#linen drapery with trim

[casetagram]

DC Metro Master Ideas for remodeling a mid-sized country master bedroom with beige walls and medium tone wood floors.

[mqslow]

Enclosed Dining Room

Example of a large classic medium tone wood floor enclosed dining room design with blue walls and no fireplace

[goldxnfemme]

Missed Her by Ivan Coyote

ID under read more

ID - images show a piece by Ivan Coyote from their book Missed Her.

Text in image 1 reads:

"Throwing in the Towel

Sometimes you say things without really thinking. Sometimes you write things on Facebook without really thinking about the nine hundred people who will read them.

It all started with the towels. Not just any towels, mind you. These were brand new, fresh out of the laundry, white, pristine, and über-fluffy. I had just stepped out of my clawfoot bathtub in my new-to-me bathroom in my recently painted apartment and into the softest, most absorbent and slightly lemony scented towel this forty- year-old ass has ever felt. That towel wicked the moisture away from my butt like a dream. It felt better than my mother's towels. Better than a fancy hotel towel, even, mostly because it was mine and I knew for a fact mine was the first ass it had ever wicked water from.

It's the little things, right? I sat my luxurious towel-wrapped ass down at my desk in front of my computer and wrote, "My new towels are so fluffy and absorbent. I feel like a queen. A queen, I tell you." And then I hit "share."

Within minutes, the comments started to roll in. My lady friends all concurred. Some of my butch friends, well, some butch bonding time. A small debate ensued. A femme friend of mine suggested we all conceptualize fine linens as a high quality tool, used to entice fine ladies into your bathtub. We riffed some"

Text in image 2 reads:

"about stereotypes. I thought it was over.

The next day, I hung the freshly hemmed and pressed, sand-coloured velvet draperies in my living room, and stood back to appreciate how well they complemented the dark olive accent wall and the bone-white window trim. What can I say? It has pretty much been five years since I have had a stable, solo, sexy roof over my head. I am nesting. I sat at my desk and wrote: "Enjoying my new draperies like I do does not make me any less butch."

And again with the stream of comments. One of my friends responded that butches were supposed to keep thoughts like that to ourselves. Someone said that draperies could be butch as long as there were no pink bows on them. Someone else suggested that we needed a word for a butch metrosexual. This began a longer discussion on the various types of butch: soft butch, stone butch, old school, fag butch, gentlebutch, dandy.

I should say that all of this was fairly good- natured, and everyone's feathers went for the most part unruffled, at least on the page. But something about the whole discussion bugged me, and it got me to thinking about it all.

My first question was for myself. Why did I care if my butchness was called into question anyway? In my whole entire life I have never felt anything but butch, even before I knew the word. That is certainly the way the world views me (going mostly on what rednecks call me from passing truck windows) and how my lovers place me on the fuckability spectrum. So why did someone I barely knew"

Text in image 3 reads:

"calling me a girl and suggesting I needed some butch bonding time chap my tender ass so much? Perhaps it was all those soft towels making me more thin-skinned than usual? And what was up with my butch brothers and sisters? I re-read the comments. Most of the femmes who responded maintained that the word butch didn't need adjectives or qualifiers: just butch would do the trick. It was mostly butches who were uncomfortable with my love of fluffy towels and draperies, and mostly butches who felt the need to further categorize ourselves.

One of the femmes who responded posed the following: "There's also an element of internalized homophobia in all of this. Maybe it's a conceptual leap but it seems to me that the notion that a 'real' butch can't like a fluffy towel or use words coded as feminine to describe her-/him-/hir-self isn't that far from the idea that it's not okay for boys to play with dolls. Are queer masculinities (or whatever you want to call them) so fragile? Their beauty, diversity, and resilience over the generations prove otherwise."

I thought about it all some more. Thought back to being eight years old, and frozen in the girl's dressing room at the ladies' wear store on Main Street in Whitehorse. My aunt was getting married and my mom was insisting that wearing anything but a dress to the wedding would be rude and she wasn't going to tolerate any more arguments from me about how dressy my brown corduroy suit could really be with the right blouse. I was being forced to try on this yellow and grey dress. My mom and the shop lady were"

Text in the last image reads:

"looming outside the dressing room door, taking turns cajoling and threatening me to come out and show them how I looked. My guts were in my throat and all the moisture in my mouth was now collecting in my eyes. I was seriously too humiliated to open the door and come out. I was afraid of the wrath of my mother, and scared of the scorn of the saleswoman, but I was even more terrified of how vulnerable and wrong I felt in my body, in my skin, in my life in that dress. It wasn't just that I didn't want to be a girl. And it wasn't as easy as just wishing that I was a boy. It was the horrible realization that I was facing a world where there were no clothes for me because I didn't fit the world.

So I don't think that butch fear of our own femininity is all that simple to unravel. It is not just our own misogyny that makes us see anything less than manly as weak or less than. Our fear of our own inner girl is so much more complicated than that. Most of us grew up uncomfortable not only in our clothes, but in our pink bedrooms, our gender roles, our families' expectations, and even our own skins. We had to fight to find ourselves in all of that. And sometimes that makes it hard to drop all that armor and just sit back and enjoy the fucking draperies."

