On the Kaftan and Gothic Continued, but preoccupied with Erte.
This is an elegant, long, evening gown.It doesn’t incorporate the Gothic or the Kaftan features, at first glance. But, one could argue that the Gothic is implicit in the bodice part, and, the Kaftan in the lower part. Clearly, the synthesis is Erte, and the result, is such a beautiful union.
The dress reminds me of birds in paradise – its colour, iridescent green, and its form, feathery light. Such is its beauty – that is why I called it Birds of Paradise.
The below Long blue gown, on the right, The Evolution of the Kaftan, has the essence of Erte. The way in which, it accentuates the female curves, and the way the fabric dramatically drapes to the ground adds an air of indulgence and decadenc, to the elegance of the piece. But, remaining distinct, from the Kaftan or the Gothic.
Though, the duo’s apparition resides within. The open front is a classic trait of the Kaftan, and it appears as its decorative ribbon that normally adorns the entire front. Here, the lace criss- crossing from the upper, tailored part, all the way down, shape shifting into the Gothic, and back to Erte.
Offers an overview of the European Gothic and Kaftan Sensuality v Gothic Sublimity, looks at the Arabian Kaftan tradition- the red dress post, below.
The conflation of the two is really prominent in the red dress, on the left. Both the Arabian and European styles somehow jointly, and severely, mark the Gothic from the Arabian in a single piece. But come together a treat.