailored according to a designer’s imagination.
Even the Nazis had their own sense of fashion when it came to denoting rank and exuding a sense of authority and SS uniforms were no different. Heinrich Himmler, leader of the SS, stated that the black uniforms were meant to show fear, respect and command. SS uniforms drew back on the white, red and black ensemble since those colors were popular during the Germanic, imperial days. Prussian cavalry and elite guardsmen wore the famous skull and bones insignia and black uniforms that the Nazis would later adopt. Black also came to symbolize fascism since Benito Mussolini’s top enforcers were known as the black shirts before Hitler’s regime came to power.
The SS began as part of the Nazi storm troopers, or brown shirts, during the 1920s. They were solely loyal to Hitler and were the main enforcers for displacing Jews and sending them to death camps. SS uniforms started out as brown, but by 1932, SS uniforms were changed to black. A German factory that would later become Hugo Boss produced SS uniforms with forced labor. The black SS uniforms became mostly for the political wing of the SS while the military wing wore clothing that was more suitable for warfare. The new SS ensemble included, black breeches, knee-high boots and red armbands with the Nazi insignia. They also wore stylish, peaked caps and a black greatcoat issued to SS members for cold weather. Brown shirts were retained as a nod to the brown shirts. The reason many young men wanted to join the Nazi army was because of the stylish uniforms that commanded respect, fear and authority. Some high ranking officers even received motorcycles as reward for their ranks.
SS uniforms appealed to young, German men who not only wanted to serve the state, but also wanted to look stylish as well. However, it was not easy to get into the SS, especially since its inception. Those who wanted to join had to prove their German ancestry going back to 1750 and had to prove there was no Jewish ancestry in their family backgrounds; however, the rules became more lax since many members found it difficult to prove their ancestry so extensively. SS members had to look the physical part in order to blend well with the SS uniforms; blond hair and blue eyes were preferred, but young men who were generally fit were also encouraged to join.
Among scholars, there is some debate regarding ancient Egyptian fashion as to whether or not women were bare breasted when wearing a simple sheath dress. These garments were rectangular in nature, folded once and sewn down the edges that formed a tube. These sheath dresses would run down to the ankles and either below or above the breast area. This type of dress was worn through the Old, Middle and New Kingdoms. There is also some debate as to the function of the shoulder straps, some believe the snugness of the sheath dress was enough to hold the garment in place; others believed the shoulder straps were wide enough to cover the breasts. Ancient Egyptian fashion was not so kind when it came to female slaves who wore simple loin cloths. Children were usually wire wrapped cloths during winter. Materials were mostly linen or wool. Shoes were in the form of sandals that were either held together by another strip of leather or papyrus. Full shoes would not appear until the New Kingdom when other cultures would come to influence Egypt. Jewelry was often large and gaudy, usually made of carnelian or lapis. The rich loved wigs. Being without a wig meant you could not afford one. The most expensive wigs were made of real human hair with others being made of wool. They were twisted, braided and adorned with all sorts of jewels. Ox tallow and scented beeswax were great for not only scenting wigs, but made great perfume as well.
By the New Kingdom, both men and women could wear a two piece robe made of rectangular cloths of four by feet. These two pieces would be sewn together at the narrow ends to leave space for the neck. Women would bunch together the bottom, bring them to the front and tie them under the breasts. This garment would be the basic outline of Ancient Egyptian fashion and could be further adorned with other things like vertical pleats which were popular at the time. Shawls were also popular during the New Kingdom. Shawls were made of pleated material. Pleated capes and sashes were often tied around the front waist area and hung just above the floor. Shawls, capes and sashes were usually reserved for the upper classes. Kohl was used as eyeliner to protect the eyes from the sun with women using red ochre to color the lips and cheeks.
900-1000
Medieval clothing for women of the early period still had trace elements of ancient Greek and Roman fashion. In this century there was still celebration of the female form. Tight fitting garments known as kirtles were worn down to the ankles. Shirts were worn over the tunics and when in public, women would drape shorter kirtle over the longer one. Tunics were also worn without sleeves. Clothing reached high up to the neck. Veils were worn which draped over the front and back of the head which covered the neck. Noblewomen wore an extra cloak draped over the normal tunic ensemble which was usually lined with ermine.
