As a vanguard of haute couture and a discerning voice in fashion journalism, I bring a narrative flair and a seasoned eye for elegance.
Let's explore a curated palette of 15 simple hairstyle ideas that redefine beauty through the lens of effortless chic.
Descubra quais são os itens que estão em alta e prometem continuar fortes também no próximo verão.
Let's explore a curated palette of 15 simple hairstyle ideas that redefine beauty through the lens of effortless chic.
Simplicity Spring Pattern Book 1953 - model Jean Patchett, photo by Paul Radkai
Simplicity 2791; ca. 1938; Misses' Dress in Two Lengths. Straight collar with convertible neckline. May also be made with square neckline. Set in long or short sleeves. Full gathered skirt in two lengths, joins lower edge of the bodice. Longer length may be used as a house or beach coat. Featured in Simplicity Fashion Forecast, June 1938 and in Simplicity Patterns Counter Catalog, September 1938 HemlockPatterns [insert your photos of this pattern made up] [insert your username, and make sure you
Let's explore a curated palette of 15 simple hairstyle ideas that redefine beauty through the lens of effortless chic.
Simplicity Pattern Book Summer 1954 Photo by Karen Radkai
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more 1940s inspiration... because I can never get enough. ;) I'm sure I'm boring everyone else to death though! lol. this page is from a 1940 Simplicity pattern booklet I purchased years ago. I recently rediscovered the scans on my computer! ♥ happy things ♥
Let's explore a curated palette of 15 simple hairstyle ideas that redefine beauty through the lens of effortless chic.
Pensando que a alegria e a simplicidade vão dominar o futuro, a coleção celebra a vida
Nancy Berg photographed by Lillian Bassman for the Simplicity Pattern Book, Summer 1954.
{ Simplicity 2475; ca. 1958; Two-Piece Maternity Dress in Junior Misses and Misses Sizes: Pleated front buttoning top has shaped off the shoulder yoke with bias trim at lower edge that ties into a bow at center front. Adjustable skirt has cut out front, back kick pleat. Short sleeves or sleeveless Back Roads Treasure [insert your photos of this pattern made up] [insert your username, and make sure your preferences allow for people to contact you via e-mail. Do not list your email address here!]
Perhaps nothing is so hard to look at and value as photography. The ubiquity of the photographic reproduction, the infinite possibilities of photoshop and the blur between art and advertising has meant that art photography is less and less compelling. That makes an exhibition such as Alfred Stieglitz: The Lake George Years (worth a click for the excellent video introduction) at Sydney's AGNSW all the more shocking. A show that might have been of interest for its historical content, exploring the work of genuine pioneer, eschews trickery, celebrity and massive scale and delivers something quietly breathtaking. I didn't expect to have my prejudices about size and art reinforced here but they were. It's refreshing to see images so small and so perfect. Some of my nervousness about photography is in its easy default to massive prints that bludgeon the viewer. This monumental urge undermines an art form that has an enormous potential for intimacy. Intimacy is precisely what we see here. Fittingly the Stieglitz exhibition is situated a couple of floors above the AGNSW's abstraction show. Stieglitz uses the camera and film as neutral tools for expression, much of the work here is virtually abstract, tiny essays on light and dark and the music of nature. It's difficult to imagine how strange these images must have looked. Roughly contemporaneous with cubism and expressionism the earliest works here cut up urban America and arrange it in grids of silver grey and black. The studies of light and weather might be Stieglitz's most radical contribution to art. In painting they would be both impressionist and expressionist, in the context of photography they show how the camera could compose in light and form rather than simply record, that it could capture some of the sublime effect nature has upon us without simply describing it. These series, the 'Equivalents', 'Songs of the Sky' and 'Music' get close to the central paradox of photography: How does a technology that chemically records the fall and reflection of light on objects allow an artist to express their own vision? Stieglitz uses the light bouncing off and passing through clouds to turn them into abstract expressions, we don't see clouds as much as we see the shine and depth of greys that seems to capture the sublimity of nature. The cloud images are more romantic than they are meteorological. Stripping the images of earthbound reference Stieglitz relies instead on the way that the natural light interplays with the structural formation of the clouds. He