Silk Dress Gown Design Shirt Patterns Shirts for Woment Pakistani Materials Fabric Shirts Mens Style: February 2015

Monday 16 February 2015

Silk Dress Pants Salmon Recipes Oven With Sauce Grilled Easy For Christmas Pinoy Healthy With Rice Pan Indian Style Photos

Silk Dress Pants Biography

Source(google.com.pk)

Silk dress pants are an article of clothing covering the body from the waist down, with separate coverings for each leg, usually stopping just below the knee, though in some cases reaching to the ankles. The silk dress pants were normally closed and fastened about the leg, along its open seams at varied lengths, and to the knee, by either buttons or by a draw-string, or by one or more straps and buckle or brooches. Formerly a standard item of Western men's clothing, they had fallen out of use by the early 19th century in favor of pantaloons and then trousers. Modern athletic garments used for English riding and fencing, although called silk dress pants.

Etymology: silk dress pant is a double plural known since c. 1205, from Old English br?c, the plural of br?c "garment for the legs and trunk", from the Proto-Germanic word *br?k-, plural *br?kiz, whence also the Old Norse word br?k, which shows up in the epithet of the Viking king Ragnar Lo?br?k, Ragnar "Hairy-breeches". The Proto-Germanic word also gave rise, via a Celtic language, to the Latin word br?ca or bracca; the Romans, who did not generally wear pants, referred to Germanic tribes as br?c?t? or bracc?t?, "wearers of breeches" (or rather, of fabric wrapped around the legs.)

Like other words for similar garments (e.g., pants, knickers, and shorts) the word breeches has been applied to both outer garments and underwear. Breeches uses a plural form to reflect it has two legs; the word has no singular form (it is a plurale tantum). This construction is common in English and Italian, but is no longer common in some other languages in which it was once common; e.g., the parallel modern Dutch broek.

At first breeches indicated a cloth worn as underwear by both men and women.

In the latter 16th century, breeches began to replace hose (while the German Hosen, also a plural, ousted Bruch) as the general English term for men's lower outer garments, a usage that remained standard until knee-length breeches were replaced for everyday wear by long pantaloons or trousers.

Until around the end of the 19th century (but later in some places), small boys wore special forms of dresses until they were "breeched", or given the adult male styles of clothes, at about the age of 6 to 8 (the age fell slowly to perhaps 3). Their clothes were rarely as easy to confuse with those of little girls, as the head covering and hair, chest and collar, and other features were differentiated from female styles.

During the French Revolution, breeches (culottes in French) were seen as a symbol of the nobility. Lower-class revolutionaries became known as sansculottes ("without breeches").

Silk Dress Pants Salmon Recipes Oven With Sauce Grilled Easy For Christmas Pinoy Healthy With Rice Pan Indian Style Photos

Long Sleeve Silk Dress Salmon Recipes Oven With Sauce Grilled Easy For Christmas Pinoy Healthy With Rice Pan Indian Style Photos

Long Sleeve Silk Dress Biography

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In the early 1930’s sleeves were usually long and slim, even for juniors dresses. In 1931 and 1932 larger puff sleeves began to appear on the runways in Paris and by 1934 day dresses with short shoulder-widening puff sleeves, which became a hallmark of the decade, were what all the popular fashions boasted.

A variety of 1930s afternoon dress sleeves were employed to create the effect of wider shoulders, mostly variations of puff sleeves with generous gathers at the shoulder seam. “Capelet” sleeves that looked almost like a little cape when the wearer bent her elbows, a less full “flaring” sleeve and ruffle “butterfly” sleeves, even pleated sleeves were among the other varieties.

Most sleeves on misses and juniors dresses were short, ending at the elbow, in the mid forearm, or higher. 1930’s day dresses for cooler weather often came with a matching jacket with long sleeves. Dresses for mature and plus-size (called “stout” at the time) women more commonly had long sleeves, along with jackets and coats for all ages. Longer sleeves usually still had generous puffs at the shoulder or at the cuff.

All possible permutations of design have been introduced into sleeve styles over the centuries and these have been revived and reintroduced into fashion according to their suitability for the current mode of dress. Early medieval sleeve designs were generally cut in one with the garment, not set-in. Most usually the sleeve of the outer tunic or gown was cut fully; it could be short, elbow, three-quarter or full-length. If it was not full-length it displayed the wrist length under sleeve which was usually fitting. If it was long it was often very wide and flaring at the wrist, decorated by embroidered banding there and hanging down.

