147 Sentences With "bodices" | Random Sentence Generator

Passions proceed to seethe, tensions simmer and bodices literally heave.

Out on the catwalk, feathers gleam on bodices and skirts.

Fitted bodices and full, floor-length skirts are encrusted with intricate beadwork.

First, though bodices abound, there is nothing so violent as a rip.

Let the bodices rip, "Downton Abbey" zealots: Lady Sybil is now a whore.

Think slightly Victorian-inspired silhouettes, with ruffled collars, puffed-up shoulders, and structured bodices.

Now that she's back in Jamie's Scottish print shop circa 1765, bodices will surely be ripped.

Same with those chain-mail bodices: [They] become art in a home, even when you're not wearing them.

"The bodices all give everyone such a beautiful line and make everyone's waist look tiny," Ms. Phelan said.

Women performing traditional dances such as caporales wear corset-like bodices and miniskirts, which displays their underwear when they twirl.

We did skirts and bodices because we needed to give [Claire] as much mileage out of as few clothes as possible.

Legends Joan Smalls and Karen Elson both modeled strapless ballgowns with bustier bodices and full skirts covered in N.Y.C.-themed graffiti and images.

Reproductions of his paintings have adorned rock album covers, been parodied on "The Simpsons" and printed on silk bodices designed by Alexander McQueen.

They are sexually assertive, as apt to tear off a man's bespoke silk shirt as they are to have their own bodices ripped.

Vera Wang paired structured bodices with futuristic elongated sleeves that fell beyond the fingertips, which was truly a departure from the bridal norm.

In the 1990s, the rule of thumb was the fancier the better: expensive sequins, sheer inlays, and rhinestone-covered bodices were all the rage.

The day will be given over to bodices and bustles and edible flowers, a medieval spectacle shot through with an electric current of sex.

Gowns by Reem Acra, left, and Marchesa, right, used the color to add a dramatic flair to the bodices and necklines of their dresses.

In the book, she stands for the opposite of everything that the blossoming young women embody—she believes in strictures, tight bodices, whipping by cane.

"There's something comfortable about the dresses," she says of her creations, which don't have zippers but elasticated-ruched bodices that make them perfect for overindulgence.

No skin: More women are eschewing plunging necklines, high slights and corseted bodices for flowing silhouettes that reveal little skin but still exude sensuality and style.

Tighten your bodices, lassies — the better to let them rip: Starz streams the first episode of the new season in advance of its broadcast on Saturday.

Binders stand on metal shelves, packed with transparencies from long-ago runway shows in New York and Paris, a chronicle of shifting necklines, hems and bejeweled bodices.

In the 18th century, well-born male and female children alike were laced into stays (boned bodices, the antecedent of the corset) — boys until the age of 6.

They show her love of volume play: fitted bodices adorned with multicolored printed vintage scarves that she has draped to form flared or balloon skirts and even djellabas.

So rigid and unnatural is the rigging of the rock-ribbed bodices that they make a bunny's bust look like nothing so much as the bumper of a 1953 Cadillac.

PARIS (Reuters) - Italian fashion label Fendi played with textures in its Haute Couture collection in Paris on Wednesday, overlaying see-through bodices with fur trimmings and creating shimmering, scaly skirts.

We want to give our customers an option to be braless without a second thought, and we do this by designing clothes with built-in support, adjustable bodices, and strategic lining.

Charlize Theron and Rooney Mara both walked the Golden Globes red carpet in gowns with transparent bodices, while Kerry Washington wore a blazer with nothing underneath it to the awards show.

PARIS (Reuters) - Christian Dior brought fun and a touch of fairytale to the start of Paris Fashion week with a collection featuring multi-colored dragon motifs and glittering bodices reminiscent of mosaics.

They're using machine learning to scan keywords and groups of words for certain types of scenes — but that doesn't necessarily mean they're running you right to the ripped bodices and slow caresses.

They sleep in identical beds in identical billowy nighties and wander around in dresses with Elizabethan-style bodices that flatten their breasts, as if to retard (and deny) their maturity and independence.

That silhouette was reflected on the runway in long dresses with slim bodices and long, swishing skirts, a proportion that may be challenging to any woman who is shorter than runway-standard.

That means means we petites have grown all too accustomed to sleeves being too long and too big, shoulders and waists hitting in the wrong places, bodices being far too large, and the lengths?

As of today, though, they've got an entire line of prom wares that offer a fresh take on what to wear for an occasion that's often aggressively packed with tulle and overly bedazzled bodices.

Rachel Tashjian, a style writer at GQ, tells Vox that she attributes the current omnipresence of milkmaid tops to Prada, which over the past few years has heavily featured puffy sleeves and corseted bodices.

She wasn't alone: Parasite actress Park So-dam wore a layered fringe fuchsia dress, Regina King donned a sweeping blush pink gown, and both Gal Gadot and Laura Dern wore pink skirts under black bodices.

In 2011 and 2013, more than 100,000 visitors watched shoemakers add the final flourishes to custom Berluti shoes, horologists piece together TAG Heuer watches and petites mains embroider beads onto the bodices of Dior gowns.

In one picture, Paltrow's 14-year-old daughter Apple and Falchuck's daughter Isabella — both from their previous marriages — stood side by side in matching dotted white Monique Lhuillier sleeveless gowns with fitted bodices and sheer skirts.

Maria's world, full of "bodices" and "petticoats," seems part of the 19th century, yet the local women have lost sons and brothers in two major wars, which would move the story forward, perhaps to the 1950s.

Critics described Mr. Givenchy, with due respect, as dependable for creating tasteful clothes that looked timeless — dramatic capes and shawls, two-piece evening dresses, simple jersey bodices and minimalist tunics in a brilliant array of colors.

A former pro tennis player (when she was in her teens), she has mined everything from equestrianism to gymnastics (Lycra catsuits festooned with Swarovski crystals) and water sports (wetsuit bodices) for her fall/winter 2018 collection.

