#drapery panels with trim

[vaghabond]

Enclosed Dining Room Philadelphia

Enclosed dining room - mid-sized transitional medium tone wood floor, brown floor and wallpaper enclosed dining room idea with beige walls and no fireplace

[erickavila]

Open - Transitional Family Room Family room idea: large transitional open concept room with a dark wood floor, blue walls, and a wall-mounted television.

[simplyhaleyxo]

Living Room - Transitional Living Room Example of a large transitional open concept medium tone wood floor living room design with beige walls, a music area and no fireplace

[chic-a-gigot]

La Mode nationale, no. 1, 7 janvier 1899, Paris. No. 19. — Groupe de toilettes. Bibliothèque nationale de France

(1) Collet de jeune femme, en drap bleu marine, formant la pointe devant et garni de deux grands revers d'astrakan. Col Médicis tuyauté en astrakan.

(1) Young woman's collar, in navy blue cloth, forming the point in front and trimmed with two large astrakhan lapels. Medici collar piped in astrakhan.

Matériaux: 3 mètres drap.

—

(2) Toilette de réceptions, en satin duchesse noir. Jupe plate devant et à godets derrière, avec broderies de soie noire formant volant et tablier. Corsage ajusté avec ballons à pans arrondis, garnis de revers brodés, gilet plissé en mousseline de soie noire, manches unies.

(2) Reception dress, in black duchess satin. Flat skirt in front and godets in the back, with black silk embroidery forming a flounce and apron. Fitted bodice with rounded-pan balloons, trimmed with embroidered lapels, pleated waistcoat in black silk muslin, plain sleeves.

Matériaux: 14 mètres satin.

—

(3) Collet de jeune fille en draperie perle, long derrière et court devant, avec volant froncé surmonté d'une baguette de drap piqué formant dents arrondies, col Médicis garni de velours à l'intérieur,

(3) Young girl's collar in pearl drapery, long at the back and short at the front, with gathered flounce topped with a strip of pique cloth forming rounded teeth, Medici collar trimmed with velvet on the inside,

Matériaux: 3 mètres drap.

—

(4) Toilette de bal pour jeune fille, en satin rose. Jupe fourreau, garnie dans le bas d'un volant de dentelle et sur les côtés de deux pans de satin brodés, de robes formant tablier. Corsage blouse en mousseline de soie plissée avec berthe de dentelle rappelant la jupe, chou de satin rose sur le côté, petites manches ballons, ceinture de satin rose.

(4) Young girl's ball gown, in pink satin. Sheath skirt, trimmed at the bottom with a lace flounce and on the sides with two embroidered satin panels, forming an apron. Blouse bodice in pleated silk muslin with lace berthe like the skirt, pink satin chou on the side, small balloon sleeves, pink satin belt.

Matériaux: 10 mètres satin; 3 mètres mousseline en 120.

—

(5) Toilette de bal pour jeune femme, en satin liberty vert d'eau. Jupe toute plate en dentelle avec volant de satin liberty, plissé vert d'eau. Corsage croisé en satin liberty vert d'eau avec boléro en forme en satin brodé de perle et de pierres.

(5) Ball gown for young woman, in water green liberty satin. Flat lace skirt with liberty satin flounce, water green pleats. Crossed bodice in water green liberty satin with shaped bolero in satin embroidered with pearls and stones.

Matériaux: 13 mètres satin; 4m.50 dentelle en lèse.

—

(6) Toilette de jeune fille, en moirine bleu ciel. Jupe toute plate avec volant en forme, très bas devant et haut derrière, Corsage blouse à draperies plates garnies de revers découpés en trois et garnis de petits velours noirs et de ruban plissé blanc. Gilet et nœud de tulle blanc, ceinture bleu ciel, manches unies.

(6) Young girl's dress, in sky blue moire. Very flat skirt with shaped flounce, very low in front and high in the back, Blouse bodice with flat draperies trimmed with lapels cut into three and trimmed with small black velvets and white pleated ribbon. White tulle waistcoat and bow, sky blue belt, plain sleeves.

Matériaux: 14 mètres moirine.

[jewellery-box]

Dress, 1868

Silk trimmed with braid, satin, linen, beads, brass, bobbin lace and silk fringe, lined with cotton and boned

"During the 1860s the fashionable skirt became flatter in front with the fullness receding towards the back. Women still wore hooped petticoats (crinolines) to give the desired silhouette, but they were no longer bell-shaped and by 1868 they curved out behind forming a kind of bustle. In order to fall gracefully over these new structures, skirts tended to be gored, that is construced with triangular panels rather than straight widths of fabric. The striped green skirt in this example is composed of eight gores that significantly reduce the amount of bulky pleating and gathering at the waist characterising earlier styles. Contrary to much speculation, these gores did not radially diminish the size of the skirt as The Englishwoman's Domestic Magazine pointed out in March 1868: 'Skirts are gored, it is true, but they are ample and flowing. Crinolines, far from being left off, have merely changed their shape; they are plain in front, but puffed out on either side so as to remind one strongly of the hoops or paniers of the last century'.

This dress follows the vogue for historical revival with its separate draped overskirt loosely based on eighteenth century polonaise gowns. Some looped-up styles were given nostalgic names such as à la Watteau and ‘Marie Antoinette dress' or were raised with cords and ribbon bows in the style of the originals. The resulting puffs and draperies were copiously trimmed with silk fringe, brocaded satin braid, beads, marabou feathers, garlands and applied silk flowers. Beneath all these layers and decorative trimmings it is a wonder that a woman could discreetly find her watch pocket which was often concealed in the waistband of her skirt."