End ID

[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

[chic-a-gigot]

La Mode illustrée, no. 26, 27 juin 1897, Paris. Toilette de plage. Modèle de chez Mmes Coussinet-Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

Description de la gravure coloriée:

Robe en lainage gris de lin. — Jupe unie, ornée à la hauteur des hanches, avec trois rouleaux en taffetas de même couleur, mais de teinte plus foncée; col et ceinture en velours améthyste; boucle de ceinture en strass; le corsage est fait avec un empiècement plat, devant et dans le dos; l'empiècement du devant est orné de rouleaux et de ruches en taffetas; celui du dos est garni seulement de rouleaux; à l'empiècement se rattache une blouse faite en taffetas finement plissé, couverte en partie d'un boléro en taffetas blanc entièrement recouvert de guipure jaunie; le contour du boléro est bordé d'un étroit volant plissé, que surmonte un rouleau de taffetas; ce boléro se termine en pointe, dans le dos; les manches légèrement gonflées à l'entournure, forment des plis horizontaux, et se terminent au poignet, par des rouleaux et un volant de taffetas plissé.

Chapeau en paille-satin violine, garni de gros pavots blancs teintés de vert, et de draperies de mousseline de soie blanche; ombrelle blanche, doublée de soie vert pâle.

—

Gray linen woolen dress. — Plain skirt, adorned at the height of the hips, with three rolls of taffeta of the same color, but of a darker shade; collar and belt in amethyst velvet; rhinestone belt buckle; the bodice is made with a flat yoke, front and back; the front yoke is embellished with scrolls and ruffles in taffeta; that of the back is lined only with rolls; attached to the yoke is a blouse made of finely pleated taffeta, partly covered with a white taffeta bolero entirely covered with yellowed guipure; the outline of the bolero is edged with a narrow pleated flounce, surmounted by a roll of taffeta; this bolero ends in a point, in the back; the sleeves, slightly puffy at the armhole, form horizontal pleats, and end at the wrist, with rolls and a pleated taffeta flounce.

Purple straw-satin hat, trimmed with large white poppies tinged with green, and draperies of white silk muslin; white umbrella, lined with pale green silk.

[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.

[katharined]

@edmcndd

It was late in the evening, and there was not a sound throughout the house – not even the floorboards creaked, and the wolves in the nearby forest had released nary a growl as dusk dissolved into pitch-blackness.  The Duchess’ servants had long taken abed, and the hearth was nearly extinguished, with only a singular pair of charred logs continuing to flicker, emitting the occasional spark of embers that licked against the mouth of the fireplace.  When the Grey women were lodged at Court, Chelsea Place was all but deserted, a solemn cathedral – Katharine employed a modest staff to watch over the home, to bleach the linens and dust the draperies – but when the Duchess and her new husband had come thundering up the road to take sanctuary, the servants had filed out into the lawns in packs, willing to catch a mere glimpse of their mistress and new master.  But even still, there was scarcely enough firewood to keep Kate’s chamber warm and cheery.  Ned would fix it, she knew, with his endless Percy coin-purse; but the icy freeze felt throughout her rooms felt symbolic, in a way, of the lengths she’d fallen in the matter of mere hours. 

King William’s repudiation of her husband was a bitter cup to drink from – that ginger fool – but fleeing from court with a husband more than fifteen years her junior was an even greater sting to her pride.  But Katharine had made her bed and as she cut her gaze – eyelids weighted with fatigue – to the glowing coals of the fire, its fading heat and dimming luster, she knew that she must now lie in it. Finding that she could no longer bear the chill, Kate rose from her chair by the mantle and bundled herself in a furred robe, trimmed with cloth-of-gold, before creeping toward the edge of the oak four-poster that dominated her chamber and drawing back the curtains that enclosed it.  No sooner had she begun to crawl into bed did a rap sound against the door, prompting the Duchess’ brow to furrow in confusion.  ‘Bessie?’  Called she, figuring it was her lady’s maid who beckoned.  ‘Pray tell, good woman, did you find another log to burn?’

But as the door creaked ajar, and Ned’s lofty, broad-shouldered figure shadowed the threshold, Kate immediately stood ; regaining the posture, aplomb, and steeliness for which the Duchess was lauded.  ‘Oh.’  Freeing her face of the chestnut-ringlets stuck to her cheeks, the Earl’s winter-bride remarked, ‘couldn’t sleep?  ‘Tis frightfully cold for November… one must wonder what horrors the deep-winter will bring.’

[kidsbirthdaydecoration]

Elevate Your Engagement: Innovative Decoration Themes for Every Couple's Style

Stunning décor themes tailored to your personal taste are the ideal approach to mark the beginning of an amazing journey with your partner. The start of an amazing journey is symbolized by your engagement. From contemporary extravagance to classic elegance, there are a plethora of imaginative engagement decoration ideas at your disposal to enhance the memory of your special day.

The atmosphere and tone of the event are greatly influenced by the the eye-catching décor themes. It's crucial to choose decor that perfectly captures your twosome's personalities, whether it's for a small party or a large celebration.

Make your engagement event more special and amazing by selecting the best engagement stage decoration themes from Take Rent Pe — an online supplier providing decoration setups on rent. With more than 100+ décor set ideas, pick your ones and let the team do the whole event management for you.

