Kensington Palace

The trip to Kensington palace was inspiring and overwhelming, they're were so many beautiful pieces that touched me, I learnt more about life of a princess or Queen and just being there and observing vintage and recent artwork really made me understand and respect what Royalty has done and structured for England and Europe now.

Marie Antoinette Dresses

This dress amazes me, it is beautiful in every way, the bows used are very elegant the way they connect to each other growing bigger in size. I love the sleeves again they are so beautifully proportioned and designed to look fluffy and big i think they work nicely with the look of the dress, with all the frills and lace and small to large sized bows.
Then at the bottom the dress is finished off with a gold material smoothing the end to look perfect.

I love this dress, the detail is emaculate and the colour is perfect. I like the shape around the bust it stands perfectly on the breasts and then has a delicate see through lace witch flares on the shoulders which makes them appear bigger, and bow centred between the breasts.

Marie Antoinette at the age of twelve, by Martin van Meytens.
I love the sleeves on this dress, they are so inspiring to me, the first thing I thought was its must have taken a very long time for the designer to make this dress, its all beautifully made, I can see so many materials (lace, bows, pleats, buttons).
I also love the print, I think its beautiful to observe , although there is a lot going on with the dress, it doesn't look over designed, it's a beautiful piece of art.

Except on casual attire, shirt cuffs are generally divided down one edge and then fastened together, so they can let a hand through and then fit more snugly around the wrist. Some sweaters and athletic garments (both tops and pants) have cuffs that either contain elastic or are woven so as to stretch around a hand or foot and still fit snugly, accomplishing the same purpose.

Divided shirt cuffs are of three kinds, depending on how they fasten:

Button cuffs, also called barrel cuffs, have buttonholes on the one side and buttons on the other (sometimes more than one, so that the fit can be adjusted).
Link cuffs, which have buttonholes on both sides and are meant to be closed with cufflinks or silk knots. They are most commonly fastened in either the "kissing" style, where the insides of both sides are pressed together, or very unusually with the outer face touching the inner face, as with a button cuff (though this is unorthodox). Link cuffs come in two kinds:
Single cuffs, the original linked cuff, are required for white tie and are the more traditional choice for black tie. Also, some traditionalists may wear this style with lounge suits as well.
Double, or French, cuffs, are twice as long and worn folded back on themselves. French cuffs were once considered to be more formal than button cuffs, although they are seeing a resurgence in the business environment, particularly in Europe. Even though traditionally French cuffs could only be worn with a lounge suit or more formal clothing (and not a sports jacket), this is now not followed by most, while some even wear these cuffs without a tie or jacket. They remain the preferred choice for semi-formal, black tie events.
Convertible cuffs may be closed with buttons or with cufflinks.

The ruff, an extension of a simple collar, that appeared in the 16th century was a form in fashion that grew in length and breadth after its introduction and took on symbolic as well as aesthetic meaning.
It grew out of the gathering of fabric at the neckline of the typical chemise, or undergarment, worn under outer layers of clothing. The chemise served to protect the outer garments from excessive wear and washing and were usually made of sturdier linen that could be bleached and cleaned with frequency. The collection of fabric at the neckline, that would be tied or cinched and form a small collar, would often stand out in its whiteness and in its fabric composition against the features of the wearer’s outer garments. By virtue of this initial distinction, it came to have an importance in its own right and the aesthetic language of the collar, or more elaborate ruff, broadened accordingly.
The ruff survived longest as an accessory in Holland, after evolving quickly and becoming a form separate from the chemise, where it also grew to the most extravagant sizes– cartwheel ruffs were popular there up until the mid-17th century and were often so wide, up to a foot and a half, as to require wiring to retain their shape. Otherwise, the shape of ruffs was maintained by use of starch. The rigidity of the ruff thus ensured that the wearer projected a dignified pose that, because of hindered movement, suggested a life of leisure and attendance to.

Women as well as men adorned themselves with the exaggerated ruffs, and it was women’s fashion that led to further adaptations in its style such as the opening of the form at the center to enhance femininity, if not to facilitate eating and movement. Eventually, the ruff gave way to the standing collar and gradually less expansive collars, but essentially paved the way for centuries of further enhancements and embellishments at the neckline.

THE HEART TRUTH RED DRESS 2010