1000-1100
Medieval clothing for women in 11th century still retained most of the elements of garments from the previous centuries including two layered tunics. The outer tunic was usually white in color and the longer tunics were usually a different color to make nice mismatch ensemble. The longer tunic was worn under the shorter one with a girdle holding both tunics in place above the waist. Sleeves were tight and reached to the wrists and were often pleated with various folds. Decorative bands encircling the end of the wrists and lower end of the dress and neckline. Veils were longer than the previous century, usually reaching down to the ankles.
1100-1200
Medieval clothing for women in the 12th century is the beginning stages of what would become fashionable in the renaissance period of later centuries. Head pieces now consisted of linen caps that could be decorated and furnished in all sorts of ways and veil-like garments called lappets would often drape over the head or around the neck. Women also wore bands that would tie under the chain and properly frame the face. Robes become popular around this period, but not the robes we think of today; these medieval robes were loose fitting and clung beautifully to the female form. They would be held in place with buckles and decorative bands. Cloaks were also popular for women. Surcoats were often worn around the upper portion of the body for women and could be draped around the shoulders and head, almost forming a cape except more closely fitted. Later in the century surcoats would be worn with no sleeves. Pointed shoes became popular around this time with proper binding that would retain the shape of the foot.
1200-1300
Medieval clothing for women of the 13th century had now reached luxurious heights. The so called dark phase of the medieval period was beginning to see a glimmer of light. Robes became gowns and were usually buttoned in the front and tight fitting around the sleeves with slits for breathing room. Shoes were still pointed. Gold, pearls and gemstones became part of a woman’s ensemble with pointed caps and curly locks being in vogue. Women wore belts made of gold and adorned with precious stones. Women plaited their hair in long form, almost like a rope and would be adorned with sorts of jewels. Think of princess Rapunzel and you’ll have a good idea of what this century of fashion was like.
1300-1400
Medieval clothing for women of the 14the century had now reached the renaissance phase and became more elaborate and complicated. Surcoats became longer often reaching below the waist and to the ground in the form of a cape. Overcoats became fashionable but were open which revealed the layering of under clothes which blended harmoniously with a woman’s ensemble. Hats were wired and adorned with pearls and other jewels. Silk nets were made to keep the hair in place. Harkening back to the old Roman Empire, women began to wear wigs or added layering to their normal hair with horse hair. These headpieces and nets do wonders when it came to concealing artificial hair. The beginning of the corset was also in fashion during this period which was used on both the front and back portions of the body. Busks were made of steel held the corset in place and was made of silk for the summer and fur during the winter. They were not as restrictive in later centuries and would come to hold the bust in place. This period was the beginning of women facing restrictive devices such as busks and corsets to keep the ideal female form.
1400-1500
Medieval clothing for women of the 15th century saw massive departures from previous centuries. Catherine De Medici, queen consort to Henry II of France would play a large role is shaping European fashion during this time. Sleeves were now widened, embroidered and hung loose. Clothing became tightened for women around the waist with more cushioning around the hips and this was done with whalebone and steel. Farthingales would also become fashionable which were skirt skeletal frames often made of whalebone that would come to give definition to a woman’s skirt. Women’s dresses had shorter trains. Necklines were low to display necklaces. Women would see the introduction of the bonnet to hold in place large layered rolls of headdresses and the conical bonnet would hold them in place. This bonnet was unlike that Victorian bonnet that would cover the sides of the face, but a high vertical bonnet that could also be adorned with veils and jewels. It was clothing of this period that would come to define later centuries on the European fashion scene.
Russian nihilism of the 19th century was both a philosophy and a lifestyle. Nihilism itself has to do with destruction of the old ways to craft a new identity and new way of living. Nihilism is more of a philosophy than a political stance in the world of politics. Russian in the late 19th century underwent drastic changes due to the shift from agricultural and rural to an industrial society. Czar Alexander II was the czar who wanted Russia to finally join the west when it came to the industrial revolution, but it would prove to be a hard process since Imperial Russia had was based on orthodoxy and widespread censorship. Czar Alexander II tried to institute reform with the Serf Emancipation Act of 1861, but the changes were little and peasants were still tied to the land and were in dept to land owners. This type of frustration and lack of meaningful reform frustrated many Russians including disillusioned young people who wanted a change in their government to model western democracies. Many disenfranchised young people in the Russian nihilism scene rebelled in the form of fashion and dress. Women Russian nihilists were referred to as nigilistka. Within nigilistka circles, the frilly lace and muslin was discarded in favor of dark, wooly dresses that fell straight and loose with only white collars cuffs forming the only embellishments. Hair was only worn straight or cut short and a primary accessory was dark glasses. These women not only rejected the bourgeois style of dress, but the sexual attraction that came with sporting the frilly garments of old.
