So you know you’re looking at two very different styles of dress, here. But precisely what decades? When did that waistline move back down? What details are the defining touches of their era? How long were women actually walking around with bustles on their backsides?

Lydia Edwards’s How to Read a Dress is a detailed, practical, and totally beautiful guide to the history of this particular form of clothing from the 16th to the 20th centuries. It tracks the small changes that pile up over time, gradually ******* until your great-grandmother’s closet looks wildly different than your own. As always, fashion makes for a compelling angle on history—paging through you can see the shifting fortunes of women in the Western world as reflected in the way they got dressed every morning.

Of course, it’ll also ensure that the next lackadaisically costumed period piece you watch gives you agita, but all knowledge has a price.

I spoke to Edwards about how exactly we go about resurrecting the history of an item that’s was typically worn until it fell apart and then recycled for scraps; our conversation has been lightly trimmed and edited for clarity.

The title of the book is How to Read a Dress. What do you mean by “reading” a dress?

Basically what I mean is, when you are looking at a dress in an exhibition or a TV show, reading it in terms of working out where the inspirations or where certain design choices come from. Being able to look at it and recognize key elements. Being able to look at the bodice and say, Oh, the shape of that is 1850s, and the design relates to this part of history, and the patterning comes from here. It’s looking at the dress as an object from the top down and being able to recognize different elements—different historical elements, different design elements, different artistic elements. “Read” is probably the best word to use for that kind of approach, if that makes sense.

It must send you around the bend a little bit, watching costume adaptations where they’re a bit slapdash. The one I think of is the Keira Knightley Pride and Prejudice, which I actually really enjoy, but I know that one’s supposed to have all over the place costuming-wise.

Yeah, it does. I mean, I love the BBC Pride and Prejudice one, because they kept very specifically to a particular era. But I can see what they did with the Keira Knightley one—they were trying to keep it 1790s, when the book was written, as opposed to when it was published. But they’ve got a lot of kind of modern influences in there and they’ve got a lot of influences from 30, 40 years previously, which is interesting to an audience and gives an audience I suppose more frames of reference, more areas to think about and look at. So I can see why they did that. But it does make it more difficult if you’re trying to accurately decode a garment. It’s harder when you’ve got lots of different eras going on there, but it makes it beautiful and interesting for an audience.

The guide spans the 16th to the 20th century. Why start with the 16th century?

Well, partly because it’s where my own interest starts, in terms of my research and the areas I’ve looked at. But more importantly in terms of audience interest, we get a lot of TV shows, a lot of films in recent years—things like The Tudors—that type of era seems to be something that people are interested in. That time is very colorful and very interesting to people.

And also because in terms of thinking about the dress as garment, obviously people wore dresses in medieval times, but in terms of it being something that specifically women wore, distinct from men’s clothes, I really think we start to see that more in the 15th, 16th century onwards.

Where do you go to get the historical information to put together a book like this? What do you use as your source material? Because obviously the thing about clothing is that it has to stand up to a lot of wear and tear and a lot of it doesn’t survive.

This is the other thing about the 16th century stuff—there’s so little surviving. That’s why that chapter was a lot shorter and also that’s why I used a lot of artworks rather than surviving garments, just because they don’t exist in their entirety.

But wherever possible, you go to the garments themselves in museum collections. And then if that’s proving to be difficult, you go to artworks or images, but always bearing in mind the artist will have had their own agenda, so they won’t necessarily be accurate of what people were actually wearing. So then you have to go and look up written source material from the time—say, diaries. I like using letters that people have written to each other over the centuries, describing dress and what they were wearing on a daily basis. Novels can be good, as well.

Also the scholarship that has come before, the secondary sources, works by people like Janet Arnold, Aileen Ribeiro. Really well researched scholarly books where people have used primary sources themselves and put their own interpretation on it can be really, really helpful. Although you take some of it with a pinch of salt, and you put your own interpretation on there, as well.

But always to the dress itself wherever possible.

What are some of the challenges you face, or the constraints on our ability to learn about the history of fashion?

Well, the very practical issue of trying to see garments—some of them I did see here in Australia, but a lot of them were in the States, in Canada, in New Zealand, so it’s hard to physically get there to see them. And often, even when you can get to the museum, garments are out on loan to other exhibitions or other museums. That’s a practical consideration.

But also, especially when I’m talking about using artworks and things, which can be really helpful when you’re researching, but as I’ve said they do come from a place where there’s more interpretations and more agendas. So if someone’s done a portrait and there’s a beautiful 1880s dress in it, that could have been down to the whims of the person who was wearing it, or the artist could have changed significantly the color or style to suit his own taste. Then you have to do extra research on top of that, to make sure that what you are seeing is representative.

It’s a fascinating area. There’s a lot of challenges, but for me, that’s what makes it really exciting as well. But it’s really that question of being able to trust sources and knowing what to use and what not to use in order to make things clear for the audience.

Obviously many of these dresses were very expensive and took a lot of labor and it wasn’t fast fashion—people didn’t just give it away or toss it when it fell out of season. A lot of times, you did was you remade it. When you’re looking at a dress that’s been remade, how do you extract the information that you need as a historian out of it?

I love it when something like that comes up. I’ve got a couple of examples in the book.

Well, it can be quite challenging, because often when you’re first looking at a piece it’s not obvious that it’s been remade. But if you’re lucky enough to look inside it and actually hold it and turn it round different angles, there’ll be things like the placement of a seam, or you’ll see that the waist has been moved up or down according to the fashion. And that’s often obvious when you’re looking inside. You can see the way the skirt’s been attached. Often you can tell if a skirt’s been taken off and then reattached using different pleats, different gatherings; that can give you a hint that it’s then been remade to fit in with a different fashionable ideal.

One of the key ways is fabric. You can often see, especially in early 19th century dresses when they’ve been made of these beautiful 18th century silks and brocades. That’s nice because it’s the first obvious clue that something’s been remade or that an old dress has been completely taken apart and it’s just the fabric that’s been used. I find it particularly interesting when the waist has been moved or the seams have been taken off or re-sewn in a different shape or something like that. It can be subtle but once your knowledge base grows, that’s one of the most fascinating areas that you can look at.

You page through the book and you watch these trends unfold and there are occasional sea changes will happen fairly quickly, like when the Regency style arises. But how much change year-to-year would a woman have seen? How long would it take, just as a woman getting dressed in the morning, to see styles just radically alter? Would you even notice?

Well, this is the thing—I think it’s very easy, when we’re looking back, to imagine that in 1810 you’d be wearing this dress and then all the frills and the frouf would have started to come in the late 1810s and the 1820s, and suddenly you would have had a whole new wardrobe. But obviously, unless you were the very wealthiest women and you had access to dressmakers who had the absolute newest patterns and newest fabrics then no, you wouldn’t have seen a massive change. You wouldn’t have afforded to be able to have the newest things as they came in. You would have maybe remade dresses to make them maybe slightly more in line with a fashion plate that you might have seen, but you wouldn’t have had access to new information and new fashion plates as soon as they came. To be realistic, there would have been very little change on a day to day level.

But I think also, for us now—it’s hard to see it without hindsight, but we feel like we’re fairly fluid in wearing the same kind of styles, but obviously when we look back in 20 years, we’ll look at pictures of us and see greater changes than we’re now aware. Because it happens on a slow pace and it happens on such a subconscious level in some ways.

But actually, yeah, it’s to do with economics, it’s to do with availability. People living in towns where they couldn’t easily get to cities—if you were living in a country town a hundred miles away from London, there’s no way that you would have the resources to see the most recent fashion plates, the most recent ideas that were developing in high society. So it was a very slow process in reality.

If you have a lot of money you can change out your wardrobe quicker and wear the latest styles. And so the wealthiest people, their clothes were what in a lot of case stood the best chance of surviving and being in modern collections. So how do we know what working women would have worn or what middle class women would have worn?

Yeah, this is hard. I do have some more middle class examples, because we’re lucky in that we do have quite a few that have survived, especially in smaller museums and historical collections, where people have had clothes sitting in their attics for years and have donated them, just from normal families over the years.

But, working women, that’s much more difficult. We’re lucky from the 19th century because we have photographic evidence. But really a lot of it will come down to written descriptions, mainly letters, diaries, not necessarily that the people themselves would have kept, but there’s examples of people that worked in cotton mills, for instance, and people that ran the mills and their families and wives and friends who had written accounts of what the women there were wearing. Also newspaper accounts, particularly of people who would go and do charity work and help the poor. They often wrote quite detailed descriptions of the people that they were helping.

But in terms of actual garments, yeah, it’s very difficult. Certainly 18th century and before, it’s really, really hard to get hold of anything that gives you a really good idea of what they wore. But in the 18th century—it’s quite interesting, because then we get examples of separate pieces of clothing worn by the upper classes, like a skirt with a jacket, which was actually a lower middle class style initially and then it became appropriated by the upper classes. And then it became much fancier and trimmed and made in silks and things. So then, we can see the inspiration of the working classes on the upper classes. That’s another way of looking at it, although of course that’s much more problematic.

It’s interesting how in several cases you can see broader historical context, or other stories happening through clothes. Like you point out that the rise of the one-piece dresses is due to the rise of mantua makers, who were women who were less formally trained who were suddenly making clothing. Are there any other interesting stories like that, that you noticed and thought were really fascinating?

There’s a dress in the book that a woman made for her wedding. I think she was living on her own, or she was living with a servant and her mother or something. She made the dress and then turned up to her wedding and traveled quite a long way to get there, and when she arrived, the groom and all the guests weren’t there. There was nobody. So she went away and came back again a week later, and everyone was there. And the reason that no one was there before was that a river had flooded in the direction that they were all coming from. She had obviously no way of finding out about this until after the fact, and we have this beautiful dress that she spent ages making and had obviously gone to a lot of effort to try and work out what the latest styles were, to incorporate it into her wedding dress.

Things like that, I find really interesting, because they talk so much about human and social history as well as fashion history, and the garment is the main way we have of keeping these stories alive and remembering them and looking into the kind of life and world these people lived, who made these garments.

Over the centuries, how does technology affect fashion? Obviously, we think of the industrial revolution as really speeding up the pace of fashion. But are there other moments in the history of fashion where technology shapes what women end up wearing?

One example is where I talk about the Balenciaga dress from the early 1950s—with a bubble hem and a hat and she would have worn these beautiful pump shoes with it—with the introduction of the zipper. Which just made such a huge difference, because it suddenly meant you’d have ease and speed of dressing. It meant that you didn’t have to worry about more complicated ways of fastening a garment. I think the zipper made a massive change and also in terms of dressmaking at home, it was a really quick and simple way that people had of being able to create quite fashionable styles on a budget and with ease and speed at home.

Also, of course, once women’s dress started to become simpler and they did away with the corset and underwear became a lot less complicated, that made dressing a lot easier, that made the introduction of the bias cut and things that sit very closely to the natural body much more widely used and much more fashionable.

I would say the introduction of machine-made lace as well, particularly from the late 19th, early 20th century onwards where it was so fashionable on summer dresses and wedding dresses. It just meant that you could so much more easily add this decadent touch to a garment, because lace would have been so much more expensive before then and so time-consuming to make. I think that made a huge difference in ordinary women being able to attain a kind of luxury in their everyday dress.

That actually makes me think of something else I wanted to ask you, which is you point out in your intro the way we casually use this word “vintage.” I think about that with lace. Lace is described as being a “vintage” touch but it’s very much this question of when, where, who, why—it’s a funny term when you think about it, the way we use it so casually to describe so much.

Oh, yes. It’s crazy. I used to work in a wedding dress shop and I used to make historically inspired wedding dresses and things. And brides used to come in and say, “Oh, I want something vintage.” But they didn’t really know what they meant. Usually what they meant is they wanted something with a bit of lace on it, or with some sort of pearls or beading. I think it’s really inspired by whatever is trending at the time. So, you know, Downton Abbey became vintage. I think ‘50s has always been kind of synonymous with the word vintage. But what it means is huge,

I have fallen in love with the dress at my first sight of the dress. The chiffon fabric is very flowing and elegant. I love the dress! I would rate 100 scores for the dress and the customer service from MarieProm.

I received the dress in a few days. The dress length is fine when I wear the shoes with heels. The most beautiful part I like is transparent collar of the dress. It makes the dress special. Thank you for your effort.

I just bought the dress days ago for my wife! She is so excited to receive this gorgeous dress. It is said that the izidressbuy .com makes fabulous dresses with high quality fabrics，It fits me perfectly and it is everything thought it would be. And the shipment speed is amazing! Hoping to get it soon!

