Frivolous Dress Order Dress Order Vol.7
In his opinion, because of Kiyotaka's selfishness and blatantly disregarding his orders to remain on standby, it was reasonable for him to drop out immediately. Kiyotaka countered his words are absolute that in the White Room, however, as they currently stand outside, he has no need to heed them. Ayanokōji was unimpressed as he quipped that Kiyotaka became rather talkative due to the school's absurd influence while looking at him as something lesser than filth. He declares that Kiyotaka is his property and whether he lives or dies is entirely up to his discretion. The fact that he could make such a statement displays clearly the power he holds. Kiyotaka remains undaunted as his decision to stay is of his own volition.
frivolous dress order dress order vol.7
At dusk, Ayanokōji reflects on how winter has arrived and how the previous year, he would had been stuck indoors. He accidentally overhears a phone conversation between a 2nd-year student and student council president Nagumo whom she address as Miyabi. She comments on how their relationship flatlined once he got promoted and that she'll forgive him if he treats her. Nagumo attempts to coerce her to join the council and confessed to her, however she rejects him even though he argued making passes with many girls. She mentions that Nagumo still hasn't settled things with Manabu and that she'll consider if he defeats him. After the call ended, she soliloquies that Manabu was useless and eventually Miyabi will win. She accidentally slips and that was when she notices Ayanokōji. She smiled embarrassingly and took off in the direction of the 2nd year dormitories.
While Karuizawa is being tortured, Ayanokōji and Chabashira talk about the private points system. Ayanokōji makes the hypothesis that there are pre-made price tags for everything you can buy for private points (including test marks). He recalls how she arbitrarily made up a number when he once saved Sudou from expulsion and asks if the same process could be repeated. She attempts to bring the conversation back to Karuizawa but was quickly cut off by him. He gave her an ultimatum and asks how much private points is needed to buy one mark of the mid-term exam. Failure to answer his question would result in him asking from another teacher, which would lead to a report by him addressed to the school of her discriminatory attitude towards her own class.
He then orders Albert to close the door and Ishizaki to beat up Ayanokōji, much to Ishizaki's apprehension. Ishizaki asks for there to not be any hard feelings as he was just following orders, while Karuizawa shouted for them to stop in the background. Ryuuen tells her to show some gratitude towards Ayanokōji before grabbing her hair and tossing her aside. She was about to leap at him but stopped when Ayanokōji tells her not to worry.
Clothes were seen as an expression of women's place in society,[3] hence were differentiated in terms of social class. Upper-class women, who did not need to work, often wore a tightly laced corset over a bodice or chemisette, and paired them with a skirt adorned with numerous embroideries and trims; over layers of petticoats. Middle-class women exhibited similar dress styles; however, the decorations were not as extravagant. The layering of these garments make them very heavy. Corsets were also stiff and restricted movement. Although the clothes were not comfortable, the type of fabrics and the numerous layers were worn as a symbol of wealth.
During the start of Queen Victoria's reign in 1837, the ideal shape of the Victorian woman was a long slim torso emphasised by wide hips. To achieve a low and slim waist, corsets were tightly laced and extended over the abdomen and down towards the hips.[4] A chemise was commonly worn under the corset, and cut relatively low in order to prevent exposure. Over the corset, was the tight-fitting bodice featuring a low waistline. Along with the bodice was a long skirt, featuring layers of horsehair petticoats[4] worn underneath to create fullness; while placing emphasis on the small waist. To contrast the narrow waist, low and straight necklines were thus used.
A similar silhouette remained in the 1850s, while certain elements of garments changed. Necklines of day dresses dropped even lower into a V-shape, causing a need to cover the bust area with a chemisette. In contrast, evening dresses featured a Bertha, which completely exposed the shoulder area instead. Bodices began to extend over the hips, while the sleeves opened further and increased in fullness. The volume and width of the skirt continued to increase, especially during 1853, when rows of flounces were added.
