Dance, Girl, Dance 1940 | dir. Dorothy Arzner Costume design by Edward Stevenson

Betty Hutton

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Gorgeous Tudors outfits | Light blue gown with cream bodice worn by Natalie Dormer. Appears in 1.09, 2.03, and 2.05. The gown was also worn by Cate Blanchett in Elizabeth (1998).

Wilhelm pantomime costume design (1890-1910) PNGs, part 3

(from: vam)

DALL·E costume PNGs, part 1

1880′s style | The Age of Innocence

German girl, Germany, by Hessische Trachten: Reise in die Zukunft

Mahabharata + Characters

"Un Beau Monstre" (1971) - "Cabaret" (1972)

Last night I watched the 1971 French/Italian Helmut Berger movie "Un Beau Monstre" (US title: "Love Me Strangely") ...and in a pivotal scene, in walks the exquisite Virna Lisi wearing the dress I'd heretofore always thought of as "Liza Minnelli's 'Cabaret' Dress"! That's Liza Minnelli, of course, on the right singing the title number in 1972's "Cabaret" wearing the very same signature gown a year after it was worn by Virna Lisi in a film most people probably have never heard of.

The gown is by French fashion designer Loris Azzaro and is titled "Gilda" (he designed a collection of gowns named after famous film stars or iconic roles) and was sold at his Paris boutique in 1970-71.

“L’élégance féminine” Paris 1922

Fellini’s Satyricon (1969)

THE RED SHOES — 1948, dir. Michael Powell & Emeric Pressburger (costume design by Hein Heckroth)

Theda Bara aka the OG Vamp (1885-1955) was one of the most popular actresses of the silent film era. Making more than 40 films between 1914-1926, most unfortunately lost in the 1937 Fox vault fire.

She became known as "the Vamp" mostly playing femme fatales and is often cited as the first sex symbol of the film era. Her revealing costumes became famous, and were possible to wear before the Hays Code banned such outfits in the 1930s. Being a daughter of a Jewish tailor born in Poland, she learned pattern and wig making from both her mother and father and designed and created most of the costumes and gowns she wore in her films.

A more exotic background was fabricated for her to promote the 1917 film Cleopatra, making her the daughter of an Arab sheik and a French woman, born in the Sahara and growing up under the shadow of the Sphinx. She was also encouraged to speak about mysticism and the occult in interviews. Theda Bara gave rise to a wider popularity of "vamp" roles that encapsulated exoticism and sexual domination.

Posters for Theda Bara's films: - Carmen (1915) - The Clemenceau Case (1915) - The Eternal Sappho (1916) - The Rose of Blood (1917) - Cleopatra (1917) - Salome (1918) - Under the Yoke (1918) - When a Woman Sins (1918) - The She-Devil (1918)

“The reason good women like me and flock to my pictures is that there is a little bit of vampire instinct in every woman.”