Arrived quickly and fitted perfectly... size chart was very accurate and true. The custom service girl told me their production team has improved the fabric on this dress by choosing a kind of new lace fabric. Yes it really is! I love sooooo much the fabric and whole version of this little white dress!The dress was everything I imagined.

The details of the dress were exactly like the picture. I ordered the dress in my normal size and it fits perfectly. The dress took approximately 2 weeks to arrive after I purchased it. The customer service team at izidressbuy was very helpful and worked really hard to have my dress arrive early for my formal event.

This dress is beautiful, and very flattering. I love it! Unfortunately, I wanted to wear it to a wedding - the ceremony is at 1pm; the reception is at 5pm. It is perfect for the reception, but too dressy for the ceremony since I will be doing a reading and would be way more dressy than the bridal party. It's definitely evening wear. Beautiful though. Haven't decided if I'm keeping it or not. I can't use for the intended purpose, but I could definitely wear it for years and years to other events. Also, dancing in it could be problematic because it is quite long (just above ankles on me, and I am 5' 8-1/2") and it's straight, with no slit. You'd have to hold it up a bit to dance. But again... it's a gorgeous dress.Read more here:www.marieaustralia.com/short-formal-dresses | www.marieaustralia.com/formal-dresses-2015

WHEN Grace Gray uncovered her wedding dress from the back of the wardrobe, she knew exactly what to do with her something old – turn it into something new.

The doting gran gifted her much-loved satin gown to her daughter Michelle, so she could have it made into a christening robe for her baby Pippa.

And the beautiful wee girl was all smiles on her special day in her hand-me-down, upcycled gown.

Michelle, 32, said: “I always loved my mum’s wedding dress and never imagined it would become my daughter’s christening dress, but I’m so glad it did.

“For Pippa to be christened in such a special family dress made the day all the more amazing.”

Grace, 54, wore the pearl-encrusted ivory dress when she married husband William, 73, in Clydebank 18 years ago.

Michelle helped her mum to pick the dress and was a bridesmaid at the wedding.

She said: “I was quite young when my mum married my stepdad and I remember going shopping with her when she picked the dress.

“It had lots of pearls and diamantes and I just loved all the sparkle. She looked so beautiful.”

After her wedding, Grace packed away her dress in a box and kept it at the back of her wardrobe.

Michelle, who is looking forward to her own wedding to partner Frazer Ward, 29, next year, said: “It has been there ever since but she came across it when she was clearing out.

“It was her idea to have it turned into a christening dress for Pippa.”

The family took the dress to Fabricated Bridal Alterations in Glasgow, where the seamstresses made not only the christening dress but a head band for Pippa and a matching hair clip for her sister Tilly, four.

Michelle, who also lives in Clydebank, added: “I did feel a little bit anxious at the thought of mum’s

dress being cut up but the end result was so beautiful.

“Mum had a tear in her eye when she saw it.”

Grace said: “I can’t think of any better use of my wedding dress than seeing it given to my

granddaughter for her christening.

“I felt really honoured to share in her big day in such a special way. I was overwhelmed by how beautiful she looked.”

Andrina Greig, of Fabricated Bridal Alterations, said there was a rising trend for women to put their wedding dresses to good use.

She added: “We’ve had more and more women getting their wedding dresses made into a christening gown for their children – but this is the first time we have had a grandmother’s dress brought in to be made into a christening gown.

“Michelle’s mum’s dress was perfect for the transformation.

“It was in great condition and the beading, bow and button details were ideal for scaling down and keeping as a feature on the christening dress. We were thrilled with how beautiful Pippa’s gown looked.”

read more:www.marieaustralia.com/formal-dresses-adelaide

www.marieaustralia.com/red-carpet-celebrity-dresses

That's a beautiful dress. It arrived on time. Thank you very much.

I bought this dress for my upcoming prom. i was nervous about buying online, because I had no idea what the quality would be like. I was pleasently surprised when it arrived. Not only was the quality of the fabric beautiful, but the overall quality of the dress was great as well.?

The quality of the dress is unbelieveable it is a beautiful dress. If your big busted its a little tight, but its so nice on. I LOVE IT!!!! Cant wait to order something else. M y mother has bought so many things from dresswe and everything has been easy to order and get and everything is of quality. THANKS so much!!!!

I ordered my dress custom made in early April. The current delivery time was advertising "4 weeks" and it actually took 6 with a bit of hassling & stressing through emails. I ordered this dress for my 21st birthday party. When it finally arrived it was definitely impressed. A beautiful dress with such an elegant cut. I was really impressed and felt like a princess on my special night! I thank you for providing me such a beautiful dress! The color is just to die for

The most beautiful dress I've ever worn! Going to be wearing this to my engagement party, I've never been so happy with a purchase in my entire life! Really well made with lovely material, and sizing is correct, although had to have it altered slightly around the bust as the padded cups made it look odd on me, but nothing a little sewing couldn't fix. Can’t recommend this dress enough, feel like a million dollars in it! Shipping is also ridiculously fast, I live in the UK and had it custom made. So happy with this dress, everything I wanted and more!

I received my dress and when I put it on, it fit me perfectly and looked good on. The design and material are just as the picture shows. Good quality and I am very pleased. Customer service was great and it was delivered on the day that I requested. I highly recommend marieaustralia for formal dresses .Read more here:www.marieaustralia.com/formal-dresses-melbourne | www.marieaustralia.com/formal-dresses-2015

Lizbeth stood in front
of the tall mirror
inside her mother's wardrobe  

she was wearing
a short black dress
her hair was tied
in a bun at the back

I stood watching her
uncertain why
we were in her parents' bedroom
and why she was *******
her mother’s clothes
hanging on hangers inside

I looked around the room
a big bed made tidily
a chest of drawers  
a built in cupboard
a picture on the wall
opposite the bed
of some country scene
and above the bed
a huge crucifix
made from wood
with a plaster Christ

look at this one
Lizbeth said

I looked at her hand
taking out a long red dress
she held it up
then put in front of herself
and turned to face me

what do you think?

it's a bit gaudy
I said

shall I try it on?

no I can see
what it would
look like on you
I said

she sniffed it
she must bathe
in **** scent
Lizbeth said

she did a spin
holding the dress
against her
how do I look in it?

she's taller than you
it'll fit her better
I said

not so sure
Lizbeth said
hold this

I held the dress in my hand
she unzipped her black dress
at the back
and pulled the black dress
over her head
and stood there
in a white bra and *******

give it here
she said
and taking the dress
she put it on
her own black dress
was on the floor
here zip me up
at the back
she said

I zipped her up
at the back
watching the straps
of the white bra disappear
as I zipped her up

she turned on the spot
and looked at herself
in the tall mirror

well? how do I look now?

well at least
it's longer
than your own black dress
I said

it came to her ankles
she looked down at it
yes too ****** long
she said
unzip me Benny
she said

I unzipped her
seeing the strap
of the white bra
come back into view

she pulled the dress
over her head
and put it back
on the hanger

she stood there
in bra and *******
how do I look now?

undressed
I said

do you like me
like this?

I feel kind of
uncomfortable
you standing like that
I said

why do you feel
uncomfortable?

what if your parents
come home now
and see you like this
and me here with you
and you in your underclothes?

she smiled
guess they'll feel
uncomfortable then
she said

I picked up her black dress
best out it on
I said

now?

yes now

my parent's bed is over there
all made up and fresh
and waiting for us
she said sexily

I stood holding
the black dress in my hand
where are your parents?

out some place

when will they be back?

don't know

best get your dress on
and out of their room
I said

what about my room?
the bed's smaller
and unmade
and the room's untidy
but we can still
do it there?

I heard voices from downstairs
is that them back?
I said in a low voice

Lizbeth pulled a face
**** me yes
let's get to my room
and so she put
the red dress back
in the wardrobe
and shut it up

and we rushed across
the landing to her room
and shut the door
behind us

I looked around her room
it was as she said
untidy
the bed unmade
books
LPs
soiled washing
over the floor
and the curtains unopened

that was kind of close
she said

yes
I said

downstairs the voices
were loud
and a row seemed
to be going on
but Lizbeth seemed unconcerned
standing there
in her white *******
and bra
holding the black dress
gazing towards
the unmade bed

but I had other problems
swimming around
inside my teenage head.

Lizbeth holds the dress against her. It's new, her mother had bought it for her. The cloth is smooth and soft, but she doesn't like it. She looks at the dress in the mirror inside the wardrobe. She puts the dress down on the bed and takes off the dress she is wearing and lets it drop to the floor, kicks it out of the way. She picks the new dress off of the bed and put it on and pulls at the hem to pull it down fully. She twirls, looking at the dress and how it looks as she twirls. The colour's all wrong; the hang of it she loathes. It falls beneath her knees; too far below. She lifts the dress until it comes above her knees. She twirls again. If only Benedict was here, see muses, if only his eyes were here looking beside me. She lifts the dress higher and smiles. Mother would never approve of that length. She lets the dress drop to the given length. Boring. The material is old fashioned, she thinks, ******* it, pulling at the hem. The dress she pointed out to her mother while shopping in Midhurst was shorter and more colourful and didn't have silly bows at the back. Her mother didn't like it. It would make you look like a ****, her mother had said, like one of those tarts on that pop music show prancing around semi-dressed. She hadn't thought her mother had watched the 6.5 Special Show, but she had. She twirls again and looks in the mirror for any saving details of the dress, but there aren't any. The dress is drab and she will not wear it; she'll put it at the back of the wardrobe and forget it's there. She takes it off and lets it fall to the floor and stamps on it, then kicks it away. She sighs and gazes at herself in the mirror in underclothes and bra. Where is Benedict when you want him? She muses, putting her hands on her hips. Probably on the farm; working in the milk sheds weighing the milk or clearing out the cowsheds, as he did on weekends or after school. She had managed to get him to this room once while her parents were out, but it was to no avail and nothing happened. Her mother is downstairs preparing lunch; she can hear the pots and pans being used; a radio playing some classical stuff. She picks up her old dress and puts it back on. The new dress she hangs on a hanger and puts it at the back of her wardrobe and shuts the door. The old dress, black with red flowers, is becoming small and tight. It reaches just above her knees now and her mother said it was not decent to wear any more, but she wears it and loves it, even if it is tight and holds her firm. She walks the length of her room like a model, swaying her hips, hand held aloft, head tilted. She flops onto her bed and throws out her arms and looks at the ceiling. To think she had Benedict here on this bed that time and nothing happened; God how frustrating. There is plenty of time to think of boys, her mother had said, you're just thirteen, why when I was your age I was playing with dolls and skipping with a rope. Lizbeth hadn't played with her dolls for years; her skipping rope was at the bottom of the wardrobe unused. She sits up and looks at her room. The record player is on the floor by the window; an LP of the Everly Brothers in on the turntable; the sleeve is on the floor next to a cup and saucer, partially covered by soiled underclothes. She was a lazy girl, her mother said, too lazy for her own good. Her father(when he was home at all) said nothing much except how far he had travelled and how many orders he had managed to obtain. A girl at school( in a higher class) had given her a book with illustrations about *** with orders not to let other see it. She had gone through the book umpteen times(mostly gawking at the photos and illustrations) and trying to put into practice what she had read there. The book is at the bottom of the wardrobe in a brown paper bag tied with string( just in case her mother snooped around.) She wants *** with Benedict. She has tried to get him to perform many times, but he is reluctant, makes excuses. She doesn't want other boys. She wants one boy. Benedict. The book has an illustration what the boy has to do and the girl also. She has studied it so many times it is printed on her mind. There is also other illustrations about other things which she finds a bit distasteful. If her mother ever found the book, there would be hell to pay(providing her mother didn't drop with shock). She sighs. Closes her eyes. Embraces herself. Kisses her arms; pretends it is him, his lips kissing. She opens her eyes and stares; he is not there; he is missing.

Since a wedding is said to be the most important day of a woman's life, some brides-to-be are prepared to bring out whatever it takes to ensure that their big day is nothing short of spectacular.

A new documentary from the UK titled 'Now How The Rich Get Hitched', a provides a glimpse into some of the world's most lavish weddings.

The programme follows the glamorous goings-on at Knightsbridge bespoke wedding boutique Caroline Castigliano, where, for most customers, money is no object.

According to Daily Mail, bridal couture queen Caroline, who lives in Surrey, has been creating breathtaking intricate gowns for 24 years, cashing in on the £10 billion global bridal market.