Let's explore some creative themes that can transform your engagement ceremony into a reflection of your love story.

1. Retro Romance: An engagement stage decoration theme with a vintage feel is ideal for couples that value classic elegance. Consider delicate lace trims, muted pastel colors, and vintage accessories like candelabras and frames. Decorate the engagement stage with exquisite draperies and tumbling flower arrangements to create a timeless, romantic atmosphere. Vintage-inspired engagement organizer are experts in bringing charm and nostalgia to every element, guaranteeing a celebration fit for a princess.

2. Bohemian Bliss: Embrace your free-spirited personality by decorating your engagement party with a bohemian theme. Select unique décor pieces like dream catchers, macramé backdrops, and vivid Persian rugs. Include organic components such as wildflowers and pampas grass to give the atmosphere a whimsical feel. Work with seasoned engagement decorators that specialize in arranging things in a bohemian-chic manner, fusing artistic and natural materials to capture the essence of your carefree love tale.

3. Modern Minimalism: With a modern minimalist decorating for an engagement theme, less really is more. Use simple floral arrangements, monochromatic color palettes, and clean lines to create a chic and elegant look. Use metallic elements and geometric shapes to give the stage of engagement stage decoration a more modern look. To provide a stylish backdrop for your event, choose engagement decorators who specialize in minimalist design principles, emphasizing understated elegance and simplicity.

4. Garden Romance: With an engagement decoration theme inspired by gardens, you may bring the charm of the outdoors indoors. With cascading foliage, blossoming flowers, and rustic wooden elements, create a lush botanical haven. Include decorations like lanterns and fairy lights to give the celebration a mystical feel. Work with engagement planners who specialize in botanical designs to turn your space into a fanciful garden haven that perfectly embodies your passion for the natural world.

5. Glamorous Extravaganza: Indulge in luxury with a glamorous extravaganza-themed engagement decoration. Opt for opulent decor elements such as crystal chandeliers, sequined table linens, and plush velvet furnishings. Incorporate metallic accents like gold and silver to add a touch of sparkle and sophistication to the ambiance. Trust experienced engagement Team who specialize in luxury events, ensuring every detail exudes grandeur and elegance for a celebration that leaves a lasting impression.

6. Country Charm: With an engagement decoration motif influenced by the countryside, embrace the coziness and genuineness of rustic charm. To create a warm and welcoming ambiance, use mason jar centrepieces, burlap accents, and reclaimed wood. Use natural colors and bouquets of wildflowers to create an air of rustic romance. Join forces with a rustic-themed engagement team to infuse your celebration with the dreamy allure of the countryside.

In conclusion, your engagement is a joyous occasion that deserves to be celebrated in style. Whether you're drawn to timeless elegance, modern sophistication, or bohemian whimsy, there's a decoration theme that perfectly complements your unique style as a couple. By collaborating with experienced engagement decorators, you can bring your vision to life and create a memorable celebration that sets the stage for a lifetime of love and happiness.

[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.

[indianlacesandfabricsupplier]

From Runway to Living Room: The Perfect Blend of Summer Dresses and Silk Fabric

When it comes to fashion, the journey from the runway to the living room is an exciting one. Fashion trends often start on the catwalks, showcasing the latest designs, colors, and fabrics. Summer dresses are no exception, with their vibrant patterns and breezy styles. However, have you ever wondered about the fabrics that make these dresses so irresistible? In this article, we delve into the world of summer dresses fabric and explore the perfect blend of fabric and curtain making silk.

The Allure of Summer Dresses

Summer dresses have an undeniable charm that captures the essence of the season. They are designed to keep you cool and comfortable while exuding effortless style. From flowy maxi dresses to playful sundresses, there is a wide range of options to choose from. But what sets these dresses apart is the fabric they are made of.

Embracing Lightweight Fabrics

When it's hot outside, lightweight fabrics are a must. They allow your skin to breathe and provide maximum comfort, even on the hottest days. Some of the popular fabric choices for summer dresses include cotton, linen, chiffon, and silk. These fabrics offer excellent breathability and a luxurious feel, making them ideal for creating stylish and comfortable dresses.

The Versatility of Cotton

Cotton is a timeless and versatile fabric that is often used in summer dress fabric designs. It is lightweight, soft, and breathable, making it perfect for warm weather. Cotton dresses come in various styles, from casual and bohemian to sophisticated and chic. Whether you're attending a beach party or a garden wedding, a cotton dress will keep you looking effortlessly elegant.

The Airiness of Linen

Linen is another beloved fabric for summer dresses, known for its natural coolness and breathability. It has a relaxed and casual vibe, making it a popular choice for beachwear and sundresses. Linen dresses have a unique texture that adds an element of sophistication to any outfit. They are perfect for those who appreciate the beauty of simplicity and understated elegance.

The Ethereal Charm of Chiffon

Chiffon is a sheer and lightweight fabric that embodies femininity and grace. It is often used in flowy and romantic summer dresses that evoke a sense of ethereal beauty. Chiffon dresses are characterized by their delicate draping and soft, billowy layers. They are perfect for special occasions, such as weddings or garden parties, where you want to make a lasting impression.

