Hey You...look thi very interesting site:
http://www.digitaldeliftp.com/
There are a lot of poster about Coca-Cola and others...and cool pictures...Iloved it...
Have fun!!!!
kisses
quarta-feira, 23 de julho de 2008
segunda-feira, 21 de julho de 2008
Hey you..I long time I couldn`t post here, but I came back and this time with news:
Title: Why do they call me a Gibson girl?
Composer: Stuart, LeslieLyricist: Stiles, Leslie
Publisher: Francis, Day & Hunter
Place of publication: New York
Date of publication: 1906
Call Number: M1 .D48
Box: 236
Item: 058
Performance Medium: Piano and Voice (with lyrics)
Larger Work: Belle of Mayfair
First Line: I walked one day along Broadway, when I was in New York
Chorus First Line: But, why do they call me a Gibson girl? Gibson girl!
Artist: Starmer
Genre: Popular song
Subject term: Summertime/Vacation/June/Swimming/Fair.
sexta-feira, 27 de junho de 2008
S curve
Every time I will be posting something about Corset and TL ( anyway) in differents sites.. and ideas!!!
You can click in the topics:
Tightlacing (also called corset training and waist training) is the practice of wearing a tightly-laced corset to achieve extreme modifications to the figure and posture and experience the sensations of a very tight corset. Those who practice tightlacing are called tightlacers. Some tightlacers call the corsets they wear training corsets.
History of tightlacing
Two unscientific sketches from 1884: A, the natural position of internal organs. B, when deformed by tight lacing. In this way the liver and the stomach have been forced downward, as seen in the cut.
Corsets were first worn during the 16th century and remained a feature of fashionable dress until the French Revolution (1789). These corsets were mainly designed to turn the torso into the fashionable cylindrical shape although they narrowed the waist as well. They had shoulder straps; they ended at the waist; they flattened the bust and, in so doing, pushed the breasts up. The emphasis of the corset was less on the smallness of the waist than on the contrast between the rigid flatness of the bodice front and the curving tops of the breasts peeking over the top of the corset. There are no records of tightlacers at this time.
The corset then went into eclipse. Fashion embraced the Empire silhouette: a Graeco-Roman style, with the high-waisted dress that was unique to this style gathered under the bosom. The waist was de-emphasised, and dresses were sewn from thin muslins rather than the heavy brocades and satins of aristocratic high fashion.
The reign of the Empire waist was short. In the 1830s, shoulders widened (with puffy gigot sleeves or flounces), skirts widened (layers of stiffened petticoats), and the waist narrowed and migrated towards its "natural" position. By the 1850s, exaggerated shoulders were out of fashion and waistlines were cinched at the natural waist above a wide skirt. Fashion had achieved what is now known as the Victorian silhouette.
In the 1830s, the artificially inflated shoulders and skirts made the intervening waist look narrow, even with the corset laced only moderately. When the exaggerated shoulders disappeared, the waist itself had to be cinched tightly in order to achieve the same effect. It is in the 1840s and 1850s that tightlacing is first recorded. It was ordinary fashion taken to an extreme.
As it was accepted that a corseted waist was the ideal, it is hard to define tightlacing strictly, or to say what proportion of Victorian women practiced it. Today's waist measurements are unacceptable as a guide, since:
A corset, recommended by doctors and nurses for Tightlacing. 1887
Women's bodies have increased in size since the nineteenth century, so waist measurements that seem small today might not have been considered so by Victorians.
As corset wearing was the norm in the nineteenth century, it is likely that women tolerated proportionally greater reductions as a matter of course, without thinking of themselves as tightlacers.Young and fashionable women were most likely to tightlace, especially for balls, fashionable gatherings, and like occasions for display. Older, poorer, and primmer women would have laced moderately – just enough to be decent.
