The v-neck dot print chemise is both sweet and sultry.
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"Marie Antoinette in a Chemise Dress," however, was the subject of considerable scandal.
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A man's shirt, une chemise , is feminine, but a woman's shirt, un chemisier , is masculine.
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The latter portrait replicates the queen's pose but dispenses with the straw hat and chemise dress.
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Instead, I wear…A white-and-gold chemise, the white Agent Provocateur thong, and the gold heels.
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The chemise dress, a recent innovation at the time, was considered a private, indoor form of attire.
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Viewers objected to the queen's state of dress as indecorous and unpatriotic (chemise was considered an English fashion).
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Elle faisait référence à une femme à Nice qui a été obligé de retirer sa chemise à la plage.
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She appears wearing a simple tan chemise and a Miu Miu patterned fur hat, holding a purple and green purse.
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Lying prone on a red Persian carpet meanwhile, the subject of "Girl in White Chemise" (1914) keeps her legs slightly crossed.
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Some — Antoine Watteau's fleet chalk image "Young Woman Wearing a Chemise," Theodore Gericault's "Head of a Black Man" – aren't labeled as such.
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"Seated Woman in Chemise" (1914) shows a nearly naked model seated on the floor holding her folded legs open with her hands.
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Between them came austere black and gray suiting with the ruff of a clerical collar peeking out; lacy chemise dresses and tapestry brocades.
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In 7603, the company sold Victoria's bloomers for 4,500 pounds ($5,850), a chemise for 3,800 pounds ($4,940) and a nightdress for 5,200 pounds ($6,760).
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This is confirmed by her 1782 portrait of the Duchess of Polignac in a white chemise and a black wrap, wearing a straw hat decorated with flowers.
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We were very true to the layering, of having a liner underneath the corset, and the corset, and the corset cover, and the chemise, and then the outfit.
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We have always had a '90s minimal aesthetic in our styling, and this was definitely represented in the performance by pairing back our silk lace chemise with white trainers and socks.
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Former and perhaps future lovers, they engage in sexual conquest as a competition in score settling and military strategizing, and pride themselves on being able to charm the chemise off anybody.
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Nico comes from a jazz background and Juli has eyes wide enough to fall into and a way with melodies that's ethereal and sexy as a silk chemise on sun-kissed skin.
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A royal outfit The items also include a chemise, cream and red stockings, a black shirt and two pairs of leather boots, which were made by shoemaker J. Sparks-Hall of London.
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And in homage to Giovanni della Robbia's Saint John the Baptist in the Wilderness, Blessing, circa 1510/1520, a figure sits with hand raised in benediction, while globules collect in his sheepskin chemise.
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If you're not a fan of the minimal aesthetic, you'll love Eberjey's use of mixed materials and all-over patterns, found here in this Daisy Cami ($2420) and this Wild Flower Chemise ($2164).
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He realized, Ms. Cannon said, that by adding jewelry to a wardrobe staple — a long chemise by David Holah, who later was a founder of the cult label BodyMap — one outfit could become many.
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After this beginning in silence, the piece becomes a collaboration with the singer-musician Gelsey Bell — who shares the stage, is similarly dressed (barefoot, leggings and chemise in matching brown) and is evidently a kindred spirit.
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According to the doc -- obtained by TMZ -- Ivanka Trump Marks LLC wants to start using the name on tights, socks, stockings, leggings, lingerie, underwear, bras, panties, shorts, briefs, shapewear, camisoles, tank tops, corsets, chemise, hosiery, undergarments, teddies and sleepwear.
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A favored Farrow & Ball trick is to take a simple word and translate it into French: a shade of brown that reminded the design team of a pair of pants became Pantalon, and a crisp white is named Chemise.
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In 1959, he moved his atelier across the street from Mr. Balenciaga's studio on the Avenue George V, and from then on the two enjoyed a creative relationship that produced memorable designs, like the chemise and the sack dress.
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His jeans were cuffed the farthest from his boots, his hair was teased so high that it handily doubled the length of his face, and the neck of his shiny, loose chemise scooped almost all the way down to his navel.
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Then there is Gucci, of course; its wickedly headstrong designer Alessandro Michele garnishing a long and lanky pink chemise with a gaudy trompe l'oeil bow, or sending an incongruously racy message by patterning a version of the look in cheetah spots.
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Advertise on Hyperallergic with Nectar Ads In the 1896 "Victorian Lady in Her Boudoir," a heavily clothed woman enters a room and, button by button, fastener by fastener, drops her modest petticoats and corset until she's wearing just a chemise, her feet bare.
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A slim, poised collection, the then 23-year-old's looped and layered vocals were delicate as a silk chemise, but they also bore a menacing undertone, with the low-end synths and triggered beats preventing her ethereal, bedroom-recorded intimacy from coming off slight.
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White paneled silk slips trimmed with whispers of black lace at Céline, scallop-edged organza shorts and chemise tops at Dior and a seductive mishmash of boudoir and boardroom in the form of peek-a-boo bralets and power suiting at Givenchy and Balenciaga — we are in an underwear-as-outerwear moment.
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So late-73th-century Alaïa may be juxtaposed against early-20th-century Vionnet; a 1920s chemise against a 1960s minidress; the excess of the 1880s against the excess of the 1980s; one bias gown against another; the elongated silhouette of a princess dress against the elongated torso created by an Alexander McQueen bumster trousers.
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By the time she was 73, she told American Vogue, she had sported bare legs with heels, the cinched waist mid-calf skirt, the trapeze, the chemise, the chiffon blouse without a bra, the Mary Quant miniskirt, the YSL Smoking, the total Courrèges white-boot look, the bell-bottom trousers with the po'boy sweater, the power suit and tie-dyed Zandra Rhodes evening pyjamas.
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Picture this: You, an average mid-20th century woman, who has known electricity, running water, moderately clean toilets, gas stoves, and the telephone, are dropped into an era in which people bathe approximately once or twice a year (in their undershirts, known as a chemise), have only recently discovered that teeth should be brushed (with fun things like rosemary ash, or even gunpowder), and throw their excrement in the middle of the street to run downhill towards the sewer, otherwise known as the closest body of water.
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In 1999, the song was parodied by Le Festival Roblès under the title "Solder la Chemise" ("Sell Off Your Shirt")."Paroles #1 du titre Solder la chemise (Tomber la chemise)" English: 'Lyrics to Solder la chemise (Tomber la chemise).' chansons-paroles.com. Retrieved on 18 December 2008.Le Meilleur : Best of, track listing Amazon.
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The chemise seems to have developed from the Roman tunica and first became popular in Europe in the Middle Ages. Women wore a shift or chemise under their gown or robe; while men wore a chemise with their trousers or braies, and covered the chemises with garments such as doublets, robes, etc. This chemise or shift of the 1830s has elbow-length sleeves and is worn under a corset and petticoats. Until the late 18th century, a chemise referred to an undergarment.
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A lady in her private boudoir; wearing an informal embroidered jacket over her rose-pink corset or simple bodice and decorated petticoat, c. 1600 Over the upper part of their bodies, both medieval men and women usually wore a close-fitting shirt-like garment called a chemise in France, or a smock or shift in England. The forerunner of the modern-day shirt, the chemise was tucked into a man's braies, under his outer clothing. Women wore a chemise underneath their gowns or robes, sometimes with petticoats over the chemise.
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International Journal of the Book Melbourne, Australia, 2005 Also, many more books were bound not as girdle books but as similarly protected chemise covered books. Chemise covered books were often larger and designed for comfortable, stationary reading. Raymond Clemens & Timothy Graham. Introduction to Manuscript Studies.
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46 feet) high. In some cases, the keep could only be entered from the chemise (i.e. at the first floor level). Numerous examples exist of highly varied form, including the heavily fortified chemise of Château de Vincennes, or the more modest example at Provins, both in France.
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Some chemises are suggested to have been developed from earlier motte and bailey defences, though they may not usually be referred to as chemise. In later fortification, a chemise is a wall lined with a bastion, or any other bulwark of earth, for greater support and strength.
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Smock, also called chemise, loose, shirtlike garment worn by women in the European Middle Ages under their gowns.
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It was the only underwear worn until the end of the Regency era in the 1820s, and was usually the only piece of clothing that was washed regularly. In the eighteenth century, the primary female undergarment was the chemise or shift: a knee-length, loose- fitting garment of white linen with a straight or slightly triangular silhouette. The term chemise was first used to describe an outer garment in the 1780s, when Queen Marie Antoinette of France popularized a kind of informal, loose-fitting gown of sheer white cotton, resembling a chemise in both cut and material, which became known as the chemise à la reine. In the 1810s, the term came also to be applied to an outergarment.
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The crinolette itself was quickly superseded by the true bustle, which was sufficient for supporting the drapery and train at the back of the skirt.Takeda and Spilker (2010), p. 99. Under the corset, a chemise was worn. A chemise is typically short sleeve and knee length made of linen or cotton.
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Loam molding has been used to produce large symmetrical objects such as cannon and church bells. Loam is a mixture of clay and sand with straw or dung. A model of the produced is formed in a friable material (the chemise). The mold is formed around this chemise by covering it in loam.
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Chemise cagoule in Sex Machines Museum, Prague A chemise cagoule (, "cowl shirt") was a heavy nightshirt worn by pious Catholic men and women during the Middle Ages in order to permit a husband to impregnate his wife without having to endure any unnecessary physical contact with her. The chemise cagoule covered all sexual areas, but left an opening for necessary contact. Pious couples were expected to use chemise cagoules at every lovemaking session, and thus would never see each other naked. A similar concept was allegedly employed in one or more unspecified Native American cultures as the "chastity blanket", an item of similar design held by tribal elders until requested for use by a man, according to anthropologist Gordon Rattray Taylor.
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Burgundian gown of mid-15th century has a V-neck that displays the black kirtle and a band of the chemise. Hair is pulled back in an embroidered hennin and covered by a short veil. and her attendants in Italian fashion of the 1480s. The tight slashed sleeves reveal the full chemise sleeves beneath.
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The homilies also provide the first occurrence of a number of new words derived from Old French, including chemise and ' ("chasten").
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A late 18th century women's chemise made of linen. Fashionable young man in early 16th-century Germany showing a lot of fine linen in a studied negligee. This gentleman has a band of "smocking" around the collar of his shift. A chemise or shift is a classic smock, or a modern type of women's undergarment or dress.
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Sleeve plumpers, corset, chemise and petticoat of the 1830s, Los Angeles County Museum of Art. Women's undergarments consisted of a knee-length linen chemise with straight, elbow length sleeves. Corsets compressed the waist and skirts were held in shape by layers of starched petticoats, stiffened with tucks and cording. The full sleeves were supported by down-filled sleeve plumpers.
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A modern-day chemise A modern chemise is generally a woman's garment that vaguely resembles the older shirts but is typically more delicate, and usually more revealing. Most commonly the term refers to a loose-fitting, sleeveless undergarment or type of lingerie which is unfitted at the waist. It can also refer to a short, sleeveless dress that hangs straight from the shoulders and fits loosely at the waist. A chemise typically does not have any buttons or other fasteners and is put on by either dropping it over the head or stepping into it and lifting it up.
