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The dress was an embroidered "Tudor-style" wedding dress with a high collar and "mediaeval" trumpet sleeves, [1] [5] with white silk chiffon under sleeves edged with pearls and other jewels. [6] Her veil was made of silk net embroidered with floral sprays, and her "something borrowed" was the Queen Mary Fringe tiara.
Court dress with long train. Portugal, c.1845. In clothing, a train describes the long back portion of a robe, coat, cloak, skirt, overskirt, or dress that trails behind the wearer. It is a common part of ceremonial robes in academic dress, court dress or court uniform. It is also a common part of a woman's formal evening gowns or wedding dresses.
Hartnell's signature was said to be embroidery, and he enjoyed "working with soft, floating fabrics, particularly tulle and chiffon, and with plain, lustrous silks". [2] The dress was made of Chinese silk, with a high neckline, tailored bodice and a short train. Without straps and with long sleeves, it provided a "fit and flare silhouette". [3]
Wedding dress of Princess Victoria Mary of Teck; Wedding dress of Princess Maud of Wales; Wedding dress of Catherine Middleton; Wedding dress of Camilla Parker Bowles; Wedding dress of Sophie Rhys-Jones; Wedding dress of Lady Diana Spencer [2] Wedding dress of Queen Victoria; Wedding dress of Victoria, Princess Royal; Wedding dress of Wallis ...
Chiffon's Wedding (French: Le mariage de Chiffon) is a 1942 French historical comedy film directed by Claude Autant-Lara and starring Odette Joyeux, André Luguet and Jacques Dumesnil. [1] [2] [3] It is based on the 1894 novel of the same title by Sibylle Riqueti de Mirabeau. The film's sets were designed by the art director Jacques Krauss.
One of the most talked-about aspects of a wedding is the bride's dress. You know, how beautiful she looked, how the groom's eyes' lit up when he saw her... but one bride's dress has everybody talking.
1860s cage crinoline 1860s dress featuring a train 1860s dress During the early and middle 1860s, crinolines began decreasing in size at the top, while retaining their amplitude at the bottom. [ 8 ] In contrast, the shape of the crinoline became flatter in the front and more voluminous behind, as it moved towards the back since skirts consisted ...
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