Then out spurted male and female performers, cavorting and cartwheeling in clothes mirroring Ms. Westwood's favorite social causes: trash was encased in bright fishnets or tumbling out of satin bodices; plastic-bottle slippers on models' feet.

The fabrics are fashioned into the borders of long skirts still worn by Laotian women, into curtains and bed covers for village and grander homes, and into head cloths, sashes and intricate bodices for dress up occasions.

There was also plenty of drama compared to the spring '16 shows, both in terms of silhouette (from sculptural sleeves to duvet-like cascading gowns) and embellishment (think sturdy, plastic wrap-esque bodices and Swarovski crystal-coated silicone).

From sailor collars to cascading ruffles to structured bodices and delicate rows of buttons, you just don't find the same level of detail in a new dress from Zara or Reformation that you would in a vintage find.

The reader will have noticed that in the photograph of the mother and her daughters the girls are wearing what were called "Czech national costumes," made up of white shirtwaists and dark bodices and lavishly decorated full skirts.

However, this traditional silhouette has received a modern makeover from the designers Berta, Rivini by Rita Vinieris and Reem Acra, whose collections featured voluminous sheer skirts and bodices dripping in sparkles and texture, which made for a dramatic entrance.

Most gala attendees went with a general retrofuture feel in shiny looks resembling liquid metal, bodices that outlined the bust like robotic chest armor, even more literal robot references, latex-like fabric and more than one count of silvery hair.

And yet, this effort has also given way to a new wave of young Herero designers, models, and activists who work to keep their heritage alive — even if that means scandalizing certain purists with sheer skirts, detachable sleeves, and sequin bodices.

I loved the pair of beautiful lace bodices — one black, one white — that had belonged to my great-grandma, although I could hardly match them up with the little old lady I knew, in her shapeless skirts and wool cardigans.

What started out so innocently as an interest in waist trainers has since developed into a full blown love affair with corsetry, most notably on the part of Kim Kardashia, who has championed bodices as an integral part of her everyday look.

This wasn't pie-in-the-sky stuff: You can't go within four miles of a pie if you ever want to fit into Theyskens's slipstream bias chiffons, his corseted bodices beneath high-rise black pants, or the closing duo of ball gowns.

She believes that everything it depicts – from the men manhandling bunnies, forcing room keys and money down their bodices, to the company doctors who routinely performed internal examinations on unwilling bunnies, to the management pressure on bunnies to "date" VIP Playboy Club keyholders – is factual.

The Rise Of E-Couture Lapidus enters this new role with a lot of work to do: He'll have to dust off the bodices, fire up the sewing machines, and trade the client dossiers for computers, programmers, and a really strong wi-fi connection.

"Her team literally sent a picture of me to the designer and paid them to copy my look from All Stars 83," Farrah wrote alongside side-by-side photos of her and Grande, both in similar silver sequined bodysuits with fringe detail and corseted bodices.

Witness the "Doctor Zhivago" coats, the wide '80s belts with rhinestone buckles, steel head teacher latex shirt dresses and cone bra bodices made purposely too big, so they semi-collapsed to reveal there was barely anything inside (a symbol if there ever was one).

Mist-like chiffon dresses were printed with tiny figures of skiers and CC chair lifts; tuxedos came in white duchess satin with an icy shine; and "snow-ball dresses" (so-named by the brand) of marabou and chiffon, the bodices embroidered in gold snowflakes.

Dotted across other parts of the workshop were 14 or so of her co-workers, all of them women, fixing frayed hemlines, adding sequins to bodices, and ironing and steaming pieces once they had been mended and were ready to be checked by a supervisor.

In one large workroom, nearly two dozen seamstresses busily hand-pleated bubblegum-pink chiffon bodices, affixed sparkling crystals onto white tulle tutu appliqués, attached lace cap sleeves to embellished corset tops, and veiled silver lamé panels with ivory tulle "to tone down the sheen," Mr. Ronze said.

Black-and-white costumes by Fernando Garcia and Laura Kim (of MONSE and Oscar de la Renta) make men and women belong to separate eras — the women in dark bodices and white, flaring skirts with attractively uneven hemlines; the men are in elegant T-shirts and jeans — but this disparity seems irrelevant to the ballet.

The rarest so far has been "Images" (1977): one of those singular Taylor creations in which no other choreographer would have yoked this Debussy music (piano pieces from "Images" and his "Children's Corner Suite") to these images of human behavior (poetic ceremonies from the ancient world, with Gene Moore's bodices handsomely exposing the women's breasts, Minoan-style).

"On one of our shoots we were joking that it was like a remake of the movie 'Bad Girls,'" said Katherine Kleveland, referring to a kitschy 1994 Western starring Drew Barrymore and Andie MacDowell (even at 60 perhaps the archetypical prairie girl and whose actress daughters were early Batsheva adopters) in tight-buttoned bodices and lace-trimmed sweetheart necklines.

That contrivance and the stolen glances it entails gives "Portrait of a Lady on Fire" an extra frisson of danger, even if Sciamma and her audience know exactly where this will lead: Drenched in fetishistic pleasures (those bodices!) and a faint mist of tragedy, the film is less about the narrative itself than its attempt to marry eroticism and feminist theory.

If you keep a keen eye on the #OOTDs of social media's leading style stars, you probably begun to notice a handful of looks styled with wide waist belts or laced bodices, meaning it might be time to get cinched (or at least carefully consider it), Ahead, peep the runway, real-way, and shoppable way to dip your toes in the corset trend.

A few examples were presented in the first Lithuanian art exhibition in 1907. Bodices at first were identical to those in Dzūkija, but diverged by the mid-19th century. Bodices in Zanavykai had short laps, while bodices of Kapsai were long and flared. Young girls and married women could be told apart by their headdresses.

