It offsets the flounces and ruffles with needed current context.
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Katy Perry wore a crimson veil and dress; Rihanna stunned in layered floral flounces.
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Her story is a happy one: At 71, she flounces with leonine beauty and contentment.
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This included Rihanna, who wore a kaleidoscopic Comme des Garçons dress with swirling layers of floral flounces.
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Traditionally reserved for wedding veils and ballet tutus, tulle is the dream foundation for ruffles, frills, and flounces.
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We wanted to celebrate the mix of old-school tweeds with new-school sequins — pretty with the handsome, flounces with the tailored.
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She had her own bedroom in the White House that she decorated in pink flounces, and had breakfast in bed there every morning.
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"Miss Caldwell flounces onto the stage like a sparrow with illusions of grandeur," Clive Barnes wrote in his review in The New York Times.
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In the restaurant's main dining area — tables and chairs now cleared away to make space — partygoers move in flounces of turquoise, shocking pink and blush.
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No frills, literally — to me, the flounces are just more fabric that can stain and, in extreme circumstances, catch on a burner or other hot equipment.
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Filled with tropical prints, on-trend polka dots and plenty of her signature flounces, the capsule promises to transport you even if you have no plane ticket booked.
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"Will the ladies rebel, as the ladies of New Amsterdam did when Peter Stuyvesant ordered them to wear broad flounces?" one New York Times article asked in January 1908.
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Hannah flounces out of his office, pleased with herself for employing this particular weapon of female power, and promptly brags to her boyfriend, Fran, who is understandably appalled by her behavior.
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"S and Star," a peculiar wall-mounted work from 1941, comprises an irregular serpentine curve that writhes and flounces next to a droopy four-pointed star that performs unsteady flip-flops.
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There were at least a dozen glittering Coachella-gone-Baroque flower crowns in the room, some flounces and some trains, hats with veils, and colorful fur stoles, not to mention bejewelled corsets.
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The designer Emilio Sosa's costumes include gowns that mushroom from the waist via hoops and flounces (more Victorian, I think, than early 19th century, but I'm no fashion historian), creating distorting curves.
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It is unlike the eye-popping art gallery Frank Gehry designed for the Louis Vuitton Foundation beside the Bois de Boulogne in Paris, with its billowing glass sails, conjuring up flounces of silk and memories of Bilbao.
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From whispers of on-screen American Idol friction with Nicki Minaj to extravagant requests made on past backstage riders, she's been easy to peg as a pouty bimbo who flounces around in a feather boa and satin robe.
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From afar, the sugary frills and flounces of Cecilie Bahnsen's clothes may seem girlish and saccharine, but upon closer inspection there's a distinct Scandinavian minimalism to her designs: Sharp-edged silhouettes and voluminous skirts give her pieces a sense of modernity.
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True, they came in purple satin brocade with chest-baring portrait collars; or gold lamé with flounces and neck frills; or constituted little more than a white satin bustier worn with thigh boots and a pair of Y-front briefs.
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They are fashioned from thin sheets of shiny aluminum that she more or less treats as fabric, cutting them into fringelike strips, arranging them in poufs, flounces or swags that can suggest fancy ball gowns hung up for the night, while also conjuring automobiles and assembly lines.
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Natalia Vodianova returned to the runway as a favor for her fellow Russian, Ulyana Sergeenko, opening a show of folkloric flounces in black silk and velvet, as if our heroine had been interrupted in the midst of her cocktail hour and was forced to flee to the woods in all her finery.
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"But Sarah," you might say, "surely there's a difference between a restricted military archive and the Republic archive in Episode II." Are you trying to tell me that Obi-Wan, a leading member of a mystical paramilitary law enforcement organization, just flounces off to the public library while investigating an assassination attempt made on a sitting Senator?
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If the central characters here lack that, some of the secondary ones show how it's done: Bresnahan as the stationmaster's unstable wife, flattening herself into the thinnest space possible; Jeena Yi as a barmaid, sketching amorality in a few flounces; and Harriet Harris as a nasty gossip, taking what appears to be sexual pleasure in her malice.
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The menswear-inspired suit was such an unexpected choice in an administration that constantly sends the message that girls should be girls even if they are in power positions (see Ivanka's pink flounces, as well as Ms. Hicks' usual chirpy dresses), that the internet started flapping and it didn't stop even when Ms. Hicks appeared in what was generally deemed a "baggy" (in the words of the Daily Mail) fuchsia dress and black blazer at the China state dinner — and then another "baggy" shirt on the way to Vietnam.