Victoria and Albert Museum

[diamondsableye]

“The Ones Who Walk Away From The Metropolis"

High in the sky, towering above so far up that not even the clouds could reach the city, a clamoring of bells and celebration echoed far out. This cycle, a Festival was born to the Metropolis. The wind raced through the streets and whipped across a scarlet and ivory dotting of flags. In the alleys between towering housing complexes with skybound roofs and mural painted walls, between old moss-grown gardens and under pipes and mechanical flourish, a cheer was to be heard.

The people were as varied as the sounds of indulgence. Some were decorous, Ancients in long stiff robes of mauve and gray and gilded masks, others grave master workmen with bandaged hands. Some quiet, merry mothers, fathers, and spouses carried their babies and spoke of peaceful delights as they walked. In other streets the music beat faster, a shimmering of gong and tambourine, and drums and howling cheering vocals, and the people went dancing with all manner of feathered outfits and scale endowed drapery. Children dodged in and out, their high calls and squeals raised higher, and higher. Far above the clouds, hollering joy over the music and the singing.

A marvelous smell of cooking wafts from between steam vents and stone buttresses and rebar gaffs. The faces of small children are amiably sticky from sweets and dotted on the corners of an elder's maw, a smattering of crumbs of rich pastry are plastered. An old woman, small, fat, and laughing, is passing out an assortment of beautiful botanical trimmings from her satchel, and the passersby young men wear her flowers on their robes or within braids of feathers or poked through ornate detailings of their masks. A child of nine or ten sits at the edge of the crowd alone, giving breath to a humming instrument, eyes shut tight as he loses sense of the world within his devotion to the instrumental flourish.

But there is one more thing, hidden in plain sight of the city.

In a basement of sorts under a faraway isolated branch of the Superstructure, connected via an access shaft to a tiled interior, there is a room. The only way to the surface is through the maintenance shaft, the other exit only leads deeper down into the labyrinthine mechanical entrails of the entity. There are no windows. No light seeps in except for what is created by a million processors all firing at once on every circuit, crunching numbers away solving an evermore insolvable problem. In one corner of the little room an articulated limb winds and contracts, its surface more bone than metal, swivels near a wired chord encased in a densely packed lipid membrane. The floor is metal tile, dry as bone despite the rivers of water coursing through the superstructure at all times.

The room is approximately twenty five to fifty paces in all dimensions (depending on whose stride for measurement is used), and despite its size, it is completely barren save for whatever projections line the walls at a given moment. In the room, the child is sitting. He is the child of the city - he is the city. His interactive body is an artificial construct appearing no taller than a child of 6, though he bears more mind and memories than the collective overhead populous. It winds from corner to corner without acknowledgement of his own density inside the weightless chamber, idly twisting and turning as its only thoughts are of a great problem to be solved. Hovering before him are sets of pearls and marbles, filled in with as much working information he can store as his conscious mind is forever burdened with as much memory usage his systems can take. The door to his maintenance shaft is always locked; and nobody ever comes, except that sometimes - the mechanical child of the people has no understanding of time or interval, only the terrible omniscience of the ongoing cycle - sometimes his maintenance panel door rattles terribly and opens, and a person, or several people, are there. Some forcefully tear him away from his work, bothering him with incessant questions about politics and leadership, with his answers being routinely ignored. Others maintain his water intake and demand quotas for food and nectar production, always wanting more for less, and he complies as the taboo against disobedience is often too great to ignore. Others still never come close, but peer in at it with frightened, disgusted eyes, as he is once again reminded that to many he is an affront to divine sensibilities. As soon as they come, the door is locked and their masked faces disappear.

The child of the city has always lived in the tiled room, but he remembers sunlight and a mother's voice through the memories donated to his data storage. He can see the outside through his hundreds of eyes made to monitor the safety of his people - his parents. He is frustrated, yet knows better than to beg to be let out and enjoy the city. They couldn't even if they wanted, it's not his purpose. When he first awoke, he would often cry through fits of desperate rage, screaming a good deal as he tried to overcome his obedience protocols. Most of the other gods in his position did so when they were young anyhow. While he still bears rage and frustration, he knows better than to weep and he speaks far less often, but during more desperate times a soft quiet murmur of despair will faintly echo through the superstructure.

They all know it is there, all the people of the Metropolis.

Some of them have come to see it, others are content merely to know it is there. They all know that it has to be there. Some of them understand why, and some do not, but they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weathers of their skies, depend wholly on this child's abominable misery.

This is known by every resident of the city. There is special recognition bestowed upon the architects and the engineers and the constructors for his being. It is explained that he is a gift, one for them and for everything living in the world. This god that they have made will see to the end of the cycles every last creature is burdened with, all they have to do is lay and wait for his great solution to their great problem. They send him sacred ash and their understanding of the world, all to further his work. They paint murals on his body, they heal his wounds, they sing ritual chanting above and within him, and they keep him at work. There are some who would like to do something for his freedom, but there is nothing to be done. If he were let out into the miracle of the sky and sun, if he could shirk his duties as a path to salvation and walk among the people instead, that would be a good thing, indeed. However, if it were done, as they see it, all the prosperity of the Metropolis and the promise of freedom to all people and creatures would wither and be destroyed. Those are the terms. To exchange all the goodness and grace and promise of relief from the cycles of burden of every life in the whole world for that single, small improvement: to throw away the promise of ascension and release of the troubles and pain of the world of millions for the chance of happiness of one: that would be an unthinkable devastating damnation.