The Victorian and Edwardian corset differed from earlier corsets in numerous ways. The corset no longer ended at the waist, but flared out and ended several inches below the waist. The corset was exaggeratedly curvaceous rather than cylindrical. It was also much sturdier in construction, thanks to improvements in technology. Spiral steel stays curved with the figure rather than dictating a cylindrical silhouette. While many corsets were still sewn by hand to the wearer's measurements, there was also a thriving market in cheaper mass-produced corsets.
In the late years of the Victorian era, medical reports and rumors claimed that tightlacing was fatally detrimental to health (see Victorian dress reform).Women who suffered to achieve small waists were also condemned for their vanity and excoriated from the pulpit as slaves to fashion. It was frequently claimed that too small a waist was ugly rather than beautiful.Dress reformers exhorted women to abandon the tyranny of stays and free their waists for work and healthy exercise.
Despite the efforts of dress reformers to eliminate the corset, and despite medical and clerical warnings, women persisted in tightlacing as long as it was fashionable. In the early 1900s, the small corseted waist began to fall out of fashion. The feminist and dress reform movements had made practical clothing acceptable for work or exercise. The rise of the Artistic Dress movement made loose clothing and the natural waist fashionable even for evening wear. Couturiers like Fortuny and Poiret designed exotic, alluring costumes in pleated or draped silks, calculated to reveal slim, youthful bodies. If one didn't have such a body, new undergarments, the brassiere and the girdle, promised to give the illusion of one.
Corsets were no longer fashionable, but some people still felt that they were sexy. Corsets entered the underworld of the fetish, along with items such as bondage gear and vinyl catsuits. In the 1980s and 1990s, fetish wear became a fashion trend and corsets made something of a recovery. They are often worn as top garments rather than underwear. However, most corset wearers own a bustier or two for evening wear; they do not tightlace. Historical re-enactors also wear corsets, but few tightlace.
Tightlacing today
Modern tightlacing is a minority interest, often associated with fetishistic interest in the corset and BDSM. The majority of tightlacers are women, although some men also tightlace quite extensively.
Tightlacers typically wear a corset for at least 12 hours a day, every day, when they are most active, although more serious tightlacers (particularly those trying to achieve the smallest waist they can) wear corsets for up to 23 hours a day, taking the corset off only in order to bathe.
Tightlacers sometimes have a partner, called a trainer, to help and support them. However, it is possible for somebody to tightlace without a partner.
Two unscientific sketches from 1884: A, the natural position of internal organs. B, when deformed by tight lacing. In this way the liver and the stomach have been forced downward, as seen in the cut.
Corsets were first worn during the 16th century and remained a feature of fashionable dress until the French Revolution (1789). These corsets were mainly designed to turn the torso into the fashionable cylindrical shape although they narrowed the waist as well. They had shoulder straps; they ended at the waist; they flattened the bust and, in so doing, pushed the breasts up. The emphasis of the corset was less on the smallness of the waist than on the contrast between the rigid flatness of the bodice front and the curving tops of the breasts peeking over the top of the corset. There are no records of tightlacers at this time.
The corset then went into eclipse. Fashion embraced the Empire silhouette: a Graeco-Roman style, with the high-waisted dress that was unique to this style gathered under the bosom. The waist was de-emphasised, and dresses were sewn from thin muslins rather than the heavy brocades and satins of aristocratic high fashion.
The reign of the Empire waist was short. In the 1830s, shoulders widened (with puffy gigot sleeves or flounces), skirts widened (layers of stiffened petticoats), and the waist narrowed and migrated towards its "natural" position. By the 1850s, exaggerated shoulders were out of fashion and waistlines were cinched at the natural waist above a wide skirt. Fashion had achieved what is now known as the Victorian silhouette.
In the 1830s, the artificially inflated shoulders and skirts made the intervening waist look narrow, even with the corset laced only moderately. When the exaggerated shoulders disappeared, the waist itself had to be cinched tightly in order to achieve the same effect. It is in the 1840s and 1850s that tightlacing is first recorded. It was ordinary fashion taken to an extreme.
