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On Saturday evening, the actor graced the carpet at the 62nd New York Film Festival, wearing an airy striped gown that debuted a mere five days ago at Paris Fashion Week. Her fresh ensemble was ...
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 ...
Nowadays, it might also be worn as a push-up bra under a low-backed dress or as a camisole for outerwear. The bustier can also be worn as a half-slip under sheer upper garments if a bold display of the midriff is not desired. [1] A bustier resembles a basque, but it is shorter. It reaches down only to the ribs or waist.
Gowns were made in a variety of styles: Loose or fitted (called in England a French gown); with short half sleeves or long sleeves; and floor length (a round gown) or with a trailing train. [20] [21] The gown was worn over a kirtle or petticoat (or both, for warmth). Prior to 1545, the kirtle consisted of a fitted one-piece garment. [22]
Sprezzatura ([sprettsaˈtuːra]) is an Italian word that refers to a kind of effortless grace, the art of making something difficult look easy, or maintaining a nonchalant demeanor while performing complex tasks. The term is used in the context of fashion, where classical outfits are purposefully worn in a way that seem a bit off, as if the ...
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]
Seventeenth-century Artisan Mannerism is one exception, applied to architecture that relies on pattern books rather than on existing precedents in Continental Europe. [ 27 ] Of particular note is the Flemish influence at Fontainebleau that combined the eroticism of the French style with an early version of the vanitas tradition that would ...
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.