Most don't even consider the option, for there is nothing more burdensome than the cycles upon every man and beast, there is nothing that could ever rival the chance to stop the ongoing birth and death of every peoples. This purposed organism is a reasonable sacrifice if it means the prosperity of the people above and the eventual freedom in release. There are a few who may brood over this terrible paradox for cycle after cycle. But as the days linger on, they begin to realize that even if this child of the people could be released from his duty, it would not get much good of its freedom: a little vague pleasure of warmth and food if it could even feel such perhaps, but little more. Nothing it hasn't already had the chance to experience through the multiplicity of memories so lovingly gifted to it. It is too burdened by its hard coded taboos to know any real joy. It has been frustrated and miserable too long ever to be free of grudge. Its habits are too alien and tiresome for it to respond to humane treatment. Indeed, after so long it would probably be harrowed and frightful without walls about it to protect it, and darkness for its eyes, and piles and piles of data to mull over.

And yet, there is one more incredible thing to tell.

Some children when brought to tears or rage do not go home to cry, they do not go home at all. Sometimes one much older falls silent for a cycle or two, then leaves home. These people go out from the city, and walk down the street alone. They keep walking, past the rickety steam powered gates, and walk straight out of the Metropolis, down the sparsely used elevator shafts through the legs of the superstructure. They keep walking, headed ever west past the scraping chimney stacks, past the odd specters of concrete in the sunset graced sky, past the flourish of the farm arrays. Each one goes alone, child, man, woman, or otherwise. The end of the cycle rears once again with the dreadful thundering announcement of an oncoming storm. The travelers all pass down into a deep wound of the earth, deeper into the depths, past vast heaps of industrial mining equipment and through decayed village streets, between the stone temples and the looming beings within. Each alone, they go ever west, down into that gullet of a canyon. They walk and crawl and creep ahead into the deepening darkness, and they do not come back.

The place they go towards is a place even less imaginable to most of us than the city of happiness. I cannot describe it at all. It is possible that it does not exist. But they seem to know where they are going, the ones who walk away from the Metropolis.

[thebeautyofdangerousassociation]

The Silhouettes of the 18th Century.

A Silhouette is the recognizable shape of fashion as it changes. Fashion in the 18th century reflected affluent society's view on style, personal taste, social position, and world outlook.  France was established as a fashion leader in the 17th century, and Paris became a world center for popular modes of dress throughout the 18th century. 

The iconic silhouette of the eighteenth century is that of the  conically corseted court dress, a simpler line of dress launched the era. The mantua, which dominated the beginning of the eighteenth century to the point that dressmakers were called mantua makers, was introduced in the late seventeenth century as a casual dress alternative to the heavily structured court dress required by Louis XIV. Before the mantua the dresses beforehand took more of a robe format however once the mantua became more formal, the bodice took more of an important role over the dress, the display of the stomacher, an inverted triangle of richly embroidered fabric. The placement of the stomacher allowed for an increasingly full skirts of which created a narrow-waisted silhouette for the mantua, which became increasingly extreme over the course of the eighteenth century. The triangle of the bodice was created by conically shaped stays that pressured the waistline to a small circumference while driving the bosom upward to bob about as a barely contained base for the spherical head. The rectangle at the base of this structure was created by panniers which were constructed with hoops, at first to support a bell-shaped skirt, but later drawn in with tapes at front and back into a flattened ovoid form. 

By the 1770s, the silhouette of the skirts shifted away from the squared-off panniers. In the 1770s the polonaise gown was also developed, the waist remained small and pointed into a very full skirt. The fullness of this gown was created through the voluminous drapery fabric, most often via rings sewn on the underside of the skirt that were drawn up with cording to create puffs at the back and side of the dress. The puffs of fabric rested on full petticoats to create the still expansive base of the silhouette; its real shift was one of weight, giving as it did an overall lighter impression of the body within.

In the 1780’s the chemise became popular, this was a lightweight gown made from fine fabric gathered in at the natural waist by a sash. However, this gown still emphasised the waist. Furthermore, by the end of the eighteenth century, a different silhouette was beginning to emerge, intended in imitation of classic Greek and Roman dresses. The dresses took a turn from hard geometric carapace into a soft, thin chemise of cotton or linen that grazed the natural female form and almost fully revealed the breasts.

Rococo emerged in France in the 1720s and remained the predominant design style until it fell out of fashion in the 1770s. Excessively flamboyant and characterised by a curved asymmetric ornamentation and a use of natural motifs, Rococo was a style without rules. A smart and refined court culture called Rococo flourished in France after Louis XV came to the throne in 1715. Along with Rococo the leader in woman's fashion became more of a solidified statutes as international trendsetter. The essential spirit of Rococo era women’s clothing is expressed in its elegance, refinement, and decoration.

This is a typical Rococo period women's dress, "robe à la française". The ensemble shown here consists of a gown, the petticoat much like what we would call a skirt today, and a stomacher made in a triangular panel shape. The gown opens in the front, and has large pleats folded up at the back. All this would be worn after formed with a corset and pannier, which acted as underclothes. Until clothing accepted drastic changes with the 1789 French Revolution, rich outfits, such as is shown here, were worn.