The Luxury of Silk

Silk is synonymous with elegance and luxury. While it may not be the first fabric that comes to mind for summer dresses, it has its own place in the fashion world. Silk dresses are known for their smooth and lustrous texture, creating a stunning visual appeal. When combined with the art of curtain making, silk can elevate a summer dress to a whole new level of sophistication.

The Perfect Blend: Fabric and Curtain Making Silk

Curtain making silk is a specialized type of silk fabric that is often used for creating exquisite curtains and draperies. However, its beauty and versatility go beyond window treatments. When integrated into the design of a summer dress, curtain making silk adds a touch of opulence and grandeur. It can be used as a statement fabric for the bodice or as delicate accents, such as sleeves or trims.

Unveiling a Captivating Ensemble

Imagine a summer dress that combines the lightweight comfort of cotton, the breezy appeal of linen, the ethereal charm of chiffon, and the luxurious touch of silk. Such an ensemble would be a true masterpiece, capturing the essence of summer while exuding elegance and sophistication.

The perfect blend of summer dresses fabric and curtain making silk brings forth a unique fusion of textures and aesthetics. The combination of these fabrics allows for the creation of dresses that are both visually stunning and incredibly comfortable to wear.

Picture a cotton and silk blend dress, where the bodice is crafted with curtain making silk, adorned with delicate embroidery or intricate lacework. The skirt, made of lightweight cotton, cascades gracefully, flowing with every step. This fusion of fabrics creates a harmonious balance between opulence and ease, making it a show-stopping choice for any summer occasion.

Elevating Your Summer Style

By understanding the qualities of different fabrics and their potential for blending, you can take your summer style to new heights. Experimenting with fabrics such as cotton, linen, chiffon, and silk opens up a world of possibilities for creating unique and captivating summer dresses.

Consider the occasion and the desired look when choosing the fabric blend for your summer dress. Opt for cotton and linen blends for a casual and relaxed vibe, perfect for a day at the beach or a picnic in the park. If you're attending a formal event, a chiffon and silk blend dress will make a lasting impression with its ethereal beauty and luxurious feel.

Remember to pay attention to the color palette as well. Summer dresses often feature vibrant and playful hues that reflect the season's spirit. Choose colors that complement your skin tone and embrace the joyful energy of summer. The Path to Outranking the Competition

Now that we have explored the perfect blend of summer dresses fabric and curtain making silk, let's discuss how this article can help you outrank the website you provided. By offering comprehensive and detailed information about the fabrics used in summer dresses, we provide valuable content that caters to the interests and needs of fashion enthusiasts.

By implementing these strategies and providing high-quality, in-depth content, you can increase your website's chances of outranking the competition and attracting a larger audience.

[finlaure13]

This Was When I Made a Mediaeval Gown with Underdress and Kirtle with Full Sleeves.

This was one of my first attempts at good period costuming with a pattern and good fabrics.

The underdress, or chemise, is linen, and I embroidered around the neck ruffle with gold thread. The kirtle was made with an embroidered drapery fabric, unknown fibres. The sleeve and kirtle lining is bemberg lining, 100% rayon. The trims are all 100% unknown fibres.

[cowperviolet]

A Guide to Medieval Childhood

Our popular imaginings and depictions of medieval childhood tend to be somehow both scarce and bleak. It’s often supposed that childhood as a category didn’t really exist until the twentieth century, and that even the highborn children before that blessed time were regarded as basically inconvenient mini-adults until they were old enough to fight or marry, respectively.

The sources we have tend to favour the royal families and the high aristocracy with some wealthy merchants thrown in the mix, so, unfortunately, the information below would mostly be concerned with these groups - although I’m going to do my best to include some facts about the lives of children from lower social strata, too.

Infantia, or infancy

As Maria von Trapp used to sing in technicolor meadows, let’s start at the very beginning - it is, after all, a very good place to start.  

A mother rarely gave birth unattended - and I’m not talking about medical professionals; more often than not, these would be represented by a sole midwife. However, having a close friend or a relative with you as you are waiting for the baby to arrive was a practice well-established by the early fourteenth century even among royal women, whose births, marriages and deaths alike were always ruled by strict ceremony.

In their case, as in the case of all great families of the land, the practice also had a purely pragmatic side - additional companions mean additional witnesses who would be able to swear, should a scandal arise, that the little heir really arrived in the lawful way and had not been, say, smuggled into the bedroom in a pan. (In the case of the British royal family this precaution eventually led to the Home Secretary being obliged to attend all royal births, and was only done away with in 1930, when the late Princess Margaret was born).

Of course, for all the companionable support, the birth was not without its risks - for the child even more so than for the mother. It was for that reason that, uniquely, the Church allowed the midwives to baptize newborn - or unborn - babies in case they don’t survive by the time the sacrament in question could be performed properly by a priest.

If everything went well, it was the time to prepare the child for an ‘official’ baptism in the local church, which was going to not only save his soul for the world to come, but to help his standing in this one - after all, being baptized in a particular church meant being integrated into the larger community of the parish. The mother could rest - she was not required to attend the christening (or, rather, she couldn’t, as she would only be able to enter a place of worship again after being purified via a brief ‘churching’ ceremony on the fortieth day after giving birth). The child’s godparents would have been there to stand in her stead.

In fact, many contemporaries considered that a woman needs at least a month to properly recover after birth. Nor was it supposed to be a time of solitude - receiving female visitors was both allowed and encouraged.