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Pelicon was fur-lined piece of clothing worn between a chemise and cotte in France. The fashion dates from the Byzantine, Romanesque and Renaissance era.
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Frank is a former settlement in Humboldt County, California. It was located 6 east-northeast of Shelter Cove. near the intersection of Shelter Cove Road and Chemise Mountain Road, about 1/10 of a mile south on Chemise Mountain Road on the east side of the road. A post office operated at Frank from 1892 to 1903 and was located inside the McKee home.
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The traditional dress of the Monpa is based on the Tibetan Chuba. Both men and women wear headwear made of yak hair, with long tassels. The women tend to wear a warm jacket and a sleeveless chemise that reaches down to the calves, tying the chemise round the waist with a long and narrow piece of cloth. Ornaments include those made of silver, corals and turquoise.
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A scene from the comic book. After the ban on Nights of Horror, some remaining stories and drawing were published under different titles such as Hollywood Detective and Rod Rule. Some of the remaining books were recovered under titles like Pink Chemise and Black Chemise. Shuster, not indicted or even named in the trials, continued to create art, even for other pornographic periodicals such as Continental.
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As lingerie, a chemise is similar to a babydoll, which is also a short, loose-fitting, sleeveless garment. Typically, though, babydolls are looser fitting at the hips.
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Octagonal turrets on the chemise and caponiers at ground level provided flanking fire around the tower. It is unclear whether the chemise was part of the original scheme for the tower or was a later addition.Tracy (2000), p.303–307. The tower was for centuries part of the walls of the old city of Thessaloniki, separating the Jewish quarter of the city from the cemeteries of the Muslims and Jews.
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Historically, a chemise was a simple garment worn next to the skin to protect clothing from sweat and body oils, the precursor to the modern shirts commonly worn in Western nations.
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Dickey Doo & The Don'ts also released version of "The Madison" on a United Artists album. Dickey Doo was fronted by Gerry Granahan who had a hit with "No Chemise Please" in 1958.
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20,000 Years of Fashion, page 219-220Balzo on clothing website She is wearing a chemise under her elaborately sleeved dress called a guimp and is holding a feather fan used as a flywhisk.
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In Western countries, the chemise as an undergarment fell out of fashion in the early 20th century, and was generally replaced by a brassiere, girdle, and full slip, and panties first came to be worn. Men's chemises may be said to have survived as the common T-shirt, which still serves as an undergarment. The chemise also morphed into the smock-frock, a garment worn by English laborers until the early 20th century. Its loose cut and wide sleeves were well adapted to heavy labor.
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Women's clothing consisted of an undertunic called a chemise, chainse or smock, usually of linen, over which was worn one or more ankle-to-floor length tunics (also called dresses or kirtles). Working-class women wore their tunics ankle-length and belted at the waist. Women of the French court wore a loosely fitted tunic called a cotte or the form-fitting bliaut over a full chemise with tight sleeves. The bliaut had a flaring skirt and sleeves tight to the elbow and then widening to wrist in a trumpet shape.
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Her performances created a fusion between art and nature; art came alive and her body became a type of art. As an aid to her performances of tragic mythological and historical figures, Emma wore the clothing á la grecque that would become popular in mainstream France in the coming years. A simple light- colored chemise made from thin, flowing material was worn and gathered with a narrow ribbon under the breasts. Simple cashmere shawls were used as headdresses or to give more fullness to the drapery of the chemise.
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"Tomber la chemise" (English: literally "Take Off Your Shirt" but the meaning is "Get ready to play hard") is a 1998 song by the Toulousian collective Zebda. The song was released on 7 June 1999 as part of the first single from Zebda's third album Essence ordinaire and received a successful reception in France, where it reached number-one on the singles chart and won two awards. This summer 1999 hit song "Tomber la chemise" was part of a sudden popularity trend by rappers of immigrant origins in France at that time.
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With the fashion for ribbons becoming popular, women added them to the lace on the arms and the neck of their chemise. The chemise, once fashionably long, became shorter until replaced by a blouse and petticoat, but still with the threaded ribbons. The madras today is almost identical to the traditional costumes worn by other former French colonies of the Caribbean, including the neighbouring islands of Martinique, Guadeloupe and Dominica. In 2004 a national awareness campaign was launched by the Saint Lucian government during the 25th anniversary of the country's Independence.
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Animals from Switzerland, according to the instructions of the Queen, were raised on the farm. For this reason the place was often called "the Swiss hamlet". She preferred to wear simple clothing uncharacteristic to the frivolous fashion of the French Court while at the hameau, and often dressed in a sun hat and informal muslin dress, a Polonaise gown, or a Chemise à la Reine. The chemise, worn without panniers and with a high waistline, was first worn by women in warmer climates in the colonies and was popularised amongst the aristocracy through Marie Antoinette.
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Dress red stuff bodice patched under arms and sleeves with marone one black and one marone stockings brown stuff skirt kilted brown lindsey petticoat, white chemise and apron, paisley shawl. button boots. all old nothing found on person.
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Shell keeps were sometimes further protected by an additional low protective wall, called a chemise, around their base. Buildings could then be built around the inside of the shell, producing a small inner courtyard at the centre.Brown, p.42.
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In 1991, when Figueres was seen as a possible contender for the presidency, brothers David and José Romero published a book accusing Figueres of having participated in the extrajudicial execution of a drug dealer named Jose Joaquin Orozco, known as "Chemise".David Romero and José Romero, El caso Chemise, D. Mora, San José, Costa Rica (1991). The basis for this allegation dated back to March 7, 1973.Article by journalist Laffitte Fernández (in Spanish) Figueres accused the Romero brothers of libel and in 1993 a court acquitted them while condemning their main source, former drug-enforcement officer Walter Campos.
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242–243; Evans and Skinner (2000), pp. 345–347 and Marriott, pp. 170–171 Unlike the other victims, she was undressed and wore only a light chemise. Her clothes were folded neatly on a chair, with the exception of some found burnt in the grate.
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In 1955, he designed the tunic dress, which later developed into the chemise dress of 1957. And eventually, in 1959, his work culminated in the Empire line, with high-waisted dresses and coats cut like kimonos. His mastery of fabric design and creation defied belief.
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The present tower likely replaced an older Byzantine tower mentioned by the 12th-century archbishop Eustathius of Thessalonica during the sack of the city in 1185. The Ottoman-built structure itself has been altered substantially over the years. Early illustrations show that it was originally covered by a conical roof, like similar towers in the Yedikule Fortress and Rumelihisarı fortress in Istanbul. chemise that surrounded the tower until its demolition in 1917 Until its demolition in 1917, a chemise stood at the foot of the tower, supporting the heavy guns and enclosing an area at least three times the diameter of the main tower.
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With this Classical style came the willingness to expose the breast. With the new iconography of the Revolution as well as a change in emphasis on maternal breast-feeding, the chemise dress became a sign of the new egalitarian society.Yalom, Marilyn. A History of the Breast.
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It consisted of a fitted bodice and full skirt worn over a chemise (called a camicia). It was usually unlined. The gamurra probably developed from a fourteenth century garment called the gonna, gonnella, or sottana. Early styles were front-laced, but the fashion later changed to side- laced styles.
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Her pose is complex, with her weight resting mostly on her left buttock. Her left leg is raised, her knee sharply bent. Save for a bracelet on her upper left arm she is nude. She sits on her discarded Chemise with embroidered cuffs which partly covers her left lap.
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A notable trend at the turn of the 21st century is "cute" short forms: camisole becomes cami, hooded sweaters or sweatshirts become hoodies, and as of 2005, short or "shrunken" cardigans are cardies. The much- older term shimmy for "slip" is most likely a false singular from chemise.
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Lingerie dresses were heavily decorated and designed to look like a Regency era chemise gown. The dresses featured full skirts, blouses and sleeves of varying lengths. They were most often white, but not always. The dresses could also be worn over different colored gowns or slips, expanding a woman's wardrobe.
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A variation of the kurti, known as a bandi, is sleeveless and is worn as a pullover with no side slits and front opening. A longer version of the bandi is known as a chemise which has a lace around its hem.Dr SIngh, Sadhu (2010) Punjabi boli di virasat. Chenta Prakashan.
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This is then baked (fired) and the chemise removed. The mold us then stood upright in a pit in front of the furnace for the metal to be poured. Afterwards the mold is broken off. Molds can thus only be used once, so that other methods are preferred for most purposes.
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The English word chemise is borrowed from the French word for shirt and is related to and , all derived from the , itself probably borrowed from a Celtic language. It is also possible the word could have come from the Arabic word qameez. The English also called the same shirt a smock.
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This "new natural style" emphasized the beauty of the body's natural lines. Clothing became lighter and easier to care for than in the past. Women often wore several layers of clothing, typically undergarments, gowns, and outerwear. The chemise, the standard undergarment of the era, prevented the thin, gauzy dresses from being fully transparent.
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Begg, Jack the Ripper: The Facts, p. 316 She appeared to have been killed approximately one day prior to the discovery of her torso.The Thames Torso Murders of Victorian London p. 159 The dismembered sections of the body are believed to have been transported to the railway arch, hidden under an old chemise.
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Both bandi and chemise traditionally have been worn by women indoors. Somer versions are worn as pullovers with no side slits and font opening. The choli is referred to as kurti in Punjabi which can be half or full sleeved and be hipArabinda Biswas, India. Indian Costumes (1985) Ministry of Information and Broadcasting.
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The chemise and stockings worn were meant to soak up any perspiration and protecting the outer clothing. Due to the many layers of dress, the women of the southern elite would take short naps to rest from wearing their large dress and escape the harsh southern heat and the constraining whalebone corsets.
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Her 1895 painting Byway, Old Holland shows the distinctive Dutch kraplap chemise and peaked lace hat. On 30 April 1902 Dean married the artist Robert Macaulay Stevenson and was step-mother to his daughter Jean. They lived at Stevenson's house, Robinsfield, near Bardowie Loch at Milngavie. The artists each had studios at Robinsfield.
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He largely abandoned elaborate, studied designs in favor of the chemise dress. Belts, pleats, and unique fastenings were no longer used. Skirts were fuller, but generally above the knees. Shoulders were broader and clothes could ripple, but swirling movement was no longer possible due to restrictions on the amount of fabric used.
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By tradition, a lady of the court was instantly recognizable by the panniers, corset, and weighty silk materials that constructed her gown in the style à la française or à l'anglaise. By doing away with these things, Marie Antoinette's gaulle or chemise á la Reine stripped female aristocrats of their traditional identity; noblewomen could now be confused with peasant girls, confusing long standing sartorial differences in class. The chemise was made from a white muslin and the queen was further accused of importing foreign fabrics and crippling the French silk industry. The gaulle consisted of thin layers of this muslin, loosely draped around the body and belted at the waist, and was often worn with an apron and a fichu.
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In 1955, he designed the tunic dress, which later developed into the chemise dress of 1957. In 1959, his work culminated in the Empire line, with high-waisted dresses and coats cut like kimonos. In 1960 he made the wedding dress for Fabiola de Mora y Aragón when she married King Baudouin I of Belgium.