During the early and middle 1860s, crinolines began decreasing in size at the top, while retaining their amplitude at the bottom.[8] In contrast, the shape of the crinoline became flatter in the front and more voluminous behind, as it moved towards the back since skirts consisted of trains now. Bodices on the other hand, ended at the natural waistline, had wide pagoda sleeves, and included high necklines and collars for day dresses; low necklines for evening dresses. However, in 1868, the female silhouette had slimmed down as the crinoline was replaced by the bustle, and the supporting flounce overtook the role of determining the silhouette.[9] Skirt widths diminished even further, while fullness and length remained at the back. In order to emphasise the back, the train was gathered together to form soft folds and draperies[10]
The trend for broad skirts slowly disappeared during the 1870s, as women started to prefer an even slimmer silhouette. Bodices remained at the natural waistline, necklines varied, while sleeves began under the shoulder line. An overskirt was commonly worn over the bodice, and secured into a large bow behind. Over time though, the overskirt shortened into a detached basque, resulting in an elongation of the bodice over the hips. As the bodices grew longer in 1873, the polonaise was thus introduced into the Victorian dress styles. A polonaise is a garment featuring both an overskirt and bodice together. The tournure was also introduced, and along with the polonaise, it created an illusion of an exaggerated rear end.
By 1874, skirts began to taper in the front and were adorned with trimmings, while sleeves tightened around the wrist area. Towards 1875 to 1876, bodices featured long but even tighter laced waists, and converged at a sharp point in front. Bustles lengthened and slipped even lower, causing the fullness of the skirt to further diminish. Extra fabric was gathered together behind in pleats, thus creating a narrower but longer tiered, draped train too. Due to the longer trains, petticoats had to be worn underneath in order to keep the dress clean.
However, when 1877 approached, dresses moulded to fit the figure,[8] as increasing slimmer silhouettes were favoured. This was allowed by the invention of the cuirass bodice which functions like a corset, but extends downwards to the hips and upper thighs. Although dress styles took on a more natural form, the narrowness of the skirt limited the wearer in regards to walking.
The early 1880s was a period of stylistic confusion.[1] On one hand, there is the over-ornamented silhouette with contrasting texture and frivolous accessories. On the other hand, the growing popularity of tailoring gave rise to an alternative, severe style.[7] Some credited the change in silhouette to the Victorian dress reform, which consisted of a few movements including the Aesthetic Costume Movement and the Rational Dress Movement in the mid-to-late Victorian Era advocating natural silhouette, lightweight underwear, and rejecting tightlacing. However, these movements did not gain widespread support. Others noted the growth in cycling and tennis as acceptable feminine pursuits that demanded a greater ease of movement in women's clothing.[1] Still others argued that the growing popularity of tailored semi-masculine suits was simply a fashionable style, and indicated neither advanced views nor the need for practical clothes.[7] Nonetheless, the diversification in options and adoption of what was considered menswear at that time coincided with growing power and social status of women towards the late-Victorian period.
During the 1880s, formal evening dress remained a dark tail coat and trousers with a dark waistcoat, a white bow tie, and a shirt with a winged collar. In mid-decade, the dinner jacket or tuxedo, was used in more relaxed formal occasions. The Norfolk jacket and tweed or woolen breeches were used for rugged outdoor pursuits such as shooting. Knee-length topcoats, often with contrasting velvet or fur collars, and calf-length overcoats were worn in winter. Men's shoes had higher heels and a narrow toe.
Women with lesser financial means tried to keep up with the example being set by the middle and upper classes by dyeing their daily dress. Dyers made most of their income during the Victorian period by dyeing clothes black for mourning.[20]
Charles Frederick Worth, a prominent English designer, became popular amongst the upper class though its city of destiny always is Paris. Haute couture became popular at the same time when sewing machines were invented.[24] Hand sewn techniques arose and were a distinction in compared to the old ways of tailoring. Princess Eugenie of France wore the Englishman dressmaker, Charles Frederick Worth's couture and he instantly became famous in France though he had just arrived in Paris a few years ago. In 1855, Queen Victoria and Prince Albert of Britain welcomed Napoleon III and Eugenie of France to a full state visit to England. Eugenie was considered a fashion icon in France. She and Queen Victoria became instant friends. Queen Victoria, who had been the fashion icon for European high fashion, was inspired by Eugenie's style and the fashions she wore. Later Queen Victoria also appointed Charles Frederick Worth as her dress maker and he became a prominent designer amongst the European upper class. Charles Frederick Worth is known as the father of the haute couture as later the concept of labels were also invented in the late 19th century as custom, made to fit tailoring became mainstream.[25]