Meanwhile, the child would be transferred into the care of a wet-nurse. Breastfeeding your baby yourself usually signified that you simply cannot afford wet-nurse of good character. The good character part of the job description concerned itself both with the purely physical characteristics - the wet-nurse had to be a little below thirty, to have white teeth, sweet breath, and a child of her own not above eight months of age, otherwise her milk could be considered stale - and the moral ones. It was believed that virtues and vices both could be transmitted through milk, and thus it was imperative to choose a wet-nurse both sensible and respectable.

Once hired, she rarely left the baby’s side - contemporary writers acknowledged that leaving an infant to cry is harmful for the child’s health, both mental and physical, and therefore a nurse should always be at hand with either her breast or a lullaby. In the highest households of the land, such as that of the royal children of Henry VII and Elizabeth of York, one or two women were also employed as specifically the child’s rockers, tasked with, well, rocking their little charge to sleep - though not too quickly or too harshly, ‘for fear of making the milk float in [her] stomach’.

Every medieval baby, regardless of his family’s income, was swaddled from birth and until he was about eight or nine months of age: not only would he be kept warm, the parents judged, but it’s also going to help his limbs grow straight. A ‘breechcloth’ – essentially, a premodern nappy - was a piece of easily-washable linen, doubled over and then fastened into place with pins. Then a linen shirt would be gently placed over the infant’s body, after which the swaddling bands proper – sometimes three yards long – would come out. They were long, narrow pieces of – you guessed it - linen.

This swaddling part was universal for everyone; however, even here, before the child could partake in any fashion proper, the class divides came out to play. Babies from wealthier families could sport crimson mantles and bands decorated with gold embroidery (sometimes coordinated with that on their mothers’ outfits, like on the famous Cholmondeley Ladies painting at the top of this post).

Another – perhaps, more familiar to us – sphere of baby-related conspicuous consumption was the cradle. When, in 1494, the son of Beatrice d’Este and Ludovico Sforza was born in Milan, the proud father presented his guests a four-poster cradle covered in white satin, where the little heir now lay. When Lucrezia Borgia gave the d’Este family an heir, she splashed out on the cradle for the little Ercole even more. According to contemporary witnesses, the cradle was located under tent-like Moorish-style silk draperies done in the Este colors. It was on a platform encased in a great carved and gilded canopy, six feet long and five feet wide. The cradle proper was curtained in white satin, with the sleeping baby covered with cloth-of-gold.

The weaning tended to come, by our standards, rather late: some contemporary arguments recommended three years for boys and two years for girls (the former, after all, were expected to lead more active lives, and thus needed their mother’s nutritious milk more). Even then, hard food was to be introduced gradually – starting, for instance, with a chicken leg the child could chew on.

Once out of swaddling, the boys were dressed in smocks, and the girls in gowns – not that there was much visual difference between the two, mind. Regardless of their parents’ social standing, they all also wore tight linen caps that bore the charmingly hobbit-y name of biggins.

Naturally, the higher one stood upon the social scale, the more ornamental these gowns and smocks tended to be. The toddler Princess Elizabeth, who was the daughter of Henry VII and thus the aunt of her much more famous namesake, was dressed on separate occasions in a green velvet gown edged with purple tinsel and lined with black buckram, a dress of black velvet edged with crimson, or a kirtle of tawny damask and black satin. Admittedly, these were mostly for ceremonial occasions, and in the privacy of her yellow ochre-coloured chambers even the princess probably tended to wear something more comfortable. In winter, she was kept warm with furred robes fastened with silver buttons and caps trimmed with peacock feathers, and, regardless of the time of the year, indulged with sweets made from sugars flavoured with rose and violet, as well as with fruits from sunnier climes like pomegranates, quinces, and almonds.

Royal families were never noted for modesty of consumption in any era, but even the middling merchants of Florence were often criticized for spoiling their children with fine clothes. Fra Dominici wrote scathingly about parents who dress their children in ‘fancy garments, stamped shoes, short waist-coats, tight and fine-knit hose’. Neither did he approve of toys like “little wooden horses, attractive cymbals, imitation birds, [and] gilded drums,” recommending instead more virtuous playthings like “a little altar or two, … little vestments … little candles … [and] little bells,”, so that the children could pretend they were acolytes or priests. Three guesses no prizes as to which category ended up being the more popular one.

Some types of toys would have been surprisingly familiar to us – for example, doll furniture. In Germany one could find whole doll kitchens with dishes, meat plates, cutlery and furniture since the 1550s at the latest. Wealthier girls were also bought so-called fashion dolls that showcased, you guessed it, the latest fashions in the land.

Of course, poorer children had to make do with dolls stuffed with straw, and play with such props as animal knucklebones or wooden wheels.  However, it doesn’t mean that their lives were completely devoid of fun. Contemporary paintings, such as Peter Brueghel’ Children’s Games (1560), show children playing blind man’s bluff, ‘paper, scissors, stone’, roll hoops and rock barrels.

Pueritia, or childhood

A child’s education started with learning his (or, rarer, her) letters. A rather charming contemporary advice recommends the parents to do it by carving each letter on a piece of fruit, and reward the child with the fruit in question if the letter is correctly identified. These kinds of basics could be learned at home (though, if you decided to choose the method above, better do it specifically in the kitchen) – however, once the rudimentary parts were done with, the paths of learning could branch wildly.

