#Gown Frock Dress Design

[cutecraves]

10 Things to Consider While Buying Ethnic Wear for Kids

Ethnic clothing for children is about more than just dressing them up. It’s a way to celebrate tradition, culture, and identity from an early age. Choosing the right ethnic outfit ensures your child looks adorable, feels comfortable, and stays connected to their roots. However, selecting the perfect gowns for girls online can be tricky, given the variety of options available. Here are 10 essential things to consider while buying ethnic wear for kids.

1. Comfort Is Crucial

Comfort should be your top priority when choosing ethnic wear for children. Kids are naturally active and need clothes that allow them to move freely without causing irritation.

Fabric Choice: Opt for breathable materials such as cotton, silk, or linen, which keep children comfortable throughout the day. These fabrics are especially suitable for events that involve long hours of activity or festive celebrations.

Fit Matters: Children grow rapidly, so what fits them today might be tight in a few months. Choose outfits with adjustable elements, such as elastic waistbands or drawstrings, which not only ensure a better fit but also accommodate your child’s growth.

Investing in comfortable clothing ensures that your child enjoys the occasion without being bogged down by itchy or ill-fitting attire.

2. Choosing the Right Size

Selecting the correct size is essential to avoid discomfort. Clothes that are too tight can restrict movement, while oversized clothing might look sloppy.

Consult Size Charts: Brands often have their own sizing standards, so always refer to the provided size chart for accuracy.

Room for Growth: A good strategy is to choose a size slightly larger than your child’s current measurements. This way, the outfit lasts longer and ensures unrestricted movement, especially during active events.

Avoid the common mistake of buying overly tight outfits for a polished look. Comfort and flexibility should always take precedence.

3. Color and Design

Ethnic clothing offers a vibrant array of colors, patterns, and designs. Choosing the right combination ensures your child looks festive and feels happy.

Occasion-Specific Colors: Bright and vibrant hues work well for festivals and celebrations, while muted tones and elegant designs suit formal occasions.

Involve Your Child: Let your child participate in the selection process. Allowing them to pick colors or patterns they love fosters a sense of ownership and excitement about their outfit.

Pairing the attire with the right accessories—like jewelry, shoes, or hair adornments—can enhance the overall look.

4. Consider the Occasion

The type of ethnic wear varies depending on the occasion. Choosing the right outfit ensures that your child looks appropriately dressed while embracing cultural significance.

Festive Events: Outfits like lehengas, kurta-pajamas, and dhoti-kurtas are perfect for celebratory gatherings.

Formal Functions: Sherwanis and traditional gowns work well for weddings and family events.

Casual Gatherings: For informal family outings, go for comfortable yet stylish ethnic wear that allows your child to play and interact freely.

Matching the outfit to the occasion ensures your child blends in seamlessly while enjoying the event.

5. Easy to Wear

Children often lack the patience for elaborate clothing. Ethnic outfits with simple designs and easy closures can make a significant difference.

Convenient Features: Look for garments with elastic waistbands, front-buttoned kurtas, or back-zipped dresses to simplify the dressing process.

Time-Saving Options: Quick-to-wear outfits are especially helpful during rushed preparations for events.

Opting for easy-to-dress clothing ensures a stress-free experience for both you and your child.

6. Fabric Quality

High-quality fabric is key to ensuring both comfort and durability. Children’s ethnic wear should not only look good but also stand up to active use.

Soft and Hypoallergenic Materials: Sensitive skin requires gentle fabrics to prevent irritation. Opt for hypoallergenic materials to minimize the risk of allergies.

Durability Matters: Kids tend to be rough with their clothes, whether they’re playing or attending events. Premium fabrics withstand wear and tear, ensuring the outfit lasts longer.

Brands like Cute Craves offer ethnic wear crafted from superior-quality materials, ensuring style and comfort for your little one.

7. Accessories and Adornments

Accessories and embellishments add charm and personality to ethnic wear, transforming a simple outfit into something truly special.

Sequins and Embroidery: Decorative elements like sequins, embroidery, or mirrors can make outfits stand out. Kids especially love shiny accents that make them feel like royalty.

Matching Accessories: Don’t forget shoes, jewelry, or headdresses to complete the look. Well-coordinated accessories enhance the overall outfit while adding cultural flair.

Carefully chosen accessories can elevate your child’s ethnic outfit, making them shine at any event.

8. Washing and Care Instructions

Ethnic wear for kids often features delicate fabrics and intricate details, requiring special care to maintain their quality.

Check Care Labels: Many ethnic garments need gentle washing or dry cleaning to preserve their vibrant colors and embellishments.

Durability: Invest in outfits that can withstand frequent washes without losing their appeal, especially if your child will wear them more than once.

Following care instructions ensures your child’s outfit remains in top-notch condition for future occasions.

9. Options for Customization

Customizing ethnic wear adds a personal touch, making the outfit unique and special for your child.

Tailored Fit: Customization allows you to achieve a perfect fit for your child, ensuring they’re comfortable and stylish.

Personalized Designs: Brands like Cute Craves offer customization options to create outfits that match your child’s personality or the theme of an event.

Personalized clothing celebrates individuality, making your child feel truly special.

10. Budgeting Factors

While it’s tempting to splurge on your child’s outfit, it’s essential to stay within budget without compromising on quality.

Affordable Options: Cute Craves offers a wide range of stylish yet affordable ethnic wear, ensuring you get the best value for your money.

Long-Term Use: Invest in versatile outfits that can be worn across multiple occasions to maximize your spending.

Setting a budget ensures a balance between quality and affordability, allowing you to enjoy the cultural significance of the attire without straining your finances.

Why Choose Cute Craves for Ethnic Wear?

Cute Craves is a go-to destination for stylish, comfortable, and affordable ethnic wear for children. The brand specializes in high-quality fabrics and designs tailored for kids’ unique needs, offering:

Variety: From vibrant lehengas to elegant sherwanis, there’s something for every occasion.

Quality: Soft, durable materials ensure comfort and longevity.

Affordability: Fashion-forward designs at budget-friendly prices.

Cute Craves combines tradition and style to create outfits that celebrate culture while ensuring your child feels confident and happy.

Conclusion

Selecting the perfect ethnic wear for kids involves balancing style, comfort, and practicality. By considering factors like fabric quality, ease of wear, and occasion-specific designs, you can ensure your child not only looks their best but also enjoys the experience of wearing traditional attire. With options like customization and budget-friendly choices, brands like Cute Craves make it easier than ever to celebrate your child’s cultural heritage with style.

Make your little one shine in ethnic wear that honors tradition while ensuring they feel comfortable, confident, and cherished.

[miracoulia-store]

Girl’s Big Bow Princess Dress 1-10 Years Old Fashion One Shoulder Sequin Fluffy Dress Carnival Birthday Party Performance Clothi

Girl’s Big Bow Princess Dress 1-10 Years Old Fashion One Shoulder Sequin Fluffy Dress Carnival Birthday Party Performance Clothi

1. Since different computers display different colors, the actual project color may vary from the above image. Thank you for your understanding.

2. Due to manual measurement, there may be a deviation of 1-3cm. hope customers can understand. Age and height are for reference only. If your baby is bigger, please choose a larger size.

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[starillusion13]

Hello! I love your writing!! I saw that your requests are open so I would like to ask what type of outfit would attract and turn on ateez members👀

Imagines...

These are just my thoughts, you might can agree and disagree at some point in your perspective but knowing them since predebut, this is my opinion on their likings and nature. But honestly, I was really imagining myself while writing this like how would I dress up if I ever get to meet them personally lol. i'm being too much delulu right now. I need some serious therapy.

Hongjoong

The man who is in love with passionate and hardworking girls rather you can say, a dedicated woman. He loves the way if you are always dressed up fashionably according to the occasion. If you are wearing a tight short dress or a long body-hugging slit gown for a night party or business meeting party then you should have to feel under watch. He would steal glances of you now and then and would keep you by his side and whisper some good and nasty compliments, to let others know how to keep their eyes off from you as you are taken by him. He would try to maintain a proper image in front of everyone with a wide toothy grin but behind the sly smirk is how he thinks of bending you in-front of the mirror and see you falling apart in that classy dress. Also, his soft side would get attracted if you wear any clothes and shoes designed by him, like the designer jackets which will make him proud that you are appreciating his hobbies and he would secretly click your pictures in it.

Seonghwa

Oh, a sweet personality who has always this adoration and awe in his eyes whenever he gets a glimpse of you. He loves a person who is a very soft aesthetic and dress up femininely. Wearing cute skirts or frocks like summer dress or casual wears. He would find you the most beautiful one in these outfits. He likes the way your dress flows with the light breeze and a bright smile adorning your face which brings a small smile on his face. He would hold your hand and feel himself the most luckiest one to have you and would try to help you in every other household chores so that you don’t look exhausted and can spend sweet times with him. But, it’s not always about this sweet romance as he might sometimes lose control to see you cooking and back hugging you in the kitchen in those frocks and well, he would bring the heaven to the kitchen counter.

