Bold Fashion Quotes

Take care of your costume and your confidence will take care of itself.

With right fashion, every female would be a flame.

Let us be today’s Christians. Let us not take fright at the boldness of today’s church. With Christ’s light let us illuminate even the most hideous caverns of the human person: torture, jail, plunder, want, chronic illness. The oppressed must be saved, not with a revolutionary salvation, in mere human fashion, but with the holy revolution of the Son of Man, who dies on the cross to cleanse God’s image, which is soiled in today’s humanity, a humanity so enslaved, so selfish, so sinful.

Fashion doesn't make you perfect, but it makes you pretty.

It's time to shop high heels if your fiance kisses you on the forehead.

A girl stood before him in midstream, alone and still, gazing out to sea. She seemed like one whom magic had changed into the likeness of a strange and beautiful seabird. Her long slender bare legs were delicate as a crane's and pure save where an emerald trail of seaweed had fashioned itself as a sign upon the flesh. Her thighs, fuller and soft-hued as ivory, were bared almost to the hips, where the white fringes of her drawers were like feathering of soft white down. Her slate-blue skirts were kilted boldly about her waist and dovetailed behind her. Her bosom was as a bird's, soft and slight, slight and soft as the breast of some dark-plumaged dove. But her long fair hair was girlish: and girlish, and touched with the wonder of mortal beauty, her face.

Any girl with a grin never looks grim.

Dresses don't look beautiful on hangers.

It's not the type of work you can put on a business card. I sometimes play the game with myself, though. What would I put on a business card? Jill Kismet, Exorcist. Maybe on a nice heavy cream-colored card stock, with a good font. Not pretentious, just something tasteful. Garamond, maybe, or Book Antiqua. In bold. Or one of those old-fashioned fonts, but no frilly Edwardian script. Of course, there's slogans to be taken into account. Jill Kismet, Dealer in Dark Things. Spiritual Exterminator. Slayer of Hell's Minions.

Dresses won't worn out in the wardrobe, but that is not what dresses are designed for.

And my dream for you..........., is that you'll catch a glimpse of what I love so much about fashion: It's boldness and creativity, the confidence that it takes to stand before a camera and let your image be captured, even though you aren't perfect, the peace to be truly okay with how others see you.

In his Petersburg world people were divided into two quite opposite sorts. One--the inferior sort: the paltry, stupid, and, above all, ridiculous people who believe that a husband should live with the one wife to whom he is married, that a girl should be pure, a woman modest, and a man, manly, self controlled and firm; that one should bring up one's children to earn their living, should pay one's debts, and other nonsense of the kind. These were the old-fashioned and ridiculous people. But there was another sort of people: the real people to which all his set belonged, who had above all to be well-bred, generous, bold, gay, and to abandon themselves unblushingly to all their passions and laugh at everything else.

Fashion is artistically designed to express the boldness of beauty.

Elwin’s residence is just as bright and bold as his fashion sense, and every pane of his windowed walls is set with a different color of glass.

But first the student must learn to think creatively, to innovate, and to do the things that will most quickly seek out the enemy’s weak spots and undo him. Learning to think in that fashion is fundamental. That is what this course is about: the fundamentals. Once these fundamentals are learned, that is, once the student has begun to think clearly about how best to undo his adversary, once he has been rewarded in the classroom or the field for creative thought, the careful weighing of alternatives and risks followed by boldness in decision-making, he will then be ready to study definitions, control measures and formats. He will grasp their meaning more rapidly, for he will have a context in which to place them. They will be more than mere words and symbols.

Part of the human experience is to confront temptation. No one escapes. It is omnipresent. It is both externally driven and internally prompted. It is like the enemy that attacks from all sides. It boldly assaults us in television shows, movies, billboards, and newspapers in the name of entertainment or free speech. It walks down our streets and sits in our offices in the name of fashion. It drives our roads in the name of style. It represents itself as political correctness or business necessity. It claims moral sanction under the guise of free choice. On occasion it roars like thunder; on others it whispers in subtle, soothing tones. With chameleon-like skill it camouflages its ever-present nature, but it is there--always there.

A house that lacks, seemingly, mistress and master, With doors that none but the wind ever closes, Its floor all littered with glass and with plaster; It stands in a garden of old-fashioned roses. I pass by that way in the gloaming with Mary; 'I wonder,' I say, 'who the owner of those is.' 'Oh, no one you know,' she answers me airy, 'But one we must ask if we want any roses.' So we must join hands in the dew coming coldly There in the hush of the wood that reposes, And turn and go up to the open door boldly, And knock to the echoes as beggars for roses. 'Pray, are you within there, Mistress Who-were-you?' 'Tis Mary that speaks and our errand discloses. 'Pray, are you within there? Bestir you, bestir you! 'Tis summer again; there's two come for roses. 'A word with you, that of the singer recalling-- Old Herrick: a saying that every maid knows is A flower unplucked is but left to the falling, And nothing is gained by not gathering roses.' We do not loosen our hands' intertwining (Not caring so very much what she supposes), There when she comes on us mistily shining And grants us by silence the boon of her roses.

If it’s love, those tears are a sign of distress, not an act of defiance.        If it’s love, her bold fashion statement is something to be celebrated, not criticized.        If it’s love, his mistakes are evidence of trying and learning, not simply messes to clean up.        If it’s love, her slow pace is a reflection of her “stop and smell the roses” approach to life, not a time waster.        If it’s love, his early morning wake-ups are something he’ll outgrow, not a plot to exhaust us.        If it’s love, her poor choice is a chance to respond thoughtfully, not give a knee-jerk reaction.        If it’s love, our voice has a little more calm; our eyes have a little more perspective; our hands have a little more gentleness.        We won’t always choose love. We are human, after all.        But when we choose love over anger, hurry, condemnation, shame, and sarcasm, there is space for goodness to enter the conversation.        When love speaks, we are all better heard.        When love looks, we are all better seen.        Let us look and speak love today. As much as we possibly can, let us allow goodness in. TODAY’S REMINDER In the busyness of life, it’s easy to fall into the habit of saying my loved one’s name as if it’s just a word or a way to get his or her attention. Before I address my loved one today, I will take a moment to remember the time, thought, and care that went into choosing the name of this precious person, and then I’ll say it with genuine love. This one simple action holds the power to bring love into the conversation.

