Sarah Blake
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sarahblake.bsky.social
Sarah Blake
@sarahblake.bsky.social
110 followers 34 following 120 posts
Writer, director, actor. Artistic Director of Sounds Curious (audio) and Cabinets of Curiosity (theatre). Creator of vintage interior and audio installations at The Curious Room, in The Hague (www.thecuriousroom.com). General arty person.
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sarahblake.bsky.social
Happy Hallowe’en! 💙🧡💙
Picture is a 1920s illustration of a red-headed witch, seen in profile, who is kissing a large pumpkin lantern. Behind her, a thin sliver of crescent moon hangs in a deep blue sky and in front of her, below the pumpkin, a black cat is stretching up one paw towards her. The cat is wearing a red ribbon around its neck - the witch is wearing what appears to be a black lace gown and a very long, thin and pointy witches’ hat, which is criss-crossed with orange ribbons.
October 31, 2025 at 7:41 AM
sarahblake.bsky.social
In honour of #DianeKeaton, I watched The First Wives Club. It's still so funny & joyful, but it struck me that the interior of Shelly's apartment - which is clearly meant to be a trashy joke - is emulated today by many designers, as well as a certain president. We live in such a bad taste era.
Image shows a still from the film 'The First Wives Club' and depicts a New York apartment interior, with a beige marble floor, a studded leather door on the left, slab wall-panelling in white and wood, and a hideous staircase with a metal frame, wooden slat stair risers and metal tubular banister rails. Mounted on the wall behind the staircase is a rectangular mirror in a heavy gilt, faux-rococo frame, underneath a pair of wall-mounted frosted-glass torchiere lamps - and to the left of these, an open door reveals a cloakroom with a ridiculous gold, Louis XIV-style lavatory, brown carpet and navy blue striped wallpaper.
October 20, 2025 at 2:04 PM
sarahblake.bsky.social
You’ll have to excuse the pile of washing up by the sink, but when I walked into the kitchen this morning, the burnished creeper looked so beautiful hanging over the back door that I had to take a photo of it ❤️
#autumnglory #autumnvibes #autumnbeauty #autumn
Photo shows the back door of a kitchen, which is painted yellow and has a four-paned window in the upper half of it. To the right of the door is a low kitchen cabinet, also painted yellow, with a black and white stone worktop on top of it and a stone sink set into it. To the left of the back door is another, matching yellow cabinet and, above it, another four-paned window. Both windows look out over a garden, which is still very green, with a turf lawn and a high wall covered in dark green ivy. However, hanging down in front of both windows are several long strands of virginia creeper, which has taken on its autumn colours of bright orange and crimson. The orange tones of the creeper are picked up by a wooden bowl of satsumas and golden kiwis that are sitting on top of the kitchen cabinet on the left, in front of the window, and by the edge of a bright orange washing-up bowl that’s just visible in shot on the right. However, the scene is not enhanced at all by the pile of washing-up that’s sitting on the worktop next to the sink, on the right. Should I have done the washing-up before taking the photo? Yes. Should I have at least moved it out of shot, before taking the photo? Yes. Could I be arsed to do either of these things? No.
October 6, 2025 at 10:54 AM
sarahblake.bsky.social
The Marie Antoinette Style exhibition at the V&A is stunning. Lots of original artefacts, plus a fabulous collection of couture designs that have been inspired by her legacy. Definitely worth a visit!
