Isabelle Armstrong 2020 Wedding Dress Collection
When it comes to knowing what brides want in a wedding dress, Remy Quinones (the founder, CEO, and creative director of Isabelle Armstrong) is a natural. Before starting her own brand in 2013, Quinones spent years running a bridal salon. There, she received firsthand input from clients about what they were looking for in their dream wedding dresses. According to her website, she realized there was a "niche for a collection of wedding gowns that expressed a passion for exquisite couture fabrics, delicate laces, and custom embroideries," and decided to sell her own designs under the brand Isabelle Armstrong.
Since then, Quinones has prided herself on designing dresses that promise "fashion, fantasy, and function"—three things that have drawn so many brides to her gowns. With each Isabelle Armstrong wedding dress collection, Quinones combines the classic with the unexpected in an attempt to combine tradition with "the current mood of the modern bride." How does she do this? In her Fall 2019 collection, for example, she took a classic A-line silhouette and embellished it with sequins and a ruffled, lavender skirt overlay.
This season, Quinones is back with a collection of 21 brand-newdresses—all of which infuse contemporary trends with traditional ideas. Ball gowns were plentiful this season, but unique details like puffed sleeves, three-dimensional floral embroidery, and fan-inspired accents helped modernize these more classic styles. The designer even showed off one pastel-hued look. In short, if you're on the hunt for a wedding dress that speaks to both the traditional and trendy parts of you, we think you'll find it in the Isabelle Armstrong Spring 2020 collection.
Lace ball gown with deep V-neckline, illusion cut out, and long sleeves
Amélie Isabelle — Fantasy Wardrobe: Popular Gowns of History Fashion...
Fantasy Wardrobe: Popular Gowns of History
Fashion is one of my favourite worldbuilding components and choosing which way I want characters to look, is one part of research that is more fun than work. The use of different styles give each culture a defined feel and could act as a symbol of all kinds of lands in your WIP. Since it is your WIP, you can play with different elements of the gowns and pay fast and loose with the styles.
(If you want a more in-depth look at the structure of gowns and the composition of gowns have a look here)
The kirtle was technically an under dress to be worn under a grander gown though some women wore it as a gown itself over their chemise. The kirtle could be made of any material and worn by any woman of any rank. It could be laced at the back, front and even, though rarely, the side.
The sarafan is a traditional Russian dress worn mainly by the peasants (since Peter the Great banned traditional Russian costumes from the nobility in order to drag them toward Westernization). It rather resembles a pinafore and often worm under a lighter gown like a slip. During the reign of Nicholas I, the sarafan was allowed to be worn by the women of the Royal court. They fancied up the sarafan, adding a popular boat-line neckline and long dragging sleeves. It is one of my favourite looks of all time.
This was the most popular gown in Renaissance Italy. The waist was high, usually pleated beneath the bust and had a square neckline. The gown would be worn over the lady's chemise and corset and perhaps another under dress. It was worn by both nobles and commoners.
These gowns were high-waisted, belted underneath the bust. The neckline was classically shaped in a V, often showing off another fabric underneath. These gowns were worn by highborn women.
This gown is named after the structure that held it in place. The skirts would be stretched into a dome-like, bell-jar shape, often fitted about the waist over a bum-roll (stop sniggering) a piece of padded fabric hung about the waist to widen the skirt's distance from the bodice. You know what they say, the bigger the Farthingale the bigger the rank. Worn through the 15th & 16th centuries.
Robe à l'Anglaise
This gown is the classic silhouette of the 18th century. The sleeves usually stopped at the elbow. The neckline was usually cut square. The bodice could be done up in front by laces or buttons. The skirts usually were supported by panniers and often reached staggering girth.
Robe à la Française
This French gown was similar to the Robe à l'Anglaise only that the back featured a train made from pleated fabric that draped from the shoulders to the floor. The gown often opened at the front to show another material beneath.
Robe à la Polonaise
The Robe à la Polonaise was similar to the last two gowns excepting a skirt that featured an overskirt which was picked up and pleated to show the under skirt.
This dress is often seen in Roman or Greek art. The Doric version was made by draping material over the body and fastened at the shoulder by clasps The Ionic chiton version was draped about the body and pinned at the waist.
See more posts like this on Tumblr#fashion#history#writing resources
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that is the face of a man worried he will be next
Sorry, he WHAT? Imagine being this man's boss and having to sit him down like. Listen. Brian. We need you to fuck the bird. You have to act like you're excited about it.
this is the diametric opposite of all those awful swan wife stories and i love it.
