#Crepe de Chine

[killyridols]

bather by katarina riesing, 2021, dye on embroidery on silk crepe de chine, 18 × 14.5 inches

[x-heesy]

L o v e

Crepe de Chine and silk dress "La Mascotte" from the Spanish collection of Jeanne Lanvin (1867-1946), 1925 🇪🇸

#history #historyofart #historycal #historyfacts #historylovers #historyinpictures #historymade #historygeek #historyera #historyphoto #historyclass #historychannel #historylesson #historygram #historynerd #historytour #historyofphotography #historyplace #historylover #historyphotographed #historymatters #historyoffashion #historyiscool #arthistory #historical #historicalplaces #historicalpix #historicalclothing #historicalphotos #historicalromance #historicalmonument #historicalfacts #historicalart #historicalsnapshots #historicalphotography #historicalphoto #historicalpictures #historicalhome #historicalcenter #historicaldesign #historicalfantasy #historicalusociety

White Lilies by Peder, Anne Trolle 🎵

[chic-a-gigot]

Le Petit écho de la mode, no. 15, vol. 23, 14 avril 1901, Paris. 1. Toilettes de réception. Création de Mathilde Cumont, 18 bis, rue Demours. Ville de Paris / Bibliothèque Forney

Toilette de réception en crêpe de Chine brodé mélangé de mousseline de soie noire ornée de velours dégradé. Le haut de la robe est en dentelle Chantilly mise en relief par des motifs de velours.

Reception ensemble in embroidered crepe de chine mixed with black silk muslin adorned with gradient velvet. The top of the dress is in Chantilly lace highlighted by velvet patterns.

[neatestshapes]

Slip into Luxury: A Guide to Silk Pajamas and Robes for the Discerning Sleeper

Dreamy nightwear starts here. Cuddle up with Neatest Shapes’ newest recomendations!

For centuries, silk has been synonymous with luxury. From the delicate kimonos of Japan to the opulent nightgowns of European royalty, this natural fabric has draped the bodies of those seeking both comfort and elegance. But silk isn’t just for special occasions; it can also elevate your nightly routine and transform your bedroom into a haven of tranquility. The Allure of Silk Sleepwear Silk…

[discountalien-pancake]

Welp i was fooled into ordering 4 yards of polyester satin but it’s pretty and good quality for poly so i’m still going to use it. But in future i’ll probably just go to Mood for printed silks.

[tinfoilbutters]

i'm gonna start my FIM rewatch, and if i start buying any fabrics for Grand Galloping Gala Rarity before I finish PC Kenny and Abella, please hit me with a nerf gun dart

[frostedmagnolias]

White crepe de chine wedding dress

c. 1899

“Ivory crepe wedding of gown of Gertrude Stoke (Mrs. Thompson) in 1899. Made by dressmakers Julia and Mary Tomasek, St. Paul, Minnesota.”

Minnesota Historical Society

[the1920sinpictures]

1928 c. Printed silk crepe de chine long-sleeved day dress with shirt collar, center front draped tie and a center back floating panel. From Augusta Auctions.

[history-of-fashion]

1939 Evening dress by unknown maker

crepe de chine

(Amsterdam Museum)

[newyorkthegoldenage]

Model Hannale Sherman on the terrace of Condé Nast's Park Avenue apartment, 1928. This 30-room penthouse, designed by Elsie de Wolfe, was the scene of Nast's many legendary parties. Sherman wears a crepe de chine skirt and jacket over a cream-colored blouse, by Hattie Carnegie, and a hat by Rose Descat.

Photo: Edward Steichen for Vogue via the Condé Nast Store

[inkwingart]

Vietwardian look 1/? — If this looks familiar, that’s because it is! I wasn’t happy with the pose so I overhauled it lol. Now she, too, is stabby.

Her gown is a classic áo dài with silk jacquard body panels and sheer silk crepe de chine sleeves, but with added flare in the back to give that classic Edwardian silhouette. The sheer underskirt is an embroidered and beaded bobbinet, while the trousers are classic black satin. The blue headpiece is a Vietnamese khăn đóng, a traditional turban that could be relatively small, like this one, or very large to show off your wealth.

Do not remove my caption, crop, edit, or repost on any platform.

[chic-a-gigot]

Le Petit écho de la mode, no. 2, vol. 16, 14 janvier 1894, Paris. 21. Élégante robe de soirée en peau de soie "Lezard" et crêpe de Chine nacrée. Ville de Paris / Bibliothèque Forney

21. Élégante robe de soirée en peau de soie "Lezard" et crêpe de Chine nacrée, de forme polonaise, à demi-traîne, coupée en corselet devant et dans le dos sur une chemisette en crêpe de Chine, bouillonnée et décolletée en V devant et dans le dos, garnie de ruche de ruban "Lezard" la manche basse et bouillonnée est maintenue aux épaules par une même ruche. La polonaise agrafe sous le bras; de chaque côté quille de crêpe de Chine bouillonnée encadrée de ruche, barrettes également faites en ruche de ruban. Gants longs en suède blanc, bracelets, souliers en peau de soie perlée.

