Fashion in Full Bloom at Billy Porter’s Extravaganza at the Phipps Conservatory

A journey through the impressive Phipps Conservatory and Botanical Gardens in Pittsburgh, where the latest exhibit, Flowers Meet Fashion: Inspired by Billy Porter is a fusion of flora and fabulousness. Strike a pose!

Duke, Mima and Papa were so inspired by the Japanese Garden at the Phipps Conservatory and Botanical Gardens, they decided to only speak in haiku.

I’ll say it: The Phipps Conservatory and Botanical Gardens puts Chicago’s Garfield Park Conservatory to shame. It was definitely one of the highlights of our trip to Pittsburgh, Pennsylvania, where we spent a delightful long weekend with my parents. This stunning gem of Victorian-era architecture, adjacent to Panther Hollow in Schenley Park, has captivated guests for more than a century — and is sure to do so for years to come.

Visitors to the Phipps are greeted by a towering figure standing in front of a pink neon sign that reads, "You are an Icon." The skirt is made of petal-like layers. If you look closely, you can see hidden details, such as a map of Pittsburgh and song lyrics from the musical Kinky Boots.

From Roots to the Runway

Throughout the year, the conservatory changes themes seasonally, and our visit serendipitously coincided with the opening day of their summer show, Flowers Meet Fashion, a celebration of native son Billy Porter's local roots, his sartorial style and his love of flowers. 

For those of you who don’t know, Porter is an Emmy, Grammy, and Tony award winning performer and fashion icon. Billy is well known for his bold, creative and androgynous style, and is a tireless advocate for LGBTQ+ rights. According to the Pittsburgh Post-Gazette, the seeds for the show were sown in the summer of 2021, when Porter returned to the City of Champions to direct the movie Anything's Possible, a coming of age romantic comedy about a trans girl in her senior year of high school. While shooting scenes at the conservatory, Billy found common ground with the personnel and decided to become a board member.

As Billy wrote in his memoir, Unprotected:

I didn’t have the words for any of this at the time, just a child's awareness that people carried themselves differently in different clothing, that fashion could affect a profound transformation, on the outside and inside both.

The Phipps purchased a few favorites from past exhibitions to add to their permanent collection, including American glass sculptor Dale Chihuly’s Goldenrod, Teal and Citron chandelier. The stunning sculpture hangs in the atrium, where it can be enjoyed by all visitors.

A Welcoming Homage to Porter’s Pittsburgh Roots

Our experience began on the ground floor of the airy glass-domed Welcome Center, where a 7.5-foot-tall silver mannequin positioned near the entrance stood wearing a voluminous black gown. Entitled “Home Grown: Planted Roots,” the garment was designed by Madison Michalko, one of six professional costume designers tapped to create pieces for the show.

Michalko found her muse in Billy’s gender-fluid style and in the state of Pennsylvania. The bodice of the dress is shaped like a keystone, the state’s official symbol, accented with gold buttons and white mountain laurel blossoms, the state flower. The wide-brimmed hat is a nod to the crystal-fringed one Porter wore at the 2019 Grammys and features strands of LED lights that flicker like lightning bugs, the state insect.

This tuxedo dress by Damian Dominguez is a powerful statement about the importance of self-expression and the freedom to be who you are. The top is an homage to Mister Rogers, while the skirt is a nod to Dominguez’s Mexican heritage.

Palm Court: The Dress That Defied Convention

The four of us took an elevator up to the first of 14 interconnected conservatory pavilions and entered the spectacular Palm Court. The palms grow in the central and largest room of the conservatory, which reaches 65 feet in height, is 60 feet wide and 450 feet long. 

Holding court before us on a raised platform was a stunning dress by Mexican-American costume designer and Carnegie Mellon University alumnus Damian E. Dominguez. The look was inspired by the now-iconic black velvet tuxedo gown and matching bolero jacket designed by Christian Siriano for Porter to wear at the 2019 Academy Awards. Porter’s ensemble pushed boundaries and raised a few eyebrows at the somewhat restrained awards show. 

Like Siriano’s dress, Dominguez’s gown is also made from velvet but features a red tuxedo jacket in a nod to another Pittsburgh native, Fred Rogers. The hand-embroidered skirt includes a yellow bridge, as well as marigolds and dahlias, a nod to the designer’s heritage and the traditional full skirts of Mexico, where Dominguez’s parents were born.