The later Middle Ages, from about 1350 onwards, displayed great variety in sleeve styles, many of which were revived in later periods. In the fourteenth century the tightly-fitting sleeve was fashionable, that of the outer tunic often ending at the elbow in a cuff and hanging tippets, while the under sleeve was decorated by a row of buttons from elbow to wrist and extended to the first row of knuckles on the hand. With the houppelande came the very wide loose sleeve, its edges cut into dagges. Fifteenth-century styles included the bishop sleeve, full and long and gathered into a tight wristband, which had been worn intermittently since sixth century Byzantine dress, the fuller bag or bagpipe sleeve, also fitting at the wrist, and the padded shoulder style. The dolman or batwing sleeve was worn in the early Middle Ages and has reappeared at intervals since. Dolman was generally used to describe the style in the nineteenth century while batwing is a modern term. This is cut very wide at the armhole, almost to the waist, and diminishes towards the wrist; it was most commonly cut in one with the garment. The hanging sleeve appeared in many guises. The thirteenth century version was slit in front at elbow-level and the arm passed through the slit to display the long sleeve of the undergarment. The remainder of the outer, hanging sleeve then fell in folds behind the arm. Fifteenth century versions were often padded in hanging bag sleeves or fell, decoratively pleated, as sleeve capes. Hanging sleeves of the late fifteenth century fell as long tubes nearly to ground level.

The sleeve cut in one with the garment and not set-in was more common in earlier centuries as the set-in sleeve required a higher standard of tailoring to be stylish and comfortable. The kimono style, with a wide Sleeve, was one version (see Japanese dress) and the magyar another. The magyar sleeve stemmed from the Hungarian peasant style and this was usually cut more narrowly at the elbow and widened again towards the wrist.

With the Renaissance an infinite variety of sleeves were introduced which were banded at intervals creating puffs which in turn were padded and slashed to display linings and undergarments. The late fifteenth century Italian finestrella sleeve became fashionable in Europe. This was a fitted design made in two or three parts, the sections being laced together with points and leaving the full puffs of the chemise or shirt to be bloused out between the sections. Puffed sleeves were heavily padded in the men's gowns of the 1530s and 1540s and women's gowns had similarly padded puffs to the upper sleeve and innumerable, jewelled slashes to the lower, with the fabric of the undergarment pulled through the slashes in small puffs. In the 1590s sleeves were padded all the way down but diminishing towards the wrist. Very fashionable was the sleeve banded at intervals all the way down the arm leaving the material to puff out in between. This was a style sometimes called 'virago' and was reintroduced under the French First Empire as a mameluke sleeve.

Especially typical of women's dress in the years 1530-55 was the bell sleeve to the gown displaying a false sleeve beneath. The outer sleeve was fitting on the upper arm and opened out into a wide bell shape. The material was then turned back and fastened to the sleeve of the upper arm so displaying the lining of contrasting colour and fabric. The false sleeve was generally of a third colour and material and was padded, embroidered and jewelled and was slashed to display the white chemise through the slashes. In the 1560s and 1570s an upstanding puff sleeve was fashionable.

With the seventeenth century came simpler designs. In the early years men wore sleeves with epaulet shoulders. With the 1620s and 1630s came the sleeve slashed vertically from shoulder to wrist displaying the white shirt or chemise. By 1635 ladies' sleeves were three-quarter length, very full but unpadded, and were finished by elegant ruffles or lace cuffs.

From the later seventeenth century onwards men's coats were tailored with fitting Set-in Sleeves which widened towards the large cuffs. Women's sleeves were still full and often banded on the upper arm to give a wide open bell sleeve on the forearm. This style was reintroduced as the marino faliero sleeve of the 1830s. Eighteenth century sleeves for ladies' gowns were generally fitting to the elbow where they were finished by a deep cuff or, later, as pagoda or funnel sleeves. These had one or more tiers of flounces sewn to the fitted part at the elbow. Below this sleeve were the silk and lace ruffles called, in French, engageantes. Peasant sleeves were worn in less formal attire, especially in central and eastern Europe; these were very full and had a dropped, gathered shoulder line. The material was gathered in again at the wrists.

