voyeurism, the doppelg nger, and extreme sexual repression" as well as androgyny. (Bell-Metereau, 1985, p
"Lace ruffles, collars, cuffs and edgings on caps which replaced the large headdresses of the preceding period were exceedingly popular." (Grimball, 88) In women's clothing, bodices were no longer simply form-fitting, but also made rigid with stays and long stomachers extending below the waist to make the dipped waistline possible, even if the wearer's stomach was not flat naturally
In suggesting climate, in a modern way, the fabrics for Cyprus are light and colorful. (O'Dell, Aquila Theater Web site) Conclusion There are several ways costuming can be successful, even if it does not strictly adhere to historical accuracy, as long as it suggests it -- as well as characterization -- while meeting the demands of the art form, as in ballet
PureMovement's Rome and Jewels may not have an onstage ingenue, but there's no doubt that it's an in-your-face street version in combat boots that takes place at a very different time and place than Shakespeare's portrait of an Italian city state or New York City's 1950s West Side." (Patrick, 2001) As ballet became more athletic, it also became less desirable to use long, full skirts for dancers that showed only an elegant ankle; fortunately, "the advent of machine-knitted jerseys and, later, synthetic stretch fabrics allowed modern dancers to emphasize line and shape with costume, and floor work became another acceptable level of movement
The collars are loose and while he does retain his lapels and double-breasted overcoat in the Romantic style ("French Fashion History"). Javert, on the other hand, displays a ruthlessness in his costume, wearing at one point the Napoleonic military headgear of the day, a fierce, blue-black French gendarme bicorn helmet (Payne)
Unlike the thinner, less rigorous Marius, who wears his neck tie less scrupulously, more loosely around the neck, reflecting his looser, revolutionary stance towards life, Valjean is a man of principle with impeccable style, whether he is riding along in his overcoat or going into town with vest on display beneath a double-breasted, blue-gray frockcoat and slightly conical hat. Fantine's costume, because she appears earlier in the century, is based on the "Empire style" or Empire silhouette, and though she is on the streets, her costume still reflects this syle -- the close-fitting dress that pins under the bust and drapes down (Thomas)