Carnegie Mellon students Chloe Brown, Huixin Kang, and Jen Tepe reimagined a 1960s pantsuit that takes inspiration from the late British fashion designer Alexander McQueen's iconic Sarabande dress.

Sunken Garden: A Beacon of Hope

Our next stop was the Sunken Garden, which was filled with the colorful and creative designs by students from the Fundamentals of Costume Design class taught by Susan Tsu, professor of design at Carnegie Mellon, Porter’s alma mater. The students had been asked to read his memoir and then work in teams to create designs that reflected different aspects of Porter’s life and career. 

We paused to admire the sheer white pantsuit with crocheted fungi created by Chloe Brown, Huixin Kang and Jem Tepe. The designers explained that the fungi are a botanical metaphor for Porter’s exploration of his identity and his journey to self-reliance.

Could there be a pea in this pod? Caifeng Hong and Katherine Chung’s design was out of this world. 

Caifeng Hong and Katherine Chung’s look was inspired by the theme of contrast and rebirth. The dress is made of olive green netting layered over a green silk organza gown and collar that conceals the face of the mannequin. The contrast between the light and airy netting and the heavy and luxurious organza creates a sense of movement and energy. The collar, meanwhile, adds a touch of mystery and intrigue. The overall effect is a dress that is both ethereal and otherworldly, evoking something extraterrestrial.

Carrie Anne Huneycutt and Evan Riley’s collaboration was Somewhere Over the Rainbow, celebrating Porter's legacy as a trailblazing figure in the LGBTQ+ community. 

Carrie Anne Huneycutt and Evan Riley collaborated on the third look, entitled “Statue of Liberation.” The corseted dress is enveloped by a shimmering rainbow that soars above the mannequin’s head and is held aloft by a torch made of colorful fabric strips. The “flames” emanating from the torch represent Porter’s passion, determination and generosity of spirit.

Cathy Trostle-Olivar's dazzling Egyptianate look floats above the water of the Victoria Room. 

Fit for a Queen: From Camp to High Art 

In the Victoria Room, a luminous costume rose from the waters. The look was designed by Cathy Trostle-Olivar and was inspired by Porter’s glittering gold Egyptian sun god Ra costume at the 2019 Met Gala. The theme that year was camp, which Porter said can sometimes be seen as “cheesy.” However, when executed properly, it can ascend to “the highest forms of fashion and art.” The pavilion uses blue Egyptian lotus aka waterlily and tall stately papyrus to great effect. 

Three bronze maiden statues by Edmond Amateis, which originally stood within niches in the walled garden of the local Mellon estate, hold court among the formal French garden at the back of the Broderie Room.

The Broderie Room: The XIV Factor

Modeled after the formal period gardens of French chateaux during the reign of Louis XIV, the Broderie Room takes its name from the French “parterre de broderie,” a type of garden arrangement translated as “embroidery of earth.” This style of garden design came from a time when nature was considered a force to be tamed. 

I don’t speak French, but I think that this photo of Wally and Mima is très mignon. 

This fabulous footwear is a wink to the 2013 musical Kinky Boots, which Porter starred in, and a reminder that sometimes the most unexpected things can save the day. 

While visitors are discouraged from throwing coins into the many ponds and water features throughout the conservatory to protect the flora and fauna, a wishing well can be found here. 

Chihuly’s celestial Desert Gold Star sculpture provides a brilliant blast of color amid the green hues of desert flora.

These flowers are so whimsical, they could have been plucked straight out of a Dr. Seuss book.

Gallery Room: Blooming With Creativity 

Visual arts students from CAPA 6-12, a local creative and performing arts school, have transformed the Gallery Room at Phipps Conservatory into a whimsical wonderland. Using papier-mâché, the students have created larger-than-life flowers and animals that are sure to delight visitors of all ages.

The Gallery Room showcases a collection of critters created by local students.

The centerpiece of the exhibit is a towering salvia spike that nearly reaches the ceiling. The spike is made up of hundreds of individual flowers, all of which have been carefully hand-crafted by the students. And in the center of the room, a menagerie of amphibians and animals frolic in a whimsical forest.

These looks made from plant material by Phipps master gardeners were so avant-garde, they could be on the red carpet at the Oscars.

