판자

아우 볕좋은대로 자성이랑 놀러가야하는ㄷㅔ 말이에요~~ 탐조하자며 망원경같은거 들고갔는데 새들이 많은 지역이 아니라서 허탕치는거 상상댑니다ㅜ

turtle bag !!

How I arrived on Bluesky

My painting LAKE MICHIGAN

오메 그렇네요! 메인 컬러가 비슷해서 그런걸까요 >< !

Hui fw26 #fashionsky

Barbara Stanwyck by Ernest Bachrach, 1938.

B-Cut 의자.

Giorgio Armani fw26/27 #fashionsky

선수 안둔다는 생각으로 함. 멍청쑈가 시작됨. 잔제이도 얼기설기둬줌.
생각짧아서 다 이긴상태에서 기물 계속 넘겨줌. 바보대행진.

엔젤코어🪽🩵💖

The bodice detail showing the back of a blue 1860s crinoline dress. The fabric has a black and white stripe. There is a silk bow centre back of the waist and the edges are trimmed with a fine blue silk fringe

A full length view of the back of the early 1860s blue crinoline dress that shows the various details of the bodice and then the broad expanse of the skirt

When the bigger picture is a little too much to take in, then a focus on some details can offer some welcome distraction. There is much to distract here from striped silk to bows and a shivery fringe. Early #1860s #V&A #FashionHistory 🗃️🪡

미피 옷 만들어준거 만족스러움 케케

From 1951, Julie Harris as Sally Bowles in the theatrical adaption of Christopher Isherwood's "Goodbye to Berlin." The play - entitled "I Am a Camera" - was a critical success and Miss Harris won her first Tony Award.

Actresses Joan Collins and Jayne Mansfield — Collins dressed in a dark-coloured shirt, light-coloured trousers and white headscarf, Mansfield in a white short-sleeved blouse and light-coloured trousers — captured together while facing each other in profile, both turning their faces toward the camera and smiling broadly as they each stand beside an automobile, left hands on their hips, right hands on their respective vehicle's open front door, caravans and a studio building in the distance, in a full-length black-and-white shot taken on the 20th Century Fox lot during a break from filming The Wayward Bus (1957)

Joan Collins and Jayne Mansfield during a break from filming The Wayward Bus (1957)

British-Ghanaian fashion designer Ozwald Boateng was born #OnThisDay in 1967. He designed this purple man's suit, consisting of a high closing jacket with angled pockets and tapered trousers made from wool, polyester and mohair, in 1996. V&A collection. #fashionhistory

The bodice section of a late 1890s green wool gown showing how the embellished appliqué decorates the surface, particularly around the wait with floral stems. Flowers decorate the top of the bodice. It has a high collar

An alternative detail of the bodice decoration on the late 1890s mint green wool dress showing the ivory coloured floral appliqués

A side by side view that shows two different angles of the late 1890s green wool dress with long skirt and cutaway hem treatment revealing the underskirt beneath

This is a favourite for a Friday, a minty green wool blend gown by Coguenhem & Cie lavishly embellished with art nouveau florals, tendrils climbing the bodice and blooming across the shoulders. Late #1890s #madparisfr #FashionHistory 🗃️🪡

요즘 마작도 그렇고 뭐가 문제인지 모르겟네. 왤컥안댈가

블런더가 세번이나 있을줄은 몰랏음... 손자병법 다시 볼깝쇼. 감각이 안 돌아오는데.. 더 넓게 볼수있던것같은데...

Toga fw26 #fashionsky

#猫の日

A long sleeved long ivory silk wedding dress with bias cut panels at the bodice and a long train at the back

Phew, and so to bed after a family wedding today. Marking it with this 1939 lavish silk crepe bridal gown with a sleek, long train. Balenciaga #museobalenciaga #FashionHistory 🗃️🪡

German actress Camilla Horn by Edward Steichen for Vogue, 1929.

#Ootd is this 1960 yellow evening gown by Worth London. Worth London was an offshoot of the Parisian couture house and was by this time headed by designer Owen Hyde-Clark. Many of his other designs are like this- a fitted bodice and a full skirt in luxurious materials and with

Toque-style hat on half hat frame of green satin ornamented with French-made silk grapes and green, pink, purple, and red grape leaves.

Toque-style hat on half hat frame of green satin ornamented with French-made silk grapes and green, pink, purple, and red grape leaves.

Toque-style hat on half hat frame of green satin ornamented with French-made silk grapes and green, pink, purple, and red grape leaves.

Toque-style hat on half hat frame of green satin ornamented with French-made silk grapes and green, pink, purple, and red grape leaves.

ID: V.73.333.34
toques (caps); hats
Date: 1951
Artist: Sara Sue; Designer ||Miller & Rhoads; Retailer
https://valentine.rediscoverysoftware.com/mDetail.aspx?rID=V.73.333.34&db=objects&dir=VALCOLL #FashionHistory

습 책읽다 과거에 자캐가 입털던거 잘 못 되엇단걸 알아서 아찔해짐 어쩐지 나랑 잘 안 놀아주더라니 .. 러닝때도 납득했엇음.

A mannequin wearing a black silk dress with short sleeves. It is printed with a large red and cream rearing horse motif along one side of the dress, a 1940s design by Gilbert Adrian

Happy Lunar New Year! It is the year of the fire horse and so Gilbert Adrian’s 1945 Roan Stallion dress seems appropriately flame like as it rampages across the surface of black silk @metmuseum.org #FashionHistory 🗃️🪡

우 한동안 그림 열쉼 그렸더니 반동와서 딴짓가열차게함 그려야해

Front full length view of a wrap style 1930s dress made from voided devoré purple velvet with a floral fabric pattern. It has billowing sleeves and is belted with a rhinestone decorated belt. It has a V neck

Back view of the wrap style 1930s purple velvet dress that shows the drape of the garment with its wide sleeves

A close up of the sparkly clasp of the 1930s purple velvet dress in an interlocking oval shape

A detail of the billowing full sleeves of the purple velvet 1930s dress showing how sheer the fabric is

This is daringly sheer. The devoré velvet dress presumably had a matching slip beneath it. Or perhaps not? It is a casually draped #1930s affair with a rhinestone clasped belt #goldsteinmuseum #FashionHistory 🗃️🪡

The front of a bright pink silk evening dress with a square neckline and short chiffon sleeves. It has a handkerchief style hem which is caught up with some gold passementerie

An alternative view of the front of the pink silk Callot Soeurs evening dress showing the gathered nature of the skirt creating a different layered effect at the hem

Back view of the pink silk evening dress showing the gold panel at the square back, the diaphanous chiffon sleeve and the asymmetry of the skirt

Callot Soeurs throwing all of their ethereal loveliness into a dress here, the asymmetry of the period manifested through layers & trimmings & different fabrics. It is a transitional gown hovering between the remnants of the c19th & silhouettes of the ‘20s c1916 @metmuseum.org #FashionHistory 🗃️🪡