#pleated bertha

[gogmstuff]

1846 Cécile Mendelssohn Bartholdy by Eduard Magnus (Staatsbibliothek Preußischer Kulturbesitz - Berlin, Germany). From Google search; cropped frame & removed spots & flaws w Pshop & fit to screen 958X1400 @96 507kj.

#1846 fashion #early Victorian fashion #Romantic era fashion #Cécile Mendelssohn Bartholdy #Eduard Magnus #straight hair #bun #side curl coiffure #Y part #chemise #off shoulder scoop neckline #pleated bertha #Vdécolletage #long close sleeves #brooch #pardessus

[chic-a-gigot]

La Mode illustrée, no. 8, 19 février 1899, Paris. Paletot de printemps avec petite pèlerine. Toilette de printemps garnie de bandes. Toilette de visites. Toilette de visites avec applications de dentelle. Modèles de Mmes Coussinet-Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

Paletot de printemps avec petite pèlerine

Ce paletot avec petite pèlerine fait en drap beige, est garni de velours vert-bouteille; on fait en velours le petit empiècement, les revers, les pattes des poches, les bandes et applications du bord de la pèlerine. Celle-ci a derrière une pointe légèrement arrondie, et se termine devant des deux côtés sous les revers des devants, fermés par de beaux boutons et des boutonnières. Les pattes des poches sont fixées en même temps que la basque sans plis, fendue derrière. Le paletot est terminé par un col droit en velours, avec morceaux de velours pointus, horizontaux. La manche s'élargissant sur la main, découpée en une dent, est garnie de bandes de velours.

This overcoat with small pelerine made of beige cloth, is lined with bottle-green velvet; the small yoke, the lapels, the pocket tabs, the bands and appliqués on the edge of the cape are made of velvet. This one has behind a slightly rounded point, and ends in front on both sides under the lapels of the fronts, closed by beautiful buttons and buttonholes. The tabs of the pockets are fixed at the same time as the basque without folds, split behind. The overcoat is finished with a straight velvet collar, with pointed, horizontal pieces of velvet. The sleeve widening over the hand, cut into a tooth, is trimmed with velvet strips.

—

Toilette de printemps garnie de bandes

Cette robe en cachemire gris argent, est garnie de soie un peu plus foncée et de velours noir. La jupe est entourée d'une bande de soie prise en biais, dont le bord supérieur est couvert de pattes, fixées dans le sens vertical. Le corsage court derrière, fait devant avec une pointe, formant une veste, est orné de bandes de garniture; on le fend devant des deux côtés sur du velours, qui se continue comme ceinture sur le corsage en doublure; on fixe au corsage un petit plastron en velours avec col droit et large ruche en soie plissée. La veste est découpée en pointe derrière au bord supérieur et au bord inférieur, ce qui laisse voir les morceaux de velours. Les manches étroites sont garnies de bandes en biais en velours et de ruches en soie.

This silver gray cashmere dress is lined with slightly darker silk and black velvet. The skirt is surrounded by a band of silk taken on the bias, the upper edge of which is covered with tabs, fixed in the vertical direction. The bodice short behind, made in front with a point, forming a jacket, is decorated with strips of trim; it is split in front on both sides over velvet, which is continued as a belt over the bodice in lining; a small velvet plastron is fixed to the bodice with a straight collar and a large pleated silk ruffle. The jacket is cut in a point at the back at the upper edge and at the lower edge, which reveals the pieces of velvet. The narrow sleeves are trimmed with slanted velvet bands and silk frills.

—

Toilette de visites

Robe en mohair bleu et soie bleue à rayures blanches. La jupe est unie, sans garnitures. Le corsage, muni d'une longue basque sur les côtés et par derrière, se termine devant par de larges pattes, garnies déboutons en cristal bleu; ces pattes encadrent un empiècement en soie rayée, formant un plastron. On pose autour de l'empiècement une double berthe, fendue devant et derrière sur les épaules. Le haut col droit et les revers des manches étroites, sont faits en soie rayée.