He had never clearly fathomed the true weight of a word of good, truth, and purity cast in the stream of human speech and the deep bend it cut in it. Nor had he thought that a word spoken boldly and loudly, with no hint of false shame, but rather with courage, that this word would not drown in the ugly cries of fashionable satyrs but would plunge like a pearl into the abyss of public life and always find itself a shell. Many stumble over a good word, blushing in embarrassment, and utter a careless word boldly and loudly, never suspecting that it, too, unfortunately, will not go for naught but will leave a long trail of often times ineradicable evil. p. 296

Modeling is not just beauty and smile, it takes boldness and style.

Swankiness get noticed but style get remembered.

Make a statement wherever you go with bold prints and fearless fashion.

The handiest tools I ever gained for mending the worst of days were fashioned by my loving pa through his praying, faithful ways.

Man, like animals, has a natural tendency to imitation. Imitation is a necessity for him, provided always that the imitation is quite easy. It is this necessity that makes the influence of what is called fashion so powerful. Whether in the matter of opinions, ideas, literary manifestations, or merely of dress, how many persons are bold enough to run counter to the fashion?

He reached out and tugged on a lock of my white hair. “Bold choice.” I pushed the loose strands behind my ear self-consciously. “It’s all the fashion underground.” “Is it?” “It happened during the battle. I hoped it might turn back, but it seems to be permanent.” “My cousin Ludovic woke up with a white streak in his hair after he almost died in a house fire. Claimed the ladies

But all of a sudden the scene changed; it was the memory, no longer of old impressions but of an old desire, only recently reawakened by the Fortuny gown in blue and gold, that spread before me another spring, a spring not leafy at all but on the contrary suddenly stripped of its trees and flowers by the name that I had just murmured to myself: “Venice”; a decanted springtime, which is reduced to its own essence and expresses the lengthening, the warming, the gradual unfolding of its days in the progressive fermentation, no longer, now, of an impure soil, but of a blue and virginal water, springlike without bud or blossom, which could answer the call of May only by the gleaming facets fashioned and polished by May, harmonising exactly with it in the radiant, unalterable nakedness of its dusky sapphire. Likewise, too, no more than the seasons to its flowerless creeks, do modern times bring any change to the Gothic city; I knew it, even if I could not imagine it, or rather, imagining it, this was what I longed for with the same desire which long ago, when I was a boy, in the very ardour of departure, had broken and robbed me of the strength to make the journey: to find myself face to face with my Venetian imaginings, to observe how that divided sea enclosed in its meanderings, like the sinuosities of the ocean stream, and urbane and refined civilization, but one that, isolated by their azure girdle, had evolved independently, had had its own schools of painting and architecture, to admire that fabulous garden of fruits and birds in coloured stone, flowering in the midst of the sea which kept it refreshed, lapped the base of the columns with its tide, and, like a somber azure gaze watching in the shadows, kept patches of light perpetually flickering on the bold relief of the capitals.

Since you are bold and persistent I shall be equally bold: Your questions are not real. My answers are not real. The world as you perceive it is not real. War and peace, selfish and deluded projections of aggressive-natured beings, are equally unreal. Aspirations are unreal. Solutions based in egoic identity are unreal. Nature perceived as separate from one’s self, unreal. I also, as an autonomous entity, am unreal. You—equally unreal. Life itself, as is fashioned inside the human psyche is unreal. Death too, as is imagined based upon the ill-conceived notion that we are merely our bodies and personalities, is unreal. All is illusion—unreal. The Self, timeless and spaceless, immutable, beyond all qualities, alone is real. You must look within to find and confirm this for yourself. Until and unless you do, your comprehension of the world is based on very shaky ground; a ground of naive assumptions and second-hand knowledge.

But, by a curious twist, it is not the leadership that is old and decorous that fetches him, but the leadership that is new and extravagant. He will resist dictation out of the past, but he will follow a new messiah with almost Russian willingness, and into the wildest vagaries of economics, religion, morals and speech. A new fallacy in politics spreads faster in the United States than anywhere else on earth, and so does a new fashion in hats, or a new revelation of God, or a new means of killing time, or a new metaphor or piece of slang. Thus the American, on his linguistic side, likes to make his language as he goes along, and not all the hard work of his grammar teachers can hold the business back. A novelty loses nothing by the fact that it is a novelty; it rather gains something, and particularly if it meet the national fancy for the terse, the vivid, and, above all, the bold and imaginative. The characteristic American habit of reducing complex concepts to the starkest abbreviations was already noticeable in colonial times, [Pg023] and such highly typical Americanisms as O. K., N. G., and P. D. Q., have been traced back to the first days of the republic. Nor are the influences that shaped these early tendencies invisible

He reached out and tugged on a lock of my white hair. “Bold choice.” I pushed the loose strands behind my ear self-consciously. “It’s all the fashion underground.” “Is it?” “It happened during the battle. I hoped it might turn back, but it seems to be permanent.” “My cousin Ludovic woke up with a white streak in his hair after he almost died in a house fire. Claimed the ladies found it very dashing. Of course, he also claimed the house fire was set by ghosts, so who can say.” “Poor cousin Ludovic.

Mr. Winterborne was strikingly handsome, not in the way of fairy tale princes, but with an uncompromising masculinity that made her nerves jump whenever he was near. The angles of his face were bold, the nose sturdy, the lips full and distinctly edged. His skin was not fashionably pale but a rich, glowing umber, and his hair was quite black. There was nothing of an aristocrat's ease about him, no hint of languid grace. He was sophisticated, keenly intelligent, but there was something not quite civilized about him. A hint of danger, a smolder beneath the surface.

Uncertain times brought out the best and worst in people. This was not the first time she'd behaved boldly. That was a positive aspect of being a deaf person in a hearing world - you had to have confidence, or at least, act in a fashion that led others to believe you were courageous. And she'd perfected her acting abilities a long time ago for the sake of survival

She was a mimicry of a façade fashioned from the half-truths of her life. She was a beautiful abomination, patched together from the most pristine and terrible parts she could find. She was a black crystal of many cuts and facets whose dark glow suffocated and entranced those it washed over. There was a pointlessness in her eyes and apathy in her stature, and further in, past the symphonies of nightmarish screams was a blinding light. All the capability she could ever ask for kept in a place she would never reach. She chose the ice rather than the fire, shivering and hard with heat sparse, for while a flicker can exist in freeze's cold, it's heat will not radiate, no matter how bold. She took my face in hands that would make ice seem warm and whispered a blizzard into my ear, a cascading song of fear after fear. The lies she spilled, mixed with regrets and appeal, were cloaked in the inferno of her rage, the anger, the only thing that really made her real. This was her one semblance of life, a bottomless and endless void of proportions vast with a calamity of fusion and fission streaking through, a mindless hue, an emotion with a face, a darling of her race. The cracks spew darkness from within her ever so pale skin. They congregated on her curves and flesh in black and churning rivers and streams. They flooded every dip with blackness. They filled every hollow with unstable curiosity, this is her release, this is when she is free. The faces of deceit always laugh, they never wallow for their lies are a pleasure tool, her insides are contorted in laughter the same way, just as slick, just as cruel. A crude combination of fascination, of animation, of the darkest demons of them all. She was poetry written in pen, scratched and scribbled again and again. Ink splattered across the page, and within those scrawled words, those small, sharp incisions, an image can be seen, and you're left to wonder what, in the end, this all could mean...