(WalWaPo makes you jump through like three separate hoops before you can read the article, so I will share some of the highlights:
- Walnut was born in a species-recovery breeding program in the 1980′s. The program had crane chicks hand-raised by human volunteers, and at that time they did not fully understand the measures necessary make sure that the chicks do not imprint on humans and retain their identity as cranes.
- As a result, her keepers believe, Walnut does not recognize other cranes as members of her own species.
- It has not been proven that Walnut killed her previous suitors; however, there is a persistent rumor in the white-naped-crane-conservation community that she did.
- Because this species is highly endangered, and the gene pool of the captive population is small, it’s pretty important for the survival of her species that Walnut A) mate, and B) not kill a bunch of other cranes.
- The actual name of the keeper is Chris Crowe.
- They both arrived at the Smithsonian Conservation Biology Institute in 2004.
- Walnut immediately began paying special attention to Chris--and ignoring the eligible male crane in a nearby enclosure.
- Walnut initiated their courtship, performing the opening moves of a mating dance.
- Chris realized that if he reciprocated the mating dance, it might be possible to artificially inseminate Walnut with her participation and consent. (The process normally involves restraining the bird.)
- It worked!
- Chris and Walnut have had five children, who were raised by other crane couples at the facility--sometimes the biological dad and his mate--both because it’s unclear whether Walnut would accept the chicks as her own, and because Chris is not equipped to be a Crane Dad.
- However, the Institute provides her with artificial eggs to sit on, and Chris takes his turn looking after them. (This would not work with real eggs because he can’t sit on them properly, but Walnut seems to feel that he is on the job if he just stands over them.)
- Chris accepts that he is pretty much married to this bird. White-naped cranes live to be about 60, and they mate for life, so he knows he can’t retire while Walnut is alive. (At the time of the article, Walnut was 36, and Chris 42.)
Legit cannot pick the funniest part of this
she has not been PROVEN to have killed her exes, but there is a PERSISTENT RUMOR (really officers she's simply DEVASTATED, she sobs, wearing a new feather boa unfortunately resembling her most recent deceased husband)
His name is Chris CROWE. (Mrs. Walnut Crane-Crowe?)
the mental images of a whole human man learning and performing the crane mating dance, and "sitting" on artificial eggs so she thinks he's performing his duties as a husband and father (and apparently OBJECTS if he does not?)
"chris, buddy, you gotta marry the possibly-murderous crane lady for the GOOD OF THE SPECIES." (alternately: "chris, my man! good news! we found you a very interested lady! She's 36, she's very spirited and independent, she holds a very important and rare status in her society! ...Is there a downside? WELL...")
chris sits any potential human partners down, like "my love, you must understand before we wed,,, i am already... Attached" (camera drifts wistfully to the above photo) "Lady Walnut and I have an,, Understanding... the relationship is open, but very committed"
just had to explain this post to my father bc he thought my stifled laughter was a signal of illness.
well done, everyone, good game. hit the showers.
Apparently a part of the reason why farmed bees stay in the beehives that humans build for them is because the farm hives are safer and sturdier. I don't know how a busy Discord server's worth of bugs that only have one brain cell each would logically conclude that the humans protect them from outside threats, illness and parasites, but if I understood right, the bees would be free to move away and build a new nest somewhere else any time they'd want, and they simply choose not to.
You know how in almost every culture, people have some concept of "if I sacrifice something that I made/grew/produced to the Gods, they will ward me and my harvest from evil"?
So, in a way, don't the bees willingly sacrifice a part of their harvest to an entity not only far greater than them, but nearly beyond their comprehension, in exchange for protection against natural forces wildly outside of their own control?
So tell me, beekeepers, what are you to your bees, if not a mildly eldritch God?
oh god are you one of those people who reads romeo and juliet as a romance rather than a tragedy
I thought I was gonna go to bed early tonight but I guess not
hey friend you just unleashed my nerdy wrath buckle up
short answer: no, I know r&j is a tragedy and I read it as such. Shakespeare didn’t write “romances”, at least not in the sense you mean (some people call his later stuff that’s harder to put into a genre ‘romances’, such as the winter’s tale and the tempest)
so no I’m not a moron thanks
here’s the long answer:
I presume you’re “one of those people” who likes to count themselves as the Specialest Snowflake In All The Land because they don’t buy into the fake cheesy idea of //romance// that everyone else so blindly believes
maybe you like to talk about how romeo and juliet were “just horny teenagers”, how they knew each other for three days, how romeo so loved rosaline thirty seconds before spotting juliet, so clearly he’s fickle and silly. they weren’t actually in love, they were just teenage idiots.