South Conservatory: “Hort” couture

The sound of camera shutters and the strobe of flashbulbs add a fun theatrical element to the red carpet vibe of the South Conservatory room. Wally spoke with one of the friendly conservatory staffers, who informed him that the topiary models were created by the master gardeners at the Phipps. The nature-inspired garments were fashioned from plant material sourced and crafted onsite at the conservatory and are so stunning, they would impress the judges on Project Runway.

The first mannequin featured a dried leaf hat in the shape of a lady slipper orchid, and a full skirt fabricated from clusters of blue hydrangea flowers contrasted by a form-fitting acid green palm frond bodice.

This look, inspired by a tetra fish, is sure to turn heads — even underwater!

The second look reimagines the scales of a neon tetra fish. Blue-painted magnolia leaves create a fish scale pattern on the jacket and hood, while salal leaves were used for the pants. Marigold-colored staghorn ferns are transformed into the cuffs and lapels, and painted monstera leaves create the “tail fin.” The deep-sea diver-like boots are made of upcycled accession tags, the metal labels that are issued to plants when they become part of the Phipps collection.

Well, this look is one fashion-forward way to channel your inner bird (note the nest atop its head and the dress details made of pheasant feathers).

The third look uses salal leaves trimmed with pampas grass and a dried grapevine garland to create drama and height, encircling the mannequin's waist and head like a bird’s nest. Completing the look are upcycled accession tag bracelets and white pheasant tail feathers.

The woman Wally had spoken with about the topiary models also told him about the Tropical Forest Conservatory, a 12,000-square-foot, 60-foot-high space located behind the South Conservatory. If she hadn't, I think we might have walked right by it, which would have been a shame. The incredible space is home to the immersive Tropical Forest Hawai'i, showcasing a variety of endemic and native species from the state. 

As soon as we stepped inside, we were transported to another world. The air was humid and warm, and we were surrounded by lush vegetation, with towering native trees and cascading waterfalls. 

This lettuce-covered look was a showstopper. I sure hope there’s an opening under the hat so the fish can eat!

The Serpentine Room: Salad Days and a Surprise 

As we made our way past the final five costumes, found in the Serpentine Room, I was unsure which look I liked best. But once I saw the aquaponics dress, I knew without a doubt that it was my favorite. The ingenious installation was a truly innovative and sustainable design. The clear acrylic body contained live goldfish, and the hoop skirt was made of living lettuce. A placard explained that the lettuce cleans the water and maintains a healthy ecosystem for the fish, whose waste, in turn, fertilize the plants. It was a truly beautiful — and functional —  piece of art.

Drag queen Thee Suburbia’s ruby red dress is a tribute to Porter’s uplifting message and blooms with the power of positivity.

Brooklyn-based drag performer Thee Suburbia designed the ruby red dress. She was inspired by a personal encounter with Porter, who spoke to the entire crew about the importance of lifting one’s surroundings, while working on a music video shoot for his song “Children.” Thee Suburbia’s gown pays homage to Porter’s attire that day as well as his words. The bursting blooms are a metaphor for the power needed to be an uplifting and inspiring force. It’s a friendly reminder to Phipps visitors that we can make the world a better place by lifting each other up.

Mindy Eshelman’s sustainable suit and cape is a sartorial love letter to Pittsburgh and our planet.

Next up was a white mandarin collar suit and oxblood-lined cape designed by Mindy Eshelman, associate professor of costume design at Carnegie Mellon. The sustainable, locally sourced and upcycled vintage piece was a perfect reflection of Porter’s deep connection to Pittsburgh, as well as the possibilities for our collective future — one in which caring for the planet is imperative. The look has been paired with vintage brooches, including flowers for Phipps, bees recalling our interconnectedness with the natural world, and butterflies symbolizing personal transformation. 

NYC performer Gloria Swansong’s designs evolved from the long-established pageantry of drag queen balls, a parade of gender expression and aesthetics.

To close out the show, New York City drag performer Gloria Swansong served up two stunning looks inspired by the underground 1980s ballroom scene. Category is: Botanicals Eleganza.

The first was an Old Hollywood-style gown made of shimmering blush pink silk organza. The sleek form-fitting dress was adorned with silk roses handmade in NYC by M&S Schmalberg.

The second look was an iridescent bouquet sleeve dress, a beautiful and meaningful tribute inscribed with the names of ballroom legends to honor their contributions to the community.