My friends, I do not believe it is preaching Christ and him crucified, to give people a batch of philosophy every Sunday morning and evening, and neglect the truths of this Holy Book. I do not believe it is preaching Christ and him crucified, to leave out the main cardinal doctrines of the Word of God, and preach a religion which is all a mist and a haze, without any definite truths whatever. I take it that man does not preach Christ and him crucified, who can get through a sermon without mentioning Christ's name once; nor does that man preach Christ and him crucified, who leaves out the Holy Spirit's work, who never says a word about the Holy Ghost, so that indeed the hearers might say, "We do not so much as know whether there be a Holy Ghost." And I have my own private opinion, that there is no such thing as preaching Christ and him crucified, unless you preach what now-a-days is called Calvinism. I have my own ideas, and those I always state boldly. It is a nickname to call it Calvinism. Calvinism is the gospel, and nothing else. I do not believe we can preach the gospel, if we do not preach justification by faith without works; not unless we preach the sovereignty of God in his dispensation of grace; nor unless we exalt the electing, unchangeable, eternal, immutable, conquering love of Jehovah; nor, I think, can we preach the gospel, unless we base it upon the peculiar redemption which Christ made for his elect and chosen people; nor can I comprehend a gospel which lets saints fall away after they are called, and suffers the children of God to be burned in the fires of damnation, after having believed. Such a gospel I abhor. The gospel of the Bible is not such a gospel as that. We preach Christ and him crucified in a different fashion, and to all gainsayers we reply, "We have not so learned Christ.

There were so many windows in Manderley, so many rooms that were never used by Maxim and myself that were empty now; dust-sheeted, silent, rooms that had been occupied in the old days when his father and his grandfather had been alive, when there had been much entertaining, many servants. It would be easy for Mrs. Danvers to open those doors softly and close them again, and then steal quietly across the shrouded room and look down upon me from behind the drawn curtains. I should not know. Even if I turned in my chair and looked up at the windows I would not see her. I remembered a game I had played as a child that my friends next door had called “Grandmother’s Steps” and myself “Old Witch.” You had to stand at the end of the garden with your back turned to the rest, and one by one they crept nearer to you, advancing in short furtive fashion. Every few minutes you turned to look at them, and if you saw one of them moving the offender had to retire to the back line and begin again. But there was always one a little bolder than the rest, who came up very close, whose movement was impossible to detect, and as you waited there, your back turned, counting the regulation Ten, you knew, with a fatal terrifying certainty, that before long, before even the Ten was counted, this bold player would pounce upon you from behind, unheralded, unseen, with a scream of triumph. I felt as tense and expectant as I did then. I was playing “Old Witch” with Mrs. Danvers.

You make a world out of the things you buy. Everything you pick up is a potential gateway, a tiny, cosmetic change that might blossom into an entirely new you. A bold shirt around which you base a new personality, an angular coffee table that might reboot your whole environment, that one enormous novel that all the fashionable English majors carry around. You buy things to communicate affiliation to a small tribe, hopeful you'll encounter the only other person in line buying the same obscure thing as you. Maybe I, too, will become the kind of person who has books like 'Infinite Jest' casually strewn on his cool, angular coffee table. Maybe I'll become the kind of person who seems as if he should have that book but chooses not to.

Let’s have a closer look at Sue. Appearance-wise, Jerry’s mother was a dark dream with full lips and almond eyes; fashion-wise, she spared no expense but looked as conservative as all the rest; in terms of morals she was entirely conventional; in personality a flirt; in outlook a skeptic; in disposition a bleak and dire depressive; in political mind-set more progressive than most; in matters of sex, boldly forward, then discreetly withholding; she was mercurial at parties and dances (a charmer one night, a mute the next); in love a total slave, but as an object of a man’s desire, she was a merciless and cunning manipulator. If her kindness was subject to moods, she had her table manners down cold, and her telephone etiquette was impeccable.

Imaginary Lives Imaginary Lives is a thought experiment I have adapted from two important career-change thinkers, Julia Cameron and John Williams, which aims to take your ideas a stage closer towards specific job options.55 It’s simple but potentially powerful. • Imagine five parallel universes, in each of which you could have a whole year off to pursue absolutely any career you desired. Now think of five different jobs you might want to try out in each of these universes. Be bold in your thinking, have fun with your ideas and your multiple selves. Your five choices might be food photographer, member of parliament, tai chi instructor, social entrepreneur running a youth education project, and wide-achieving Renaissance generalist. One person I know who did this activity – a documentary film maker who was having doubts about her career – listed massage therapist, sculptor, cellist, screen-play writer, and owner of her own bar on a tiny, old-fashioned Canarian island. Now come back down to earth and look hard at your five choices. Write down what it is about them that attracts you. Then look at them again, and think about this question: • How does each career measure up against the two motivations in the previous activity that you chose to prioritize in the future? If you decided, for instance, that you want a combination of making a difference and high status, check whether your five imaginary careers might provide them. The point is to help you think more deeply about exactly what you are looking for in a career, the kind of experiences that you truly desire.

What else do you like?” She blew out a breath, her expression considering while Vim used the brush in long strokes from her crown to her hips. It was beautiful hair, thick, lustrous, and gleaming with an indication of basic health and sound living. “I like music,” she said, “and sweets. I am quite partial to sweets.” Vim took this answer for a deliberate and charming prevarication. “I meant, what do you like from your lovers? Shall I kiss you all over? Shall you bind my wrists and have your way with me?” He leaned down and nuzzled her neck, the braid he’d been fashioning forgotten. “Shall you put your mouth on me, Sophie, and make me forget myself utterly?” She sat very still while Vim slid a hand over her shoulder and let it rest there, just above her breast while he pressed his cheek to hers. “My love, are you blushing?” “You are very bold, Mr. Charpentier.” He straightened, feeling it imperative that he braid up her hair, so he might have the pleasure of unbraiding it once they’d gained the bed. “I like your hands on me,” he volunteered. “There’s a particular quality to your touch I can’t quite describe. There’s… meaning in it.” “Meaning?” She regarded him in the mirror, her blush fading. “That’s not the right word. Some people can calm a nervous horse with their touch. They communicate to the animal with hands, tone of voice, and posture in ways more substantial than words. Your hands on me feel that way—more substantial than words.” She turned and pressed her forehead to his midriff. “You must not say such things.” He stroked his palm over her crown, holding her half-finished braid with the other hand. “Why not, Sophie?” “You simply must not.