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The name in the Occitan language may derive from a type of linen smock or shirt known as a camisa (chemise) that peasants wear in lieu of any sort of uniform. Alternatively, it might come from the , meaning paths (chemins). , in the sense of "night attack", is derived from a feature of their tactics.
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The keep at Provins encirled by a low wall In medieval castles the chemise (French: "shirt") was typically a low wall encircling the keep, protecting the base of the tower. Alternative terms, more commonly used in English, are mantlet wall or apron wall.Friar, Stephen (2003). The Sutton Companion to Castles, Sutton Publishing, Stroud, 2003, pp.
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The cotte (or cote) was a medieval outer garment, a long sleeved shift, or tunic, usually girded, and worn by men and women. In medieval texts, it was used to translate tunica or chiton. Synonyms included tunic or gown. It was worn over a shirt (chemise), and a sleeveless surcote could be worn over it.
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The collection included cami knickers, chemise tops, embroidered military jackets, and pleated asymmetrical skirts. The palette featured black, ecru, brown, pink, violet, and coral. Materials used included silk, cotton, wool, organza, nylon, chiffon, and leather. Design details varied from scalloped edges, rounded shoulders, and pleated hems to floral embroideries, sequin embellishments, and three-dimensional appliques.
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In the past, a woman's corset was usually worn over a chemise, a sleeveless low-necked gown made of washable material (usually cotton or linen). It absorbed perspiration and kept the corset and the gown clean. In modern times, a tee shirt, camisole or corset liner may be worn. Moderate lacing is not incompatible with vigorous activity.
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The painting shows a young and beautiful woman who stands before a mirror with two extinguished candles, her face turned to the spectator. Her dress is incomplete; she wears a white chemise, blue corset, silk stockings and high-heeled footwear. The interior suggests that it is a boudoir. Behind the woman is a sofa with two pillows.
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Elizabeth Vernon at her dressing table wears an embroidered linen jacket over her rose-pink corset, 1590s. During this period, women's underwear consisted of a washable linen chemise or smock. This was the only article of clothing that was worn by every woman, regardless of class. Wealthy women's smocks were embroidered and trimmed with narrow lace.
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Page 43. The group is best known for its single "Tomber la chemise" ("Take Off Your Shirt"), from the 1998 platinum album Essence ordinaire. In addition to being a commercial success, the song went on to be named the best French song of 2000 at both the Victoires de la musique awards and the NRJ Music Awards.
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Ottoman Sultan Suleiman the Magnificent adorned in a well embroidered Kaftan. A stylish young woman of the mid-17th century. She wears şalvar (trousers), a long, sheer gömlek (chemise), and an ankle-length purple entari (outer robe) with the ends tucked up. The fur lining of her yelek (jacket or vest) marks her as wealthy and high-ranking.
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Brindle and Kerr, pp. 32–3. Timber piles were driven in to support the motte and the old wooden keep was replaced with a new stone shell keep, with a probable gateway to the north-east and a new stone well.Brindle and Kerr, p. 33. A chemise, or low protective wall, was subsequently added to the keep.
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"Commercial Article 06," pp. 8–9. According to The New York Times, the Traina-Norell collection became a "status symbol among American women."Price, p. 8. Norell's designs for a chemise, a sequin-covered sheath dress, and a fur-trimmed trench coat helped make the Traina-Norell label "a fashion byword," whose prestige equaled the Parisian labels.
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To complicate matters even further, that night Raymond seduces a willing Crystal. The next morning, Raymond prepares Crystal's breakfast in bed, though Clara insists on taking it up to her. When Crystal removes the cover, she sees that the bacon has been arranged to spell the word "LOVE". Clara picks up Crystal's undergarments scattered around the room, noting that her chemise is torn.
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Sometimes a petticoat may be called a waist slip or underskirt (UK) or half slip (US), with petticoat restricted to extremely full garments. A chemise hangs from the shoulders. Petticoat can also refer to a full-length slip in the UK,Oxford English Dictionary (1989) "A light loose undergarment ... hanging from the shoulders or waist" although this usage is somewhat old- fashioned.
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The new kind of shirt was called chemise à pièce (yoked shirt). Alan Flusser credits Christofle Charvet with the original design of a collar that could be turned down or folded, much in the manner of contemporary collars, and the concept of the detachable collar. planter from Louisiana. In 1839, Charvet already had some imitators, but still the "best supply".
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In 1958, Yves Saint Laurent, Dior's protégé and successor, debuted the "Trapeze Line," adding novel dimension to the chemise dress. These dresses featured a shaped bodice with sloping shoulders and a high waist, but the signature shape resulted from a flaring bodice, creating a waistless line from bodice to knees. These styles only slowly gained acceptance by the wider public.Tortora & Eubank (1994), p.
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Elizabeth Poulett wears a low rounded neckline and a small ruff paired with a winged collar. Her tight sleeves have pronounced shoulder wings and deep lace cuffs. English court costume, 1616 Henrietta Maria, wife of Charles I of England, wears a closed satin high-waisted bodice with tabbed skirts and open three-quarter sleeves over full chemise sleeves. She wears a ribbon sash.
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Partlets of the same rich fabric as the bodice of the gown give the appearance of a high-necked gown. Sheer or opaque linen partlets were worn over the chemise or smock, and high-necked smocks began to appear; toward 1550 these might have a small standing collar with a ruffle, which would become the pleated ruff of the next period.
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Accordingly, Marie Louise was stripped of her dress, corset, stockings and chemise, leaving her completely naked. Napoleon's sister then made the nude teenager take a bath. She was then redressed in French bridal clothes. Marie Antoinette had been put through a similar ritual when she arrived in France in 1770. She met Napoleon for the first time on 27 March in Compiègne,de Saint-Amand, p.
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Caresse wore a sheer chemise to her waist, a huge turquoise wig on her head, and nothing else. They both dyed their skin with red ochre. The students cheered Caresse's toplessness, and she was carried around on the shoulders of 10 students. In January 1925 they traveled to North Africa, where they first smoked opium, a habit to which they would return again and again.
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From the mid-1950s, a new unfitted style of clothing appeared as an alternative to the tight waist and full skirt associated with the New Look. Vogue Magazine called the knitted chemise the "T-shirt dress." Paris designers began to transform this popular fashion into haute couture. Spanish designer Balenciaga had shown unfitted suits in Paris as early as 1951 and unfitted dresses from 1954.
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Colinot's (Huster) world is turned upside down when his fiancee is kidnapped. This leads him to dangerous chase around 15th century France only to find that she has found love in the arms of a nobleman. But his fortunes take a turn when he meets Arabelle (Bardot) who teaches him many life lessons.L'Histoire Tres Bonne et Tres Joyeuse de Colinot Trousse Chemise All Movie.
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The tubular dresses of the 'teens had evolved into a similar silhouette that now sported shorter skirts with pleats, gathers, or slits to allow motion. The most memorable fashion trend of the Roaring Twenties was undoubtedly "the flapper" look. The flapper dress was functional and flattened the bust line rather than accentuating it. The straight-line chemise topped by the close-fitting cloche hat became the uniform of the day.
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Although "Tomber la chemise" appeared to be an outsider in the race to the top of the charts that summer, this highly political song became the hit that finally brought Zebda national recognition after eleven years of existence.Elia Habib, Muz hit. tubes, p. 467 () : "Après onze ans d'existence sur les scènes locales toulousaines, le groupe Zebda accède à la renommée nationale en marquant un tube en or dans son répertoire".
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She promises to give him what he wants (the poet makes no bones about the fact that he only wants her body) provided he takes part in a joust wearing her chemise (underdress) instead of his armour. She is of course counting on him being killed. But he survives, and there has to be a reckoning. Jans is recorded in a number of Viennese documents for the years 1271-1302.
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The shift, chemise (in France), or smock, had a low neckline and elbow-length sleeves which were full early in the period and became increasingly narrow as the century progressed. Drawers were not worn in this period. Strapless stays were cut high at the armpit, to encourage a woman to stand with her shoulders slightly back, a fashionable posture. The fashionable shape was a rather conical torso, with large hips.
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Upon his release from prison in the autumn of 1962, Venner wrote a manifesto entitled Pour une critique positive (Towards a positive critique), which has been compared by some to Vladimir Lenin's What is to be done?,Pierre Milza, Fascismes français, passé et présent, Flammarion, 1988, p. 320 as it became a "foundational text of a whole segment of the ultra-right".Pierre Milza, L'Europe en chemise noire.
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This one-act French farce was an adaptation by Robert Brough from En manches de chemise by Eugène Labiche, Auguste Lefranc and Eugène Nyon. See The Era, 10 November 1878, p. 11 In his early days with the company, there were complaints from reviewers that he tended to sing flat, but such complaints soon ceased."The Sorcerer at the Theatre Royal", Hampshire Telegraph and Sussex Chronicle, 15 June 1881, p.
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Cutty-sark refers to a character created by Robert Burns in Tam o' Shanter. "Cutty sark" is 18th-century Scots for "short chemise" or "short undergarment". Hyphenated, Cutty-sark was also a nickname given to the witch Nannie Dee, a fictional character created by Robert Burns in his Tam o' Shanter, after the garment she wore. The figurehead of the tea clipper Cutty Sark is named after the character.
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The comments at the St Louis Art Museum web site misinterpret the turned-back sleeves as a "fur stole". She wears a soft sash at her waist and a sheer partlet over a square- necked chemise, c. 1535. Portrait of Catherine Parr, sixth queen of Henry VIII. English or French fashion of 1545: the trumpet-sleeved "French" or "Tudor dress", worn over a farthingale and false undersleeves with a matching forepart.
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She wears a giornea over a kirtle or gamurra. Mary of Burgundy wears a headdress comprising a truncated- cone hennin, a jewelled padded roll, and a sheer veil. Women's fashions of the 15th century consisted of a long dress, usually with sleeves, worn over a kirtle or underdress, with a linen chemise or smock worn next to the skin. The sleeves were made detachable and were heavily ornamented.
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A sideless overdress called the giornea was worn with the gamurra or cotta. Toward the end of the period, sleeves were made in sections or panels and slashed, allowing the full chemise sleeves below to be pulled through in puffs along the arm, at the shoulder, and at the elbow. This was the beginning of the fashion for puffed and slashed sleeves that would last for two centuries.Condra 2008, p.
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A similar work in a similar setting with four more characters called: Les Délices du cloître, ou la Religieuse éclairée has often been included with editions of Vénus dans le cloître—to the considerable confusion of bibliographers and editors.Kearney (1982) pp. 48-49 Pierre Gandon illustrated an edition in 1962: Vénus dans le cloître, ou La religieuse en chemise de l'Abbé Du Prat (Le coffret du bibliophile.) Paris: Livre du Bibliophile, 1962.
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The luteplayer wears a yellow kirtle over her smock, 1626. A kirtle (sometimes called cotte, cotehardie) is a garment that was worn by men and women in the Middle Ages. It eventually became a one-piece garment worn by women from the late Middle Ages into the Baroque period. The kirtle was typically worn over a chemise or smock, which acted as a slip, and under the formal outer garment or gown/surcoat.