But while the average UK bride is said to spend around £1,000 on her dress, Caroline revealed that one client, a Saudi Arabian bride-to-be is spending £40,000 on her dream gown - the same price as the Duchess of Cambridge's Alexander McQueen dress.

Despite the eye-watering prices, the 55-year-old designer claims that for most women this is one of the most important things they will ever buy.

She said: 'They buy into the overall power of the dress. I really truly believe that since they were very young they have dreamt of this day.'

Caroline's clientele aren't just drawn from the global elite, however. One of her clients, Jordan, 23, is a hotel heiress from Durham who has spent the past year travelling 300 miles with her family for fittings for her £9,000 dress.

Jordan's gown is made from one of the most expensive silks in the world, which costs hundreds of pounds a metre.

Jordan said: 'For a girl the dress is what everyone looks for. People would rather spend more money on the dress and look perfect on the day.'

Her mother Helen, who is helping to pick up the bill, added: 'I think once you see your daughter in something so beautiful and she's so happy you do stretch that extra mile.'

At around £9,000 Jordan's dress is almost half the average budget for UK weddings, which now comes in at an astonishing £21,000, but the day itself will set her family back far more than that.

The no-expenses-spared bash is being held at one of her family's hotels and costs include the £7,000 on importing 6,000 flowers from Holland, the hire of a 20-piece brass band and a Victorian carousel to entertain guests.

Gissa, 29, an Iranian socialite, who is planning a lavish ceremony in Turkey, journeyed to Caroline's boutique just to try on veils to go with her bespoke gown, which is embroidered with 200,000 sequins and 50,000 beads - and was one of the most expensive dresses in the shop.

The bride-to-be explained that her fiance was very amenable when it came to splashing out on her dress.

He said "I know this is the most important dress that a woman is going to wear in their lifetime so if you really like it and you love it, we'll get it."'

However, some brides look further afield for their dream wedding location and one of the boutique's clients, Katie, 29, was planning her ceremony in Southern Spain.

Katie admitted that she had fine-tuned every element of her wedding right down to her proposal.

She said: 'I'm a bit of a control freak, I think I emailed [my fiance] a picture of the ring after about three weeks of dating, so subtlety isn't my finest point but he's done really well.'

Katie visited Caroline for a bespoke wedding dress costing between five and six thousand pounds that has taken five seamstresses 200 hours of sewing and 250,000 beads to complete.

Another of Caroline's client, Kashmir, revealed that she took two years off work to get married and her husband is now determined to prolong the wedding celebrations with lavish gifts.

She and her husband also paid £75,000 to commission a portrait of Kashmir sitting in a chair in her strapless lace Caroline Castigliano dress, which was then unveiled at a party in the designer's boutique.

However, as any prospective bride will know a dress does not a wedding make and any ambitious bride-to-be will enlist the help of a wedding planner, with none more knowledgeable than luxury wedding planner Bruce Russell.

Bruce caters for the most ostentatious and demanding of weddings. He said: 'If it's physically possible, we'll make it happen - it might come at a cost.

'If you've got the money and you've got the budget to spend and you want to spend a million pounds why not spend it on a wedding it is the most magical day?'

Bruce's finely tuned expertise and impeccable taste come at a cost and he revealed on the show that he takes around 20 per cent of the wedding budget as commission, which rewards him with a £30,000 pay cheque for a £150,000 wedding.

The show followed him as he took one of Caroline's clients, Erina, on a tour of London's famous luxury five-star hotel, The Savoy, as a possible venue for her dream day.

Hosting 350 guests would set her back at least £70,000 and to stay in the Royal Suite, a further £10,000 a night - although it does come with its own butler.

But the documentary revealed that for women who want to up the 'wow' factor on their big day - and have the budget - couture jeweller Andrew Prince is the man to call.

But Andrew insisted that elegance is often confused with showiness: 'Glamour has changed. It became, at one point, very shiny and that's really not glamorous that's flashy. I like opulence.'

Andrew's creations may be an indulgence but for him there is no better way to spend your money.

He said: 'It's a celebration. We can be really sort of smug and factual about it, and say "oh no one should spend the money on something more practical", but what's more fun than just having a wonderful day?'

Many couples will argue that such extravagance is a waste of money and resources for just one day, however Caroline says that these are memories to last a lifetime.

She said: 'The most important people in your life have come to attend this day. It all comes down to the same thing, it's what you want to spend money on and what matters to you and how much money you have, it's all relative.'

read more:www.marieaustralia.com/long-formal-dresses

www.marieaustralia.com/formal-dresses-adelaide

He's a high-end fashion designer with a celebrity following, but when it comes to the perfect wedding dress, Henry Holland has admitted you don't need to spend a fortune.

The designer from Greater Manchester, who has his own fashion house, said there are plenty of options for brides on a budget on the High Street.

'Being a fashion expert, I have something to say on the subject of wedding dresses, and I think you can look amazing without blowing your budget,' he said.

'Everyone knows that wedding dresses can cost an absolute fortune. You can spend anything from £8,000 - to £50,000 if you're J Lo. But there are so many amazing different styles and options on the High Street.'

Holland reveals his top picks, which can all be bought off-the-peg for less than £1,000, in his new Channel 4 show, The Changing Room.

He's impressed by the array of bridal gowns offered by Phase Eight, earmarking one Fifties-inspired design called the Sally Tulle wedding dress, which costs just £250.

He said of the dress: 'It's a cute Fifties-style prom shape with nice tulle and it doesn't look cheap, which is important. The fit and flare style flatters so many different body shapes and the length means you can show off your shoes.'

He also loved a cowl neck, full-length ivory gown from Ghost for £395, and a lacy £450 vintage-inspired wedding dress from Damsel in a Dress.

When choosing the perfect gown to walk down the aisle in, Holland recommends brides consider what they will look like from all angles.

He explained: 'Remember how important the back is. During the ceremony you will have your back to the congregation or your assembled group of friends.

'So for one of the only times in your life, think about how you look from behind.'

He advises looking for dresses with beads and sequin detailing all the way round - and again said this doesn't have to mean spending a fortune.

Showing a dress from Clifton Brides with a price tag of £995, he said: 'You can see the work that has been put into it; the beads and sequins have been sewn by hand by a skilled artisan.'

In his other style tips for brides he recommends glittery or lacy T-bar shoes and said 'always wear a veil'.

He said brides should not feel embarrassed about buying their dress from a High Street store. He added they should also banish worries about a guest turning up in the same gown with a stark warning for those planning their outfits for a friend or relative's big day.

'Buying off-the-peg is absolutely fine. You don't need to worry about anyone else turning up in the same dress as if any of your guests turns up wearing a white dress they need to be told to leave or escorted off the premises,' he joked.

One bride who took his style advice is Alex, who will tie the knot next June in Corfu.

She features in Holland's fly-on-the-wall series, The Changing Room, where cameras are installed in fitting rooms of House of Fraser, New Look, H&M;, Monsoon and River Island stores across the country.

In the first episode, which airs this evening, Alex is filmed trying on a wedding dress from Monsoon as well as picking her bridesmaids' gowns from the Oxford Street store in London.

She was impressed with the design and price of the £499 'Elise' gown, which is embellished on the front and has a mesh cut-away back covered in gems and beads.

'I love it, I don't think I want to try anything else on,' she said.

read more:www.marieaustralia.com/formal-dresses-sydney

www.marieaustralia.com/formal-dresses-melbourne

The Yellow Dress has been hung out to dry,
brown laundry twine muffle the neckline.
The black flats swung softly below,
In the distance the boy heard a white raven crow.

The Yellow Dress hangs and hangs, but the boys face must still be wet.
The boy is pretty and cold, despite his nervous sweat.
His dress soon grows bored and wonders what’s taking so long.
Time with the boy had never been less fun.

As the boy started dancing and swinging,
The dress cheered him on, but the rope ended up winning.

As he hung limp the dress grew lonely,
So it tried to smile at something friendly,
Pink fabric flowers wave hello to breeze,
But wind merely weeps and runs off to the trees.

The boy usually left the dress all alone,
Ever since his parents came home,
Until of course, today,
The dress wondered when the boy stopped being afraid.

Maybe he was done,
Done playing the game of hide, then run.
Though his parents seemed to enjoy it.
They were always laughing, especially when his skin split.

Now time has past, and they are both alone,
The boy and the dress longed for different types of home.
The dress is shivering and the boys skin is long past blue, taking over his rosy hue.
It struggles against the laundry line,
Certain it’ll get out this time.

The dress huffs and curses the body.
Why won’t it move? This stupid limp body.
The boy used to be fun and run around playing,
Now the only game he plays is called praying.

The dress looks up at the line more carefully.
How weird… it was never tied this forcefully.
The cord is twisted and oddly thick.
How come its wrapped around his neck?

Mom should’ve been here by now. I sat on my frilly blue and purple polka-dotted bed waiting for the knock on the door telling me mom found my dress. Finally, it raps on my door. “Mom! Did you find it?” My eyes widen as the silky blue sways in her arms, it’s beauty sings as a caged bird let free. I gasp in admiration. “I-It’s wonderful!” I pick it up and it glides down into a perfect fit.  “I’m glad you love it. Come down after you finish getting ready.” The door thuds after her. Looking across the room I note my honey brown hair that curls into pigtails. Restraining the squeal that is caught in my throat, I travel the length of my room to the mirror.

     The mirror sits on an antique dresser that my mom found at a garage sale. At first I didn’t care much for the ancient wooden junk that is at least half a century old. Now the gold-tinted metal gleams with pride once again. Rusty gems were in carved into an arc surrounding the mystic glass. “Lydia! Can you go upstairs and get that box down for me?” Mom’s request interfered with my thoughts. … Go in that dusty attic? “Sure mom!”

       Out the door and into the hallway stood a door like any other in our house. It squeaked open as eerily as what you’d expect in a haunted house. ‘A box, a box’ than out of the side of my vision I thought I saw motion. I shook it off as just being a spider or mouse. Soon my footsteps lead me to come across a dresser and mirror identical to the one in my room. It was cluttered with cobwebs and spiders. “Not very well taken care of, are you?” I muttered the joke. I looked into the mirror expecting to see a light blue dress covered in dust and sparkly silk material, but there was no reflection at all. I looked even closer at the mirror, before realizing, there was no mirror at all.

     I looked around until I found it behind the dresser, sitting on the ground. I touched one of the gems that surprisingly glowed despite the rust. Something shone until I was blinded. A tingle ran through the hand that brushed the mirror’s gem and flew through my arm until it encompassed me, racing into my every feeling until I couldn’t feel anything. My eyes shut and refused to open themselves.


     A gentle breeze grasped my hair, as music descended from the air. I could smell what seemed to be a banquet of some kind, mixed with perfume. Slowly my eyes lifted their veil to lock with waves pounding against a brick wall. I was looking down from a balcony into the erupting sea. The white brick-made balcony was large and lonely even with the brush of people walking by. I hid behind the rose-red curtains to look around. People danced and talked. Some ate. The music paved the trail for their feet to follow, all very gracefully. The men wore suits that tails drip to their knees. Their white shirts buried under sashes of gold, red, or blue. Sometimes holding medallions, some only dressed in ties. The woman wore Victorian dresses of every color and shade. Frilled hats with flowers were arranged on their heads.

     Wait, I’m not supposed to be here. I was in the attic, going to the café with mom. What was I doing? My head ached from the effort to recall my actions. Why can’t I remember? I stumble backward only to reach the balcony’s edge. Where is this anyway?

      I dive back into the curtain to search for my answer. The softness of the curtain was a rose pushed to my nose. I peeked through the small gap to find a page carting some clothes past my hiding spot. I sneaked next to the cart being wheeled into a doorway, planning to find a way out. I lost the page and walked around until I went through an archway door. The cool air spiraled against my silk-trapped skin. The scent of flowers bloomed around me. I found the garden labyrinth.

     Walking through the maze’s hedges I arrive at a beautiful fountain displaying crystal clear pouring waters. Everywhere I gazed, flowers embraced the greenery. My breath deprived my lungs of air as I took in the sight. It was so magnificent under the light of the full moon. A few lamps lighted a sidewalk path maneuvering along the hedges. I circled the fountain, taking in the surroundings. My silk dress was shining in the dim glow. The sceneries beauty entranced me.






     I didn’t see a shadow before me, and almost fell to the ground. In a graceful swoop an arm latched around my waist to pull me to my feet. “Be careful to look where you’re going, please my lady.” He bowed his head while his slim rimmed glasses started to fall off of his face, suddenly he looked up at me; sliding them back on with a slight wave of a finger. “That garb isn’t from around here.” He noted my sky blue dress with interest. I’m not even sure where I am. “I seem a bit lost. Will you help me?” he stares at me closer, a deeper curiosity shines in his green eyes, daintily brushed by his dark hair. “My dear, if it brings you comfort to know, we are in London at the Buckingham palace.”

