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She also wanted to buy a new gown of cloth-of-gold for Mary to wear at the wedding of Nicolas, Count of Vaudémont (1524–1577), and Princess Joanna of Savoy-Nemours (1532–1568) at Fontainebleau. This new costume was intended to emulate the fashion adopted by the French princesses of the blood, Elisabeth of Valois and Claude of France (1547 ...
Peter Cottontail is a young Easter Bunny who lives in April Valley, where all Easter bunnies live and work, making Easter candy, sewing bonnets, and decorating and delivering Easter eggs. Colonel Wellington B. Bunny, the retiring Chief Easter Bunny, names Peter as his successor. Peter, who has always dreamed of being the Chief Easter Bunny ...
As such, the Easter Bunny again shows similarities to Santa (or the Christkind) and Christmas by bringing gifts to children on the night before a holiday. The custom was first mentioned in Georg Franck von Franckenau's De ovis paschalibus ("About Easter Eggs") in 1682, referring to a German tradition of an Easter Hare bringing eggs for the ...
Men's-style cravats were sometimes worn by women in 1914. Woman in 1914 wearing a belted, sailor-collared tunic with a tie. Dancer Irene Castle was an early adopter of bobbed hair, 1914; Grand Duchess Maria Nikolaevna of Russia wears a kimono-style dressing gown in 1915. Oriental styles were in fashion during the decade.
The Easter Bunny reminds us of another magical gift-bearer; he's a bit like Santa Claus: a benevolent bearer of gifts for good children and a star of posed holiday pictures (sometimes including ...
Wedding dress from 1891. Until the late 1960s wedding dresses reflected the styles of the day; since then they have often been based on Victorian styles. Weddings performed during and immediately following the Middle Ages were often more than a personal union between two individuals. They frequently symbolized a union between families ...
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Label in dress (c.1940s) worn by Ella Fitzgerald. In the 1950s, she moved "Chez Zelda" to 151 57th Street in Midtown. [5] [11] [1] She had a staff of nine dressmakers and charged almost $1,000 per couture gown. [3] Overall, Wynn was widely known to create dresses that accentuated curves whilst delivering a look of powerful femininity.
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