Light Pink Dress
Showing posts with label Dresses. Show all posts
Showing posts with label Dresses. Show all posts
Tuesday, June 14, 2011
Women Halloween
Women Halloween Costumes Style
Whether women go to a Halloween party or other holiday themed costumes, you know very well that the user is responsible for Halloween costumes for women almost as stressful as choosing a dress for an upcoming wedding or party. As well cocktails and you look like the additional criteria for selection have something that is fun and the party or events were invited to the measure. Even with the many costumes available, choosing the right equipment can be very frustrating for women. We start with the traditional Halloween costume, but that is more appealing than Gore. Unlike zombie or skeleton-based computers, a vampire costume has to experience a touch of sophistication. This is basically an opportunity to wear a beautiful dress for Halloween, but still join the spooky fun. 
Sunday, May 1, 2011
Herve Leger
Herve Leger Black Designer dress
Herve Leger by Max Azria captures the allure of the modern, powerful woman with its exclusive couture and dynamic ready-to-wear collections. Each Herve Leger by Max Azria look is designed with the iconic "bandage dress" in mind, seamlessly sculpting the female silhouette with signature banding construction. Paying tribute to a modern femininity while maintaining the house's heritage, Herve Leger by Max Azria makes an unforgettable statement.
Originally founded in 1985, Herve Leger was acquired by BCBGMAXAZRIAGROUP in 1998, marking the first time in fashion history that a French couturier was absorbed by an American designer. In early 2007 Azria relaunched the Herve Leger label with his own designs, which were quickly embraced by today's most renowned style-setters, including Kate Hudson, Diane Kruger, Beyonce Knowles, Rachel Bilson and Victoria Beckham..
Herve Leger Dark Taupe Designer dress
Herve Leger by Max Azria captures the allure of the modern, powerful woman with its exclusive couture and dynamic ready-to-wear collections. Each Herve Leger by Max Azria look is designed with the iconic "bandage dress" in mind, seamlessly sculpting the female silhouette with signature banding construction. Paying tribute to a modern femininity while maintaining the house's heritage, Herve Leger by Max Azria makes an unforgettable statement.
Originally founded in 1985, Herve Leger was acquired by BCBGMAXAZRIAGROUP in 1998, marking the first time in fashion history that a French couturier was absorbed by an American designer. In early 2007 Azria relaunched the Herve Leger label with his own designs, which were quickly embraced by today's most renowned style-setters, including Kate Hudson, Diane Kruger, Beyonce Knowles, Rachel Bilson and Victoria Beckham..
Herve Leger Black White Red Designer dress
Herve Leger by Max Azria captures the allure of the modern, powerful woman with its exclusive couture and dynamic ready-to-wear collections. Each Herve Leger by Max Azria look is designed with the iconic "bandage dress" in mind, seamlessly sculpting the female silhouette with signature banding construction. Paying tribute to a modern femininity while maintaining the house's heritage, Herve Leger by Max Azria makes an unforgettable statement.
Originally founded in 1985, Herve Leger was acquired by BCBGMAXAZRIAGROUP in 1998, marking the first time in fashion history that a French couturier was absorbed by an American designer. In early 2007 Azria relaunched the Herve Leger label with his own designs, which were quickly embraced by today's most renowned style-setters, including Kate Hudson, Diane Kruger, Beyonce Knowles, Rachel Bilson and Victoria Beckham..
Bonny 2011
This is a Bonny style dress that we can customize to your own measurements.
Please choose your sizing and other customizable options to fit your needs.
We guarantee delivery within 3 weeks and your new custom dress will look much better then other more expensive off the rack dresses.
Turquoise Custom Prom Dress Gown
Please choose your sizing and other customizable options to fit your needs.
We guarantee delivery within 3 weeks and your new custom dress will look much better then other more expensive off the rack dresses.
Please choose your sizing and other customizable options to fit your needs.
We guarantee delivery within 3 weeks and your new custom dress will look much better then other more expensive off the rack dresses.
Sunday, July 4, 2010
Antique Textiles
Contentment Farm features a wide, ever changing selection of high quality antique textiles, fashions and vintage clothing.