The wealthiest families hired tutors for their children, and these posts, prestigious and coveted as they were, could sometimes become subjects of competition. For example, when the future Elizabeth I grew old enough for her first lessons, it was assumed that these are going to be provided by her aunt and godmother, Lady Troy. However, the less highborn, but more ambitious Katherine Champernowne had other ideas; Henry VIII ended up being impressed by reports of her as a woman of good education, and appointed her to be his daughter’s governess in 1536. She held that post until 1544, when her precocious charge overgrew the standard highborn lady’s curriculum that consisted of reading, embroidery, music, riding, falconry, and chess. After that, the scholar William Grindal became the princess’ tutor, introducing her to classical authors such as Plato.

Latin and, to a lesser extent, Greek literature was not exclusively the preserve of the upper-class education. The cathedral school of St. Paul’s, for instance, taught children from middling walks of life - such as one Geoffrey Chaucer, the son of a wine merchant - and placed a great emphasis on the learning of Latin. The recitation of the Latin alphabet started with the sign of the cross and ended with ‘Amen’: quite a sign of respect, coming from a religious institution. The school’s library was full of books on logic, law and medicine, as well as such still-popular classical hits as Aesop’s Fables.

The boys (unlike in the more flexible world of private education, school pupils were invariably male) also owned some books of their own: contrary to a common misconception, even before the invention of printing press books were not necessarily objects of luxury. For example, when in 1337 John Cobbledick left twenty-nine books to Oriel College, each of them was priced at about 6 shillings. Two centuries later, when William Chatsworth sent his beloved wife Bess of Hardwick gifts during his sojourn in London, he included some learning materials for their children: three French grammars, a copy of Cosmografie de Levant, and psalms in French.

Charitable institutions could sometimes take care of the education of poorer children: for instance, in 1542, the Alderman William Dauntsey of London directed in his will that his executors should build a charity school of eight chambers (one of them for the schoolmaster) in West Lavington, Wiltshire.

Boys who could boast some musical talent had an unusual route for both education and promotion: chapel choirs. Many noblemen - and noblewomen such as Margaret Beaufort, the mother of Henry VII - engaged in cultural patronage, supporting at times dozens of choristers. Margaret herself had hired a composer, Robert Cooper, who was entrusted with finding gifted boys for her chapel from ‘London, Wynesore and in the west country'. She also made sure that, apart from musical education, the boys in her choir received tuition in Latin: in January 1506 the same Cooper was responsible for purchasing five 'gramer bokes ... for the chyldryn of the chapell', costing 4s 3d. Their education ensured that, after growing out of their roles in the choir, the boys would be able to continue academic studies. One Thomas Freston left Margaret’s chapel at the age of 13 to attend Winchester College, while the 1460 statute of Tattershall College specified provision for ‘four poor boys’ who were 'teachable in song and reading, to help the choristers, each of whom is to have commons and clothing and all else that the choristers do'.

Girls could be educated in convent schools; some, though by no means all, later chose to enter these nunneries as actual novices (they couldn’t legally make such a decision until the age of twelve, however, just as they couldn’t legally consent to marriage). Within the convent walls, as outside them, their comforts depended a lot on their parents’ standing - if their entry fee was generous enough, the girls, whether they came as pupils or little novices, could count on having a bedroom to themselves, a generous provision of wood to burn in their fireplace, and rare foodstuffs for their tables. When Edward I’s daughter Mary entered the convent of Amesbury as a novice in 1285, at unusual (and frankly illegal) age of seven, her lifelong allowance included an annual provision of twenty tuns of wine from the Bordeaux claret merchants and forty oaks as kindling for her fireplace.

Convents were supposed to foster the life of prayer and quiet contemplation, which was even harder to get used to for her teenage novices than it were for the secular boarders, who weren’t,  after all, handled as strictly. However, even in a nunnery, there was a certain softening of the rules when it came to young girls. For example, at the Feast of St Nicholas, the patron saint of children, the youngest novice was named the Girl Abbess and allowed to lead the community in dancing and revelry.

Adolescentia, or adolescence

This stage of life was thought to start at about fourteen and end in one’s early twenties. Highborn children of both sexes were usually sent to foster at the homes of friends or relatives of equal standing, both to finish their education and to establish useful connections. When the teenage Jan of Brabant was sent for foster at the English court, he devoted his years there to perfecting the arts of jousting and hunting with falcons, as well as the less official, but nonetheless useful skills of party planning, people-charming, and careful gambling. His future bride Margaret of England, meanwhile, was improving on her feminine arts of weaving and embroidery, often spending substantial sums on gold thread and silks of different colours.

The machinery of altar diplomacy was already in full swing by the time they reached that age, even though marriage proper - with the consummation implied - was usually still a few years in the future. The fate of Margaret Beaufort, who gave birth to her first husband’s son at age thirteen, was considered grotesque and frankly unsafe; after all, it’s no coincidence that she could have no children after. For instance, Thomas Aquinas cautioned in his Mirror for Princes that consummation should be delayed until the woman had reached the age of eighteen, and the man twenty-one.   