As it was accepted that a corseted waist was the ideal, it is hard to define tightlacing strictly, or to say what proportion of Victorian women practiced it. Today's waist measurements are unacceptable as a guide, since:
A corset, recommended by doctors and nurses for Tightlacing. 1887
Women's bodies have increased in size since the nineteenth century, so waist measurements that seem small today might not have been considered so by Victorians.
As corset wearing was the norm in the nineteenth century, it is likely that women tolerated proportionally greater reductions as a matter of course, without thinking of themselves as tightlacers.Young and fashionable women were most likely to tightlace, especially for balls, fashionable gatherings, and like occasions for display. Older, poorer, and primmer women would have laced moderately – just enough to be decent.
The Victorian and Edwardian corset differed from earlier corsets in numerous ways. The corset no longer ended at the waist, but flared out and ended several inches below the waist. The corset was exaggeratedly curvaceous rather than cylindrical. It was also much sturdier in construction, thanks to improvements in technology. Spiral steel stays curved with the figure rather than dictating a cylindrical silhouette. While many corsets were still sewn by hand to the wearer's measurements, there was also a thriving market in cheaper mass-produced corsets.
In the late years of the Victorian era, medical reports and rumors claimed that tightlacing was fatally detrimental to health (see Victorian dress reform).Women who suffered to achieve small waists were also condemned for their vanity and excoriated from the pulpit as slaves to fashion. It was frequently claimed that too small a waist was ugly rather than beautiful.Dress reformers exhorted women to abandon the tyranny of stays and free their waists for work and healthy exercise.
Despite the efforts of dress reformers to eliminate the corset, and despite medical and clerical warnings, women persisted in tightlacing as long as it was fashionable. In the early 1900s, the small corseted waist began to fall out of fashion. The feminist and dress reform movements had made practical clothing acceptable for work or exercise. The rise of the Artistic Dress movement made loose clothing and the natural waist fashionable even for evening wear. Couturiers like Fortuny and Poiret designed exotic, alluring costumes in pleated or draped silks, calculated to reveal slim, youthful bodies. If one didn't have such a body, new undergarments, the brassiere and the girdle, promised to give the illusion of one.
Corsets were no longer fashionable, but some people still felt that they were sexy. Corsets entered the underworld of the fetish, along with items such as bondage gear and vinyl catsuits. In the 1980s and 1990s, fetish wear became a fashion trend and corsets made something of a recovery. They are often worn as top garments rather than underwear. However, most corset wearers own a bustier or two for evening wear; they do not tightlace. Historical re-enactors also wear corsets, but few tightlace.
Tightlacing today
Modern tightlacing is a minority interest, often associated with fetishistic interest in the corset and BDSM. The majority of tightlacers are women, although some men also tightlace quite extensively.
Tightlacers typically wear a corset for at least 12 hours a day, every day, when they are most active, although more serious tightlacers (particularly those trying to achieve the smallest waist they can) wear corsets for up to 23 hours a day, taking the corset off only in order to bathe.
Tightlacers sometimes have a partner, called a trainer, to help and support them. However, it is possible for somebody to tightlace without a partner.
REFERENCES: Wikipedia.com
quinta-feira, 26 de junho de 2008
Evelyn Nesbit Born in Tarentum, PennsylvaniaDecember 25, 1884 Evelyn Nesbit was born in Tarentum, Pennsylvania, a little village near Pittsburgh, in 1884. Even as a baby she was surpassingly pretty, and her face, like that of a dark-haired cherub, attracted hundreds of visitors to her parents humble home, a little two story frame cottage worth less than $2,000.
