On the Kaftan and Gothic Continued, but preoccupied with Erte.
This is an elegant, long, evening gown.It doesn’t incorporate the Gothic or 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 a beautiful merger.
The dress reminds me of birds in paradise – its colour, iridescent green forming a feathery light hue. 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 excessive decadence.. But it remains distinct from the Kaftan or the Gothic.
You could see both garments have the spirit of the Gothic and the Kaftan residing within- The open front is a classic trait of the Kaftan, with its decorative ribbon that would normally adorns its entire front. Then again, the criss-crossing lace from the upper, tailored, part all the way down shape shifts into the Gothic at it dramatically falls and blooms into Erte.
Offers an overview of the European Gothic and the Arabian Kaftan tradition, which is covered in the red dress post, below Kaftan Sensuality v Gothic Sublimity.
The conflation of the two, Gothic and Arabian, 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 into a single piece but coming together a treat.