Dress in blue mohair and blue silk with white stripes. The skirt is plain, without trimmings. The bodice, fitted with a long peplum on the sides and behind, ends in front with wide tabs, trimmed with blue crystal buttons; these tabs frame a striped silk yoke, forming a plastron. A double bertha is placed around the yoke, slit in front and behind on the shoulders. The high straight collar and the turn-ups of the narrow sleeves are made of striped silk.

—

Toilette de visites avec applications de dentelle.

Cette toilette en soie rayée vieux rose, est ornée d'applications de dentelle noire. La jupe est garnie d'un volant, et au bord supérieur des deux côtés, d'applications de dentelle. Le corsage en velours rouge froncé, est recouvert en partie avec une veste en soie; celle-ci se ferme devant par des pointes découpées, croisant l'une sur l'autre; la veste a une ouverture en pointe dans le dos, on la garnit tout autour avec des applications de dentelle. Le corsage en velours se termine au bord supérieur par un col haut, et au bord inférieur par une ceinture en ruban avec boucle d'acier. Les manches en soie sont garnies d'applications de dentelle. Chapeau en velours, garni de fleurs nuancées et de plumes de fantaisie.

This old pink striped silk dress is adorned with black lace appliqués. The skirt is trimmed with a flounce, and at the upper edge on both sides, with lace applications. The ruched red velvet bodice is partly covered with a silk jacket; this closes in front with cut-out points, crossing one over the other; the jacket has a pointed opening in the back, it is trimmed all around with lace appliqués. The velvet bodice ends at the upper edge with a high collar, and at the lower edge with a ribbon belt with steel buckle. The silk sleeves are trimmed with lace appliqués. Velvet hat, trimmed with nuanced flowers and fancy feathers.

#La Mode illustrée #19th century #1890s #1899 #periodical #fashion #fashion plate #description #Forney #dress #visiting #spring #pelerine #cape #capelet #collar #stripes #Modèles de chez #Madames Coussinet-Piret

[the-one-and-only-aroace]

throw everything you know about 1820's-1870's fashion at me, plz

So basically

1820s- long slightly puffed sleeves, conical skirts, hair wrapped in a small bun while side curls frame the face, waistline a couple inches under the bust

1830s- elbow length balls made out of fabric covering the arms, hemlines raise a couple inches above the ankle, skirts stick out more, huge elaborate hats that cover most of the hair, a slightly higher than natural waistline, Bertha collars, many, many petticoats, some were either corded or stiffened with horse hair, BONNETS, there were sleeve supports worn, frills, lace, pastel

1836- right before Victoria, skirts flattened and dropped down back to the floor, puffs dropped down to cover the wrist, a tight sleeve came before it, updos flatten out, waistlines would drop into natural position

1840s- most of the waist was natural length, but the front elongated into a point several inches further down, separate collars, skirts got even larger, tight fitting sleeves, low bun and middle part (pretty popular until the 60s)

1850s skirts were almost impossibly heavy (because fashion is and was a huge signifier of wealth) until 1856 brought in crinoline, skirts were ruffled, sleeves were loose and flared out along the length of the arm, fake white sleeves would poke out underneath, plaid was a very common prints, floral motives, waist dropped slightly below natural, the front also dipped down, but in a more natural length

1860s, same sleeves, no more plaid, plain colors with geometric trimming, crinoline now slightly accentuating the back side, waistline an inch or two above natural, buttoned bodices, skirts were gathered or pleated, sometimes made of panels

1870s- after 67, there was a shift into a more shelf like appearance, the skirt would be much flatter, with the back forming a shelf like shape, this was achieved by bustles, the dresses were once again more elaborate, sleeves were flat with the last couple inches flaring out into a conical shape, curls were piled onto the head, the more frill and lace, the better, pastels were common

#most of this info I got in Karelian zebrowskas video on telling the 1800s apart #*​karolina #I am much more experienced in the Edwardian era #thanks for the ask!