Evelyn Nesbit's First Performace1889 Evelyn and Howard Nesbit around 1889In February 1907 the Valley Daily News, the newspaper in Tarentum, Pennsylvania where Evelyn was born, recalled Evelyn's first public musical performace: Florence Evelyn was a particularly interesting child, very quiet, somewhat shy, she did not easily make friends with any one, but when one did gain her confidence she was a loyal friend. She was a very beautiful child and had a remarkably sweet voice for one so young. Her talent along this line was marked and when she was but 5 years of age she made her first public appearance. The occasion was a memorial service which was held in the Methodist Episcopal church, of which her father and mother were members. The service was held in honor of the members, who had died during the year. The church was beautifully decorated for the occasion, an immense bank of evergreens completely covering the pulpit. In the midsts of the solemn hush of the service came the sweet voice of a child singing. It was little Florence Evelyn hidden behind the evergreens and in a voice which will never be forgotten and which could be distictly heard over the large auditorium, came the words, "We Are Going Down the Valley One by One." Before the song was half finished nearly the entire audience was moved to tears. Softly, sweetly, but still distinctly, came the words of the song. It was a splendid triumph for a little child, and the memory of it still lingers in the hearts of the people here and to those who remember it so well, it helps them in the midsts of her present troubles to sympathize with and pity her.
Death of Evelyn Nesbit's FatherThe family moved to Pittsburgh and Evelyn was still a school girl when the death of her father, Winfield Scott Nesbit, a struggling lawyer, left the family almost destitute. Incumberences on the little property left by her father shut off almost every source of income.
Evelyn Nesbit becomes an Artist's ModelWhen Evelyn was only thirteen years old, a Mrs. Darragh, portrait painter and miniature artist of Philadelphia, discovered Evelyn's beauty and painted her head. Later Phillips, a photographer of Philadelphia, asked Evelyn to sit for several photographic studies. The pictures were printed in an art magazine and attracted attention. Soon, Evelyn found that she was being sought by such artists as Carroll Beckwith, F. S. Church, Carl Blender, and J. Wells Champney. Demand for the privilege of photographing her beautiful face or portraying it on canvas became so great that the money earned by the girl by posing became the mainstay of the family. With her mother she moved to New York, took rooms in a low priced boarding house, and began frequenting studios of famous artists.
Evelyn Nesbit Becomes a Gibson GirlIt was when her mother, modest, yet proud of her wonderfully beautiful little daughter just budding into girlhood, took her to a photographer's that Evelyn Nesbit flashed into public view as a famous beauty. The pictures were so remarkable, so perfect in feature, so graceful in every outline that the artist exhibited them in his studio. Little wonder it was that every one who passed the show case stopped spell-bound by the youthful beauty of the subject; little wonder that Charles Dana Gibson, then in the zenith of his success with his studies of the American girl, looked upon Evelyn's photographs in rapture and wished immediately to meet the original and arrange to have her pose for him.
Evelyn Nesbit Meets Stanford WhiteOne day as the little model was about to leave Gibson's studio she was met by a man about to enter the door. "By Jove, Gibson! Who is this little vision of the empyrean blue? Tell me; I must know the little sprite, whether she is of this earth or just a fairy from out of Wonderland,'' the man added, lightly, as he held the girl a shy and pretty captive at the door. The usual unconventional studio introduction followed. The man who gasped in admiration of the exquisite flower-like beauty of the young girl was Stanford White, the renowned architect.
Stanford White's DensLocations of Stanford White's DensDuring the Thaw murder trial, prosecuting attorney Jerome made these observations: "That there was such a place in 22nd Street and 24th Street as she has described, is as true as you sit there and I stand here. That it was maintained by a miserable lot of degenerates, some of whom are living today in this town, and some of whom have had their names mentioned in the course of this trial, is true." "That it was maintained as a coarse, gross place for sexual orgies is as true as I stand here and you sit there. And I say if it was the issue that we were trying here, whether Stanford White deserved it, we might not differ."