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Early Clothing from the 1700s through the early 19th century including beautiful ball gowns, antique dresses, corsets, delicate petticoats and accessories of the time.
Victorian mantles and fancy evening garnitures, fancy day dresses from the pre civil war era through the bustle era, lingerie and other accessories of dress.
The Edwardian clothing section also features items from 1901 through 1919 including Titanic era dinner gowns and day dresses, evening wraps, sporting clothing and day dresses as well as lovely lingerie.
Flapper & Art Deco dresses can be found with special emphasis on ornate beaded flapper dresses and stylish art deco designs from the 1920s and 1930s. Included are dance
dresses and purses as well as metallic brocade dresses and evening wraps, chiffon dresses and many accessories.
Hi style Designer clothing from the 1940s through today can be viewed in the category for Designer & Other Eras. Creations by Hattie Carnegie, Bonnie Cashin, Helen Rose, Ceil Chapman and others will be found in this section.
In addition special selections will be found in the Hats, Shawls, and Shoes categories which feature accessories from all eras.
Textiles & Needlework features samplers, antique sewing implements and other handmade antiques, while fine quality antique Quilts are now featured on their own page.
Contentment Blog This is where we will post news aboutweb site updates as well as host articles and discussions about antique and vintage clothing and present an archive of previously sold items for study purposes.
Thursday, April 22, 2010
Hand Coloured Engraving
This hand coloured engraving (click) is from a William IVth fashion periodical called La Belle Assemblée. It came complete with the text, a fashion description of fabrics and styles of the greatest detail for May 1831. Descriptive text is so often missing so this was a joy to read.
At 24cm by 15cm, La Belle Assemblée is often much smaller than people expect when they first buy original prints. That's because at about 9" tall it was intended to be held for reading.
However the smallness means the engravings have a delicacy and daintiness, making them even more attractive to collectors.
Instead of collecting vintage or antique fashion clothes, many people choose to collect fashion related paper ephemera. This can include such diverse items as costume plates, fashion plates, ladies magazines, paper dressmaking patterns, paper fashion dolls, fashion drawings, fashion related antiquarian books and costume or fashion related photographs. Some of these items can be antique, vintage or reproduction items related to the era, but all capturing aspects of fashion through illustrations made long ago.
I collect fashion plates of both authentic and reproduction types. Just below is an example of a quality hand coloured 1831 fashion plate engraving I own and taken from the magazine La Belle Assemblée. This print was purchased from the eBay seller Cabrio4 who specialises in Regency and Romantic engravings. You can read more about the history of La Belle Assemblée and other fashion periodicals with fashion plates in my new section coming shortly.
As well as having a professional interest I collect my fashion plates purely for pleasure, based on criteria many women will understand. It's a completely non intellectual, non academic approach most of you will recognise. Firstly I ask myself - 'is it pretty??' Secondly if I buy it, 'might it be the start of a new room colour scheme? Thirdly 'might it come in useful for my website?' I honestly don't mind if it's a reproduction as long as I like the print and the quality of the original work shines through. Some prints on offer are crude and poorly executed, but as with most collections, with time you become more discriminating.
Wednesday, November 25, 2009
Bridemaid Dresses Style 7169
House of Brides presents the Eden Bridals bridesmaid collection, dresses to fit every bridesmaid. Eden Bridals bridesmaid collection offers an amazing array of styles from sweet to sophisticated to sexy. All Eden Bridals bridesmaid dresses are available in a full range of colors to suit every color scheme. Eden Bridals bridesmaid dresses fit every wedding party!
Style 7169 is in Matte Satin. This Strapless gown features a floor length full gathered skirt. The waistline is accented with a contrasting colored sash. The skirt front is Hi-Lo and shows a contrasting color under skirt.
Shown in Bronze/Gold.
Please see the "Spring 05" size chart for size availability and measurements.
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Shown in Bronze/Gold.
Please see the "Spring 05" size chart for size availability and measurements.
Buying Designer Plus Size Evening Wear
The better department stores have specific plus-size sections, like the Salon Z collection at Saks Fifth Avenue, which carries the sophisticated and pretty Gianfranco Ferre Forma line, among others. You can also shop online, although you should allow yourself plenty of time for possible exchanges if you’re not satisfied. Nordstrom has a good selection of designer plus size evening wear, including several lovely dresses by Michael Kors.