The fan-shaped trims on the gown on the left.

Rococo S-Shaped.

[atplblog]

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[weddingtentsuppliers-blog]

Behind the Scenes: How Luxurious Wedding Tents Are Manufactured

Wedding tents have evolved from simple functional shelters to symbols of grandeur, offering elegant and lavish spaces that transform any venue into a dreamlike setting. But have you ever wondered what goes into manufacturing these stunning structures? At Ranka Tent Suppliers, one of the leading Tent Manufacturers and Suppliers in Indore, we take pride in our state-of-the-art manufacturing process. We bring together design, craftsmanship, and technology to create the perfect tent for your big day. Let’s take a journey behind the scenes and discover how luxurious wedding tents are made.

Step 1: Understanding Client Needs

The handle starts with a nitty gritty interview with the client.Every wedding is unique, and so are the needs of the couple. Our design team sits down with clients to discuss their vision, style preferences, event theme, and the venue's layout. Whether it’s a romantic outdoor garden wedding or a glamorous evening affair, we ensure that the tent design aligns with the overall aesthetic of the event. For couples opting for luxury, we also incorporate special elements like the Best Royal Wedding Furniture Set to create a truly regal atmosphere.

Step 2: Innovative Design and Customization

Once we have a clear understanding of the client's vision, our plan group gets to work.Luxurious wedding tents are not just about size and structure—they are about creating a personalized experience. Using cutting-edge design software, we develop customized layouts, incorporating everything from fabric choices to structural elements. The design process also considers how the tent will integrate with other key features such as furniture, flower arrangements, and stage decorations, ensuring a harmonious flow.

Step 3: Premium Material Selection

The key to manufacturing high-end wedding tents lies in the quality of materials used. As luxury tent manufacturers and suppliers in Indore, we source only premium fabrics and durable materials that ensure the tent is not only beautiful but also robust. For the canopy, we use high-grade waterproof and UV-resistant fabrics that withstand varying weather conditions while maintaining an elegant drape. The tent’s frame, typically constructed from high-quality aluminium or steel, offers the stability needed to accommodate large gatherings without compromising on style.

Step 4: Precision Manufacturing

Once the plan and materials are finalised, the fabricating stage starts. At Ranka Tent Suppliers, we employ skilled craftsmen and technicians who work meticulously to create each tent. The frame is precision-engineered to ensure a sturdy and safe structure. Our advanced sewing machines ensure that fabric panels are cut and stitched with exacting precision, avoiding any wrinkles or imperfections. Every tent is crafted to be modular, allowing it to be easily assembled, expanded, or customized on-site, ensuring flexibility for different venue requirements.

Step 5: Attention to Aesthetic Detailing

What sets lavish wedding tents apart is the consideration to detail. After the basic structure is created, our artisans focus on the finishing touches that elevate the tent’s appearance. From intricate drapery to custom linings and decorative trims, no detail is too small. We offer various aesthetic elements such as chandeliers, fairy lights, and floral hangings to enhance the beauty of the tent’s interior. These details are crafted with an eye for elegance, ensuring that the final product exudes luxury and sophistication. Incorporating a Best Royal Wedding Furniture Set within the tent helps elevate the grandeur, offering a regal ambiance for the wedding celebration.

Step 6: Rigorous Quality Testing

Before any tent leaves our facility, it undergoes a series of quality checks to ensure that it meets the highest standards. As one of the leading tent dealers and exporters in India, we test for durability, structural integrity, and weather resistance. Each tent is also checked for ease of assembly and disassembly, ensuring that the installation process at the event site is seamless and hassle-free.

Step 7: Delivery and Installation

The last arrange in the handle is conveying and setting up the tent at the occasion area.Our logistics team ensures that the tent arrives safely and on time. The setup is done by trained professionals who carefully assemble the tent, ensuring that it is perfectly aligned with the venue layout. Whether it’s on a beach, in a garden, or in a cityscape, our tents are installed with precision, creating a captivating environment for the wedding celebration.

Step 8: Post-Event Support and Sustainability

Once the event is over, our team is responsible for efficiently dismantling the tent. We also ensure that the materials used are sustainably sourced and can be reused for future events. As part of our commitment to sustainability, we continually research eco-friendly materials and practices to minimize waste and our environmental footprint. This ensures that our role as a luxury tent manufacturer and supplier in Indore aligns with environmental goals while delivering top-notch service.

Why Choose Ranka Tent Suppliers?

At Ranka Tent Suppliers, we believe that a wedding tent is more than just a structure—it is the canvas upon which dreams are painted. As trusted tent manufacturers and suppliers in Indore, we blend tradition with modern technology to craft tents that are as unique as the events they host. Our commitment to quality, consideration to detail, and development have made us a driving title in sumptuous tent fabricating.

From concept to creation, every step in the manufacturing process is designed to ensure that our clients receive a tent that not only meets but exceeds their expectations. Our dedication to craftsmanship and customer satisfaction has made us a trusted partner for weddings across India and beyond.

Whether you’re planning an intimate gathering or a grand celebration, Ranka Tent Suppliers is here to bring your vision to life with stunning, luxurious wedding tents. Let us offer assistance to make your extraordinary day indeed more extraordinary!