      I gasped; London was so far away from New York. It’s across seas. I gulped at my next question as sweat pricked the nape of my neck, “What’s todays date?” His eyes sparkled at the question. “Why, it is June 28, of 1838. The entire castle is bustling at these very words. It’s a day to remember. Now my dear, I must take my leave and see to the ballroom. Farewell.” He bowed, than turned to leave. His slow stride seemed like a dance all on it’s own. My gaze was caught on his figure following the foot trail until he had disappeared. I sighed at my first encounter with someone in this grand place. The Buckingham Palace, in 1838. …1838!! That can’t be right, it’s 2014. Then the shock hit me as if bricks fell from the castle onto my forehead; the clothes, the language, the pages, and royalty. This couldn’t be London in present Great Britain.

    I circle the garden once more before I decide to go back inside. The young noble had realized my clothes didn’t belong here, probably anyone who sees me would recognize this too. I start off towards the footpath. The melodic rhythm still swirled in the breeze. Than for a second I thought I heard a footstep. My head twists back only to see a shadow move. The cool air now seems icy. Multiple possible things to say to the night air gallop through my mind. “ Such a lovely night,” is the one I decide on. From behind me a few feet back I imagine a sigh. No, not imagined, but actually there. It’s too real. I turn on my heels just to catch a glimpse of a black cape caught in the wind, as it’s master floats into the open. “My, It is lovely. However, I didn’t realize such a strangely dressed commoner as you could enter this palace.” His smirk shows sarcasm as easily as his eyes. “I never intended to visit a palace, even less in London.” My honest answer only has him conceal his laugh.




     “I’m sure you didn’t. Yet, your dressed for a fine occasion.” His hand reaches for mine. I pull away from the willowy figured glove. “Why not allow me this dance in the garden?” I back away, aware that his voice is too prescient and I should be careful. “Are you going to be wary of me?” his gaze turned pained, his blue eyes that were once full of playfulness now melted into hurt. I unintentionally reach out for his gloved hand. His laugh echoes past the foliage. “Such a naïve girl.” Dread decided that this nobleman should be avoided at all costs. I ran towards the palace. “And so the chase begins.” He snickers and rushes after me.


     I pass through the archways, glancing back now and again to find the caped captor flying along my tracks. If only there was some way to lose him. I ducked into the nearest doorway. At the far end of the hall I could see a door with a sign saying, “Dressing room”. I flung myself under a table and tablecloth to hide myself as my pursuer rounded the corner into the hall. I tucked my head between my knees and waited for his footsteps to fade. The warm place that held me trapped was close and too easily discoverable. I held my breath and tried to sink into the darkness. I’m not here. No one can find me.

     After enough time flew by to ensure my safety, I crawled out from under the table. The cloth draped over my head. I looked back and forth, half expecting to see a smirking smile, and haughty eyes. A girl stares down at me. She’s at least ten years old. “Shhh.” I press my finger to my lips and gently smile at her as if we’re keeping a secret between us. She giggles, copies the motion to her own mouth, than delightfully skips away. I let out a sigh and stand up. I follow the hall to the dressing room. The door creaks open and I look around once more, startled by the sudden noise.

     I sneak inside hoping find that the room is abandoned. In the darkly lit room, only my footsteps sound. As far as I can tell, no one has entered lately. I walk over to the carts of clothes and run my hand over the first one on the stack. It’s a ruby-red dress with fine material and some gems similar to those in the mirror. … The mirror. Not in my room, but the attic. My head hurts again, but I know I touched its gem before winding up here. How? I look through the dresses until I find a light blue and white one. The bowed sleeves come down to my elbow with frills encasing the bottom. The neckline forms a squared area of similar white frills. A small white sash acts as a belt that drops into the skirt of the dress. Two similar white ones come down each side. I pick up the light material and set it near my feet.
      My old silk dress easily slips overhead, making way for the new clothing. After tugging tight sleeves and bodices into place the light dress swoops over my feet. I spin through the dark room only to stop at catching someone’s eye. I immediately turn towards the frozen face. It is my own reflection in a mirror. I face myself as my sight settles on the dress I wear. My honey brown hair curled over the dress from my pigtails. My eyes sparkled it’s matching blue to the dress. In the corner of the room, next to the mirror, sat a large wooden box. I looked through it to find that it was full of jewelry and accessories. I prodded its contents until I found sky blue bows to wrap in my pigtails.

     I walked into the open hallway, now littered with people going to and fro. Anyone from passerby’s, young nobility, servants, and pages. Once the hall emptied I fled the room, hurrying through the corridors until I met with the room that created the harmonious trance. At the ends of the great ballroom sat crowds eating and laughing. Clusters of on-goers danced and chatted. In the middle of the farthest side of the room sat a throne that was embroidered with metal marks from centuries of legends. On the throne sat a woman at least eighteen of age. Her regal crown shone despite other attractions surrounding the dance room. A page strode over to her as she flourished her hand for his service. He stood and listened intently to her whispers. Finally, he stood and roared for the room’s attention. From his mouth spilled cheer and wistfulness, as he demanded the crowd’s ear. “Our young Queen Victoria’s coronation has completed. Now starts a new era! Let the celebration proceed.” The room reverberated with hope, love, and admiration for their new ruler.

     ‘Queen Victoria has been crowned’ having no clue how to find a way home, I disconsolately decide to join in the festivities. The crowd moves into a larger room. I stagger after them; the mass pushing everyone forward. We pass the kitchens. The aroma of cakes and deserts of every kind rises into the cool night air. The only smell more perceptible than delicate delights is the perfume penetrating the entire castle. We enter a by far more spacious ballroom. Empty amphitheater seats loom overhead, tied into the walls for onlookers to watch the ball unravel. Once again I glance at these to notice black material hangs over the edge. A head moves as people fill the seats. A nobleman with a black cape and familiar blue eyes takes their seat next to men and woman of high status. I walk into the mop to hide myself, while watching him. He laughs and chats with them as if he’s known them all his life.


      Unable to watch where I’m going, I trip. The harsh, solid ground hits my knee as if I’ve met a tornado. I wince at the pain as I strain myself to stand. A firm, but careful hand grabs mine. I look up into green eyes shaded by recognizable glasses. “My dear, you are very clumsy.” He smiles at me as I pat my dress back into place. “I see we’ve met again.” My response comes weakly as the sore from my knee makes me flinch. “I don’t think you’ve told me your name.” I inquire. “You have not requested my name, so I haven’t told it. However, if you do me the honor of a dance, my secret may be leaked.”  He bowed and offered me his arm, as I timidly accept it.

     A new song disrupts the last, as new pairs take the stage. He walks me onto the floor, and diligently starts to dance. I watch my feet, not wanting to mistake my pace. “Lift your chin, my dear. You don’t seem to but much of a church-bell.” I looked up at him puzzled. “Church-bell?” As he tried to conceal a grin, his glasses couldn’t suppress the laughter in his eyes. “Your rather quiet. And most likely not from around London, are you?” I looked to the ground once more. Should I tell him or not? Will it start problems, or will I be okay? “It’s fine, I shall not expect you to answer a question you wish not to.” I looked up at him, solemnly. “I promised to introduce myself, correct?” I nodded, as the music that echoed around us faded into the next song.

      His movements were so fluid; he was a wave at the end of the day, flowing into the sunset. “Miss, I am known by most as William Anderson. It’s a pleasure to meet you.” He procured my sweaty palm into his, tenderly swiping his mouth to my fingers. I let my hand be brought back into the dance as I searched for words to speak. Once the dance ended a few moments later, I curtsey and murmur, “It’s nice to meet you. I am Lydia Olsen.” At my gesture he bows, and requests once more, “Am I trustworthy enough to understand why you are in a mysterious place you don’t understand?” My answer had been decided and started to splatter from my mouth. “Y…”









     The next sound bounces along the room, it’s symphony starting. My words mix into the noise. In my vision of the seats above, snowy dots shoot arrows in my direction. Blue eyes gaze down at me, their iciness piercing me as icicles prickle my skin. I exchange a glance with William, nod and answer, “You are. I’ll explain.” My discomfort is surely recognizable. I often peek over my shoulder above as we dance. The shadow with a glare starts his voyage through the seats to reach the stairs that pillar into the wall. He descends from the tower, only adding to my panic. My hand seizes Williams, as I give him an apologetic smile. We hurry from the room, stumbling over each other’s feet. His graceful prance, now a faltering wreak.

     Once we are outside the ballroom, I turn towards him. “I trust you, so please understand, I live In the USA in 2014. Not London, not Even in the 1800’s.” His expression is masked, but I’m sure that I’ve confused him. “I went back into time, from the future.” The simple words struck a chord with him, his glasses tilted off his nose as he listens intently. “The future? How?” even I don’t know how to answer such questions. “I’m not sure. I was in the attic with a mirror, than … ****! I’m here.” Confusion once again wonders onto his face. “I went into a storage room with old things, and found a mirror, touched a gem, now I was here.”

     “I see, but why did we run away from the celebration? I was looking forward to another dance with you.” His casual smile does nothing to conceal unasked questions. I’m not sure how to answer them ei

Cheap fancy dress costumes are to be subject to spot checks by trading standards inspectors, to avoid a repeat of the fire that seriously injured the daughter of the television presenter Claudia Winkleman.

Ministers have ordered the nationwide crackdown as thousands more children’s outfits and accessories, some of which are aimed at babies and toddlers, go on sale online and in supermarkets in the runup to Halloween.

The costumes, ranging from witches’ outfits to skeleton onesies, selling as cheaply as £6 each, will be subjected to flammability tests to assess whether they are compliant with safety standards.

The crackdown follows Winkleman’s warning about fancy dress costumes when her daughter suffered serious burns as her outfit, bought from a supermarket, caught fire. Winkleman questioned why the outfits were treated as toys rather than clothing when it came to safety tests.

The business secretary, Sajid Javid, said: “My immediate concern as a father and a minister is that children wearing these fancy dress costumes are safe. It is unacceptable for any costumes to be sold that do not comply with safety standards. That’s why I’ve granted funding to trading standards to carry out spot checks as part of a nationwide investigation. Parents should feel confident that any fancy dress they buy meets required standards.”

His department said it was working with the British Standards Institute to assess whether the applicable European safety controls needed to be more tough. Trading standards is to report back to the business secretary with their findings later in the autumn.

Sales of fancy dress costumes for children have soared in recent years, prompted by cheap imports being available and children increasingly wanting to dress as their favourite characters from blockbuster films. Halloween outfits have become more popular in the UKowing to the influence of American films and sitcoms. Supermarkets report that 31 October accounts for significantly more consumer spending than Bonfire night.

The dangers of the outfits were exposed in November last year when Winkleman’s eight-year-old daughter, Matilda, suffered serious burns when her witch costume caught alight. The outfit – a hat, cape, striped tights and flowing skirt – bought at a supermarket, was ignited by a flame.

Winkleman, host of the BBC show Strictly Come Dancing, said on Thursday: “We’re extremely happy the government are taking action on this and we’re so grateful to the supermarkets who are selling safer costumes.”

Some retailers have agreed to go further than minimum standards, after a recent investigation launched by Winkleman with the BBC1 series Watchdog. Tesco, Aldi, Asda, Morrisons, and Sainsbury’s, all responded to the investigation by stating that their fancy dress outfits for children would meet the equivalent of the higher fire safety standards required for youngsters’ nightwear.

A spokesman for Sainsbury’s said: “We have looked at every detail of our children’s dress-up range in creating our new standard and believe that it will be industry leading. This has not been a simple task, but the safety of children is our number one priority and introducing more rigorous safety standards for our children’s dress-up is the right thing to do.