If you are looking for clothing by a particular designer, you might try searching their line first, and then ask where a dress can be purchased. A few designers known for quality plus size evening wear are:
- Ellen Tracy: Although this line is predominately work and casual wear, you can get good skirts and blouses at reasonable prices to pair with something dressier.
- Liz Claiborne Woman: Liz Claiborne has always been on the cutting edge of fashion for real women and again, the prices are reasonable and the clothes wear well for a long time.
- Dana Buchman: This designer's high-end and sophisticated yet practical clothes can go from day to evening and are always classy.
- Ralph Lauren Plus: Lovers of Lauren will be pleased to know he’s brought his signature elegance to the plus size woman.
- Carmen Marc Valvo: This designer’s famous evening wear looks well on all bodies.
- Richard Metzger: Full-figured celebrities such as Queen Latifah, Oprah Winfrey and Star Jones love this designer, who creates clothes exclusively for women of size. His ready-made evening wear starts at comparatively low prices, but you can arrange for a special order if you like.
- Marina Rinaldi: Ultra-feminine and refined evening wear to suit your inner princess.
Chanel" Suit or "St. John" Suit of Black Knit with Gold Braid Trim!
No, it's not Chanel or St. John... just has the look of either or both. Should I say that again to make sure you know what you are buying? It's a no-name suit that will make you look like you are wealthy! :) Black santana knit. The gold braid trim is just sewn on. Goldtone buttons are nicely carved. Elastic skirt is designed with large "pleats". Measures: 35" bust, 28"-37" waist elastic skirt, up to 39" hips best, 22" long skirt. Small shoulder pads. Excellent condition with the only issue being white underarm residue inside only. Should dry-clean out. NEW LISTING!
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c. 1930's "Bonnie Parker" Cornflower Blue Colored Hand Knitted Outfit!
1930's "Bonnie Parker" Cornflower Blue Colored Hand Knitted Outfit! With Matching Beret and Small Clutch! From one estate, I have a few hand-knitted outfits (professional quality knitting) with that great 1930's "Bonnie and Clyde" gun moll look! None of them are in mint condition. Each have some problems... so these are great for costumes, or to wear anywhere if you just don't need to be perfect. This is one of the best! Great cornflower blue color wool knit skirt with matching overhead "v" neck sweater top with matching knit belt. Comes with a great matching pierced knitted beret and small knitted zipper top clutch purse! This outfit is in pretty great condition other than the stains. As you will see from the photos, one sleeve especially has dark marks (like a strange rusty transfer design from something it might have been stored with), and there is one similar spot on upper back skirt. The purse is very dirty, so the color is darker, the belt buckle is slightly worn. Otherwise it's quite good (one teeny teeny hole in skirt that one stitch will fix). However it is musty and will need to be aired out, or fabreezed. I leave that choice to you. The skirt waist is elastic. Measures: 33-35" bust (tight on 35"), 24-32" elastic waist skirt, up to 40" hips, 28" long skirt. NEW LISTING
SOLD
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SOLD
Mme. Grosfield COUTURE 1912-1915 Silk Evening Gown
A gorgeous 1912-1915 designer evening gown made by Chicago design house, "Grosfield." Mme. (M. A. ) Grosfield was a high-fashion couture dressmaker located at 909 Hadlock, Chicago, according to the archived Chicago blue book of 1915. (The "who's who" of old Chicago.) The 1912 date of this gown was said to be worn by the previous owner's grandmother in 1912. It is my belief the date (due to stylistic details) the dress date is possibly a bit later in date... possibly c.1914-1915, but keep in mind that this dressmaker could easily have been a forerunner of fashion in her generation as well. This gown reminds me tremendously of The Lady Duff Gordon gown (Made by Titanic Survivor, designer Lucile) in many ways, and the 1912 Chantilly Gown (both Edwardian Gowns previously sold here in the sold section of the website.). The similarities are so pointed in many areas that I would not be a bit surprised if Lady Duff Gordon and Mme. Grosfield had worked together at some point in time, but unfortunately for us nowadays, there is not much commonly known about Mme. Grosfield anymore. It seems she had a wealthy clientele that purchased her elegant creations, but she kept them private and did not outwardly seek outside accolades for her fabulous designs.