Yunho

A tall handsome who doesn’t know how to keep his eyes off from you. He just finds you attractive in anything. He is like a hopeless lover and feels so happy just to see you holding his big hands with your cute little hands. Maybe, he likes you the most when you wear skirts as he would swiftly lift you up in his arms and place you on his lap, you placing your hands around his neck and both having beautiful smile on your faces. His one hand would caress your face and the other would going up and down your bare thighs. He loves the way you look so vulnerable in those cute skirt and top that it’s very difficult for him to leave you alone. Your every small shifting on his lap makes him hard and painful but no matter what he just wants to keep those cute skirts on you, rest everything off. Theres one more thing that attracts him more is you in his big clothes as you looked like a kitten dumped under the pile of clothes and he would coo and hug you all the day.

Yeosang

Well, he might be of two types. His one personality like you in some cute outfits which are totally like frocks and skirts and sweetly hold your hand and compliments here and there. He would often try to match his outfits with you and let you buy couple wears to let others know to whom you actually belong. His sweet demeanour is far to recognise that’s hiding a demon of possessiveness. He is very shy whenever he tells you about his favourite skirt or dress that looks absolutely beautiful on you. He loves it more whenever there are some cute floral or pattern designs on the dress. But if the dress is looking too sexy on you then just expect his other personality, his fingers inside of you as he would love to see you making little noises in those cute outfits. He just loves you so much so he doesn’t know how to really appreciate you in the dress so he sometimes tries to make a drawing of yours and you secretly keep it treasured in your closet.

San

He just can’t keep his hands off to himself whenever you are around him. He loves to see you in classy outfits where he can proudly present you as his partner to everyone. He has this side where he wants to see you in all elegant and classy and people admiring you for your beauty and success but he also loves your silly side. So, You in any elegant outfits might make him go crazy for you as he would definitely bring you to his parents to arrange for a wedding the next day. Speaking of turning him on, maybe if you are a very confident woman in a classy dress approach him but acts all shy during the conversation with him closely, it might turn your planned day into something else. Maybe his hands and minds both will be somewhere else unlike other times. Welcome the demon inside the sweet man.

Mingi

Tight outfits will make him hold you tightly against his body. Anything that highlighting your curves and hugging your body perfectly would turn him on. His here and there light touches and patting your head with a smile as if letting the others around him know that even if they are looking at you but you are only for him to touch and desire. Licking his lips and staring at you while you sexily sits across him on a sofa when you both have gone for a dine out would make it so hard for him to not drag you home and see you fall apart. But apart from this, he has a soft side which is majorly available the whole day, he is just always whiny for your attention so if you are wearing his favourite outfits then it might make him too soft for you to handle. He might also like baggy clothes on you sometimes as he thinks those look cute on you.

Wooyoung

He is such a Loverboy that he will always let you know about his likings and love for you. As usual, you both first met in the dance studio so that’s the very first thing he liked about you being having the same passion as his and you in the dance practice fits like a tank top or crop tops with sweat pants is the weakest point for him. He loves you in those funky outfits or tomboy-ish clothes but would definitely love anything which gives off an aura of dominance from you. Simply, those just turns him on even if you both are in public. Sometimes, you jokingly wear his clothes especially those hoodies as they are very much comfortable but to him, he wants you to always wear his clothes and maybe do all the nasty things that coming across his mind at the moment.

Jongho

He will never let you know that he loves you in your classy work outfits. Yes, this man is very reserve but a cute lover if you know him after spending 24/7 with him. Every morning whenever you are wearing those straight pants with a plain shirt or solid top , or maybe like a knee length skirt and blazer outfit. OH GOSH, have mercy on the man as he would be staring a bit too obvious that you have to raise your eyebrows and ask him continuously if you would change it or anything wrong with your look. He will wave it off as nothing or swiftly sing few lines for you to make you smile but inside his head the only thing is going on that why it is necessary for you to appear such perfectly for the meetings where all the eyes will be on you and he would not be there to glare them off. Lastly, he might just love you in outfits which are not too much revealing.

[ Please let me know if you like this sort of imagines, this is really my first time doing this sort of writings so idk how it turned out but I had fun. I want to make a NCT ver. on this so badly. Aldo, the other requests are in the queue to be posted soon. wait patiently babygorls, I'm back with all my out of world imaginations..... ]

Taglist: @mymoodwriting @justhere4kpop @anyamaris @yeoobin @icchyi @jwnghyuns @piratequeen-queenofgames @dinonuguaegi @oreharuuu @hwanring @sanwifesstuff @kiwiisnthereoops @kiwiraccoon @hyuukah @kazscara @aceofspadesbiofalltrades [open!]

[gtccollectionstories]

A linen smock

18257, Linen smock frock. 19th century.

This linen smock was donated by Rachel Kay-Shuttleworth. We do not know exactly when she acquired it, but it is listed in her 1958 catalogue. She recorded that the smock was from the South-West of England, possibly Dorset, and dated from the 19th century.

"Smock frocks" developed from the more generalised construction of a man’s shirt, and their use as an outer work garment was at its height between 1800 and 1870.

Rachel also wrote that the embroidered tree symbols on the front identified this as a forester’s smock: these can be seen in the detail photograph below. This symbolism was once thought to have been of use at hiring fairs, but this is now discredited - although some smocks were specific to certain occupations, such as blue smocks for butchers.

Smocks were worn by the early navvies constructing the railways and canals up to the 1840s - as many were former agricultural workers seeking better wages on local projects, before the influx of Irish labour. Later adopted by urban “dirty trades” such as dustmen, fishmongers, warehouse-men and porters, the smock was never just a rural garment, worn only by shepherds and agricultural-workers.

18257, Detail showing the tree symbols on the right.

The smock was a cheap, practical and hard-wearing utility garment , made from linen or cotton with a very simple cutting layout. Shaping was achieved by the pleating and smocking, which is not only decorative but also gives some elasticity and stretch to the fabric, plus added thickness and warmth.

Smocks could be home-made, but were also bought ready-made from drapers – these were factory-produced, with very minimal smocking and embroidery added later by women outworkers. There was a thriving second-hand trade as well, as although smocks were a relatively cheap garment it was still a significant cost for a worker, in relation to wages.

Elizabeth Bishop wrote in 'Embroidery' in 1972 about a treasured family heirloom - her great great grandfather’s smock. He was John Bishop (1823-1908), a carter living in Groombridge, Sussex. His smock was made by his wife, Ann - "... the work is done so neatly and evenly that it hardly seems possible that it is all done by hand." In addition to ones for other family members, Ann also made smocks at home for local labourers, “doing all the smocking and making up the smock for one shilling and sixpence a time". At that time, this would be a significant amount of money, and no doubt provided much-needed extra income for the family.

18257, showing the "box", and "tubing"

The better-off man would have a "best" smock to wear at church, for social occasions such as weddings and funerals, when going to market and even to the pub! They were white or cream with highly decorative and ornamental embroidery - stitched by a wife or mother as a visual, distinguishing sign of wealth. They were worn with a colourful neckerchief knotted at the neck, and a shirt, waistcoat and trousers underneath.

Just like christening gowns and wedding dresses, it is these “Sunday best” garments that have mainly survived, unlike the plainer, workday smocks, which were discarded when they eventually wore out. Smocks identified the wearer as a manual worker, but increased mechanisation would make the wearing of loose smocks hazardous and they were superseded by more closely fitted clothing.

There were two styles of smock, and Rachel's is a “round smock"; being identical at the back and front, it is reversible and slips over the head. Finishing well below the knee, the exact length was determined by the height of the wearer. (The other style was a “coat smock”, which had a buttoned opening all the way down the front.)

This smock is handmade from linen with a large rectangular collar in two halves, held down at the four outer corners by clear glass buttons. The design follows the typical pattern of “boxes” of embroidery on either side of the central smocked gathers, known as ”tubing”. The smocking stitches are worked in the same colour thread as the linen fabric and include basket, rope and double chevron in diamond patterns. The embroidery in the boxes is mainly feather stitch, with some herringbone.

18257, cuff detail

There are two side pockets, with reinforced top edges (also embroidered) and a bone button fastening, and a small panel of smocking inserted at the head of each sleeve. Both sleeves and cuffs are also smocked and embroidered, complete with two bone buttons and hand-worked buttonholes.

We have two other smocks in the Collection with more detailed provenance about their owners - as Rachel fully appreciated the pressing need to record lost and disappearing customs, and their occupational clothing - and especially to preserve the needlework skills involved. The intricate smocking and embroidery patterns were highly creative and individual, requiring many hours of stitching. Smocks are the perfect example of beauty and utility going hand-in-hand.

The Women's Institute popularised smocking from the 1920s onwards and it was still widely used for children's clothing in the 1940s. Smocking continues to be used in both adult and children's clothing today.

Jane H.