[ember-overkill]

//we’ve got mary sues...

we’ve got gary stus...

now prepare to meet this blog’s first ever maristu!

Name: Bloody Nightmare

Real Name: Rainer Nyx Hyde

Nicknames: Rain, Nightmare, Night, Doom, Dream Demon, The Traitor Zalgoid

Age: 18

Age of Death: None

Ethical Origin: Hooman? Sort of?

Place of Origin: London, England

Species: Zalgoid

Personality: Dark, angsty, broody, depressed, insane, misunderstood, cold, blunt, sassy, sarcastic, smart, different, edgy, hot, bad-tempered, badass, jerky, distrustful, impulsive but also cruel and calculating, rude, mean (especially to Masky and Toby), but has a soft spot for Deerhead-chan

Sexual Preference: Gynosexual panromantic agender

Relationship: Married to Deerhead

Family: Nyx (inner demon), Zalgo (father), Bertha (mother,) Kevin (stepfather), Princess (older stepsister)

Affiliation: Slenderman

Arrest record: None

Occupation: Killer and proxy

Motives: They hate Zalgo for no real reason

Date Of Birth: October 31, 2003

Weight: 100 lbs

Height: 6’6.6

Eye Color: Completely purple with some red swirls here and there

Skin Color: Fades from black at the hairline and extremities to peach starting at the nose and the middle of the extremities. Glowing purple mouthes on fave, upper arms, and chest. Orange, red, blue, abd purple wings and tail. Glowing purple power seals on biceps, forearms, wrist, and neck. Purple, black, and red horns.

Hair Color: Fades from orange to red to blue to purple to black. Short, flips up at the ends, has bangs.

Clothes: Black loose cropped t-shirt with orange and red upside cross, orange, red, and purple and black striped undershirt, fishnet undershirt, purple belt with black chains, purple dress with suspenders, pleated skirt, and black upside down cross design, fishnet stocking, black and purple boots with huge orange, red, and purple platforms

Fears: Nothing

Powers/Abilities: Shapeshifting (favorite forms are wolf, dragon, snake, and cat), dream manipulation, umbrakinesis, pyrokinesis, teleportation, telepathy, telekinesis, invisibility, flying, super strength, super speed, hypnosis, mind control, excellent with axes

Weapons: A giant obsidian battle-axe, which bursts into black and purple flames when they’re mad

How S/he kills/wounds in Combat: Gets in their dreams and scares them to death. If that doesn’t work, they burn or battle-axe them to death.

Weaknesses: Too jerky but also too caring

Strengths: Being the most powerful child of LORD MOTHERHECKING ZALGOOOO!!!

Cause of Death: None

History: Once upon a time, a bitch named Bertha decided she wanted a new kid, so one day when she was drinking, she made a deal with Zalgo: she’d sell her soul for a child. Nine months later, she had Rainer. Suffering from buyer’s remorse, she of course hated her drunk Amazalgo purchase because it was the wrong color (Rainer had brown hair and not bitch blonde like Bertha :0). She made her husband Kevin, her brat daughter Princess, and her sixty boyfriends be mean to Rainer because Rainer was a freak in her eyes. The other kids at school eere very mean to them too because REASONS. When Rainer was four, they snapped and killed everything with their dream powers and took the name Bloody Nightmare. Rainer went around killing everything else until they were ten, when Zalgo found them and kidnapped them. Zalgo told Rainer that he was their father and trained them, which made Rainer take a new and more demonic form, which they of course hated because they were now more of a freak. Rainer then found out Zalgo was training them to take over the world, and they didn’t like this, so they ran away to America. As soon as they got off the plane, they met Deerhead, who fell in love with them instantly despite her being canonically demisexual and took them to Slender Mansion. They became friends with everyone and Slender vowed to protect them at all costs, and so Zalgo would feel guilty and not take Rainer back, they married Deerhead and because they don’t know what birth control is, they had ten babies. Even though Deerhead is canonically infertile.