isn't a child seeking familiar or anthropomorphic shapes in the skies rather he's exploring the possibilities of dark and light and how they might provide analogues for emotion and experience. This isn't stage set chiaroscuro but a sensitive play with pattern and contrast and how they might evoke something deep within the viewer. Photographic portraits have had a profound and disruptive effect on the painted portrait, what has been for centuries the core of art and patronage. Stieglitz's portraits of friends and fellow artists show a restraint that's touching and rare today but, at the same time, betray the stylistic signatures of an auteur. These understated image often include a compositional element of a framing device, as shape or object, within the rectangle of the image and behind the sitters head. It's a simple device that borrows from the painted technique. The sitters head is isolated, we focus on the essentials. The effect also creates a perspectival link somewhere behind the sitter, so we can't help but feel Stieglitz has taken us into their space. But perhaps most touchingly Stieglitz has created a fragile halo, a remnant from an ancient tradition, behind these naked faces conferring on them some kind of modernist beatification. The series of studies by Stieglitz of his lover and later wife Georgia O'Keefe are stunning in the tender proximity between subject and artist. Taken over a period of thirty years they are a clear a melding of obsessive love and pictorial technique as any set of pictures, perhaps even those Bonnard painted of his wife Marthe over almost fifty years. These photographs might be unique as the added frisson of O'Keeffe as artist/muse adds layers of possible meaning. O'Keeffe has suffered as have other female modernists, Frida Kahlo and Camille Claudel come to mind, from a feminist tendency toward hagiography that privileges biography over work. It's understandable but it lessens the impact of the artworks themselves and that's a shame. What makes the portraits of O'Keeffe so remarkable is that they feel so unmediated by culture, history or interpretation. It's a raw vision of an artist that is a meditation in flesh and geometry and light. When seen as a series these pictures are achingly beautiful, they paint a portrait of love and trust but their repetition also reminds us that Stieglitz, who can't of been short of sitters, was simply endlessly fascinated by his lover and wife. The portrait, from 1931, when they had been married for seven years, reduces the artist to her hands cradling a sun bleached cow's skull. Of course that skull is a familiar and powerful motif from O'Keeffe's paintings but here it looks chalkier, like unglazed porcelain, as she cradles it in tanned hands. The skull serves as reference to both art and nature but most powerfully to the omnipresence of mortality, the way the hands hold it is almost an embrace, one doesn't need to understand the relationship between artist and sitter here to get a whiff of the complex and profound feelings at play. Stieglitz's intention is clearly to capture the essence of someone. This makes his use of hands fascinating, they appear as body parts, almost abstracted, but they are always more than objects and retain the essential personality of their owner almost like ones voice. Hands and gestures are fascinating because we never perceive them as still, so even in a hundred year old photograph they seem to be captured at a point between movements. Similarly whatever this human essence is it has infinite manifestations, people are too complex despite what we might believe of an artist's powers and a single image will never suffice. Stieglitz is like someone chasing light around the facets of a diamond, he seems to know the best he can do is capture moments and angles in light. He uses O'Keefe's hands, her human geometry but never tries to reduce her, just to capture something fleeting. Many of these photographs, and in a sense all of them in their totality, are like haiku in gelatin silver. Stieglitz is too easily bundled in amongst a rush to the reductions of modernism and cubism, the time he inhabits and the new technology he is stretching make that almost inevitable. On looking at the images here it feels like a mistake to label him that simply. We can see hints of the abstract, the grids of Mondrian or the blocks of Braque, but his work is as human and as smudged as a fingerprint. It is this sense of flaw and serendipity is what makes him so different to photographers like Man Ray for Stieglitz seems to embrace the beauty of imperfection. The memorable works here inhabit a world of infinite shining gradations between black and white, they are expansive and open rather than reductive and finished, in doing this Stieglitz's greatest innovation might be to take a static form and make it so intensely moving.