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In the 1870s, petticoats were worn in layers. Colored petticoats came into fashion by the 1890s. In the early 20th century, petticoats were circular, had flounces and buttons in which women could attach additional flounces to the garment. Bloomers were also touted as a replacement for petticoats when working and by fashion reformers.
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It was used to make clothing (dresses, shawls, and flounces) as well as accessories, such as handkerchiefs, parasols, and fans.
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Originally she had come to me, possessed but of one gown, and that a forlorn and ragged balzarine, with four draggled, torn flounces.
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Flowers, flounces, ribbons, and lace emphasized this opulent feminine style, as soft pastel tones in citron, peach, pink and pistachio dominated the color range.
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The species can identified by the presence of calcareous spinules on flounces of the hemipenis. Tail slightly compressed and lack tubercles. Tubercles are also absent on sides of neck and gular regions.
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1927 El Fandango de Candi, music by Duran. Argentina successively expressed feminine shrewdness, thwarted love, tenderness, wearing a pink costume with cubist flounces cut into scallops. 1927 Au coeur de Seville, cuadro flamenco based on a popular air.
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Evening gowns were worn off the shoulder and featured wide flounces that reached to the elbow, often of lace. They were worn with sheer shawls and opera-length gloves. Another accessory was a small bag. At home, bags were often white satin and embroidered or painted.
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" Ní Mhaoldhomhnaigh explained, "I wanted to get her youthfulness and innocence across through her dress. But crucially there was also her strength of character. So we kept away from frills and flounces. I wanted a definite look that was quite strong but also pretty at the same time.
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But she is taken away "By the one who sits in the rock ". Leshy damns Lukash for his unfaithfulness and turns him into a wolf. After Lukash’s uncle death he flounces in the wood, and his shout returns Mavka from the drowsiness. She forgives Lukash, and that becomes a man again.
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The bride wore a train of the rica old English brocatelle over white ottoman silk, trimmed with flounces of Brussels lace and crepe-leece. Her head dress comprised a very long soft tulle veil, and a wreath composed of orange blossoms, intermixed with flowers in compliment to the Scottish bridegroom: heather and myrtle.
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It takes the usual gothic lolita themes of modesty, tradition and monochrome colours of a dark base with a light contrast, but applies them to a later period with simpler lines, rather than the more usual antebellum fussy bows and flounces. This style is typified by characters such as Lenore, the Cute Little Dead Girl and Wednesday Addams.
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There could be so many flounces that the material of the skirt itself was hardly visible. Lace again became popular and was used all over the dress. Any part of the dress could also be embroidered in silver or gold. This massive construct of a dress required gauze lining to stiffen it, as well as multiple starched petticoats.
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Samuel and Charlotte go to Elizabeth's ball and Charlotte gets very drunk. Viscount Charles Marston arrives and Elizabeth 'accidentally' spills her drink on him, to which he replies 'touche'! Samuel argues with Charlotte who flounces out of the ball. She takes the rest of her money and her Onedin shares, packs her bags and goes to the quay to look for Burgess.
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Then, as the waltz became popular in the 1820s, full- skirted gowns with petticoats were revived in Europe and the United States. In the Victorian era, petticoats were used to give bulk and shape to the skirts worn over the petticoat. By the mid 19th century, petticoats were worn over hoops. As the bustle became popular, petticoats developed flounces towards the back.
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Women's clothes, especially evening wear, were cut in a more feminine line but important to mention the ideal of the youthfulness was still alive. The first skirts with a flare and flounces were introduced. As the skirts had been very short up to that point, from 1928 on they became longer. Also important to mention is the emergence of the zip fastener.
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Suzie visits Trudy, but they quarrel and as Suzi flounces off she makes a date with Oliver. The date goes badly, with Oliver attempting to force himself on Suzie. Since he needs a brain for his perfect being, he runs Suzie over with his car, killing her. Oliver will create a female perfect being, something the Frankensteins have never tried before.
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Queen Anne bought a lot of it, despite the high price. In the courts of George I and George II, the lace became very popular, despite efforts to encourage native lace-making. It was used on ruffles, lappets, and flounces. Individual pieces were large and made of many one-inch to two and a half-inch pieces, sewn together seamlessly.
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Catty Noir (voiced by Missi Hale) is also the daughter of a werecat. She has magenta hair with a blue streak, pink eyes, and dark skin as a black cat. She enjoys concerts and is superstitious about eating the same foods beforehand as well as finding and wearing a piece of broken mirror glass. Her debut outfit was on Friday the 13th, where she has a pink tulle skirt with layers, flounces, and bodice with a spider web design with the number 13.