It might be straight or slightly curvy, and sometimes had buttons to fasten on other underwear: drawers (knickers or US panties) or petticoat/slip. A vest (US undershirt) might be worn underneath. The bodices had no boning, unlike corsets, although some had firm cloth strapping which might encourage good posture. While some writers discuss liberty bodices as a restrictive garment imposed on children,For example, Lionel Rose in The Erosion of Childhood (Routledge 1991): "Even ... when restrictions on girls were easing ... Edwardian schoolgirls would wear woollen combinations, 'liberty' bodices, stockinette knickers, flannel petticoats ..." these bodices were originally intended to "liberate" women from the virtually universally worn, heavily boned and firmly laced corsets that were the norm of contemporary fashion.

Kemper, Rachel H: "Costume", 1992, pp. 82 Bodices could be high-necked or have a broad, low, square neckline, often with a slight arch at the front early in the period. They fastened with hooks in front or were laced at the side-back seam. High-necked bodices styled like men's doublets might fasten with hooks or buttons.

The original and current body design is called EVE. This design features 25 points of articulation, including removable arms as well as two rubber bodices to choose from. The bodices cover a "T" shaped socket that hold the arms and head in place. The first bodice extends from the neck to the top of the ribcage to allow the abdominal joint to be more movable.

A magazine advertisement for negligee nightgowns in 1915. From 1840 to 1900, stylistic changes were made to nightgowns' necklines, collars, sleeves, bodices and closures. "Embellishments such as frills, ruffles, tucks, ribbons, lace, beading, openwork and embroidery would often be added to necklines, collars, bodices, sleeves, cuffs, and skirts."[1]The traditional nightshirt was replaced by pyjamas amongst the Western world when it was adopted from India in 1870.

The anthropologist Marianne Thesander concluded that because such bodices fit the fashionable silhouette of their alleged period, they were probably authentic, and served the same purpose as other corsets.

Boys are most likely to have side partings, and girls centre partings. Girls' bodices usually reflected adult styles, in their best clothes at least, and low bodices and necklaces are common.When front-closing gowns with stomachers became fashionable for women at the end of the 17th century, young girls continued to wear back-closing bodices, which from this time began to be cut and trimmed more simply than adult women's gowns; see Ashelford, Jane: The Art of Dress: Clothing and Society 1500–1914 Boys often, though not always, had dresses that were closed up to the neck-line, and often buttoned at the front—rare for girls. They frequently wear belts, and in periods when female dresses had a V at the waist, this is often seen on little girls, but not on boys.

Tucks at the bottom of the bodices were popular, as well as knife-pleated skirts with a hem approximately one inch below the knee.Carol Nolan. "Ladies Fashions of the 1920s". Retrieved December 24, 2012.

Metal medical corsets were still being made in the twentieth century, whilst, since the late 20th century, fashion designers such as Alexander McQueen and Issey Miyake have made contemporary metal bodices and corsets from wire and aluminium coils.

Self-lacing may be very difficult where the aim is extreme waist reduction (see below). The type of corset and bodice lacing became a refined mark of class; women who could not afford servants often wore front-laced bodices.

In the 1850s, the domed skirts of the 1840s continued to expand. Skirts were made fuller by means of flounces (deep ruffles), usually in tiers of three, gathered tightly at the top and stiffened with horsehair braid at the bottom. Early in the decade, bodices of morning dresses featured panels over the shoulder that were gathered into a blunt point at the slightly dropped waist. These bodices generally fastened in back by means of hooks and eyes, but a new fashion for a [jacket] bodice appeared as well, buttoned in front and worn over a chemisette.

He there became the fashion manager of the catalogue company Quelle. He there replaced the customary wire used for bodices by stretch fabric. In 1971 he designed police uniforms and the green uniforms of the German police forces.Polizisten in Mitte sind ab 1.

For fall 1939 Borea styled striped necktie wool dresses. Her daytime frocks were worn with necktie wool blouses and heavy leather belts. Wool jackets were shown with plain skirts. Full skirted dresses with shirtwaist bodices were a part of her evening wear.

The bodices had to be fitted by a dressmaker; patterns could be ordered through the mail. Physician Alice Bunker Stockham railed against the corset and said of the pregnancy corset, "The Best pregnancy corset is no corset at all."Alice Bunker Stockham. Tokology 1898.

Fabrications ranged from lace, tulle, feathers, and silk to leather, suede, jersey, and cotton. Featured silhouettes included cropped jackets, straight skirts, pleated minis, long gowns, beaded bodices, and columnar dresses. The theme song from Out of Africa provided the runway soundtrack. The collection featured 89 looks.

It was common for women in his court to wear bodices through which their breasts, cleavage and nipples could be seen. In 1450, Agnès Sorel, mistress to Charles VII, started a fashion trend when she wore deep, low, square décolleté gowns with fully bared breasts in the French court.

The finale gave way to ingenues in the tea-stained, ruffled tulle dresses and sparkly sweetheart-shaped bodices. Design details included beadwork, feathers, and intricate embroideries. The palette included black, white, nude, camel, grey, and yellow. Fabrications ranged from silk, tulle, georgette, and cashmere to leather, velvet, wool, and fur.

After that date, either kirtles or petticoats might have attached bodices or bodies that fastened with lacing or hooks and eyes and most had sleeves that were pinned or laced in place. The parts of the kirtle or petticoat that showed beneath the gown were usually made of richer fabrics, especially the front panel forepart of the skirts. The bodices of French, Spanish, and English styles were stiffened into a cone or flattened, triangular shape ending in a V at the front of the woman's waist. Italian fashion uniquely featured a broad U-shape rather than a V. Spanish women also wore boned, heavy corsets known as "Spanish bodies" that compressed the torso into a smaller but equally geometric cone.

These new undergarments derived from the Victorian dress reform Movement, which aimed to free women from body-compressing corsetry and excessive layers of tedious, unhealthy underclothing. The concept was related to the Women's Emancipation Movement,"The emancipation bodice referred to the emancipation of the body, but the emancipation of the mind was a key item on the dress reformers' agenda." (Science Museum) but in practice some of the early liberty bodices in the UK were advertised for maids"Maids' Liberty Bodices", advertised in the Scotsman, 21 November 1896 who would be freer to get on with their work without a constricting corset. Later the liberty bodice came to be thought of as something practical for a child who could be buttoned up warmly.