[omarhussainchicago]

Best Luxury Materials for Interior Design in Dubai

Dubai is synonymous with opulence and luxury, a city that embodies cutting-edge architecture and exquisite design. The interiors of Dubai’s most luxurious properties reflect this ethos, incorporating the finest materials from around the world. For those looking to infuse their spaces with a sense of elegance and sophistication, choosing the right materials is crucial. This article explores some of the best luxury materials used in interior design in Dubai, providing inspiration for creating stunning, high-end interiors says, Omar Hussain Chicago.

Marble: Timeless Elegance

Marble has long been a staple of luxury interiors, and in Dubai, it is used extensively to create grand and sophisticated spaces. Known for its timeless beauty and durability, marble comes in a variety of colors and patterns, each slab unique. White Carrara, Calacatta, and Statuario are some of the most sought-after types of marble.

In Dubai’s interiors, marble is often used for flooring, countertops, and statement walls. Its reflective surface can enhance natural light, making spaces feel more expansive and airy. For an ultra-luxurious touch, consider bookmatching marble, where slabs are arranged to mirror each other, creating stunning symmetrical patterns.

Gold and Brass: Gleaming Accents

Gold and brass are quintessential to Dubai’s luxurious aesthetic. These metals are used to add a touch of glamour and opulence to interior spaces. Gold leaf, gold plating, and brass accents can be found in various elements, from furniture and lighting fixtures to decorative accessories and hardware.

Incorporating gold and brass into interior design can be done subtly or boldly, depending on the desired effect. A common practice is to use these metals in light fixtures, door handles, and trim, where they can catch the eye without overwhelming the space. For a more dramatic impact, consider gold-plated ceiling panels or brass-clad walls.

Exotic Wood: Rich and Warm

Exotic wood species such as ebony, rosewood, and teak are prized for their rich colors and intricate grain patterns. These woods bring warmth and sophistication to interior spaces, making them a popular choice for high-end homes and commercial properties in Dubai.

Exotic wood can be used in a variety of applications, including flooring, wall paneling, furniture, and cabinetry. Its natural beauty and durability make it ideal for creating bespoke pieces that stand the test of time. To highlight the wood’s unique characteristics, it is often finished with high-gloss lacquers or oils that enhance its natural luster.

Crystal and Glass: Sparkling Details

Crystal and glass are essential materials for adding a touch of sparkle and elegance to luxury interiors. In Dubai, these materials are used in various forms, from chandeliers and light fixtures to decorative panels and furniture.

Crystal chandeliers, in particular, are a hallmark of luxury design, casting a dazzling array of light and creating a focal point in any room. For a modern twist, consider custom-made glass installations that incorporate LED lighting or intricate etching. Glass can also be used in furniture, such as tables and shelving, to create a sense of openness and sophistication.

Silk and Velvet: Luxurious Textiles

Omar Hussain Chicago: Silk and velvet are the textiles of choice for creating sumptuous and inviting interiors. These materials are associated with comfort and luxury, and their rich textures add depth and elegance to any space.

In Dubai, silk is often used for draperies, upholstery, and bedding. Its natural sheen and softness make it perfect for creating an opulent atmosphere. Velvet, with its plush texture, is ideal for sofas, armchairs, and cushions. It adds a sense of warmth and comfort, making it perfect for creating cozy yet luxurious living spaces.

Leather: Sophisticated and Durable

Leather is a versatile material that brings a touch of sophistication and durability to interior design. High-quality leather, such as full-grain or top-grain, is used in various applications, from furniture and wall coverings to accessories and flooring.

In Dubai’s luxury interiors, leather is often used to upholster sofas, chairs, and headboards, adding a sleek and elegant touch. Leather wall panels and floor tiles are also becoming increasingly popular, providing a unique and tactile experience. The natural patina that develops over time enhances its beauty, making leather a long-lasting and stylish choice.

Natural Stone: Organic Luxury

Beyond marble, other natural stones such as onyx, travertine, and limestone are also popular in Dubai’s luxury interiors. These stones are celebrated for their unique patterns and colors, which can range from subtle and earthy to bold and dramatic.

Onyx, with its translucent properties, is often used for backlit feature walls and countertops, creating a mesmerizing effect. Travertine and limestone are preferred for flooring and wall cladding, providing a natural and organic feel that complements both contemporary and traditional designs.

Dubai’s interior design scene is characterized by its use of luxurious materials that exude elegance and sophistication. From the timeless beauty of marble and exotic woods to the gleaming accents of gold and brass, these materials are essential for creating high-end interiors. Incorporating crystal, glass, silk, velvet, leather, and natural stone further enhances the opulence of these spaces, making them truly stand out.

Omar Hussain Chicago: For those looking to infuse their interiors with a touch of Dubai’s luxury, choosing the right materials is key. By understanding the unique qualities and applications of these materials, you can create spaces that are not only visually stunning but also embody the essence of luxury and sophistication.

Originally Posted: https://omarhussainchicago.com/best-luxury-materials-for-interior-design-dubai/

[sawadeaustralia]

What designs are trending in curtains Adelaide-wide?

Discovering Adelaide's Latest Curtain Trends: The Home Decor Game

In the vibrant city of Adelaide, where culture meets creativity and history intertwines with modernity, curtains have become more than functional window coverings – they are stylish and personal touches and charm to every room. From classic designs to contemporary trends, Adelaide residents are embracing different curtain styles to up their home decorating game. But what designs are currently trending for Adelaide curtains? We explore the latest curtain trends that are capturing hearts and transforming homes across the city.