This Edwardian gown is elegantly tasteful and just stunning to view the amount of neat, well finished and meticulous work done here. It's better finished than many of the old designers I've seen over the years. There's a tremendous amount of fine hand work on this tasteful evening gown. The gown is made of a thin, soft, fluid, drape-able black silk satin charmeuse, with ultra-fine, hand-woven, Chantilly, (flowered) shadow lace Bretells (think "over-straps.") on the shoulders, both edged in jet beads that any serious lace lover would just love to have! There's a dual sleeve, the upper layer made of shirred, sheer black silk Georgette, the lower, inner sleeve of form-fitting, fine, shadow lace with petite black sequins.
The dress back has very meticulous pleated draping of the diaphanous silk Georgette over the cream shadow lace layered inside, as to show the insides through tastefully, much like a "see-through" sheer postcard popular back then. This was a very clever and handsome dress back treatment design by this dressmaker.
Cream inner bodice is made of cotton, micro honeycomb net with silk, hand re-embroidered lace over an inner panel of jagged cream hand-made, flowered shadow lace. There's many jet beads, plus iridescent, silvery gray/blue/pink hue, plus black gelatin sequins. Large, faceted, jet-glass beads are suspended from ebony shirred silk Georgette. Two rectangular black/silver sequin appliques' decorate the lower bust with loosely suspended shadow lace with more dangling jet-glass beads. It has a front opening bodice of original aluminium type hook and eyes, in fantastic condition. Inner bodice is made of cream tissue china silk, just in phenomenal condition as well. The silk gro-grain belt is specially "fitted" to sit round on the waist with the dressmaker's tag in fanciful script stating, "Grosfield" "Chicago" in, golden-yellow silk brocade woven into cream silk satin. It's attached with cream silk thread in a herringbone pattern.
The wrapping, side opening belt is gathered self-fabric, with hard, "tulip" shaped, self-fabric wrapped belt ornaments- very tasteful and clever additions, and the height of fashion throughout this period (1912-1915). There's 3 distinct layers to the skirt. The top layer which you see in the photos, has been precisely and finely pleated in a "tulip" shape, and has a very slight and very even overall brownish-black hue considered "off black." The back waist is slightly higher behind than front as per my (1912-1915) date for this gown. Cornflower blue silk taffeta peaks out from the overskirt edge folds. Second layer that reaches the feet (on a petite woman... ankle or 3/4 length on a tall woman.) is soft black, round hem. Bottom layer (kind of a slip of heavy weight, jet black silk twill back) reaches the floor also with large, round scalloped edges. If this a slip, it is a very heavy-duty one. Either way, this creates a well layered skirt effect.
Condition:
Happily, this beautiful Edwardian gown is in superb condition as far as lace Edwardian gowns go, both inside and outside. I have only seen a tiny pinhole on one sheer Georgette shoulder, a tiny lace break in a bit of lace on a sleeve I couldn't find again, and 1 1/2" pinky sized slightly lighter spot on outer skirt outside hip bottom that is nearly impossible to see. The (inner) Grograin belt might have had a mend slightly over the years. All the hardware (hooks/ eyes and snaps) is there, and in perfect working order with no obvious problems. Even the laces feel good (and with old lace, especially black, that is usually rarely the case.)
However, even with all the good stuff about condition to say... I will not recommend wearing this gown. (This is a rare early couture designer gown...) I always try to encourage people not to wear any old designers. The rare ones (such as this) can have a big following at later eras, and need to be well preserved, documented and studied for future generations.
If you really desire to wear this gown, then only with hesitation I would recommend wearing UNLESS the form-fitting lace on the lower portion of the undersleeves are carefully removed. (The inner sleeves are completely handmade and ultra fine in nature... I just fear if the lace undersleeeves were worn, the aged fibers might tear although they seem healthy enough, they may catch, or break from stress just being formitting/ aged and the superfine in nature.) Then, the gown is carefully worn with proper undergarments underneath, and moisture guards to help keep the moisture away to keep the inner laces healthy and from any body moisture causing possible color bleeding to the cream areas of the insides. Also a few inches of looseness around bust and waist would be desirable to help keep stress pulling at bay.
