The cross-over fichu sometimes extended all the way to the back. Some models include a large over-the-shoulders back piece. The fichu found in several traditional cultures resembles a poncho that covers only the shoulders and chest.
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G. Fichu (born 1901, date of death unknown) was a French wrestler. He competed in the freestyle welterweight event at the 1924 Summer Olympics.
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Descriptive drawing. A fichu (from the French "thrown over") is a large, square kerchief worn by women to fill in the low neckline of a bodice.
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It originated in the United Kingdom in the 18th century and remained popular there and in France through the 19th with many variations,Elizabeth J. Lewandowski, The Complete Costume Dictionary (Scarecrow Press, 2011), 107, available online, accessed January 3, 2014 as well as in the United States.Dorothy Denneen Volo and James M. Volo, Daily Life in Civil War America, 2nd edition (Greenwood, 2009), 298, available online, accessed January 3, 2014 The fichu was generally of linen fabric and was folded diagonally into a triangle and tied, pinned, or tucked into the bodice in front. A fichu is sometimes used with a brooch to conceal the closure of a décolté neckline. The fichu can thus be fastened in the front, or crossed over the chest.
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Sometimes now referred to as a fichu, the handkerchief was a square piece of fabric, normally of printed cotton or linen, worn around the neck and tucked into the top of the gown, or worn over the head like a head scarf.
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Baro't saya is an ensemble that traditionally consists of four parts: the blouse (baro or camisa), a long skirt (saya or falda), a kerchief worn over the shoulders (pañuelo, fichu, or alampay), and a short rectangular cloth worn over the skirt (the tapis or patadyong).
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Two weeks later Hermit finished unplaced again in the Royal Hunt Cup over one mile at Royal Ascot. In July he was moved to sprint distances and finished unplaced yet again behind Fichu when carrying top weight in the six furlong Stewards' Cup at Goodwood.
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1833 Fashion Plate: evening gown (left) and two morning dresses. The lady on the right wears a fichu-pelerine (tippet). By the later 1830s, fullness was moving from the upper to the lower sleeves. This morning dress of 1836–40 features shirring on the fitted upper sleeves; Victoria and Albert Museum.
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Hafdís Bjarnadóttir (born 1977) is an Icelandic composer and electric guitarist who gained prominence in 2013 when she was inspired by a knitting pattern for a lace shawl to compose "Thordis’ Fichu". She received wide acclaim in 2015 for her "Sounds of Iceland", a journey through Iceland made up of a series of field recordings of the natural sounds of waterfalls, birds, lakes, the sea and geysers.
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"Thordis' Fichu" and "Sounds of Iceland" followed in 2013 and 2015. In 2017, for Musica nova Helsinki she composed "Wind Roses", inspired by Iceland's wind roses which are used to measure wind direction. The piece combined piano, bass, flute, clarinet and cello. Hafdís Bjarnadóttir composed "A Northern Year" for Passepartout Duo in 2019, a piece that chronicles the sun's position over Reykjavík during the year through scientific data that is used in the composition process.
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Alexander Hamilton was born on January 11, 1755 or 1757, in Charlestown, the capital of the island of Nevis, in the Leeward Islands. Commissioned in 1917 and cast by the Kunst Foundry, the statue depicts Hamilton holding a tricorn hat and a long dress coat in his hands. In the statue, he is clad in knee breeches, a throat fichu, buckled shoes, and ruffled cuffs. The statue stands high atop a -tall granite base made by Henry Bacon.
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Farruko released his first song "Sexo Fuera Del Planeta" in 2009 through the Internet and gained fame in Puerto Rico. Farruko released his first album El Talento Del Bloque which produced hit singles, "Su Hija Me Gusta" featuring José Feliciano, "Nena Fichu", and "Te Iré a Buscar". His second album, released in 2012, featured collaborations with Puerto Rican superstar Daddy Yankee, and Cuban star Micha. The album spawned six singles but only three of them were international hits: "Va a Ser Abuela", "Feel the Rhythm", and "Titerito".