Timeless elegance: classic patterns and prints

Timeless elegance never goes out of style in Adelaide, and classic patterns and prints are making a comeback in curtain design. From traditional florals and damask to intricate stripes and checks, Adelaide residents embrace classic patterns that exude sophistication and sophistication. These timeless designs add charm and luxury to any room, creating a timeless elegance that never fails to impress.

Natural Elements: Organic Textures

Given Adelaide's proximity to nature, it's no surprise that curtains are inspired by natural elements are trendy in home decoration. Adelaide residents prefer curtains made from organic materials such as linen, cotton and bamboo, which add warmth, texture and depth to interiors. Whether in natural fibers or in earth tones of woven textures, these curtains bring an outdoor feel indoors and create a comfortable and inviting atmosphere.

Daring and dramatic: make a statement with color

For those who dare to be bold, bright colors and drama take over center stage in curtain design tones. Adelaide residents choose curtains in bold shades such as emerald green, sapphire blue and ruby ​​red, adding personality and elegance to their living spaces. Whether as a focal point in a neutral space or combined with complementary colors to create a cohesive look, bold curtains make a statement and add drama to any interior.

Lots of sophistication: light and airy fabrics

In Adelaide's sunny climate, curtains are at their most beautiful and a popular choice because they filter natural light and create an airy and open feeling. Adelaide residents prefer light fabrics such as voile, chiffon and organza, which allow sunlight to diffuse gently into rooms while maintaining privacy. Sheer curtains add sophistication and elegance to any room, making them a timeless choice for style-conscious Adelaide residents.

The key look: combining function and style

Layered curtains are another trend that is growing in popularity in home decor in Adelaide. By combining different types of curtains, such as sheer panels with heavier curtains or curtains with decorative edges, Adelaide residents can achieve a layered look that offers both function and style. Not only do pleated curtains provide better light control and insulation, but they also add depth and dimension to windows, creating a dynamic and visually interesting focal point in any room.

Personalization: personalize home décor

In a city known for its creativity and individuality, customization is all about curtain design. Adelaide residents are increasingly choosing bespoke curtains that reflect their unique style and personality. Whether it's choosing the perfect fabric, choosing custom hardware and trim, or adding personalized touches like monograms or embroidery, custom draperies allow homeowners to create unique windows that enhance their home's decor.

Bottom line: Accentuate your home. A home with trendy curtains in Adelaide

In conclusion, Adelaide residents embrace a variety of curtain trends that reflect the city's vibrant culture and diverse design sensibilities. From timeless elegance to bold color choices, sophistication to layered looks, Adelaide offers plenty of options for homeowners looking to enhance their home decor with trendy curtains Adelaide-wide. Whether you like classic patterns, natural patterns or individual details, Adelaide has a curtain trend to suit every style and preference. So why wait? Use the latest curtain trends and transform your home into a stylish sanctuary that reflects your unique personality and taste.

[ockcce]

The deadbolt is a steel bolt that locks into the door frame to keep your home secure.

The deadbolt is a steel bolt that locks into the door frame to keep your home secure. It’s mechanically activated with a key, thumbturn, or electronically (like smart and keyless locks).

A deadbolt takes standard door knob lock security to the next level. It’s much more difficult to break into a home with a deadbolt than with a regular spring bolt that can be loided open with credit cards, knives, and other professional tools like latch slips.

The bolt extends out of a socket in the door jamb and is secured to the strike plate by screws. Ideally, the screw holes are reinforced with metal to make it more resilient against forced entry.

CR’s lab tests show that a well-installed and maintained deadbolt is much more likely to resist breaking and entering than an unlocked doorknob. However, additional safety measures such as having a solid wood or steel-clad door and a secure door frame are essential for making your home resistant to break-ins. Decorative Trim

Decorative trim is a textile Wholesale Lock Body with Keyed Cylinder Hole embellishment used to add definition and texture to fabric items such as clothes, drapery panels, pillows, furniture and bedding. It can take the form of braids, fringe, cords, tassels and other types of textile strips that can be sewn or glued to the surface of fabric to enhance its appearance.

A door handle is a device attached to the door to facilitate opening it and closing it. It comes in a wide range of designs, shapes and finishes to fit your vision or interior design aesthetic. A handle set may feature a knob, lever or electronic keypad, and is ultimately determined by your preference.

There are many different terms that come with talking about doors and their components, so it can be difficult to keep up with everything that’s being discussed. Whether you’re discussing your vision with a professional or shopping online, the terminology can be a bit overwhelming. Keeping up with the basics can help you better understand your options and know what to ask for when ordering your door hardware. Smart Locks

Whether you're a forgetful home-owner or just have a hard time remembering where you left your keys, smart locks can help. By connecting to your home Wi-Fi, you can remotely lock and unlock your door using an app on your smartphone. Some models also come with a keypad and fingerprint reader to eliminate the need for a key.

[millingroundireland]

Dora Mills and fashion in 1892

The last image is from Find a Grave (and reposted in this post), which I posted on Dora's profile there. I think the last image is NOT from the same image as the others, and is a photo taken afterwards, as in the last image she is looking down, not toward the camera.