This fabulous Edwardian designer gown would be a fabulous museum display on old couture designers, wonderful to make patterns from, and is delightful in a collection due to terrific condition, and it could be worn as long as the step as I recommended was followed. A really, really terrific early designer couture evening gown!
Price is: $525
For ordering, go to "Order this item" toward bottom of page.
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This Edwardian gown is elegantly tasteful and just stunning to view the amount of neat, well finished and meticulous work done here. It's better finished than many of the old designers I've seen over the years. There's a tremendous amount of fine hand work on this tasteful evening gown. The gown is made of a thin, soft, fluid, drape-able black silk satin charmeuse, with ultra-fine, hand-woven, Chantilly, (flowered) shadow lace Bretells (think "over-straps.") on the shoulders, both edged in jet beads that any serious lace lover would just love to have! There's a dual sleeve, the upper layer made of shirred, sheer black silk Georgette, the lower, inner sleeve of form-fitting, fine, shadow lace with petite black sequins.
The dress back has very meticulous pleated draping of the diaphanous silk Georgette over the cream shadow lace layered inside, as to show the insides through tastefully, much like a "see-through" sheer postcard popular back then. This was a very clever and handsome dress back treatment design by this dressmaker.
Cream inner bodice is made of cotton, micro honeycomb net with silk, hand re-embroidered lace over an inner panel of jagged cream hand-made, flowered shadow lace. There's many jet beads, plus iridescent, silvery gray/blue/pink hue, plus black gelatin sequins. Large, faceted, jet-glass beads are suspended from ebony shirred silk Georgette. Two rectangular black/silver sequin appliques' decorate the lower bust with loosely suspended shadow lace with more dangling jet-glass beads. It has a front opening bodice of original aluminium type hook and eyes, in fantastic condition. Inner bodice is made of cream tissue china silk, just in phenomenal condition as well. The silk gro-grain belt is specially "fitted" to sit round on the waist with the dressmaker's tag in fanciful script stating, "Grosfield" "Chicago" in, golden-yellow silk brocade woven into cream silk satin. It's attached with cream silk thread in a herringbone pattern.
The wrapping, side opening belt is gathered self-fabric, with hard, "tulip" shaped, self-fabric wrapped belt ornaments- very tasteful and clever additions, and the height of fashion throughout this period (1912-1915). There's 3 distinct layers to the skirt. The top layer which you see in the photos, has been precisely and finely pleated in a "tulip" shape, and has a very slight and very even overall brownish-black hue considered "off black." The back waist is slightly higher behind than front as per my (1912-1915) date for this gown. Cornflower blue silk taffeta peaks out from the overskirt edge folds. Second layer that reaches the feet (on a petite woman... ankle or 3/4 length on a tall woman.) is soft black, round hem. Bottom layer (kind of a slip of heavy weight, jet black silk twill back) reaches the floor also with large, round scalloped edges. If this a slip, it is a very heavy-duty one. Either way, this creates a well layered skirt effect.
Condition:
Happily, this beautiful Edwardian gown is in superb condition as far as lace Edwardian gowns go, both inside and outside. I have only seen a tiny pinhole on one sheer Georgette shoulder, a tiny lace break in a bit of lace on a sleeve I couldn't find again, and 1 1/2" pinky sized slightly lighter spot on outer skirt outside hip bottom that is nearly impossible to see. The (inner) Grograin belt might have had a mend slightly over the years. All the hardware (hooks/ eyes and snaps) is there, and in perfect working order with no obvious problems. Even the laces feel good (and with old lace, especially black, that is usually rarely the case.)
However, even with all the good stuff about condition to say... I will not recommend wearing this gown. (This is a rare early couture designer gown...) I always try to encourage people not to wear any old designers. The rare ones (such as this) can have a big following at later eras, and need to be well preserved, documented and studied for future generations.