Leisure suits, platform shoes and boots, bell bottoms and wide collared shirts would come to define 1970s disco fashion. Leisure suits were made of polyester and came in a wide variety of colors. The famous white leisure suit worn by John Travolta in the move Saturday Night Fever became a famous suit worn by men. Matching belts and shoes would be matched with leisure suits of any color. Afros were also popular in the 1970s disco fashion scene and came to be sported by all ethnicities. Necklaces and rings were adorned by men with the complementary buttoned down shirt for flair and sex appeal. This was at a time when black, male sexuality was making quite a dent in the seventies thanks to the civil rights movement of the previous decade.
Women made their own imprint in the 1970s disco fashion scene with peasant tops, which were loose fitting tops that came in a variety of designs and colors. Platform shoes and bellbottom jeans were worn by both genders, but especially women. Platform wedge shoes were worn by both genders. Roller discos were also popular where women could be seen in rainbow knee high socks and short skirts or daisy dukes and the men could be seen sporting the full disco ensemble. Disco itself was about enjoying life and partying throughout the decade. Because of the civil right movement and the Vietnam War, many people needed a social outlet and disco was just that form of expression and relief from social turmoil.
Ancient Greek clothing for men came in two different overall styles. Kilts were worn by men along with knee length tunics, but both men and young boys could wear thigh high tunics. Loin cloths worked well for those who worked out in the hot sun. Slaves only wore short skirts. In the winter, for those fortunate enough to afford it, men would wear winterized cloaks or himation usually with one shoulder bare. Large brooches were used to hold cloaks and tunics in place. Both men and women wore chiton, tunic-like robes that were more elaborate; the only difference was that men wore chitons around the knees while women sport theirs to the ankles. Around 500 BCE, hair for men was short and the beard was neatly trimmed, but by 350 BCE men wore short hair with no facial hair. Men wore leather wrapped sandals with thinner straps used to bind the leather together.
Ancient Roman hairstyles for women symbolized the political structure of Rome as well. During the days of the republic ancient roman hairstyles were more simplistic while the imperial years saw more elaborate and plush hair structuring. The days of the republic days saw a time when women either braided or curled their hair. Hair was long, often parted down the middle. The Romans also used iron curling to either straighten or curl the hair. Curling was done so by using a hollow cylinder with a smaller solid cylinder being inserted into the hollow one. Women would place their locks in the smaller, solid one and insert into the larger one. The outer cylinder was heated that made the hair easy to curl or straighten. Damaged hair was common during this period and would later see the use of wild and lively wigs of the Imperial days. During the republic, however, long hair was the ideal and usually pinned to the head with hair pins.
The later republic years was a time when war with Carthage was taking place; therefore, the senate passed laws that did not allow the over adornment of dress especially ancient roman hairstyles. This was meant to display solidarity to soldiers who were fighting on the fields. Hair during this period was only braided and done in a simple bun style to placate the will of the senate. As Romans began to see the rewards of their conquering and warfare abroad, many citizens desired a more showy display of their status with fancy diadems (crowns) and combs being seen in women’s hair.
Ancient Greek hairstyles for women began with color. Many ancient, Greek women had dark hair so this proved problematic since Helen of Troy and Aphrodite, the goddess of love, both sported blonde hair. These legendary and mythical figures came to inspire the type of hair that many Greek women idealized. This was no different than other periods in history when women throughout history had come to imitate female figureheads and celebrities through fashion and hairstyle. Greek women sought to imitate the blonde likeness of Helen of Troy and Aphrodite by soaking their hair in vinegar and sitting in the sun until it turned light or in some cases using urine because of the bleaching compound of ammonia. Certain tribes in Africa have also used urine to color their hair going back thousands of years. Greek women would also wash their hair in normal water mixed in with olive oil as a conditioner to give the hair more texture and a soft sheen.