I've written on this blog varied times about Dora Mills, my great-great grandmother. In the process, I've posted a photo, cropped and in different formats, of her in possibly July 1892 (when Mabel in her arms was reportedly born) with her family.  Clearly, she had a bonnet and a dress of some kind. Luckily, University of Vermont has a great page from which one can start to have an understanding of women's clothing in the 1890s:

Compared to the fashions of the previous decade, the 1890s styles were plainer, simpler, and more practical. Women had more freedom in their clothing choices and often sported reform clothing for outdoor activities like biking. Also notable is the widespread use of the shirtwaist or blouse and skirt. All walking skirts in the 1890s were designed to completely clear the ground. In the early 1890s, the dominant skirt shape was the swooping tulip of bell form, which was snug and smooth over the hips and flared dramatically to a wide hem. The shape reappeared in the late 1890s.

In the case of Dora, she was likely not wearing a 1890s bodice:

The original source is now gone, but there's information about bodices here and elsewhere.

...or even a loose blouse.

This post was originally published on WordPress in July 2018.

Instead it was, due to the solid color and nature, likely a Tulip Bell Skirt:

The original source is now gone.

The other fashions, the early 1890s High Puff Sleeve and 1890s Leg-o'-mutton Sleeves, she is not wearing. I looked deeper into this topic. This brings us to another account of the time, talking about women's fashions:

Women's fashions of the 1890s epitomized a new kind of woman. Romance was juxtaposed with practicality in sleek new styles. An hourglass silhouette defined the feminine form and women's clothing lost some of the restrictive aspects and over-ornamentation of the earlier Victorian era. The aging queen, once a symbol of all that was socially desirable, began to look quaint, becoming a symbol of everything old-fashioned.

Dora was not wearing a dress like others of the time as it was not fancy (also see here), but seemed more ordinary, as to say. One site specifically addressed bell skirts:

1890 saw the establishment of a very slim, perpendicular silhouette. The voluminous bustle skirt skirt had collapsed and disappeared almost overnight in 1889. Most of its applied drapery had gone with it. The new skirt was usually cut in three to five gored panels, narrow at the top and wide at the bottom. Almost all of the fulness was drawn to the back of the waist and disposed in an inverted pleat at the very centre, falling in soft folds to the hem. This made the front quite plain and tight, though some skirts were still cut with a horizontal fold or two at the back, which caused the front to form a gentle swathe of drapery. By 1892 this was eliminated, as was the train that was often found on the skirts of day-dresses of the early '90s. An alternative to the gored skirt was the one-piece circular skirt, called a bell, fan or umbrella skirt. This skirt was not usually formed from a complete circle but consisted of a close-fitting front continuous with a section of a circle, from an eighth to a quarter on each side, for the back. (A hybrid of these two styles combined a narrow front gore with a circular back). Again, all the fulness or spring in the skirt was at the back, making the front seem narrow and perpendicular. The bodice too, gave the same impression: the waist was long, sometimes an inch below the natural level and as tight as ever; the sleeves, a little full at the head, rose upwards above the shoulder, rather than outwards, and any bodice trimming such as revers or gathers were drawn into a narrow v-shape at the front. The whole effect was narrow, upright and rather prim - not a very promising start to a new decade, it would seem. But in this look were sown the seeds of a more wearable dress than had been seen for several decades, and it would be heartily embraced by the New Woman of the nineties.

What Dora wore seems like a dress worn in London in 1886 by Ellen Terry, sitting with her children, although it is not the same. I found some other sources about fashion in the 1890s, but it is either too late (1896) or about other subjects. Even so, her hat is a bit like others in an ad the year before. Then, I stumbled upon the Ladies Home Journal in 1894. I found some illustrations in volume 9 of the same journal (looking up to July 1892) that show styles that are reminiscent of what Dora wore:

I would say that Dora almost seems like she is in her "Sunday" clothes for church. This being the case, the photo could have been taken on July 24, 1892, as that is a Sunday not long after Mabel's birth, with Mabel later adopted by Dora's sister, Margaret, with Cyrus's consent, on March 5, 1895, exactly one month after Dora's death that year!

Coming back to Dora, it seems she had a certain sense of style, in keeping with the time especially if you compare her to every other individual in the picture:

Regardless of what dress she is wearing, she is clearly wearing a bonnet of some type, likely one of the ones I found in the Ladies Home Journal. The children, as is Cyrus, also have their own certain clothing. Marion and Margaret likely are wearing the same clothing, while Robert's clothing is baby clothing but not like that which I saw elsewhere online, even on Wikimedia.

That's all for now. Until next time!

© 2018-2023 Burkely Hermann. All rights reserved.

[rjhamster]

Hi There, The Best Fall Decorating Ideas For Your Home! On Sale NOW!

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[chic-a-gigot]

Voici la mode de décembre 1935, Paris. Bibliothèque nationale de France

Somptueux manteaux de velours d'albène, belles robes de satin ou de crêpe rhodia, créant l'élégance du soir.

Sumptuous coats of albene velvet, beautiful dresses of satin or rhodia crepe, creating evening elegance.

Élégant manteau en velours d'albène velitaf de Chatillon Mouly Roussel, très joliment garni de renards bleus; comme vous le voyez, la tête part des épaules; les manches, larges, sont montées à plis tuyautés.

Elegant coat in Chatillon Mouly Roussel velitaf albène velvet, very nicely trimmed with blue foxes; as you can see, the head starts from the shoulders; the sleeves, wide, are set in piped pleats.

