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Chan's dress was designed by Christopher Kane for Self-Portrait. Much of the long-sleeve, floor-length dress was made of a semi-sheer, white mesh, contrasted by architectural ruffle patches that ...
The long-waisted, heavily boned "stays" of the early 1740s with their narrow back, wide front, and shoulder straps gave way by the 1760s to strapless stays which still were cut high at the armpit, to encourage a woman to stand with her shoulders slightly back, a fashionable posture. The fashionable shape was a rather conical torso, with large hips.
The mantua-and-stomacher resulted in a high, square neckline in contrast to the broad, off-the-shoulder neckline previously in fashion. The new look was both more modest and covered-up than previous fashions and decidedly fussy, with bows, frills, ribbons, and other trim, but the short string of pearls and pearl earrings or eardrops worn since ...
Comtesse de Tessin (Ulla Tessin), 1741, wears a black hood over a lace cap, and a red, fur-lined shoulder cape called a mantle or tippet. She carries a matching fur muff. A large ribbon bow trims her bodice at the neckline. Mary Edwards, 1742, wears a red gown with a lace-trimmed kerchief or fichu tucked under the ribbon bow on her bodice. Her ...
Black tie weddings can be notoriously hard to dress for, but this bow shoulder maxi takes the guesswork out of figuring out what to wear. The deep V-neck line amps up the drama, while the sweeping ...
Caroline Amalie of Augustenburg wears a green pinafore dress over a white blouse or a chemise with a ruffled collar. A wide brimmed straw hat protects her face from the sun. Mademoiselle Gonin wears a dark dress with small puffed sleeves, with a ruffled collar and a blue plaid ribbon at the neck. Her hair is styled into small curls at her temples.
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