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Monica leads him to an adjacent room to wait for Garry. Frantic comings and goings follow, with the flustered arrivals and departures of Morris and Henry, Roland's pursuit of Garry, and the arrival of a Lady Saltburn, to whose niece Garry has promised an audition. The niece turns out to be Daphne Stillington, who recites the same Shelley poem with which he bade her farewell in Act I. Joanna flounces out from the spare room, Daphne faints with horror, Roland is entranced, and Garry is apoplectic.
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In contrast, the wedding dress of Catherine Middleton, for her marriage to Prince William, Diana's eldest son, incorporated motifs cut from machine-made lace appliquéd to silk net. The dress featured "lace flounces adorning neckline and sleeves". Fittings of the dress posed difficulties because Diana had developed bulimia and dropped from a size 14 to a size 10 in the months leading up to the wedding. Even the seamstress was concerned about her weight loss and feared the dress might not fit as it should.
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Rocío was the first to substitute the typical regional costume with formal dresses with an international style, although she never forgot her origins. On May 21, 1976, when she got married with the boxer Pedro Carrasco at the Sanctuary Virgen de Regla, she wore a traditional costume with a comb and flounces. They only had one daughter, Rocío Carrasco Mohedano. In private, she sometimes recognized that she did not have time to dedicate to her daughter; she had long tours in America and Europe which drove her away from her daughter.
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"A story a day or I just can't play!" says world-famous, drum-playing rock puppy, Bookaboo as he flounces off stage. The rest of the band (Growler on Bass Guitar, Paws on Keyboards) find Bookaboo on the Bookabus, ignoring all stage calls and engaged in the most extraordinary stage avoidance schemes (comedy sketches & songs). Despite their best efforts the band fail to persuade the rock pup back to the stadium. Luckily, a celebrity fan arrives with a picture book filled 'Bookabag' and settles down to share it.
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Curly asks Laurey to go with him, but she refuses, feeling that he has waited too long. To persuade her, he says he will take her in the finest carriage money can buy ("The Surrey with the Fringe on Top"), but she teases him about it until he says he made it up to get back at her. She flounces off, not realizing that he really has rented such a surrey. The lonely, disturbed farmhand Jud Fry has become obsessed with Laurey and asks her to the dance.
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Fashion show of Slava Zaitsev featuring creations with inspired by traditional Pavlovsky Posad shawls. Zaitsev stated that his mother, Maria Ivanovna, was a cleaning lady and never owned a fancy dress. In 2004, the New York Times stated, "(i)t is her stolid image that he has been dressing all these years in flounces and feathers, poufs and peplums, gold and glitter." During the Soviet era, he regularly complained that he designed collections for the "larger" woman in the 1970s, but only models up to size 48 were accepted for production.
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Painting by Laurits Tuxen The dress itself was put together by Linton and Curtis of Albemarle Street. The front of the dress was made of white satin, featuring three small flounces old Honiton lace which had been used on the wedding dress of her mother. The bodice, cut at the throat, was long and pointed and was made of Silver's white and silver brocade, also featuring a small amount of her mother's Honiton lace near the top and on the upper part of the sleeve. The rich satin manteau de cour fell from her shoulders.
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Wider bell-shaped or pagoda sleeves were worn over false undersleeves or engageantes of cotton or linen, trimmed in lace, broderie anglaise, or other fancy-work. Separate small collars of lace, tatting, or crochet-work were worn with morning dresses, sometimes with a ribbon bow. Evening ball gowns were very low-necked, off-the-shoulder, and had short sleeves. The introduction of the steel cage crinoline in 1856 provided a means for expanding the skirt still further, and flounces gradually disappeared in favor of a skirt lying more smoothly over the petticoat and hoops.
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She always dressed in a completely Turkish fashion gown of heavy fabrics with four flounces, shoes of chamois leather, shawl tied as a sash around her waist, the so-called salta wide-sleeved jacket over this ensemble, on her head something like a fez wrapped in a silk headkerchief pinked along the edges, and onto which she had fastened exquisite brooches of emeralds and rubies in the shape of roses, a larger one in the center flanked by two smaller ones. Other than these she wore no jewels or decorations.
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Curly asks Laurey to go with him, but she refuses, feeling that he has waited too long. To persuade her, he says he will take her in the finest carriage money can buy ("The Surrey with the Fringe on Top"), but she teases him about it until he says he made it up to get back at her. She flounces off, not realizing that he really has rented such a surrey. The lonely, disturbed farmhand Jud Fry has become obsessed with Laurey and asks her to the dance.