Pussycat bow blouse designed by Elspeth Champcommunal for Worth London, 1945 A lavallière, also called a pussycat bow, is a style of neckwear often associated with women's and girls' blouses and bodices. It takes the form of a bow tied at the neck similar to those tied around the necks of kittens and cats.

Starting in the 1550s, middle- and upper-class women in Europe wore dresses which included a smock, stays, kirtle, gown, forepart, sleeves, ruff and a partlet. Undergarments were not worn underneath. In England, Queen Elizabeth dictated what kinds of dresses women were allowed to wear. French women were inspired by Spanish-style bodices and also wore ruffs.

Fashion in 1887 The base of steampunk fashion is primarily influenced by the fashion of the mid-19th century. For women this fashion was often dominated by long, flowing dresses and regal jacket bodices. The latter extended over the hips and matched the skirt fabric only occasionally. In the beginning of the 1860s, the bodice ended at the waist.

The dresses also reflected a sense of "cultural revitalization, high self-esteem, and ethnic identity," according to professor of American Indian studies Nancy Parezo and Angelina R. Jones. Bodices and blouses worn with the skirts reflected different origins. Loose blouses paired with the skirt came from Western Apache and Tohono O'odham dress. The squaw dress also had Mexican influences.

Skirts were now assembled of shaped panels, since gathering a straight length of fabric could not provide the width required at the hem without unwanted bulk at the waist; this spelled the end of the brief fashion for border-printed dress fabrics. Heavy silks in solid colors became fashionable for both day and evening wear, and a skirt might be made with two bodices, one long-sleeved and high necked for afternoon wear and one short- sleeved and low-necked for evening. The bodices themselves were often triangular, and featured a two-piece front with a closure and a three-piece back construction. As the decade progressed, sleeves narrowed, and the circular hoops of the 1850s decreased in size at the front and sides and increased at the back.

The French Catholic Church, however, tried to discourage the flaunting of cleavage. It mandated the cleavage, which it referred to as "the gates of hell", and the opening on woman's bodices be laced. French priest Oliver Maillard said women who exposed their breasts would be "strung up in hell by their utters". Monarchs like Charles VII of France ignored the church.

Liberty bodices are commonly associated with R. & W. H. Symington of Market Harborough, Leicestershire, but the name had already been used before they made their first bodice: a version for girls aged 9–13 was sold for one shilling and ninepence-halfpenny in 1908. The name has also been used for products from other manufacturers or for home-made garments.

For women, tightly laced corsets and brocade gave way to a celebration of the natural form. A woman's body shape was to be celebrated. Bodices were short with waistlines falling just below the bust. The Empire silhouette defines a dress with a high waist and a long and loosely falling skirt, which lengthens and flatters the body but does not always make it look slim.

The premise and concepts of modesty have evolved under Hinduism. During Vedic times, both women and men wore at least two pieces of draped dress that was largely undifferentiated, voluntary and flexible. Stitched clothes such as skirts and bodices were also common in the Vedic period. However, modesty was not determined by the precepts of religion, but by local traditions, social codes, profession, circumstances and occasion.

The fashions of the time may be seen in depictions of women in various poses. They had elaborately dressed hair and wore long dresses with flounced skirts and puffed sleeves. Their bodices were tightly drawn in round their waists and their breasts were exposed. The prosperity of Knossos was primarily based upon the development of native Cretan resources such as oil, wine, and wool.

Borea' silhouette was characterized by moulded bodices, normal shoulders, small waists, and short skirts, with some of them pleated and others slightly flared. She often made use of linens for beach, town, and evening wear. She frequently employed an apronline, which was either draped or tied in the back. Other prominent features of note were striped and embroidered materials (often oriental types), and colored piping (sewing).

The Italian Renaissance courts were the pinnacle of style and elegance in Europe. With the advent of the Baroque era, the focus began to shift to France and the court of Louis XIV. 17th century court dresses featured draped skirts with long trains, tight bodices, low necklines trimmed with lace, and embroidered, lace- and-ribbon-trimmed, full sleeves. Rich silk weaves, such as satin, taffeta, and velvet created luxurious gowns.

Long, jacket-like fitted bodices called basques were also popular for clothing during the day. Evening gowns were sleeveless and low-necked (except for matrons), and were worn with long over the elbow or shoulder length gloves of fine kidskin or suede. Choker necklaces and jewelled collars were fashionable under the influence of Alexandra, Princess of Wales, who wore this fashion to disguise a scar on her neck.

The operation of a special, one-off Busenvogelthe German term for Busom Bird charter excursion from Tegel to Paris to celebrate Father's Day in June 1970, during which toplessdressed in transparent bodices showgirls from West Berlin's Daily Girl Club assisted four flight attendants in serving champagne to a group of 110 passengers (107 male, three female), gained Modern Air notoriety.Airways (Mailbag, Busenvogels), Vol. 17, No. 12, p. 59, Airways International Inc.

Women "bobbed", or cut, their hair short to fit under the popular hats, a radical move in the beginning, but standard by the end of the decade. Low-waisted dresses with fullness at the hemline allowed women to literally kick up their heels in new dances like the Charleston. In 1925, "shift" type dresses with no waistline emerged. At the end of the decade, dresses were being worn with straight bodices and collars.

This silhouette was drastically changed from its previous more masculine, stiff, triangular shape to a much more feminine form. Throughout the post-war period, a tailored, feminine look was prized and accessories such as gloves and pearls were popular. Tailored suits had fitted jackets with peplums, usually worn with a long, narrow pencil skirt. Day dresses had fitted bodices and full skirts, with jewel or low-cut necklines or Peter Pan collars.

Patience arrives the next day to casually invite her to Sunday dinner. Sarah accepts, and their relationship starts again after Patience admits she lost her courage. They carry on their relationship, Sarah visiting Patience on Sundays, sometimes bringing a sister or her mother, but when they are caught embracing with their bodices open by Martha, Patience's brother tells them it's time for them to go. They head to New York City with brother Edward's blessing.