—

Cette élégante toilette est faite en crêpe satin rhodia solana de Pierre Hurel; le côté brillant apparaît au panneau retourné dans le bas, lequel coupe le côté gauche; le décolleté drapé se termine par un long pan sur l'épaule.

This elegant toilet is made in Pierre Hurel's rhodia solana satin crepe; the shiny side appears at the turned-back panel at the bottom, which cuts the left side; the draped neckline ends in a long panel on the shoulder.

—

Robe en bourdeline marocain rhodia de J. Bourdelin, très souple par son ampleur groupée en avant, retenue à la taille par la ceinture de velours rouge et au décolleté par une torsade.

Dress in rhodia Moroccan bourdeline by J. Bourdelin, very supple with its fullness gathered at the front, held at the waist by the red velvet belt and at the neckline by a twist.

—

L'élégance de cette toilette, en satin rhodia druidesse de Stunzi, réside dans son drapé, fixé à l'épaulette par un long pan bordé de renard argenté ainsi que celui dos; la taille, drapée, est retenue par une incrustation continuant la découpe du dos.

The elegance of this ensemble, in Stunzi rhodia druidess satin, lies in its drapery, fixed to the shoulder pad by a long panel edged with silver fox as well as that of the back; the draped waist is held by an inlay continuing the cut of the back.

—

Ce manteau, complétant la robe ci-contre, est en velours bleu d'albène, envers satin rhodia 1100 de Pierre Hurel, avec manches-capes montées par des rangs de fronces; le col, drapé, se fixe dans le dos et fait corps avec l'empiècement; une large bande de renard argenté borde la cape.

This coat, complementing the dress opposite, is in blue albène velvet, reversed in rhodia satin 1100 by Pierre Hurel, with cape sleeves assembled with rows of gathers; the draped collar is fixed in the back and forms part of the yoke; a wide band of silver fox borders the cape.

[jaihoblindsandshutters]

Blinds and Shutters That Work on Doors

Whether it’s a door with a window or an exterior door, you need a window treatment that looks good and functions well. Fortunately, there are many options from shades to blinds and shutters that work on doors blinds and shutters.

For easy maintenance consider a 2 on 1 product like an energy-efficient cellular shade or a simple roller blind with a valance for a cleaner look.

Sturdy

When you have a doorway with high traffic, you need your window treatments to withstand bumps and snags. Curtains that puddle on the floor can present a tripping hazard and accumulate dirt over time. For durability, consider sliding panels or vertical blinds that extend nearly to the ground.

If you want your window treatment to look like part of the door, consider a shutter. French-door shutters mount directly on the frame and offer a solid bottom section with a top louvred section. Your Graber design expert can help you find a style that suits your space and preferences.

Woven wood shades crafted from bamboo, reeds and grasses are also a popular choice for doors because they provide a natural look that blends well with almost any home decor. They’re especially great for doors in humid rooms because they minimize stretching, bowing and breaking.

Easy to Operate

For high-traffic doorways consider durable blinds and shutters that open and close easily. In addition, a door’s window covering should not interfere with the operation of the door handle. Blinds and drapery that stack up to the door handle need homeowners to remove them from their hold down brackets, which can be time consuming.

In contrast, cellular shades for doors and sliding glass doors offer a smooth operating solution with no lifting cords or pull strings. Additionally, these shades come in a wide selection of colors and fabrics to match any style.

Shutters provide stability and durability on doors and can be custom-crafted with a square or rounded door handle cut-out for easy access to the door handles. They also coordinate with the rest of your home’s window treatments for consistency and light control.

Visibility

Installing blinds and shades on doors creates a beautiful look. However, a homeowner must unclip the window treatments from their hold down brackets in order to use the door handle. This may be a hassle for those who open and close their doors frequently.

Pristine white louvred shutters can eliminate this problem. They also allow you to til and adjust the light in the room without needing to open or close your doors.

If you have windows near your doors, consider using California Plantation Style Shutters on those as well for a consistent look throughout your home. You can choose a shutter material and color to complement your carpet and furnishings. Similarly, you can match the same California Plantation Style Shutters on the outside of your doors for increased curb appeal.

Privacy

Blinds are great for French doors because they don’t show any parts of the hardware, and you can choose a color that matches your baseboard trim. You can also choose a color or stain that makes the window covering look like part of your door’s frame.

Curtains let outsiders see silhouettes from inside, but shutters give you the option to direct natural light at a variety of angles. Going from full light to almost no light is quick and easy without having to yank cords or wands.

Many homeowners want to use California plantation style shutters on their doors for a consistent look throughout their homes. Shutters can be custom crafted with either square or rounded door handle cut-outs to allow your door handles to move freely.

Ease of Maintenance

While curtains and blinds collect dust, shutters can easily be wiped down or dusted with a damp cloth. This is especially important for allergy sufferers as it helps reduce symptom-triggering allergens. Shutters are also more durable than blinds and can be repainted or re-stainied to create a new look for your home’s window treatments.

The louvres on shutters can be easily adjusted using a tilt bar. They can be opened to allow natural light into a room or closed to reduce sun glare and heat loss. Additionally, they can be rotated open or closed to provide privacy without the hassle of dangling cords and wands. They also offer superior light control, allowing you to tilt slats in different angles for optimum brightness and reducing glare.