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In 1789, the regime of the French Revolution decreed that clothing should be plain, so silk ribbons fell out of fashion in France and were exported to North America. [1] Consequently, the people of the northern plains who traded furs with the French became known for their ribbon work. They include Métis, Ojibwe, and Cree. Later, the art spread ...
Zaju chuishao fu (traditional Chinese: 雜 裾 垂 髾 服; simplified Chinese: 杂裾垂髾服; pinyin: zájū chuíshāo fú), also called Guiyi (Chinese: 袿衣), [1] and sometimes referred as "Swallow-tailed Hems and Flying Ribbons clothing" or "swallow tail" clothing for short in English, [2]: 62–64 [3] is a form of set of attire in hanfu which was worn by Chinese women.
This formal style then gave way to more relaxed fashions. The robe à la française or sack-back gown had a tight bodice with a low-cut square neckline, a decorated [stomacher], wide panniers, and was lavishly trimmed with all manner of lace, ribbon, and flowers. An early form of the robe à la française was worn as a less formal undress fashion.
Princess Henriette of France in court dress playing the viola de gamba, c. 1750–52, by Jean-Marc Nattier Lady Mary Fox wears a grey silk hooded Brunswick gown with striped ribbon ornaments, 1767. Women's clothing styles emphasized a narrow, inverted conical torso, achieved with boned stays, above full skirts.
By the 1670s, the bow of ribbons had increased in size and in the 1680s, the bow of ribbons became very large and intricate with many loops of ribbon. By the mid-1690s, the very large bow of ribbons was discarded. Also, a new style of cravat made its appearance in the 1690s, the Steinkerk (named after the Battle of Steenkerque in 1692). Before ...
Strips of silk ribbons are cut and appliquéd in layers, creating designs defined by negative space. The colors and designs might reflect the clan or gender of the wearer. Powwow and other dance regalia from these tribes often feature ribbonwork. These tribes are also known for their fingerwoven sashes.