Place/Type of Residence: Garden Mansion (my personal headcanon is that Lazari, Stripes, and Lisa disowned them)

Theme Song: A Nightmare to Remember by Dream Theater

Catchphrase: Sleep well, child

(Bloody Nightmare and Deerhead (c) me, Lisa (c) @theguardianoftheangels, all other pastas mentioned (c) their owners)

[drawawyvern]

Western Meadow Fritillary 1830s dress. Despite me firmly believing this to be one of the worst decades for upper-class women’s fashion, I had quite a fun time with this, due to the Extraness™, though that also meant it took about three times as long. Please appreciate my shading (and ignore the very historically-inaccurate colour fade and the polka-dot-like pattern at the top. It can be embroidery.)

[I.D.: An orange dress with giant, puffy sleeves and a large round skirt. A black bertha trimmed with white lace and black ruffles and three black bows down the centre goes around the neckline. Down the front of the dress are pleated rows of unpatterned orange fabric ribbed with black ruffles trimmed with white lace on the skirt. On the main skirt are horizontal lines up and down that turn into dots toward the top as the background orange darkens, and black bows are along the edge with white ribbon between them. The sleeves end in black-and-white cuffs with a black bow.]

#idk if i can throw words like bertha around casually in image ids #but that's what it is #i think? not sure if they had a different name before the 40s #drawawyvern #artists on tumblr #butterfly dresses #not fanart

[beautifulscreaminglady]

I am not immune to a bertha pleat dress.

#19th century #historical fashion

[stregacorvina]

Violet Bouquet

Welcome back to the Tuesday entry! Today I wanna show you a single set that is also part of a mini collection with the same name “Violet Bouquet”.

There are all the pieces that create the Violet Bouquet collection. I am making only one post for the set and the collection this time because it is made of only few pieces, unfortunately I do not have this lovely fabric anymore - but I have a couple of totebags made with this that I can dismantle to have more.

I bought this fabric long time ago to make a Lolita skirt for me, I think I still have some picture somewhere.... yes I found them!

This skirt was a set corset + skirt actually, the corset is removable and I did the skirt with some ribbons inserted in the princess seams on the front and on the back to be gathered as a bustle. I used some purple cotton trim and lace to decorate this skirt but I do not have any more left to add to the dolls clothes. It was a really fun skirt to make and I have worn it a lot (I also wear this skirt the day I graduated from the Fashion School), I think it is still somewhere in my parents’ house.

I used to wear it with my lilac corset, the first corset I ever did. (Sorry if the pictures are really ugly, I was in high school when I sewn these garments so they are more than 15 years old! - also you can see the logo and the frame of my old website, not active anymore)

Anyway, let’s go back to the Violet Bouquet collection! This collection is made of a corset, a long skirt and two short skirts. The set corset + long skirt started as an historical project as I was using a circa 1600 gown for reference, but then I changed my mind because I did not have enought fabric for all the ruffles :( 

As you can see I was quite accurate with the corset (except for all the details on the bertha collar), I did the same V shape on the front and tried to replicate as much as I can the sleeves, luckly I had a purple lace that was perfect for this project!

For the skirt I tried to stay true to the original silhouette but again I did not have so much fabric so I changed the shape a bit: I kept the pleats on the waist but I made them less deep and I decided to do a little train on the back. I used the same lace and three small bows to make the ruffles and the decorations on the back.

I tried a little shooting with this dress (again on my sofa) to check if the lenght was the one I want and to be sure it didn’t need a petticoat underneath to keep its shape, when I was satisfied I took better pictures against the wall.

I love sooo much this set and I think it’s perfect for this doll and this wig. It’s by far ma favourite project togheter with She-ra. Do you like it? What do you think? Let me know! You can always find this project in my Etsy shop if you are interest and it can be made in any fabric you like and fort any dolls you like.

Moving on to the rest of the pieces, the two skirts, I made them using a circle skirt pattern that it is also available on Etsy along with the corset pattern.