because only stupid girls buy that stuff.
you’re more mature than that.
am I right?
well, here’s the thing, sunshine- you aren’t special. I hear this same damn argument right down to the last word every time I mention my love of this play and it ENRAGES me every time because 99% of the time this is coming from /other teenagers/. other young people talking about how this isn’t a story to be taken SERIOUSLY. it’s silly and frivolous and unrealistic. they don’t realize that this play is dedicated to them.
and it’s criticizing people just like you.
while I do believe that these two young people were soul mates (I’ll get to that later), I don’t really think this is a story about love. it’s a story about /passion/- how love and hate are only a hair’s breadth apart and their overwhelming capacity for healing or for destroying. the emotion that drives mercutio to defend romeo from tybalt. what drives mercutio to be killed at his hand. what pushes formerly docile, dreamy romeo to slay his cousin in law: it all begins to seem like the same continuous passion, enflaming the same group of people on the hottest day of the year.
as a result, love isn’t a pretty thing in this play. it’s linked inextricably to death, to murder, to chaos. love is presented as the most dangerous force in the universe. it leaves five bodies in its wake, and then at the end (people forget this) it’s what finally brings the ancient feud to an end.
it’s not silly. it’s not frivolous. o brawling love, o loving hate.
and who are the conductors of this unstoppable force? who sets verona burning and then rebuilds it better in under a week?
people with a shitty understanding of this play who love to dismiss it and downplay it like to call it a “cautionary tale”- why you shouldn’t think with your dick, why you should grow up and not be so rash, be sensible.
I agree with part of this. it is a cautionary tale. but it’s directed at YOU.
you, who devalue youth. you, who underestimate teenagers and what they’re capable of, who wave off their every thought or feeling with “just a kid”. who think that love is a pretty little silly thing and that no one under the age of 25 is capable of really experiencing it. that the kids don’t MATTER.
capulet thought it- he dismissed tybalt’s rage during the party as dumb kids throwing a hissy fit. he wrote juliet off as a child who should be seen and not heard, shuffled from her father to her husband, guided by the wisdom of those older and wiser than her.
in the world presented in the play, age has NOTHING to do with wisdom. the adults range from careless (montague) to helpless (lady capulet) to blithering (the nurse). the wisest character, the most eloquent and intelligent one with the most beautiful poetry, is fourteen year old juliet.
(go back and read it. whose speeches are the most beautiful, sophisticated, complex? Juliet’s.)
okay, fine, you say. but they didn’t love each other, they just saw each other and got hot and bothered and wanted to jump the other’s bones! anyway, what about rosaline?!
I’ll address rosaline first:
shakespeare likes making fun of the poets of old (take for instance his “my mistress’ eyes” sonnet, a deliberate parody of the Petrarchan model of frilly love poetry). heres another example in romeo. when we first meet romeo he’s mooning over a girl in the frilliest, stalest, most formulaic verse imaginable. we get the feeling he’s enjoying himself, basking in his misery.
notice, though, that we never see rosaline on stage. she represents romeo’s vague infatuation with the //idea// of love, the pretty image he made up in his head from reading old poems. this not only creates an incredible arc in his character, but makes his love for juliet obviously the real deal by comparison. he meets juliet and his world goes into free fall; he’s rash and violent and impulsive, and the verse that was so stale and ingenuine before shifts into some of the most famous passionate poetry in the english language.
in his first scene, he asks “is love a tender thing?” he falls in love with juliet- REAL love, not the kind in poems- and comes to answer his own question: no. no it fucking isn’t.
but, you say. but they CANT have loved each other! you don’t fall in love just by LOOKING at someone!
yeah, I know you don’t.
but here’s the thing. if you aren’t willing to suspend some modicum of disbelief, you won’t get anything from shakespeare. period.
we’re already assuming that these people just happen to walk around speaking in blank verse and rhyming couplet. the plot of hamlet relies on the existence of a ghost, a midsummer night’s dream on fairies, macbeth on witches, the tempest on magic, measure for measure on the friggin /bed trick/- is it SUCH A HORRIBLE STRETCH FOR YOUR CYNICAL POSTMODERN MIND TO MAKE that characters can identify their soulmates with a look? have we reached that level of lazy cynicism as a society that magical love flowers and vengeful ghosts are believable, where a woman can turn into a boy by shoving a hat over her hair and statues spring to life as deceased loved ones, but love at first sight (a very very common Elizabethan plot device; it’s /everywhere/ in shakespeare) is just too much of a stretch?