Terminology, control measures and formats must all be learned. We must speak a common language if we are to continue to be the cohesive Corps that we are. The Basic School and subsequent schools must continue to stress a common language that is understood by all Marines so that we fight as a single team. Teamwork has long been our trademark. It is indispensable. But first the student must learn to think creatively, to innovate, and to do the things that will most quickly seek out the enemy’s weak spots and undo him. Learning to think in that fashion is fundamental. That is what this course is about: the fundamentals. Once these fundamentals are learned, that is, once the student has begun to think clearly about how best to undo his adversary, once he has been rewarded in the classroom or the field for creative thought, the careful weighing of alternatives and risks followed by boldness in decision-making, he will then be ready to study definitions, control measures and formats. He will grasp their meaning more rapidly, for he will have a context in which to place them. They will be more than mere words and symbols.

The rapid growth of Message- combined with an outpouring of florists offering consultations in the language of flowers to the streams of brides Marlena and I turned away- caused a subtle but concrete shift in the Bay Area flower industry. Marlena reported that peony, marigold, and lavender lingered in their plastic buckets at the flower market while tulips, lilac, and passionflower sold out before the sun rose. For the first time anyone could remember, jonquil became available long after its natural bloom season had ended. By the end of July, bold brides carried ceramic bowls of strawberries or fragrant clusters of fennel, and no one questioned their aesthetics but rather marveled at the simplicity of their desire. If the trajectory continued, I realized, Message would alter the quantities of anger, grief, and mistrust growing in the earth on a massive scale. Farmers would uproot fields of foxglove to plant yarrow, the soft clusters of pink, yellow, and cream the cure to a broken heart. The prices of sage, ranunculus, and stock would steadily increase. Plum trees would be planted for the sole purpose of harvesting their delicate, clustered blossoms and sunflowers would fall permanently out of fashion, disappearing from flower stands, craft stores, and country kitchens. Thistle would be cleared compulsively from empty lots and overgrown gardens.

Two sailors hauled on ropes, hoisting the jolly boat up to the ship’s side, revealing two apocryphal figures standing in the center of the small craft. At first glance, Sophia only saw clearly the shorter of the two, a gruesome creature with long tangled hair and a painted face, wearing a tight-fitting burlap skirt and a makeshift corset fashioned from fishnet and mollusk shells. The Sea Queen, Sophia reckoned, a smile warming her cheeks as the crew erupted into raucous cheers. A bearded Sea Queen, no less, who bore a striking resemblance to the Aphrodite’s own grizzled steward. Stubb. Sophia craned her neck to spy Stubb’s consort, as the foremast blocked her view of Triton’s visage. She caught only a glimpse of a white toga draped over a bronzed, bare shoulder. She took a jostling step to the side, nearly tripping on a coil of rope. “Foolish mortals! Kneel before your king!” The assembled sailors knelt on cue, giving Sophia a direct view of the Sea King. And even if the blue paint smeared across his forehead or the strands of seaweed dangling from his belt might have disguised him, there was no mistaking that persuasive baritone. Mr. Grayson. There he stood, tall and proud, some twenty feet away from her. Bare-chested, save for a swath of white linen draped from hip to shoulder. Wet locks of hair slicked back from his tanned face, sunlight embossing every contour of his sculpted arms and chest. A pagan god come swaggering down to earth. He caught her eye, and his smile widened to a wolfish grin. Sophia could not for the life of her look away. He hadn’t looked at her like this since…since that night. He’d scarcely looked in her direction at all, and certainly never wearing a smile. The boldness of his gaze made her feel thoroughly unnerved, and virtually undressed. Until the very act of maintaining eye contact became an intimate, verging on indecent, experience. If she kept looking at him, she felt certain he knees would give out. If she looked away, she gave him the victory. There was only one suitable alternative, given the circumstances. With a cheeky wink to acknowledge the joke, Sophia dropped her eyes and curtsied to the King. Mr. Grayson laughed his approval. Her curtsy, the crew’s gesture of fealty-he accepted their obeisance as his due. And why should he not? There was a rightness about it somehow, an unspoken understanding. Here at last was their true leader: the man they would obey without question, the man to whom they’d pledge loyalty, even kneel. This was his ship. “Where’s the owner of this craft?” he called. “Oh, right. Someone told me he’s no fun anymore.” As the men laughed, the Sea King swung over the rail, hoisting what looked to be a mop handle with vague aspirations to become a trident. “Bring forth the virgin voyager!

Ione I. AH, yes, 't is sweet still to remember, Though 't were less painful to forget; For while my heart glows like an ember, Mine eyes with sorrow's drops are wet, And, oh, my heart is aching yet. It is a law of mortal pain That old wounds, long accounted well, Beneath the memory's potent spell, Will wake to life and bleed again. So 't is with me; it might be better If I should turn no look behind, — If I could curb my heart, and fetter From reminiscent gaze my mind, Or let my soul go blind — go blind! But would I do it if I could? Nay! ease at such a price were spurned; For, since my love was once returned, All that I suffer seemeth good. I know, I know it is the fashion, When love has left some heart distressed, To weight the air with wordful passion; But I am glad that in my breast I ever held so dear a guest. Love does not come at every nod, Or every voice that calleth 'hasten;' He seeketh out some heart to chasten, And whips it, wailing, up to God! Love is no random road wayfarer Who Where he may must sip his glass. Love is the King, the Purple-Wearer, Whose guard recks not of tree or grass To blaze the way that he may pass. What if my heart be in the blast That heralds his triumphant way; Shall I repine, shall I not say: 'Rejoice, my heart, the King has passed!' In life, each heart holds some sad story — The saddest ones are never told. I, too, have dreamed of fame and glory, And viewed the future bright with gold; But that is as a tale long told. Mine eyes have lost their youthful flash, My cunning hand has lost its art; I am not old, but in my heart The ember lies beneath the ash. I loved! Why not? My heart was youthful, My mind was filled with healthy thought. He doubts not whose own self is truthful, Doubt by dishonesty is taught; So loved! boldly, fearing naught. I did not walk this lowly earth; Mine was a newer, higher sphere, Where youth was long and life was dear, And all save love was little worth. Her likeness! Would that I might limn it, As Love did, with enduring art; Nor dust of days nor death may dim it, Where it lies graven on my heart, Of this sad fabric of my life a part. I would that I might paint her now As I beheld her in that day, Ere her first bloom had passed away, And left the lines upon her brow. A face serene that, beaming brightly, Disarmed the hot sun's glances bold. A foot that kissed the ground so lightly, He frowned in wrath and deemed her cold, But loved her still though he was old. A form where every maiden grace Bloomed to perfection's richest flower, — The statued pose of conscious power, Like lithe-limbed Dian's of the chase. Beneath a brow too fair for frowning, Like moon-lit deeps that glass the skies Till all the hosts above seem drowning, Looked forth her steadfast hazel eyes, With gaze serene and purely wise. And over all, her tresses rare, Which, when, with his desire grown weak, The Night bent down to kiss her cheek, Entrapped and held him captive there. This was Ione; a spirit finer Ne'er burned to ash its house of clay; A soul instinct with fire diviner Ne'er fled athwart the face of day, And tempted Time with earthly stay. Her loveliness was not alone Of face and form and tresses' hue; For aye a pure, high soul shone through Her every act: this was Ione.

