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In the 18th century, engageantes took the form of ruffles or flounces of linen, cotton, or lace, tacked to the elbow-length sleeves then fashionable. [1] In the mid-19th century, the term engageante was used for separate false sleeves, usually with fullness gathered tight at the wrist, worn under the open bell-shaped "pagoda" sleeves of day ...
Sleeves were bell- or trumpet-shaped, and caught up at the elbow to show the frilled or lace-trimmed sleeves of the shift beneath. Sleeves became narrower as the period progressed, with a frill at the elbow, and elaborate separate ruffles called engageantes were tacked to the shift sleeves, in a fashion that would persist into the 1770s.
Close-fitting sleeves just past the elbow were trimmed with frills or ruffles, and separate under-ruffles referred to as engageantes in modern terms, of lace or fine linen were tacked, to the inside of the gown's sleeves, [9] or perhaps to the shift or chemise sleeves.
Matilde Juva-Branca wears a dark morning dress with a lace blouse or chemisette and cuffs and short leather gloves. Her hair is parted and worn in long sausage curls, 1851. Doña Josefa García Solis wears a simple green satin dress with laced short sleeves over a linen chemise or chemisette. Her lace cap is trimmed with rose-colored tassels ...
The ruff, which was worn by men, women and children, evolved from the small fabric ruffle at the neck of the shirt or chemise. Ruffs served as changeable pieces of cloth that could themselves be laundered separately while keeping the wearer's doublet or gown from becoming soiled at the neckline. The stiffness of the garment forced upright ...
The modest white dress had a high neckline, a knee-length hem, and quarter-length sleeves that ended in ruffles. The dress was simple and elegant, striking a similar tone to first ladies of years ...