no one rolls their eyes at hamlet because “ghosts aren’t real. are you one of those people who believe in ghosts?” no- they take it for the plot device that it is in order to get to the message of the play as a whole, and the truths of the human conditions it reveals, with the help of some purely theatrical elements.
but kids in love. that’s far too silly.
it’s really fucking sad.
and questions like yours, anon? those make me really, really fucking sad.
bringing this back cuz someone tried to challenge me today
I'm not dead and I still live for Tom Riddle 👌👌
See Isabelle Armstrong Wedding Dresses From Bridal Fashion Week
Isabelle Armstrong bridal is built upon the belief that every wedding gown should speak to romance, sophistication and modernity. This luxury wedding brand blends an air of romance and magic with impeccable tailoring. Combining both classic and fashion-forward silhouettes, Isabelle Armstrong wedding dresses make a powerful statement. From textured 3-D florals to dramatic tulle frills and feminine lace, Isabelle Armstrong bridal gowns masterfully mix architectural and soft elements for a fresh feel. With a modern sensibility and flirty accents, Isabelle Armstrong wedding dresses offer an elevated take on traditional bridal. "Is it cool to admit that you're a shameless romantic? Maybe, maybe not," said Isabelle Armstrong's founder, Remy Quinones. "But romance with a modern edge is at the very heart of our collection. Lace, ball gowns, butterflies, flowers, tulle, bows, bring it all on."
Isabelle Armstrong's Fall 2020 Wedding Dresses
Adeline & Monsie; Lace wedding dress with overcoat with puffed sleeves and oversized collar.
Alessandra & Ravenna; Fitted dress with V-neckline and lace overlay with butterfly sleeves.
Amalfi; Fit-and-flare dress with V-neckline and embroidered lace.
Capri; Fitted dress with high neck and sheer embroidered lace overlay.
Como; Off-the-shoulder ballgown with V-neckline and fitted waist.
Ferrara; Strapless lace ballgown with fitted waist and bow detail.
Florence; Strapless ballgown with floral appliques and V-neckline.
Milan; Strapless ballgown with bustier bodice and embroidered floral lace.
Naples; Fit-and-flare dress with deep V-neckline, beaded bodice and bow detail.
Palermo; Fit-and-flare strapless lace dress with bow detail on back.
Perugia; A-line gown with lace high neck and long sleeves.
Positano; A-line gown with illusion neckline, loose 3/4 length sleeves and floral appliques.
Rome; Ballgown with scoop neckline and spaghetti straps.
Salerno; Strapless ballgown with tiered skirt and floral appliques.
Shay; Ballgown with tiered skirt, deep V-neckline and ruffled sleeves.
Siena; Strapless ballgown with sweetheart neckline and floral embroidery.
Venice; Off-the-shoulder ballgown with large floral appliques and puffed tulle sleeves.
Vittoria; One-shoulder ballgown with large floral appliques and floral embroidery.
Isabelle Armstrong General Style
Blending old world femininity with the modern bride's edge, Isabelle Armstrong wedding dresses are both romantic and fresh. These handcrafted gowns each offer a moment of surprise with an unexpected combination of fabrics, bold silhouettes, delicate lace and custom embroidery. Isabelle Armstrong wedding dresses are effortless yet innovative, bringing an element of fantasy without compromising on function. That's because Isabelle Armstrong's founder and creative director, Remy Quinones, knows the most important thing is that real brides feel comfortable wearing her gowns throughout their day. Just as all eyes are on every aspect of a wedding dress's exterior, Quinones pays just as much attention to what guests don't see: the interior construction. "No matter how gorgeous a dress is, if it doesn't fit right, it's not going to be the one," said Quinones.
Isabelle Armstrong History
As the owner of a high-end bridal salon in New Jersey, Remy Quinones spent years helping countless brides-to-be to find their dream wedding gowns. This invaluable time with real brides gave her a unique perspective on exactly what many women were gravitating towards and inspired her to launch her own brand, Isabelle Armstrong in 2013. As the CEO, Founder, and Creative Director of Isabelle Armstrong, Quinones has worked to blend comfort and couture into each gown that hits the runway. Quinones's determination to bring fashion, fantasy, and function to every Isabelle Armstrong wedding dress is reflected in each gown she shows.
Isabelle Armstrong Collection History
Isabelle Armstrong's first collection debuted in 2013 featuring luxe fabrics, custom embroidery, and an inner construction to help the gowns seem weightless. Over the years, the spirit of the brand has continued to focus on forward-thinking silhouettes that still feel timeless.
