Search results for: “fashion details”

  • The Pre-Raphaelite Spell: Why I’m Still Here

    The Pre-Raphaelite Spell: Why I’m Still Here

    I’m drawn to the Pre-Raphaelites the way you’re drawn to read the last line of a letter again, in case you missed what it really meant the first time.

    Their paintings do not simply depict beauty; they brood over it.

    They make an atmosphere you can step into. All that abundant hair and bright light, flowers heavy with meaning, faces caught between longing and restraint.

    The Hireling Shepherd
    The Hireling Shepherd, William Holman Hunt

    Nothing is quite innocent in them, not a ribbon, not even a hand half lifted in a doorway. I look at their work and feel part enchantment, part unease. It’s as if the canvas is not only showing me a scene, but quietly insisting I remember something I have forgotten.

    What draws me to the original Brotherhood, in particular, is their audacity. Their stubborn refusal to accept the approved version of beauty.

    They were young, sharp edged, and convinced that truth lived in details everyone else had learned to blur. They captured the exact veining of a leaf, the depthof a shadow, the raw clarity of early light.

    Guinevere
    The Defence of Guinevere, William Morris

    They looked backward to find a language that felt more alive, yet what they made was not nostalgia so much as a kind of defiance.

    Even now, you can feel it under the paint, the sense that they were not merely making pictures but building a world they intended to inhabit, whatever it cost.

    And then there is Elizabeth Siddal: my long standing fixation, my artistic north star. I found her first as an image, as most people do: a pale girl in a painted story, suspended between beauty and tragedy.

    Elizabeth Siddal
    Elizabeth Siddal, drawn by Dante Gabriel Rossetti

    But the longer I looked, the more I felt the cruelty of that suspension. It struck me how easily the world makes a symbol out of a woman and calls it understanding. I kept following her trail: the poems, the sketches, the sharp silences where her own voice should have been louder.

    For more than twenty years I’ve researched her because she refuses to stay flat. Each time I think I know her, she reminds me that the real story is not the one we repeat. It’s the one we’re still learning how to see.

     Regina Cordium
    Regina Cordium, Dante Gabriel Rossetti. Model: Elizabeth Siddal.

    In the end, it’s all the same pull. The Brotherhood fascinates me for its fierce, youthful insistence on seeing truly, even when truth was inconvenient. And Elizabeth Siddal holds me longest because she resists the tidy version of her story. She demands patience, nuance, and a better kind of looking.

    I return to this world, again and again, because it isn’t only aesthetic to me. It’s a lens. A language. A way of learning to see women, art, and myself with more honesty than the myths allow.

    Meteyard, Lady of Shalott
    ‘I am Half-Sick of Shadows’,The Lady of Shalott by Sidney Harold Meteyard
  • Pre-Raphaelite FAQs

    Pre-Raphaelite FAQs

    by Stephanie Chatfield

    The Pre-Raphaelites created art that is known for its vivd and colorful brilliance, achieved by painting white backgrounds that they would later paint over in thin layers of oil paint. Their work was meticulous and their subject matter drew inspiration from myths, legends, Shakespeare, Keats, and lovely long haired damsels that we now equate with Victorian beauty.

    Frequently Asked Questions

    While it can seem to be an umbrella term, it actually refers to 

    1. Art created by members of the Pre-Raphaelite Brotherhood and their followers. 

    2. The literature that grew out of the Pre-Raphaelite art movement.

    The Pre-Raphaelites wanted to return to the detailed, vibrant, and sincere art that existed before the time of the Renaissance painter Raphael (hence Pre-Raphaelite). They believed that after Raphael, European art had become too mechanical and formulaic.

    The Pre-Raphaelite Brotherhood began in 1848 as a secret society of young artists: 

    • Dante Gabriel Rossetti
    • William Michael Rossetti
    • Thomas Woolner
    • William Holman Hunt
    • Frederic George Stephens
    • James Collinson
    • John Everett Millais. 

    The members of the Pre-Raphaelite Brotherhood were rebelling against the current art establishment, mainly the British Royal Academy, and its formulaic approach to art instruction. Though the Pre-Raphaelites’ goal was to remain secret, the meaning of the initials “PRB” inscribed on their paintings became public (possibly leaked by Dante Gabriel Rossetti).

    In character and temperament, the members of the Brotherhood were vastly different. Millais, Rossetti, and Holman Hunt each had his own distinctive style, but one thing they all agreed on was their displeasure with the way artists were instructed at the Royal Academy. Training there was formulaic and dry, which led to generations of British art that the Pre-Raphaelites saw as dark and unimaginative. They longed to rebel against the first president of the RA, Sir Joshua Reynolds (they referred to him as Sir Sloshua). 