The first skirt is a simple circle skirt with three layers of gathered lace and organza, the same you have seen in white on my Belle Cosplay. It closes with a bit of velchro fastener in the back, hidden under a little bow in the same fabric.

The second skirt is an asymmetrical skirt, longer on the back with a gathered ruffle in the middle made in the same fabric and the same purple lace used on the set on the bottom ruffle. Again, it closes with a bit of velchro fastener in the back, hidden under a little bow in the same fabric.

And there are some pictures of these skirts with the off-white shirt that I already shown you and the corset of the set.

I hope you like them and that you like this fabric as much as I do! See you again on Thursday with another dolls collection.

Chiara (StregaCorvina)

Bentornati al post del Martedi! Oggi vi farò vedere un set singolo che fa parte di una mini collezione chiamati entrambi “Violet Bouquet”.

Questi sono tutti i pezzi che fanno parte della collezione Violet Bouquet. Faccio un post unico per il set e la collezione questa volta perchè è fatta solo di pochi pezzi, purtroppo non ho più questa adorabile stoffa - anche se ho due borse realizzate con lo stesso tessuto che potrei sempre smontare per averne di più.

Ho comprato questa stoffa tanto tempo fa per farmi una gonna Lolita dovrei ancora avere le foto da qualche parte.... a si le ho trovate!

Questa gonna in realtà è un completo corsetto + gonna, il corsetto è una sorta di cintura removibile e nella gonna ho inserito dei canali nelle cuciture davanti e dietro per far passare all’interno dei nastri di raso da tirare su per arricciare la gonna. Ho usato poi una passamaneria e un pizzo di cotone viola per decoare orli e cuciture, purtroppo però non ne avevo più per usarli anche sugli abiti per le bambole. E’ stata una gonna molto divertente da realizzare e l’ho usata tantissimo (l’ho indossata anche il giorno che mi sono diplomata all’Accademia di Moda) e probabilmente è ancora da qualche parte a casa dei miei genitori.

La indossavo sorapttutto insieme al mio corsetto lilla, uno dei primi corsetti “seri” che ho realizzato. (Mi spiace le foto sono veramente orribili, ero al liceo quando ho cucito questi abiti...perciò più di 15 anni fa! - inoltre potete vedere il vecchio logo e la grafica che usavo nel mio vecchio sito web, non più attivo ormai)

Comunque, tornaimo a parlare della collezione Violet Bouquet! Come dicevo questa collezione è costituita da un corsetto + gonna lunga e da due gonne a ruota corte. Il set è iniziato come un progetto storico perchè stavo usando un’immagine di un abito del 1600 circa come ispirazione, poi ho dovuto purtroppo cambiare idea strada facendo perchè non avevo abbastanza stoffa per la gonna e tutte le arricciature :( 

Come potete vedere ho cercato di rimanere abbastanza fedele nel fare il corsetto (tranne che per tutte le decorazioni sulla scollatura), ho tenuto la forma a V del davanti e anche le maniche sono abbastanza simili, per fortuna avevo un pizzo lilla perfetto per questo abito!

Per la gonna invece ho cercato di mantenere il più possibile la silhouette originale ma ho dovuto fare alcune modifiche per via della mancanza di stoffa: ho mantenuto le pieghe in vita ma le ho fatte meno profonde e ho deciso di fare un piccolo strascico sul dietro. Ho usato lo stesso pizzo lilla per le balze e ho fatto tre piccoli fiocchetti nello stesso tessuto da mettere sul dietro.

Ho fatto qualche foto (sempre sul divano) per controllare la lunghezza finale e verificare se fosse necessaria una petticoat per mantenere la forma, dopo aver verificato che l’aspetto era come lo volevo ho fatto delle foto migliori contro il muro.

Adoro tantissimoooo questo set, credo sia perfetto per questa bambola e questa parrucca. Fin’ora è sicuramente il mio lavoro preferito insieme a She-ra. Che ne pensate? Vi piace? Fatemi sapere! Come sempre trovate questo progetto nel mio negozio Etsy se vi interessa e può essere riprodotto con qualsiasi tessuto e per qualsiasi bambola.