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The song is currently the 145th best-selling single of all time in France.Best-selling singles of all time in France Infodisc.fr (Retrieved 12 December 2008) In addition to being a commercial success, the song went on to be named the best French song of 2000 at both the Victoires de la musique awards and the NRJ Music Awards. In Belgium (Wallonia), "Tomber la chemise" remained on the Ultratop 40 for 19 weeks.
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Spanish fashion: Elizabeth of Valois, Queen of Spain, wears a black gown with floor-length sleeves lined in white, with the cone-shaped skirts created by the Spanish farthingale, 1565. Elizabeth I wears padded shoulder rolls and an embroidered partlet and sleeves. Her low-necked chemise is just visible above the arched bodice, 1572. Women's outer clothing generally consisted of a loose or fitted gown worn over a kirtle or petticoat (or both).
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Elizabeth I wears a blackwork chemise and partlet and a gown embroidered with gold thread and studded with pearls. The Phoenix Portrait by Nicholas Hilliard, c. 1575–76 The second great flowering of English embroidery, after Opus Anglicanum, took place in the reign of Elizabeth I.Digby 1964, p. 21 Although the majority of surviving English embroidery from the medieval period was intended for church use, this demand decreased radically with the Protestant Reformation.
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This stands on a stone outcrop that forms the motte; it has a stone revetment around its base (a basic Chemise). The lower outer ward is enclosed by two separate sections of wall that meet at a circular fortified tower, which stands upon a rocky knoll. As the curtain walls are not joined together, ladders would have had to be used to reach their parapets. No gateways connected the inner ward to the outer courtyard.
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The stone shell keep and chemise on top of the motte at Gisors in France Motte-and-bailey castles became a less popular design in the mid-medieval period. In France, they were not built after the start of the 12th century, and mottes ceased to be built in most of England after around 1170, although they continued to be erected in Wales and along the Marches.Pounds, p.21; Châtelain, p.231.
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This gown shows the fitted back of the robe à l'anglaise and skirt draped à la polonaise. Los Angeles County Museum of Art Woman's redingote c. 1790, Los Angeles County Museum of Art Woman's silk brocade shoes with straps for shoe buckles, 1770s, Los Angeles County Museum of Art, 63.24.7a-b This 1783 portrait, Marie-Antoinette en chemise ou en gaulle by Élisabeth Vigée Le Brun both caused a scandal and influenced a fashion transition.
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Rubens with his first wife c. 1610. Her long, rounded stomacher and jacket-like bodice are characteristic Dutch fashions The silhouette, which was essentially close to the body with tight sleeves and a low, pointed waist to around 1615, gradually softened and broadened. Sleeves became very full, and in the 1620s and 1630s were often paned or slashed to show the voluminous sleeves of the shirt or chemise beneath. Spanish fashions remained very conservative.
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At some point, Bridget told Michael that the only person who'd gone off with the fairies had been his mother. Michael attempted to force-feed his wife, throwing her down on the ground before the kitchen fireplace and menacing her with a burning piece of wood. Bridget's chemise caught fire, and Michael then threw lamp oil (kerosene) on Bridget. The witnesses were unclear as to whether she was already dead by this point.
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English woman's bathing suit, 1858 French woman's bathing suit, 1898 There is less certainty about ladies’ bathing costumes. Contemporary prints by artists like Thomas Rowlandson depict women bathing in the nude. On the other hand, costume books and some contemporary accounts indicate that in the sea they bathed in a chemise-like garment of flannel or other strong material. Female bathing costumes in particular were derived from what was worn at Bath and other spas.
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The bazin/boubous are sewed differently for men and women. Whereas the men boubou consists of three different pieces of clothing that are the same color. A tie up trouser, a long sleeve chemise, and a wide open- embroidered sleeveless gown that is worn over everything. While for women even though their bazin is sewn in a three piece, it comes with a wrapper that is typically tied around the waist, a blouse, and a headscarf.
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Borgoña's Lady with Hare wears a chemise embroidered at the neckline and on the sleeves, c. 1505, Toledo. Historically, blackwork was used on shirts and chemises or smocks in England from the time of Henry VIII. The common name "Spanish work" was based on the belief that Catherine of Aragon brought many blackwork garments with her from Spain, and portraits of the later 15th and early 16th centuries show black embroidery or other trim on Spanish chemises.
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Black was increasingly worn for the most formal occasions. Bobbin lace arose from passementerie in the mid-16th century, probably in Flanders.Montupet, Janine, and Ghislaine Schoeller: Lace: The Elegant Web, This century also saw the rise of the ruff, which grew from a mere ruffle at the neckline of the shirt or chemise to immense cartwheel shapes. At their most extravagant, ruffs required wire supports and were made of fine Italian reticella, a cutwork linen lace.
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Over the chemise, women wore a loose or fitted dress called a cotte or kirtle, usually ankle or floor-length, and with trains for formal occasions. Fitted kirtles had wide skirts made by adding triangular gores to widen the hem without adding bulk at the waist. Kirtles also had long, fitted sleeves that sometimes reached down to cover the knuckles. Various sorts of robes were worn over the kirtle, and are called by different names by costume historians.
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Chemisettes from Godey's Lady's Book 1850. A chemisette (from French, "little chemise") is an article of women's clothing worn to fill in the front and neckline of any garment. Chemisettes give the appearance of a blouse or shirt worn under the outer garment without adding bulk at the waist or upper arm. Chemisettes of linen or cotton were often worn with day dresses in the mid-19th century, and could be decorated with tucks, embroidery (especially whitework), or lace.
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Gabrielle with Open Blouse (French: Gabrielle avec la chemise ouverte) is an oil on canvas painting by French impressionist artist Pierre-Auguste Renoir. It is in the collection of the Tehran Museum of Contemporary Art, but is not on public view because of the model's open blouse. Gabrielle was Gabrielle Renard, a cousin of Renoir's wife Aline Charigot. She became the family's nanny in 1894 and later modelled many times for Renoir before becoming his carer.
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Around her rests a thickly painted background of white chemise; set against this her naked flesh stands out for its solid form and the sumptuous application of paint.Bull et al. 151–152 The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, rendering her presence palpable.Sluijter, 357–358 Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings.
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These suspicions were realised when Miran Shah's wife, the Khwarezmian princess Khanzada Begum, reached out to her father-in-law. Khanzada reported her husband's rebellious intentions as well as complaining about her mistreatment at his hands. Daulatshah states that Timur was moved to tears when Khanzada presented to him her blood-stained chemise, though this episode was not confirmed in contemporary sources. Official histories only state that Miran Shah made crude accusations against her that were later disproved.
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Odilon was married to Alexander Girardi and she had an affair with a financier. Girardi discovered Odilon's chemise in the financier's bedroom and he threatened to murder both of them. After Odilon and the financier contacted the police and the officers did not arrest Girardi, the two of them attempted to have Girardi committed to an insane asylum. After Girardi discovered their plan, he received help from a former mistress of Franz Joseph I of Austria, Käthe Schratt.
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In 1933, Lacoste founded La Société Chemise Lacoste with André Gillier. The company produced the tennis shirt, also known as a "polo shirt," which Lacoste often wore when he was playing; this had a crocodile (often thought to be an alligator) embroidered on the chest. In 1963, Lacoste's son Bernard took over the management of the company. In 1961, Lacoste created an innovation in racket technology by unveiling and patenting the first tubular steel tennis racket.
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Ladies' underwear advertisement, 1913 A one-piece undergarment which combined a camisole and knickers appeared in the 1910s under the name envelope chemise or camiknickers. It was considered an appropriate garment to wear under the shorter dresses which came into fashion in the 1920s. The garment was also worn without an overgarment in the boudoir. The style gained popularity during World War II when women who served in military-related duties wore trousers instead of skirts.
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The Scott Paper Company took advantage of mass-production and created disposable chemise dresses out of their patented Dura-Weave paper. Mass-production gave Scott the ability to print a diverse assortment of eye-catching patterns and Pop Art inspired motifs that appealed to the youth consumer. The fashion of youthquake was fun, spirited and youthful – miniskirts, jumpsuits, and A-line silhouettes in bold colors were all the rage. Trends like mod, Space Age, and hippie styles were birthed from this cultural phenomenon.
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However, Avendaño left the party and founded his own (National Restoration Party). In the 2006 elections the party's candidate Bolívar Serrano Hidalgo won 3.4% of the vote in the presidential election, but the party lost its parliamentary seat (to Avendaño's party). Journalist David Romero Mora, well known for his book El caso Chemise, endorsed the party in this period. During the 2007 Costa Rican Dominican Republic – Central America Free Trade Agreement referendum, it stood with the opposition to the agreement.
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Corsets were not worn next to the skin, possibly due to difficulties with laundering these items during the 19th century, as they had steel boning and metal eyelets that would rust. The corset cover was generally in the form of a light chemise, made from cotton lawn or silk. Modern corset wearers may wear corset liners for many of the same reasons. Those who lace their corsets tightly use the liners to prevent burn on their skin from the laces.
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The painting depicts a kannekijker, one who peers wistfully into the bottom of an empty jug as if by wishing more wine will appear in it. The painting is unsigned, but the chemise of the boy is similar to that of another painting attributed to Leyster in the Bristol Art Gallery. The painter Frans Hals also made a youthful kannekijker in his Two laughing boys with mug of beer: File:Frans Hals 072.jpg File:Judith Leyster A Youth with a Jug.
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The Madras is made up of five individual pieces of clothing. The costume comprises a white cotton or poplin blouse, known in French Creole as a chimiz decolté or chemise decoltee, finished with Broderie Anglaise and red ribbons. The second item is an ankle length skirt, again trimmed with lace and red ribbons; which has two gathers towards the lower end of the garment. The third item is the shorter outer skirt, made of Madras material, to which the costume is named.
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Smaller hoops were worn in everyday settings and larger hoops for more formal occasions, which later widened to as much as three feet to either side at the French court of Marie Antoinette. The shift (chemise) or smock had full sleeves early in the period and tight, elbow- length sleeves in the 1740s as the sleeves of the gown narrowed. Some women wore drawers (underpants) in England. For instance, as early as 1676 inventory of Hillard Veren had "3 pair of women drawers".
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The earliest recorded literary usage of the term cutty sark (as opposed to older usage of the two separate words) is by Dougal Graham in c. 1779 (the year of his death): "A cutty sark of guide harn sheet, My mitter he pe spin, mattam." Etymology: Cutty or cuttie (the diminutive form of cuttit, from Early Middle English cutte, kutte, cute "ugly") is "short" or "stumpy". Sark or serk (from Old English serc; Old Norse serk) is a "shift", "chemise", or "shirt".
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The turned-back cuffs are lined with fur.The fur is probably lynx, and the skirt of the dress also appears to be fur-lined; see Janet Arnold, Queen Elizabeth's Wardrobe Unlock'd, p. 125 Women's fashions of the early 16th century consisted of a long gown, usually with sleeves, worn over a kirtle or undergown, with a linen chemise or smock worn next to the skin. The high- waisted gown of the late medieval period evolved in several directions in different parts of Europe.