#MarieAntoinette
#MarieAntoinetteStyle
#V&AMuseum
#couture
#fashion
#fashiondesign
#18thcentury
Picture shows a black headless mannequin wearing a pink and cream-striped Robe à la Francais, which dates from around 1775. It features an embroidered stomacher, decorated with pink and blue ribbon flowers, and a full crinoline skirt that is also embroidered with small pink flowers and red ribbon trim, and is looped up at the sides, in the style known as 'à la Polonais'. Underneath the dress is a white cotton chemise that is visible around the neckline and at end of the three-quarter sleeves, where white ruffles fall gently down the arms to where the wrists would be. Photo shows a long, cream and peach-coloured striped silk gown, seen from the back on a black, headless mannequin. The gown dates from around 1787 and is in the Robe à l'anglaise style, with long sleeves, a tight bodice and a skirt that is gathered over the hips and has pleats to make it full, as well as a short train that trails on the floor. Picture shows a front view of a floor-length, cream satin gown on a black mannequin. The gown dates from around 1780 and is in the 'Robe à la Francais' style, with a tight bodice, half-length sleeves and a very full skirt - designed to be worn over a crinoline hoop, or panniers. The bodice has a plain scoop neck and fastens down the front with a vertical, central line of concealed hooks, while the skirt is made up of a flat fronted under-skirt, which is then covered by a mantua, or split-front over-skirt. Both skirt parts are embroidered with sprays of pink and yellow flowers and are also trimmed with bands of pale blue ribbon and cream lace. Image shows an exhibition gallery in the V&A museum, which has a plain cream background and floor, with six white mannequins displayed upon it. From left to right, the mannequins are wearing: a long dark pink gown with filly sleeves by Moschino; a blue and white toile-patterned ensemble made up of a short, belted coat with a full crinoline skirt, over matching blue and white toile thigh-high boots, all by Jeremy Scott for Moschino; a calf-length ruffled dress in shades of beige and pale green, with a ribbon-decorated bodice and heavily-flounced skirt, by Vivienne Westwood; a long floral chiffon gown featuring heavy pleating and a pattern of large pink roses and green leaves on a cream background, by Alessandro Michele for Valentino; and a lemon coloured mini-dress that is shaped like a tiered wedding cake and covered in structured white decorations that are made to look like piped royal icing, by Jeremy Scott for Valentino. On the far right-hand side of the photo, next to the lemon-colured 'cake' dress, we can see half of another mannequin, wearing another 'cake' dress, this time in pale pink. All of the Moschino mannequins are wearing high, Marie Antoinette-style wigs that complement the colour of the outfit they are wearing (dark pink, blue, pale yellow and pale pink, respectively). By contrast, the Westwood and Valentino mannequins are both bald.
October 2, 2025 at 1:43 PM
sarahblake.bsky.social
It’s a sparkling Friday afternoon where I am… happy weekend, all!
#Fridayfeeling
#Seafever
The picture shows a beach, with yellow sand on the lefthand side and soft waves coming in from the right across the centre of the picture. The sky is very blue, with lots of small, fluffy clouds, and at the top centre of the picture, there are refracted shafts of sunlight. The sunlight is also creating a sparking effect on the waves. In the distance, we can see the silhouette of buildings on the left, and a pier stretching over to the right, with a tower and a big wheel.
September 5, 2025 at 3:58 PM
sarahblake.bsky.social
Shakespeare - succinctly describing the problem with trickle-down economics all the way back in the early 1600s (Coriolanus, Ii)...
#Shakespeare
#trickle-down
#billionaires
#Musk
#Trump
#SNAPbenefits
Picture shows text from the Folger edition of Coriolanus, Act One, Scene One. The First Citizen is speaking and the speech reads: "We are accounted poor citizens, the patricians good. What authority surfeits on would relieve us. If they would yield us but the superfluity while it were wholesome, we might guess they relieved us humanely. But they think we are too dear. The leanness that afflicts us, the object of our misery, is as an inventory to particularize their abundance; our sufferance is a gain to them."
August 14, 2025 at 11:47 AM
sarahblake.bsky.social
Photo from the production of A Midsummer Night's Dream I directed 3 years ago. It never used to be one of my favourites, but my god, I LOVED directing this... so if anyone ever needs a director for a queer feminist version of Dream, I have the adaptation done already and will make myself available!
Photo from a 2022 production of A Midsummer Night's Dream, performed in the Prinz-Emil Garten in Darmstadt Germany, and directed by Sarah Blake. The photo is taken outside, in the garden, and in the foreground, Oberon is leaning against a tree trunk with their arms crossed, looking defiant. They have short fair hair and are wearing a bright pink armoured breast plate, black shorts, fishnet tights and heavy laced black boots, under a vintage paisley dressing gown. Their face is made up with a bright pink triangle, outlined in black, over their left eye, a pink smudge on their right cheek, a small blue moustache on their upper lip and small pointed beard on their chin. Behind Oberon, on the righthand side of the picture, we can see Bottom and Titania in a blurry woodland background. Bottom is standing with his arms raised to his chest. He has a giant donkey head with long ears, and is wearing an olive green waistcoat over a black t-shirt, with a pair of blue, yellow and red-patterned trousers. Titania crouches before him with her hands on his chest. She is wearing a black vest top with a rainbow-coloured net skirt over black leggings, and she also wears a crown of leaves and berries on her head.