REFERENCES:

The Hidden History of the Smock Frock: Alison Toplis, Bloomsbury, 2021

English Folk Embroidery: Oenone Cave, Mills & Boon Ltd, 1965

A family heirloom: Elizabeth Bishop, article in ‘Embroidery’, Summer 1972

Old English Smocks and Smocking: Oenone Cave, ‘Embroidery’, Winter 1961

[argentasterdisaster]

Design Lore- Wedding Gowns of Inquisitor Evanui Lavellan and Ambassador Josephine Montilyet*

*this is all related to my headcanons concerning these characters, please don't take anything I write here as actual canon*

I do not agree that these ladies waited over a decade to get engaged. they were quietly married as soon as Eva's arm healed. This is their blow- out vow renewal ceremony.

This is a very long post. Strap in.

As someone with a background in fashion and design, the fashion choices of characters is always an extremely important facet to me when it comes to understanding who those characters are at their core.

Games are no different, in fact they're probably one of the mediums where fashion design shines the most. You can usually tell exactly what sort of person a character is at a glance based on the design choices made and how every piece of their outfit is styled.

I love Dragon Age, so I figured I'd have fun with this little project and go ham.

Josephine and Eva deserve that much after so much time.

Style of Gowns:

The simple sheath- style dress we see in Cullen and Sera's wedding scenes would not work for these two, Josie in particular.

I was originally designing something from scratch, with hints of Italian Renaissance styles, a little Jacobian, metallics, etc. but then this fabulous 80s Mugler caught my eye.

It's perfection.

Swap the colour, tweak the sleeves, fuller skirt, some bows on the neckline, and done!

Eva's I wanted to keep more in line with what was in-game, but fancier. Adding sleeves to this 60s Valentino did the trick, as did the bodice shape of Lady Sibyl's harem pants frock from Series 1 of Downton Abbey.

Colour Palettes and Materials:

Historically women married in their best dresses. For people of means that meant very elaborate, costly things. They rarely wore white wedding gowns, preferring bright or deep colours for their gowns, or most expensively, metallic fabric.

Cloth of gold and cloth of silver were preferred by noblility, and those with the coin for it often made full outfits from these fabrics.

Examples include the wedding gown of Empress Ekaterina II of Russia, and the coronation gown of Queen Maude of Norway (yes, I know it's actually gold lamé, but there are almost no examples of actual cloth of gold left and old style lamé is a good approximation to the look of the OG).

As the head of a now-prosperous noble family who dealt with trade, Josie would be familiar with these and many other fine fabrics. Now that she can afford to splurge a little, she'd have a choice of the best. The skirt is cloth of silver with gold coloured silk satin for her bodice and sleeves.

I took inspiration for the bodice from the the colour of Artemesia Gentileschi's Ester Before Ahasuenus, and the texture of the silks in Vittorio Reggianini's La Soireé.

Eva's gown, while simpler in shape and style, was no less elaborate in construction. The pleats on the Valentino gown remind me so much of Mariano Fortuny's Delphos gowns that were all the rage during the early part of the 20th century. She chose a fine light linen for it's construction, in a colour she liked over whatever was more fashionable. In this case a light rosy pink with darker pink as a base for the embroidery panels.

The embroidery is where things get deep in my headcanon (and my feelings), as traditional embroidery patterns are something that I've always been particularly interested in. Both as a hobby, and the historical and cultural traditions and motifs that are tied into embroidery as an art form.

It's an artform historically practiced by women, an industry made and defined by women. Stories, techniques, designs, patterns: passed from mother to daughter, sister to sister, friend to friend, from generation to generation for centuries. The textile tradition of a culture tell the stories the men wouldn't commit to memories, the stories few will ever commit to words. Stories of love and history, changing trends, aesthtics, personal style. Stories of the individuals who wore the clothes.

Historically women of the family came together to work on the embroidered items in a bride's trosseau. It's the case with the heirloom embroidery that still exists within my family, and I'm sure many other families as well. I'd like to believe the Dalish do something similar to this.

I chose heavy embroidery for Evanui's gown because as the First to the Keeper, she would know the importance of traditions like these within families and clans. And Clan Lavellan has lost so much. This is her way of represent her traditions, and her personal story on her body on what would be one of the happiest days of her life.

And it's also a way for the women of Clan Lavellan- Evanui's sisters, cousins, aunts, and friends- to come together and show a most cherished member of the Clan all their love and support during this happy occasion.

Poppies for beauty and remembrance, and twining stems and leaves reminiscent of the elfroot icons you see in game. They're done in the style of Hungarian style red work embroidery, a personal favourite of mine.

Veils and Headdresses:

I lifted a blue version of the flower crown Queen Guinevere wore for her wedding in Excalibur for Josie. With everything else going on in the outfit, a simple mesh veil works.

Eva wears a short veil of dark pink linen with some simple embroidery along the scalloped edge. It's a shortened, simplifed version of historical headwear in the vein of wimples and henins. She wears it with a flower band in the popular face-framing style of the mid-1800s.

It's a look that's perfect for elves!

Shoes:

These aren't shown, but I did think of them!

Josie wears Roccoco-style heels like those depicted in François Boucher's Marquise de Pompadour, coloured gold of course. Eva wears something more Romantic, Jacques-Louis David's Mlle Ducreux in pale pink and red would work.

And yes, her shoes are full shoes. She got tired of having her feet cold and wet in traditional Dalish footwear.

Final Thoughts:

While I'm nowhere on her level, the biggest inspo for this little exercise came from one of my favourite illustrators, Beverlie Manson. In particular the paintings she did for Cinderella and Snow White and Rose Red.

In all, this has been far too much fashion, and even more headcanoning for one measley piece of fanart. Like I said, I went ham on this. Maybe too much ham, but that's but besides the point.

These are designs I will be definitely be returning to sooner rather than later.

So...how did I do?

[eolewyn1010]

Downton Abbey Fashion 89 - wedding gowns in 1925

We have three brides this season (well, Isobel marries Lord Merton at some point, but that happens offscreen, so, no dress to talk about): Mrs Hughes, Mary, and Edith, respectively warranting the comments nice and appropriate, underwhelming, and so pretty!

Mrs Hughes in Cora’s velvet coat. Making this a whole story arc was kind of not warranted when, y’know, we’ve never actually seen Cora wear this coat, so I don’t get the feeling that she would miss it. But alright. It harmonizes well with the lavender dress, although I would’ve liked it if the belt had a little trim or something that would make it pop more. As it is, the buckle looks a little random in the middle of nowhere. But let’s focus on the glorious applications instead! Purple flowers on a lot of white wavy leaves, and it’s paired with that charming lace-brimmed hat. I also cannot help my love for smooth, well-done box pleats.

I’m glad they took off the huge fur and the clunky hem trim before Mrs Hughes wore this. Honestly, I’m not sure why the fur was a part of this in the first place; usually, they wear separate fur stolas on top of their coats. Cora, what on earth were you keeping in your dust corner there? I’m wondering a little why Mrs Hughes, who’s presumably a virgin well into her 50s, won’t marry in white (whereas Mary, who is very officially not a virgin anymore, with a child in wedlock and all, does wear white, or at least champagne, even for the second go), but that’s more of an idle notion than a concern because this ensemble looks very nice on her and fits the down-to-earth vibe of her wedding. Although I find it ironic that, after all her insistence on the wedding being hers and not one of House Crawley, she does marry in the Crawleys’ signature dusty purple.

--------------

Mary’s second wedding look is. Well, it is a second wedding, and a very quick one at that, but I’m still underwhelmed. Mary, you could at least repeat the flowers on the hat; there’s not much on it except a bit of ruffled tulle! I do like her hair for a change, at least in the front because she still refuses to even out that fur patch in the nape of her neck. But why is this so unspectacular? This is not a charity tea; this is her wedding! And she has prided herself from the start of the series as a fashion queen, and dares to show up in this bland outfit.

If I have to suffer, so do you: Frock Flicks pointed out that this dress has a giant V pointing at Mary’s vagina, and now I can’t unsee it. I suspect the deep cut down the front was supposed to bring in some drama, but the zigzag lace band is not not showy enough for that. I’ll say this: Overall, I think the lower part of the outfit is better than the boring upper half; it has a sweet knife-pleated skirt and kick pleats in the back of the coat. Still. Mary, for this coat to work, you should have filled out the front V at least with a shiny damask pattern.

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And Edith, mah gurl, gets her happy ending! And looks pretty damn glorious in the process. Fun fact, she wears not one, but two lovely tiaras for the occasion, the little curlicue number for her veiled look to church, and later for the party a more streamlined one with lots of pearls, including a fashionable tassel design at the side of her head that is, yep, more pearls. Which, instead of crushing the impression of the lace under it or being crushed by it, perfectly harmonizes with it. Thank Edith’s taste that the necklace is a very simple deal and she lets her tiaras be the only noteworthy jewelry.