In the early years of the new century, fashionable bodices had high necklines or extremely low, rounded necklines, and short wings at the shoulders. Separate closed cartwheel ruffs were sometimes worn, with the standing collar, supported by a small wire frame or supportasse used for more casual wear and becoming more common later. Long sleeves were worn with deep cuffs to match the ruff. The cartwheel ruff disappeared in fashionable England by 1613.

Smocking on the collar of a sixteenth-century garment Smocking is an embroidery technique used to gather fabric so that it can stretch. Before elastic, smocking was commonly used in cuffs, bodices, and necklines in garments where buttons were undesirable. Smocking developed in England and has been practised since the Middle Ages and is unusual among embroidery methods in that it was often worn by laborers. Other major embroidery styles are purely decorative and represented status symbols.

Problems with American censors made extensive re-shooting necessary before the film was released in the United States (according to Robert Osborne of Turner Classic Movies). The problems were that the women's dress bodices (appropriate for the era portrayed) were very low-cut and showed too much cleavage for the USA motion picture production code. It was a problem Jane Russell had in The Outlaw (1943). TCM sometimes airs the original, uncensored version on its USA basic cable network.

James Balfour Paul, Accounts of the Lord High Treasurer of Scotland, vol. 7 (Edinburgh, 1907), pp. 276-7. One was of blue satin decorated with "toig" or tinsel stars, five of crimson satin, three of green velvet trimmed with yellow with yellow sleeves and bodices, with two other pairs of green and yellow coats, two coats of white taffeta with blue sleeves and bodice, six coats of yellow satin lined with silver, and several other coats.

The costumes included clothing, hairstyling, jewellery, body modification and make-up. Steampunk fashion has later gone on to include gadgets and contrasting accoutrements. Initially, the clothes such as bustiers, bodices', jackets and other items were mostly handmade and customized, but as the steampunk movement grew, entrepreneurs and companies became interested and started to mass-produce steampunk clothing to be sold both online and in stores. Since the genre emerged, the aesthetic of steampunk fashion has remained constant.

Corsets were shorter to suit the new bodices, and might have a very stiff busk in the center front extending to the depth of the stomacher. Skirts were held in the proper shape by a padded roll or French farthingale holding the skirts out in a rounded shape at the waist, falling in soft folds to the floor. The drum or wheel farthingale was worn at the English court until the death of Anne of Denmark in 1619.

Lior Narkis was accompanied on stage by five women in black dresses, each with a different colour petticoat. They originally wore shirts and ties, but these were discarded midway through the song, to reveal bodices decorated with the different ways of saying "I Love You" mentioned in the song. Each woman had a slogan written in the same colour as her petticoat. It was succeeded as Israeli representative at the 2004 Contest by David D'or with Leha'amin.

Bones, and the substances used for the purpose, are generically called "boning"; however, the name likely arises from the use of whalebone in early corsets. Today, many corsets use nylon or Rigilene boning, although steel is still favoured for high-quality corsets. Plastic bones do not have the strength required for tightlacing and are known to warp and bend, often in unflattering ways. Many modern bodices, strapless gowns and lingerie use a variety of plastic boning because it is much cheaper.

Metal corsets are found in a number of museum collections around the world. Some museums, including the Museo Stibbert, and the Kyoto Costume Institute in Japan, present their metal bodices as fashionable late 16th-century garments. The Victoria and Albert Museum in London describes their iron corset (formerly owned by the painter Talbot Hughes) as dating from the 18th century and likely intended for orthopaedic purposes. Others, such as the iron corset in the Fashion Institute of Technology, are presented as fakes.

Stomachers were in and out of fashion through the 17th and 18th centuries, varying in style and decoration, throughout Europe and North America. From about 1740, most gowns and bodices were worn to reveal the stomacher, which covered the front of the torso from neckline to waist or even below the waist. The bodice's lacings would then criss-cross over the stomacher, and eventually the lacings became a series of decorative bows. Stomachers were often embroidered, or covered in pearls and other jewels.

The clothing worn by Bharwad women was traditionally made from coarse wool woven by members of local untouchable communities. In addition, they embroidered their own open-backed bodices. The garments at that time — as late as the early 20th century — comprised the bodice, an unstitched black or red waist-cloth, known as a jimi, and a veil. Motabhai clothing was made from thicker wool than that of the Nanabhai, leading to the two groups referring to themselves as "thick cloth" and "thin cloth".

Flappers did away with corsets and pantaloons in favor of "step- in" panties. Without the old restrictive corsets, flappers wore simple bust bodices to restrain their chest when dancing. They also wore new, softer and suppler corsets that reached to their hips, smoothing the whole frame, giving women a straight up and down appearance as opposed to the old corsets that slenderized the waist and accented the hips and bust. The lack of curves of a corset promoted a boyish look.

A law was passed in 671 which attempted to force women to wear hats with veils again in order to promote decency, but these laws were ignored as some women started wearing caps and even no hats at all, as well as men's riding clothes and boots, and tight-sleeved bodices. There were some prominent court women after the era of Empress Wu, such as Yang Guifei (719–756), who had Emperor Xuanzong appoint many of her relatives and cronies to important ministerial and martial positions.

By the mid 1910s to 1930s, the emphasis was placed on comfort and the rigid steel boning was almost completely replaced by the more flexible spiral steel boning. Today, many corsets use nylon or Rigilene boning, although steel is still favoured for high-quality corsets. Plastic bones do not have the strength required for tightlacing and are known to warp and bend, often in unflattering ways. Many modern bodices, strapless gowns and lingerie use a variety of plastic boning because it is much cheaper.

"Great" in this context referring to the large circumference of the farthingale which was required in order to achieve the fashionable silhouette. The great farthingale appears to have been worn at an angle ("low before and high behind") which visually elongated the wearer's torso while shortening her legs. The angle was likely created by the use of bodies (corsets) or boned bodices with long centre fronts that pushed down on the farthingale, tilting it. Such an effect has been shown in many reconstructions of the garment.