Don't forget to stop and “Strike a Pose” in front of the Instagram-friendly pink and green vertical wall before you leave the Serpentine Room.

Café Phipps: Lunch Break  

We arrived at the conservatory at 10:30 a.m. and were starving by noon. My dad and I are both notorious for getting hangry, so the four of us headed over to Café Phipps, which is located in the Welcome Center, across from the gift shop.

After taking a look at the elevated and healthy menu options, we agreed to have lunch there. The menu featured a variety of dishes made with fresh, seasonal ingredients. Wally and I shared a spinach and kiwi salad and a Hawaiian pulled pork sandwich. Both were delicious and satisfying.

Another Chihuly work, Celadon and Royal Purple Gilded Fiori, captures attention at the center of the Tropical Fruit and Spice Room.

Chihuly’s vibrant glass installation, Cattails, can be found nestled amongst the lush greenery of the Palm Court. 

The Porter-inspired show is a delightful experience, where talent and collaboration flourish. Whether or not you make this summer’s show, though, the Phipps is a feast for the senses. 

Be sure to find the Longfellows by Hans Godo Fräbel in the Orchid Room.

The Lowdown

Flowers Meet Fashion: Inspired by Billy Porter is on display at the Phipps Conservatory and Botanical Gardens until June 25. 

Admission is $21.95 for adults; $19.95 for students over 18 and seniors 62 and older; $13.95 for children ages 2-18; and free for Phipps members and children under 2. 

A bronze sculpture of Scottish poet Robert Burns, holding a plow and contemplating a mountain daisy, stands outside one of the Victorian glasshouses at the Phipps Conservatory.

Phipps Conservatory and Botanical Gardens 

1 Schenley Park Drive 
Pittsburgh, Pennsylvania
USA

 

Marie Antionette, Fleas and the Origin of the Color Puce

A flea-ridden history of the strange hue, which varies from brownish purple to mauve.

Could this be the infamous dress that created the color puce?

It’s unlikely that you’ll ever find the color puce in a box of Crayola crayons. But did you know that Marie Antoinette, the last queen of France and sartorial rule-breaker, was responsible for starting a fashion trend inspired by the ignoble bloodsucking flea?

​​Reviled or admired, the Austrian-born dauphine seemed to spark strong emotions. After an initially warm reception, at a mere 14 years old, Marie Antoinette adopted extravagant tastes and frivolity that earned her a reputation as spoiled and vain. As a means of self-expression, the young queen ornamented herself in earnest with elaborate coiffures, plumage adornments and lavish attire. 

“ When Louis XVI was asked what he thought of his wife’s latest look, he replied, “C’est puce” — that is, flea-colored.

And so a new color was born.”

She also liked to pretend to be a shepherdess in her faux-rustic village, the Hameau, built near the Petit Trianon on the grounds of Versailles. The enclave included thatched-roof cottages and a functioning farm, complete with stables, a pig sty and a hen house, where she would retreat by herself or with intimate friends. 

Her legacy continues to influence and inspire creatives more than two centuries after her beheading by the French revolutionaries at the age of 37. The Netflix series Emily in Paris mentions the mythical origin story of the champagne coupe glass, purportedly modeled after Marie Antoinette’s perfectly proportioned breasts.

A portrait of Marie Antoinette by Élisabeth Vigée Le Brun

Let Them Dress Like a Flea

Like champagne, the color puce (pronounced pooce) is rooted in French history and culture. The term was coined in 1778 and has an interesting origin. It’s defined as a brownish purple color. The etymology, however, is far from enticing — its name is French for flea, a reference, one imagines, to the tiny vampiric parasite’s belly full of blood. 

In Revolutionary France, color played a major role in publicly announcing who you were and what side you were on. Marie Antoinette’s sartorial whims set trends and came to symbolize the excess of the royals. Her unapologetically voracious appetite for fashion and extravagance became the stuff of legends. 

According to the biography of Marie Antoinette’s dressmaker, Rose Bertin, the queen had a brownish purple dress made. When Louis XVI was asked what he thought of his wife’s latest look, he replied, “C’est puce” — that is, flea-colored. And so a new color was born.

Did King Louis XVI say Marie Antoinette’s dress looked like a flea because of the color of the insect, or the blood it sucks?