Ancient Greek hairstyles for women also determined who you were in Greek society. Short, cropped hair usually meant you were a slave with free working women or servants wearing longer hair that was tied back so as not to get in their way while working. Greek noble women would also wear their hair long, but only servants and their husbands would see their hair let down and this custom would reach all the way into the renaissance period. Greek girls would usually be the only ones to wear their hair in long streams down the back. Sometimes free working women would wear the same hair styles as noble women for special occasions.
Upper class women often curled their hair or wore the chignon style that had become so popular in recent decades. Chingons when it came to ancient Greek hairstyles for women hung low and sported on the back of the head and usually curled long or hung in tendrils that fell below the ears. Such a style could be seen during most of the Victorian era when women were fascinated by the neo-Greek revival of hairstyling. Greek buns were also popular in the ancient world so were braids which required longer hair. With longer hair came hair accessories such as diadems (crowns) which were usually made of rare metals and trimmed with jewels. These thin head pieces held back the hair throughout the day. Other hair accessories were made of ceramic, bone, wood or metal hair pins or combs that came to decorate ancient Greek hairstyles for women, almost similar to the way women adorned their hair in 18th century Europe. Ancient Greek hairstyles for women also depended on the occasion; if it was day a woman might only use a simple comb and hair pin to hold hair in place while more formal occasions warranted the fancy crowns and fancy ornaments to accentuate the hair.
Death rock evolved in the late seventies on the west coast of America while goth itself developed out of Britain. Though both movements have evolved separately, bands from each side have borrowed and come to influence each other. Death rock evolved alongside punk and came to be seen as a darker version of the punk movement. Death rock artists for the most part have take inspiration from old horror movies, camp and spooky aesthetics.
Bands like 45 Grave are known for their tongue in cheek and horror themes in their music and stage performances. Other themes include religious references, cabaret and other theatrical themes that have come to define death rock over the decades. Death rock bands, however, have displayed dark emotion and bands like Christian Death were the ones who came to give death rock its own definitive sound. When Rozz Williams was in Christian Death in the early eighties, the album Only Theatre of Pain of 1981 is a deathrock classic. It was Christian Death who shifted the death rock scene into a more dark emotional, cabaret style instead of the horror punk elements in other bands.
Musicians and fans within the death rock scene sported theatrical makeup and throwback punk elements when it came to fashion. Mowhaks were popular and in the death rock scene they became deathawks which were had its own distinct style from the traditional Mohawk of the punk movements. For more on the death hawk, look it up on the article directory. Death rock fashion came mix elements from both goth and punk and merged it into one unique style independent of both goth and punk.
Goth history starts in the early eighties out of what was then known as post punk. By the late seventies and early eighties, punk itself began fade from popularity so many bands associated with the punk genre began experimenting in different areas. Bands such as the Virgin Prunes, Bauhaus and Specimen came to define the British scene while U.S. bands like Christian Death, Kommunity FK and the Super Heroines would define the American Goth scene, otherwise called deathrock. Death rock would retain more of a punk sound while the British would have more of an experimental tinge to their music. It was within this post-punk experimental phase that goth itself began to take on a distinct definition in gothic history. However, many bands that were considered goth rejected the goth label so as not to be boxed in a certain category along with retaining the punk notion of rejecting labels in any form.
Regarding fashion, establishments such as the batcave in London was a mecca when it came flaunting the weirdest in goth clothing hearing the latest goth bands. Goth fashion during this period still retained classic punk punk elements: dark makeup, puffed up hair and Mohawks; the difference now being more outlandish and theatrical when it came to the goth scene. Singer Andi Sex Gang from the Sex Gang Children wore pale makeup and dark clothing on stage and so did his legion of fans. Virgin Prunes were an act unto themselves and wore dark and weird theatrical makeup in the late seventies before goth history began. Singer Dave Vanian from The Damned dressed as a vampire and was known for his crooner style singing which also helped shaped the goth scene.
The second wave of goth bands included Fields of the Nephilim, Sisters of Mercy and Alien Sex Fiend which took on a more rock/alternative sound instead of the early influence of punk in the first wave. Goth history evolved in the later nineties and deathrock and traditional goth rock had to now co exist with EBM and industrial elements that became mixed in with goth music. Throughout the decades, goth has broken off in many forms: cyber, neoclassical, darkwave, ethereal etc. and each subgenre within goth has its own distinct fashion sense.