“All clothing carries some fire risk, but we hope that introducing our own rigorous testing standards that test clothes as clothes rather than as toys will be the first step towards safer testing across the industry.”

read more:www.marieaustralia.com/formal-dresses-perth

www.marieaustralia.com/formal-dresses-sydney

They were so poor,
their children played on dusty roads;
Mother Mary
cleaned her face with her own tears,
the hand
that once touched her became a clinched fist

Ana didn’t want to bring another child into this world,
but a family
was the only way they knew how to live;
they didn't own anything
except the flowers in the window

They need
to learn more about their people;
The only way
she could feed her baby was her body;
She felt safe
until her son needed real food

She prayed
for her body to keep fighting;
fighting for her children
her ******* remained full;
He knew she was kind
but she didn’t feel that way

The dust covered her heart
and the shoes she wore;
so he bought her a dress
even to wear in the hot desert sun
It was red
and fit her like sin
between two people in love

When she wore it
the other women watched quietly
She wore it for a week;
every day without washing
He watched her quietly
knowing she was strong
Then she took the dress off
and kissed Mary’s hand

She gave the dress to her best friend,
Juanita Hernandez;
Juanita washed the dress
while Ana fed her child;
the dress would be shared
because they shared the dust in the air

Their husbands couldn't wait
for their wife’s turn with the dress;
a red dress was for love
and not sin in the desert sun

They were so poor
the dust covered their memories;
but the dress was bright
and they wore it with dignity

A poor woman
is as beautiful as a rich woman
even if her stomach is empty
and her heart has become hard

She saw the other men
look at her when it was her turn;
she knew they wanted her
even though she was so sad,
the dress made them see;
They knew how she could love them,
but instead
she gave it back to Juanita Hernandez

Then she gave thanks to Mary again;
For her children still loved her
and her husband remembered why
he gave her the dress

Leave it to 2015 to transform the slip dress into, well, something other than a slip dress. No longer was the slinky, curve-skimming frock the evening-only pinnacle of sensuality; instead, it found its footing as a functional layering piece. It was worn on top of T-shirts, under sweatshirts, and over pants. And it wasn’t just the runway that inspired the nouveau way of wearing the piece: Everyone from Orthodox Jewish women to Rihanna put their spin on it. Here, see the best ways the slip dress was worn in 2015—and the cues to take when you sport it post–New Year.

Try an Orthodox Line of Thought

Turns out it was a Brooklyn enclave who managed to make the sexiest trend of the year—the slip dress—the chicest. And no, it wasn’t Williamsburg hipsters. So how to master modest layering like the Orthodox? Try a men’s blazer over the silk number, adding sleeves, or extending the neckline.

When in Doubt: What Would Kate Moss Do?

Feeling cold this winter? Make like Moss and combine the best of two worlds: The cozy turtleneck and the body-clinging slip dress. The simple pairing is the peak of insouciance—while keeping you warm.

Grunge Goddesses Still Rock

With the addition of a stoner-style hoodie, the slip dress got a major dose of grunge-forward flair. On the Vetements Spring 2016 runway, a hunter green hoodie thrown over a lavender slip dress gave an instant too-cool-for-school effect, while Ursina Gysi turned heads in an orange lace–trimmed swath of silk and a blue oversize pullover on the street during Fashion Week.

Rihanna Put a Bad Gal Spin on Hers

First, she took the hoodie and slip dress trend and gave it a go on the street. Next, she threw on a pair of sky-high cuissardes to pair with a short, baby-pink number. Then Ri-Ri topped a shimmering bronze slip with a baseball hat! Whatever the move, the singer deserves major credit for giving the ’90s throwback a modern bite.

And About the ’90s . . .

The revamp of the ’90s on the runway also brought back memories of a very throwback way to wear the slip dress: Seen on Spring 2016 runways fromCourrèges to Emilio Pucci, the boudoir staple was layered over a long-sleeved shirt or a simple tee to counter the sexiness of the slip and cut the sweetness.

read more:www.marieaustralia.com/short-formal-dresses

www.marieaustralia.com/formal-dresses-sydney

Her mother's dress
lay on the bed;
full length,
a silky green.

She runs her fingers
over it; feels the silky
smoothness against
her chilled skin.

It was in her
mother's wardrobe,
among other dresses
and coats and hats
which no woman
wears anymore,
and old shoes
on the floor.

But that dress
stands out
in her memory;
her mother twirling
around and around,
giving off
that excited,
young girl sound.

The dress
made a swish sound
as her mother
walked about;
it seemed to
let off sparkles
in the artificial light.

Who bought her
the dress?
Father hadn't:
he wasn't the type
for that kind of thing;
it may have been
the man her mother
called Uncle Will;
he came when Father
was out for the day or away.

He seemed the type
to purchase gifts,
gifts at a price,
always wanting
something
in return.

She lifts the dress
and sniffs;
it smells of stale
scent and age.

Her mother
wore the dress
to the show
he took her to see-
Father away someplace-
but while Mother bathed
and got dressed
and ready to go,
he invaded me...

She screws up
the dress,
and throws it
in the black sack
with the other stuff:
the old fashioned,
smooth and rough.

The dress is
out of sight,
packed away
for the charity shop
far away
from her own town.

The wardrobe
and the house
are empty;
she locks up
and takes the keys
to the agent to sell.

But as she
gets in her car,
she notices
the dress's smell.

I remember it like yesterday
50 years back, more or less
She was singing with an old guitar
She wore a faded yellow dress

She sang songs about rebellion
of love and hate and less
She was singing with an old guitar
She wore a faded yellow dress

She lit up the world
In 1971
She burned bright as a comet
She was there, and then...was done

The bar was almost empty
Most nights it was I guess
She was singing with an old guitar
She wore a faded yellow dress

I remember when she saw me
We connected, I confess
She was singing with an old guitar
She wore a faded yellow dress

She lit up the world
In 1971
She burned bright as a comet
She was there, and then...was done

Word spread out about her
She was primed to have success
She was singing with an old guitar
She wore a faded yellow dress

An agent came and watched her
A low life lizard known as Jess
She was singing with an old guitar
She wore a faded yellow dress

She lit up the world
In 1971
She burned bright as a comet
She was there, and then...was done

Promises were made to her
She heard his pitch, and she said yes
She was singing with an old guitar
She wore a faded yellow dress

I saw her climb the charts that year
She was a shell, a real hot mess
She no longer had an old guitar
She now wore hot pants, not a dress

She lit up the world
In 1971
She burned bright as a comet
She was there, and then...was done

You could see she was a puppet
A golden goose for lizard Wes
She no longer had an old guitar
She now wore hot pants, not a dress

I heard she died, an overdose
I wasn't shocked, I must confess
They buried her in Hollywood
She wore a faded yellow dress

She lit up the world
In 1971
I remember her old guitar
And her faded yellow dress

Summer Finn is the charming, elusive love interest of protagonist Tom Hansen in 500 Days of Summer. From her playful personality to her cutesy hair ribbons, actress Zooey Deschanel's 500 Days of Summer style is irresistible. IMO, the overall look of her character is not a far cry from Jess Day's style (the leading lady of New Girl, also played by Deschanel). However, Jess' style is on the kooky side of whimsical while Summer's errs on the feminine side.

Summer's style could be described as girly, quirky, and ethereal. The ethereal factor probably has more to do with her attitude and personality, as she tends to keep Joseph Gordon-Levitt's character Tom at arm's length. (I know, who in their right mind would do that?)

The baby blue clothing that she wears throughout the movie also reflects this sentiment, since blue is regularly associated with sadness. It is almost as though Tom knows subconsciously that his relationship with Summer will not end well. This makes perfect sense in filmography terms because the movie is shot in a non-linear narrative. Right at the start, the narrator even informs the audience, "This is a story of boy meets girl but you should know up front, this is not a love story."

So here's how to channel Summer Finn's charmingly tempting style, because looking like a modern day femme fatale is one of my personal favorite things.

1. The Summery Tea Dress

Channel Summer's vintage style of decades past by with a lovely, feminine tea dress. Summer's has cute, capped sleeves, a magical swirly pattern, and it appears semi-sheer (adding a touch of naughtiness to her outfit). Whichever style you choose, make it a modest length with flirty details, whether that be sheer material or cheeky cut outs.

With its sheer sleeves, cutesy Peter Pan collar, and adorable buttons, this darling pale blue dress is just the ticket and is available in sizes S to 4X.

2. The Cat Eye Makeup

Cat-eye makeup gives off a vintage vibe while also adding a sassy feel to your beauty look. To tone down the sass and keep it less Catwoman and more Brigitte Bardot, keep the rest of your look super natural. Think dewy skin and rosy cheeks.

This vegan eyeliner has a super thin brush so you can create your cat-eye flick with ease. If you're feeling funky, you can even pick an alternative color such as white or purple to really make a statement.

3. The Alternative Workwear

Summer proves that workwear needn't be boring. Put a youthful spin on the classic, white shirt by wearing a sleeveless style and pairing it with high-waisted, tailored trousers.

This classic white shirt is a style steal and can be paired with a multitude of garments. It'll make choosing your work outfit much easier when you're bleary eyed and you've not yet had your morning coffee.If you wish to wear a more feminine style and channel Summer's gleefully girlish side, then why not wear a mini dress? As long as it's tailored in some way (like Summer's stiff short sleeves) and sports a formal flourish (like the lace hemline of her dress) then you should totally be able to get away with wearing it for work. If in doubt, throw on a blazer. Blazers make any outfit look formal.

This pencil skirt dress with its stripe detailing and capped sleeves is sure to have you looking like the best dressed in the office.

4. Up Your Hair Accessory Game

Ms. Finn is often seen sporting some kind of adorable hair accessory. She changes it up from powder blue ribbons to strappy, modern headbands to suit her different ensembles. A ribbon worn as a bow in your hair has connotations of Sandy from Grease and in turn adds a youthful naivety to your outfit.

If you're short for time on a morning, throw your hair into a high ponytail and clip this cute bow into your barnet for instant vintage vibes.

A strappy headband is nostalgic of retro Alice bands. However, the straps keep it modern and elegant. IMO, Summer has nailed hair accessories. She wears the pretty bow in her free time and the grown up headband at the office.

I could totally imagine Summer wearing this simple yet feminine headband. Plus, the pearl design will add an air of sophistication to your outfit, helping you to appear oh so ladylike and mature.

5. The Off-The-Shoulder Chiffon Dress

Seen in a completely different look, Ms. Finn looks stunning in an off-the-shoulder chiffon gown that juxtaposes hilariously with the "*****" game she plays with Tom. To me, the décolletage is one of the most sensual parts of a woman's body and exposing it can sometimes feel sexier than showing off your cleavage or wearing a tight dress. The addition of the chiffon plays on Summer's ethereal, magical side and she reminds me of A Midsummer Night's Dream characters. The key to this look is picking a flowing, fairy-like gown.

read more:www.marieaustralia.com/cocktail-dresses

www.marieaustralia.com/short-formal-dresses

This is my favorite dress.
I bought it from a store I managed on Haight Street in San Francisco when I was 24.
It was a sample, one of a kind and I felt like a fairy in it.
It required no bra and I required no restrictions. We were a good match for each other.
Some might say it looks delicate as the lace flutters around my thighs, but, I know. This dress sat on sidewalks chain smoking cigarettes in the Castro. It danced in drug induced trances with new and old friends where we lived like sardines.
This dress moved to NEw York City with me and we endured cat-calls and harsh words. A casting director called me plain in this dress. He explained, to a room full of people, wasn’t it amazing how my talent shown so bright while I was so very plain. And as I walked along side Madison Square Park I saw myself shining in car reflections and my dress told me I was beautiful, and I knew it was right, and that man was insane.
In New Orleans I was invited to a party and I went because I didn’t know anyone. I was New. I wore my favorite dress and as I put it on I thought of the cold California beach breeze grazing my underwear throwing up my skirt, I thought of that mad man calling me plain, and I thought how scary it is to go to this party alone. I rode my bike in the humid air and I felt my pink slip clutch my waist. I felt safe. I sang a song out load. I felt like me. And when I got there you were there. You looked at me like I wasn’t just my dress or what was under it. You told me one truth and one lie and it made me smile. And now when I turn to my favorite dress like an old friend, for comfort or confidence, you are in its history too.

At Shelton High School, some students were outraged to find out, just days before the dance in May, that they wouldn't be allowed to wear their dresses to the prom. A "prom gown panel" was formed to decide whether students' dresses were appropriate — more than 30 of them weren't.

The school told marieaustralia.com that it has updated its dress code for the new school year so it's explicitly stated that prom attire must fall within the guidelines.

The battle over leggings

The new(ish) trend of leggings as pants isn't going over well in some schools.

In April, a young woman's Facebook post went viral when she wrote about her little sister being sent home from high school for wearing leggings underneath a baseball-style shirt. And students at a Cape Cod high school weren't happy when the school updated its dress code this year to ban leggings and yoga pants unless worn underneath a skirt or dress, or with a long top.

