Material: Nylon, Polyester, Spandex Size Type: Regular Sleeve Length: Long Sleeve Neck: Square Neck Dress Length: Full Length Occasions: Halloween, Cosplay, Masquerade, etc. Size Details [Our Size M] Bust: 94cm/37.01", Waist: 76cm/29.92", Length: 144cm/56.69", Sleeve: 51cm/20.08" (Approx.) [Our Size L] Bust: 98cm/38.58", Waist: 80cm/31.50", Length: 144.5cm/56.89", Sleeve: 51.3cm/20.20" (Approx.) [Our Size XL] Bust: 102cm/40.16", Waist: 84cm/33.07", Length: 145cm/57.09", Sleeve: 51.6cm/20.31" (Approx.) [Our Size 2XL] Bust: 106cm/41.73", Waist: 88cm/34.65", Length: 145.5m/57.28", Sleeve: 51.9cm/20.43" (Approx.) [Our Size 3XL] Bust: 110cm/43.31", Waist: 102cm/40.16", Length: 146cm/57.48", Sleeve: 52.2cm/20.55" (Approx.)  

Though Romantic elements in stage design are often thought to have ended with the advent of the Victorian era, they in fact persisted into the second half of the nineteenth century. Romantic stages were used in the productions of many of the most prominent actor-managers of the period, including Madame Vestris, Charles Kean, Wilson Barrett, Henry Irving and Herbert Beerbohm Tree. This work shows how the emphasis placed on the visual elements of Victorian productions--the spectacular romantic settings and historically accurate costumes--revolutionized the position that stage designers held. They emerged from anonymity, becoming recognized and highly-praised collaborators in the creative process.

In nineteenth-century Britain, the spectacular and highly profitable theatrical form known as "pantomime" was part of a shared cultural repertoire and a significant medium for the transmission of stories. Rowdy, comedic, and slightly risqué, pantomime productions were situated in dynamic relationship with various forms of print and material culture. Popular fairy-tale theater also informed the production and reception of folklore research in ways that are often overlooked. In Staging Fairyland: Folklore, Children's Entertainment, and Nineteenth-Century Pantomime, Jennifer Schacker reclaims the place of theatrical performance in this history, developing a model for the intermedial and cross-disciplinary study of narrative cultures. The case studies that punctuate each chapter move between the realms of print and performance, scholarship and popular culture. Schacker examines pantomime productions of such well-known tales as "Cinderella," "Little Red Riding Hood," and "Jack and the Beanstalk," as well as others whose popularity has waned-such as, "Daniel O'Rourke" and "The Yellow Dwarf." These productions resonate with traditions of impersonation, cross-dressing, literary imposture,... [Read More]

Selected by Choice magazine as an Outstanding Academic TitleWhen Broadway Was the Runway explores the central and largely unacknowledged role of commercial Broadway theater in the birth of modern American fashion and consumer culture. Long before Hollywood's red carpet spectacles, Broadway theater introduced American women to the latest styles. At the beginning of the twentieth century, theater impresarios captured the imagination of their largely female patrons by transforming the stage into a glorious site of consumer spectacle.Theater historian Marlis Schweitzer examines how these impresarios presented the dresses actresses wore onstage, as well as the jewelry and hairstyles they chose, as commodities that were available for purchase in nearby department stores and salons. The Merry Widow Hat, designed for the hit operetta of the same name, sparked an international craze, and the dancer Irene Castle became a fashion celebrity when she anticipated the flapper look of the 1920s by nearly a decade. Not only were the latest styles onstage, but advertisements appeared throughout theaters, in programs, and on the curtains, while magazines such as Vogue vied for the rights to publish t... [Read More]

Although Jane Hading (1859–1940), Lily Elsie (1886–1962), and Billie Burke (1884–1970) gained fame as stage actresses, their popular appeal also rested on their ability to cultivate a glamorous appearance. Their careers illustrate the early transformation of actresses into marketable commodities whose celebrity status depended on the consumption of their images. This celebrity, in turn, was used to market an array of beauty and fashion goods to women striving to emulate them.The three women featured in Staging Fashion exemplify the factors that ensured success for 20th-century actresses. Each of these women was dressed by a leading couturier (or several couturiers), both onstage and offstage. In major cities such as New York, Paris, and London, actresses depended on exquisite, custom-made gowns both to secure principal roles and to maintain popularity. Their physical beauty, which was consistent with elite notions of class and race, was depicted on postcards and in popular fashion and theatre magazines and newspapers. Finally, these actresses developed distinct "personalities," which were conveyed by their stage roles and in numerous photos and articles.

Charts one of the most important interludes within the Russian cultural Renaissance of the early 20th Century.

THE LURE OF PERFECTION: FASHION AND BALLET, 1780-1830 offers a unique look at how ballet influenced contemporary fashion and women's body image, and how street fashions in turn were reflected by the costumes worn by ballet dancers. Through years of research, the author has traced the interplay between fashion, social trends, and the development of dance. During the 18th century, women literally took up twice as much space as men; their billowing dresses ballooned out from their figures, sometimes a full 55 inches, to display costly jewelry and fine brocade work; similar costumes appeared on stage. But clothing also limited her movement; it literally disabled them, making the dances themselves little more than tableaux. Movement was further inhibited by high shoes and tight corsets; thus the image of the rigidly straight, long-lined dancer is as much a product of clothing as aesthetics. However, with changing times came new trends. An increased interest in natural movement and the common folk led to less-restrictive clothing. As viewers demanded more virtuosic dancers, women literally danced their way to freedom. THE LURE OF PERFECTION will interest students of dance and cultural hi... [Read More]

This illustrated survey of 600 years of fashion investigates its cultural and social meanings from medieval Europe to 20th-century America. It provides a guide to the changes in style and taste, and challenges existing fashion histories, showing that clothes have always played a pivotal role in defining a sense of identity and society, especially when concerned with sexual and body politics. With a chronological structure, each chapter focuses on both male and female fashion of a specific period, covering its fascinating developments. It discusses: androgynous dressing; body piercing; fabrics, clothing and the rise of city life; dress, and the changing shape of the human body; controversies surrounding trousers and leg wear for both men and women; exposure of flesh; fashion and social status; and the dissemination of fashion through travel, film, magazines and catwalk shows.

Adult General Costume Franco American Novelties 49326

Complete your Blues Brothers Halloween Costume with StyleThe Blues Brothers costume kit is the easiest way to create your blues brothers costume. The classic black fedora, shades, tie, harmonica and sideburns are an easy way to show your blues brothers style!Kit includes: blues brothers hat, sunglasses, tie, sideburns and harmonica.Approximately 22″ circumference around inside of hat.5¼″ long with 2″ square framed glasses.58″ long and 2¾″ wide polyester black tie.Set of two, 2½″ long and ¾″ wide sideburns.5″ long and 1″ wide assorted color harmonica.The blues brothers costume accessory kit puts the perfect finishing touch on any blues brothers Halloween costume.

This American Werewolf in London Theater Jack Mask Adult Halloween Accessory is perfect for your next Halloween costume. Make it scary, fun or a mix of the two — just make it