|Mademoiselle Guimard in Turkish Dress by Greuze, 1790 - LACMA (detail)|
I'm feeling proud of my completed 1790 Ottoman-inspired stage costume. It is some of the best (and fastest) work I've done, but more interesting to me are the levels of history and culture this ensemble deals with.
|At the Costume College gala - don't worry, I'll show you all the parts and pieces of this costume later (in better photos). Yes, I'm teasing you.|
|"Costume of the Sultana used in the Comedie Francaise in the plays where there is a role for this costume" (1779). Because I could not see the bottom half of Guimard in the portrait, I used this plate as secondary reference.|
- shalwar (pants)
- kurdi (robe)
I will go over each of these pieces and their construction in the next few posts about this project.
Ultimately, what I ended up creating from Greuze's portrait was what I believe to have been a stage costume thrown together from a variety of pieces made in the Western fashion rather than original Turkish pieces. The whole look together formed this European fantasy of Ottoman dress while having very little do with it, especially in the construction.
|My original drawing and notes from way back. For the most part I stuck to this.|
In the end, I felt glamorous and authentic in this costume, but authentic only to the portrait of Guimard. To fashionable dress of France in 1790s or to real Ottoman dress of that period there was no faithfulness then nor now. And this fascinates me.
|An example of the fashionable Robe a la Turque. Cabinet des Modes - November 1786. This is pretty similar, but it will have been constructed differently with the yellow bodice and striped robe likely being stitched together.|