Two observations take us across the finish line. The Second Law ensures that entropy increases throughout the entire process, and so the information hidden within the hard drives, Kindles, old-fashioned paper books, and everything else you packed into the region is less than that hidden in the black hole. From the results of Bekenstein and Hawking, we know that the black hole's hidden information content is given by the area of its event horizon. Moreover, because you were careful not to overspill the original region of space, the black hole's event horizon coincides with the region's boundary, so the black hole's entropy equals the area of this surrounding surface. We thus learn an important lesson. The amount of information contained within a region of space, stored in any objects of any design, is always less than the area of the surface that surrounds the region (measured in square Planck units). This is the conclusion we've been chasing. Notice that although black holes are central to the reasoning, the analysis applies to any region of space, whether or not a black hole is actually present. If you max out a region's storage capacity, you'll create a black hole, but as long as you stay under the limit, no black hole will form. I hasten to add that in any practical sense, the information storage limit is of no concern. Compared with today's rudimentary storage devices, the potential storage capacity on the surface of a spatial region is humongous. A stack of five off-the-shelf terabyte hard drives fits comfortable within a sphere of radius 50 centimeters, whose surface is covered by about 10^70 Planck cells. The surface's storage capacity is thus about 10^70 bits, which is about a billion, trillion, trillion, trillion, trillion terabytes, and so enormously exceeds anything you can buy. No one in Silicon Valley cares much about these theoretical constraints. Yet as a guide to how the universe works, the storage limitations are telling. Think of any region of space, such as the room in which I'm writing or the one in which you're reading. Take a Wheelerian perspective and imagine that whatever happens in the region amounts to information processing-information regarding how things are right now is transformed by the laws of physics into information regarding how they will be in a second or a minute or an hour. Since the physical processes we witness, as well as those by which we're governed, seemingly take place within the region, it's natural to expect that the information those processes carry is also found within the region. But the results just derived suggest an alternative view. For black holes, we found that the link between information and surface area goes beyond mere numerical accounting; there's a concrete sense in which information is stored on their surfaces. Susskind and 'tHooft stressed that the lesson should be general: since the information required to describe physical phenomena within any given region of space can be fully encoded by data on a surface that surrounds the region, then there's reason to think that the surface is where the fundamental physical processes actually happen. Our familiar three-dimensional reality, these bold thinkers suggested, would then be likened to a holographic projection of those distant two-dimensional physical processes. If this line of reasoning is correct, then there are physical processes taking place on some distant surface that, much like a puppeteer pulls strings, are fully linked to the processes taking place in my fingers, arms, and brain as I type these words at my desk. Our experiences here, and that distant reality there, would form the most interlocked of parallel worlds. Phenomena in the two-I'll call them Holographic Parallel Universes-would be so fully joined that their respective evolutions would be as connected as me and my shadow.

When we reach a certain age we have opportunity to decide how we present ourselves to the world, and that age is getting ever younger. Even our young teenage generation is aware of fashion and we grow acutely more and more aware of how obsessed our society is with imagery and appearance. Or rather we become more aware that to get on in life we need to be brash and bright and sparkling all the time. That bright colours and big noises is what gets your through life, that any substance behind that is almost irrelevant to success. We only need look at who we proclaim as celebrities, who society rewards with wealth, that substance is not a prerequisite to success. Be bright, make a statement, choose a bold look, dye your hair, pierce your body, paint it with permanent ink, wear outlandish clothes and don't be afraid to say something crude or mean or controversial because that's the person you are. Or is it? Is it that when you've done with the all the additions to your body, the person you look at in the mirror is no longer the real you. It is a character, the one you think society wants you to be, that society has convinced you that you want to be, substance optional. One of the most beautiful moments of conversation on and offline I've had with some people is when they surprise me, a comment or opinion with substance and thought, something away fro their character, revealing the real individual in-between. So why hide that part of you. When did our society evolve into a place when people have to sell themselves as a larger than life character? When did being a little quiet, thoughtful, more subtly dressed stop being classy and become perceived as dull. When did people, intelligent people, start to realise that world didn't want them to be themselves and it was better to throw in some over the top extravagances, make claim to some extreme habits and tastes. These same people permanently seeking definition of the character they've become rather than friendship from real people who know it is purely superficial but go along with it anyway. You're not your unnaturally coloured hair or your mark applied to you by a skilled artist. You are not the label of clothes you wear nor the quirky colours you choose to represent yourself. Just be honest with yourself, attention seeking is an illness. Don't follow the trends like everyone else. Make your own. That's my objective, to unashamedly be myself, And that is probably why I always wear a lot of black. No tricks, no fancy colours, no parlour tricks to detract from who I am. I want people to see my subtance, not be clouded with smoke and mirrors and see a character that doesn't really exist.