    These bright and talented idealists were radical for the time and their goals were sincere. They wanted to rejuvenate the art world, to remind the Royal Academy that paintings could be dazzling and colorful while still maintaining the dignity of accuracy.

    The brotherhood believed that for the art world to be revived, it needed to return to the time before the 16th century painter Raphael, and thus, the name Pre-Raphaelite was born. In the midst of the Industrial Revolution and scientific discovery, these artists looked backward and created works that celebrated a distinctly Medieval aesthetic, yet with a realism that stunned the viewer.

    The Brotherhood’s early doctrines were expressed in four declarations:

    • To have genuine ideas to express;
    • To study Nature attentively, so as to know how to express them;
    • To sympathize with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parodying and learned by rote;
    • And, most indispensable of all, to produce thoroughly good pictures and statues.

    Inspired by late Medieval and early Renaissance works, the Pre-Raphaelites created paintings that were vibrantly different than the art of their contemporaries. Their efforts to stay true to nature resulted in botanical details that were painstakingly reproduced and the doctrines they adhered to resulted in paintings with an almost photographic realism. They had their critics, however, and their work was not easily accepted. (Charles Dickens was a vocal critic. Later, though, he became good friends with Millais.)

    Though they were a brotherhood, there were many women in their circle that were crucial to the growth of Pre-Raphaelite art. These are the women that inspired the creation of this website. A diverse group of models, wives, family, friends, and lovers, the movement we now know as Pre-Raphaelitism is threaded with the repeated and vast contributions from these women. Several were artists themselves and most of them have familiar faces; they grace the canvasses painted by many of the brotherhood and their followers.

    The Brotherhood itself did not last very long. The artists grew in different directions and their styles changed. For the most part, they stayed true to the principles that guided them in 1848, albeit in their own individual ways. The members of the Pre-Raphaelite Brotherhood and the artists they influenced had a profound effect on 19th and early 20th-century art. In fact, once you are familiar with them, you can easily spot their influence in popular culture today.

    Classical mythology, Shakespearean scenes, Biblical stories, and modern themes such as the plight of fallen women, were all of interest to the Pre-Raphaelites. 

    The brotherhood and many of their associates were captivated by literature and wanted to create work that incorporated poetic and literary themes, as well as addressing social injustice. Their works reflected meaningful narratives, but their genius was that it didn’t merely tell a story, but often posed questions that left the viewer wondering. 

    More on the Pre-Raphaelites

  • Pre-Raphaelite Adventures

    Part travelogue, part journal. Filled with museum visits, painted places, and quiet musings.

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    St. Pancras Old Church

    St. Pancras Old Church one of the oldest churchyards in England. Despite being just a stone’s throw from busy King’s Cross and St. Pancras stations, the garden feels like a secret oasis.

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    Westminster Abbey

    Westminster Abbey is one of the most iconic and historically rich buildings in London, and in all of Britain, really. It’s a stunning Gothic church with a legacy that stretches back over a thousand years. 

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    Seeing The Beatles through Paul McCartney’s Lens

    In 2023, we visited the Paul McCartney photography exhibit at the National Portrait Gallery. The focus of this exhibit was fascinating: photographs McCartney captured himself, using his own camera, between December 1963 and February 1964, a pivotal moment when The Beatles soared from British fame to global stardom.

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    Peter Pan in Kensington Gardens

    When it first appeared in 1912, it caused quite a stir because J.M. Barrie had it installed secretly overnight, with no announcement. The idea was to create a magical surprise for children, as if the statue had simply “appeared” by fairy magic. 

    Interior Explorations

    Alice Falling Down Rabbit Hole 1

    The Magic Down the Rabbit Hole

    As I pursue the Pre-Raphaelites, I find it is the small details that captivate me, pulling me further and further down the rabbit hole.

    Janemorrisseated

    Unconventional Beauty

    Dante Gabriel Rossetti’s notions of beauty were decidedly different than the Victorian status quo. The great muses in his life had striking and unique features that did not fit with the societal norms of the time. 

    Guggums Features Bridge

    Balancing on the Bridge

    The more hashtagged and memed our society becomes, the more Pre-Raphaelite art I want to share. 

    On Storms

    Storms can be agents of destruction but they also hold potential.  Whether it is a beautiful and dramatic creation by three divine beings as seen in De Morgan’s work or storms as a plot device, I’ve realized something very important. I get to choose how I see the storm. 

    The Wounded Dove, Rebecca Solomon

    The Wounded Dove

    Perhaps the dove and the woman are two sides of the same coin. There are times when we need to nurture and times when we need to tear down our own walls and allow others to nurture us.