August 8, 2025 at 9:34 AM
sarahblake.bsky.social
Some more of my cocktail fairy characters...
#cocktails
#fairies
#DidoBelle
#BritishMuseum
#allthedrama
Pictures of two of my invented cocktail fairies. On the left: The Fairy Magpieo, who is based on an illustration of a magpie fancy dress costume from 1887, artist unknown. Magpieo is a white female, who is wearing a sleeveless black and white striped gown and elbow-length black gloves. She is seen in profile and has magpie bird decorations in her hair and on her shoulder, and she carries a black and white fan. She also has black and white wings. In front of her stands a giant magpie bird who is holding an orange cocktail bauble in its beak — and two more cocktail baubles — brown and blue — are sitting on the ground behind the magpie, on the lefthand side of the picture. Magpieo’s caption reads: “ THE FAIRY MAGPIEO. Heist expert. Unrepetant thief. Friend of The British Museum.” On the right: The Fairy Didor, who is based on a 1778 portrait of Dido Elizabeth Belle, by David Martin. Didor is a black female, who is wearing a white satin gown and a matching white satin turban, with a black feather decoration. She has a pair of diaphanous wings and wears a choker of pearls around her neck and a green and gold sash around her waist. Seen in three-quarter profile, her right hand is raised, with her forefinger resting on her cheek, while her left hand is hidden underneath a platter of fruit that she’s carrying. On top of the fruit platter are two cocktail baubles, one brown, one yellow. Flying in the air around her are three bees with similarly diaphanous wings and yellow and black-striped abdomens. Didor’s caption reads: “THE FAIRY DIDOR. Pollen expert. Author of savage memes. Friend to bees.” Pictures of two of my invented cocktail fairies, both of which are based on 1847 illustrations by J.J. Grandville, from his ‘Flowers Personified’ collection. On the left: The Fairy Pricklette, who is a white female wearing a dress made out of thistle leaves, with a white underskirt. She wears a hat also made of thistles, adorned on the top with a pink and yellow thistle flower, and pink thistle flower petals also trim her short sleeves. She is carrying a wand, which she is pointing at a giant praying mantis, who is standing on its back legs with its wings spread and its claws raised. A blue cocktail bauble hangs from the mantis’ right claw. Pricklette’s caption reads: “THE FAIRY PRICKLETTE. Friendly. Good wand skills. Usually reasonable, except when mantises try to steal her drink.” On the right: The Fairy Arancia, who is a white female wearing a short white gown that has a garland of large, orange, bell-shaped flowers decorating the skirt. Large orange petals also decorate the top of her corseted white bodice, and she wears a headdress of the same orange flowers. She is standing with one leg crossed in front of the other and her right arm is raised — and hanging from the little finger of her raised hand is an orange cocktail bauble. Below her, on the lefthand side of the picture, is a giant white and orange moth, who is also holding an orange cocktail bauble. Arancia’s caption reads: “THE FAIRY ARANCIA. Dank moves. All the drama. Friend to moths.”
August 6, 2025 at 2:44 PM
sarahblake.bsky.social
Following on from yesterday’s post on this subject… a few more of my cocktail fairies…
Pictures of two of my invented cocktail fairies. On the left: The Fairy Snaiella, who is based on an 1847 illustration by J.J. Grandville, from his ‘Flowers Personified’ collection. Snaiella is a female of East Asian descent, who is wearing a long white tunic covered in green leaves, over a pair of green leaf trousers. Her head is adorned with a white flower decoration and she has a pair of long green antennae. She is shown in profile, looking at a yellow cocktail bauble which she holds in her right hand — there’s also another yellow cocktail bauble hanging from her left hand. In front of her is a plant with a red stem, large green leaves and small yellow flowers with red berries. On the plant are three snails of varying sizes, while a fourth, much larger snail, sits at the bottom of the plant. Behind Snaiella, to the left of the picture, is a giant snail (size of a small dog), who has another yellow cocktail bauble balanced on the top of its shell. Snaiella’s caption reads: “THE FAIRY SNAIELLA. Snail enthusiast. Prefers Ibiza in the winter. Former fairy tennis champion, but doesn’t like to talk about it.” On the right: The Fairy Regenboog, who is based on a fairy fancy dress costume illustration from the 1880s, artist unknown. Regenboog is a non-binary fairy of caucasian descent, who has long yellow hair and small, transparent