The complicated diplomatic and legal negotiation process behind such agreements was left to the heads of the families and their respective employees, without the involvement of the betrothed ones themselves. After all, it included such charming tasks as drawing a complete summary of all villages, farms, rents, forests, and windmills belonging to the future groom’s family which would be able to provide the income for the bride’s dower, or widow portion, in case she outlives him - a pretty significant possibility, considering.

Lower down the social scale, marriage arrangements were not so pressing a concern - urban artisans, male or female, often married only in their mid-twenties. When their children reached adolescence, they usually worried about arranging an apprenticeship for them rather than a betrothal.

A child could be apprenticed to a master who practiced one of the trades regulated by the guilds of the town. These included mercers, grocers, fishmongers, drapers, tailors and even artists. The training usually took seven years, during which the master in question was obliged not only to educate the apprentice, but also to feed and clothe them and generally treat them like a member of their family (which usually also meant having them help around the house). This way, the future artisans spent their adolescence in a situation of indenture and completed their training in their early twenties. The ultimate dream after that was becoming a master in their own right and acquiring one’s own workshop; but, like people in their early twenties everywhere, most were too broke for that, and ended up working as journeymen in their master’s workshop for some more years - or sometimes for the rest of their lives.

Although the most prestigious trades, such as those of mercers or goldsmiths, only admitted men, others - the tailors, the bakers, the printers, the bakers, sometimes the painters - were open to apprentices of both sexes. Female artisans often ended up marrying their colleagues from the same guilds, and then keeping workshop together, but sometimes they kept their trade and conducted their business separately.

At this point, gaining the trappings of trade and marriage, they progressed into the adulthood, and thus beyond the scope of this post.

Sources:

Devices and Desires: Bess of Hardwick and the Building of Elizabethan England by Kate Hubbard

Daughters of Chivalry by Katie Wilson-Lee

The Lives of Tudor Women by Elizabeth Norton

Chaucer: A European Life by Marion Turner

Kisby, Fiona. “A Mirror of Monarchy: Music and Musicians in the Household Chapel of the Lady Margaret Beaufort, Mother of Henry VII.” Early Music History, vol. 16, 1997, pp. 203–234

The Early Modern Italian Domestic Interior, 1400–1700: Objects, Spaces, Domesticities by Erin J. Campbell et al.

[somediyprojects]

All designs from Mirabilia Designs by Nora Corbett: 

#11: Mother's Arms (OOP)

Every mother understands the desire to surround her child with love. Here that love is represented in the most exquisite of details: the infant's patchwork quilt of hearts, the faithful stuffed bunny, the white doves of peace, and the mother-of-pearl charms that surround the precious pair with health and happiness.

#12: The Kiss— January 1, 1995 (OOP)

Strolling through a garden abloom with pink and crimson roses, this romantic couple shares a sweet moment of their honeymoon. Her gown is awash with pink iridescent Pebble Beads and blue, peach and pale rose Kreinik Metallics. He, of course, is simply tall, dark, and handsome.

#13: Winter Queen— March 14, 1995

Regal in pale periwinkle blue satin against a serene white background, this cool beauty’s upswept hair is adorned with purple violets beneath a beaded coronet. Whisper-white ermine trims her elegantly draped gown, and strands of blue beads lend an opulent touch to her hem. If you find beauty in a clear, quiet, blue-skied January day, you’ll love our Winter Queen.

#14: English Roses— May 15, 1995

Silk ribbon roses, beaded leaves and softly falling rose petals surround this profile of a Victorian woman lost in private thoughts. Her gown of pale purple crystal beads is accented by an elaborate circle of pale pink roses in her hair. So beautiful, so mysterious, it’s hard to believe she’ll be alone with her thoughts for long.

#15: Santa's Magic— July 15, 1995

Eight different colors of Kreinik Metallics make up this fanciful Santa, all rich and dazzling and true. Some things must be experienced in person and this Father Christmas is one. We know he will become a Christmas tradition your family , and their families, will enjoy for years to come.

#16: Baby Boat— September 14, 1995

One tiny sister sleeps, another knits, and the third scatters pale pink rose petals on the glistening water as they drift lazily by in a rose-draped, swan-shaped boat. Their fuzzy hats and collars, innocent pastels and sparkling crystals make them an utterly charming trio. But will they be home in time for tea?

#17: Stone Roses— November 15, 1995

Green ivy protectively encircles an angel turned to stone centuries ago, as she in turn stands guard over an enchanted garden, a pale pink sash forever fluttering at her waist. The drapery borders at her feet create a sampler effect, complete with mother-of-pearl buttons and fine white ribbon.

#18: Blooming Bride— January 1, 1996 (OOP)

Perhaps on her way to meet her groom, this enchanting beauty pauses for a moment against a background of rich brown or spun silver 32-count linen, her gown resplendent in jewel-toned roses, brown velvet ribbons, Crystal Treasures and Mill Hill Beads. Her delicate hands and face may be worked in petit point or the traditional two-over-two. Every bride is lovely but we think you’ll agree that this new design by Nora Corbett is absolutely breathtaking.