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The baro was more or less identical to precolonial baro, with long narrow sleeves. Like later ensembles, these two pieces of clothing were usually complemented by a tapis (which was now worn as an overskirt) and a kerchief around the shoulders known as the pañuelo, fichu, or alampay (made from the same opaque material as the skirts). The fabrics used for early sayas were usually native textiles (particularly textiles made by highlander Visayans in Panay). Later on in the 19th century, they began to use similar imported textiles, most notably the cambaya imported from India.
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They could be made of the same fabric as the dress or of a contrasting fabric. Depending on the period, their bottom point was at waist level, or lower; towards the end of the 18th Century they could be as deep as 10 inches below the waistline, making it impossible for the woman wearing them to sit. Necklines also defined the length of a stomacher. There was a brief period during the court of Louis XVI, when the neckline and stomacher actually were below the breasts, which were covered by a transparent ruffle of fabric called a fichu.
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It traditionally consists of four parts: a blouse (baro or camisa), a long skirt (saya or falda), a kerchief worn over the shoulders (pañuelo, fichu, or alampay), and a short rectangular cloth worn over the skirt (the tapis or patadyong). The baro't saya has multiple variants, including the aristocratic traje de mestiza (also called the Maria Clara or Filipiniana); the Visayan kimona with its short-sleeved or poncho- like embroidered blouse paired with a patadyong skirt; as well as the unified gown known as the terno, and its casual and cocktail dress version, the balintawak. The masculine equivalent of baro't saya is the barong tagalog.
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Local legend tells of former resident Prudence Burcote, a Puritan maid whose unrequited love of a Cavalier resulted in her suicide. Although, according to Yurdan, her burial records held at University Church of St Mary the Virgin opposite make no mention of this. Nonetheless, a Cornish couple who later took up residence of the house reported a sighting of a figure in a long brown dress with a white fichu along with an array of flickering electrics and misplaced objects which they linked to the legend. During the building's later incarnation as a bank, staff continued to report the sound of mysterious footsteps and rustling skirts.
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The simplicity and high waistline of the garment would lay the foundations for Regency/Empire fashion in the later decades during and after the Revolution. The Queen would often wear a straw Bergère hat and a fichu alongside a Polonaise gown; the term Polonaise referring to the dress of Polish shepherdesses who would hoist and drape their overskirts in two or three loops in order to keep their dress clean while farming. Marie Antoinette's wardrobe was generally imitative of the peasantry of the period. The place was completely enclosed by fences and walls, and only intimates of the Queen were allowed to access it.
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The Maria Clara is a form of baro't saya but traditionally worn by Filipina women with a pañuelo (neck scarf) over the shoulders and accessorized with a delicate abaniko (fan). Like the baro't saya, the Maria Clara gown traditionally consists of four parts: a blouse (baro or camisa), a long skirt (saya), a kerchief worn over the shoulders (pañuelo, fichu, or alampay), and a short rectangular cloth worn over the skirt (the tapis or patadyong). The camisa is a collarless blouse whose hem is at the waist, and is made from flimsy, translucent fabrics such as pineapple fiber and jusi. The sleeves of the camisa are similar to the so-called "angel wings", or shaped like bells.
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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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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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By the 1920s the term referred to a dress consisting of a matching "camisa" with butterfly sleeves, a heavily starched "pañuelo" (fichu), a "saya" (skirt) which normally came with a "cola" (train), and a "sobrefalda" (overskirt).Fashionable Filipinas: An Evolution of the Philippine National Dress in Photographs 1860-1890 by Gino Gonzales & Mark Lewis Higgins By the late 1940s, the terno's meaning and silhouette evolved into any Western dress with butterfly sleeves attached to it. Occasionally the "terno" would be referred to as a "mestiza dress" by women who lived in the first half of the 20th century.Fashionable Filipinas: An Evolution of the Philippine National Dress in Photographs 1860-1890 by Gino Gonzales & Mark Lewis Higgins During the July 8, 2008 State of the Nation Address of Philippine president Gloria Macapagal-Arroyo, she wore a "modernized María Clara gown".
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