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Babies destined to become dragùa are born "wearing shirts" and qeleshes, with two or four wings under their arms. This notion that the predestined hero are born "in a chemise" does not refer to them literally wearing articles of clothing; rather, these are babies born with their heads covered in caul, or amniotic membrane. In some regions (such as Celza parish), it is said that dragùa babies are only born to parents whose lineage have not committed adultery for three generations, or from mothers who were kulshedras.
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The local costumes are extremely picturesque, and are well seen on the day of St John the Baptist, the patron saint. The men's costume is similar to that worn in the district generally; the linen trousers are long and black gaiters are worn. The women wear a white chemise; over that a very small corselet, and over that a red jacket with blue and black velvet facings. The skirt is brown above and red below, with a blue band between the two colours; it is accordion-pleated.
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Figueres sued the authors of the book accusing him, and won, but the controversy was still used by Corrales in campaign, to no avail as Figueres won the primary election. Corrales did not support him afterward. The negative campaign continue after the primaries. Rodríguez used the "Chemise Case" too and also accused Figueres of not being Catholic and belonging to the Christian Science cult, of having a military upraising due to his father's past as revolutionary caudillo and the fact that he's a West Point graduate, etc.
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An anecdote says that when she was asked about her dancing style, she answered, in heavy accent, "I'm shaking my chemise". However, in an interview Gilda denied having said this, and earlier usages of the word are recorded. In the late 1910s, others were also attributed as being the "inventor" of the shimmy, including Bee Palmer. Mae West, in her autobiography Goodness Had Nothing to Do with It, claimed to have retitled the "Shimmy-Shawobble" as the Shimmy herself, after seeing the moves in some black nightclubs.
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Erec challenges and defeats Yder for the sparrow-hawk and they return to Enide's father, who gives permission for the two to marry. Erec refuses to accept gifts of new clothes for Enide and takes her to Arthur's court in her ragged chemise. In spite of her appearance, the courtiers recognize Enide's inherent nobility and Queen Guinevere dresses her in one of her own richly embroidered gowns. Erec and Enide are married, and Erec wins a tournament before getting permission to leave with his wife.
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Gisor's 13th-century keep The first building work is dated to about 1095, and consisted of a motte, which was enclosed in a spacious courtyard or bailey. Henry I of England, Duke of Normandy, added an octagonal stone keep to the motte. After 1161, important reinforcement work saw this keep raised and augmented; the wooden palisade of the motte converted to stone, thus forming a chemise; and the outer wall of the bailey was completed in stone with flanking towers. The octagonal keep is considered one of the best preserved examples of a shell keep.
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The original Katorse starred 18-year-old Mercedes Galvez, which launched her to stardom in the late 1960s, and featured Antonio Gomez as Gabby and the late Roldan Cruz as Albert. Katorse is known for its sexy trademark “magic kamison” (magic chemise) donned by the young lead actress while out for a swim. Although there are only two male characters in the 1968 film, ABS-CBN management added a third character, played by Enchong Dee, in the television series. The film was remade in 1980 starring Dina Bonnevie.
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Granahan worked at WPTS in Pittston as a radio announcer and disc jockey in his youth. His Elvis Presley-like voice got him a job recording demos of songs submitted to Presley. Granahan was offered a contract with Atlantic Records in 1957 as a rockabilly artist under the name Jerry Grant, but his release sank without a trace, and another release shortly after on Mark Records was also a flop. In 1958, Granahan teamed with publisher Tommy Volando on Sunbeam Records, and recorded the single "No Chemise Please".
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It has been suggested that the bedlah was inspired by glamorous Hollywood costuming, or created to appeal to Western visitors. Earlier costumes were made up of a full skirt, light chemise and tight cropped vest with heavy embellishments and jewelry. As well as the two-piece bedlah costume, full-length dresses are sometimes worn, especially when dancing more earthy baladi styles. Dresses range from closely fitting, highly decorated gowns, which often feature heavy embellishments and mesh-covered cutouts, to simpler designs which are often based on traditional clothing.
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Alternatively, the jacket and a false waistcoat-front might be a made as a single garment, and later in the period a simpler riding jacket and petticoat (without waistcoat) could be worn. Another alternative to the traditional habit was a coat-dress called a joseph or riding coat (borrowed in French as redingote), usually of unadorned or simply trimmed woolen fabric, with full-length, tight sleeves and a broad collar with lapels or revers. The redingote was later worn as an overcoat with the light-weight chemise dress.
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Many of the Latinate roots were given an Italianesque appearance, corresponding to the use of Italian as a model for Esperanto pronunciation, but in form are closer to French, such as ĉemizo 'shirt' (French chemise [ʃəmiz], Italian camicia [kamit͡ʃa]) and ĉevalo 'horse' (French cheval [ʃəval] , Italian cavallo [kavallo]). Since Zamenhof's day, a large amount of Latinate vocabulary has been added to the language. In 1987, Mattos calculated that 84% of basic vocabulary was Latinate, 14% Germanic, and 2% Slavic and Greek.Mattos, Geraldo, "La deveno de Esperanto", Fonto 1987.
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Gilda Gray's obituary published in Time magazine said that she was reportedly married at 11 and became a mother at 12. Time magazine obituary Although the shimmy is said to have been introduced to American audiences by Gray in New York in 1919, the term was widely used before, and the shimmy was already a well-known dance move. Gray appropriated it as her own, saying that she had accidentally invented the shimmy while dancing at her father-in-law's saloon and "shaking her chemise" (or her "shimee", as her Polish accent rendered it).
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The name smock is nowadays still used for military combat jackets in the UK, whereas in the Belgian army the term has been corrupted to smoke-vest. A chemise, shift, or smock was usually sewn at home, by the women of a household. It was assembled from rectangles and triangles cut from one piece of cloth so as to leave no waste. The poor would wear skimpy chemises pieced from a narrow piece of rough cloth; while the rich might have voluminous chemises pieced from thin, smooth fine linen.
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Mary of Bethany sat at Jesus' feet and "listened to His Word", and thus is seen as a contemplative figure. The counterpoint is Mary's sister Martha who, representative of the active life, wished that Mary would help her serve.Jones (2011), 54 Mary is shown by van der Weyden as youthful, sitting in quiet piety with her head tilted and eyes modestly averted from the viewer. She is absorbed in her reading of a holy book, the covers of which include a chemise of white cloth, a common form of protective binding.
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It was executed, along with a number of other high-society portraits, during his second visit to Italy. The woman wears a patterned gown with tied-on sleeves that show the chemise beneath. Her hair frames her face in soft waves, and back hair is confined in a small draped cap. The work's harmony and grace is achieved through its mixtures of tones, from her pale, elegant skin and reddish blond hair to her black-and pearl necklace and highly-fashionable patterned dress; all of which are highlighted against a flat black background.
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Anne of Brittany, Queen of France, and her ladies wear round hoods over linen caps. Anne's gown is open at the front to reveal a figured silk kirtle beneath. The gowns have wide sleeves with turned-back cuffs lined in fur, 1508. Anne Stafford wears a black fur-lined gown with turned-back sleeves over a dark kirtleThe fur lining of the gown can just be seen at the neckline, with the higher neckline of kirtle beneath it, then the sheer partlet, and the smock or chemise beneath the partlet.
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The French gown of the first part of the century was loosely fitted to the body and flared from the hips, with a train. The neckline was square and might reveal the kirtle and chemise beneath. Cuffed sleeves were wide at the wrist and grew wider, displaying a decorated undersleeve attached to the kirtle. The gown fastened in front early, sometimes lacing over the kirtle or a stomacher, and the skirt might be slit in front or the train tucked up in back to display the skirt of the kirtle.
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Price, p. 10. In 1972 the director of the Metropolitan Museum of Art remarked that Norell was an "inventive pacesetter," who was well known for his high quality, tailored fashions. He was especially known for his sailor-inspired clothes, chemise dresses, wool jersey dresses, and Empire-line dresses, as well as culottes and sequin-covered, "mermaid" evening gowns and sheath dresses. In the late 1960s, during the height of his popularity, Norell's "mermaid" gowns sold for $3,000 to $4,000, "considered the most expensive dresses in America" at that time.
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Westward, nearer the coast, the Mendocino Range can best be seen by following Highway 1. Scenic vistas include Gilham Butte, the Chemise and Red Mountains along the South Fork of the Eel River, and Cahto Peak, near Leggett. These mountains form a rugged terrain that includes Rattlesnake Pass and other mountains along U.S. Route 101. This mountainous terrain continues south to include Jackson State Forest and the Big River watershed, near Ft. Bragg and Mendocino, with elevations from sea level to 1710 feet, and the area around Ukiah, to include English Ridge, the Sanhedrin Mountains, the Snow Mountain Wilderness, and Cache Creek.
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PLN's primary was more focus on personal attacks. In it José María Figueres Olsen, son of PLN's caudillo and former president José Figueres Ferrer, faced popular anti-corruption and anti-narcotraffic deputy José Miguel Corrales, alongside other candidates like former First Lady Margarita Penón (wife of Óscar Arias) and San José Mayor Rolando Araya (nephew of former president Luis Alberto Monge). Thus, most candidates except Corrales came from important political families. Figueres' image was affected by the "Chemise Case", the allegations that he was involved in the murder of a young drug dealer while in custody during one of his father's governments.
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She reported to her father-in-law Miran Shah's actions as well as his intention to overthrow him, suggesting that "If the victorious army does not cast its mighty shadow over Azerbaijan, it is quite probable that the prince will rebel." She also revealed to the emperor the mistreatment she herself had suffered at her husband's hands. The historian Daulatshah states that Timur was moved to tears when Khanzada presented to him her blood-stained chemise, though this episode is not confirmed in contemporary sources. Official histories only state that Miran Shah had made crude accusations against her that were later disproven.
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Traditionally attributed to the School of Raphael, the removal of 19th- century repainting and X-ray examination have shown that the hand, sleeves and chemise were later additions.Pierluigi De Vecchi, Raffaello, Rizzoli, Milano 1975. The most likely hypothesis is that Giulio painted the head, neck and bust after a design by Raphael, and that Raphael then added the hand and the sleeves, and covered the young woman's cleavage. The identity of the sitter remains unknown; although there is a typological likeness, she is not the same person as La Fornarina: her nose, for instance, has a different shape.
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Zebda is a French music group from Toulouse, France, known for its political activism and its wide variety of musical styles. The group, which was formed in 1985, consisted of seven musicians of diverse nationalities, and the themes of much of their music involved political and social justice, the status of immigrants and minorities in France, and the inhabitants of the French banlieues, or suburbs. English: "Zebda continues to talk about exclusion, racism, tolerance and its opposite." Zebda earned widespread recognition, as well as several awards, for its 1998 single "Tomber la chemise" ("Take Off Your Shirt").
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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.
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24 St. Osyth was known for her intricate embroidery skills. On one occasion she constructed a small wooden box, embroidered on the lid were Mary, Queen of Scots, Elizabeth I and Anne Boleyn, all copies of portraits in the National Portrait Gallery in London. The likeness to the original portrait of Mary Queen of Scots is very striking, right down to the stitched blackwork detail on the chemise. Perhaps it was this 'royal' connection that caught the eye of one of Queen Mary's ladies-in-waiting who saw Mrs Wood's work in an arts and crafts exhibition in Blakeney, Norfolk, in the 1950s.