    A Pre-Raphaelite Look at Hitchcock’s Vertigo

    Vertigo is, in my opinion, one of Hitchcock’s best films. On the surface it begins as a thriller, but it transitions into an exploration of loss, grief, and obsession.

    Pre-Raphaelite Princess of Star Wars

    Despite the futuristic setting of Star Wars “a long time ago in a galaxy far, far away,” Leia’s aesthetic feels grounded in the past. Her gowns echo medieval silhouettes, subtly nodding to the romantic, ethereal style often seen in Pre-Raphaelite art.

    What Grows from Grief

    We all face pain, despair, and grief. These moments can feel permanent, as if we’ll be stuck in them forever. But even in the darkest soil, something grows…

    From Tennyson to TikTok: Are We All Living the Lady of Shalott’s Curse?

    Even within her confinement, the Lady delights in her weaving. That resonates too. We all weave webs—Instagram grids, curated TikToks, filtered selfies. And just like her, we risk becoming trapped in our creations.

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  • A Guggums Ghost Story: The Laugh in the Stairwell

    A Guggums Ghost Story: The Laugh in the Stairwell

    A flat in Blackfriars, a winter evening, and a sound you can’t quite place… A Light in the Stairwell begins in the sort of domestic quiet that usually feels safe. But this is a Guggums ghost story, where the hauntings don’t arrive as shrieks; they arrive as details: it could be a glow where no lamp has been lit, a pause between footsteps, or a familiar corridor that suddenly seems to have learned your name. Step in gently, keep your hand on the banister, and follow the light upward, because whatever waits on the landing wants to make you look.

    The Laugh in the Stairwell

    by Stephanie Chatfield

    At Chatham Place the river was never content to stay outside. It crept into the rooms the way damp does, quietly, without apology, so that even on Christmas Day the air smelled faintly of coal smoke and wet stone, and the windowpanes held a film you could not quite wipe away.

    Punch, curled like a small ember on the rug, lifted his head and growled at nothing. It was not his usual officious bark, the one he saved for footsteps and knocking and the insolence of deliveries. This was lower, and doubtful. Something in the room had shifted a fraction, and he had noticed.

    1854lizzie

    Lizzie glanced up from the mantel where she was attempting, without much success, to arrange a sprig of greenery so it looked intentional rather than desperate. “It’s only the house,” she said, half to Punch, half to herself. But the words landed oddly, as though the house had somehow been listening and found them amusing.

    Gabriel, of course, paid no attention. He was at his table, ink on his fingers, a half written line pinned beneath his hand like a captive moth. He had that expression he wore when he believed the world must yield to him if he stared hard enough. Lizzie watched him with a fondness, knowing his penchant for perfection.

    christmas holly

    There was a knock at the door. Quick, insistent, cheerful.

    “Now that,” Lizzie said, brightening, “is not a ghost.”

    Gabriel opened it to Algernon Charles Swinburne, who swept in like a gust of scandal, his coat flung wide, cheeks pink from cold and eyes alight with mischief. He brought with him, as he always did, a sense that the day might become an event rather than a collection of mundane moments.

    “My dear sinners,” he declared, kissing Lizzie’s hand with theatrical devotion, “I have come to rescue you from domestic virtue.”

    “I was just about to become virtuous,” Lizzie said gravely. “You’ve ruined everything.”

    Swinburne’s laugh was sharp and delighted. He adored Lizzie’s dry humor; he treated it as an intelligence test the world had failed but she had passed. Punch, usually suspicious, allowed Swinburne a brief sniff of approval, then with renewed uneasiness, continued watching the corner by the stair.

    tea cup

    They had tea that felt thin, because everything in London was thin in winter except the fog; and Swinburne told stories. He had a talent for making even ordinary incidents sound like conspiracies undertaken by the Fates. Lizzie laughed, really laughed, her shoulders loosening, her eyes brightening. Gabriel watched with an expression that was both proud and oddly anxious. Joy in her was something he wanted to protect.

    It was while Swinburne was in full flight, recounting some absurd scene in Paris, his hands conducting invisible music, that the sound came.

    A laugh.

    Not Swinburne’s. Not Lizzie’s or Gabriel’s.

    A woman’s laugh, low and intimate, the kind that belongs in a room among friends, not an empty stairwell.

    It rose from the narrow space behind them, the little passage by the steps, Thin, breathy, almost tender, and then stopped too neatly. It seemed that whoever laughed cut herself off the instant she remembered she was not meant to be heard.

    The teacup in Lizzie’s hand paused halfway to her lips.