... and shoulders and collarbones

Some schools sparked criticism for dress codes that targeted a particular part of a woman's body — like shoulders or collarbones, for example. That's what happened when Stacie Dunn's daughter, a student at a Kentucky high school, got in trouble for wearing a tank top and sweater that failed to cover her collarbone. Dunn called the school's decision "ridiculous" in a rant on Facebook.

And earlier this year in Utah, a teen girl was told her dress for a school dance violated the dress codebecause the straps didn't cover enough of her shoulders. Students in New Jersey also protested dress codes this year, with one carrying a sign that said, "'Shoulders are so hot' -said no one ever.'"

So even as some schools reassess their dress codes, it's clear the debate is far from over. In the meantime, here's our guide to how to handle the "wardrobe wars" with your kids.

read more:www.marieaustralia.com/formal-dresses-perth

www.marieaustralia.com/backless-formal-dresses

in my pink dress,
my pink dress,
I feel the dust of forgotten memories.

in my pink dress,
my pink dress,
I feel the little girl I couldn't be

on the stairs in my pink dress
I slowly descend as your eyes beckon me

in my pink dress,
my pink dress,
theres nothing but beautiful hurt

She's been enjoying her time while living and working in London.

And Nicole Kidman was clearly thrilled to be one of the star guests at The 60th Women Of The Year Luncheon & Awards in the British capital on Monday afternoon.

The 48-year-old actress - who is currently starring in West End play Photograph 51 - cut a beautiful figure in a multi-tonal lace dress as she arrived at the prestigious event, held at the InterContinental London Park Lane.

The willowy beauty covered her slim figure in the mid-length dress, made up of several different lace panels in pale lilac, purple, yellow, black and white.

Cinching in at her slender waistline, the dress billowed out into a full A-line skirt, and also included long sleeves.

A Victoriana-style high-necked black lace section finished off the gorgeous garment, giving her a serene, ladylike air.

The Australia actress teamed the eye-catching dress with a pair of strappy black heels with pointed toes, and a tiny black box clutch.

Her pale red locks were swept back into a chic updo, her mid-length fringe framing her face.

The actress' bright blue eyes were highlighted with just a touch of mascara, and her beauty look was pulled together with a pretty pink shade on her lips.

Nicole was one of many star guests at the annual central London event, held to honour amazing women across all industries.

The famous event, which paid special tributes to six remarkable women from all fields, saw plenty of other star guests in attendance, with 400 in total at the luncheon.

After rising to fame as the winner of this year's The Great British Bake Off, Nadiya Hussain was one of the star attendees at the highly-significant ceremony.

The talented baker and busy mum, 30, rocked a simple and chic ensemble of slim-fitting black trousers and a crisp blue blazer, and bright turquoise heels.

Another familiar face was singer/songwriter Katie Melua, who opted for a cool androgynous ensemble.

The Call Off The Search hitmaker showed off her lovely long legs in a pair of black leather trousers, teamed with a sheer white blouse, a blazer and a cute black ribbon ******* around the collar.

Writer-comedian-actress Meera Syal rocked a typically unconventional ensemble as she arrived, cutting a striking figure in a bold patterned shirt dress with a lovely long black scarf and a jacket thrown over the top.

Princess Diana's glamorous niece Lady Kitty Spencer channelled a power-dressing 1980s vibe in a standout black shirt dress with bright, colourful buttons donw the front.

The pretty blonde finished her luncheon look with a chunky white clutch bag and perspex heels.

Choreographer and former Strictly Come Dancing star Arlene Phillips was a chic addition to the guest list in a figure-hugging red dress, and TV presenter and journalist Julie Etchingham wowed in an understated taupe dress with an origami-folded skirt and matching cropped jacket.

Also in attendance were the likes of Dame Esther Rantzen, TV's Lorraine Kelly - who was glorious in a gold lace frock - Maureen Lipman, Mary Nightingale, Jo Brand and

The Women of the Year winners were whittled down and chosen by a panel of notable, accomplished women: Sandi Toksvig CBE, Sue MacGregor CBE, Dame Tessa Jowell MP, Baroness Doreen Lawrence OBE, Jane Luca, Ronke Phillips, Eve Pollard OBE, Lisa Markwell, Gill Carrick and Sue Walton.

And viewers of popular morning programme, ITV's Lorraine, were also able to vote for their Inspirational Woman of the Year via a phone poll.

Sandi, President of the Women of the Year Awards, said: 'Women of the Year has celebrated the wonderful achievements of women since 1955.

read more:www.marieaustralia.com/mermaid-trumpet-formal-dresses

www.marieaustralia.com/formal-dresses-perth

What is so important to address
something to react to the illumine
fruity to their balance sips like
a goldmine
He sways passed you and trips
Rose Poumedeur right near your* lips

Both stumbling and boasting over her
imported wine dress

The swinging parasol his cork topped
delights
Those imported by his number nights
Cabernet Sauvignon
Hooked to there eyes
Million stars to lift
Her petite waistline
Like heartline of Valentine
wine felt dresses

Outnumbered you by four words
The strenuous tiresome love-wine
Be mine the stargaze* dazing inside the sunsets
So bottled inside her mission
His love how it aged in her
in  a good retrospect like
Deep cherry confessions

The import from a trade surplus
She got overlooked got flown in place
like a sticker
The smart star- reservation 
 high-demand book
To seek her

What a chemistry  love- hands creation
She's the many vintage dresses A plus
The pouring of wine of many fusions
The cloudy dress is a minus illusion

She learned her entire lesson
How many times she was moved
around like musical  I tunes of wine
CD collection of Rennaisance
Battling like the fort chair
But someone was moved by her Jazz
type of hair
My lesson my wish was on hold
the mission cruise of the impossible dress
Getting weaved inside someone's
powerful suite but the best suite
and stay
The Fort William Henry until this day
The Fort William Henry Hotel like no
other sorts and what sports

Japan imports 77.8 billion exports
more than imports
Lackadaisical called the
breath of sunshine
The daisy sundress sitting on the
veranda with Fort Williams and the
Henry the eight I am children

I've been sunbathing looking at the boat
The Minne Haha thinking of MaMa
Someone was singing like Lady GAGA

The matter of great expression of words
Hummingbirds at Lake George
Picking the best birth of seeds
Imported wine what our heart needs
Rising demands of the meat
like the paradise of lovebirds
Her dress was to heal the world
Those wildflowers were the
sort of thing silence is the  best thing
Somehow not the hype of the bling
or diamond ring
Sometimes the Goddess
sun shines more

Making her feel loved to sing
Her dress had the gimmick to move
What a rural fun tree orange grove
Like the referee wine shopping spree
Everyday people were moved by her
gift of imported wines
Her gravity of smiles he's mine
Her face steams like the highest
light beam very well bred and fine
The long winding trail her
corset gown
Started to make head waves to the
higher forces
So enlightening the lakes
such cascades
Those wine deep waves romantic
To prelude to a kiss the Cosmic
The Islander-border lace her face
To love and honor her more

Not necessarily less that
divine moment
We should never miss
Lake George rippling waves
On her outskirts

Princess Kelly cheese Italian wine
Naples deserts
The evergreen  long dress
Shined your Highness the
Roman pillars
How he grabbed her waist dancing
like the Gatsby
Gave her such splendor everlasting sip
But the imported wine was deeper

To Set up the date
To Make- the wine up
In the cellar aged hours to perfect
What a stir over her dress-up deep ruby
wine start to pour end
of a new beginning
subject
To book the trip Lake George New York
All you had to do

Go to the Fort William Henry
Hotel like a home with family
So many friendly faces with smiles
All you have to do is show up

She wore a yellow dress the day that he picked her up in his truck for their very first date. Her hair fell in loose curls and gentle waves upon her shoulders like the low tides of the ocean on a warm summer day when it was just the right temperature for sun-bathing. She had a smile as careless as the high grass swaying in the wind around the telephone poles that they passed on their way to the lake that they were planning on picnicking at. Her hands danced like shadow puppets on the dashboard to the rhythm of the country songs emitting from the radio. She crossed her thin legs and tilted her head towards the sky, allowing the breeze sweeping through the cab to kiss her neck as it passed by. Every now and then, when she wasn't looking, he'd steal a glance in her direction like a heads-up penny that he would slip into his pocket for good luck for later. When he pulled off the dirt road and removed the wicker basket and blanket from the truck bed, she ran ahead of him like a gazelle yearning to quench her thirst, searching for a spot near the lake for them to sit. She fell to her knees on a soft patch of dirt that filled the creases like puzzle pieces, as though she belonged to it. As he made his way to her, he watched as she tangled the grass in her fingers like strands of hair before looking up at him and smiling.  He never knew what love was, but he knew this was as close as he ever needed to be in order to be happy.

She wore a yellow dress the evening that she crawled through his bedroom window to spend the night with him, without his parent's consent. Her hair was tucked behind her ears like every reservation he had until he met her, that now dangled out the window. He removed his guitar from behind his bed and watched as she twirled around in circles in the center of his bedroom, as though the angels were strumming on harps just for her. Every now and then, his fingers would slip from the strings, because he couldn't remove his eyes from her pink lips as they lip-synced their very own love song. When the melody ceased, she fell into the carpet like a cloud that she could float away on top of. He put his guitar back in its rightful place before fitting his body behind hers, holding her and whispering their love song as they both fell asleep.

She wore a yellow dress the afternoon that he pushed her on a tire swing. Her slender fingers gripped the rope the way she held him, as though she never intended to let go. He pressed his hands against her back and pushed her into the heavens, wondering how he was so fortunate to receive an angel when it came back to him. Her hair blew behind her like the physical manifestation of the sound waves of her laugh whenever she went too fast. He couldn't remove the smile from his face, even if he tried, although he never would whenever she was around. She was the high, higher than the tire swing could ever take her, that he never wanted to come down from.

She wore a yellow dress the night that she was riding her bike, alone. Her feet pressed down on the peddles and her hips balanced the frame as she spread her arms out beside her like a bird in flight. Her mind was still racing with thoughts of him, his soft breath against the back of her neck and the feel of his hand against her stomach, when a car sped around the turn too quickly. She felt the headlights illuminate her skin like the sunlight that kissed her the way he did on their first date, but the blow that followed didn't quite resemble that of his kiss.

She wore a yellow dress the morning that they decorated her casket. Her hair was stiff as it framed her powdered face, and her hands were cold as they were crossed on her chest. Her legs were covered by a silk blanket and daisies were laid upon them. A forced smile was spread across her lips, appearing grotesque, which was the first thing he noticed whenever he entered the funeral home. At the sight of her lifeless body, he fell to his knees and began sobbing. She was now nothing more than a metaphor for the good dying young.

She wore a yellow dress the twilight that she walked into the sunset to greet him. Her hair fell delicately down her back like a waterfall cascading into a heavenly pool. She had a smile as warm as the sunbeams that blinded him whenever he first opened his eyes, after he (what he thought might be) permanently closed them while lying on the cold tile of his bathroom floor. Her hands reached out to hold his, as though she desired to place twinkling stars in his palms. She wrapped her arms around him, resting her head on his shoulder, holding him like she knew she failed to do the evening that she left him. Then she lifted her head towards the heavens again, allowing the wind to kiss her neck and the sun to sweep her into his arms (along with him) and her yellow dress.

May be I’ll start writing, today.  
The story of Zen Zero.

