Category Archives: costume

costume

Marie Rime

Marie Rime

Armures, 2013

arm05

Armures, 2013

masque07

Masques, 2011

masque05

Masques, 2011

masque03

Masques, 2011

From Marie Rime‘s Masques and Armures projects.

costume

Wilder Mann by Charles Fréger

Wilder Mann 14, Wilder Mann , 2010 © Charles Fréger - www.charlesfreger.com

Wilder Mann 52, Wilder Mann , 2010 © Charles Fréger - www.charlesfreger.com

Wilder Mann 53, Wilder Mann , 2010 © Charles Fréger - www.charlesfreger.com

Wilder Mann 66, Wilder Mann , 2010 © Charles Fréger - www.charlesfreger.com

Wilder Mann 68, Wilder Mann , 2010 © Charles Fréger - www.charlesfreger.com

Wilder Mann 72, Wilder Mann , 2010 © Charles Fréger - www.charlesfreger.com

Wilder Mann 73, Wilder Mann , 2010 © Charles Fréger - www.charlesfreger.com

Wilder Mann 77, Wilder Mann , 2010 © Charles Fréger - www.charlesfreger.com

Wilder Mann, 2010 © Charles Fréger – www.charlesfreger.com

costume

Dogon or Bamana “spritual armour” protection clothing

BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill BAMANA / DOGON HUNTER'S SHIRT, Mali Photographs © Tim Hamill

 

Photographs © Tim Hamill

“These garments, called shirts, jackets or tunics were worn by Dogon or Bamana men for protection in the forest, from both wild animals and dangerous spirits. A successful hunter must not only be master of the forest and wild animals, but must also have the spiritual power necessary to negotiate the dangerous supernatural realm. They are often embellished with small objects, animal horns, mirrors, jewelry, and leather pouches, that provide the “spiritual armor” necessary to protect the hunter from both real and spirit forces.”

http://www.hamillgallery.com/BAMANA/BamanaHuntersShirts/BamanaShirts.html

 

costume

Jacques Grasset de Saint-Sauveur

Femme de lysle de Nootka

Femme de lysle de Nootka

Habit of a Woman of the Christianoux

Habit of a Woman of the Christianoux

Sauvage iroquois

Sauvage iroquois

An Indian Warrior of Canada

An Indian Warrior of Canada

Iroquois allant à la Découverte (Iroquois going exploring)

Iroquois allant à la Découverte (Iroquois going exploring)

Sauvage du Canada (Wild Man of Canada)

Sauvage du Canada (Wild Man of Canada)

Homme Acadien (Acadian Man)

Homme Acadien (Acadian Man)

Homme & Femme Ottawas

Homme & Femme Ottawas

Man and woman from the Nipissing tribe

Man and woman from the Nipissing tribe

Homme et Femme Iroquois

Homme et Femme Iroquois

Sauvagesse de la Baye de Hudson

Sauvagesse de la Baye de Hudson

Artist: Grasset de Saint-Sauveur, Jacques, 1757-1810

These are a selection from Library and Archives Canada

costume folk

Viana do Bolo festival

© All rights reserved by carlos gonzález ximénez

 

costume inspiration

Inuit clothing

Inuit woman wearing an amauti and carrying a child on her back [graphic material] : N.W.T. [Nunavut], ca. 1926 - 1943.

Inuit woman wearing an amauti and carrying a child on her back (graphic material): N.W.T. (Nunavut), ca. 1926 - 1943.

Copper Inuit Clothing, Front View (Diamond Jenness/CMC/51234)

Copper Inuit Clothing, Front View (Diamond Jenness/CMC/51234)Copper Inuit Clothing, Back View (Diamond Jenness/CMC/51235)

Copper Inuit Clothing, Back View (Diamond Jenness/CMC/51235)

Copper Inuit Clothing, Back View (Diamond Jenness/CMC/51235)

This Inuit woman, photographed by the Scottish botanist-explorer Isobel Wylie Hutchison in the 1920s, is dressed in her colourful traditional national costume. The most characteristic part of this outfit is perhaps the "kamiker", or heel-less sealskin top-boots, which reach up to the knee in the case of men, but well above that in the case of women, as illustrated here. The outer surface of the women's boots is dyed white, scarlet, or blue, and decorated with abstract geometrical patterns of brightly-coloured leather strips. There is a removable inner lining which keeps the feet and legs warm. Hutchison found that such footwear was essential, not only for negotiating the slippery rocks and shingle, but for protection against insect bites.

This Inuit woman, photographed by the Scottish botanist-explorer Isobel Wylie Hutchison in the 1920s, is dressed in her colourful traditional national costume. The most characteristic part of this outfit is perhaps the "kamiker", or heel-less sealskin top-boots, which reach up to the knee in the case of men, but well above that in the case of women, as illustrated here. The outer surface of the women's boots is dyed white, scarlet, or blue, and decorated with abstract geometrical patterns of brightly-coloured leather strips. There is a removable inner lining which keeps the feet and legs warm. Hutchison found that such footwear was essential, not only for negotiating the slippery rocks and shingle, but for protection against insect bites.

costume magic

Akhnif

An akhnif is a cloak worn in Morocco by Jewish and Berber males. The eye shape is thought to be protection against the evil eye.