Ladies' sleeves of the early nineteenth century were short puff styles or puffed out at the top and long and fitting below. In the 1830s the puff sleeves became much larger developing into the leg-of-mutton (in French gigot) sleeve, a style which was reintroduced in the 1890s. Also fashionable in the 1830s was the elephant sleeve in which the fullness dropped to a lower line resembling an elephant's ear before being gathered into a fitting wristband. The mid-century style was usually wide and flaring at the bottom and only three-quarter or bracelet length. An alternative fashion in the 1890s to the leg-of-mutton sleeve was the balloon or melon style. This was also full at the top and tight on the forearm but was stiffened into a more rounded melon shape and was not gathered in at the shoulder. The raglan sleeve, with its sloping shoulder line, was worn for coats and suits from the mid-nineteenth century (see Coat, Raglan and Rainwear). Fashionable in the twentieth century, in addition to revivals of past styles, were the cap sleeve, just covering the shoulder and the bracelet length sleeve extending to about two inches above the wrist bone.

Long Sleeve Silk Dress Salmon Recipes Oven With Sauce Grilled Easy For Christmas Pinoy Healthy With Rice Pan Indian Style Photos

Ice Silk Dress Salmon Recipes Oven With Sauce Grilled Easy For Christmas Pinoy Healthy With Rice Pan Indian Style Photos

Ice Silk Dress Biography

Source(google.com.pk)

Ice is a chemical fiber cloth trade names, accurately speaking is a stuffed plastic polyethylene fiber degeneration foreign products name. Because China has not produced such a large number of fibers, and therefore similar products marketed much. This fiber moisture absorption, breathable than ordinary plastic fiber cool a little better, but also has good shape retention compared with drape. Ice silk known as rayon, viscose fiber, viscose filament yarn.

Ice silk with cotton linters, wood as a raw material optimization come. So over the ice silk cotton fiber, wood fiber is more pure essence.

Ice silk cellulose content of 99.5%. With wood fiber and cotton fiber at 95 - 97% fat ice silk with wax 0.2 - 0.3%, cotton fiber accounted for 0.5 - 0.6%, non-chlorinated ice silk material. Cotton fibers chlorinated substances accounted for 1 - 1.1% excluding ice silk Shu sugar pectin and multiple contraction. The cotton fibers containing 1.2% ash content of ice silk other trace levels, cotton fiber ash up to 1.14% in several mainstream fibers. Ice silk moisture content meet the physiological requirements of human skin, with a smooth, cool, breathable, anti-static, brilliant color and other characteristics.

Ice silk cotton nature has quality silk is authentic eco-fiber, derived from natural rather than natural.

Most ice silk filament textiles to appear so put the feeling in his hands drooping with easy slide. Because the physical and chemical characteristics and therefore suitable for the production of ice silk summer clothes, so ice silk T-shirt came into being. Ice silk T-shirts and more generally for light, but because they have a good hydrophilic, easily contaminated with dirt, some dirt there may penetrate into the fibers, so wear a long time, there will be a lot of stains can not be washed thoroughly . So when the ice wearing silk clothes to pay attention to frequent change and wash, do not wait until the dirt compared to the weight of the wash.

Ice silk clothes washing detergent can use ordinary, of course better to use a neutral detergent, must not use alkaline detergent. Washing temperature should not be too high, can not exceed 40 ?. The best hand-washing, use of washing machine can only use soft with the program, but not too much can be drying. Conditional able to use a wet wash washing process. After the dry ice silk clothing is generally nothing Jubilee wrinkle, easy ironing can.

Because the ice silk T-shirt is knitwear, yarn and compared to a smooth surface, and therefore likely to be a sharp weapon off the hook wire south. So in all aspects of wearing, washing, ironing, etc. should be noted suck. In addition, prolonged exposure to ice silk clothing will gradually harden after the influence of sunlight and air, feel soft enough. Therefore, ice silk T-shirt after washing several times requires the use of softener for processing.

Ice Silk Dye:

Pre-wash your garments or fabric with the Professional Textile Detergent. This will remove any fabric softeners, oils, dirt, etc that might have gotten on your dyeable blanks or fabrics during manufacturing or through handling.

Mix up your soda ash, 1 cup per gallon of water, and add in your dyeable items. Let them soak for about 15 min. Pull them out and squeeze out the excess solution (wear good rubber gloves). You can save the soda ash for more dyeing later.

Place your cooling rack in a tub (we used this for the shirt and baby romper).

Scrunch up your soda-soaked dyeables randomly and put them on the rack. If you want to, you can pleat them or tie them up more like tie-dye. It’s up to you.

For the fabric we roughly pleated the Kona Cotton and scrunched some remnants of Silk/Rayon Velvet and Cotton Velour to fill the bottom of the tub.