Some accounts for this fair in the early 18th century do survive and show that there was a cheese fair as well the usual mix of travelling and local people with stalls and stands – people selling lace, gloves, books, gingerbread, bodices, sugar plums, toys, soap and knives, to name but a few. By the late 19th century, this fair was said to be mainly for horses, sheep and, occasionally, hops. Alton still has an annual fair, but it now takes the form of a carnival.

Dress reformers were trying to eliminate the need for always wearing corsets to opt for more comfortable and more practical daily attire. More effective and enjoyable undergarments were to follow after the achievement of the emancipation waist due to the success and attention it received by many reformers, activists, and even men enjoyed wearing the “reform” bodices in the winter under their clothing. Another iconic article of clothing that was invented during this time was called the bloomers suit. The bloomers suit was renamed to just bloomers.

Scholars from the west wrongly thought they were purely Manchu. Chao fu robes from Ming dynasty tombs like the Wanli emperor's tomb were excavated and it was found that Qing chao fu was similar and derived from it. They had embroidered or woven dragons on them but are different from long pao dragon robes which are a separate clothing. Flaired skirt with right side fastenings and fitted bodices dragon robes have been found in Beijing, Shanxi, Jiangxi, Jiangsu and Shandong tombs of Ming officials and Ming imperial family members.

This form of veiling by married women is still prevalent in Hindi-speaking areas, and is known as ghoonghat where the loose end of a sari is pulled over the head to act as a facial veil.Kusumanjali Prakashan, 1993 "The Natyasastra tradition and ancient Indian society", p.63 Based on sculptures and paintings, tight bodices or cholis are believed have evolved between 2nd century BCE to 6th century CE in various regional styles. Early cholis were front covering tied at the back; this style was more common in parts of ancient northern India.

In 1988, he launched a less expensive Cheap and Chic line. His designs were very innovative and unusual such as quilted black denim miniskirt with plastic fried eggs decorating the hemline, quilted jacket decorated with bottle tops, plug-socket drop earrings, and bodices made out of safety pins. He was dubbed the Jean-Paul Gaultier of Italian fashion for his highly innovative designs but their styles are different; while Gaultier experiments with different fabrics and shapes, Moschino used basic forms and traditional methods. He also spoofed high fashion lines through his clothes.

Catherine Rayner was a British fashion designer specialising in wedding dresses. Her designs in 1999 were admired for "classic elegance and romantic flair" and noted for their very fitted bodices and flattering cuts. One of her gowns, in bead-embroidered satin, was chosen by Sandra Boler, the editor of Brides magazine, along with shoes by Emma Hope and a bridegroom's outfit by Tom Gilbey to represent 1995's Dress of the Year in the Fashion Museum, Bath's collection. At the time, Boler described her choice as representing that year's nostalgic and period-costume-influenced trends.

Suzy Parker wearing Anne Fogarty, 1952 Anne Fogarty (February 2, 1919 – January 15, 1980) was an American fashion designer, active 1940–80, who was noted for her understated, ladylike designs that were accessible to American women on a limited income.Scribner Encyclopedia of American Lives, Thematic Series: The 1960s (preview) Accessed February 17, 2012. She started out as a model in New York in 1939, working for Harvey Berin on Seventh Avenue, before studying fashion design. She eventually secured a full-time design job in 1948, and became well-known for full-skirted designs with fitted bodices, inspired by Dior's New Look.

The clothing was very intricate, elaborate and made with heavy fabrics such as velvet and raised silk, topped off with brightly coloured jewellery such as rubies, diamond and pearls to contrast the black backdrop of the clothing.Fernand Braudel, Civilization and Capitalism, 15th–18th Centuries, Vol 1: The Structures of Everyday Life, p. 317, William Collins & Sons, London 1981 Janet Arnold in her analysis of Queen Elizabeth's wardrobe records identifies French, Italian, Dutch, and Polish styles for bodices and sleeves, as well as Spanish.Arnold, Janet: Queen Elizabeth's Wardrobe Unlock'd, W S Maney and Son Ltd, Leeds 1988.

Pagan-era kings and princes wore robes called wutlon (ဝတ်လုံ), duyin (ဒုယင်), and thoyin (သိုရင်း) as upper garments, while wearing dhoti-like loinclothes as lower garments. Meanwhile aristocratic women wore strapless bodices called yinsi (ရင်စေ့) over a chemise, before adopting looser jackets and body garments, including longer sari-like garments and baggy trousers, that gained currency in the later Pagan period. Relative social rank was distinguished by the use of gold and silver embroidery patterns; high quality attire and floral designs were worn by the upper class. with floral design belonged only to the king and the people of the upper class.

A British accountant named Lewis Tomalin translated the book, then opened a shop selling Dr Jaeger's Sanitary Woollen System, including knitted wool union suits. These were soon called "Jaegers"; they were widely popular. It is not clear how many women, in either the Americas or on the Continent, wore these so-called "reform" bodices. However, contemporary portrait photography, fashion literature, and surviving examples of the undergarments themselves, all suggest that the corset was almost universal as daily wear by women and young ladies (and numerous fashionable men) throughout much of the 19th and early 20th centuries.

The idea that such garments were worn for fashionable purposes is debatable, with fashion historians now regarding such claims sceptically. Many of the original metal bodices that have survived are now believed to have been intended for medical purposes as orthopaedic support garments and back braces. Such garments were described by the French army surgeon Ambroise Paré in the sixteenth century as a remedy for the "crookednesse of the Bodie." Some of the more extreme examples of metal corsets that have survived are now generally thought to be later reproductions designed to appeal to fetishists, rather than garments intended for fashionable wear.

There was no shame or modesty attached to women's breasts, and therefore no garments devoted to concealing them; the bodices () now worn in performances became standard costume only in the 1950s. The European colonists regarded nudity as obscene, and cited it as a sign of Māori racial inferiority (calling them "naked savages"). Compared with European clothing, traditional garments took a long time to make and did not offer much protection or warmth. From the early sealing days, Māori working in sealing camps in the South Island adopted European clothing, which soon became widely available from itinerant peddlers.