REFERENCES: http://evelynnesbit.com/
Evelyn Nesbit's First Performace1889 Evelyn and Howard Nesbit around 1889In February 1907 the Valley Daily News, the newspaper in Tarentum, Pennsylvania where Evelyn was born, recalled Evelyn's first public musical performace: Florence Evelyn was a particularly interesting child, very quiet, somewhat shy, she did not easily make friends with any one, but when one did gain her confidence she was a loyal friend. She was a very beautiful child and had a remarkably sweet voice for one so young. Her talent along this line was marked and when she was but 5 years of age she made her first public appearance. The occasion was a memorial service which was held in the Methodist Episcopal church, of which her father and mother were members. The service was held in honor of the members, who had died during the year. The church was beautifully decorated for the occasion, an immense bank of evergreens completely covering the pulpit. In the midsts of the solemn hush of the service came the sweet voice of a child singing. It was little Florence Evelyn hidden behind the evergreens and in a voice which will never be forgotten and which could be distictly heard over the large auditorium, came the words, "We Are Going Down the Valley One by One." Before the song was half finished nearly the entire audience was moved to tears. Softly, sweetly, but still distinctly, came the words of the song. It was a splendid triumph for a little child, and the memory of it still lingers in the hearts of the people here and to those who remember it so well, it helps them in the midsts of her present troubles to sympathize with and pity her.
Death of Evelyn Nesbit's FatherThe family moved to Pittsburgh and Evelyn was still a school girl when the death of her father, Winfield Scott Nesbit, a struggling lawyer, left the family almost destitute. Incumberences on the little property left by her father shut off almost every source of income.
Evelyn Nesbit becomes an Artist's ModelWhen Evelyn was only thirteen years old, a Mrs. Darragh, portrait painter and miniature artist of Philadelphia, discovered Evelyn's beauty and painted her head. Later Phillips, a photographer of Philadelphia, asked Evelyn to sit for several photographic studies. The pictures were printed in an art magazine and attracted attention. Soon, Evelyn found that she was being sought by such artists as Carroll Beckwith, F. S. Church, Carl Blender, and J. Wells Champney. Demand for the privilege of photographing her beautiful face or portraying it on canvas became so great that the money earned by the girl by posing became the mainstay of the family. With her mother she moved to New York, took rooms in a low priced boarding house, and began frequenting studios of famous artists.
Evelyn Nesbit Becomes a Gibson GirlIt was when her mother, modest, yet proud of her wonderfully beautiful little daughter just budding into girlhood, took her to a photographer's that Evelyn Nesbit flashed into public view as a famous beauty. The pictures were so remarkable, so perfect in feature, so graceful in every outline that the artist exhibited them in his studio. Little wonder it was that every one who passed the show case stopped spell-bound by the youthful beauty of the subject; little wonder that Charles Dana Gibson, then in the zenith of his success with his studies of the American girl, looked upon Evelyn's photographs in rapture and wished immediately to meet the original and arrange to have her pose for him.
Evelyn Nesbit Meets Stanford WhiteOne day as the little model was about to leave Gibson's studio she was met by a man about to enter the door. "By Jove, Gibson! Who is this little vision of the empyrean blue? Tell me; I must know the little sprite, whether she is of this earth or just a fairy from out of Wonderland,'' the man added, lightly, as he held the girl a shy and pretty captive at the door. The usual unconventional studio introduction followed. The man who gasped in admiration of the exquisite flower-like beauty of the young girl was Stanford White, the renowned architect.
Stanford White's DensLocations of Stanford White's DensDuring the Thaw murder trial, prosecuting attorney Jerome made these observations: "That there was such a place in 22nd Street and 24th Street as she has described, is as true as you sit there and I stand here. That it was maintained by a miserable lot of degenerates, some of whom are living today in this town, and some of whom have had their names mentioned in the course of this trial, is true." "That it was maintained as a coarse, gross place for sexual orgies is as true as I stand here and you sit there. And I say if it was the issue that we were trying here, whether Stanford White deserved it, we might not differ."
REFERENCES: http://evelynnesbit.com/
quarta-feira, 25 de junho de 2008
Charles Dana Gibson
Yeah, I know that fist thing I should post here was something about Charles...So...let s go!!