I realized that all good things come to an end.  The tears, the affairs, and even the faintest revelation about my relationship to the Emperor of Japan.  I’ll need help and... well, the truth can be tolled.  It can be that the faintest belief, that we as free people are subject to the king, our God.
A king stands in truth as our kin.  The love that has existed for a thousand years, about justice, permanence, and legend are here.
It all started 7 years ago.  According to the book of John, the 3rd book.  The face of his majesty does have an Imperial Guardian.  In any colour, red, black, blue, white, and even green.  Each color resembles the color of trust.  
I started training in the Emperor's garden at the age of negative 6.  Before my mother can conceive her unborn child in a marriage.  Like the burning of Shin Cho' Palace.  
"Oh, how they forget so quickly, the truth?" says my mother.
They forget so quickly the majesty and power of the Emperor's memory of Mother Japan.  In his Majesty's eyes, how many lovers stir the colors of benevolence.  Where and when does it exist and stop for us as an American patriot sold to slavery for spy’s.  All of his subjects do will and listen to the cry of patience in his family’s quarters.  
My father at the time of his marriage did not know the Emperor's name, I had asked my mother in her heart if she knew the king.  They are no longer married.  They had tried to burn down the Emperor's Palace with a marriage.  But I had already existed, in the love of my family at a wedding joining men and women.  I remember some singing, all though in my mother’s ears, really bad singing. In her head or mine at the wedding, whichever is greater.  Maybe the song was worthless or was the singer already lifting her fingers to strike matches on the bamboo fortress of the young emperor.  
They have had many statesmen destroy the dream that Japan has.  Through lies, corruption, and *******.  Each of the last three I had to conquer to be his Majesty's Justice.  I did not earn the right to judge any such subject or people, it was given freely at that time to children.  I had learned to love the Emperor, even in my own desire to please him and her.  
The lies were towering revelations about the coming of man in God's kingdom, and how the will of imperial veils never existed for the properties of mankind.  The corruption was the setting of dowers or dowries for the subject of lost families, in the forbearance of lucher escaped only by the luck of liars.  And then the dreams of revelry, owned by the ungodly and chaste men of the burning palace, whether sediscious, or whether the fables absolving time in the palace to a judgment had already met the Emperor.  
All of the priests (pre-ests) had to pray; for the remaining time of eternity, for the true judgment of his Majesty's subjects. It was to be taken from the subject of srys to the Emperor's Knight.  
To many were lost in the munitions of war.  Laws that govern and sanction truths were not available to those of absolute corruption.  Stalwarts, stonewallers, and stoners were becoming of the anti-gentry.  The laws were never to be discouraged by zeal, or by trial.  The laws had to represent the ability of love to change time even if the object of factions destroyed the old way.  They had taken the truth to prepare Neoteny for where the first Imperial Guard had placed his head.  The first Imperial Guard, that I became before birth had taken his own head with a weapon made by treason.  
My mother’s dress was made out of spider silk.  A giant spider played Chinese checkers with the Imperial Guard for my head also.  Never the less, the palace, this time was not burned.  The dress was made out of falling stars and spiders silk.  She had found the Emperor's tailor and traded my soul for the wedding.  The pictures that were retrieved from the wedding of my mother and father have ruminated in antiquity since the time until by birth my life.  The seers and srys wanted my head to take up the Emperor's chalice.  His cup, filled with my blood, Simian blood.  
I did not want to go through with it, birth and death before becoming subject to royalty.  Seeing the world before consummation, as I had was never thought of, it was seen as impossible unless by treason we had chided a woman of royalty.  
I have seen the last major asteroid go through our galaxy before it had ever had been a present particle of mutiny.   It proved to the child (myself) in gestation, between man woman at the wedding that time will pass just as quickly before my mind’s eye as it had at the day of Pentecost.   More than 500 billon people were to be saved by God rather than by a humble dismantling of a defense lawyer.
I had seen how flowers are made by tiny Zen Zero bumble bees going to and leaving from daisies and roses, and orchids.  How each seed takes roots and as do the munitions for treason and tears; how each man whom chooses to change their name because of treason begins to understand change when his wife chooses his name.  (The reference is to Zero attacks, suicide attacks.)  How the time and life and essence of life begins in literacy as a language of love.  Every old man on earth can help me write the scripts, but can the country of old men help me change the prophet?
As long as there is war in the palace there will be treason?
The spirit of the samurai was trying the youth in the palace.  From the first born male to the last lady in quixic geisha.  All uniques were to be placed before the Lord for appointment.  Any dreams of or visions of truth were a breach of solemnity lost by the virginity of the family.  The parents of each state were subjects to the Emperor's people, and to the chosen for freedom and slavery.  How many shining knights were to remain in the Emperor's house?  The uniqueness was subject only to the reason of the generation of the age.  Not many of my men had anything left after the life of the quill or pen of the Knight Meteyi had begun to take its place with the heads of loyalists.  His sword remains in the hand of the Majesty of Japan.  No knowledge, no lore, no president, no kin, or liars can stop his reign.  As if the last days of our youth were spent dismantling the bombs we had made during the last few battles over crude extravagance.  Oil, crops, metals, space, as space became a way to admire men in statehood was the example of treason to the following.  Democrats and Republicans began to try as is a trail of laws to and from changes for the people without a loyal subject to observe in service to a Nation.  Freed men became a bureau of Federally Bureaucratic Investigative subjections.  Whether the phone would sense its use and had no service.  Men tried by srys had needed no way to communicate, they were objects, objections, and objective to democracies.  Any and all of the western knowledge of good or evil was not earned in monasteries, it was as it were seen in-between a marriage of a man and a woman and the consummation of the first born to be the king in his own mind. Centrally, intelligence and agency became a lost paradox.  The palace could be burned through neoteny, the truly lost man or woman had to be part of the worm.  The earthworm had to dig up the lost and the prophet from its own humanly death.  

Chapter 2
The dress as simple as it was, was taken off and laid in a box for saving.  It was to travel through time in the Emperor's Palace to serve has a mold, a pattern for quilting lovers of the family tree through the history of love.  After the child was conceived in love, the dress is worn and then placed back into the box for time travel. From a generation of mothers to another generation of lovers. No man was to wear the dress as an idea, thought or wisdom.  The reproach, the dress, and the marriage is virtue encoded into a structure of life   The wisest man let the Emperor dream life into the belly of prophets through the dress.  The smartest scientist understood the impeccable reason of lust and gave all to his bride for the grave that the earthworm had trusted.  The publican had the dress made as a dowry to the tribe of Roman man.  And the Emperor breathed life into the woman with a few breaths at the wedding.  The subjects, the publicans had tried the Emperor for their bride, by making the flowers lean toward their lovers.  They had tried to tell the knight of the Emperor's Palace that the sun had also retired due to mutiny in the ranks and castes of statesmen.  The son will bend light into the palace of wisdom, and the subjects do grieve the stories from prophets.  
At exactly 10:03 central eastern standard time, the states men forgave themselves of suicide and left to burn the palace.  
Each dressed as royalists.  The burning of Chinju Palace is the last thing I remember before giving up to the sound of a 3 or 4 year old woman singing.  The next thing I remember is being dropped on the floor in the delivery room to a rattle and brattle of childish whims.  Like, the sound of laughter, but only as a fury of deceit, the singer was hurt when I had asked her to join the wedding ceremony.  She excused herself of the ceremony as was or were not subjects to the birth of the kings men in harmony.  

She tried, and wanted to steal the dress.  

Chapter 3
There was mostly nothing in the womb. Except Dogma.  My father, as dogma.  He would whisper to her in bed and they would giggle about never understanding anything ever again.  I excepted NAME for my name.  They didn’t know if a boy or a girl were to be born.  I could know the difference at the time of their conversation.  I then realized that the 3 years prior to conception were perfect.  And I, the Emperor's Knight, was tolled.  Tolled the way bells sound and the way people love to hear the news.  The way light has no existence in the womb, I was tolled the way Sandalphon treaded upon the tribe of Israel.  
Lying was not invented yet, well,... while in the womb, but I had heard some whispers in the darkness.  The camera couldn't fit in, I called and tolled the camera from the womb, in between to friends.  I called the camera, Dragon.  The dragon is the trust moving in-between true and time.  The Dragon, Meteyi had told me that we were going to write everything.  From the believe that martial arts were stronger than prayer, and to the reason that it was not true.  Factually, there was nothing but prayer and no martial artist had a sword bigger than the lie of the Emperor's dragon.  The dragon said, to my father,..."The world is to die for, and not enough."  The dragon also said to my mother,..."The purpose is in your belly as a rainbow in disgust."  He, the dragon almost couldn’t believe that I had mentioned to hymn that there was no way out of this without a dream so relax and let me fit in.  The doctor had to have heard of the loyalist dream of a birth right.  Basically, I didn’t want him to slap me for the first breath.  I hurt bad, like out of a sarcastic Scotlandish parody.  Many, many, many, men quit trying to go through the sry after that.  My mother creeped up to me after my kin had asked the doctor to pick me up off of the floor.  She smiled and handed the birth certificate to the nurse and read my social security number to my father on the phone, he was on duty at the Air Force Base.  My ears were still clogged with seminal fluid, but I could feel her dream a name into my soul.  She can know the Emperor's knight.  After a few moments, my cry as chide by the Emperor, into being a whisper of life.  From that moment on in my life, I could not cry ever, as a child cries.  Otherwise I could be a whisper.

Chapter 4
Every chance at change that had gotten to us was used by running from the dragon.  He liked Batman and hated Robin but new to fathers, knew that hatred kept something’s safe from the palace. The palace could never get filled by whispers.  The whispers only object to democracy and help the camera.  The daguerreotype was possibly the only thing that couldn’t lie.  It was considered lye to gossip worshipers.  Gossip may have started the war on bugs.  Like bugs in ceaseless noise are prayer or whispers, like gossip.  When bugs stop whispering, some seemingly are bad with superstition and others are horrible with bugs.  
The next few years, were also perfect.  I had no idea who else, I could be.  Absolutely perfect, the Emperor subjected us to love.  I could **** all day, eat as much as I wanted and was warned when they thought, like a whisper.  When it was time to eat, when it was time to bath and when it was time to be quiet and sleep were similar to whispers.  Diapers were not invented yet, I had to invent them.  My mother used to get sick from the pain of laundry and sleeping with me.  When the diapers were *****, she wash them and place them back on my ****.  Like a good, palace guardian, I used them up.  The new diapers had an air of mutiny to them, the disposable ones.  We never kept trash in the house.  The signs that we have had a king for dinner were never to be seen, but everyone had the right to change pants.  
Many of the ideas in life shared before birth were not existent after birth.  It was not until my family had meet the Emperor that... we needed to love God by learning to pray.  

Chapter 5
When we met the Emperor, it was easy to say that no whispers were used.  Other things were.  A memory, not a book was here.  There was no time, the palace he made for me was from God and a lot of people wanted in.  The Royal subject was the Emperor's first knight, my father's.  I had to memorize time, which in turn was not mine.  The actual Emperor thought, that I, am a poet of sorts.  We spelled the word memory in the sky together without words, whispers, or gossip.  The next few years were spent dyeing as tap or a drill bit would being to make a hole for fastening life to the surface of my families.  Called a tap and die, the whole of life must be treaded through time without a spry attempt to vacancy.  After the Emperor, my mother and father did not know that meeting the pope was bad.   The Emperor is good.  

Chapter 6
Mainly my ability to learn, had started to fail.  There was not need to have ability.  But walking was hard.  When I stood, I was pushed through, walking.  Like a battle of balance and superstition.  Crawling had no sense, being picked up made things silly.  When wanting to be here, and not knowing how to get there through crawling, here I was a a chubby fat knight.  Father used lemons on my taste buds and cracked when he knew not how I loved them.  He had to make work to pay bills and I learned that without a whisper.  So we would sh

That Special Touch owner Terry Kutsko broadcast an announcement Oct. 15 on her shop’s Facebook page.

“After 10 fantastic years of owning That Special Touch, I have decided to say goodbye,” she wrote at the time.

The message got 15,000 hits, Kutsko said, and an outpouring of comments from saddened patrons.

The store’s inventory went on sale and word on the street was that the shop would shutter its operation for good, Kutsko said. The lease on the space at 544 Washington St. was up Dec. 31, and Kutsko had been diagnosed with stage IV breast cancer in February.

It was time, she said, to focus on her health. She needed to find a buyer, or the beloved bridal gown shop would close.

On the precipice of the New Year, Kutsko had another announcement, one riddled with exclamation points and infused with a happy tone.

“I’m so excited to announce That Special Touch has a new owner and will REMAIN OPEN!!,” Kutsko wrote. “I’m happy to congratulate Traci DeBord on purchasing the bridal shop! She will continue to run it in the same special way that everyone has come to expect, and you will receive the same personal service that we’ve always been known for. We still have some loose ends to tie up, so it will be a few more weeks before she begins taking orders again.”

Something old

Through That Special Touch, Kutsko has outfitted hundreds of brides. She’s dressed up hundreds of prom goers and put plenty of grooms in their tuxes. Although clothes are her focus now, That Special Touch started off as a floral shop. Kutsko had more than 20 years of experience crafting floral arrangements for weddings, working for Petals and Vines. One day, she found herself flipping through the classifieds section of the newspaper. An interior designer was selling off her fixtures, along with a cash register. She opened up shop in the Zaharakos building.

“I had one dad — I was doing flowers for him,” Kutsko said. “He was in the shop and he said to me, ‘I just want to give you one piece of advice. Do what you say you’re going to do. Don’t promise what you can’t come through with.’”

The advice stuck with her as her business grew. To supplement her floral business, she ordered a few dresses. Then she ordered a few more. Then she added tuxes.