The dress itself is a fairly simple deal in terms of shape, 1920s-typical length, sleeves a little more fitted than I would expect (and also pretty short for a winter wedding; Edith is the only woman in that church who’s not wearing fur), and then there is this lovely neckline. Who ever came up with that particular lace was a goddamn genius. It’s not only the neckline; some of the glory also goes to the skirt hem, layers of lightweight, translucent scallops. It doesn’t try to be all glam’n’glitz, and there have been more spectacular looks on the show, but this fits her character so well and she makes a lovely bride.

To be honest, I would make less of a fuss about this if it were only the outfit she wore to her party, the basic dress. But what she wears to church has, one, a very long lace cape down from the shoulders that I’m in love with, and two, a glorious cathedral veil. The cape and the veil are not easy to tell apart; they kind of fuse into each other, and imho they lift this outfit from quite pretty to stunning. The dress is fairly simple in and of itself, but the composition of the entire look? Gorgeous.

[phrynefishersfrocks]

The seventh and final outfit of "Death Defying Feats" (Season 3, Episode 1) is a beautiful black net dress decorated with silver vines and a gold floral headpiece.

Known as the "Tarnished Net" dress, this gorgeous gown is made of a black silk slip underneath a black netting embroidered with a burnished gold floral design, with a wide elaborate lace border. The dress itself is a simple wrap dress, with wide shoulder straps and fastened together at the waist with a 1920's clasp shaped into a lily pad with decorative pearls that belonged to costume designer Marion Boyce.

Phryne accessorizes her gown with a beautiful wrap made of antique tulle with a similar wide burnished gold lace border to match the edging of the black netting of the dress itself. Her hairpiece is a complimentary metallic gold floral decoration set onto a comb. Diamond cluster earrings and a burnished gold ring finish off the look.

Season 3, Episode 1 - "Death Defying Feats"

Screencaps from here, costume exhibition photos from Frock Flicks, Marion Boyce's website, and Nikki Johnson's Flickr.

[purplehyacinthriver]

Aesop Sharp X Female Professor OC

The pair continued along the inclined pathway, passing bustling stalls that called out to passersby, until they reached a grand, fieldstone archway marking the entrance to the central part of town. They halted in front of a purple-trimmed building, a gilded sign reading 'GR' swaying gently before the door. 

Aesop took her hand, guiding her up the uneven stone steps before pushing the door open with his other hand. 

As Merith entered the shop, she surveyed her surroundings with careful consideration. The walls were draped in a rich crimson hue, accented by an intricate tapestry pattern that hinted at an appreciation for wealth and taste. 

The interior was lined with bolts of fabric, each roll arranged with precision. Merith admired the vibrant colours and textured weaves—opulent velvets and silks that could inspire exquisite garments but did not yet ignite a desire within her. Though the selection was extensive, she maintained an air of nonchalance, as if taking mental notes rather than feeling compelled to explore.

Her gaze drifted towards a man standing near the front door, impeccably dressed in a crimson frock coat that fell just below his waist. His waistcoat, a lighter shade with a subtle pattern, indicated a keen eye for detail. Various sewing pins clung to his collar, suggesting he was always prepared for any necessary adjustments. He lifted a cup of tea, peering over the rim of his rounded spectacles perched on his straight nose.

“Welcome, welcome! I don’t believe we’ve had the pleasure of meeting. I would certainly have remembered a gown as exquisite as yours,” he chimed, a broad smile illuminating his kind face.

Merith felt a warm flush at the compliment. “Well, it’s one of a kind,” she replied smoothly, feeling oddly enveloped by his congenial demeanor. “In your opinion, what might suit a woman of discerning taste such as myself? I do feel I ought to acquire a new gown to usher in the New Year.”

“Ah, a new gown for a new year makes perfect sense!” he agreed with a nod, his enthusiasm infectious. 

“Perhaps I should wait outside?” Aesop interjected, already reaching for the intricately etched doorknob. 

Merith grasped the handle before him, holding it firm. “Oh no, you volunteered your day to me. Here, sit,” she insisted, floating a rather bulky wingback chair towards him, urging him to take a seat. 

With a resigned sigh, he settled into the chair, adjusting himself slightly as if uncomfortable. 

The proprietor, who introduced himself as Augustus Hill, swiftly prioritised her presence, guiding younger witches aside to showcase newly acquired fabrics. They began to peruse Mr Hill’s latest catalogue, and Merith cast a curious glance over her shoulder. Aesop remained seated; his focus riveted on a small black book titled Potion Purveyors of the Medieval Era. She smiled to herself, amused that even on a day of leisure, he brought along his studies. She felt the small book she had shrank and tucked into her pocket.

Turning back to the catalogue, she caught sight of a stunning gown, marking the page with her finger. “Stop,” she said, and Mr Hill slowly peeled back the page to reveal an elegant evening gown crafted from luxurious fabric in shades of soft pink and cream. The design featured intricate draping along the waist and hips, creating a flattering silhouette that continued into a graceful train at the back. The off-shoulder neckline lent an air of sophistication. 

“I quite like the contrast between the smooth bodice and the voluminous skirt. It requires fine pleating for the underskirt beneath the draping,” she mused.

Augustus nodded approvingly, adjusting his spectacles as he began to sketch the design onto a parchment, incorporating her thoughtful suggestions with deft quill strokes. 

“And the colour…” she trailed off, a sudden uncertainty blossoming within her. 

“It’s all wrong for me,” she sighed, stroking the bolts of fabric lining the walls with a contemplative hand. 

“Hmm, which do you prefer?” she asked, turning to Aesop while holding out an assortment of fabrics. “Blue and silver, or perhaps green and gold?” She held the fabrics against her, striking a playful pose for his inspection. He glanced up, straightening at the unexpected attention. 

“I’m afraid I am no expert; you’d best consult—” 

“I’m not asking him,” she interrupted stubbornly. “I want to know what you like.”

He studied her for a moment, his gaze sweeping over the draped fabrics. “Well, I am no connoisseur of fashion, yet...” He rose from the striped chair, moving closer to her. He ran a light-coloured floral fabric between his fingers before raising it to eye level. “I believe this would suit you.” 

Then, he continued to examine the fabrics against her skin, brushing the edges of a dark black satin she had draped around her neck. Even through the fabric, she felt the warmth of his touch, sending an unexpected flutter through her.

“This one. Will that suffice?” he asked, his dark eyes meeting hers, something unspoken stirring beneath their gaze.

Merith nodded, stepping back to disentangle herself from the assortment of fabrics. “Well, I daresay you may possess a fashionable bone in your body,” she quipped, attempting a light-hearted jest as she passed the chosen rolls to Mr Hill, who wore an appreciative expression.

“Quite right; the gentleman chooses remarkably well,” Augustus affirmed with a smile. 

[justforbooks]

David Sassoon

Fashion designer who worked with Belinda Bellville and dressed Diana, Princess of Wales, for many years

Belinda Bellville, a designer of special occasion clothes for her own wealthy, well-connected social group, was pregnant in 1958 and in urgent need of a temporary assistant in her London atelier. She found David Sassoon, a Royal College of Art student, and offered him a job after seeing his degree show. Bellville was old-style class, Sassoon was the new meritocracy, and what became their joint firm, Bellville Sassoon, succeeded for over half a century.

Sassoon, who has died aged 92, recalled how Bellville inducted him to her strata. She taught him how those attending the royal enclosure at the Royal Ascot race meeting, a highlight of the social season, pronounced “Ascot” – with very clipped vowel sounds. She explained how to be patient with clients’ non-model figures, and age and status fears, made introductions and led him through the Buckingham Palace tradesman’s entrance to fit the young Princess Anne with a bridesmaid’s frock, Bellville’s first royal commission. Following etiquette, Sassoon stepped backwards away from Queen Elizabeth II and put his foot in the corgis’ water bowl.

It never mattered. Bellville and her customers respected Sassoon’s attentiveness and inventiveness: he became a couturier in the original sense of the word, directly creating clothes for prestigious customers, providing a balance of modishness with personal requirements. His reticent outsider identity endeared him to his major patron, Diana, Princess of Wales. Her customer experience did not begin well – before her wedding to Prince Charles in 1981 Diana presented herself tentatively at Bellville Sassoon’s Knightsbridge premises, where an unimpressed saleswoman suggested she try Harrods. Then her mother, Frances Shand Kydd, escorted her back to order a 10-dress trousseau. Sassoon designed the newlywed Princess of Wales’s going-away outfit, and confected a matching pochette bag because she had forgotten to buy a handbag.

He wrote a good luck note and tucked it inside; she found that a comfort in a nervous moment, and their collusion over her appearance was on, continuing for more than 70 outfits. Sassoon made the princess’s wishes happen and she trusted his judgment. Among the many royals Sassoon dressed (British, European and Gulf), Sarah, Duchess of York, fancied the outrageous and wore it against all advice, he said, while Princess Margaret had no more care for her wardrobe than for people.