When we reach a certain age we have opportunity to decide how we present ourselves to the world, and that age is getting ever younger. Even our young teenage generation is aware of fashion and we grow acutely more and more aware of how obsessed our society is with imagery and appearance. Or rather we become more aware that to get on in life we need to be brash and bright and sparkling all the time. That bright colours and big noises is what gets your through life, that any substance behind that is almost irrelevant to success. We only need look at who we proclaim as celebrities, who society rewards with wealth, that substance is not a prerequisite to success. Be bright, make a statement, choose a bold look, dye your hair, pierce your body, paint it with permanent ink, wear outlandish clothes and don't be afraid to say something crude or mean or controversial because that's the person you are. Or is it? Is it that when you've done with the all the additions to your body, the person you look at in the mirror is no longer the real you. It is a character, the one you think society wants you to be, that society has convinced you that you want to be, substance optional. One of the most beautiful moments of conversation on and offline I've had with some people is when they surprise me, a comment or opinion with substance and thought, something away fro their character, revealing the real individual in-between. So why hide that part of you. When did our society evolve into a place when people have to sell themselves as a larger than life character? When did being a little quiet, thoughtful, more subtly dressed stop being classy and become perceived as dull. When did people, intelligent people, start to realise that world didn't want them to be themselves and it was better to throw in some over the top extravagances, make claim to some extreme habits and tastes. These same people permanently seeking definition of the character they've become rather than friendship from real people who know it is purely superficial but go along with it anyway. You're not your unnaturally coloured hair or your mark applied to you by a skilled artist. You are not the label of clothes you wear nor the quirky colours you choose to represent yourself. Just be honest with yourself, attention seeking is an illness. Don't follow the trends like everyone else. Make your own. That's my objective, to unashamedly be myself, And that is probably why I always wear a lot of black. No tricks, no fancy colours, no parlour tricks to detract from who I am. I want people to see my subtance, not be clouded with smoke and mirrors and see a character that doesn't really exist.

Under these circumstances the most anodyne book was a source of danger from the simple fact that love was alluded to, and woman depicted as an attractive creature; and this was enough to account for all—for the inherent ignorance of Catholics, since it was proclaimed as the preventive cure for temptations—for the instinctive horror of art, since to these craven souls every written and studied work was in its nature a vehicle of sin and an incitement to fall. Would it not really be far more sensible and judicious to open the windows, to air the rooms, to treat these souls as manly beings, to teach them not to be so much afraid of their own flesh, to inculcate the firmness and courage needed for resistance? For really it is rather like a dog which barks at your heels and snaps at your legs if you are afraid of him, but who beats a retreat if you turn on him boldly and drive him off. The fact remains that these schemes of education have resulted, on the one hand, in the triumph of the flesh in the greater number of men who have been thus brought up and then thrown into a worldly life, and on the other, in a wide diffusion of folly and fear, an abandonment of the possessions of the intellect and the capitulation of the Catholic army surrendering without a blow to the inroads of profane literature, which takes possession of territory that it has not even had the trouble of conquering. This really was madness! The Church had created art, had cherished it for centuries; and now by the effeteness of her sons she was cast into a corner. All the great movements of our day, one after the other—romanticism, naturalism—had been effected independently of her, or even against her will. If a book were not restricted to the simplest tales, or pleasing fiction ending in virtue rewarded and vice punished, that was enough; the propriety of beadledom was at once ready to bray. As soon as the most modern form of art, the most malleable and the broadest—the Novel—touched on scenes of real life, depicted passion, became a psychological study, an effort of analysis, the army of bigots fell back all along the line. The Catholic force, which might have been thought better prepared than any others to contest the ground which theology had long since explored, retired in good order, satisfied to cover its retreat by firing from a safe distance, with its old-fashioned match-lock blunderbusses, on works it had neither inspired nor written. The Church party, centuries behind the time, and having made no attempt to follow the evolution of style in the course of ages, now turned to the rustic who can scarcely read; it did not understand more than half of the words used by modern writers, and had become, it must be said, a camp of the illiterate. Incapable of distinguishing the good from the bad, it included in one condemnation the filth of pornography and real works of art; in short, it ended by emitting such folly and talking such preposterous nonsense, that it fell into utter discredit and ceased to count at all. And it would have been so easy for it to work on a little way, to try to keep up with the times, and to understand, to convince itself whether in any given work the author was writing up the Flesh, glorifying it, praising it, and nothing more, or whether, on the contrary, he depicted it merely to buffet it—hating it. And, again, it would have done well to convince itself that there is a chaste as well as a prurient nude, and that it should not cry shame on every picture in which the nude is shown. Above all, it ought to have recognized that vices may well be depicted and studied with a view to exciting disgust of them and showing their horrors.

And my dream for you..........., is that you'll catch a glimpse of what I love so much about fashion: It's boldness and creativity, the confidence that it takes to stand before a camera and let your image be captured, even though you aren't perfect, the peace to be truly okay with how others see you

Impeccable tailoring has helped make Prince Charles the king of London’s menswear mecca, Savile Row, where high-end shops sometimes bear his royal warrant (a tri-feathered heraldic badge of approval). His look is timeless: sharply cut double-breasted suits, shirts with spread collars, bold rep ties and pocket squares. The prince has single-handedly kept the double-breasted look in fashion since the ’80s, but he’s not afraid to take a risk, pressing on with linen suits after the press bashed his rumpled appearance. “He couldn’t care less,” says his former personal tailor Thomas Mahon. “He even ordered another.

In an 1872 essay on poetry that both Vincent and Zola read, the philosopher Hippolyte Taine had described with astonishing prescience the imagery at the end of Vincent’s tortuous journey: Less a style, indeed, than a system of notation, superlatively bold, sincere and faithful, created from instant to instant, out of anything and everything in such a fashion that one never thinks of the words but seems to be in direct touch with the gush of vital thought, with all its palpitations and starts, with its suddenly checked flights and the mighty beating of its wings.… It is queer language, yet true even in its least details, and the only one capable of conveying the peaks and troughs of the inner life, the flow and tumult of inspiration, the sudden concentration of ideas, too crowded to find vent, the unexpected explosion into imagery and those almost limitless blazes of enlightenment which, like the northern lights, burst out and flame in a lyrical mind… Trust the spirit, as sovereign nature does, to make the form; for otherwise we only imprison spirit, and not embody. Inward evermore to outward—so in life, and so in art, which still is life … Poetry, thus conceived, has only one protagonist, the soul and mind of the poet; and only one style—a suffering and triumphant cry from the heart.

Motifs recur in independent fashion because they are universal. And when such events actually happen, people like to tell of them. Equally evident, however, are these stories’ differences across cultures. Elements are present, or are not present, or appear in varying forms. As significant as the similarities are these differences, for they are often markers of precisely what sets apart a given culture as distinct. Over against the standard forms that are shared with other cultures, these differences highlight the values of a culture in bold relief.51 This

In my mind, there was nothing better than a cupcake with a funny little twist. I liked bold pairings of fresh ingredients slathered high with decadent, old-fashioned waves of icing- organic pear and chai tea cake topped with vanilla-ginger buttercream was one of my current favorites. But Lolly St. Clair had more classic taste, and so I'd made an array of delicately flavored Meyer lemon, vanilla, and mocha cupcakes for the benefit.