Andando avanti con gli altri pezzi, le due gonne, le ho realizzate usando il cartamodello per gonne a ruota disponibile nel mio negozio, così come il cartamodello per il corsetto.

La prima gonna è una semplice gonna a ruota con tre balze di organza e pizzo arricciati, lo stesso pizzo che ho usato bianco per il Cosplay di Belle. Dietro si chiude con un pezzetto di velcro sulla cintura, nascosto da un fiocchetto dello stesso tessuto.

La seconda gonna è una gonna asimmetrica, più lunga dietro, decorata con una balza arricciata di tessuto al centro euna balza arricciata in fondo, decorata con lo stesso pizzo del set. Anche questa, si chiude dietro con un pezzetto di velcro sulla cintura, nascosto da un fiocchetto dello stesso tessuto.

Ed ecco alcune foto delle gonne indossate, con la camicetta crema che vi ho già mostrato e con il corsetto del set.

Spero vi piacciano e che troviate la stoffa adorabile come me! I hope you like them and that you like this fabric as much as I do! Ci vediamo Giovedi per parlare di un’altra collezione di abiti per bambole! A presto

Chiara (StregaCorvina)

#bjd #bjddoll #bjddress #custombjd #handmadebjd #handmadebjdclothes #bjdclothes #sewing #seamstress #handmade #handmadesewing #handmadeclothing #stregacorvina

[humming-bird10]

Yesterday I finished the second mockup. Like I was hoping for, everything under the bust was perfect and needed no adjustment. The cups fit well, but needed to be moved a little to the side seam.

The actual bobbinet corset will have cups made out of foam. I got a yard or so of it from vena cava designs that is meant for bramaking I think, so that should also work fine for corset cups. I am going to cover them with white silk on the outside. Partly to smooth any bumps from stitching that might be visible through the dressfabric otherwise, but mostly because I am trash for aesthetic and I got literal anxiety over leaving this interior corset that is not meant to be seen AT ALL EVER without a fancy finish. And while typing this I am thinking I actually might also cover them with silk on the inside for a nice soft cover for my boobies.... I don't make extra work for myself shut up

I am making one more test cup before making the actual final cups. ( Tho if this works to my satisfaction I will just use it. ) I am gonna see if putting in some light boning will give the cups some more structure and help them keep their shape a bit more. Cuz these tatas be heavy!

I leave for a vacation in two weeks and my goal right now is to have the corset finished before then. That way I can focus on building the dress when I get back. I will have about 2.5 weeks to do that which should be enough time. It isn't a very complicated dress, the only tricky parts will be the pleated bertha-like thing I want to drape over the neckline and how to attach it properly to the corset.

One of the things I am still going back and forth over is how I want to do the dress and lining. Part of me wants to just do the dress seperately in dressfabric and lining and then have it attached at the top, bottom and zip. Another part wants to flatline the dressfabric with the lining and just use it as one fabric. Yet another part wants to do it very much like the first method but only attach it at the top and zip and have the lining flow freely. The main thing I am contemplating is what way will leave the least amount of bulk in the seams and allow me to make the prettiest invisible hem.

#the black tie project #the red silk dress #stream of consciousness

[early20thcenturynerd]

Ball Dress, from Harper's Bazar; 20th January 1877

“This beautiful ball toilette is of black tulle over black silk, with tilleul (greenish-cream) scarfs, and for flowers red poppies with wheat ears. The graceful train of silk is covered with a finely pleated tulle flounce headed by five tulle puffs, very full and lapped at the top. The low princesse dress is formed of puffs of tulle graduated to fall in with the lines of the figure, and separated by bands of tilleul ribbon. 

The neck is V-shaped in front and back, and has a tilleul silk bertha held by poppy and wheat clusters, and finished on the upper edge with black lace. The lower end of the puffed dress is trimmed with scarfs of tilleul gros gain crossing each other and held by flowers. A long spray is down each side. Blonde coiffure, with waves in front, puffs, and short curls behind, ornamented with poppies and a bandeau of tilleul green silk.”