See Costume notes to portrait of Mary Radclyffe, Denver Museum of Art By the mid-1620s, styles were relaxing. Ruffs were discarded in favor of wired collars which were called rebatos in continental Europe and, later, wide, flat collars. By the 1630s and 1640s, collars were accompanied by kerchiefs similar to the linen kerchiefs worn by middle-class women in the previous century; often the collar and kerchief were trimmed with matching lace. Bodices were long-waisted at the beginning of the century, but waistlines rose steadily to the mid-1630s before beginning to drop again.

The bra was at first an alternative to the corset, as a negligée or at-home wear, or worn by women with medical issues stemming from corsets. After the straight-fronted corset became fashionable in the early 20th century, a bra or "bust supporter" became a necessity for full-busted women because the straight-fronted corset did not offer as much support and containment as the Victorian styles. Early bras were either wrap-around bodices or boned, close-fitting camisoles (both worn over the corset). They were designed to hold the bust in and down against the corset, which provided upward support.

Marybelle S. Bigelow and Kay Kushino, Fashion in History: Western Dress, Prehistoric to Present, page 179, Burgess Publishing Company, 1979, During the Georgian era, pendants became popular as décolletage decoration. Anne of Austria, along with female members of her court, was known for wearing very tight bodices and corsets that forced breasts together to make deeper cleavage, very low necklines that exposed breasts almost in entirety above the areolae, and pendants lying on the cleavage to highlight it. After the French Revolution décolletage become larger at the front and reduced at the back. During the fashions of 1795–1820, many women wore dresses that bared necks, bosoms and shoulders.

However, the biggest criticism the PCA had was for the women's dress bodices (appropriate for the era portrayed) which they perceived to be very low-cut and showed too much cleavage for their Motion Picture Production Code. This was the first time the word cleavage had been applied in reference to an area of a woman´s anatomy, previously the PCA had utilized the term Décolletage when assessing films. The American media were also outraged by the design of the dresses declaring "Americans do not want half naked women like Patricia Roc in this movie"Hodgson, Michael. (2013). Patricia Roc: The Goddess of the Odeons. AuthorHouse.

A yếm from the back While it was worn across classes, the material and colors used to make yếm varied widely based upon the person's social status and the occasion. Commoner women usually wore yếm in simple blacks and whites for day to day use, whereas during special occasions they could opt for more festive, brighter colors such as red and pink. Indeed, much of Vietnamese poetry has been dedicated to the beauty of women in their vermilion bodices ('). While the bottom of the yếm are v-shaped, there were different styles for the top of the garment which covered the neck, the most common two variations being the rounded neck or the v-shaped neck style.

Off-the-shoulder top The off-the-shoulder trend dates back to the Regency and Victorian Era. They were the height of fashion in the early to mid-nineteenth century. Charles Frederick Worth, the father of haute couture, designed many elaborate dresses, many of which featured bodices with off-the-shoulder sleeves and were very popular with prominent figures like . Then in 1960s, French actress Brigitte Bardot put her own twist on this style, wearing off-the-shoulder tops with everything from midi skirts to pants, reviving the style. The style icon made off-the-shoulder sexy and trendy again and off-the-shoulder style also became known as the “Bardot” style.

Bruno Köhler: Allgemeine Trachtenkunde in sechs Teilen. Reclam, Leipzig, 1900 Dresses similar to the dirndl, featuring skirts with bodices, aprons and blouses were commonplace in Europe from the 16th to the 18th centuries. Similar elements are present in other German folk costumes, for instance the tracht designs found in the Black Forest; they also occur in folk costumes in other parts of Europe, such as the Norwegian women´s Bunad and the Gorenjska noša costume of Slovenia. Distinctive features of the dirndl (including the tight bodice, lower neckline and wide skirt), developed from the women´s fashions of the royal court in the 17th century; over time, the court fashions made their way into urban and rural clothing.

Harris braces are designed to immobilise the waist whilst healing, and are made with two bendable metal bands worn above and below the waist, and connected with rigid metal supports. 20th and 21st century designers have sometimes offered metal corsets and bodices as part of their presentations, including Alexander McQueen, Issey Miyake, and Thierry Mugler. One of McQueen's most famous pieces was a 1999 aluminium corset, called the Coiled Corset, created in collaboration with the jeweller Shaun Leane and the artist Kees van der Graaf. Built around a cast of the model Laura Morgan's torso, the garment had a 15-inch waist and was composed of 97 stacked coils, which had to be screwed together onto Morgan's body.

They had embroidered or woven dragons on them but are different from long pao dragon robes which are a separate clothing. Flaired skirt with right side fastenings and fitted bodices dragon robes have been found in Beijing, Shanxi, Jiangxi, Jiangsu and Shandong tombs of Ming officials and Ming imperial family members. Integral upper sleeves of Ming chao fu had two pieces of cloth attached on Qing chao fu just like earlier Ming chao fu that had sleeve extensions with another piece of cloth attached to the bodice's integral upper sleeve. Another type of separate Qing clothing, the long pao resembles Yuan dynasty clothing like robes found in the Shandong tomb of Li Youan during the Yuan dynasty.

Open-fronted bodices could be filled in with a decorative stomacher, and toward the end of the period a lace or linen kerchief called a fichu could be worn to fill in the low neckline. Sleeves were bell- or trumpet-shaped, and caught up at the elbow to show the frilled or lace-trimmed sleeves of the shift (chemise) beneath. Sleeves became narrower as the period progressed, with a frill at the elbow, and elaborate separate ruffles called engageantes were tacked to the shift sleeves, in a fashion that would persist into the 1770s. Necklines on dresses became more open as time went on allowing for greater display of ornamentation of the neck area.

