Twelfth Night, Part 3

And finally, the last of the Twelfth Night screen caps. Thanks again, L.!

Very much looking forward to watching this, and as a matter of fact, it's at my home right now, courtesy of Netflix :-)
Have a wonderful weekend, all!

Twelfth Night, Part II

More wonderful screen caps from "Twelfth Night"!

Twelfth Night

My thoughtful friend, Medieval Muse, sent me some wonderful screen caps from "Twelfth Night," knowing that I would be entranced by the Stunner Style within.  I most certainly am, and I am equally pleased to share them with you, with her permission.   I'm going to post these over a couple of days.  First up is the lovely and very Pre-Raphaelite Helena Bonham Carter in blue.  Can I just say, I LOVE this dress.

The color, the beautiful detailing on the yoke with its touch of lavender, the Medieval belt.  It is bliss!  I'm not sure how I missed this film, but it is great to have something "new" to look forward to.

The Pre-Raphaelite Visage

Having discussed hair styles, I thought it might be fun to turn to cosmetics. Many Victorian-era stunners, especially those from the middle class, likely had little use for makeup, if any, but by the arrival of the Belle Epoque, cosmetics were moving from the world the theater and the streets into the drawing room, as Max Beerbohm coyly predicted in his "A Defence of Cosmetics."  His article was "an ironic defense of Decadence," and focuses more on how he, Beardsley and other decadents wryly viewed the growing commercialism of the age and objectification of women.  However, he is prescient in his statement that "Cosmetics are not going to be a mere prosaic remedy for age or plainness, but all ladies and girls will come to love them."  Granted, not ALL women or men love cosmetics, but they are certainly more acceptable today than they once were. And I'm sure those Aesthetes who still revered the Pre-Raphaelites and were embracing Symbolist mystery and glamour were not above darkening their eyes with kohl and staining their pallor to evoke the more sinister elements of Pre-Raphaelite and Symbolist imagery: sirens, witches and merciless ladies.

© www.jedroot.com

The prevailing visage in actual PRB works of art is artless and pure, with the frame of hair often surrounding the face, emphasizing the natural beauty of the sitters' features.

"The Beloved- Study for African Girl" Dante Gabriel Rossetti

©Birmingham Museums & Art Gallery

And more often than not, when an article or sound byte mentions a "Pre-Raphaelite" look, they refer to softly tinted lips and cheeks, or a subtle "glow." It is a look that works for many, and is definitely an easy "go-to", day to day style.

©Gamma/Eyedea/Zuma Press

There is no doubt that such lovely works of art lend themselves to marketing ploys, too! I remember that sometime ca.1994 - ca.1996, I bought my first Prescriptives item because a magazine blurb described it as giving the wearer a "Pre-Raphaelite glow." Is Beerbohm turning in his grave? It was a great little item, and I wish I still had it, though I have forgotten the name. It was shaped like a lipstick and came in a tube, but was a (very) barely-tinted, almost translucent cheek stick that you could use alone or on top of blush.  A more recent product that sounds tempting to me is "Medieval," by Lipstick Queen.

Musicians and style icons Florence Welch and Tori Amos embrace a more modern and cutting edge interpretation of Pre-Raphaelite beauty that is equally enticing.

© Rolling Stone Magazine

If you would like to see a "look-book" featuring PRB-inspired makeup from the Anna Sui Fall 2008 line, you can check it out here, courtesy of Cover Girl Cosmetics.