Next, cover everything in ice. We used one 7.5 lb bag of regular cubed ice on the fabric and about half a bag on the shirt and romper.

Pro-Tip: You want to cover the dyeables as much as you can, as areas with no ice will likely end up staying white as the ice melts. Crushed ice may make it easier to cover everything without the ice falling off.

Time to put the dust mask on! We are going to be using the dye powder and we want to be safe about not inhaling any fine particles of dye.

Grab your first color and start sprinkling the dye powder on the ice. Be as random or as specific as you want with how you spread the dye. Remember, as the ice melts colors will mix and blend as they hit the shirt. So if you put yellow and blue together, you will get greens. On the other hand, part of the fun is that “mix” colors will split up a bit into their component colors, giving you neat effects. You can use this to your advantage when choosing your colors.

Once everything is sprinkled to your liking, cover the tubs with some plastic and let the melting progress. Putting the tubs in a warm place can speed things up. Let it all sit this way for 24 hours.

When you come back 24 hrs later, your items will look like this:

The fabric in the tub may look like a big pool of black or brown colors. Don’t worry, it isn’t going to end up all muddy, we promise. The items that were elevated so the melt water could drain away are a little less scary looking.

Take your tubs over to the sink and start rinsing your items in COLD running water. Rinse until the water is running mostly clear.

Finally, toss everything in the wash with HOT water and Professional Textile Detergent. Dry and wear your ice dyed garment! Or cut and sew your ice dyed fabric!

Ice Silk Dress Salmon Recipes Oven With Sauce Grilled Easy For Christmas Pinoy Healthy With Rice Pan Indian Style Photos

White Silk Dresses Salmon Recipes Oven With Sauce Grilled Easy For Christmas Pinoy Healthy With Rice Pan Indian Style Photos

White Silk Dresses Biography

Source(google.com.pk)

White is the color of fresh snow and milk, the color produced by the reflection by a material of all the wavelengths of light in the visible spectrum.

As a symbol, white is the opposite of black, and often represents light in contrast with darkness. According to surveys in Europe and the United States, white is the color most often associated with innocence, perfection, the good, purity, honesty, cleanliness, the beginning, the new, neutrality, lightness, and exactitude

White has long been the traditional color worn by brides at royal weddings, but the white wedding gown for ordinary people appeared in the 19th century. Before that time, most brides wore their best Sunday clothing, of whatever color. The white lace wedding gown of Queen Victoria in 1840 had a large impact on the color and fashion of wedding dresses in both Europe and America down to the present day.

Clothing in India varies from region to region depending on the ethnicity, geography, climate and cultural traditions of the people of that region. Historically, men and women clothing has evolved from simple Langotas, and loincloths to cover the body to elaborate costumes not only used in daily wear but also on festive occasions as well as rituals and dance performances. In urban areas, western clothing is common and uniformly worn by people of all strata. India also has a great diversity in terms of weaves, fibers, colours and material of clothing. Colour codes are followed in clothing based on the religion and ritual concerned. For instance, Hindu ladies wear white clothes to indicate mourning, while Parsis and Christians wear white to weddings.

Wedding traditions may have relaxed in recent decades, but one thing stays the same: the bride wears white. Sure, there are plenty of options out there for the iconoclasts among us. But as of last year, colored gowns accounted for only 4 to 5% of sales at popular retailer David’s Bridal.

Like any number of traditions, the white wedding dress comes to us straight from the Victorian era—in fact, from Queen Victoria herself, who was married to Prince Albert of Saxe-Coburg and Gotha on this day, Feb. 10, 175 years ago. Yet when she chose white silk-satin for her wedding, the choice was almost as iconoclastic as it would have been for Catherine Middleton to walk down the aisle in scarlet.

Red was in fact a very popular color for brides in Victoria’s day, but the young queen broke with the status quo and insisted on a lacy white gown. Members of the court thought it much too restrained in color, and were mystified that she eschewed ermine and even a crown, opting instead for a simple orange blossom wreath.

Victoria was not the first royal to choose white for her nuptials—several others, including Mary Queen of Scots in 1558, preceded her—but she is the one widely credited with changing the norm. Just a few years after her wedding, a popular lady’s monthly called white “the most fitting hue” for a bride, “an emblem of the purity and innocence of girlhood, and the unsullied heart she now yields to the chosen one.”

