pleated silk



Dusty rose silk charmeuse having cream embroidered net high-neck bodice insert and long sleeve, pleated silk wrap-front bodice with heavily embroidered short chiffon sleeve, inserts and center oval, draped and angled skirt, self tassels at back and ends of self chain suspended from waist, trained skirt decorated with net inserts and Celtic knot appliques, satin under-skirt with pleated hem ruffle.

Twiggy in short, pleated Cardin silk dress, Mancini gold slippers, large Hattie Carnegie earrings, and coiffure by Alexandre. Photo by Bert Stern. Vogue March 1967


Selling my personal Meg dress: $300 including USA shipping.

Bust 34, Waist 28, Hips 36, Height 5'4" - some size alterations possible!

Worn once for DragonCon. Hand pleated all across the top and stomach panels. Hidden zipper. Silk and pleated cotton. Very comfy, but also sexiest I’ve ever felt in a cosplay! Will include matching hair band.

PM for purchase inquiries. (Posting date: Feb 21, 2017)

I wish I had somewhere to wear my wedding dress again. It was a work of art.

That beaded lace cost $150/m… I bought 25cm! My amazing dress maker cut out the motives and placed them all around the dress, and scatterd them across the sunray pleated silk organza train (made out of the deep red you see above trimming the neck and sleeve). And all that pleating, oh my god. I don’t think we have any more pleaters in Brisbane, 9 years on. It’s quite depressing. There was 13 or so metres of red silk dupion in that dress and it was lined in cotton voile, my dress maker was so thoughtful about how easily I overheated.

Flicker - Ch. 4 (Final)

Kim Junmyeon/Reader
Word Count: 2,903

Previous Chapter

As soon as the doorbell rings you rush to open the door to find two of your closest friends behind it, smirking with bags of beer and snacks.

“Don’t give me those looks,” you immediately snap at them.

Keep reading


Kittyinva: 1920 c. Madame Babani Haute Couture Delphos gown. Of pleated silk, it has self-piping at the seams. From Vintage by Rosemaine.


It’s FRIDAY FASHION FACT, and it’s time for our next designer bio! Today we are talking about the innovative and inspiring Mariano Fortuny.

Mariano Fortuny was born in 1871 in Granada Spain. Both his father and maternal grandfather were renowned painters. Though his father died when Fortuny was only three years old, he remained a source of inspiration throughout the designer’s life. Fortuny’s parents had a wide textile collection which fascinated Fortuny from a young age. Throughout his youth, he lived in some of the great art cities of Europe, including Paris and Venice. He became involved in many forms of art, including painting, photography, and even lighting and set design for Wagner operas. In fact, it was Mariano Fortuny who pioneered the idea of theatre designers working in tandem with the construction team to mold and adapt the design every step of the way. To this day, this remains one of the first lessons taught to aspiring theatre designers.

Fortuny continued to be involved in theatre for the remainder of his career, both designing and inventing new forms of stage lighting. But the reason we are talking about him today is, of course, his fashion designs. During he rise of his fashion career around the turn of the 20th Century, women’s fashion consisted of highly structured, corseted, and typically quite heavy gowns. Fortuny was inspired by classic simplicity of the ancient Greeks, though, and thus took his designs in a completely different direction from the top fashions of the day. His looks were extremely avant-garde for the time, and only the most daring women would don his sleek creations. Not only were the looks shocking to polite society, but they were originally designed to be casual tea dresses. As a result, women would only wear Fortuny designs at home. It wasn’t until post World War I, when corsets fell from favor and gowns were simplified, that Fortuny gowns were seen in public.

The epitome of Fortuny’s aesthetic is in the infamous Delphos gown. This simplistic gown, named for the ancient Greek bronze statue, The Charioteer of Delphi, was created using tightly pleated silk. First created in 1907, Mariano Fortuny made a number of variations of the Delphos gown throughout his career. The silhouette itself was extremely simple, mimicking the Greek chiton (read here.) Yet it was the perfectly pleated, airy silk which caused such a stir. The edges of the silk would be minimally trimmed with Murano glass beads which would slightly weigh down the light fabric so that it hugged the body. The fabric was created using a top secret formula where the fabric was heated and pressed with ceramic. However, the process was so closely guarded that its exact specifications remain a mystery to this day, and the pleating has yet to be replicated. Even at the time the dresses were first created, if the pleats were ever accidentally pressed out of a gown, the owner would need to return the piece to Fortuny’s personal studio to have it re-pleated.

Fortuny lived most of his later years in Venice in a 13th Century palazzo along with his wife Henriette, also a skilled dressmaker who helped create many of her husband’s designs. Fortuny passed away in 1949, yet his stunning designs remain some of the most sought after vintage pieces in the world.

Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!