If you really desire to wear this gown, then only with hesitation I would recommend wearing UNLESS the form-fitting lace on the lower portion of the undersleeves are carefully removed. (The inner sleeves are completely handmade and ultra fine in nature... I just fear if the lace undersleeeves were worn, the aged fibers might tear although they seem healthy enough, they may catch, or break from stress just being formitting/ aged and the superfine in nature.) Then, the gown is carefully worn with proper undergarments underneath, and moisture guards to help keep the moisture away to keep the inner laces healthy and from any body moisture causing possible color bleeding to the cream areas of the insides. Also a few inches of looseness around bust and waist would be desirable to help keep stress pulling at bay.
This fabulous Edwardian designer gown would be a fabulous museum display on old couture designers, wonderful to make patterns from, and is delightful in a collection due to terrific condition, and it could be worn as long as the step as I recommended was followed. A really, really terrific early designer couture evening gown!
Price is: $525
For ordering, go to "Order this item" toward bottom of page.
EMBROIDERY Dress with matching EMBROIDERED Vest PHENOMENAL
This is a beautiful, satin stitched embroidered netting on silk satin crepe 1920's day dress with the matching vest both edged in Reticella needle lace. This elegant pairing is made from a pale yellow mercerized cotton floss, masterfully hand-embroidered with a large, padded 3-D motif of Japanese Iris' and chrysanthemums with elegant leaves, delicate daisies, groups of tiny knots and dangling scrolled cutouts with crossbars. This 20's dress fabric is just truly amazing to see the many hours, or probably even months of hand work that went into making such an elaborate, but deceptively simple gown! This outfit obviously was obviously very expensive at the time of making.
Nude-tan, crepe-backed silk satin lines the interior of the dress which closes by hook and eyes at the hidden side. Yards of expensive, dual-finished edge Reticella needle lace defines the low cut dress yoke of the dress portion above the bust, and fully around the skirt hem. The upper hip length vest also has the Reticella needle lace lining around the vest opening and bottom. The shoulders of the flapper dress have a sheer, ruffled lace-edged shoulder flounce that peeks out slightly from beneath the vest for modesty's sake. On the vest, the shoulders have rows of gentle gathered smocking. The dress must be worn with the vest as the under layer dress back has no net or embroidery there. This was done purposefully so the vest embroidery would not have layers that competed in embroidery busyness- this way you could see the pretty pattern clearly. This magnificent 1920's dress would be perfect to wear at the annual Gatsby picnic located at the Dunsmir Mansion in Oakland, California, or a 1920's dance, 20's wedding or flapper party. You should allow for at least 1"- 2" looser in bust and waist so this dress fits properly- flapper gowns were not usually tight.
Condition:
This is truly the dress that time forgot! This 20's gown has an extremely pristine and very clean appearance at first glace. Even up close there's only a VERY, VERY minor almost imperceptible "bleed" of slight yellow color from the floss onto the netting on the vest and dress plus the silk underneath very slightly- all just looks like part of the bold pattern, so can only be seen if backed against black material. I had to take many photos so that you could even make this out at all. One slightly darker 1" round watery looking tannish spot on one side near waist/ hip seam juncture- one tiny age spot on one shoulder flounce (see close-up) most sellers wouldn't even mention this. The overall "health" of the fibers of this gown is truly amazing. Yes, this dress can be worn safely if minor precautions are taken such as underarm guards, and using napkins when eating/ drinking and airing between uses (plus not storing on hangers). I know it sounds simple, but these types of things really help keeps a gown like this at it's best. All hooks and eyes strong and accounted for. I think there might have been a silk organza or Georgette lining at some point that might have been removed. If that is the case, it was removed so well, this does not distract at all. One 1/4" puncture on the netting on skirt that could easily be mended. A few net pinholes, but in all, the net, embroider and silk is 99.9 percent intact. Really in Very Excellent, museum quality.
For ordering, go to "Order this item" toward bottom of page.
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Nude-tan, crepe-backed silk satin lines the interior of the dress which closes by hook and eyes at the hidden side. Yards of expensive, dual-finished edge Reticella needle lace defines the low cut dress yoke of the dress portion above the bust, and fully around the skirt hem. The upper hip length vest also has the Reticella needle lace lining around the vest opening and bottom. The shoulders of the flapper dress have a sheer, ruffled lace-edged shoulder flounce that peeks out slightly from beneath the vest for modesty's sake. On the vest, the shoulders have rows of gentle gathered smocking. The dress must be worn with the vest as the under layer dress back has no net or embroidery there. This was done purposefully so the vest embroidery would not have layers that competed in embroidery busyness- this way you could see the pretty pattern clearly. This magnificent 1920's dress would be perfect to wear at the annual Gatsby picnic located at the Dunsmir Mansion in Oakland, California, or a 1920's dance, 20's wedding or flapper party. You should allow for at least 1"- 2" looser in bust and waist so this dress fits properly- flapper gowns were not usually tight.
