#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]

1925 c. Peach silk crepe de chine evening dress with pearlized seed beads and rhinestones, rabbit fur trim AND 1925 c. Blue silk satin evening dress with twisted metallic cord and crimped braid, chatoyant bugle beads, silvered faux pearl and lozenge embroidery. 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. 51, vol. 27, 17 décembre 1905, Paris. Toilette de mariée et de cérémonie. — Chapeau de Mme Charles Desbruères. Ville de Paris / Bibliothèque Forney

(1.) Robe en crêpe de Chine, velours ou drap souple ornée guipure imitation Venise. Jupe en forme ouverte devant sur un tablier de guipure. Corsage-blouse froncé à la taille sous une ceinture drapée genre corselet. Col droit et empiècement de guipure. Jabot de Valenciennes. Manche gigot. Chapeau en feutre ou velours orné plume et ruban.

Dress in crepe de Chine, velvet or soft cloth decorated with imitation Venice guipure. Skirt in an open front over a guipure apron. Blouse-bodice gathered at the waist under a draped belt like a corselet. Straight collar and guipure yoke. Valenciennes jabot. Leg of mutton sleeve. Felt or velvet hat decorated with feather and ribbon.

Mat.: 7 mèt. de drap ou 14 mèt. de soie ou velours.

—

(2.) Robe de mariée en satin, bengaline ou drap souple, de forme princesse, avec le haut en mousseline de soie et entre deux de Valenciennes encadré par une berthe en dentelle application de lacet de Bruges sur tulle de Bruxelles; même dentelle en panneau sur les côtés de la robe princesse. Cette garniture, très riche, est d’une exécution simple et rapide et d’un prix de revient très minime. Voir, dans le no. 45 du Petit Echo de la Broderie, la dentelle grandeur naturelle, avec l’explication détaillée du travail et le prix des lacets employés pour son exécution.

(2.) Wedding dress in satin, bengaline or soft cloth, princess-shaped, with the top in chiffon and between two Valenciennes frames by a lace berthe applied with Bruges lace on Brussels tulle; same lace in panel on the sides of the princess dress. This trim, very rich, is simple and quick to make and has a very low cost price. See, in no. 45 of the Petit Echo de la Broderie, the natural-size lace, with a detailed explanation of the work and the price of the laces used for its execution.

[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 January 1986

Paulina Porizkova in a stunning three-piece set. Navy cashmere sleeveless sweater under the most charming navy cashmere cardigan, with white linen collar and cuffs, polka dot silk crepe de chine lining. With navy chalk striped wool pants, navy and white belt. By Bill Blass. Hair, Suga of Suga Salon, NYC, makeup, Tyen of Paris. Earrings and bracelet, Wendy Gell Jewelry.

Paulina Porizkova dans un superbe ensemble trois pièces. Petit pull sans manches en cachemire bleu marine sous le plus charmant cardigan en cachemire bleu marine également, avec col et poignets en lin blanc, doublure en crêpe de Chine de soie à pois. Avec un pantalon en laine bleu marine à rayures craie, une ceinture bleu marine et blanche. Par Bill Blass. Coiffure, Suga du Suga Salon, NYC, maquillage, Tyen de Paris. Boucles d'oreilles et bracelet, Wendy Gell Jewelry.

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