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"pouffe" Definitions
  1. a large thick cushion used as a seat or for resting your feet on

7 Sentences With "pouffe"

How to use pouffe in a sentence? Find typical usage patterns (collocations)/phrases/context for "pouffe" and check conjugation/comparative form for "pouffe". Mastering all the usages of "pouffe" from sentence examples published by news publications.

An ottoman can also be used as and called a "footstool", tuffet, hassock, or pouffe. "Ottoman" may also denote an upholstered seat without a back or arms, but one that usually serves as storage, with the seat hinged to form a lid.
I shot at MC > Motors and as this location is used a lot, I didn't want it to look like > other videos but liked the textures and structure. We built a lockerroom > with a pink perplex floor, leopard printdrops and a circular red pouffe. The > contrast of the hot pink next to the red brought a contemporary fashion to > the video. Using red and pink neons sewn together with lots of pipes and > industrial props.
Mrs. Barrett (Kristina Nicoll) is the wife of Mr. Barrett, the mother of Betty Barrett, the daughter of Jimmy and Beatrixo Barrett, and the aunt of Kyle. She is a homemaker and a stay-at-home mom who is largely oblivious to Betty's adventures, as she spends most of her day fussing over her cat, Purrsy. With a pouffe blonde ponytail and tacky animal-print clothes, she dresses like a stereotypical hairdresser, but her actual skills at hair-styling are best left unseen.
Queen Marie Antoinette by Anonymous (1775) Musée Antoine Lécuyer The Queen is shown wearing a pouf created by her hairdresser, Léonard Autié. Illustration by Claude-Louis Desrais (1778). The pouf or pouffe also "toque" (literally a thick cushion) is a hairstyle and a hairstyling support deriving from 18th-century France. It was made popular by the Queen of France, Marie Antoinette (1755–1793), when she wore it in June 1775 at the coronation of her husband Louis XVI, triggering a wave of young French women to wear their hair in the same manner.
"A Cream Cracker under the Settee" is played out as a monologue by Doris (Thora Hird), a seventy-five-year-old woman who is a widow, following her slip off a pouffe (pronounced 'buffet' in the play). Her disapproval of home-helper Zulema's cleaning leads her to attempt to clean a picture of her and Wilfred, her late husband, and subsequently her fall. Her position, now suffering from a "numby" leg, prompts her natural desire to find help. Thus she moves from her place on a chair, to the floor near where she fell, and finally to the front door of her house.
Nor does it help verisimilitude that a bawling young female gawk should become an elegant beauty in less than a day." Maurice Richardson in The Observer wrote: "An atmosphere of perpetual, after-breakfast well-being; sherry parties in a country town where nobody is quite what he seems; difficult slouching daughters with carefully concealed coltish charm; crazy spinsters, of course; and adulterous solicitors. Agatha Christie is at it again, lifting the lid off delphiniums and weaving the scarlet warp all over the pastel pouffe." And he concluded, "Probably you will call Mrs Christie's double bluff, but this will only increase your pleasure.
Foreign operas were popular among the upper-class throughout the 19th century, while other styles of musical theater included operettas, ballad operas and the opera pouffe. The English operettas of Gilbert and Sullivan were particularly popular, while American compositions had trouble finding an audience. George M. Cohan was the first notable American composer of musical theater, and the first to move away from the operetta, and is also notable for using the language of the vernacular in his work. By the beginning of the 20th century, however, black playwrights, composers and musicians were having a profound effect on musical theater, beginning with the works of Will Marion Cook, James Reese Europe and James P. Johnson; the first major hit black musical was Shuffle Along in 1921.

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