When Zaharakos expanded, Kutsko moved to the 500 block of Washington Street. Eventually, she took over the storefront next to her. Now, That Special Touch has five dressing rooms and is pleasantly stocked with wedding dresses, prom dresses and tuxes.

“I never really planned to have this whole big bridal shop,” Kutsko said. “It just really grew over the last 10 years.”

When Hillary Apple was preparing for her wedding, she saved for last her visit to That Special Touch.

“I kind of knew in the back of my mind that it wasn’t going to feel right buying a dress anywhere else,” Apple said.

Apple had purchased her prom dress at That Special Touch — a gold-colored dress with gathering that reminded her of the formal gown Belle wore in Disney’s animated “Beauty and the Beast.”

“Terry provides high-end looks, but it’s not too expensive,” Apple said. “It feels like you’re in a high-end bridal salon, but you’re treated more like family.”

For as much happiness as her dresses generate, Kutsko feels the magic every day.

“I think the dresses themselves are gorgeous,” she said. “When the right girl puts it on, that’s when the magic happens. I know that sounds kind of corny. When you can match a person with the right dress and make them feel fantastic about themselves, that’s the best thing.”

Something new

Her cancer diagnosis didn’t spell an immediate end for the shop. Kutsko spent 2015 battling the disease, which was found in her breast, lungs, liver and on her spine. The cancer, she said, is now inactive.“I’m doing a ton better,” she said. “I just really want to work on building up my endurance and feeling super healthy. I’m going to have to continue to fight this.” A few years ago, Traci DeBord had purchased her wedding dress at That Special Touch. Actually, the dress was a prom dress — shorter than the typical wedding dress, and executed in ivory with black accents. The MainSource Bank employee liked the shop’s Facebook page and, when she saw Kutsko’s post about the search for a buyer, remarked to her husband that it would be fun to own a bridal shop. And then she continued to think about it. DeBord met with Kutsko and, by Dec. 29, had worked out a deal. DeBord would leave her financial job and buy the dress shop.

DeBord, who has a blended family of four boys, has always wanted a little girl to dress up.

“Now I get to do that every day,” DeBord said.

She will take over Feb. 1.

“I think I’m going to feel a sense of accomplishment, but also a little scared,” DeBord said. “But I have the comfort of knowing that Terry is just a phone call away.”

It is a special shop that Kutsko is handing over.

“Sometimes, at the end of the day, when you’re turning the lights out, you just look around the shop,” Kutsko said. “It is really just a magical business.”

readmore:www.marieaustralia.com/evening-dresses

http://www.marieaustralia.com

I have a lot of them pretty clothes;
Short,long or medium skirts.
Shabby,decent or just mere blouses.
Short,long or medium dresses.
But none can compare to my favorite little black dress.

Its neither too short,nor too long.
And I cannot even classify it to be medium.
Its entire length is knitted in black
As it has stitched in white,
A belt that covers the waist.
Its not a very big belt though,
Too little actually.
But I love my favorite little black dress.

It is not because I can wear it to any occasion that I love it;
I can wear it to dinner,
And yet be comfortable enough to select even my favorite musozya to be my meal.
I can dance for the whole night when in it.
I can meet even the scariest of inlaws in it,
And shake the hands of the most respectable people while having its belt clenching my waist.
My favorite little black dress.
I just love it

And it is not because I got my first kiss in it.
Nor is it because I had just taken it off,
When my lover devoured my flesh and took my innocence with him that night.
Leaving my decency to cling only to my skin,
As if it is on my favorite little black dress.

I kicked a ball in it,
As the boys whaled 'goale! Goale! Goale'
Thinking that since I had a dress for a garment,
Then the goal,I would surely miss.
And yet I didn't.
In my favorite little black dress.

That night when I danced with him,
I wore it.
I could tell my father too,
Appreciated how lovely it made me look on this day,
As he led me to the dance floor,
And yet;
I wasn't even the bride.
My favorite little black dress.

With their new awards show - VH1 Big In 2015 with Entertainment Weekly - the network aimed to 'highlight the trailblazers and epic pop culture moments of the year.'

So it was no surprise then that Taraji P. Henson, 45, was one of the program's honorees for her unforgettable work as Cookie Lyon on Fox's smash hit Empire.

Taraji looked stunning as she arrived at Pacific Design Center in West Hollywood, California on Sunday for the celebration, flashing some skin in a fitted black Alexander **** dress.

Taraji wore a sleeveless, black dress for the event that hugged the Fox star's curves while showing off her toned pins.

The flattering number also featured a laced-up, cut-out along the side of the dress that added some edge to the look with a flash of skin.

She coupled the look with a pair of studded, strappy black heels, and donned a pair of dramatic, dangling earrings.

She showed off bold eyeliner for the event, as well as big lashes and a complimentary mauve lipstick.

Taraji's brunette tresses were styled in gorgeous, wild curls, and the actress looked to be in good spirits as she hit the carpet, showing off a big grin and at one point even blowing a kiss.

Amy Schumer was also being honored at the event after her stellar year that included the success of her comedy Trainwreck.

The 34-year-old smoldered in a form-fitting red gown, which she coupled with a pair of coordinating red pumps.

The flattering number featured three-quarter length sleeves and was fitted to show off the comedian's trim figure.

She wore her long, blonde tresses styled straight for the show, and showed off a smoky eye and a dark manicure.

Amy was joined on the carpet by her sister Kimberly Schumer, who wore a sleeveless, bright blue mini dress that showed off her toned pins.

She coupled the playful frock with a pair of strappy, black heels, and wore her long, brunette locks in soft curls.

Amber Rose, 32, put her ample assets on display in a figure-hugging mini dress as she arrived at the Pacific Design Center.

The model wore a long-sleeved black mini dress which featured a plunging front and also highlighted her toned pins.

She coupled the daring number with a pair of strappy, black heels, and hid her eyes behind over-sized, black sunglasses.

Pitch Perfect 2 director and star Elizabeth Banks, 41, wore a textured black dress with a semi-sheer skirt and bow-shaped cut-out along the front.

The eye-catching dress hit at just above the actress's knees, and she coupled the look with strappy, peep-toe black heels.

She accessorized with a coordinating, black clutch, and wore her long, blonde tresses pulled back into a chic updo, with curled, wisps of hair falling around to frame her face.

Queen Latifah, 45, and Katherine Bailess, 35, both opted for stylish, black jumpsuits for the awards show, though the former wore long sleeves while the latter opted for a one-shoulder look.

Katherine finished off her look with a pair of peep toe heels that showed off a dark pedicure, and wore her long, blonde locks in soft waves.

She accessorized with a pair of dangling earrings, and added a pop of color to her look with a bright red lipstick.

Parks And Recreation alum Aubrey Plaza, 31, stunned in a form-fitting, white mini dress that featured metallic embellishments, and she coupled it with chunky, black heels.

Elle King, 26, meanwhile, was a bit more colorful in a pretty floral dress, though she added a bit of edge to her look with a black, leather jacket.

Master of None star Aziz Ansari, 32, looked dapper in a fitted, black suit worn with brown leather oxfords and a bright, pink patterned tie.

T.I. - host for the VH1 and Entertainment Weekly event - looked stylish in an all-black ensemble that he accessorized with Aviators and a bold, silver necklace.

read more:www.marieaustralia.com/formal-dresses-melbourne

www.marieaustralia.com/cheap-formal-dresses

to my first pets funeral
i wore a brand new black dress
to my great grandmothers funeral
i wore a nice black dress
to my uncles funeral
i wore a plain black dress
to my grandfathers funeral
i wore a faded black dress
to my mothers funeral
i wore a stained black dress
to my husbands funeral
i wore a ripped black dress
to my daughters early funeral
i wore a tattered black dress
to my own wretched funeral
i wore a dress all of white

Sep 28, 2015- A cocktail party is a fad in big fat weddings nowadays, and so have elaborate and voluminous cocktail gowns! But before you head to buy such an outfut, it's best to evaluate your body type and choose something that offers comfort, says an expert.

Divya Sisodia, fashion stylist, VioletStreet.com, an online shopping destination, has shared tips on how to choose a cocktail dress that can flatter you:

* Before picking a cocktail dress, evaluate your body type on whether it is pear shaped, rectangle shaped, apple shaped, petite, bony, boxy or full-figured.

* Instead of blindly following the trend spotters, opt for a dress which is comfortable and suits you. For example, apple shaped women, who carry most of the fat around their abdominal region and often have a large bust and waist, but narrow hips, must opt for soft fabrics rather than fabrics that would cling to their body. Cocktail dresses with flowing or A-line cuts are perfect for pear shapes, as they silhouette the hips beautifully.

* Full-figured and plus size women must choose dark coloured dresses that make them look thinner.

* Accessories are a great way to add oomph to an evening look. It can help to add one’s own flair to a dress that might be beautiful on its own. Even a simple black dress becomes a style statement when paired with a pair of edgy earrings and spiked heels. You can also use interesting or chunky neckpieces to divert attention to your upper body than to your lower body.

* Don’t try to fit into ill-fitting cocktail dresses as they will only make you feel and look uncomfortable.

* To create an hourglass delusion, highlight your waistline. Blouson dresses that gather around the waist add a curve to the upper hip and show off your perfect legs. You can further enhance your waistline with a wide belt or corset belt in a contrasting colour to your cocktail dress.

read more:www.marieaustralia.com/cheap-formal-dresses

www.marieaustralia.com/princess-formal-dresses

It was a warm day
and you were sitting on the lawn
of the nursing home
when Anne came across the lawn

on her crutches
her summer dress
flowing as she moved
come on Skinny Kid

she said
I want to show you something
what?
you said

never mind
what just follow me
and so you got up
from the chair

and followed her
across the lawn
and along the path
that went through the trees

to the back gate
open up the gate then Kid
she said
standing impatiently

while you opened
the gate
you lifted the latch
and opened the gate

and she crutched
her way through
and you followed
letting the gate

swing shut behind you
what you want to show me?
you asked
but she just cursed

and swore under her breath
and moved across
the pavement
and onto the beach

until her crutches
became stuck in the sand
and she stood still
staring out

at the sea
look at that
she said
what?

you asked
the ******* scenery
she said
pointing at the horizon

with one of her crutches
I’ve seen the sea before
you said
yes maybe

she said
but have you let it
embrace you
and hold you? she said

I’ve been in the sea sure
you said
looking at her
beside you

I want to go in
she said
you’ll get your dress wet
you said

I’ve got my swimming costume
under the dress
she said
help me get out

of this ****** dress
and I can go in
what here on the beach?
you said

undress here?
yes here
she said
now unzip me

at the back
so you unzipped
her dress at the back
and she said

now pull it
over my head
so you lifted
the hem of the dress

and began to lift it
over her body until
her dress was in your hands
and she stood

in a bright blue swimsuit
with her stump hanging
where her leg used to be
then she slowly

crutched herself
down to the sea
until she was at
the waters edge

you stood just behind her
holding the dress
right take the crutches
she said

but you’ll fall
you said
I’ll swim
she said

can you swim
with one leg?
you asked
of course

I can ******* swim
with one leg
she said
and handed you

the two crutches
and fell forward
into the sea
where she made

a big splash
and then she was off
into the sea
her leg and stump

out of sight
her arms moving in motion
and you stood there
with dress and crutches

staring at her swimming away
what if you drown?
you called out
but she just sang loudly

her voice mixing
with the sea’s sound
just you and Anne
with no one else around.

A wide open field
Where grass blows in the wind.
A narrow stream gurgling,
From a distant waterfall bubbling.

The dancing umbrella cut dress,
Lined sleeves with ruffling frills
The swooshing long tail of a neatly tucked bow
That follows her toes wherever she goes.

A beige sheet of starched cotton spread
On the grassland by the dried riverbed,
A bottle of water glistening
With the spring sun listening
To that song that floated around
As she moved on her toes;
Round and round and round.

Wild flowers lying low
Swinging with the water flow.
And the song goes like this:

Only if I could have a kiss,
Now that is the only thing I miss
From your lips to mine
Under this spring sunshine.

Because I love me in this dress
As you loved me in this dress,
And made me love you
By making me fall in love with myself.

As they dance the ruffles caress my face
Which reminds my cheeks of the trace
That you left with your palm,
Caressing me till I become
The girl who loves herself because
There will be, there is and there was
Within her this overwhelming love
Of a kind whose definition she didn't know of.
This makes my feet dance in joy...

...Because I love me in this dress
As you loved me in this dress,
And made me love you
By making me fall in love with myself.

And there were feet on the grass
Turning round and round.
And there was a song of love
Under the spring time sun floating around.
And then there was a dress with ruffled sleeves.