#1877 #1870s #victorian #victorian fashion #ball dress #evening dress #fashion plate #1870s fashion

[gogmstuff]

1860s dresses (from top to bottom) -

1862 Aleksandra Zatler, general’s wife, by Josef Simmler (location ?). From Merinok's Facebook pages 1440X1795.

1863 Rosa Guardiola, Baronesa de Andilla by Federico de Madrazo y Kuntz (private collection). From Wikimedia 1400X1804.

ca. 1865-1866 Afternoon dress (auctioned by Tessier-Sarou). From tumblr.com/fashionsfromthepast 1280X1920.

ca. 1867 Walking and visiting suit by Worth & Bobergh (Albany Institute of History and Art - Albany, New York, USA). From tumblr.com/history-of-fashion 1660X3072.

#1860s fashion #early Victorian fashion #Second Empire fashion #Aleksandra Zatler #Josef Simmler #wavy hair #lace wrap #off shoulder neckline #Rosa Guardiola #Federico de Madrazo y Kuntz #off shoulder V neckline #pleated bertha #lace bertha #full skirt #blouse #clerical neckline #bodice #deep V neckline #waist band #crinoline #Worth & Bobergh #high neckline #long full sleeves #bustle #petticoat #under-skirt

[chic-a-gigot]

Le Petit écho de la mode, no. 1, vol. 16, 7 janvier 1894, Paris. 17. Domino en satin miroir clair de lune orné de dentelle. 18. Domino de satin noir. Ville de Paris / Bibliothèque Forney

17. Domino en satin miroir clair de lune orné de dentelle, forme princesse derrière et droit devant, frôlant terre. Plis Watteau en dentelle dans le dos. Haut volant de dentelle dans le bas avec coquillé de satin. Sur les épaules berthe de dentelle prenant des épaules, arrondie devant, d’où part une dentelle qui badine jusqu'au bas du domino. Un petit capuchon bonnet en satin tout garni de dentelle; nœud sur la tète; autour du cou ruche de satin et brides de dentelle sous le menton.

17. Domino costume in moonlight mirror satin decorated with lace, princess shape behind and straight in front, brushing the ground. Lace Watteau pleats in the back. Top lace ruffle at the bottom with satin shell. Lace bertha shoulders, rounded in front, from which it continues to the bottom of the dress. A small bonnet cap in satin trimmed with lace; bow on the head; satin ruffle around the neck and lace straps under the chin.

Matériaux: 12 mètres satin, 14 mètres dentelle.

—

18. Domino de satin noir. — Jupe unie à traîne, manteau droit arrivant presque aux genoux. Manches unies en velours frappé noir mélangé d’or, bracelet de plumes noires, pèlerine de satin arrivant à la taille avec empiècement rond en velours frappé, bord de plumes noires; tour de cou très fourui de plumes. Capuchon pointu en velours frappé, tour de plumes devant.

18. Domino costume in black satin. — Plain skirt with train, straight coat reaching almost to the knees. Plain sleeves in black crushed velvet mixed with gold, black feather strap, satin pelerine reaching the waist with round yoke in crushed velvet, black feather edge; heavily feathered choker. Pointed hood in crushed velvet, round feathers in front.

Matériaux: 14 mètres satin noir, 3 mètres tissu frappé.

#Le Petit écho de la mode #19th century #1800s #1890s #1894 #periodical #fashion #fashion plate #retouch #description #Forney #dress #domino #costume #gigot #cape #lace #hood #mantle #cloak #satin #velvet #watteau #mirror satin #princess dress #masquerade

[lavenderskeletonn]

Bertha Palmer's evening dress, 1911. Silk satin, floss, crystal beads, rhinestones, metallic lace. Weeks, Paris.