Charles Dana Gibson was born in sept. 14,1867, died in dec. 23,1944.Was an American graphic artist, noted for his creation of the "Gibson Girl", an iconic representation of the beautiful and independent American woman at the turn of the 20th century.He was born in Roxbury, Massachusetts. A talented youth, he was enrolled by his parents in the Art Students League, Manhattan. He studied there for two years before leaving to find work. Peddling his pen-and-ink sketches, he sold his first work in 1886 to John Ames Mitchell's Life magazine. His works appeared weekly in the magazine for over thirty years. He also quickly built a wider reputation, his works appearing in all the major New York publications, Harper's Weekly, Scribners and Colliers Magazine. His illustrated books include the 1898 editions of Anthony Hope's The Prisoner of Zenda and its sequel Rupert of Hentzau. The development of the "Gibson Girl" from 1890 and her nationwide fame made Gibson respected and wealthy.
He married Irene Langhorne, born in Danville, Virginia in 1895, a sister of Nancy Astor, the first woman to serve in as a Member of Parliament in the British House of Commons. The elegant Langhorne sisters, born to a once-wealthy Virginia family devastated by the Civil War, served as the inspiration for the famous 'Gibson girls.'Almost unrestricted merchandising saw his distinctive sketches appear in many forms. He became the editor and eventual owner of Life after the death of Mitchell in 1918. The popularity of the Gibson Girl faded after World War I, and Gibson took to working with oils for his own pleasure. He retired in 1936.
The Gibson Martini is named after him, as he favored ordering gin martinis with a pickled onion garnish in place of the traditional olive or lemon zest. Gibson owned a 700-acre estate in Islesboro, Maine, where he and his wife spent an increasing amount of time through the years.
On his passing in 1944, Charles Dana Gibson was interred with his wife in the same jar at Mount Auburn Cemetery in Cambridge, Massachusetts.
Camille Clifford was an Edwardian celebrity, a stage actress-that is, she was famous for her unique beauty and being quite fitting to the Edwardian "Gibson Girl" ideals, which was the ideal feminine beauty during the 1900s. Original name is Camilla Antoinette Clifford; she was born in Belgium in June 29th, 1885. Daughter of Matilda Ottersen and Reynold Clifford. She was raised in Belgium and the United States.
She made her first stage appearance as a seventeen year-old in 1902 as a member of the chorus in a production of "The Defender" at the Broadway Theatre in New York. She next appeared in a non-speaking role in the original cast of the hit musical comedy "The Prince of Pilsen". The following she came to England with the cast of that production and first appeared on the English stage at the Shaftesbury Theatre on 14th May 1904. By that time, she was a minor player, but her beauty did turn heads quick.
She was very fitting to the feminine beauty of "Gibson Girl", which was drawn by Charles Dana Gibson at the turn of the century. She had full breast, well forward; with long sloping bust, impossibly thin waist, graceful curves over the hips, head held high and shoulders down; it was an imaginary ideal that few real women could come close to, but Camille fit the part so perfectly .
She made her first stage appearance as a seventeen year-old in 1902 as a member of the chorus in a production of "The Defender" at the Broadway Theatre in New York. She next appeared in a non-speaking role in the original cast of the hit musical comedy "The Prince of Pilsen". The following she came to England with the cast of that production and first appeared on the English stage at the Shaftesbury Theatre on 14th May 1904. By that time, she was a minor player, but her beauty did turn heads quick.
She was very fitting to the feminine beauty of "Gibson Girl", which was drawn by Charles Dana Gibson at the turn of the century. She had full breast, well forward; with long sloping bust, impossibly thin waist, graceful curves over the hips, head held high and shoulders down; it was an imaginary ideal that few real women could come close to, but Camille fit the part so perfectly .
Camille stopped acting when she married the Honorable Henry Lyndhurst Bruce, son and heir of Lord Aberdare, at a London registry office on 11th October 1906. They had one child who was born on 13th August, 1909 and died five days after. After the death of her husband in 1914 she returned to theater and appeared in “The Girl of the Future”, then she left the stage again when she was married to John Meredyth Jones Evans MC on 9th August 1917. After that she was never seen on stage again, and died on the 28th June, 1971.
terça-feira, 24 de junho de 2008
gibson girl
Gibson Girls
The Gibson Girl was the personification of the feminine ideal as portrayed in the satirical pen and ink illustrated stories created by illustrator Charles Dana Gibson during a twenty year period spanning the late nineteenth and early twentieth century in the United States.