    Swinburne, remarkably, fell silent.

    Punch stood. Every hair along his small spine lifted. He did not bark. He stared.

    Gabriel’s face tightened. “Did you…”

    Christmas holly

    “Yes,” Lizzie said, and set down her cup with exaggerated care. A careless clink felt suddenly, absurdly impolite. The house demanded manners in exchange for whatever it had chosen to reveal.

    Swinburne recovered first. “Well,” he said lightly, “if we are to be haunted, let it be by a woman who appreciates wit.”

    Against her better instincts, Lizzie chuckled.

    Another echo of a laugh, then, fainter and farther, a sound of someone attempting to imitate Lizzie and failing.

    Lizzie’s stomach went cold in a slow, steady way. It was not the laugh itself. It was the timing of it; the way it arrived on cue, the way the house waited for Lizzie to laugh first and then decided it could do it better.

    Gabriel stood, abruptly. “This is nonsense.”

    He strode to the stair, candle in hand. The flame made a faint halo in the passage. The stairs rose tight and steep, disappearing into shadow. Nothing moved.

    “Hello?” Swinburne called, his fear already turning into another story he could tell. “Madame Ghost, are you in need of tea or verse?”

    Punch darted forward and then stopped, rigid, at the base of the first step. He whined once, quiet and disbelieving. His whine made Lizzie’s skin prickle more than the laughter had.

    Because Punch, for all his foolish pomp, did not whine unless something in the room had become wrong.

    Lizzie rose and went to Gabriel, her hand closing on his sleeve. “Don’t,” she said softly.

    He looked at her, impatient. “It’s…”

    But he didn’t finish, because the laugh came again, close now, right beside them, so close it seemed to brush their ears. And this time it was unmistakably Lizzie’s laugh. The exact cadence of it. The same quick, delighted intake at the end.

    Lizzie felt as if the floor dropped slightly beneath her feet.

    Swinburne’s eyes widened. “That,” he said quietly, “is in devilishly bad taste.”

    Gabriel lifted the candle higher, furious, as if his anger might force the unseen to become visible. “Show yourself.”

    Mirror

    The candle flame wavered.

    In the little oval mirror nailed beside the stair, a cheap, practical thing Lizzie barely noticed day to day, its glass deepened for an instant, like dark water.

    And Lizzie saw, not a face, but a gesture.

    A pale hand at the edge of the frame, fingers curled as though holding the mirror from the other side.

    Not reaching out.

    Holding on.

    It was her own hand, Lizzie realized with a shock of recognition. The same long fingers, the same slight bend at the knuckle.

    Her hand, yet not her hand.

    It wanted to be her. Or had already decided it was.

    Lizzie stepped forward with a decisive manner that brought Gabriel to a standstill.

    She didn’t raise her voice or argue. Instead, she did the simplest, most domestic thing imaginable.

    She took a small cloth from the table, an ordinary cloth, stained with tea in one corner, and covered the mirror.

    The laughter ceased at once, as if the house had been cut off mid-performance.

    Punch released a single sharp, triumphant bark, and having proved his point, trotted back to the rug and sat down with dignity restored.

    Swinburne exhaled a laugh that was only half real. “My dear,” he said to Lizzie, “you are far more practical than any romantic heroine deserves to be!”

    “I’m tired of romance,” Lizzie said, and surprised herself with how true it was. “It always wants too much.”

    Gabriel stared at the covered mirror. “You can’t just… cover it.”

    “I can,” Lizzie said, and her voice carried a quiet edge that made even Swinburne look at her with something resembling respect. “Because it wants attention. It wants us to fuss and stare and invite it closer. And I won’t.”

    Swinburne’s wit cautiously resurfaced. “Then let us be dull,” he declared. “Let us be painfully alive and ordinary. Let us eat and drink and offend all spirits with our unpoetic domesticity.”

    Lizzie smiled. Gabriel, after a moment, did too, reluctantly, smiling being something of an awkward concession.

    They went back to the table. Tea was poured again. Swinburne began a new yarn on purpose, louder than before, filling the small rooms with human noise, partially illuminating the gloom.

    And once, only once, Lizzie thought she heard it again: the faintest echo of a laugh from the stairwell, not mocking now, but sulky, like a bitter guest turned away.

    She did not look.

    She kept her eyes on Punch, warm and solid on the rug. On Swinburne’s animated hands. On Gabriel’s eyes, softened by the sight of her smiling.

    Outside, the river moved on, indifferent. Inside, the house settled into its small, stubborn life.

    The cloth remained over the mirror.

    Yet, something lingered behind it, jealously listening to the spirited sounds of the living.

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