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The Brunswick comprises a hip-length (or three-quarter length) jacket with a high neckline and a hood, worn with a matching petticoat. The jacket sleeves consist of an upper sleeve with flounces at the elbow and a tight, wrist-length lower sleeve. The Brunswick is one of several informal jacket-and-petticoat costumes popular in the later 18th century, derived from working class costume but made up in fine fabrics (usually silk). Originating in France (based on a German fashion), the Brunswick was also popular in England and the United States as a traveling costume.
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Remorseful Ramakrishna replaces it with a pendant when his naughty friend takes a photograph and also write a love letter to Vasantha forging Ramakrishna's signature. Parallelly, a glimpse, Raisahib plots to perform espousal of Ramakrishna with Kokila (Rama Prabha) daughter of a wealthy man Bangaraiah (Ramana Reddy) and love interest to Ramakrishna's best friend Joogulu (Chalam). Both of them make a game plan when Ramakrishna sends Joogulu as an alternative and they are coupled up. In the meantime, squeeze out her love when Ramakrishna scorn the women and Vasantha flounces out, vowing to become his bride.
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In the 1850s, the domed skirts of the 1840s continued to expand. Skirts were made fuller by means of flounces (deep ruffles), usually in tiers of three, gathered tightly at the top and stiffened with horsehair braid at the bottom. Early in the decade, bodices of morning dresses featured panels over the shoulder that were gathered into a blunt point at the slightly dropped waist. These bodices generally fastened in back by means of hooks and eyes, but a new fashion for a [jacket] bodice appeared as well, buttoned in front and worn over a chemisette.
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A prairie skirt worn as part of an American Civil War reenactment A prairie skirt is an American style of skirt, an article of women's and girls' clothing. Prairie skirts are slightly flared to very full, with one or more flounces (deep ruffles) or tiers, and are often worn over a ruffled eyelet or lace-trimmed petticoat. In keeping with their design inspiration, traditional prairie skirts are usually made of "country" fabrics such as denim and flowered calico. Prairie skirts are a staple of women's western wear, and very full prairie skirts are worn for square dancing.
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The dress itself was put together by Linton and Curtis of Albemarle Street, London. The front of the dress was made of white satin, featuring three small flounces old Honiton lace which had been used on the wedding dress of her mother. The bodice, cut at the throat, was long and pointed and was made of white and silver brocade, also featuring a small amount of her mother's Honiton lace near the top and on the upper part of the sleeve. The veil, previously used by her mother was fastened with diamond pins gifted by Queen Victoria.
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Dress of the later 1870s Countess Brownlow in artistic dress, 1879.For commentary on the clothes in this portrait, see Jane Ashelford, The Art of Dress By 1870, fullness in the skirt had moved to the rear, where elaborately draped overskirts were held in place by tapes and supported by a bustle. This fashion required an underskirt, which was heavily trimmed with pleats, flounces, rouching, and frills. This fashion was short-lived (though the bustle would return again in the mid-1880s), and was succeeded by a tight- fitting silhouette with fullness as low as the knees: the cuirass bodice, a form-fitting, long-waisted, boned bodice that reached below the hips, and the princess sheath dress.
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The waist was no longer emphasised, and dresses were sewn from thin muslins rather than the heavy brocades and satins of the aristocratic high fashion style preceding it. "A cutting wind, or the fatal effects of tight-lacing", a satirical cartoon from around 1820 Two sketches from 1884 depicting what, at the time, was believed the way the inside of the body looked when wearing a corset The reign of the Empire waist was short. In the 1830s, shoulders widened (with puffy gigot sleeves or flounces), skirts widened (layers of stiffened petticoats), and the waistline narrowed and migrated toward a natural position. By the 1850s, exaggerated shoulders were out of fashion and waistlines were cinched at the natural waist above a wide skirt.
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Evening styles changed dramatically during the 19th century, and evolved from the relatively simple classically inspired lines of the early decades to progressively fuller skirts and, at times, sleeves (1830s and 1840s). The styles ranged from having huge sleeves in the 1830s, to off-the-shoulder and with wide flounces in the 1840s, to very low-necked in the 1850s, to having low necklines and short sleeves in the 1860s, to long and lean with a bustle and very short sleeves in the 1870s, to sleeveless, low-necked, and worn with opera gloves in the 1880s, to having a squared decolletage, a wasp-waist cut, and skirts with long trains in the 1890s. The 19th century distinguished between relatively high-necked dinner gowns for formal dinners and soirees, evening gowns for dances and theatre events, and ball gowns for the most formal affairs including balls and the opera. Lavender evening gown by Irish designer Sybil Connolly from c.
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