This rushing “in medias res” has doubtless the charm of ease. “Certainly, when I threw her from the garret window to the stony pavement below, I did not anticipate that she would fall so far without injury to life or limb.” When a story has been begun after this fashion, without any prelude, without description of the garret or of the pavement, or of the lady thrown, or of the speaker, a great amount of trouble seems to have been saved. The mind of the reader fills up the blanks, — if erroneously, still satisfactorily. He knows, at least, that the heroine has encountered a terrible danger, and has escaped from it with almost incredible good fortune; that the demon of the piece is a bold demon, not ashamed to speak of his own iniquity, and that the heroine and the demon are so far united that they have been in a garret together. But there is the drawback on the system, — that it is almost impossible to avoid the necessity of doing, sooner or later, that which would naturally be done at first. It answers, perhaps, for half-a-dozen chapters; — and to carry the reader pleasantly for half-a-dozen chapters is a great matter! — but after that a certain nebulous darkness gradually seems to envelope the characters and the incidents

The ancient Japanese art of sashiko is all the rage among modern-day sewists and quilters, using thick, contrasting thread (traditionally white on dark fabric) to turn repairs into mini works of art, with bold geometric patterns in stitching that’s supposed to be seen.

If you asked three different whiskey distilleries what the best kind of whiskey is, you’d find three different answers. Some like their whiskey sweet, infused with honey or fruit and smooth on ice. Some prefer their whiskey bold, with sharp spices and mint. Me? Personally, I preferred whiskey that burned—slowly—in an all-consuming fashion. And that night, I felt every inch of my body catch fire as I drained the bottle.

Waldo inhaled deeply, staring at the ceiling. It was at times like this that he was at his worst. His mind, while indecisive, was also capable of producing the most detailed, fantastic daydreams imaginable, and with the mysterious disappearance of his grandfather as fodder, his speculations grew even more intense and far-fetched than usual. On the other hand, the logical part of his brain, underdeveloped as it was, went almost entirely untapped in such a situation. Waldo was literally frozen into inaction by his chemical makeup, and this was apparent in the number of cigarettes he lit, the number of sighs he expelled, and the number of times his helpless fingers alternated between nervously tapping the coffee table and running through his unkempt hair. All that night, Waldo remained awake, deep in unproductive thought, routinely walking back and forth from the living room to the front porch, where he would take a seat in the old-fashioned swing and smoke heavily. The blissful suburban setting, especially on spring nights like this, when the crickets chirped so lustily, and the porch swing creaked so reassuringly in the warm breeze, was perfect for conjuring up bold new fantasies.

This basic problem of relevance-cum-subservience has been given an added twist in the modern world, where relevance has become not only hollow but fragile and short-lived. A wider range of choices, a deeper uncertainty of events, a more pressing need for new styles—all this makes for an accelerating turnover of issues, concerns and fads. Nothing tires like a trend or ages faster than a fashion. Today’s bold headline is tomorrow’s yellowing newsprint. Thus the relevance-hungry liberals achieve relevance, but their victory is Pyrrhic. It is precisely as they win that they lose. As they become relevant to one group or movement, they become irrelevant to another and find themselves rudely dismissed. Far from being in the avant-garde, Christian liberals trot smartly behind the times. Far from being genuinely new or radical, they catch up and announce their discoveries breathlessly, only to see the vanguard disappearing down the road on the trail of a different pursuit.

A study of advertising found that the average person in Shanghai saw three times as many advertisements in a typical day as a consumer in London. The market was flooded with new brands seeking to distinguish themselves, and Chinese consumers were relatively comfortable with bold efforts to get their attention. Ads were so abundant that fashion magazines ran up against physical constraints: editors of the Chinese edition of Cosmopolitan once had to split an issue into two volumes because a single magazine was too thick to handle. My cell phone was barraged by spam offering a vast range of consumption choices. “Attention aspiring horseback riders,” read a message from Beijing’s “largest indoor equestrian arena.” In a single morning, I received word of a “giant hundred-year-old building made with English craftsmanship” and a “palace-level baroque villa with fifty-four thousand square meters of private gardens.” Most of the messages sold counterfeit receipts to help people file false expense reports. I liked to imagine the archetypal Chinese man of the moment, waking each morning in a giant English building and mounting his horse to cross his private garden, on the way to buy some fake receipts.

Hemisphere-Alluding Stimulation In this method, we ‘allude’ (originated from a Latin word which means ‘refer to’) the text that is read to either the right or the left hemisphere of the brain. Alluding to the right hemisphere can be done by printing the reading materials in a very complicated or unusual fashion- for example, using different typefaces and bold fonts, which makes it more difficult to process the symbols.

If I may be so bold, sir,” the butler spoke up, causing Sebastian to start. Good lord, he hadn’t even realized he was still there. “I could not help but notice that you seemed to have quarreled with Miss Westforth.” Sebastian grunted in response. “She is your old friend from home.” The butler shrugged. “She will forgive you. Of course, may I suggest that you beg forgiveness as soon as possible? That seems the smoothest way to go about these things. Especially when you know someone as well as you know Miss Westforth.” “That’s just it!” Sebastian cried, with more vehemence than he realized he’d felt. “I do know Susie – Miss Westforth. And that fashionable creature is not her!” The Susie Sebastian knew would have laughed at a crowd of men vying for her attention. She would have rather been reading or working on puzzles or… “She is acting foolish, and I simply point this out, and I am told off for it. She’s dancing with Parkhurst and… and laughing with him, for God’s sake!” “Mr. Parkhurst is perhaps not the most humor-inducing young man here,” the butler agreed solemnly. “But how is Miss Westforth’s dancing and laughing different from any other young lady’s actions tonight?” “It’s…. it just is.” Sebastian said stubbornly. “And her dress… it’s unseemly!” “Actually, I have it on good authority that Miss Westforth’s gown is of the highest fashion and appropriate modesty for a young lady of nineteen.” Nineteen . God, hadn’t she just been sixteen and all bony angles? “How do you know all this?” Sebastian grumbled after a time. “About Miss Westforth’s gown… and how we are old friends, come to think of it.” The butler simply shrugged. “I am Philbert, sir. I know everything.” “Did you know that she tried to kiss me, then?” Sebastian mumbled, kicking his boot against the grey stone balustrade. Philbert’s mouth crooked up. “In the ballroom? How very forward.” “No, not now. She told me she tried to kiss me before.” “Before…?” “Before I went away. But apparently I wasn’t paying attention, and she ended up kissing a log.” “And were you?” Philbert asked. Sebastian’s eyebrow went up, not understanding. “Were you not paying attention,” he clarified. “Or did you know she tried to kiss you?” Sebastian felt another shift in the world beneath his feet. Smaller this time, but so, so important. Something clicking into place. “No. I suppose I did know. I just pretended it hadn’t happened.” He’d seen it. Just out of the corner of his eye, but he’d seen it. Three years ago, after a long run on their horses, breathless, her cheeks flushed and lovely. Sitting nearly leg to leg with him on that felled tree. And his heart had skipped a beat. A rush of… something had him standing before her lips could touch his cheek. “Why did you pretend it hadn’t happened?” Philbert asked quietly. “Because it would have changed things,” Sebastian answered in kind. A