“Here, let me,” Harry murmurs, close enough that his breath brushes Louis’ ear. Handing off the tie, Louis turns to face his host, already completely dressed. He’s in a suit similar to the one Louis’ wearing, though his shirt is silk and pleated. A stripe of black satin runs down the outside of each trouser leg to match the tailcoat’s lapels.

Louis lifts his chin to allow Harry to fasten the bowtie. “You look very nice,” Louis says softly, his focus moving to Harry’s face. This close, Louis can see exactly how green the man’s eyes are, bright and clear, rimmed with a dark ring like a gemstone in a setting.

Or, the historically accurate Titanic AU with a happy ending.

[Paint the Sky with Stars by kiwikero]


THE PHANTOM MENACE: The appeal to the Senate is the last orthodox action Amidala can take to save her people. Consequently, she appears in all her glory to address the august body of delegates and plead for their help. Her magnificent gown is designed to showcase the majesty of Naboo, as well as to help Amidala remain courageous when faced with the most trying and important speech of her career. 

Her gown consists of a thick red velvet robe with embossed rosettes and golden, triple-braided soutache on the cuffs of the sleeves and the collar, and an underdress of pleated orange silk. The imposing headdress binds her hair into a severe form with golden hairbands, while finial hairtip ornaments balance the headpiece. Intricate suspensas of orichalc finework parallel the ornaments and border Amidala’s face. Directly on top of the Queen’s head rests the Royal Sovereign of Naboo medal, a constant reminder or who she is and the power she wields. When she addresses the Senate, Amidala chooses to wear a large black cloak over the gown.

DESIGN: “She lives on a beautiful, lush planet; so we looked at flowers for inspiration. But because she is a queen, we wanted costumes that would also be imposing. We researched Mongolian and Tibetan costumes, styles that aggrandize the person - and I found the more outrageous it got, the better.” No other gown demonstrates Iain McCaig’s principle behind the Queen’s gowns better than this one.

The gown was incredibly expensive and time-consuming, made up of three complex layers. The underdress was made from a seventy year-old vintage orange-shot-gold silk taffeta with a green weave. It was constructed with layers of sharp sunray-pleated panels. The pleats were designed to catch the light whenever Amidala moved, an effect enhanced by antique beaded lace pieces. The most beautiful and most visible layer, the middle red robe, was made of red and green shot silk velvet with bronze metallic embroidery and ruched yoke and hem panels. A special technique added depth and texture to the robe. The lining of the robe was orange silk taffeta overlaid with gold metallic organza. At the cuffs and collar, this lining is visible and it was further decorated with seed pearls and gold braid made from a stitching process known as trapunto. Small tubes were stitched into a design, and then thread was injected into the tubes to create a padded effect. A time-consuming project, it took one person a week to do the trapunto. The final layer, the outer robe, was faux fur with shoulders padded into a pyramid shape and lined with red silk.

Though magnificent on its own, the gown would be incomplete without the unbelievable headdress. Its base was a close-fitting metallic gold cap; using an electo-forming technique, it was constructed from copper and then plated in real gold. Petite colored jewels and filigree details completed the incredibly heavy, expensive, uncomfortable - and yet stunning - headdress.


star wars female character meme 1/4 outfits

return to naboo gown ; while traveling back to naboo, amidala wears this purple mutlilayered gown, complete with full cerlin sleeves. the golden tiara she wears is an antique adorned with the royal emblem, and her veil is made of mauve chersilk with drapa bindings. amidala also wears this subdued gown for qui-gon jinn’s funeral. this beautiful gown consists of two layers. the first is a purple paneled velvet overdress, with a discharge-printed allover naboo pattern. the second layer is a pleated silk undress, which was worn over layered, stiffened petticoats. the sleeves of the gown also consist of two layers. the inner sleeves are finger-length and corded, while the outer sleeves are petal-shaped and made from shot-silk chiffon satin. chiffon was also utilized for the veils.


Court coat and waistcoat                                  

  • Place of origin:
  • Date:
  • Artist/Maker:
  • Materials and Techniques:

England, Great Britain (possibly, made)
Scotland, Great Britain (possibly, made)

ca. 1800 (made)

Unknown (production)

Silk, cotton, chenille and silk thread, pleated, hand-sewn, hand-embroidered, and later machine stitched, and with linen pockets and lined with satin

This ensemble is typical of men’s court dress at the end of the 18th century. Although the most formal style of dress worn, it was not the most fashionable. By 1800, rich fabrics and embroidery were no longer in style for men’s suits. The standing collar, curving coat fronts and waistcoat style are also old fashioned, representing the cut and shape seen in the 1780s.  

However, the requirements of court dress kept alive the textile and embroidery industries of the 18th century.  The embroidery for the coat and waistcoat were done first, in the areas where it was required for the finished garment.  Although made of different fabrics the coat and waistcoat share the same embroidery design.  They would have been sold together by a silk mercer, then taken to the tailor to be made to fit the purchaser.