freddarling
freddarling
Have Courage And Be Kind
34K posts
Hey, it's Ava 🌺NorCal. Dog and cat mom. Pretty dresses, garden updates, video games and the occasional selfie ❤️
Don't wanna be here? Send us removal request.
freddarling · 5 days ago
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"I never wish to be parted from you from this day on." PRIDE & PREJUDICE (2005) Dir. Joe Wright
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freddarling · 5 days ago
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Details from La Lune’s Debut Runway Show
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freddarling · 8 days ago
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Get yourself a fabric store that will light your fabric on fire for you
No but legit I asked what the fiber content of something was and the guy didn’t know so he cut a chunk off and lit it on fire and felt the ashes and was like. Yeah this is mostly cotton with a lil bit of silk. And that was the moment I knew. This is it. This is the fabric store for me. Also that guy is marriage material. Not for me but damn some person is gonna be so happy with him.
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freddarling · 8 days ago
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freddarling · 10 days ago
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High school wall collage - Uploaded to facebook on June 20, 2010.
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freddarling · 10 days ago
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Kono Bairei
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freddarling · 10 days ago
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The Sissi Trilogy + Headpieces
Elisabeth of Austria's hats.
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freddarling · 10 days ago
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You pierce my soul. I am half agony, half hope. - Persuasion, Jane Austen
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freddarling · 10 days ago
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The Fashions Expressly designed & prepared for The Englishwoman’s Domestic Magazine June, 1876 Volume 50, Plate 41 Signed: Jules David; Imp. H. Lefèvre, Paris; Ad Goubaud & Fils Ed Paris; A Bodey sc
Digital Collections of the Los Angeles Public Library
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freddarling · 10 days ago
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L'Art et la mode, no. 25, vol. 17, 29 juin 1896, Paris. Grand Prix 1896. Dessin de M. de Solar. (Parfum "Royal Mimosa”, de Jones). Bibliothèque nationale de France
Comtesse de Luisiane.
Corsage et jupe en taffetas blanc imprimé de feuilles de lierre. Empiècement et pattes en taffetas vert d'eau ornés de guipure et tuyautés blanc. Manches originales en plissés blancs.
Bodice and skirt in white taffeta printed with ivy leaves. Yoke and tabs in water green taffeta decorated with guipure and white piping. Original sleeves in white pleats.
Mme Farcas.
Corsage et jupe en crêpe de soie ivoire. Entre -deux de rubans jonquille recouverts de fine dentelle blanche. Haute ceinture satin noir.
Ivory silk crepe bodice and skirt. Between the two are daffodil ribbons covered with fine white lace. High black satin waistband.
Mme de Beaufort.
Corsage plissé accordéon, en linon beurre. Bande-corselet en dentelle. Bas de manches et haut de jupe en forme brodés également avec plissés de linon beurre.
Accordion pleated bodice in buttery lawn. Lace bodice band. Sleeve cuffs and shaped skirt top also embroidered with buttery lawn pleats.
Mile Claire de Beaulieu.
Corsage bouffant en dentelle blanche. Ceinture de soie mauve. dupe en soie mauve avec applications de soie cerise recouvertes de dentelles blanches.
White lace bodice. Mauve silk belt. Mauve silk dupe with cherry silk appliqués covered with white lace.
Mlle Georgette du Mesnil.
Corsage boléro court brodé et appliqué de satin. Manches et ceinture en crêpe de soie noir. Jupe brodée, le tout blanc et noir.
Short bolero bodice with embroidery and satin appliqué. Sleeves and belt in black silk crepe. Embroidered skirt, all in black and white.
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freddarling · 18 days ago
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i love labubus but also,,,i love lafufus ⭐️💞
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freddarling · 18 days ago
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freddarling · 18 days ago
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🍃🍃
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freddarling · 19 days ago
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sat among the soft seagrass🌾🐚
✦ find me on instagram @the.flightless.artist ✦
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freddarling · 19 days ago
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Tennis Dress
1885-1888
United States
It gradually became more acceptable for women to participate in sporting activities throughout the second half of the 19th century. Clothing requirements for most sporting remained strict towards retaining foundation garments such as corsets and bustle, which were thought to stabilize women's frail and weak forms. This example would have been worn for tennis, yachting or general seaside walking. Striped textiles were fashionable for such activities, probably due to the nautical theme and their jaunty air which inspires vigor. Although the silhouette remained the same, with the exception of the shorter, more maneuverable length, the trimmings were reduced. This is a striking example of this type of dress, which is fairly rare in museum collections. The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.
The MET (Object Number: 2009.300.2477a, b)
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freddarling · 19 days ago
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Cycling Suit
1896-1898
United States
The MET (Accession Number: 2009.300.532a–d)
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freddarling · 19 days ago
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Emancipated duels. Photo by Pavel Kurmilev
Baroness Lubinska who presided over the famous duel between Princess Pauline Metternich and the Countess Kielmannsegg in 1892, insisted that the duelists remove their clothing above their waists to avoid infection in the event that a sword pushed clothing into the wound it caused. Being a doctor, the baroness had seen many instances of septic infection in soldiers for this very reason throughout her years of medical training.
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