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Hartnell proposed at least eight different designs; the first, very simple, similar to that worn by Queen Victoria at her coronation; the second, a modern slim-fitting sheath gown, embroidered in gold; the third, a crinoline style dress of white satin, silver tissue and crusty silver lace; the fourth, white satin embroidered with Madonna and ...
In addition to the striped fabric and its small embroidered motifs, the lower part of the petticoat, to about knee-height, is decorated with an elaborate scrolling design in silver-gilt thread that suggests gold lace. The pattern is similar to lace panels of the period, and is strictly symmetrical, in keeping with the taste of the late Baroque. [4]
Much is known of the wardrobe of Anne of Denmark (1574–1619), queen consort of James VI and I, from her portraits and surviving financial records.Her style included skirts supported by large farthingales decorated with elaborate embroidery, and the jewellery worn on her costume and hair.
A gold lace loop and button were similarly worn on the hat, and a sword of the same pattern carried. In 1898, court dress was described as black (often very dark blue) velvet, or a dark colour cloth suit (not black). The velvet version in 1898 was without gold embroidery on the coat, and the buttons were gilt, steel or plain.
The Peacock dress of Lady Curzon is a gown made of gold and silver thread embroidered by the Workshop of Kishan Chand (India), and designed by Jean-Philippe Worth for Mary Curzon, Baroness Curzon of Kedleston to celebrate the 1902 Coronation of King Edward VII and Queen Alexandra at the second Delhi Durbar in 1903. [1]
Chinese goldwork, including application of gold leaf, gold powder, gold thread (as embroidery or as woven textile with the exception of Nasīj) in clothing and textile, as well as the silver-work version, originated in ancient China and was used at least since the Eastern Han dynasty (25 to 220 AD) or prior, [3] with possible usage in the Shang ...
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