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427See Balenciaga suit, 1954/55, V&A; Museum Coco Chanel made a comeback in 1954 and an important look of the latter 1950s was the Chanel suit, with a braid-trimmed cardigan-style jacket and A-line skirt. By 1957, most suits featured lightly fitted jackets reaching just below the waist and shorter, narrower skirts. Balenciaga's clothes featured few seams and plain necklines, and following his lead chemise dresses without waist seams, either straight and unfitted or in a princess style with a slight A-line, became popular. The sleeveless, princess-line dress was called a skimmer.
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HH refers to 'Hiver' (Winter). '101' refers to the item group, in this case, trousers (Pantalon). Other examples: 102 refers to blazers (Veste), 105 to shirts (Chemise) and so forth. The next 4 numbers '5678' should refer to the specific item, with jeans it will reveal the type of cut as the entire 16 digit reference code will only differ by the first 2 digits in this set of 4 numbers for the differing cut. As noted earlier, the # for this item is 5EH1015678 E47 B6A8, referring to the 21 cm cut. The # for the 19 cm variant is 5EH1011678 E47 B6A8.
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During the early 1990s, Izod Lacoste struggled to maintain the market dominance it had enjoyed in previous decades. The initial reaction from Crystal Brands was to separate the two names and target two groups of customers at once; "Izod" was re-introduced as moderate pricepoint apparel in department stores, while Lacoste was renamed "Lacoste Chemise", and re-positioned as a luxury lifestyle brand. Eventually this tactic did not provide the financial gain Crystal had hoped and the license partnering ended in 1993. Sportloisirs S.A. purchased the Lacoste brand entirely in 1993, while Izod was sold to Phillips-Van Heusen Corporation in 1995.
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The stone castle is a large, irregular hexagon with a round keep on the west side, to which were attached two other towers and a partial mantlet or chemise wall. At the north-west corner is a twin square-towered gatehouse with another tower inside. The ground falls away steeply to the north, east, south and south west, where there are various other turrets, though not scientifically disposed. The whole structure is now in a dangerous condition, but the south wall can be seen from the footpath that runs past the 18th-century mansion on the estate (), immediately to the south.
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The painting depicts the moment immediately after the Lady of Shalott has looked directly out of her window at Sir Launcelot, as her fate beings to unwind. She is standing within her circular loom, with an unfinished and indistinct tapestry intended to represent Galahad presenting the Holy Grail to Arthur, However, the weaving is breaking, trapping her in its threads. She is wearing a brightly coloured bodice over a cream chemise, with a pink skirt. Her feet are bare, with her slip-on pattens nearby, and her long hair has whipped up wildly above her head.
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Henry II came to the throne in 1154 and built extensively at Windsor between 1165 and 1179. Henry replaced the wooden palisade surrounding the upper ward with a stone wall interspersed with square towers and built the first King's Gate. The first stone keep was suffering from subsidence, and cracks were beginning to appear in the stonework of the south side. Henry replaced the keep with another stone shell keep and chemise wall, but moved the walls in from the edge of the motte to relieve the pressure on the mound, and added massive foundations along the south side to provide additional support.
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Utopie d'Occase is the fourth studio album by French rock group Zebda. It was released in 2002 and produced by Zebda and Nicholas Sansano. After the success the band met with its previous album, Essence ordinaire, and especially with the song "Tomber la chemise", it feared it would be turned into a commercial band and so decided to put more focus on the lyrics in this album while still keeping the same music that the fans were used to. In Utopie d'occase the songs, written as usual by Magyd Cherfi, evoke such themes as immigration, racism, violence, poverty and social injustice.
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Vietnamese adopted many French terms, such as đầm (dame, from madame), ga (train station, from gare), sơ mi (shirt, from chemise), and búp bê (doll, from poupée). In addition, many Sino-Vietnamese terms were devised for Western ideas imported through the French. Henri Maspero described six periods of the Vietnamese language: #Proto-Viet–Muong, also known as Pre- Vietnamese or Proto-Vietnamuong, the ancestor of Vietnamese and the related Muong language (before 7th century AD). #Proto-Vietnamese, the oldest reconstructable version of Vietnamese, dated to just before the entry of massive amounts of Sino-Vietnamese vocabulary into the language, c.
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Woman from Susak wearing "everyday" garb circa 1940 Susak is perhaps best known for the ornate and elaborate costumes worn by younger women primarily for special occasions such as a wedding or feast day. The costume is made up of a short, brightly, almost neon, colored skirt with multiple ruffled petticoats underneath which gives the wearer the appearance that she is dressed in a ballet tutu. A similar- colored vest is generally worn over a long-sleeved, white chemise. The outfit is accentuated by pink or orange woolen stockings, leather shoes, and a headpiece which matches the colors of the skirt.
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His low-necked shirt or chemise is of fine linen, gathered and trimmed with a band of gold braid or embroidery, and worn under an open-fronted doublet and a cloak tied over one shoulder. His white jacket has black lining under a white pleated shirt of which the verticals match the horizontals of his headdress. His fingers are crossed, hidden inside silk gloves, an unusual pose for Dürer's early career; he always paid close attention in detailing the hands of his sitters who are usually showing holding an object; examples include a pillow, rosary, sheet of paper and flower.Waetzoldt, Wilhelm.
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The basic costume of men in this period consisted of a shirt, doublet, and hose, with some sort of overrobe (robe worn over clothing). Linen shirts were worn next to the skin. Toward the end of the period, shirts (French chemise, Italian camicia, Spanish camisa) began to be full through the body and sleeves with wide, low necklines; the sleeves were pulled through the slashings or piecing of the doublet sleeves to make puffs, especially at the elbow and the back of the arm. As the cut of doublets revealed more fabric, wealthy men's shirts were often decorated with embroidery or applied braid.
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Strong, Roy, Tudor & Jacobean Portraits, The National Portrait Gallery, London 1969, p.20 The 'Christ's College Icon' by Jenny Summerfield (Christ's College chapel, Cambridge) One variant of the portrait by Meynnart Wewyck in 1510 by Rowland Lockey from the late 1590s shows her at prayer in her richly furnished private closet behind her chamber. The plain desk at which she kneels is draped with a richly patterned textile that is so densely encrusted with embroidery that its corners stand away stiffly. Her lavishly illuminated Book of Hours is open before her, with its protective cloth wrapper (called a "chemise" binding), spread out around it.
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When France invaded Vietnam in the late 19th century, French gradually replaced Chinese as the official language in education and government. Vietnamese adopted many French terms, such as đầm (dame, from madame), ga (train station, from gare), sơ mi (shirt, from chemise), and búp bê (doll, from poupée). In Indonesia, the devastating 1815 eruption of Mount Tambora wiped out the poorly attested Papuan Tambora language, which was the westernmost Papuan language in central Sumbawa. The eruption destroyed the town of Tambora, with 10,000 people that possessed bronze bowls, glass and ceramic plates and were among the last cultures left from the pre-Austronesian history of Indonesia.
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Main gate and shield wall The castle is defended from the high hillside on the west by a chemise wall which has been fortified to form a shield wall 2.6 m thick. There is an interior stairway, which does not, however, reach as far as the roofed chemin de ronde at the top of the wall; it is used to reach the upper floors of the 1930s tower building. Some of the tall, narrow embrasures were subsequently walled closed at the base and fitted with wooden frames to absorb the recoil of early firearms. Their fishtail shape indicates that the wall dates to the first half of the 14th century.
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This trend was quickly adopted by fashionable women in France and England, but upon the debut of the portrait of Marie Antoinette by Elisabeth Vigée-Lebrun, the clothing style created a scandal and increased the hatred for the queen. The queen's clothing in the portrait looked like a chemise, nothing more than a garment that women wore under her other clothing or to lounge in the intimate space of the private boudoir. It was perceived to be indecent, and especially unbecoming for the queen. The sexual nature of the gaulle undermined the notions of status and the ideology that gave her and kept her in power.
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René Lacoste founded La Chemise Lacoste in 1933 with André Gillier, the owner and president of the largest French knitwear manufacturing firm at the time. They began to produce the revolutionary tennis shirt Lacoste had designed and worn on the tennis courts with the crocodile logo embroidered on the chest. The company claims this as the first example of a brand name appearing on the outside of an article of clothing. Starting in the 1950s, Izod produced clothing known as Izod Lacoste under license for sale in the U.S. This partnership ended in 1993 when Lacoste regained exclusive U.S. rights to distribute shirts under its own brand.
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Although, they are not common in English or New England inventories during the 17th and 18th century.Clothing Through American History: The British Colonial Era, by Kathleen A. Staples, Madelyn C. Shaw page 245 Woolen waistcoats were worn over the corset and under the gown for warmth, as were petticoats quilted with wool batting. Free-hanging pockets were tied around the waist and were accessed through pocket slits in the gown or petticoat. Loose gowns, sometimes with a wrapped or surplice front closure, were worn over the shift (chemise), petticoat and stays (corset) for at-home wear, and it was fashionable to have one's portrait painted wearing these fashions.
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The inventor, proffering apologies, ushers the gentleman client to the seat, but he fares even worse: his projected portrait shows him as a hairy, monkey-like creature, gibbering maniacally. In a rage, the gentleman runs around the room, trying to destroy the machine, but touching one of the devices gives him an electrical shock that makes his hair stand on end. He rushes to his lady companion, whose outer garments are torn apart when she stands too near another device, leaving her in her chemise and petticoats. The two clients leave the studio in a rage, while the inventor and his servants laugh uproariously.
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The ' or ' was a gown with a bell-shaped hoop skirt with visible casings stiffened with reeds, which would become the farthingale. The earliest depictions of this garment come from Catalonia, where it is worn with pieced or slashed sleeves and the second new style, a chemise with trumpet sleeves, open and very wide at the wrist. The sideless surcoat of the 14th century became fossilized as a ceremonial costume for royalty, usually with an ermine front panel (called a plackard or placket) and a mantle draped from the shoulders; it can be seen in variety of royal portraits and as "shorthand" to identify queens in illuminated manuscripts of the period.
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Between the classical bikinis and the modern bikini there has been a long interval. Swimming or outdoor bathing were discouraged in the Christian West and there was little need for a bathing or swimming costume till the 18th century. The bathing gown in the 18th century was a loose ankle- length full-sleeve chemise-type gown made of wool or flannel, so that modesty or decency was not threatened.Claudia B. Kidwell, Women's Bathing and Swimming Costume in the United States, Smithsonian Institution Press, City of Washington, 1968 In the first half of the 19th century the top became knee- length while an ankle-length drawer was added as a bottom.
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The flowers allude to the sitter's beauty and youth, which are in full bloom. A branch of lilies, depicted in the upper right, refers to her chastity.Jacob Ferdinand Voet (Antwerp 1639–1689 Paris) and attributed to Mario Nuzzi, called Mario dei Fiori (Rome 1603–1673), Portrait of a lady, traditionally identified as a member of the Colonna family, small half-length, in a green dress with a white chemise, surrounded by a garland of flowers at Christie's Voet's works were widely disseminated through copies by the Roman painter Pietro Veglia and engravings by the Flemish engraver Albertus Clouwet. The Roman publisher Giovanni Giacomo Rossi included Voet's portraits of Cardinals in the publication Effigies Cardinalium nunc viventum.
