Ms. Turner, 23, wore a white low-necked jumpsuit with a traditional bridal veil.
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Mr. Cornejo is Argentine, and that might account for why he is dressed (by Norma Kamali) in a sleeveless, low-necked jumpsuit decorated with fancy-cowboy or gaucho silvering.
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She became known for this eccentricity, for sweeping onstage in an elegant low-necked black velvet gown with a black leather bag, which she deposited beside the piano before she played.
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One of the stars of the exhibit is Valentino's cardinal-red taffeta dress that's priestly in silhouette, but with a low-necked, rustling sensuousness that makes it appear as though it could just slip off the body.
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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 piece was a gamble by Keene, in the hope that the elaborate and expensive scenery of the show, as well as the singing actresses and many dancers, would draw crowds. The New York Clipper noted that the women wore "shocking low-necked dresses" and "tight-fitting clothes".Ashby, LeRoy. With Amusement for All: A History of American Popular Culture Since 1830, pp.
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Long, jacket-like fitted bodices called basques were also popular for clothing during the day. Evening gowns were sleeveless and low-necked (except for matrons), and were worn with long over the elbow or shoulder length gloves of fine kidskin or suede. Choker necklaces and jewelled collars were fashionable under the influence of Alexandra, Princess of Wales, who wore this fashion to disguise a scar on her neck.
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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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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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The work depicts Weda Cook, a "respected Camden vocalist... recognized for her 'powerful contralto voice, unassuming manner, and thorough training.'"Bohan 2006, p. 128 She stands center stage, wearing pink slippers and a low-necked sleeveless pink dress, a luminous and central element in the picture, fringed with lace and pearl beads. Eakins's realism is notable in the painting of skin tones, with Cook's bare neck, chest, arms, and shoulders visibly paler than her head and hands.Goodrich 1982, vol.
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In the reports after their first appearance at the magistrates' court, most major newspapers included extensive descriptions of Boulton's and Park's attire and hair style. This included the quality press, including The Times, which reported: > When placed in the dock Boulton wore a cherry-coloured silk evening dress > trimmed with white lace; his arms were bare and he had on bracelets. He wore > a wig and painted chignon. Park's costume consisted of a dark green satin > dress, low necked, trimmed with black lace, of which material he also had a > shawl round his shoulders.
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Cretan women's clothing included the first sewn garments known to history. Dresses were long and low-necked, with the bodice being open almost all the way to the waist, leaving the breasts exposed. Dresses were often accompanied by the Minoan corset, an early form of corset created as a close fitting blouse, designed to narrow the waist, as a narrow waist was prized in Minoan culture. The belt, also kept tight, and used to narrow the waist before the corset, a long or short coat, or a hat were used to supplement the female outfit.
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The usual fashion at the beginning of the period was a low-necked gown (usually called in French a robe), worn over a petticoat. Most gowns had skirts that opened in front to show the petticoat worn beneath. As part of the general simplification of dress, the open bodice with a separate stomacher was replaced by a bodice with edges that met center front. The robe à la française or sack-back gown, with back pleats hanging loosely from the neckline, long worn as court fashion, made its last appearance early in this period.
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In Papua New Guinea, the form of dress is known as meri blaus, which in Tok Pisin means women's blouse. It is considered formal local attire. In the 1960s and 1970s many women in Tarawa, Kiribati and a few i-matang women wore a garment which was referred to as a Mother Hubbard. Whilst the lower half of the body was covered with a wrap-around (lavalava) or a skirt, the top half was worn a very loose low-necked blouse short enough to expose a band of flesh at the waist.
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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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Valancy decides to move out of her mother's house and take a position as a housekeeper for a friend of hers who is now gravely ill, Cissy Gay. Cissy and Valancy had known each other as children, but Cissy became ostracized from society for having a child out of wedlock and on account of her father, Roaring Abel, and his reckless, usually drunken behavior. Cissy and Valancy share a room and rebuild their friendship. Valancy enjoys being paid a salary and spends her money in ways her family would not approve, such as purchasing a brightly colored, low- necked dress.
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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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At the end of the century, the gipon was shortened to above the mid- thigh and was worn with a belt at hip level The coronation of Charlemagne as depicted in the 14th century The outer garment of this era was known as the cote-hardie and replaced the super tunic of previous centuries. This new low necked, knee length piece was tight fitting and buttoned or laced down the front to waist level, where it then "flared into a full skirt which was open in the front" as C. Cunnington describes. The complex sleeves of the cote- hardie extended, in the front, to the elbow and, in back, hung in flaps which tapered and elongated. Sleeves during this era were decorated.
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Skirts were now assembled of shaped panels, since gathering a straight length of fabric could not provide the width required at the hem without unwanted bulk at the waist; this spelled the end of the brief fashion for border-printed dress fabrics. Heavy silks in solid colors became fashionable for both day and evening wear, and a skirt might be made with two bodices, one long-sleeved and high necked for afternoon wear and one short- sleeved and low-necked for evening. The bodices themselves were often triangular, and featured a two-piece front with a closure and a three-piece back construction. As the decade progressed, sleeves narrowed, and the circular hoops of the 1850s decreased in size at the front and sides and increased at the back.
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