The "Gibson Girl" set what some argue as the first national standard for a feminine beauty ideal. For the next two decades, the popularity of this fictional image ushered in a national mania for all things Gibson. There was merchandising of "saucers, ashtrays, tablecloths, pillow covers, chair covers, souvenir spoons, screens, fans, umbrella stands", all bearing her image.
The "Gibson Girl" set what some argue as the first national standard for a feminine beauty ideal. For the next two decades, the popularity of this fictional image ushered in a national mania for all things Gibson. There was merchandising of "saucers, ashtrays, tablecloths, pillow covers, chair covers, souvenir spoons, screens, fans, umbrella stands", all bearing her image.
The Gibson Girl was tall, slender yet with ample bosom, hips and bottom in the S-curve torso shape achieved by wearing a swan-bill corset. The images of her epitomized the late nineteenth and early 20th-century Western preoccupation with statuesque, youthful features, and ephemeral beauty. Her neck was thin and her hair piled high upon her head in the contemporary bouffant, pompadour, and chignon ("waterfall of curls") fashions. The tall, narrow-waisted ideal feminine figure was portrayed as multi-faceted, always at ease and fashionable. Gibson depicted her as an equal and sometimes teasing companion to men.Many models posed for Gibson Girl-style illustrations, including Gibson's wife, Irene Langhorne, (who may have been
the original model) and Evelyn Nesbit. The most famous Gibson Girl was probably the Danish-American stage actress, Camille Clifford, whose towering coiffure and long, elegant gowns wrapped around her hourglass figure and tightly corseted wasp waist defined the style.
Among Gibson Girl illustrators were Howard Chandler Christy whose work celebrating American "beauties" was similar to Gibson's and Harry G. Peter, who was most famous for his art on Wonder Woman comics.
"They are only collecting the usual fans and gloves" by Charles Dana Gibson
The Gibson Girl personified beauty, limited independence, personal fulfillment (she was pictured attending college and choosing the best mate, but she was never pictured as part of a suffrage march), and American national prestige. By the outbreak of World War I, changing fashions caused the Gibson Girl to fall from favor. Women of the World War I era favored a sober,
the original model) and Evelyn Nesbit. The most famous Gibson Girl was probably the Danish-American stage actress, Camille Clifford, whose towering coiffure and long, elegant gowns wrapped around her hourglass figure and tightly corseted wasp waist defined the style.
Among Gibson Girl illustrators were Howard Chandler Christy whose work celebrating American "beauties" was similar to Gibson's and Harry G. Peter, who was most famous for his art on Wonder Woman comics.
"They are only collecting the usual fans and gloves" by Charles Dana Gibson
The Gibson Girl personified beauty, limited independence, personal fulfillment (she was pictured attending college and choosing the best mate, but she was never pictured as part of a suffrage march), and American national prestige. By the outbreak of World War I, changing fashions caused the Gibson Girl to fall from favor. Women of the World War I era favored a sober,
masculine suit (first designed and popularized by Coco Chanel) over the elegant dresses, bustle gowns, shirtwaists, and terraced, shorter skirts favored by the Gibson Girl.
Survival radio
An AAF survival radio transmitter carried by World War II aircraft on over-water operations was named the 'Gibson Girl' because of its 'hour-glass' shape. It included a fold-up/down metal frame box kite for which the flying line was an aerial wire. A hand-crank generator provided power for the distress radio signal. When the user was seated in an inflatable life boat, the 'Gibson Girl' shape of the radio allowed it to be held stationary, between the legs and above the knees, while the generator handle was turned. The distress signal, in Morse code, was produced automatically as the handle was turned.
REFERENCES: Wikipedia.com
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