Condition:
This is truly the dress that time forgot! This 20's gown has an extremely pristine and very clean appearance at first glace. Even up close there's only a VERY, VERY minor almost imperceptible "bleed" of slight yellow color from the floss onto the netting on the vest and dress plus the silk underneath very slightly- all just looks like part of the bold pattern, so can only be seen if backed against black material. I had to take many photos so that you could even make this out at all. One slightly darker 1" round watery looking tannish spot on one side near waist/ hip seam juncture- one tiny age spot on one shoulder flounce (see close-up) most sellers wouldn't even mention this. The overall "health" of the fibers of this gown is truly amazing. Yes, this dress can be worn safely if minor precautions are taken such as underarm guards, and using napkins when eating/ drinking and airing between uses (plus not storing on hangers). I know it sounds simple, but these types of things really help keeps a gown like this at it's best. All hooks and eyes strong and accounted for. I think there might have been a silk organza or Georgette lining at some point that might have been removed. If that is the case, it was removed so well, this does not distract at all. One 1/4" puncture on the netting on skirt that could easily be mended. A few net pinholes, but in all, the net, embroider and silk is 99.9 percent intact. Really in Very Excellent, museum quality.
For ordering, go to "Order this item" toward bottom of page.
Tuesday, August 18, 2009
Top Ten Weirdest Dresses
Top Ten Weirdest Dresses
The Oddee website creates top-ten lists featuring topics ranging from the world's strangest bugs to the most bizarre bodily functions. (The site is easy to get lost in and can become quite the procrastinator's best friend, so don't say I didn't warn you.)
Recently Oddee created another list of what they consider the top-ten weirdest dresses. This was actually a follow-up to their previous list of top-eleven weirdest dresses here.
Memory of Beijing-Suitdress by Li Xiaofeng
For more of Li Xiaofeng's work, click here. The dress is made entirely from Blue and White Porcelain from the Ming and Qing Dynasties. The pieces are sewn together using silver thread.
The Bubelle dress was was designed by Philips and works by monitoring physical changes associated with different feelings. Emotions like stress, arousal, or fear affect the body's temperature and sweat levels and these generate the light that changes the pattern and color on the dress.
To see the dress in action, check out these videos here and here.
The Video Dress by Hussein Chalayan
Video may have killed the radio star, but it appears to still be friends with the fashion world.
Innovative fashion designer Hussein Chalayan created these dresses that have an interlining of sorts housing 15,000 LED lights that portray videos. The videos used on the dresses were a time lapse of a rose opening and closing, in a spectacular display of color and light.
The dress made its debut at the Milan Design Fair and is now on display at the 10 Corso Como gallery in Milan, Italy.
To see the dress in all its glory, check out these videos here and here.
The Tax Form Dress by Britt Savage
While most tax protestors this year were attending "tea parties," Britt Savage decided to make her feelings known in a different way--she cut up her tax forms, wove them together, and created a wearable work of art. The project started as a dress to wear on stage with her band and took her about a month to complete.
The Phonebook Dress by Jolis Paons
This amazing dress was created by Jolis Paons using paper from phonebooks for Creative Process. Jolis doesn't know how to sew, but loves fashion so she makes her creations in a different way. For her blog post on the dress, click here. She also made a dress using sticks and tulle that you can check out here.
The Birdcage Dress by Kasey McMahon
Kasey McMahon built this dress with wire and many other out-of-the-ordinary materials. For more on the dress, visit her website here. Kasy also made a how-to tutorial on making the dress that you can find on Instructables here.
The Wooden Dress by Grace Johnston
This dress was made by Grace Johnston in Louisiana for the Uncommon Threads Wearable Art Fashion Show in Baton Rouge (and she won!) From the artist:
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