Trench coat history began in the early years of World War One when greatcoats, coats traditionally used by soldiers throughout 19th century warfare, became cumbersome to wear. Trench coats were more comfortable, providing adequate protection from the rain and other elements while establishing proper rank among British and French armies. Both World Wars One and Two became popular in trench coat history and became popular among civilians when the war ended. D rings and shoulder straps were are typical accessories of trench coats. In pop culture, you have seen the typical hard-nosed private detective sporting the fedora and modern trench coat. Trench coats have also became popular in various subcultures such as steam punk and goth with their own interpretations on the trench coat. Trench coat history shifted from wartime to civilian popularity in the 20th century. Trench coats were typically made of hard materials: hard wool, leather and cottons.
Cossack clothing can best be described as Eastern inspired. The Cossacks are a group who resided in South Eastern Europe along the caucuses and the black sea; therefore, they have numerous contacts with Eastern cultures such as the Turks. The wearing of Eastern style in Cossack clothing was also a great diplomatic tool in dealing with non-European cultures. Typically, Cossack clothing would consist of tall, fur hats and sheepskin tunics and long robes and coats. They resided across many parts of Eastern Europe and have been traditionally been loyal to the czar which may explain why they faced little persecution. They also have their own culture, music, food and dance. Cossack men were traditionally scouts and embarked on reconnaissance missions throughout Russian Empire years. They were proficient with scimitars, rifles and knives and have played a large role in just about every major conflict in Eastern European history. Cossack clothing is a unique blend of Eastern European, western and Asian fashion, a very unique combination given their place at the tip of Europe on near parts of Asia.
If you want to draw like Charles Gibson or Gil Elvgren then the Pencil Portrait Mastery Study Course is for you. Are you also a fashion student or aspiring designer who needs to draw and render the styles and fashions you have in mind? Drawing classes online can be difficult to find and you don’t know the right ones that will help you. Realistic Pencil Portrait Mastery Home Study Course is a great way to get started if you are a beginning artist or someone who wants to further refine your skills. They start you out easy, first drawing simple features such the eyes, ears, nose and mouth and allows you to easily put the pieces together, allowing you to render a fully professional portrait. Do no listen to those who tell you that drawing is a talent you born with.
It takes practice and practice to get to the desired style you want. Anyone can reach the level of a professional artist; it simply takes dedication. Drawing classes online is something that is affordable and you don’t have to go out of your way to attend classes at a college that only gives mixed results as you hone your drawing craft. Drawing classes online gives you more flexibility with your schedule and you can go at your own pace instead of trying to keep with a physical class. The price for the Realist Pencil Portrait Mastery Home Study Course is $47 with a 60 day money back guarantee and you get lots of books and bonus materials that will help you long term. This is great for people in the fashion and design world who need to pencil their ideas down on paper. If your drawing skills are not good then this will help you focus and draw like a professional. You will be able to draw realistic portraits along with the human form that will flesh out the designs and fashions you have in mind. If interested, Click Here!
Testimonials
I have bought this course because I wanted to be able to draw realistic portraits and I felt that I did not have the skills to produce a beautiful realistic portrait.
This course has been a great help, although I still need loads of practice I feel that I have learned so much through following this course in techniques and observation. The lessons are so easy to follow especially with the aid of the process maps which show which steps to tackle next.
The reference photos are also a great help to those who need material to work from, I myself preferred to use my own photos to work from as they are of more interest to me personally.
I thought that this course would be benefit from a section on how to draw/trace the head before you add the features. When I wrote to Christopher about this he answered promptly and suggested ways of doing this and even sent me a video link to help me with this process.
I feel that my work has improved a great deal since I started this course and I still use it as reference whenever I work on a new portrait. I would recommend this course to anyone who wants to draw truly realistic portraits from photographs.
- Miriam Borg, Malta
Hi Christopher,
I'm a watercolor portrait artist www.michalmadison.com & the drawing course has helped me a lot. i like the way you work in sections - that's been helpful - looking for the shadows & subtle value changes. i drew pencil portraits before i started painting watercolor portraits & it's been a great refresher course. when i meet anyone who is interested in drawing portraits, i will definitely recommend your course. you make it simple and easy to understand. so yes, it's been helpful.
i hope you have a great day also!
thank you for sharing your passion for art!