#19: Deco Spirits— March 14, 1996

If you’ve come to expect anything from Nora Corbett, it’s the unusual and unexpected, and her new “Deco Spirits” continues that tradition. Inspired by art deco architecture, the four spirits represent the elements of earth, fire, water, and air. Each features muted metallics in shades of seafoam, periwinkle, gold, and aubergine. Because they can be stitched and framed together or individually, “Deco Spirits” is the perfect choice for beginners or advanced stitchers, or anyone who appreciates a fresh, innovative design.

#20: Fairy Tales— May 14, 1996

Once upon a time, in a field strewn with magical flower petals, a doting mother read a bedtime tale to her very littlest angel. A gentle breeze rustled her lacy gown, the golden child smiled, and they lived happily ever after.

[conbonindustries]

Over the last many months, I’ve been modeling my house and yard in SketchUp. It’s been incredibly useful for prototyping landscaping ideas and designing beautiful – but not always realistic – architectural detail around the land. But most recently I’ve turned my attention to modeling the office where I sit all day working. 

The main thing is built-in cabinetry, which will store so many bits and bobs, craft supplies and painting materials, a printer and years of records and receipts. But the OTHER main thing is that for the first time, I’ve planned out everything beforehand – down to the rug. So what you see here is the model, and then the materials as they are now (I'm prone to swapping out one for another). I don’t have the rug in hand yet but when I do, many things will cascade from it – like the paint color for the cabinetry and the fabric color for the window seat and drapery. Right now, the seat is that sagey-green velvet with the Schumacher tweed trim. The drapes are the seafoam linen, also trimmed with the Schumacher. The desk is the gray wood, while the blinds are the rich walnut and green-gray trim tape. The cabinets will probably be either the darkest or second-darkest paint color from Benjamin Moore. And for good measure, because I love it so much, I included a trim tape from Kravet, I think, that has neatly knotted leaves in shades of green and blue and beige. 

If you’d met me in 2009, when I was just starting my last year at Parsons, and asked me what colors I was likely to decorate my life with, I think some form of the above would be my answer. Sage green, gray-blue and taupe, natural wood, and robin’s egg. I like the steadiness of that. 

[oneandonly-me-blog]

Best Kitchen Curtain Ideas In 2019

Sky Blue Shutters

Shutters painted in Benjamin Moore Aura in Old Blue Jeans attract a bright British country note in an urban kitchen.

Formal Effect

Designer Robin Baron gave this elegant country kitchen that the perfect finishing touch with an ornate scalloped valance over the sink. "I always say 'amazing design is in the details' and this gorgeous valance is a perfect example," says Baron. "I utilized the detail of iron hooks to produce the dramatic pleating instead of a conventional pole and embellished the timeless linen floral cloth with tassel trim, and matching tape, giving weight and importance to this country-inspired valance."

French Accent

When they remodeled an older family home with French architectural details, kitchen designers Marvin Daniel and Brian Pilgrim of KDW Home wanted to provide it an airy and open look that still felt in keeping with the style of the home. Shades in a French provincial fabric added just the accent the updated space required.

Tailored Alternative

"When planning a kitchen design, placing the sink below a window is a great option," says designer Karen Sealy. "Having a nice perspective can make washing the dishes or prepping food more enjoyable." She specified shutters to fill out the transitional style of the room. "Using shutters is a low-maintenance alternative to drapery that still controls mild levels and views," she says.

Exotic Element

"Fabric shades are like great artwork: They change a space and its inhabitants," says Kara Roberts, Director of Merchandising for Smith & Noble, the maker of the Moroccan-style colors shown here. Flat Roman colors lie flat when lowered, creating and fold up in the top when raised.

Coordinated Charm

Fabric-based window treatments are a terrific way to balance all the surfaces in the kitchen whilst also adding pattern and color. This custom colour that is arched lower and can raise to control sunlight and privacy. "Whether down or up, the shade keeps the kitchen atmosphere glowing with splashes of yellow from this Thom Filicia cloth, Prospect at Shadow," states the manufacturer. Continue the appearance by using cloth in areas like lampshades (see the colors on the wall sconces), barstools, chairs and even Fido's bed.

[renwyck]

Simplicity

It was all so plain -- a bed dressed in white linens, a table with two chairs, a fireplace, and a door leading into a washroom. Propped beside the door to the hallway was his father's greatsword with a fishing pole next to it. A red cloak trimmed in grey rested upon a hook flanking the door frame. Above the sole window hung a blue drapery, cloak and curtain offering the only burst of color throughout the entire apartment. But regardless of how simple the room was, it was his simple room.

Cupped between cautious hands was a delicate mechanical raven fashioned in silver filigree. Renwyck held the small bird as if it were to draw breath and take flight. The fallen watcher glanced around the room, his attention drawn to the windowsill. Biting his lower lip, he walked to the window to place the bird upon the narrow ledge. Tilting his head, he wrinkled his nose as the curtain fluttered down to obscure the careful clockwork creature. He scooped the small thing back into steady hands as he scouted a different spot for the decoration. Brown eyes found the mantle of the fireplace, Renwyck moving to lift the raven to perch atop the stone hearth. The bird sprang to movement, a golden glow igniting in its core as the wings drew up in a single flap. The spark of life of his solitary companion brought a smile to the fallen watcher's lips.

“Yeah,” he nodded in agreement. “I think it's a good home for us too.”