wings. They are wearing a white bodice decorated with small yellow flowers, a white skirt with pink decoration, and pink lace-up sandals. Their arms are outstretched and in each hand, they hold the opposite ends of a rippling rainbow banner. Behind them are three small rainbow hearts, floating in mid air. Regenboog’s caption reads: “FAIRY REGENBOOG. Spectrum magic specialist. Trans rights are fairy rights. Love is love.” Pictures of two of my invented cocktail fairies. On the left: The Fairy Wista, who is based on an 1847 illustration by J.J. Grandville, from his ‘Flowers Personified’ collection. Wista is a white female who is wearing a white gown decorated with green leaves and lilac flowers. She has a lilac petal headdress and is holding a large spray of green leaves in her hands. Behind her are more sprays of giant green leaves — and in front of her is a grassy bank on which there is a large ladybird, who is standing on its back legs and waving its front legs at Wista. To the right of the ladybird are two cocktail baubles, one yellow and one orange. Wista’s caption reads: “THE FAIRY WISTA. Avid leaf collector. All the leaves. Frequently sued by ladybirds for destruction of premises.” On the right: The Fairy Philippe, who is based on an illustration of a ‘Faune’ by Jean-Baptiste Martin, from ‘La fête de Bacchus, et dans le Ballet du Triomphe de Bacchus, de l'opéra de l'union de l'amour et des arts’, c.1770. Philippe is a white male who is wearing a short, pink, long-sleeved gown that is decorated on the lefthand side with gold embroidery and pink ribbons. Beneath his skirt, he’s wearing tight pink satin breeches, white silk stockings and white slippers. He has a gold-embroidered headdress decorated with pink and white ostrich feathers. Also sprouting from his head are a pair of black antennae and he has very large pink and black wings, which are reminscent of monarch butterfly wings. His left foot is stretched forward and his arms are stretched out to the sides, with his right hand raised and his left hand lowered. In his right hand, he holds a yellow cocktail bauble and in his left hand, a pink cocktail bauble. Reaching up from the ground, towards the pink cocktail bauble, is a giant pink caterpillar that has blue spots and thick black hairs. Philippe’s caption reads: “THE FAIRY PHILLIPE. Brother to the King. Knows all the good bars. Caterpillar bestie.”
August 5, 2025 at 1:23 PM
sarahblake.bsky.social
A few months ago, I threw a party where I hid clear baubles containing various colourful cocktails around the garden, then invented an elaborate set of fairy characters to go with them. The guests all got very drunk, but no one seemed to notice the fairies - so I’m sharing (a few of) them here…
Pictures of two of my invented cocktail fairies — in this case, both based upon 1847 illustrations by J.J. Grandville, from his ‘Flowers Personified’ collection. On the right: a picture of The Fairy Briara, who is a white female shown in profile, who is looking off to the right and wearing a long white gown, covered in green leaves. She has a headdress made of a large pink dog rose and also wears a red rosehip necklace and matching bracelets, and a yellow flower corsage. She is carrying a pink cocktail bauble and her facial expression suggests boredom. Her caption reads: “THE FAIRY BRIARA. Fragrant. Delicate. Deadly eye roll.” On the left: a picture of The Fairy Carnatia, who is a white female wearing a long white gown with an emerald green bodice and pink satin trim. There are emerald green leaves growing up the front of her skirt and her hair floats upwards in pale pink petal points. In her right hand, she carries three cocktail baubles — two pink and one green — and there’s a pale blue butterfly perched on her raised left hand. There’s also another, multi-coloured butterfly perched on her right shoulder, which she’s looking at — but behind her, on the lefthand side of the picture, a furry orange caterpillar is quietly eating a ribbon from her dress. Her caption reads: “THE FAIRY CARNATIA. Charming. Good conversationalist. Would like the caterpillars to stop eating her clothes now.” Pictures of two of my invented cocktail fairies. On the left: a picture of The Fairy Louis, which is based on a 1683 sketch by Jean Bérain of Louis the Fourteenth of France, dressed in costume for the opera, ‘Phaëton'. Louis is a white male wearing a pink and white costume with a short skirt and matching hat, plus pink boots with white ribbon laces. He is carrying a wand in one hand, which has a miniature sun radiating from its tip, while his other hand is pointing upwards, towards a yellow cocktail bauble that’s hanging from a giant yellow flower. There are other giant flowers (blue and red) and leaves growing up behind Louis, and in the bottom righthand corner of the picture, standing next to Louis, is a giant (and very ugly-looking) brown flour mite. Louis’ caption reads: “THE FAIRY LOUIS. King of the Fairies. Flashy wand. Everyone hates his pet mite.” On the right: a picture of The Fairy Titania, which is based on an 1847 illustration by J.J. Grandville, from his ‘Flowers Personified’ collection. Titania is a white female wearing a long white skirt, trimmed with green leaves, and a pink bodice, with matching pink sleeves and a pink hood. She is carrying a sceptre made from a green rose stem — from which is hanging a pink cocktail bauble — and on her head, she’s also wearing a pink rose bud, nestled in small green leaves, as a crown. She is seated and in front of her is a semi-circle of green beetles, who are all bowing to her. Her caption reads: “THE FAIRY TITANIA. Queen of the Fairies. Always regal. Just about had enough of your shit.” A picture of one of my invented cocktail fairies — which, in this case, is based on an 1816 portrait by Richard Evans, of Henri-Christophe, King of Haiti. The picture shows The Fairy Cil, who is a black male wearing a pair of white satin breeches, yellow leather knee boots and a navy blue frock coat with two rows of brass buttons. He is also wearing yellow gloves, a star medal on his chest, and he’s carrying a black bicorne hat in one hand, while his other hand is in his pocket. He has grey hair, from which a pair of antennae are sprouting, and he also has huge and magnificent wings, which are yellow and navy blue, with a red spot on each wing (and are based on the wings of a swallowtail butterfly). He is standing in front of a giant dandelion plant, which features one yellow dandelion flower — with a yellow cocktail bauble hanging from it — and one dandelion clock. Below the dandelion plant, on the lefthand side of the picture, is a large green beetle. Cil’s caption reads: “THE FAIRY CIL. Succesful theatre impresario. Organizes annual fairy revels. Friend to beetles.”
August 4, 2025 at 1:16 PM
sarahblake.bsky.social
A turf maze in my local park - technically a labyrinth, not a maze, but I've never heard one referred to as a 'turf labyrinth'. Why is that? Anyway, I walked it & felt calm - & although looking isn't the same as walking, I'm posting a pic in the hopes it sends calm vibes to all who need them today.
A picture of a park lawn that has a turf maze, or labyrinth, set into the green grass. The labyrinth has a single path that's demarcated by curving rows of bricks, set into the grass in a classic, seven-layer labyrinth design that's hard to describe, but sort of winds around and in on itself, in a pattern that reminds me a bit of a brain - but not, because it's more regular. Sorry, this is probably not a very helpful description. In the background, at the top edge of the picture, you can see the bottoms of the trees that surround the labyrinth, and the grass is dappled with sunlight, especially on the lefthand side of the picture, where the sun has shone down through the trees onto the turf.
August 2, 2025 at 9:19 AM
sarahblake.bsky.social
My beautiful neighbourhood ❤️
A picture of a purple and pink bicycle, which is propped up against an old brick wall that has green ivy growing all over it, and several red roses in full bloom. The Toussaintkade canal, in The Hague, seen from the north end, at twilight. On either side of the canal, there are streets with cars parked along them, and on the lefthand side there are trees lining the street, while on the righthand side, there's a row of 18th century buildings, with smaller trees planted in front of them. There are also glowing street lamps that are reflected in the canal water. At the far end of the canal, in the centre of the picture, is the bell tower of the Grote Kerk church, which has an illuminated clock face. This is also reflected in the canal water.
July 30, 2025 at 2:31 PM
sarahblake.bsky.social
Loot From The Rainbow - Arthur Ferrier, 1928.
Image shows a 1928 magazine illustration of a flapper-style women in a soft blue/grey negligee, with her arms spread out to either side of her. Draped over both of her outspread arms are long rainbow banners that hang down to the ground. Behind her, in a purple, cloudy sky, we see an 'empty' rainbow - a simple white curve - which tells us the woman has somehow stolen the colours from the rainbow and is now wearing them herself.
June 16, 2025 at 10:25 AM
sarahblake.bsky.social
Highlights from Louvre Couture, no. 11 - a silk wedding dress and matching hat by Yves Saint Laurent, S/S 1997. The style of the gown draws inspiration from the painting The Two Cousins by Watteau (1716).