Audrey Hepburn, Jackie Kennedy, Elizabeth Taylor, Helen Mirren, Jerry Hall, Madonna and many others wanted unique outfits for gala events through the good times of the 1960s and 70s, and into the 80s. These were a different genre of display from post-1990s red carpet gowns: in the earlier era, celebrities did not do a lot of static posing, so gladrags had to be wearable through active nights of partying, dancing, and going to the loo, without assistants on hand to rearrange the drapery afterwards.

The name on the labels (which changed from Bellville et Cie to Bellville Sassoon in 1970, when she invited him to be a partner) never had to flaunt brand identity as the company avoided paid-for publicity or advertising. Its workrooms, staffed with cutters, stitchers and finishers, attracted all the customers it could cope with through personal introductions. Ready-to-wear, which it produced from the 60s on, was first sold to existing regular customers who wanted something new in a hurry.

Those of Sassoon’s clientele who were artists, performers or collectors, plus Bellville herself, appreciated Sassoon’s cultural depth. His ideas were inspired by a wide knowledge of applied and fine arts: a coat hand-painted with flowers from a Mughal miniature; a silk crepe dress handsmocked in Arts and Crafts style; a state-banquet gown hand-beaded with Wedgwood cameos. He attributed his endless curiosity about decoration to his family.

His parents, Victoria and Gourgi Sassoon, were a Sephardic Jewish couple from Iraq who honeymooned in London in 1925 and never went back to Baghdad. They set up a home, in Highbury, London, rich with colour and art. David was the third of their six children, interested enough in clothes to doll up his younger sister in remnants from his mother’s trousseau. He wanted to be an actor, and after finishing boarding school and Avigdor high school in Stoke Newington, got a scholarship to study at Rada.

But his father begged him to pursue a more secure future, so he first went to Chelsea College of Art and, after national service with the army in Egypt, won a scholarship to the Royal College of Art fashion department, where he studied under its revolutionary professor Janey Ironside. He enjoyed acquiring the technical competency she insisted on.

Some of his student contemporaries became famous for imaginative ready-to-wear in the boutiques that dominated in the 60s, while Sassoon at Bellville et Cie anonymously clothed the best to Paris standards, albeit with London bohemian vibes. He teased Bellville that he had brought her a dowry of clients from his own Jewish milieu, eager to dress up for bar mitzvahs and weddings – couture bridal gowns were always the firm’s steady, secure, income.

Bellville retired in 1981, and handed over the firm to Sassoon, who recruited Lorcan Mullany, particularly for ready-to-wear designs, which were crucial from the 1990s, as couture dwindled because clients grew time-poor: two hours for a fitting had become a luxury. Sassoon worked on, also in ready-to-wear, until 2012.

His lasting affection, though, was for his couture creations – in 1978, he had paid the ransom for a collection stolen from a show in New York, personally buying back one dress from a drag queen in Harlem. In retirement, he coaxed loans of his favourites from their owners for an exhibition, The Glamour of Bellville Sassoon, at the Fashion and Textile Museum in 2013, arranging them in gossipy groups. His work also starred in the exhibition Fashion City: How Jewish Londoners Shaped Global Style at the Museum of London Docklands in 2023.

🔔 David Sassoon, fashion designer, born 5 October 1932; died 9 April 2025

Daily inspiration. Discover more photos at Just for Books…?

[opera-ghosts]

OPERA COSTUMES NOW SUIT THE ROLE, NOT THE SINGER March 11, 1984, New York Times

Back in 1875 the famous diva Celestine Galli-Marie was about to create the title role in a new opera called ''Carmen.'' In preparation for the premiere, she ordered a suitable costume - one that was supposed to combine authentic Spanish flavor with a romantic sense of the picturesque in a manner befitting a star of the Paris Opera-Comique. Thus first- nighters witnessed Bizet's spitfire emerge from her shabby cigarette factory immaculately attired in a close-fitting frock of canary satin trimmed with black silk ball fringe, a black velvet bolero, and a wide- brimmed hat with ball fringe to match. ''Gypsy chic,'' one might have called it.

Two decades later, when Emma Calvé performed the same role at the Metropolitan, wearing a seedy shawl (her own, of course), the Diamond Horseshoe gasped in disbelief: they couldn't tell Carmen apart from the chorus. Even her tenor, Jean de Reszke, was stunned. Before singing the role of Don Jose, a sergeant of the Dragoons, he had purchased a gleaming pair of boots suitable for a general. Though they weren't aware of it at the time, Calve was helping to usher in a new age.

The concept of stage costume has changed considerably since opera's palmy days. During the 19th century it didn't matter whether the stars played courtiers or courtesans, barons or beggars, so long as they were arrayed in suitable finery. Elegance and opulence were the rule, and every singer of repute owned a personal stage wardrobe from crowns to shoes.

One can only imagine, therefore, the sort of stage picture that resulted when an international cast assembled to sing, say, ''Les Huguenots,'' ''I Puritani'' or ''Der Freisch"utz'' dressed in a blinding assortment of color schemes, styles and decorations. Certainly it was closer to a fancy-dress ball than an integrated production.

''Obviously this practice is discouraged nowadays,'' says Peter Hall, the most recent head of the Metropolitan Opera costume department. ''Productions should be absolutely complete. Moreover, period is often changed by directors wishing to break with tradition, and things become rather heated when somebody comes along dressed 200 years out of date.''

To the Victorians, richness of effect was paramount, hence old-style costume decoration was very fussy, with all manner of contrasting fabrics used in combination with yards of beads, ribbons, plumes, fake gems, and embroidery, not to mention the pleats and tucks that must have been an absolute terror to clean and press.

''Things are very much simpler today than they were at the turn of the century,'' says Mr. Hall. ''While some designers, such as Zeffirelli, look at old portraits and copy those styles exactly, another school will look at authentic styles and re-interpret them somewhat. Last comes the 'self-indulgent' school that says, 'I'm not going to listen to the music anyway - I'll just do what I think is nice. Obviously that is the wrong way to go about it, for in the end the music should be reflected in the look of sets and costumes. I don't think that you can do Monteverdi in space suits. It has been done, in fact, but the result was hardly successful.''

Space suits or not, stage costume has always tended somehow to mirror its own time. Whether Nellie Melba was singing Gilda, Violetta or the Countess in ''The Marriage of Figaro,'' her ''period'' gowns - which were supposed to represent roughly the years 1470, 1850 and 1785 respectively - emphasized the hour- glass figure dictated by fashion at the fin de si ecle. Photographs of Emma Eames as Tosca show her wearing a bosomy costume that is little more than a gored Edwardian morning dress with an appropriate picture hat. Further on in time, Maria Jeritza's Tosca boasted the svelte lines popular during the 1920's and 30's.

Make-up and coiffure also have a lot to do with period feeling, but most singers have tended to wear whatever is popular or flattering. For instance, dark eyelids, kewpie-doll lips and headbands worn low over the brow usually indicate performances of the post-World War I era, whether the role depicted is Tha"is, Lakme or the "Agyptische Helena, and everyone is familiar with the all-purpose hairdo that Dame Joan Sutherland lets down only for mad scenes.

Men have been just as fashion conscious. When large, waxed moustaches were the rage, Caruso, Florencio Constantino, Mattia Battistini and many others sported them even when portraying normally clean-shaven 18th-century characters in powdered wigs.

Renaissance and earlier historical styles gave Victorian and early 20th- century designers the chance to indulge in amazing flights of fancy shackled by considerations of modesty. A copy of Harper's Weekly from 1855 contains engravings of Giulia Grisi and Marietta Alboni as the protagonists of Rossini's ''Semiramide.'' As the exotic Queen of Babylon, Grisi wore a pointed bodice, short puff sleeves, multi-layered skirt over numerous petticoats, floor-length veil and Statue-of-Liberty coronet that were merely outlandish variations on the outfit worn by Queen Victoria to the opening of the Crystal Palace in 1851.

Alboni sang Arsace, a trouser role, in a short flounced skirt worn over voluminous pantaloons tucked into dainty suede-topped boots (to give the impression of pants while hiding her legs) . With her little painted moustache - lest anyone mistake her for a woman - she looked rather like Prince Albert in drag.

Biblical and ancient garb were generally treated more like upholstery than attire on the stage prior to 1920. Old production shots of ''A"ida'' show the singers draped like ottomans in layers of heavy, embroidered fabric that would have caused real-life Egyptians to drop from heat stroke. The traditional get-up for ''Samson and Delilah'' resembled the wares of a Levantine rug merchant.

''Once again, it is the music that governs the look,'' says Mr. Hall who remembered a production of ''Samson'' 20 years ago ''for which I had not paid as much attention to the score as I might have. We designed rough, tweedy things with heavy Sumerian fringes. Then, upon hearing the priestesses' music in Act I, I realized that it calls for silk and flowing drapery.''