Dress, evening-style, of off white silk satin. V-shaped neckline in front and back; Brussels lace yoke also visible. Bodice is completely covered in floral silk floss embroidery, trimmed with metallic lace, studded with rhinestones, and beaded. Bodice has a high waist, and short sleeves of Brussels lace. The skirt is embroidered at the center front in similar way as the bodice. Attached train extends from bottom back edge of the skirt; train has squared hem. Self-fabric petticoat with pleated ruffle at hem.  

Worn by Mrs. Bertha Honoré Palmer. Mrs. Palmer commissioned this dress from the House of Weeks (Paris) in 1911 to wear to the coronation of King George V in London. The embroidery down the center front is very similar to the embroidery on the dress that Queen Mary wore to the same event.

#20 #1910

[professorpski]

1930s via 1970s

The 1970s had a urge towards nostalgia which explains re-issued pattern from 1975 which is a nice look for a summer wedding. The large, cape-like, Bertha collar was popular during the 1930s and often worked as a substitute for a sleeve as this one does. Here you have wrapped bodice, but the skirt is not wrapped and a side zipper allows you to get into it. The skirt is pleated while 1930s skirts would have been fitted through the hips and were often gored in order to give a flare below the knee. You can, of course, substitute a skirt pattern from another dress pattern if you think it would suit you better.

They recommend rayons, which were popular in the 1930s too. Think about the sheerness of your fabric, and think about whether you need to underline the dress and leave the collar a sheer.

It comes in a pdf that you can print at home. First, get yourself a weighed tape dispenser to make the taping together easier. You can find it here:

From BurdaStyle http://www.burdastyle.com/pattern_store/patterns/retro-look-maxi-dress-062017

#burdastyle #sewing #sewing patterns #vintage #vintage fashion #vintage sewing patterns #dressmaking #1970s #1970s fashion #1930s fashion

[operafantomet]

Hi, Anea. I'm super excited about the upcoming BATB movie but very disappointed in Belle's iconic ball gown like many others. That said, I'm not a fashion person, other than realizing that yellow can be a hard color to pull off, so I don't know how the dress could have been made better. My question, then, would be what kind of alternative material/cut/etc. could have made the dress more like in the animation (better, iconic, gorgeous, flowing, all that stuff)? Thank you!

All I ask for is Belle’s golden dress as designed by Miguel Angel Huidor, for Stage Entertainment. Soft yellow sprinkled with gold, gorgeous drapes, a Rococo touch, always spectacular. 

Had the upcoming BATB movie shown this dress, it would have been an utter legend and copied to death. It offers so much for the eye to look at, without really stealing the focus from the Belle actress. Just complimenting her.

I think that’s the problem with the BATB movie dress - it doesn’t have any details or any oomph, nothing for the eye to look at. Which is nice enough for the actress, as it’s full focus on her. But it’s quite underwhelming for being *the* golden dress everyone had expectations for.

If I could choose I would have given the dress a more subtle yellow shade, maybe by adding a sequin overlay on the silk, or more ornamentation as that seen on the hem. I would also have given the bodice a more historical touch, by adding a sequinned or pleated “bertha” neckline.

Like this 1860s Emile Pingat dress:

( http://www.metmuseum.org/art/collection/search/82430 )

So yeah, a paler shade, more overlay details, more details in general, or a way more spectacular neckline at least. That’s stuff I would have added.

#beauty and the beast #batb #belle's golden dress #miguel angel huidor #emile pingat #emma watson

[mysticaltidalwavedaze-blog]

Monreal London Cozy Sweatpants Reviews

Mesh front pockets update these lightweight jersey Monreal London pants. Ribbed cuffs. Hidden elastic waistband with drawstring. Fabric: Jersey. 70% viscose/26% cotton/4% elastane. Wash cold. Made in Portugal. Measurements Rise: 10.25in / 26cm Inseam: 30.75in / 78cm Measurements from size S

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[thestarandthephoenix]

Front part of the Bertha pleated... So proud of me...

#costume wip #crinoline era #griffindor #revere skirt #truly victorian #bertha