#Louvre
#couture
#fashion
#YvesSaintLaurent
#fashionhistory
#weddingdress
#Watteau
#18thcentury
A full-length, long-sleeved gown of ivory silk, with a pattern of large golden roses and green leaves. The gown is seen from the side and the back of it has two large pleats at the neck, which fall down in an 18th century sackback style. The gown is seen on a mannequin that is also wearing a matching hat with a high brim. The room the mannequin is displayed in features wall panelling painted in royal blue, with gold baroque decorative details. Against the back wall, there is a black and gold lacquered commode, on which is sitting a black and gold porcelain urn and a pair of white china birds. Above the commode, on the wall, is a tall baroque gilded mirror, flanked by a pair of gilded wall candelabras. Reflected in the mirror, there is a tall fake window (this room being a smaller, alcove room within a larger gallery in the Louvre), which is dressed in long white curtains that feature a repeating floral design in navy blue. On the left of the room are two damask upholstered armchairs, one in sage green, and the other, which is in the foreground, in a shade of deep duck egg blue. In front of this chair, there's also a little wooden table with a marquetry inset pattern, curvy legs, and gilded baroque details - upon the surface of which there is sitting a glass display box, containing a porcelain tray and two tea cups. In the background on the right, there is another blue and white floral-patterned curtain hanging down to the floor - and in the foreground on the right, in front of the wedding dress, the corner of a gold silk damask-upholstered chair is also just visible.
April 8, 2025 at 2:40 PM
sarahblake.bsky.social
Highlights from Louvre Couture, no. 11 - a trompe-l’oeil ensemble in seersucker by Thom Browne, painted to look like a three-piece suit. Although reminiscent of pannier dresses worn by women in the 18th century, this design was for Browne's Menswear collection, S/S 2020.
#Louvre
#couture
#fashion
A long dress with wide, padded hips and long sleeves, made from seersucker that has been painted to create an imitation three-piece-suit effect, with a jacket, skirt and waistcoat. The jacket and skirt have been painted on in thin blue and white pinstripes, which are edged with a wider combination of stripes in red, white and navy blue. Pocket flaps, jacket lapels and buttons have also been painted onto the front of the imitation suit, while the fake waistcoat is painted cream and also edged in wide strips of red, white and navy. Although the neck of the dress is plain and round, a white shirt collar and blue tie have been painted onto it. The dress is mounted on a headless mannequin that stands on a white marble floor inset with a pattern of black marble diamond-shaped tiles. In the background, there are two 18th century armchairs with gilded frames and red damask upholstery, and a mantlepiece made of carved porphyry stone. On the top of the mantlepiece is a gilded ormolu clock and a pair of blue and white vases - and above the mantlepiece is a gilt-framed mirror, flanked by a pair of gilded wall candelabras. The walls in the background are panelled and painted yellow, and to the left of the dress, above the armchairs, there's a wall painting that shows an 18th century man and two women who are watching a stag be chased by a dog, set in a pastoral scene of trees, grass and birds.
April 7, 2025 at 2:46 PM
sarahblake.bsky.social
Highlights from Louvre Couture, no. 10 - a silk ball gown decorated with blue and white metallic paint. The huge embroidered golden sun, bronze shoulder piece and bronze helmet all evoke the French Sun King, Louis XIV. Christian Dior, A/W 2006-7.
#Louvre
#couture
#fashion
#fashionhistory
#LouisXIV
A blue and white silk ball gown with a corseted bodice, painted in a royal blue metallic finish, and a very full, ruched and ruffled blue and white skirt that has a long, ruched white train. The skirt also features a painted metallic finish, this time in different shades of blue that fade out to white, and there is a large golden sun embroidered on the front of the skirt. The corseted top is strapless, but has one bronze armour piece on the right shoulder. The gown is displayed on a mannequin that is wearing a bronze helmet on its head, finished with brown ostrich feather plumes. The mannequin stands on a mirrored floor at the centre of a large room with red-painted walls, a highly-decorated ceiling and tapestries on the walls.
April 5, 2025 at 9:23 AM
sarahblake.bsky.social
Highlights from Louvre Couture, no. 9 - lavishly-embroidered structured corset and skirt ensemble by Vivienne Westwood, A/W 2012-3 - inspired by the sumptuous decorative arts of the Louis XV era.
