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A long gown with a train has fur at the cuffs and neckline and is worn with a wide belt, c. 1460. An attendant in the same illustration wears a red hood with a long liripipe. Her blue dress is "kirtled" or shortened by poufing it over a belt, c. 1460. Woman wears a simple headdress of draped linen and a red houppelande trimmed with white fur ...
Arnold, Janet: Patterns of fashion 4: The cut and construction of linen shirts, smocks, neckwear, headwear and accessories for men and women c.1540-1660. Hollywood, CA: Quite Specific Media Group, 2008, ISBN 0896762629. Ashelford, Jane: The Art of Dress: Clothing and Society 1500–1914, Abrams, 1996. ISBN 0-8109-6317-5; Ashelford, Jane.
As Beyoncé’s Renaissance World Tour comes to a close, CNN Style looks back at some of her best haute couture performance looks.
The high-waisted gown of the late medieval period evolved in several directions in different parts of Europe. In the German states and Bohemia, gowns remained short-waisted, tight-laced but without corsets or stays. The open-fronted gown laced over the kirtle or a stomacher or plackard. Sleeves were puffed and slashed, or elaborately cuffed.
The Infanta Margarita of Spain is shown here wearing a mourning dress of unrelieved black with long sleeves, cloak and hood. She wears her hair parted to one side and severely bound in braids, 1666. Two English ladies wear dresses with short sleeves over chemise sleeves gathered into three puffs. The long bodice front with curving bands of ...
Tammis Keefe, a cloth designer whose patterns appeared at Lord and Taylor in September 1952, used a harlequin print diamond pattern on a large cloth she crafted for a table setting show. [5] In a July 1954 article in the Washington Post, columnist Olga Curtis mentioned harlequin print fabrics and cellophane as very novel ideas in accessories. [6]