Nowadays, some sopranos are sufficiently alluring to make sense of more revealing attire when necessary. Gwyneth Jones, for example, sang the ''Tannh"auser'' Venus at Bayreuth clad in little more than a fishnet. It is still a rare tenor, however, who can portray Radames, Samson or Siegfried bare-chested in the appropriate heroic - or sub-tropical - manner. Indeed, Peter Hoffmann, is the only exception that comes to mind. As Siegmund in the Bayreuth centennial production of the ''Ring,'' he managed to strip to the waist before his battle with Hunding in ''Die Walk"ure'' without looking foolish.

Simplification and a greater striving for comfort and economy have had a marked effect not only on contemporary costumes themselves, but on their accessories. Although Mr. Hall personally favors ''full period costumes using fabrics as close to the original as possible,'' synthetics and substitutes can frequently be more practical and less costly. ''I like wool to be wool and silk to be silk, but obviously things are so expensive nowadays that one can't always do it. Materials that were extravagant at $25 a yard 10 years ago are now $125. It is still more economical to buy leather in skins than the imitations, however. For one thing, imitations can't be cleaned, nor can they be shaped like the real article.''

Stage jewelry and armour tend to be much lighter today than formerly. Old opera crowns used to be made of gilded metal, but the Met usually uses gold kid on a felt or elastic base. ''In Italy,'' says Mr. Hall, ''armour is still often made by property departments using brass and tin. We're inclined to use felt or vacuform (a plastic) with a metalic coating. Jewelry has also been greatly simplified. The old practice was to set false gems and pearls in brass prongs, then to sew the entire setting to the fabric. ''Now we sew on the pearls and gems directly, and apply gold braid afterward to suggest the setting.''

Robert Tuggle, archivist of the the Met, who acts as curator of the historic collection along with restoration consultant Gail Frohlinger, recently commented that, ''Even though luxurious silks and handmade laces have yielded to less opulent fabrics and trimmings, the general level of costumes is higher today than it used to be. The greater attention now being paid by designers to the chorus and smaller roles has fostered productions for which the workmanship on minor costumes is on a par with that given the stars.''

Recalling the violent upheavals that formerly took place when divas and dressmakers disagreed, Mr. Hall observed that there are relatively few donnybrooks in the Met's costume department today because singers are more serious about their work than their forebears used to be. They still have their quirks, however. ''One singer will not permit wool or velvet to cover his chest - only hard satin, because he says his voice bounces off it.'' Another once insisted that his voice was going up inside his helmet and being trapped there - although it didn't cover his face at all. ''So we made small holes on each side - like a rain hat - and he was delighted.'' Some singers avoid certain colors, either due to vanity or superstition, while others take a liking to one color or even to a particular garment. Luciano Pavarotti, it seems, belongs to the second category. ''He has a pronounced tendency to wear his favorite black suede vest in everything,'' said Mr. Hall, ''and you may quote me on that because I'm sure he knows it himself.''

Whether he does know it or not, whether it stems from superstition or from a desire for personal comfort, we can regard the tenor's habit, perhaps, as a holdover from the palmy days, a slender link with those bursting steamer trunks of the opulent past. There have been many changes in the philosophy of the dressing room over the years, but it's nice to know that some customs remain immutable.

[nessa007]

Cinderellas ball gown was perfect. When I saw the movie, it looked like a water painting brought to life. It was one shade of blue and dozens of shades of blue at once. It drew the eye even in the midst of other VERY GORGEOUS gowns the extras wore.

My issue with belle’s gown isn’t the corset thing. That said, Emma Watson shared those comments in the height of her white feminism phase so it was cringe to begin with. And she was repeatedly putting down Cinderella in favour of Belle so that didn’t carry well either.

No. Here are my issues with the dress.

Colour: I’m okay with it not being golden (after all, Cindy’s original was silver) but they made it a very uninteresting monochromatic shade of yellow. Those golden designs on the ruffles added nothing to it.

Style: Good thing the lower half was a bit poofy (it could have been more) but whatever magic it could offer was taken away by the top half. Too simple. Too under-shirt like. The dress ended up resembling a 1950s party frock. I half expected her to turn around and have a bow at the back but worse… it looked like a zipper. I don’t mind these outfits being NON-era appropriate but this is too far off the mark

Sleeves: They wouldn’t bother me at all if it weren’t for the fact that they made the dress look even less formal and MORE out of place and time than it already was. I am genuinely convinced that had they made the sleeves a bit longer and better detailed, they could have saved the dress

Hair: All her casual Belle hair styles looked better than the one in this scene.

Accessories: The singular huge pendant looked mismatched with the already simple outfit. And the ear cuff thing was very unnecessary and felt too much like personalized thing of the actress.

I heard Emma Watson had a lot of creative control and it shows. It doesn’t look like Belle. It looks like Emma Watson cosplaying Belle.

the dress really needed more volume in the skirt and sleeves and if the sleeves rested off of belle’s shoulders like in the animation, it would’ve been a lot better

[couturearchivee]

CHRISTIAN DIOR FALL/WINTER 2004 COUTURE

Vienna,Istanbul back from a trip in Central Europe, John Galliano proposes his very free vision for a collection that mixes romantic 19t-century references, resuscitating Empress Elisabeth Sisi of Austria, the glamour of 1950s pin-ups and Zsa Zsa Gabor, stated the Dior Fall Winter 2004 Haute Couture Collection.

Imagine a stately parade of Austrian and Hungarian princesses competing with one another for precedence in outrageously ornate corseted gowns, their crowns slightly askew. Tottering under the weight of pounds of elaborate fabric, skirt flounces the width of the runway, bank vaults of jewelry, and 6 inch platforms, Christian Dior's models pulled off a spectacle that held the audience breathless in case someone fell. So vast and encased were the frocks that at one point, Karolina Kurkova actually got stuck in the exit and had to be manhandled off.

"I went on a research trip to Vienna, and then got to looking at Egon Schiele, and Empress Sisi, and Russia!" was John Galliano's explanation. Strangely, in spite of the mind blowing succession of hobbled, hourglass silhouettes, blown up with massive outcrops of Edwardian swags and drapes and gigantic fur trimmed opera coats, this was a pared-down Dior Couture in several senses. Galliano ditched the Leigh Bowery meets kabuki makeup in favor of powdered faces, and the dresses, for all their rich embroidery, crystal chunks, and hand-painted cherubs and birds, gave a new sense of the body beneath.

In that way, it was easier to make the imaginative leap from runway to real event (perhaps one of those royal weddings that have enthralled Europe this summer?) than was usual in previous Dior Couture extravaganzas. This show also made a heady, sensuous display of color, brick red, emerald, celadon, boie de rose, and more-and an opulent celebration of couture-crafted textures, often enhanced to look as if the girls were actually wearing the gilded upholstery and painted ceilings of an imperial palace. On the other hand, it was also essentially a show of one queenly message, repeated 28 times. And that, for Galliano, displayed an odd lack of variety.

For his most stately collection yet, the designer 'put on a regal display of mermaid silhouetted robes accessorised with crowns, orbs, diamonds and long white gloves that made humble subjects of his A-list audience, Vogue reported.

The most luxurious materials were used: silks, brocades, moires, taffeta and velvets, trimmed with sable, ermine and fox, adorned with peacock feathers and delicately embroidered or hand-painted with designs reminiscent of 18th-century motifs inspired by Sevres porcelain and Faberge eggs.

Trompe-loil effects such as flesh - colored bustiers also peppered the collection, while gravity-defying pleats and gathers on dramatic evening gowns showcased the skills of Dior's Haute Couture Atelier.

[zingletoon]

Children’s Party Dresses Online in Delhi — Explore Trendy Styles at Zingletoons

Children’s party dresses online in Delhi are becoming the go-to solution for parents who want their little ones to look stylish, adorable, and festive-ready for every occasion. Whether it’s a birthday bash, a family wedding, or a school function, Delhi’s fashion-conscious parents are constantly on the lookout for outfits that strike the perfect balance between trendy and comfortable. And that’s where Zingletoons steps in — offering a vibrant collection of kids’ party wear that’s fashionable, affordable, and just a few clicks away.

In this blog, we’ll guide you through the rising trend of shopping for children’s party dresses online in Delhi, how to pick the right outfit for every occasion, and why Zingletoons is the trusted choice for hundreds of happy parents in the city.

🎉 The Demand for Stylish Party Wear for Kids in Delhi

Delhi is known for its grand celebrations and stylish gatherings. From themed birthday parties to lavish weddings, children today are part of more events than ever before. And just like adults, kids also want to look their best — with outfits that let them shine and feel confident.

With busy schedules and traffic-heavy commutes, shopping malls are no longer the first choice for parents. Instead, they are opting for the convenience of browsing children’s party dresses online in Delhi from the comfort of their homes.

🛍️ Why Shop for Children’s Party Wear Online?

Shopping for children’s party dresses online in Delhi offers several benefits that traditional shopping just can’t match:

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From elegant gowns and frocks for girls to smart suits and kurta sets for boys — online stores like Zingletoons offer an impressive variety in one place.