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Emma was highly capable in her attitudes, and the influence of her dress spread from Naples to Paris as wealthy Parisians took the Grand Tour. A satirical 1796 contrast between old Elizabethan and Directoire clothing styles: Too Much and Too Little, reads the caption of this caricature by Isaac Cruikshank There is also some evidence that the white muslin shift dress became popular after Thermidor through the influence of prison dress. Revolutionary women such as Madame Tallien portrayed themselves in this way because it was the only clothing they possessed during their time in prison. The chemise á la grecque also represented the struggle for representation of the self and the stripping down of past cultural values.
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1811 illustration of underclothes, showing one form of Regency "stays" Fashionable women of the Regency era wore several layers of undergarments. The first was the chemise, or shift, a thin garment with tight, short sleeves (and a low neckline if worn under evening wear), made of white cotton and finished with a plain hem that was shorter than the dress. These shifts were meant to protect the outer-clothes from perspiration and were washed more frequently than outer clothes. In fact, washerwomen of the time used coarse soap when scrubbing these garments, then plunged them in boiling water, hence the absence of color, lace, or other embellishments, which would have faded or damaged the fabric under such rough treatment.
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The administrators and the wealthy wore caftans with fur lining and embroidery, whereas the middle class wore 'cübbe' (a mid-length robe) and 'hırka' (a short robe or tunic), and the poor wore collarless 'cepken' or 'yelek' (vest). Women's everyday wear was şalvar (trousers), a gömlek (chemise) that came down to the mid-calf or ankle, a short, fitted jacket called a zıbın, and a sash or belt tied at or just below the waist. For formal occasions, such as visiting friends, the woman added an entari or kaftan, a long robe that was cut like the zıbın apart from the length. Both zıbın and kaftan were buttoned to the waist, leaving the skirts open in front.
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Some existing motte-and-bailey castles were converted to stone, with the keep and the gatehouse usually the first parts to be upgraded.Brown (1962), p.38. Shell keeps were built on many mottes, circular stone shells running around the top of the motte, sometimes protected by a further chemise, or low protective wall, around the base. By the 14th century, a number of motte and bailey castles had been converted into powerful stone fortresses.King (1991), pp.62-65 A reconstruction of England's Carisbrooke Castle on the Isle of Wight as it was in the 14th century, showing the keep built atop the motte (top left), and the walled-in bailey below Newer castle designs placed less emphasis on mottes.
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During the years of the French Revolution, women's dress expanded into different types of national costume. Women wore variations of white skirts, topped with revolutionary colored striped jackets, as well as white Greek chemise gowns, accessorized with shawls, scarves, and ribbons. By 1790, skirts were still somewhat full, but they were no longer obviously pushed out in any particular direction (though a slight bustle pad might still be worn). The "pouter-pigeon" front came into style (many layers of cloth pinned over the bodice), but in other respects women's fashions were starting to be simplified by influences from Englishwomen's country outdoors wear (thus the "redingote" was the French pronunciation of an English "riding coat"), and from neo-classicism.
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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.
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Cutty-sark, the nickname of the witch Nannie Dee who chases Tam o' Shanter, snatching his horse's tail before he escapes by crossing water The ship was named after Cutty-sark, the nickname of the witch Nannie Dee in Robert Burns's 1791 poem Tam o' Shanter. The ship's figurehead, the original of which has been attributed to carver Fredrick Hellyer of Blackwall, is a stark white carving of a bare-breasted Nannie Dee with long black hair holding a grey horse's tail in her hand.The Cutty Sark's figurehead at Seawitchartist.com In the poem she wore a linen (Scots: a short chemise or undergarment), that she had been given as a child, which explains why it was cutty, or in other words far too short.
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Typically for Catalan painting at this date, which was conservative by Italian standards, the panel still has a "gold ground" background, decorated in textile-like patterns of pastiglia stucco relief, which is also used for the croziers and jewels on the mitres and vestments of the figures. Saint Augustine, the dedicatee of the church, is shown being consecrated by several other bishops as Bishop of Hippo in Roman North Africa, which happened in 395, although the painting shows entirely contemporary styles of dress. The unvested figure reading a book in a chemise covering on the left is a donor portrait of one of the friars, probably the head of the community. Another friar's head, looking like a portrait, peeps out at the rear right.
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In The Curse of the Black Pearl, she wears a dress style known as a Robe a L'Anglaise. As a young girl, she wears a blue dress in this style, and, eight years later, her father presents her with a gold- colored frock to wear at Commodore Norrington's promotion ceremony. Elizabeth is kidnapped wearing a long, floral cream-colored dressing gown, though Captain Barbossa later insists she wear a red dress, previously owned by another lady; she is forced to return it prior to walking the plank and being marooned on a deserted island, clad only in a long white chemise . After being rescued by Commodore Norrington, Elizabeth is loaned a Royal Navy uniform, the first time she is seen in men's attire.
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An 1872 nursing chemise shows a movable flap that allows access for breastfeeding The first US patent for a bra was granted in 1913 to Mary Phelps Jacob. Her invention is the most widely recognized as the predecessor to the modern bra and consequently the nursing bra. In October 1932, the S.H. Camp and Company correlated breast size and the degree they sag to letters of the alphabet, A, B, C, and D. Camp's advertising featured letter-labeled profiles of breasts in the February 1933 issue of Corset and Underwear Review. These procedures were only designed to help women with the then-standard sizes A through D up to a size 38 band size and were not intended to be used for larger-breasted women.
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Dentist Henry Parkhouse (Lynne Overman) and his wife Minerva (Spring Byington) have a perfect marriage until a practical joke backfires and she finds a lady's chemise in his coat pocket. Wife and husband both consult Dr. Zodiac Z. Zippe (Leo Carrillo) about what to do, and vaudevillians-turned-detectives Bertie and Genevieve Sterns (Benny Baker and Collette Lyons) get involved as well. On his lawyer's advice, Henry rents a hotel room to set up a compromising situation, only the Parkhouses' daughter Phyllis (Mary Carlisle) is in the same hotel to elope with Frank Ketts (John Patterson), and plans to get married in the room next to Henry's. When Judge Sterling Newhall (Porter Hall) shows up to officiate, he knocks on Henry's door looking for a witness.
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The main development and definition of the ecclesiastical vestments, however, took place between the 6th and the 9th centuries. The secular fashions altered with changes of taste, but the Church retained the dress with the other traditions of the Roman Empire. At Rome, especially, where the popes had succeeded to a share of the power and pretensions of the caesars of the West, the accumulation of ecclesiastical vestments symbolized a very special dignity: in the second quarter of the 9th century the pope, when fully vested, wore a camisia (chemise) girdled, an alb (linea) girdled, an amice (anagolaium), a tunicle (dalmatica minor), a dalmatic (dalmatica major), stole (orarium), chasuble (planeta) and pallium. With the exception of the pallium, this was also the costume of the Roman deacons.
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In adolescence, Éponine becomes a "pale, puny, meagre creature", with a hoarse voice like "a drunken galley slave's", having been "roughened by brandy and by liquors". She wears dirty and tattered clothing, consisting solely of a chemise and a skirt. She is missing a few teeth, is barefoot, has tangled hair, bony shoulders, and heavy brooding drooping eyes, while the "grace of her youth was still struggling against the hideous old age brought on by debauchery and poverty" and has only a trace of beauty lingering upon her face. She had "the form of an unripe young girl and the look of a corrupted old woman; fifty years joined with fifteen; one of those beings who are both feeble and horrible at once, and who make those shudder whom they do not make weep".
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State Route 211 crossing the Eel River State Route 211 looking north from the city limits of Ferndale, California Currently, Route 211 runs about 5 miles (8 km) from roughly the intersection of Main Street and Ocean Avenue in Ferndale north to US 101 in Fernbridge, crossing over the bridge of the same name over the Eel River. However, the highway was meant to extend south through the Lost Coast region to California State Route 1 near Rockport. This remaining 103 mi (166 km) of Highway 211 is unlikely ever to be constructed because of the steep and unstable highlands of the Lost Coast. The traversable route through Humboldt and Mendocino Counties is Chemise Mountain Road, Wilder Ridge Road, and Mattole Road, but these remain small mountain roads.
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Conboy and McCouaig, The War in Laos 1960–75 (1989), pp. 11; 16. Light blue and blue-grey work uniforms were also issued to RLAF ground and flight personnel, which consisted of a light cotton shirt and pants. The former was based on the French Army's M1948 shirt (French: Chemise de toile Mle 1948) which featured a six-buttoned front and two pleated breast pockets closed by pointed flaps, was provided with shoulder straps (French: Epaulettes) and had long sleeves with buttoned cuffs. It was worn with matching trousers similar to the French M1945/52 pattern (French: Pantalon de toile Mle 1945/52), which had two pleats at the front hips, side slashed pockets and an internal pocket at the back, on the right side.Conboy and McCouaig, The War in Laos 1960–75 (1989), pp. 14; 16.
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French poet, burned at the stake for "atheism," but in particular for having written the poem below. Amis, on a brûlé le malheureux Chausson... 1661 Amis, on a brûlé le malheureux Chausson, ce coquin si fameux, à la tête frisée; sa vertu par sa mort s'est immortalisée: jamais on n'expira de plus noble façon. Il chanta d'un air gai la lugubre chanson et vêtit sans pâlir la chemise empesée, et du bûcher ardent de la pile embrasée, il regarda la mort sans crainte et sans frisson. En vain son confesseur lui prêchait dans la flamme, le crucifix en main, de songer à son âme; couché sous le poteau, quand le feu l'eut vaincu, l'infâme vers le ciel tourna sa croupe immonde, et, pour mourir enfin comme il avait vécu, il montra, le vilain, son cul à tout le monde.
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Upon its formation at the mid-1950s, most Laotian Navy personnel received the standard French Navy's tropical working and service dress, consisting of a light khaki cotton shirt and pants. The French Navy's M1948 shirt (French: Chemise kaki clair Mle 1948) featured a six-buttoned front and two pleated breast pockets closed by pointed flaps, was provided with shoulder straps (French: Epaulettes) and had long sleeves with buttoned cuffs. It was worn with matching khaki M1945/52 slacks (French: Pantalon kaki clair Mle 1945/52), which featured two pleats at the front hips, side slashed pockets and an internal pocket at the back, on the right side. The French Army's tropical light khaki cotton shirt and pants (French: Tenue de toile kaki clair Mle 1945), modelled after the WWII US Army tropical "Chino" working dress was also issued.
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The Venetian lady's high chopines make her look taller. Marie Antoinette, wife of Louis XVI, was a leader of fashion. Her choices, such as this 1783 white muslin dress called a chemise a la Reine, were highly influential and widely worn. In the 16th century, national differences were at their most pronounced. Ten 16th century portraits of German or Italian gentlemen may show ten entirely different hats. Albrecht Dürer illustrated the differences in his actual (or composite) contrast of Nuremberg and Venetian fashions at the close of the 15th century (illustration, right). The "Spanish style" of the late 16th century began the move back to synchronicity among upper-class Europeans, and after a struggle in the mid-17th century, French styles decisively took over leadership, a process completed in the 18th century.Braudel, 317–321 Though different textile colors and patterns changed from year to year,Thornton, Peter.