The Parisian bourgeoisie adopted puce in droves, as it was less cost prohibitive than lighter tints and hid stains well. The color was produced by combining madder root with a metallic salt or mordant, which deepened and fixed the dye to a textile. 

Puce became the “it” color of the summer of 1775, inspiring a myriad of hues, each with its own spin, from ventre de puce (flea belly), cuisse de puce (flea thigh) and even vielle puce (old flea).

Dyers and weavers struggled to keep up with demand. But fashion, as they say, is fickle. After only a few months, it was out of style. 

Strangely enough, in French you can call your sweetheart “ma puce” (my flea) as a term of endearment. 

Which puce is really puce? Pantone declares it to be a purplish brown, while others think it’s more of a mauve.

On top of that, no one seems able to agree on the actual hue of puce. Pantone’s version, 19-1518 TPX, is more of a grayish-brown, while A Dictionary of Color, by A. Maerz and M. Rea Paul, describes it as a mauve pink. 

Wherever the color lands on the spectrum, it will always have as its claim to fame a connection to Marie Antionette and a bloodsucking parasite. –Duke

Fashion and Beauty in Ancient Egypt

What did the average Egyptian look like? A tour of the clothes, jewelry and makeup worn in Ancient Egypt.

What was an Ancient Egyptian’s beauty regime like?

Ancient Egyptians had no qualms about nudity. To be fair, it does get really hot there. 

But that doesn’t mean they ran around naked all day. They did have a sense of style — the clothes tended to be simple, with jewelry adding colorful accents.

“When you think about these standards of beauty, you realize how similar they are to our own modern-day ideals.”

The dry desert climate has preserved an astounding amount of statues and paintings from Ancient Egypt, so we have a good idea of what they looked like and what they wore.

What did Ancient Egyptians look like?

On the average, they were shorter than modern-day humans: Women were about 5 feet tall, while men were typically around 5'5".

Ancient Egyptian women strived to be thin with pert breasts, while men with broad shoulders tapering down to flat stomachs were considered handsome. Some things never change.

What was the ideal of beauty?

A good place to start with standards of beauty is the art of a time period. You can see how bodies were depicted in paintings and sculptures — especially those that don’t aim at realism. The body types in Ancient Egyptian art remained amazingly similar for over 3,000 years.

So what was considered hot to the Ancient Egyptian? Thin was in. Curved hips weren’t often depicted, but small, firm breasts were admired. 

“[S]ome of the mummies of older women, whose natural equipment had sagged under the relentless pressure of the years, were stuffed with wax or sawdust in the pectoral region to give the necessary curves,” writes Barbara Mertz in Red Land, Black Land: Daily Life in Ancient Egypt.

And the men emulated a long and lean physique, including broad shoulders that tapered down to a flat stomach. 

When you think about these standards of beauty, you realize how similar they are to our own modern-day ideals.

What hairdos did Ancient Egyptian women adopt?

How did Ancient Egyptians wear their hair?

“The girls let their hair hang loose or braided it into pigtails, but boys had an unusual coiffure — the head was shaved except for one long lock on the side, which was braided,” Mertz writes. You’ll see this sidelock carved onto many a temple wall.

A statue showing the unusual sidelock worn by Egyptian boys

This distinctive hairstyle was something men would wax idyllic about, feeling nostalgia for the carefree days of boyhood as the time “before I had cut off the sidelock.” Perhaps the act of cutting off the sidelock was a rite of passage into adulthood for Ancient Egyptian men.

Men in the Old Kingdom wore their hair short, not unlike today. Other styles that were popular included the shoulder-length bob and a short cap of tight curls arranged in rows. 

A man with rows of tight curls — a popular style in Ancient Egypt

For women, in the Middle Kingdom the haircut that was all the rage had bangs and long hair on the sides cut at an angle. 

By the New Kingdom, noblewomen had a new style: a top layer of long, thin curls or crimps, beneath which were rows of shorter curls or marcelled waves that hung to the shoulders. 

A wig with a colorful covering from the tomb of a minor wife of Pharaoh Thutmose III.

Did they wear wigs?

Yes, both men and women did, and they were mostly made of human hair. A woman’s wig tended to be long and dark-haired, though in the early dynasties, some females sported hairstyles as short as their male counterparts. 

Facial hair wasn’t too popular in Ancient Egypt, but there are some statues that show men with mustaches or beards.