Women's Style Forecast for Winter 1929. Our time traveling beauty correspondent Carolyn Van Wycks reports from October 1929. drool over the latest 1920s evening gowns,1920s street wear,1920s hats, 1920s overshoes for winter. The smartest silhouette
Simplicity sewing pattern fashions, 1955.
minavagante: “Mv⚠💣 ”
Recently inspired by the 1930's Glamour fashion, I have been hovering over some gorgeous patters that are just screaming to me made up and taken out for a party ! Simplicity 2302 A very cute halter top dress with matching heart styled bolero. Note the breast pockets (odd place) but I like the whole design. Vogue Vintage Model 2241. This is a wonderful "Vintage" reproduction series that I wish they would repeat again. Gorgeous Hollywood glamour !!! I can see this in a rich satin. The fall of the skirt is beautiful and I really love the low backs in the 1930's evening wear. Pictorial Review Printed pattern #9471. Various style either for evening or day. With cape (I would think in velvet) or Bolero. Vogue Vintage. Another of the low backed style of the era. Ruffled edge on back bodice and glamour train at rear of skirt. Hmmm I'm thinking satin or a chiffon . Even at afternoon tea in her Gingham and straw sun hat, she is all glamour. I adore the long fluid dress with satin. One must be skinny to pull it off successfully ! Butterick Retro '35. Reproduction series now out of print. High waisted skirted dress with Bolero jacket. Yes please, I will take it ! Simplicity 2582. Belted dress with front single button or tie top. The long and the short sleeve look lovely and don't forget your gloves. Magazine page. I have my eye on the black dress. The grey one is the back of the same. Love the split back on it with single button fasten.
This unique jumpsuit is the epitome of style and glamour! Featuring simple floral lace and a nice wide leg, its simplicity will charm you. A band at the waist and fitted bodice show your silhouette off to advantage. You will love how the off-shoulder neckline will delicately reveal your skin while the lace ruffle adds a delicate quality. The soft lining and an invisible back zipper are details you'll appreciate! Details Texture : LaceTransparency : TranslucentColour : White Materials : 90% nylon, 10% spandex. Lining : 100% polyester.Care : Hand wash cold. Wash separately. Do not bleach. Lay flat to dry. Do not iron. Do not dry clean.
Karen, 26 Brazilian Fashion Designer.
Simplicity 1386; ca. 1934; Evening Dress. Featured on the cover of Simplicity Patterns catalog, March 1934 [insert your photos of this pattern made up] [insert your username, and make sure your preferences allow for people to contact you via e-mail. Do not list your email address here!] im interested in acopy of this pattern username denise44*123
Gipsy wedding dress with silk tulle over dress from Cortana 's 2018 bridal collection. A classic from Cortana.
Free Shipping within the USA on Orders Totaling Over $35 Brand: Simplicity 2777 Size: 6 - 12 Bust Size: 30 1/2" - 34" Condition: Uncut, still in its factory fold Envelope condition: Good condition with light shelf wear. Description: Pattern and instructions to make: 2008 Arkivestry misses dress and top in two lengths pattern. Poet blouse and Ophelia Dress have have wide bell sleeves and lovely scooped neckline. Bloomers come in three lengths and cap has a lace edging. This is an original sewing pattern not a reproduction or a finished garment. Please see my other costume patterns here. https://www.etsy.com/shop/VintageAnderburg?ref=shop_sugg§ion_id=33002918 Please see my other Arkivestry patterns here. https://www.etsy.com/shop/VintageAnderburg?ref=shop_sugg&search_query=arkivestry Unless the pattern is already lovingly folded, I iron and place all my cut patterns into numerical or alphabetical order. Factory folded patterns are left as is so as not to disturb the fold and the envelopes are ironed. All patterns are sent in a plastic bag to protect from moisture. Patterns are from a pet friendly home.