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👗 Zingletoons: The One-Stop Destination for Kids’ Party Fashion

Among the many platforms offering children’s party dresses online in Delhi, Zingletoons stands out for its combination of quality, creativity, and affordability.

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Each dress at Zingletoons is made with soft, breathable, and skin-friendly fabric to keep your child comfortable throughout the celebration.

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From fairy-tale princess gowns to sleek ethnic wear, Zingletoons offers styles that are always on-trend and Instagram-worthy.

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Enjoy luxury looks without the hefty price tag. Zingletoons ensures value for money in every purchase.

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No matter where you are in Delhi — South, North, East, or West — Zingletoons delivers quickly and reliably to your doorstep.

👧 Party Dresses for Girls — Twirl into Style

If you’re shopping for a little girl, you’ll find a dreamy collection of children’s party dresses online in Delhi at Zingletoons, such as:

Floral Net Gowns �� Perfect for weddings and birthdays

Sequin-Embellished Frocks — Sparkly, fun, and festive

Tutu Dresses — Ideal for dance parties and special photoshoots

Indo-Western Fusion Wear — Lehenga frocks and ethnic gowns

Layered Ruffle Dresses — Playful and princess-like

These dresses come in a wide range of pastel, vibrant, and bold colors — perfect for every skin tone and personality.

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For boys, Zingletoons offers stylish options that balance tradition and trend:

Blazer Sets with Shirts & Pants — Formal and dapper

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Printed Shirts with Trousers — Cool and casual

Each piece is designed to keep kids comfortable, even while they run, jump, or dance the night away.

🧒 How to Choose the Right Party Dress for Your Child

When shopping for children’s party dresses online in Delhi, keep these tips in mind:

🎯 1. Consider the Occasion

Birthday parties may need a fun and colorful look, while weddings may call for a traditional or formal outfit.

🎯 2. Choose the Right Fit

Always refer to size guides and reviews. Zingletoons provides detailed measurements to ensure the perfect fit.

🎯 3. Prioritize Comfort

Kids will only enjoy the party if they’re comfortable in what they wear. Choose dresses with breathable linings and stretchable waists.

🎯 4. Match Accessories

From hairbands to bow ties, complete the look with accessories that add an extra touch of flair.

🌟 Why Zingletoons is the Top Choice for Party Wear in Delhi

Here’s a quick glance at why Delhi parents love Zingletoons for children’s party dresses online in Delhi:

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With Zingletoons, every child gets to be the star of the party.

🎁 Shop Smart: Tips for a Seamless Online Experience

Sign up for Zingletoons’ newsletter for exclusive discounts

Follow size charts and read reviews before purchasing

Use filters to find dresses by age, gender, or color

Plan ahead for big events — shop at least a week in advance

Keep an eye out for festive collections and limited-edition styles

📝 Conclusion: Make Every Party Picture-Perfect

Children’s party dresses online in Delhi are now just a click away, and with brands like Zingletoons, shopping for your child’s special moments has never been easier or more exciting. Whether it’s a birthday, school event, or festival celebration, the perfect outfit is out there — and it’s waiting for you at Zingletoons.

Visit here for more details: https://zingletoons.com/childrens-party-dresses-online-in-delhi/

[phrynefishersfrocks]

Phryne Fisher’s Fabulous Frocks Outfit Recap: Season 3, Episode 1 - “Death Defying Feats”

As expected for the first episode of the season, "Death Defying Feats" opens season three with a gorgeously designed bang. The premiere contains seven distinctly beautiful outfits, starting and ending with sumptuous evening gowns displaying intricate embroidered and beaded patterns. A dreamlike jacket and scarf, followed by a jaw-dropping vintage sea foam lace tabard add to the underwater fantasy feel of the episode. Both Phryne's investigatory jacket and rich blue kimono lend a Chinoise element to the shades of blue found throughout, with the grand finale featuring an actual sequined mermaid costume. While not as numerous as previous premieres, the season three opener still upholds its well dressed reputation.

Outfit #1 - Blue Beaded Gown with Brown Fur Wrap

Outfit #2 - Mermaid Coat, White Camisole and Pants, Blue Hat

Outfit #3 - Green Lace Tabard, Jeweled Hairslide

Outfit #4 - Blue Chinoise Jacket, White Pants, Silver Cami, Red Hood

Outfit #5 - Blue Kimono with Gold Headwrap

Outfit #6 - Mermaid Costume with Gold Headwrap

Outfit #7 - Tarnished Net Dress, Tulle Wrap, Gold Floral Hairpiece

Previous Recaps:

Season Two Outfit Recaps

Season One Outfit Recaps

[trending-beauty-blogs]

Timeless Grace: The Enduring Legacy of the Anarkali Suit

Among the pantheon of traditional South Asian garments, the anarkali suit holds a unique place — not only for its majestic aesthetics but for its powerful resonance with cultural identity and feminine grace. A seamless blend of history, artistry, and evolving fashion sensibilities, the anarkali suit is more than just clothing; it is a canvas of centuries-old heritage stitched with modern sensibility.

A Glimpse into History

The origins of the anarkali suit trace back to the Mughal era, a time marked by grandeur, poetry, and artistic renaissance. Named after the legendary courtesan Anarkali — whose tragic love story with Prince Salim has been immortalized in lore and literature — the suit became synonymous with elegance and understated sensuality.

Early versions were worn in the royal courts, distinguished by their flowing silhouette, rich fabrics, and intricate embroidery. The design was crafted to celebrate femininity — fitted at the bust and flowing into a voluminous flare, it created an almost ethereal presence, accentuated during dance performances and royal appearances.

Anatomy of an Anarkali Suit

The structure of the anarkali suit typically consists of three pieces:

The Kurta: Long and frock-style, this is the focal piece. Its defining characteristic is the flare, which can vary from subtle to dramatic depending on the fabric and cut.

Churidar or Pants: Traditionally paired with a churidar (tight-fitting pants), modern adaptations include palazzos, straight pants, or even leggings.

Dupatta: This scarf-like accessory often mirrors the embellishments on the kurta and adds a touch of traditional completeness to the attire.

Materials range from cotton and georgette for daily wear to silk, velvet, and net for festive and bridal ensembles. The suit’s adaptability across seasons and settings is one of its greatest strengths.

The Anarkali in Modern Fashion

From Bollywood runways to global fashion weeks, the anarkali suit has undergone a transformation. Designers have played with its length, neckline, layering, and pairing options, making it a favorite even among younger generations who seek a fusion of traditional and contemporary styles.

Today’s anarkalis come in floor-length versions, layered gowns, jacketed styles, and asymmetrical hems. Some feature minimalist embroidery for a modern edge, while others remain loyal to opulent zardozi and mirror work, reflective of royal Mughal sensibilities.

Its popularity in weddings, festivals, and even formal events speaks to its versatility — equally suitable for a Diwali gathering or a black-tie cultural event.

Why the Anarkali Suit Endures

So what makes the anarkali suit so enduring, despite waves of changing fashion trends?

Flattering for All Body Types: The flared design suits most body shapes, enhancing the waist and flowing freely below, making it both comfortable and flattering.

Cultural Symbolism: It carries deep cultural significance, often associated with celebration, femininity, and heritage.

Versatility: Suitable for both casual and formal occasions depending on the fabric and embellishment.

Comfort: Unlike heavily structured Western dresses, anarkalis allow free movement while still looking regal.

In essence, it offers a rare combination: style that doesn’t compromise on comfort.

Regional and Cultural Variations

While the Mughal-inspired design has a universal appeal, regional variations of the anarkali suit offer fascinating diversity:

Lucknowi Anarkalis often feature chikankari embroidery — delicate, hand-stitched motifs on soft fabrics like muslin and georgette.

Punjabi Anarkalis might be bolder in color and heavier in embellishment, catering to the region’s love for vibrant celebrations.

South Indian Versions may incorporate silk, temple borders, and gold-thread zari work, reflecting Dravidian traditions.

These cultural inflections make the anarkali not just a garment, but a storytelling medium of regional identities.

Styling the Anarkali Suit: Traditional Meets Contemporary

One of the most enjoyable aspects of wearing an anarkali suit is the flexibility in styling. Here are a few ideas to elevate the look:

Footwear: Pair with juttis or mojris for a traditional touch, or heels for a more polished, modern look.

Jewelry: Chandbalis or jhumkas work beautifully. Add a statement ring or a kundan necklace for bridal versions.

Hairstyle: Braids and buns with fresh flowers are timeless, while open curls or sleek ponytails give a modern edge.

Layering: Throw on a jacket-style anarkali or wear a dupatta as a cape for a trend-forward look.

Whether you’re attending a Mehendi, a formal dinner, or simply want to indulge in cultural nostalgia, styling can take the suit from simple to statement.

Gender, Identity, and the Anarkali

Interestingly, the anarkali suit has also begun to find a place in gender-fluid and non-binary fashion conversations. As traditional menswear and womenswear lines blur, many designers are creating versions that defy rigid gender norms. Flowy fabrics, unstructured silhouettes, and focus on grace over formality have opened up the anarkali to new audiences.