What about facial hair? 

“At certain periods neat little mustaches were worn, and sometimes beards seem to have been fashionable,” Mertz writes. But most often, men in Ancient Egypt were clean-shaven. That long goatee you see on statues and carvings of pharaohs was artificial: You can sometimes see the chin straps.

A variety of clothing styles for the different classes. You’ll note that white was the color of choice.

What clothes did Ancient Egyptians wear?

For young children, the answer was nothing — not a bad idea, Mertz muses, given the heat and the propensity of toddlers to get dirty.

“Older children wore clothing like that of their parents, a kilt, or skirt, for boys, a simple linen dress for girls,” Mertz writes. 

Linen was pretty much the only material used for clothing, although now and then wool was used. Egyptian weavers could use linen to make everything from a coarse fabric to a delicate gauze.

No bright colors or patterns here: The clothes were usually white. 

Dresses and kilts got more elaborate in later periods.

What were Ancient Egyptian women’s dresses like?

Women were typically clad in an ankle-length dress with wide shoulder straps over the breasts.

“The dress must have been designed to fit the figure as tightly as possible, and it may have been stylish to make it of thin material,” Mertz writes, adding, “A becoming style for the slim and graceful, but I wonder how plump ladies felt about it?”

In later periods, fashion got a bit more complex among the well-to-do. Another style that became all the rage had a sheer linen robe with accordion pleats and a small cape that crossed and tied in front of the breasts. It hung loose unless tied with a long sash at the waist.

There are also depictions of dresses made entirely of colored beads, intricately woven into elaborate patterns. They were most likely quite revealing, and where they show up in bas-reliefs and statues, they’re donned by goddesses or comely servant girls.

Men’s wardrobes were simple: a white skirt, or kilt, and no top.

What did Ancient Egyptian men wear?

Most men went shirtless but wore a knee-length kilt. It was secured by knots, sashes or simply tucked in. Later on, the kilt, like women’s dresses, more fancy, and started sporting accordion pleats.

Like the womenfolk, men also wore long, sheer, flowing robes.

Leather sandals were preferred over those made of papyrus, which didn’t last long.

What about their shoes? 

Most people went barefoot but had sandals for special occasions. Even the poor would have had a pair of sandals made from papyrus, though they didn’t last long. Leather was preferred. 

Ancient Egyptian jewelry didn’t have many precious stones but featured turquoise, garnet, obsidian, lapis lazuli and other colorful rocks.

What was Ancient Egyptian jewelry like?

The precious stones used to make bracelets (worn by women, boys and sometimes men), diadems, girdles, anklets and rings included carnelian, turquoise, garnet, feldspar, rock crystal, obsidian and lapis lazuli. 

But the most popular material was faience. If you read anything about Ancient Egypt, you’ll come across this word. Egyptian faience was composed of ground quartz, a colorant and other materials molded into a shape — most often a blue-green bead. 

Copper (for the lower class) and gold (for the upper class) were the most common metals used. Both were readily available, thanks to mines in the desert and neighboring Nubia. Electrum, a pale yellow mix of silver and gold, was also commonly used for jewelry. 

These large necklaces were called pectorals. This one features faience, a common blue-green material used at the time.

“The most common ornament was the flexible collar, made of concentric rows of beads, some of which might be shaped like animals or flowers or leaves,” Mertz writes. “It covered the front of the wearer’s body from the base of the neck to the middle of the breast, and since it was made of bright colors, it formed an important part of the overall costume.” 

Men and women lined their eyes with kohl in a distinctive style.

Did Ancient Egyptians wear makeup?

Anyone even remotely interested in Ancient Egypt (or who has seen Elizabeth Taylor in Cleopatra) is familiar with kohl. Egyptians focused on the eyes, and kohl was the eye shadow of choice. It’s still popular, though it’s now made of soot. But back in the day, Egyptians ground up malachite to make green kohl, and galena to make shades of gray. They applied this eye shadow over the eyebrows and around the eyes using a tiny wooden spoon or a rod made of bone (or, in a pinch, their finger). 

Red ochre worked as rouge and sometimes as lipstick. 

The Egyptians were fond of oiling themselves, which, as Mertz points out, makes sense in a hot, dry climate.

And to complete the package, people also applied scented oils, including myrrh and resin or floral bouquets, such as lily. –Wally

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