21. Elegant evening dress in "Lezard" silk skin and pearly crepe de Chine, polonaise shape, half-train, cut in a corselet in front and in the back on a crepe de Chine chemisette, bubbled and V-neck in front and in the back, trimmed with "Lezard" ribbon ruffle, the low, bubbled sleeve is held at the shoulders by the same ruffle. The polonaise closes under the arm; on each side bubbled crepe de chine keel framed with a ruffle, bars also made of ribbon ruffle. Long gloves in white suede, bracelets, shoes in pearled silk skin.

Matériaux: 8 mètres peau de soie, 3m,50 crêpe de Chine, 13 mètres de ruche toute faite ou 40 mètres de ruban.

[mote-historie]

Two fashionable modern young women smoking cigarettes through a cigarette holder in this fashion illustration for Madam Premet and Dæuillet (Georges Doeuillet), published in Art Gout Beaute, Paris, February 1926.

Pour le soir: Robe de soir en mousselin de soie pecbe de garnie de broderies d'argent by Madam Premet.

Mirlition: Robe de soir en crepe de chine noir garnie de gaze vert e'meraude et gland d'or by Dæuillet (Georges Doeuillet).

[discountalien-pancake]

Behold, friends! Look upon my new acquisition with envy! 5 meters of handwoven silk, a recreation of historical Vietnamese textiles made by Vietnamese artisans. The project was organized by La Quoc Bao (barolaw on instagram) and after many, many complications and a year and a half of waiting, I finally have this in my hands.

It is unlike any modern silk textile I’ve ever handled. It is most similar to Indian handwoven silks of similar weight, but the drape is more fluid and the weave has more texture. It’s not slippery like habotai or charmeuse, not crisp like taffeta or organza, nor is it pebbly and bouncy like crepe de chine. The shine is subtle and it’s lightweight but not see-through.

[chicinsilk]

US Vogue November 1, 1963

Jean Shrimpton wears a pale pink crepe de chine evening gown with the top turned up like a blouse over a short, narrow skirt. Just under the bust, a soft pussy bow on a gold and ruby ​​barrette that anchors the neckline. Long kid gloves in the same pink; more gold and rubies for the earrings. Dior dress, in Staron fabric. Kislav gloves. Alexandre hairstyle: all twists and fringes, and a bright, shiny brown color.

Jean Shrimpton porte une robe du soir en crêpe de Chine rose pâle avec le haut retourné comme un chemisier au-dessus d'une jupe courte et étroite. Juste sous la poitrine, un pli lavallière souple sur une barrette en or et rubis qui ancre le décolleté. De longs gants en cuir de chevreau du même rose ; plus d'or et de rubis pour les boucles d'oreilles. Robe Dior, en tissu Staron. Gants Kislav. Coiffure Alexandre : tout en torsades et franges, et une couleur marron vive et brillante.

Photo Irving Penn

vogue archive

[thepaleys]

Life at Bolougne-sur-Seine - Part 2

While escaping the rigors of the protocol, their lives nevertheless obeyed strict rules. The family gathered every morning in the small dining room exclusively reserved for their use because when the countess entertained, the table was set in another room - with chairs hung with pale yellow silk. The sun streamed in through the large windows and fell on the precious Chinese vases above the fireplace. While chatting, the children and their mother enjoyed coffee with milk and brioches, while Grand Duke Paul preferred tea, which he drank from a large glass held by a gold glass-holder on which his initials were engraved. The morning continued with home lessons for the children and walks. The Countess of Hohenfelsen, for her part, did her fittings with the couturiers, the most famous of whom were Poiret, Worth, Paquin and the Callot sisters. The numerous photographs that survive from the years between 1902 and 1914 show us an extremely elegant woman, wearing large “Merry Widow” hats, inspired by Franz Lehar's masterpiece, and dressed in “gowns of promenade or evening dresses that were probably made in ivory satin, Lanvin blue crepe de chine or pale pink, pearly gray or light biscuit lace. (...) At half past twelve - Grand Duke Paul was extremely punctual - the family met again for lunch, which was very rare at the time, as the children generally took their meals separately from their parents. (...) At the end of the afternoon, the children left the nursery - on the second floor - and their teacher to share a light snack with their parents. Every day, a pastry chef made sandwiches and soft breads, ordered in the morning for five o'clock tea. A short walk in the garden, a visit from friends, and dinner time arrived. It was the only meal Irene and Natalie ate alone. The two sisters returned very early to their rooms, on the top floor, and always took care to close, behind them, the large staircase with a gate which slid along the banister so that the little girls, if they happened to wake up in the middle of the night, could not, under any circumstances venture alone on the polished and slippery steps. When they were not held back by their many worldly obligations, the Grand Duke and his wife spent the evening calmly in the small library. Paul read aloud and Olga, dressed in a tea-gown at his request, embroidered. Then he retired to his study to update his journal, a diary made in Russia with varnished wood binding and gilded metal clasp. The memory of the clan in exile.

Natalie Paley: Princesse en Exil - Jean-Noel Liaut