- Michal Madison, United States
Hi Christopher,
It is a privilege for me to tell you how great your course of "Realistic Pencil Portrait Mastery" is. I am thrilled because I have always battled to draw a nose and ear realistically, but thanks to your course people think am a real artist now, when they look at my portraits. I am a grandma and have 6 grandchildren. I am doing pencil drawings of their baby photo's at the moment. Thanks to your course I find it much easier now especially to draw their hair. I am only drawing for 2 years but suddenly I feel like a real master :-)
It is so great that we here in South Africa can, thanks to technology, also benefit from your great eBooks on how to draw pencil portraits.
I can truthfully recommend it to students or anybody for that matter who is serious about their drawings. It is the very best!
Hope you have a wonderful day
- Rina Minné, South Africa
Before the reign of Peter the Great, Russian fashion mostly consisted of outdated clothing dating all the way back to the middle ages. Russians prided themselves on tradition instead of mimicking the west, separating themselves from western culture and fashion. However, the old fashions were not acceptable to Peter the Great and when he became czar he sought to modernize Russia by connecting to the west and adopting western style clothing in the 1700s. It became no longer acceptable for nobles to sport beards; traditionally the beard was considered a symbol of manliness in Russian culture and the same type of view would be later adopted in the Victorian era, but during Peter the Great’s time, it was considered uncouth for men to sport beards. Therefore, Peter the Great forced nobles to cut their beards and those who did not were forced to pay a beard tax to keep their facial hair. Both women and men had to attend court in western style dress.
For women, the traditional sarafana, a traditional style of Russian dress of all women was discarded among upper classes but lower class women continued to wear them. Some traits of Russian fashion remained in the new western style including the kokoshniks which was a headdress that went with the sarafana. The kokoshniks were for all classes of women and this was one garment in Russian fashion which remained. Conservative nobles were not pleased with the new style of dress, but it benefited Russia later down the road when it came to contact with the rest and Catherine the Great would later open a wider door for the west to enter Russia.
Friday, August 3, 2012
Visual kei fashion is a lavish form of dress from Japan that originates in the J rock (or Japnese rock) music genre. It is a subculture that began in the eighties and became wildly popular by the 1990s. Kei means visual style in Japanese and it is a way of expressing the music of J rock through lavish fashion. Those who sport the visual kei fashion have eccentric hairstyles and wild costumes. The influence of these fashions stem from Japanese rock musicians who sport these costumes on stage with their fans taking influence form their favorite bands and taking visual fashion into a high fashion medium. Bands like Malice Mizer are known for really defining and taking visual kei fashion to new heights.
Mana, who was the former bassist of Malice Mizer, is known for his hyper androgynous attire and makeup to the point where he is truly thought to be a woman at first glance. He is heavily involved in the Lolita scene through magazines and clothing lines. Attire varies when it comes to visual kei fashion; some clothing could be Victorian or historically inspired while other forms of dress can be more futuristic and technology themed. Androgyny is a big theme in visual kei fashion, so much so that female fans would try to imitate their favorite bands who were almost always male. Visual kei fashion has also come to influence the harajuku fashion scene and kei fashion can be seen in other Japanese subcultures. It is separate from the Lolita scene in Japan since Lolita is primarily about Victorian themed dresses. Visual kei can also be associated with the cosplay scene since the costumes and style of dress can also vary.
Mana from Malice Mizer 
es.visualkei.wikia.com 
miia-nikii.forumieren.com
www.fanpop.com
Mana, who was the former bassist of Malice Mizer, is known for his hyper androgynous attire and makeup to the point where he is truly thought to be a woman at first glance. He is heavily involved in the Lolita scene through magazines and clothing lines. Attire varies when it comes to visual kei fashion; some clothing could be Victorian or historically inspired while other forms of dress can be more futuristic and technology themed. Androgyny is a big theme in visual kei fashion, so much so that female fans would try to imitate their favorite bands who were almost always male. Visual kei fashion has also come to influence the harajuku fashion scene and kei fashion can be seen in other Japanese subcultures. It is separate from the Lolita scene in Japan since Lolita is primarily about Victorian themed dresses. Visual kei can also be associated with the cosplay scene since the costumes and style of dress can also vary.
Subscribe to:
Posts (Atom)