Akhnif from Textile Museum of Canada

Akhnif from the Jewish Moroccan Heritage Museum

Akhnif from Marrakesh Express

Boy’s brown akhnif…The narrow, long henna-dyed “lens” unambiguously represents a vulva. It is the symbol for the mother who all her life “carries her son in her womb” and lovingly hopes to protect him with this cape.

From ‘Berber Carpets of Morocco: The Symbols Origin and Meaning’ By Bruno Barbatti.

costume

African marriage rituals

 

Berber Mother and Daughter, Morocco  Photograph by Carol Beckwith and Angela Fisher. Conveying blessings and bittersweet good-byes, a Berber mother in Morocco plants a kiss on her daughter’s knee as she gives her in marriage to a man more than twice her age. Days of feasting will weave into nights of singing and dancing for the bride, who has captured the liver—the Berber embodiment of love—of the man sworn to protect her.

Berber Mother and Daughter, Morocco Photograph by Carol Beckwith and Angela Fisher. Conveying blessings and bittersweet good-byes, a Berber mother in Morocco plants a kiss on her daughter’s knee as she gives her in marriage to a man more than twice her age. Days of feasting will weave into nights of singing and dancing for the bride, who has captured the liver—the Berber embodiment of love—of the man sworn to protect her.

 

Maasai Wedding Day, Kenya  Photograph by Carol Beckwith and Angela Fisher. A single tear marks the moment of farewell for lavishly beaded Nosianai as she leaves her family home in the Loita Hills of southern Kenya. Wedding-day tears may express true sadness among Maasai girls, who submit to arranged marriages with much older men whom they barely know.

Maasai Wedding Day, Kenya Photograph by Carol Beckwith and Angela Fisher. A single tear marks the moment of farewell for lavishly beaded Nosianai as she leaves her family home in the Loita Hills of southern Kenya. Wedding-day tears may express true sadness among Maasai girls, who submit to arranged marriages with much older men whom they barely know.

 

Rashaida Bride, Eritrea Photograph by Carol Beckwith and Angela Fisher Veiled behind an elaborate mask called a burga, a Rashaida bride stays in seclusion before her wedding. The Muslim Rashaida are Bedouin merchants and camel breeders, originally from Saudi Arabia, who keep to themselves and marry only their own.

Rashaida Bride, Eritrea Photograph by Carol Beckwith and Angela Fisher. Veiled behind an elaborate mask called a burga, a Rashaida bride stays in seclusion before her wedding. The Muslim Rashaida are Bedouin merchants and camel breeders, originally from Saudi Arabia, who keep to themselves and marry only their own.

http://travel.nationalgeographic.com/travel/countries/african-marriage-rituals/

costume

Anishinaabe outfit

 

Anishinaabe outfit collected by Andrew Foster ca. 1790 Fort Michilimackinac, Michigan Birchbark, cotton, linen, wool, feathers, silk, silver brooches, porcupine quills, horsehair, hide, sinew The Andrew Foster Collection

Anishinaabe outfit collected by Andrew Foster ca. 1790 Fort Michilimackinac, Michigan Birchbark, cotton, linen, wool, feathers, silk, silver brooches, porcupine quills, horsehair, hide, sinew The Andrew Foster Collection

costume

Arctic clothing

 

Inuit amauti or tuilli (woman’s parka) ca. 1890–1925 Iqluligaarjuk (Chesterfield Inlet), Nunavut, Canada Parka: caribou skin, glass beads, stroud cloth, caribou teeth, and metal pendants; needlecase: ivory, seal hide; carrying strap with toggles: caribou hide, ivory 143 x 65 cm

Inuit amauti or tuilli (woman’s parka) ca. 1890–1925 Iqluligaarjuk (Chesterfield Inlet), Nunavut, Canada Parka: caribou skin, glass beads, stroud cloth, caribou teeth, and metal pendants; needlecase: ivory, seal hide; carrying strap with toggles: caribou hide, ivory 143 x 65 cm

 

Cree misko takiy (hide coat) ca. 1780–1820 Alberta, Canada Moose hide, paint, porcupine quill, hair 125 x 160 cm

Cree misko takiy (hide coat) ca. 1780–1820 Alberta, Canada Moose hide, paint, porcupine quill, hair 125 x 160 cm

 

Kenneth Kaiona (Copper Inuit, ca. 1850–d.?), dance cap ca. 1920 Coronation Gulf, Alaska Caribou hide, ermine fur, yellow-billed loon skin, sinew, wool, cotton fabric 20 x 23 x 32 cm Gift of John D. Ferguson

Kenneth Kaiona (Copper Inuit, ca. 1850–d.?), dance cap ca. 1920 Coronation Gulf, Alaska Caribou hide, ermine fur, yellow-billed loon skin, sinew, wool, cotton fabric 20 x 23 x 32 cm Gift of John D. Ferguson

http://www.nmai.si.edu/exhibitions/infinityofnations/arctic-subarctic.html

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