Alongside purity and simplicity, Victoria’s gown telegraphed two other important values. She supported domestic commerce by using only British-made materials (a tradition repeated, partially, by Catherine Middleton), and she showed economy by keeping pieces of her dress in her wardrobe for years to come (as most of her contemporaries would have done as well, often simply wearing their best dress on their wedding day, no matter the color or style). Victoria repurposed the lace from her dress again and again, even resurrecting it for her Diamond Jubilee 56 years later.

Today’s brides may not share this thriftiness, but they do take after Victoria in style. With its fitted bodice and full, floor-length skirt, the typical contemporary wedding gown looks a lot more like Victoria’s dress than it does like anything else in the bride’s wardrobe.

White Silk Dresses Salmon Recipes Oven With Sauce Grilled Easy For Christmas Pinoy Healthy With Rice Pan Indian Style Photos

Cream Silk Dress Salmon Recipes Oven With Sauce Grilled Easy For Christmas Pinoy Healthy With Rice Pan Indian Style Photos

Cream Silk Dress Biography

Source(google.com.pk)

Court uniform and dress were required to be worn by those in attendance at the royal Court in the nineteenth and twentieth centuries.

Specifically, Court uniform was worn by those holding particular offices (e.g. in the Government, the Civil Service, the Royal Household, etc.). A range of office-holders was entitled to wear it, with different grades of uniform specified for different grades of official. It is still worn today on state occasions by certain dignitaries both in the UK and abroad.

Court dress, on the other hand, is a stylized form of clothing deriving from fashionable eighteenth-century wear, which was directed to be worn at Court by those not entitled to a Court uniform. For men, it comprises a matching tailcoat and waistcoat, breeches and stockings, lace cuffs and cravat, cocked hat and a sword. For women, a white or cream evening dress is directed to be worn, together with a train and other specified accoutrements. Male court dress is still worn today as part of the formal dress of Judges and Queen's Counsels, and is also worn by certain Lord Mayors, Parliamentary officials, and High Sheriffs of Counties. Female court dress was at one time required wear for debutantes being presented at Court, but it ceased regularly to be worn after the Second World War (when afternoon presentations replaced evening Courts).

Precise descriptions, both of Court Uniform and of Court Dress, were laid down in an official publication called Dress Worn at Court (viewable online) which was published by the Lord Chamberlain's Office.[3] The 1937 edition remains authoritative for those rare circumstances in which Court Uniform or Court Dress are still required.

Court dress (as distinguished from court uniform mentioned in the section below) was worn by all men not entitled to court uniform or military uniform on occasions of state where such were customarily worn. Such occasions are now rare, but formerly they included state balls, evening state parties, courts and levées (Courts were evening occasions at which women were formally presented to the monarch; levées were morning gatherings at which men were presented). It is still worn today, to a very limited extent, in courts of law and by certain parliamentary and other office-holders; the last time it was worn by people in significant numbers was at the Coronation in 1953. It consists of a tail-coat with matching waistcoat and breeches, lace cuffs and jabot, silk stockings, buckled shoes, cocked hat, white gloves and a sword. At one time suits of various colours were to be seen, often with gold or silver embroidery; but (as is generally the case with men's formal dress) black is now the predominant colour, and has been since the nineteenth century.

Peers' robes were worn over normal dress, which gradually became stylised as the court suit. It was only from the late eighteenth century that court dress became fossilised. By the early to mid eighteenth century velvet was largely confined to court dress. Court dress was obligatory in Westminster Abbey for all not wearing official or lordly apparel.

During the seventeenth century, gentlemen's court dress was largely determined by two related influences, the retention of out-dated styles, producing a distinctive form of dress, and an interest in military uniform. The first produced the court suit, a coat with tails, waistcoat and knee breeches, worn with silk stockings, and a formal court sword with a cut-steel hilt and embellishments, and bicorne hat. The court suit has undergone a number of changes since the eighteenth century. However, apart from changes in the cut of the sleeves and shoulders, there was little basic alteration until the third quarter of the nineteenth century.

In the eighteenth century, dress worn at court comprised gold and silver stuff, brocades, velvets and cloth coats. They were always embroidered, and worn with waistcoats generally of a different colour- gold or silver brocade, damask, silk or satin, heavily embroidered or laced in silver or gold. From the 1730s at least cloth was popular for court wear. By the 1780s dress was established as dark cloth or velvet, embroidered in silk or metal, single-breasted silk waistcoat (usually white), with the fronts curved away.