Its resurgence in diasporic communities also adds a layer of identity exploration, where second-generation South Asians often embrace such garments as a bridge between inherited culture and contemporary life.

Sustainable and Slow Fashion Choice

In the age of fast fashion, the anarkali suit presents a compelling case for conscious clothing. Hand-embroidered, artisanal anarkalis are often produced in small batches or made to order, reducing waste and supporting traditional craftsmanship.

Opting for timeless, high-quality pieces over disposable trends means an anarkali can remain a wardrobe staple for years — even decades. It also invites the wearer to build a deeper, more meaningful relationship with their attire.

Conclusion: A Celebration of Elegance

The anarkali suit is not just a relic of the past or a ceremonial outfit; it is a living, breathing expression of history, femininity, and creativity. It adapts and evolves while staying true to its core essence — grace.

In an age where identity and individuality are constantly being redefined, the anarkali stands as a reminder of the enduring power of culture, art, and elegance. Whether worn at a festive gathering or a quiet evening soiree, it continues to whisper stories of the past while making bold statements in the present.

[labisa]

Buy Women's Fashion Online from Labisa Fashion

Introduction to Labisa Fashion's Online Store

In the ever-evolving world of fashion, convenience and variety are key. Today, buying women's fashion online is not just about consumer convenience—it's also an essential strategy for bulk buyers and distributors aiming to scale up. If you're looking to Buy women's fashion online from Labisa Fashion, you're choosing a supplier that understands style, quality, and what B2B buyers truly need.

The Growth of Online Women’s Fashion in India

E-commerce has revolutionized how clothing is purchased and sold in India. Especially in the women’s fashion segment, there's been a tremendous rise in demand across every tier of the market. From metropolitan cities to smaller towns, businesses want quick, bulk access to fashionable, ready-to-sell products. Labisa Fashion meets that demand with consistent supply and compelling design collections, making it a go-to option for wholesalers and retail chain partners.

Why Buying Women's Wear Online is a Smart Choice

For stockists and distributors, online ordering saves time, streamlines logistics, and ensures access to the latest collections without waiting for trade shows or physical samples. Labisa’s online system is designed for bulk transactions, helping businesses secure their supply quickly and efficiently.

Why Choose Labisa Fashion for Online Shopping

About Labisa Fashion – Quality Meets Style

Based in the textile hub of Sion West, Dharavi, Mumbai, Labisa Fashion is a legacy brand. With over three decades of excellence in manufacturing women’s ethnic and Indo-Western wear, it has become the Leading women’s ethnic wear supplier in India. The brand combines traditional craftsmanship with modern flair, offering unparalleled quality to its B2B clients.

Affordable Pricing and Exclusive Collections

Labisa understands the challenges bulk buyers face, especially in pricing. That's why it offers cost-effective rates without compromising on fabric quality or style. Every piece is thoughtfully designed to resonate with end customers while maintaining healthy profit margins for resellers.

Trusted by Wholesalers, Retailers, and Distributors

Over the years, Labisa has served thousands of clients ranging from small-town retailers to top-tier stockists. Its commitment to quality, customization, and delivery timelines has earned the trust of those seeking the Leading B2B Ethnic Supplier in Maharashtra and across India.

What You Can Buy at Labisa Fashion Online

Kurtis, Suits, and Ethnic Sets

A staple in every woman’s wardrobe, Kurtis are among Labisa’s best-selling items. The brand is recognized as the Top rated Kurti’s Supplier in Overall India due to its diverse catalog—from simple cotton Kurtis to heavy festive wear. For stockists, it’s an easy-to-move product that appeals to both urban and rural markets.

Indo-Western Dresses and Short Frocks

For brands seeking a younger and more urban audience, Labisa provides an exclusive line of Indo-Western wear. Their curated, ready-to-ship Best Indo Western Collection in Mumbai is ideal for boutiques and lifestyle stores looking to tap into millennial fashion trends.

Lehengas, Gowns, and Party Wear

Labisa also manufactures festive collections such as designer lehengas and ethnic gowns. These are ideal for wedding seasons, festive pop-ups, and boutiques that serve premium clientele. The designs are regularly updated to reflect current bridal and occasion wear trends.

Plazos, Skirts, and Bottom Wear

Bottoms are often overlooked in bulk inventories, but Labisa gives them the attention they deserve. Their palazzo pants, flared skirts, and ethnic trousers are popular across multiple customer segments and offer great bundling options for resellers.

Highlights of Labisa Fashion's Online Experience

Easy Navigation and Secure Checkout

Labisa’s online platform is built with B2B users in mind. It’s easy to browse collections by category, place bulk orders, and complete payments through secure gateways. The simple UI/UX makes it easier for non-tech-savvy clients to order efficiently.

Bulk Order Facility for B2B Clients

Labisa accommodates small MOQs for startups and massive orders for distributors. Whether you want 100 pieces or 10,000, the system is designed to scale based on your business needs. This flexibility makes it the Top Women’s Ethnic Clothes Exporter in India trusted by buyers in the UAE, UK, Canada, and beyond.

Customization and Private Label Options

Retailers can opt for private labeling, customized packaging, and unique colorways for specific collections. This service has helped numerous brands stand out in their local markets and build loyal customer bases.

Benefits of Buying Women’s Fashion Online from Labisa

Trendy Collections Tailored for Indian Women

Labisa focuses on the pulse of Indian fashion. From traditional prints to contemporary cuts, its collections speak directly to what women want today. Whether your market is North India or the South, tier-1 cities or tier-3 towns, there's something that suits everyone.

Nationwide Delivery and Global Reach

With a well-established logistics network, Labisa ensures timely delivery to all corners of India. For international clients, export procedures are handled with precision, ensuring hassle-free shipping and documentation.

Responsive Customer Support and Easy Returns

Labisa’s dedicated support team handles B2B queries swiftly. From order tracking to post-purchase support, every aspect is streamlined. Should a return ever be necessary, their hassle-free policy ensures minimal disruption to your business.

Who Can Partner with Labisa Fashion Online?

Retailers and Shop Owners

Whether you're running a boutique in Jaipur or a multi-brand outlet in Pune, Labisa offers versatile collections that fit multiple customer demographics. Their low MOQ policies make it easier for small shops to stock high-quality products.

Wholesalers and Stockists

Bulk buyers looking to serve regional distributors or local markets will find value in Labisa’s expansive catalog. With consistent stock and seasonal updates, it's easier to maintain inventory cycles.

Exporters and E-commerce Sellers

International sellers rely on Labisa for premium-quality, export-ready garments. It’s not just a manufacturer but a full-service provider that supports international shipping, compliance, and labeling needs. No wonder it's listed as one of the One of the best girl’s clothes collections in India provider for youth-focused fashion.

How to Start Buying from Labisa Fashion Online

Steps to Place an Order

Browse the site, filter by category, select sizes and quantities, and proceed to checkout. It’s as easy as ordering any product online—but tailored for bulk needs.

Wholesale Pricing & MOQ Details

Labisa offers tiered pricing based on quantity. Small-scale buyers enjoy competitive rates, while large-scale buyers benefit from volume discounts and exclusive early access to new collections.

Payment, Shipping & Delivery Timelines

Multiple payment methods are supported including bank transfers, UPI, and digital wallets. Most orders ship within 5–7 business days, and bulk export orders are managed with all necessary documentation.

Customer Testimonials and Case Studies

Retailers Who Grew with Labisa Fashion

Clients across India have seen double-digit sales growth after partnering with Labisa. From improving margins to reducing sourcing time, Labisa has been instrumental in helping small businesses scale.

International Clients and Repeat Buyers

Exporters in the UK and Middle East repeatedly place orders due to the consistent quality and responsiveness of the Labisa team.

FAQs – Buying Women’s Fashion from Labisa Online

What are the delivery timelines? Domestic orders typically ship within 5–7 working days, and export timelines vary by country.

Can I request customization for bulk orders? Yes, Labisa offers custom tags, prints, colors, and designs for private label clients.

What is the return policy for damaged goods? Labisa accepts returns on damaged or defective items reported within 48 hours of delivery.

Does Labisa offer international shipping? Yes, Labisa is an active exporter and handles global orders with care.

Conclusion – Elevate Your Fashion Business with Labisa

Labisa Fashion offers more than just garments—it provides a growth platform for every fashion business. Whether you're a boutique in a bustling metro or a wholesaler in a tier-2 town, Labisa has the right designs, prices, and support to help you succeed. If you���re ready to Buy women's fashion online from Labisa Fashion, now is the time to act.

Contact Labisa Fashion Today Afzal: +91 98929 39564 Labisa Sales: +91 81699 85975 Email: sales@labisa.in, labisa.fashion1991@gmail.com Address: Sion West, Dharavi, Mumbai, Mumbai 400017

Let Labisa be your trusted garment partner. Wholesale with confidence. Grow with style.