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That which must be seen in the > painting is not a luncheon on the grass; it is the entire landscape, with > its vigors and its finesses, with its foregrounds so large, so solid, and > its backgrounds of a light delicateness; it is this firm modeled flesh under > great spots of light, these tissues supple and strong, and particularly this > delicious silhouette of a woman wearing a chemise who makes, in the > background, an adorable dapple of white in the milieu of green leaves. It > is, in short, this vast ensemble, full of atmosphere, this corner of nature > rendered with a simplicity so just, all of this admirable page in which an > artist has placed all the particular and rare elements which are in > him.Émile Zola, Édouard Manet, 1867, et lps 91 Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre (The Masterpiece) (1886).
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The smock was most commonly associated with British and Commonwealth airborne units, and the Special Air Service Regiment, after D-Day, but its initial use was by members of the Special Operations Executive (SOE), parachuted or landed into enemy territory between 1941 and 1944. In the early smocks the colours were meant to be impermanent and wash out, leaving the garment looking like a typical French artisan or labourer’s chemise, and thus, hopefully, aiding the wearer's Escape and Evasion chances. As the newly formed Airborne Forces expanded, so the need for smocks grew, meaning that they were by now screen printed for easier production. For use by Airborne troops, the Denison was worn over the battledress and under the webbing, with a sleeveless green denim oversmock being worn over the ensemble to prevent rigging lines snagging in the webbing and causing a 'chute malfunction.
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The innermost layer of a woman's clothing was a linen or woolen chemise or smock, some fitting the figure and some loosely garmented, although there is some mention of a "breast girdle" or "breast band" which may have been the precursor of a modern bra.Singman and McLean: Daily Life in Chaucer's England, page 98 Women also wore hose or stockings, although women's hose generally only reached to the knee. All classes and both sexes are usually shown sleeping naked—special nightwear only became common in the 16th centuryHistory of Nightwear (German)—yet some married women wore their chemises to bed as a form of modesty and piety. Many in the lower classes wore their undergarments to bed because of the cold weather at night time and since their beds usually consisted of a straw mattress and a few sheets, the undergarment would act as another layer.
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A banyan (through Portuguese banian and Arabic , banyān, from the Tamil "vaaniyan (வாணியன்)/ vanigan (வணிகன்)", the Gujarati , vāṇiyo, meaning "merchant", ) is a garment worn by European men and women in the late 17th and 18th century, influenced by the Japanese kimonos brought to Europe by the Dutch East India Company in the mid-17th century. Banyan is also commonly used in present-day Indian English and other countries in the Indian Subcontinent to mean "vest" ("undershirt" in American English, "singlet" in Australian English). Also called a morning gown, robe de chambre or nightgown, the banyan was a loose, T-shaped gown or kimono-like garment, made of cotton, linen, or silk and worn at home as a sort of dressing gown or informal coat over the shirt and breeches. The typical banyan was cut en chemise, with the sleeves and body cut as one piece.
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Swimming or bathing outdoors was discouraged in the Christian West, so there was little demand or need for swimming or bathing costumes until the 18th century. The bathing gown of the 18th century was a loose ankle-length full-sleeve chemise- type gown made of wool or flannel that retained coverage and modesty.Claudia B. Kidwell, Women's Bathing and Swimming Costume in the United States, Smithsonian Institution Press, City of Washington, 1968 In 1907, Australian swimmer and performer Annette Kellerman was arrested on a Boston beach for wearing form-fitting sleeveless one-piece knitted swimming tights that covered her from neck to toe, a costume she adopted from England, although it became accepted swimsuit attire for women in parts of Europe by 1910.Liz Conor, The spectacular modern woman: feminine visibility in the 1920s, page 152, Indiana University Press, 2004, In 1913, designer Carl Jantzen made the first functional two-piece swimwear.
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The basic Royal Cambodian Army (ARK) work uniform for all-ranks was a local copy of the French Army's tropical working dress (French: Tenue de toile kaki clair Mle 1945), consisting of a light khaki cotton shirt and pants modelled after the WWII US Army tropical "Chino" khaki working dress. The M1945 shirt had a six-buttoned front, two patch breast pockets closed by clip-cornered straight flaps and shoulder straps (French: Epaulettes) whilst the M1945 "Chino" pants featured two pleats at the front hips. In alternative, the short-sleeved M1946 (French: Chemisette kaki clair Mle 1946), which featured two pleated breast pockets closed by pointed flaps or the "Chino"-style M1949 (French: Chemisette kaki clair Mle 1949) shirts could be worn; a long-sleeved version also existed, based on the French M1948 shirt (French: Chemise kaki clair Mle 1948).Conboy, FANK: A History of the Cambodian Armed Forces, 1970–1975 (2011), p. 15.
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She made her debut in 1971, appearing in Jean-Claude Roy's French classic Les Petites Filles modèles, in which she played one of the lead roles alongside Jessica Dorn, Cathy Reghin, Michele Girardon and Bella Darvi.Marie-Georges Pascal at Encyclo-ciné (French) From 1972 to early 1973 she performed six erotic films including Je suis frigide... pourquoi? with Sandra Julien,Sandra Julien is another actress who has worked with director Jean Rollin in Le Frisson des Vampires German film Hausfrauen Report international, Bananes mécaniques, with Anne Libert, Pauline Larrieu, Philippe GastéPhilippe Gasté of Jean Rollin's Requiem pour un Vampire and Patrice Valota,Patrice Valota also appeared in Les Raisins de la Mort Quand Les Filles se Déchaînent, Les Infidèles and Les confidences érotiques d'un lit trop accueillant, with Olga Georges-Picot. In 1973, she received roles in comedy films, L'Historie Très Bonne et Très Joyeuse de Colinot Trousse-Chemise, with Brigitte Bardot and Gross Paris, and in a drama La Rage au poing, alongside Tony Gatlif.
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The bathing gown in the 18th century was a loose ankle-length full-sleeve chemise-type gown made of wool or flannel, so that modesty or decency was not threatened.Claudia B. Kidwell, Women's Bathing and Swimming Costume in the United States, Smithsonian Institution Press, City of Washington, 1968 In the United Kingdom until the mid-19th century there was no law against nude swimming, and each town was free to make its own laws. For example, the Bath Corporation official bathing dress code of 1737 prescribed, for men: > It is Ordered Established and Decreed by this Corporation that no Male > person above the age of ten years shall at any time hereafter go into any > Bath or Baths within this City by day or by night without a Pair of Drawers > and a Waistcoat on their bodies. In rivers, lakes, streams and the sea men swam in the nude, where the practice was common.
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Balthild’s ornate chemise both expresses her dedication to the church, as well as her status as a queen to Clovis II. The sleeveless tabard was likely crafted by either Balthid herself, or nuns of Chelles Abbey, and measures 84 centimeters wide and 117 centimeters tall. It intended to loosely hang over the front and back of the body over a dress, although the back portion is currently lost. The garment consists of simple linen as a gesture of humility towards the church, as linen was a fabric commonly worn by lower classes of the time. The silken details make up a large bejeweled Christian cross 17.5 centimeters tall, small human and bird portraits, as well as several patterned rings around the collar mimicking studded golden necklaces. These embroidered necklaces were sewn in the exact likeness of the jewelry Balthild wore during her status as queen, and were also a symbol of Balthild’s devotion, trading her actual jewelry for sewn replica as a member of Chelles Abbey.
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That which must be seen in the > painting is not a luncheon on the grass; it is the entire landscape, with > its vigors and its finesses, with its foregrounds so large, so solid, and > its backgrounds of a light delicateness; it is this firm modeled flesh under > great spots of light, these tissues supple and strong, and particularly this > delicious silhouette of a woman wearing a chemise who makes, in the > background, an adorable dapple of white in the milieu of green leaves. It > is, in short, this vast ensemble, full of atmosphere, this corner of nature > rendered with a simplicity so just, all of this admirable page in which an > artist has placed all the particular and rare elements which are in > him.Émile Zola, Édouard Manet, 1867, et lps 91Émile Zola, Édouard Manet, > 1867, link to English translation Zola presents a fictionalised version of the painting and the controversy surrounding it in his novel L'Œuvre (The Masterpiece).
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In 1765 his Coresus et Callirhoe secured his admission to the Academy. It was made the subject of a pompous (though not wholly serious) eulogy by Diderot, and was bought by the king, who had it reproduced at the Gobelins factory. Hitherto Fragonard had hesitated between religious, classic and other subjects; but now the demand of the wealthy art patrons of Louis XV's pleasure-loving and licentious court turned him definitely towards those scenes of love and voluptuousness with which his name will ever be associated, and which are only made acceptable by the tender beauty of his color and the virtuosity of his facile brushwork; such works include the Blind Man's Bluff (Le collin maillard), Serment d'amour (Love Vow), Le Verrou (The Bolt), La Culbute (The Tumble), La Chemise enlevée (The Shirt Removed), and L'escarpolette (The Swing, Wallace Collection), and his decorations for the apartments of Mme du Barry and the dancer Madeleine Guimard. The portrait of Denis Diderot (1769) has recently had its attribution to Fragonard called into question.
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This work was a copy of a monument commissioned from him for a tomb in America. He exhibited Gilliat Struggling with the Octopus, which earned him a second prize at the Salon of 1879, and Before the Stone Age, which earned him a scholarship to travel and visit Italy in 1881. In Florence he modeled the outline of The Blind and the Paralytic for which he was awarded the first medal of the Salon of 1883. In 1885 he unsuccessfully sought a workshop at Garde-meuble or the quai de l'Alma for his sculpture work.Ministère de la Culture, base Arcade, Cote:F/21/4296B, sur la chemise récapitulatif des œuvres achetées ou commandées entre 1879 et 1903.Notice:AR456816 In 1886, he requested a grant of a block of marble, which was denied. In 1888 he obtained a commission to make a work of sculpture for the decoration of the Industrial School of Roubaix or the Universal Exhibition of 1889, which did not happen. In 1889 after winning his gold medal at the Exposition Universelle in Paris, he decided to transform his Gilliat, which he exhibited at the Salon of 1890.
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Although she may appear young, she will be dressed in the ancient costume of these islands: a brilliant madras turban, chemise with half sleeves and much embroidery and lace, zepingue tremblant ("trembling pins of gold"), and all the finery of the by-gone days. Even when she appears beautiful, there is something that betrays her - she often has one hoof and a normal human foot or two hooves which she uses her long, flowing gown to hide. "Mama Dlo" or "Mama Dglo" (known in West Africa today as Mammy Wata) whose name is derived from the French "maman de l'eau" which means "mother of the water" is akin to the mermaid figure of European folklore and represents West African water spirits and there is a spirit called a cocoya who feasts on children then eats them up - they also can change into different shapes. The "Soucouyant", whose French-derived names comes from the word "to suck", is personified by a woman, often old, who sheds her skin at night and flies through the skies, sometimes as a ball of flame, to suck blood from her victims.
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