It was freeing for the women of Paris, and heralded a noticeably more open atmosphere in Paris where women were able to engage in formerly taboo activities, such as wearing low-cut bodices and smoking in public. These 'Cherettes' were widely seen and recognised, and a writer of the time said "It is difficult to conceive of Paris without its 'Cheréts' (sic)."History and Development of Advertising 1929, page 496 In 1895, Chéret created the Maîtres de l'Affiche collection, a significant art publication of smaller sized reproductions featuring the best works of ninety-seven Parisian artists. His success inspired an industry that saw the emergence of a new generation of poster designers and painters such as Charles Gesmar and Henri de Toulouse-Lautrec.

Doris Langley Moore was one of the first major female fashion historians and curators along with Anne Buck. In contrast to male fashion historians such as her friend James Laver and C. Willett Cunnington, Langley Moore favoured a hands-on object-based approach where she drew her conclusions after personally examining surviving artefacts. In 1949 she exploded the myth of the 18-inch waist, which almost all Victorian women were supposed to have had, by measuring over 200 surviving dresses and bodices in collections across the country. Her survey revealed that the average 19th century waist measurement sat comfortably within the 20–30 inch range, and that almost none of her subjects had a waist measurement less than 21 inches.

In the first half of the 16th century, German dress varied widely from the costume worn in other parts of Europe. Skirts were cut separately from bodices, though often sewn together, and the open-fronted gown laced over a kirtle with a wide band of rich fabric, often jeweled and embroidered, across the bust. Partlets (called in German gollers or collars) were worn with the low-cut bodice to cover the neck and shoulders, and were made in a variety of styles. The most popular goller was a round shoulder-capelet, frequently of black velvet lined in silk or fur, with a standing neckband; this goller would remain in use in some parts of Germany into the 17th century and became part of national dress in some areas.

The breed has direct links to Lord Elphinstone, as it was inspired by his speech made during his celebrated 1880 visit. While there is a little bit of debate about the matter, some holding that what Lord Elphinstone said was in reference to his observation of a scene on the train platform involving local James Murdoch's attempt to assess Gloria Booth's rendition of what she thought the most recent style of continental bodices, most agreed that what he must have muttered while the train slowed referred to the most obvious natural features of the landscape. At any rate "Good for [only] burdock and sheep" just seemed more inspirational than "Murdoch that creep" and so became the mantra of local herdsmen. Before long a local breed was established that embodied all the known qualities of the town's namesake.

Lively scenes of Kuchean music and dancing can be found in the Kizil Caves and are described in the writings of Xuanzang."[T]he fair ladies and benefactresses of Kizil and Kumtura in their tight-waisted bodices and voluminous skirts recall--notwithstanding the Buddhic theme--that at all the halting places along the Silk Road, in all the rich caravan towns of the Tarim, Kucha was renowned as a city of pleasures, and that as far as China men talked of its musicians, its dancing girls, and its courtesans." Kuchean music was very popular in Tang China, particularly the lute, which became known in Chinese as the pipa. For example, within the collection of the Guimet Museum, two Tang female musician figures represent the two prevailing traditions: one plays a Kuchean pipa and the other plays a Chinese jiegu (an Indian-style drum).

It is fact that Yurovsky explained that while the truck was stuck in the forest, "some of Yermakov's people started to pull at the girls' blouses, where they discovered the valuables.".."Things that had been sewn into the daughters' clothing were discovered when the bodies began to be undressed..The daughters had bodices made up of diamonds and other precious stones that served not just as a receptacle for valuables but as protective armor. This is why neither bullets nor bayonets yielded results during the shooting and bayonet blows..there turned out to be eighteen pounds of such valuables."Steinberg and Khrustalev, p. 361-362 One of the large diamonds that had been carefully covered and concealed in a button was never discovered by the Bolsheviks, and was later found by the Whites after they took Ekaterinburg, trampled into the mud at the grave site.

1868 illustration claiming to show a 16th-century steel corset-cover Although surviving metal bodices are usually dated to the late 16th and early 17th century, Steele has stated that some of the more extreme and elaborate examples are fakes created from the 19th century onwards to cater to fetishistic "fantasies about women imprisoned in metal corsets." For example, Herbert Norris claimed in Tudor Costume and Fashion (1938) that a misbehaving wife would be locked into a metal corset by her husband until she promised to behave. One such iron corset, with a 14-inch waist, was acquired by the FIT Museum as dating from 1580–1600, but is now considered to be a forgery from the turn of the 19th and 20th centuries. Steele noted suspicious similarities between this corset and an illustration first published in 1868 in The Corset and the Crinoline, a "fetishistic" book claiming to offer a historical overview of fashion, and draws parallels between such corsets and fake medieval chastity belts.

Evidence of pubic hair removal in ancient India is thought to date back to 4000 to 3000 BC. According to ethnologist F. Fawcett, writing in 1901, he had observed the removal of body hair, including pubic hair about the vulva, as a custom of women from the Hindu Nair caste. In Western societies, after the spread of Christianity, public exposure of a woman's bare skin between the ankle and waist started to be disapproved of culturally. Upper body exposure due to the use of the popular vest bodices used in Western Europe from the 15th century to early 20th century, as the widespread dirndls used even in more traditionally conservative mountain areas and the more or less loose shirts under these, enabled a permissive view of the shoulders, décolletage and arms allowing a free exposure of upper body hair in women of all classes with less rejection or discrimination than body hair on the sex organs, obviously to conceal by implication. Many people came to consider public exposure of pubic hair to be embarrassing.

Māori men and woman perform a (1857) Māori people prior to European colonisation wore woven cloaks and kilts for protection from the weather and to denote social status. However, very little of the human body had to be concealed for modesty's sake as such. According to reports by Captain James Cook and Joseph Banks upon their visit to New Zealand in 1769–70, Māori men frequently went casually naked except for a belt with a piece of string attached holding their foreskin shut over their glans penis, the only part that they showed any reluctance to uncover in social settings, whereas Māori women covered their entire pubic area with small aprons or bunches of fragrant plant material, and reacted with shame when caught uncovered in the presence of men. There was no shame or modesty attached to women's breasts, and therefore no garments devoted to concealing them – the colourful woven bodices () worn by women in performances are a colonial-era invention, which became standard costume only in the 1950s.