"Each and every dress in our collection is imbued with a modern sense of glamour, timeless romance and individuality. Can you feel the love?" said Quinones.
Isabelle Armstrong's previous collection focused on strength and softness, channeling these contrasting elements of modern femininity. "As a woman today, we're required to be both soft and strong, often at the same time. This underlying feeling really informed the spring 2019 collection," says Quinones. "My feminine side went for full-on frilly, yet my reserved side went for a quiet, tailored vibe. I think this juxtaposition speaks to a lot of us who feel the push and pull of what it means to be a woman in the world today."
Isabelle Armstrong's Spring 2020 collection brought the drama and showcased bold elements from fanciful frills to unexpected necklines. The inspiration behind this show-stopping collection is Quinones's personal heritage. The structural yet romantic gowns pay tribute to Lugo, Spain with historical elements from this medieval city, and especially the Lugo Cathedral, influencing each design.
Isabelle Huppert’s status as one of the greatest actors of today is, it’s safe to say, sacrosanct—but over the past few years, Huppert has clearly become more comfortable with showing her offbeat eye for fashion on the red carpet too. And is there any better setting to show off your style prowess than at a glitzy Cannes premiere?
So it comes as little surprise that last night Huppert stole the show while attending the premiere of the latest film from her friend and regular collaborator François Ozon, Everything Went Fine. Working with her long-time stylist Jonathan Huguet, Huppert hit the Croisette in a black Balenciaga dress that appeared cool and classic on the surface, but slowly revealed itself to have a few unexpected—and surprisingly subversive—details. (A little like one of Huppert’s most memorable performances, you could argue.)
While the long-sleeve, form-fitting black dress fell comfortably within the Cannes dress codes, the slit ran all the way up to the waistline, exposing a pair of Balenciaga’s infamous thigh-high stretch-satin knife boots in a matching shade of black. To finish the look, Huppert opted for diamond bracelets worn over the sleeves, glitzy hooped earrings, and black sunglasses to protect her retinas from the blinding chaos of paparazzi flashes, naturally.
It’s also worth noting that Huppert’s choice of designer came mere hours after Balenciaga’s creative director, Demna Gvasalia, debuted his first couture collection for the house to a rapturous reception. Huppert may be on the cutting-edge of cinema, working with some of the world’s greatest auteurs in the early stages of their careers, but her eye for style is equally sharp.
It’s hard to put your finger on what exactly it is about Isabelle Huppert’s style that makes a chic and classic red carpet look feel larger than life. Among a sea of frothy ballgowns, her outfit felt like the night’s boldest look. Perhaps it’s just—as the French might say—a certain je ne sais quoi?
Fantasy dress isabelle
Animal Crossing: New Horizons Isabelle Cosplay Costume
If you hesitate between two sizes, we advise going for the larger one, it’s easier to make an alteration in case of the unfit.
We have listed measurements for both men's and women's sizes in this guide. If you are doing Cross Cosplay, please make sure you send us the correct measurements.
Please allow 1-2 inches differes for the obove size chart and allow 1-3 inches differes for the customize size due to manual measurement , thanks(1inch=2.54cm, 1cm=0.39inch)
How To Measure
We suggest you have someone else help you to take your measurements. If you have any other special requirements, please add it to the "Special Instruction" field when you select your size.
It's across shoulder from right shoulder joint to left shoulder joint instead of in circumference.
Measure around chest/bust at fullest point. For female, pls wear a bra when doing this measurement.
Measure around the smallest part of your waistline, it's also called natural waistline, at the point where your trousers would normally ride. Keep one finger between the tape and your body.
Measure around the fullest part of your hips, keeping the tape parallel to the floor.
Measure shoulder point to wrist through your elbow.
Upper Arm Circumference
Measured around the fullest part of your arm.
Neck to Crotch Area
Measure from the shoulder to the crotch area.
Measure end of inner thigh to ankle.
Measure the fullest part of the thigh.
Measure the fullest part of the calf.
To which she reacted a little rudely, seeing that we were more fun !!. Sveta went to take a shower, and the guys and I continued to discuss various topics, and when the conversation turned. To work, Sveta came in in a Bathrobe and braked us with a firm voice !!. like if they started talking about work, then everyone should sleep. we were stunned, almost transparent dressing gown peignoir under which there was nothing else.
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Twitching, more from surprise than from pain, the slave began to remember the question. From experience she knew that at such moments it is better not to be silent - any given guess could be correct. - Mistress, you asked me if I want. if I want to.