Kanye West's influence extends far beyond the confines of music, resonating deeply in the realms of fashion and pop culture. His merchandise, often referred to simply as "Kanye West merch," has become a significant cultural phenomenon, reflecting his unique aesthetic and visionary approach. Kanye's venture into merchandise began with his concert tours, where limited-edition items became coveted symbols of fandom. The 2013 "Yeezus" tour marked a turning point, with merch that blended gothic motifs and bold graphics, creating a distinctive style that would define his future collections. Fans eagerly lined up for hours to grab a piece of Kanye's world, often reselling items at a premium, further cementing the status of his merch as not just apparel, but collector's items. In 2016, the "Life of Pablo" pop-up shops took this to a new level. Located in various global cities, these shops sold minimalist, streetwear-inspired pieces emblazoned with religious and personal iconography. The launch was a testament to Kanye's marketing genius and his ability to create a buzz that transcends traditional retail methods. The immediate sell-out of these items showcased his knack for blending exclusivity with mass appeal.

It is all of those things and none of those things. Blackness is not a monolith—it is as nuanced, as different, and as bold as our hairstyles, our fashion choices, and our vernacular. It is the space between a comma and a bar, a breath taken or breaths strangled out of us.

Commit to being bold, just for today. Don’t tone down your words or your voice. Don’t hold back with your fashion choices or self-expression. Don’t keep it all buttoned-up and buckled down. You’ve got this. Say yes to your whole self.

Young people often ask me, is it wrong to wear bold clothes? I tell them, wear whatever you are comfortable in, it's the character that lives, not clothes.

But Fabianus who was none of your lecture-room philosophers of today, but one of the genuine and old-fashioned kind, used to say that we must fight against the passions with main force, not with trickery, and that the battle-line must be breached by a bold attack, not by inflicting pinpricks; that false arguments are not adequate, for the passions must be, not nipped, but crushed.

If you boldly claim and revel in your previously suppressed desire for power, allowing yourself to savor the intense secret pleasure of all the times you've “accidentally” inconvenienced or upset others, you will find this doesn't morph you into a murderous fascist. Instead it gives you the opportunity to compassionately feel your connection to all us other “awful” humans out there who have the exact same desire for power, and it liberates your awareness and energy so that you can start finding energizing, gorgeous ways to make your power felt in the world rather than acting it out in sideways, resentful, passive-aggressive fashions.

When's your birthday?" I asked. "The twentieth of April." "A Taurus." "A what?" she asked. "Astrology. Do you follow it?" "Not only do I not follow it, I've never even heard of it." I paused, wondering if the girl was kidding, but I didn't detect a note of sarcasm in her voice. "I'm from Milwaukee- we don't believe things like that there, either. It's all hocus-pocus if you ask me." "Milwaukee's in Wisconsin. Wisconsin's capital is Madison. Its state bird is the robin and it's known as the Dairy State because it produces more cheese and milk than any other state," she said, as if reading from a teleprompter. "This thing called astrology- what is it exactly?" "That's a good question," I said. "It has something to do with the stars. I've never really understood it, either." "You mean astronomy, then?" "No, they're two different things- astrology and astronomy." "So what are you in astrology terms?" "A Scorpio." "A scorpion. In other words, you're an eight-legged, venomous creature to be wary of?" Her tone was deadpan. "No poison here, just a nice guy from Milwaukee." She let out a jovial laugh. She was a curious creature, and I was intrigued. Her manner of speech was officious and old-fashioned. She was interested and reserved, insecure and confident, coy and bold. She was unlike anyone I had ever met.

The unpolished rawness and uncompromising energy of hip-hop have their roots in slavery. Just like some of the sweetest forms of expression the human race has ever invented, like jazz and blues. They were born out of misery but were so infectiously captivating and full of such bold emotions that they permeated everything else -- contemporary music, fashion, art, the way people talk, the way people walk, the way people are.

Colors and Designs - Trends for Toddlers - Motheringo The summer collections this year are flooded with all the bright colors perfect for the summer look. Offering miscellaneous colors from blues and pinks to corals and mints, the basic colors of black and white would never go out of style. The clothing is enhanced with the use of multiple textures, animal prints, and graphics, from the sparkly sequins to the knits, velvets, and denims, making sure your little one is dressed in a convenient yet trendiest of attires. Another element of cuteness that is enchantingly loved by the young toddlers are the intricate yet bold appliques of characters and graphics on the shirts and dresses. From having the ears or tail protruding out, or the frills with a 3-D texture, young kids are fond of such sensory elements in their apparel.

introduction: Crescent Fabrics is an influential name in the fabric distribution industry, providing high-quality fabrics across multiple categories to suit a range of creative needs. Whether you're a quilter, home decorator, or fashion designer, Crescent offers a versatile selection of fabrics to bring your creative projects to life. Key Highlights of Crescent Fabrics: Fabric Collections: Crescent Fabrics is known for its curated fabric lines, often featuring unique prints and patterns. These collections are designed in collaboration with well-known fabric designers and cater to various aesthetic preferences—from modern and bold designs to more traditional or whimsical prints. Diverse Fabric Types: Crescent offers a variety of fabric types, including: Cotton fabrics: A primary focus for quilting, available in prints, solids, and blenders. Apparel fabrics: Rayon, linen, jersey knit, and cotton fabrics suitable for sewing garments. Home Decor fabrics: Textiles designed for creating upholstery, curtains, and other decorative items. Batiks and Speciality Fabrics: Unique hand-dyed fabrics that are highly valued in quilting and craft communities. Focus on Quality: Crescent Fabrics is dedicated to providing high-quality materials that can withstand the test of time. Their fabrics are known for their durability, softness, and vibrant colours, making them popular among quilters and other fabric enthusiasts.