#couture
#Louvre
#VivienneWestwood
#18thcentury
#fashion
#fashionhistory
#museums
#Westwood
#corset
A pale blue skirt and corset ensemble, richly embroidered with gold thread and beading, in a pattern of flowers and baroque-inspired decorative swags. The corse top has short sleeves and a front hook-and-eye fastening. Displayed on a headless mannequin in an 18th century-inspired room set in the Louvre, against the background of a marble fireplace, a single candelabra mounted on the wall above the fireplace, a gilt-framed firescreen in front of it, and tapestries on the wall behind.
April 4, 2025 at 7:31 PM
sarahblake.bsky.social
Highlights from Louvre Couture, no. 8 — handbag by Daniel Roseberry for Schiaparelli, S/S 2022, combining the surreal influence of Elsa Schiaparelli with baroque-inspired decoration. To me, it looks like something out of Cocteau's La Belle et la Bête.
#couture
#Louvre
#Schiaparelli
#baroque
#fashion
A gold bag with a single, curved handle, a front flap and a gold clasp. Mounted on the front flap, there are a pair of resin eyes set into gilded brass baroque-style mounts, with one blue eye and one brown. The bag also also stands on four gilded brass legs. It is displayed on a rectangular mirrored stand, which is on top of an inlaid marquetry wooden table. Behind the bag is a backdrop of a tapestry curtain and an antique (1760s) mechanical table, made of wood, that features gilded brass baroque corner decorations and handles, as well as a glazed display cabinet.
April 3, 2025 at 9:39 AM
sarahblake.bsky.social
Louvre Couture: Art & Fashion, highlight no. 7 - 'Enchanted Island' from the Chanel A/W 1986-7 collection. A red silk satin ensemble - designed by Karl Lagerfeld, with embroidery by Lesage - that was inspired by 19th century opera curtains.
#couture
#louvre
#chanel
#fashion
#fashionhistory
#museums
April 2, 2025 at 12:17 PM
sarahblake.bsky.social
Highlights from Louvre Couture: Art and Fashion, no. 6 - armoured dress, by Denma for Balcenciaga, A/W 2023/4. It looks like something a modern Joan of Arc might wear, but this dress was actually inspired by the armour of Henri II (1519-1559), which is also in the Louvre.
#couture
#fashion
#armour
April 1, 2025 at 11:13 AM
sarahblake.bsky.social
Highlights from Louvre Couture: Art and Fashion, no. 5 - a brocade minidress by Donatella Versace, for Versace Autumn/ Winter 2002-3, that was inspired by the yellow silk damask of these 18th century chairs.
#couture
#Louvre
#fashion
#fashionhistory
#18thcentury
#Versace
#museums
#damask
#brocade
March 31, 2025 at 11:09 AM
sarahblake.bsky.social
Highlights from Louvre Couture: Art & Fashion, no. 4 - Dolce & Gabbana embroidered evening bag from the Women's 'Sicilia Incantata' collection. Embroidered gloves from the men's 'Sicilia Normanna' collection - both ready-to-wear, Autumn/ Winter 2014-2015.
#couture
#Louvre
#Dolce&Gabbana
#fashion
March 29, 2025 at 8:55 PM
sarahblake.bsky.social
Highlights from Louvre Couture: Art and Fashion, no. 3 - printed cotton coat and trouser ensemble by Dries Van Noten, Spring/ Summer 2017 - seen here against a 17th century tapestry depicting the life of Louis XIV
#couture
#Louvre
#museums
#fashion
#fashionhistory
#costume
#LouisXIV
#tapestry
March 29, 2025 at 10:03 AM
sarahblake.bsky.social
Highlights from Louvre Couture: Art and Fashion, No. 2 - an 18th century-inspired metallic brocade frock coat by Nicolas Ghesquière for Louis Vuitton, Spring/Summer 2018 — seen in a salon within the Louis XIV-XVI apartments.
#couture
#Louvre
#museums
#fashion
#fashionhistory
#costume
#18thcentury
March 28, 2025 at 1:13 PM
sarahblake.bsky.social
I recently visited the wonderful Louvre Couture: Art and Fashion exhibition... and for those who can't be there in person, I'm going to post a few personal highlights. First off, a Jean-Paul Gaultier cage dress, in the Grand Salon of the Napoleon III apartments...
#couture
#Louvre
#fashion
#museums
March 27, 2025 at 10:25 PM