Linen Fashion Quotes

Here was intellectual life, he thought, and here was beauty, warm and wonderful as he had never dreamed it could be. He forgot himself and stared at her with hungry eyes. Here was something to live for, to win to, to fight for—ay, and die for. The books were true. There were such women in the world. She was one of them. She lent wings to his imagination, and great, luminous canvases spread themselves before him whereon loomed vague, gigantic figures of love and romance, and of heroic deeds for woman’s sake—for a pale woman, a flower of gold. And through the swaying, palpitant vision, as through a fairy mirage, he stared at the real woman, sitting there and talking of literature and art. He listened as well, but he stared, unconscious of the fixity of his gaze or of the fact that all that was essentially masculine in his nature was shining in his eyes. But she, who knew little of the world of men, being a woman, was keenly aware of his burning eyes. She had never had men look at her in such fashion, and it embarrassed her. She stumbled and halted in her utterance. The thread of argument slipped from her. He frightened her, and at the same time it was strangely pleasant to be so looked upon. Her training warned her of peril and of wrong, subtle, mysterious, luring; while her instincts rang clarion-voiced through her being, impelling her to hurdle caste and place and gain to this traveller from another world, to this uncouth young fellow with lacerated hands and a line of raw red caused by the unaccustomed linen at his throat, who, all too evidently, was soiled and tainted by ungracious existence. She was clean, and her cleanness revolted; but she was woman, and she was just beginning to learn the paradox of woman.

Lottie did everything the old fashioned way, including the bookkeeping, which was fine with me since I knew nothing about accounting software anyway. To me, spreadsheets was what I did on Saturday mornings after washing my bed linen.

Victorian rigidities were such that ladies were not even allowed to blow out candles in mixed company, as that required them to pucker their lips suggestively. They could not say that they were going "to bed"--that planted too stimulating an image--but merely that they were "retiring." It became effectively impossible to discuss clothing in even a clinical sense without resort to euphemisms. Trousers became "nether integuments" or simply "inexpressibles" and underwear was "linen." Women could refer among themselves to petticoats or, in hushed tones, stockings, but could mention almost nothing else that brushed bare flesh.

Harry padded softly in. He was in linen shirt, breeches, and bare feet, the very model of a gentleman bent on criminal conversation, and the sight made Julius’s chest heave.

So my life has come to this: all I ever make is laundry. Awake or asleep, I'm always shuffling round some shopping mall, raking through knitwear carousels that whirl into infinity, searching, with the fever or teething gums, for the ultimate cardigan. Is it any wonder the wardrobe's bursting, the linen basket overflowing like an archive of disproved hypotheses? The grey bras, the shrinking T-shirts, that embarrassed puddle of lycra, my favourite dress -- now ruined dress -- my lost remembered, perfect dress: all laundry, in the end. More laundry.

the large wood-paneled restaurant. The place has a classic old-fashioned feel: brass lamps, dark green leather upholstery, crisp white linen, and sparkling crystal glasses. The atmosphere buzzes with the chatter of businessmen and -women and the clatter of cutlery on fine china.

As the year goes on, certain deputies—and others, high in public life—will appear unshaven, without coat or cravat; or they will jettison these marks of the polite man, when the temperature rises. They affect the style of men who begin their mornings with a splash under a backyard pump, and who stop off at their street-corner bar for a nip of spirits on their way to ten hours’ manual labor. Citizen Robespierre, however, is a breathing rebuke to these men; he retains his buckled shoes, his striped coat of olive green. Can it be the same coat that he wore in the first year of the Revolution? He is not profligate with coats. While Citizen Danton tears off the starched linen that fretted his thick neck, Citizen Saint-Just’s cravat grows ever higher, stiffer, more wonderful to behold. He affects a single earring, but he resembles less a corsair than a slightly deranged merchant banker.

There's no need to apologize, Harriet. It could have happened to anyone." "That's what everyone keeps trying to tell me, but I know perfectly well that ladies of society rarely set the table linens to flames, nor do they make outlandish comments about turtle dishes that cause everyone to lose their appetite for it.

Now her hair is like the nights of disunion and separation and her face like the days of union and delectation; She hath a nose like the edge of the burnished blade and cheeks like purple wine or anemones blood-red: her lips as coral and carnelian shine and the water of her mouth is sweeter than old wine; its taste would quench Hell's fiery pain. Her tongue is moved by wit of high degree and ready repartee: her breast is a seduction to all that see it (glory be to Him who fashioned it and finished it!); and joined thereto are two upper arms smooth and rounded; She hath breasts like two globes of ivory, from whose brightness the moons borrow light, and a stomach with little waves as it were a figured cloth of the finest Egyptian linen made by the Copts, with creases like folded scrolls, ending in a waist slender past all power of imagination; based upon back parts like a hillock of blown sand, that force her to sit when she would fief stand, and awaken her, when she fain would sleep, And those back parts are upborne by thighs smooth and round and by a calf like a column of pearl, and all this reposeth upon two feet, narrow, slender and pointed like spear-blades, the handiwork of the Protector and Requiter, I wonder how, of their littleness, they can sustain what is above them.

He had pursued his strikingly beautiful, spirited, fashionable wife for years and years before marrying her in mid-Channel aboard a man-of-war: for so many years indeed that he had become a confirmed bachelor at last, too old a dog to give up his tricks of smoking tobacco in bed, playing his 'cello at odd untimely moments, dissecting anything that interested him, even in the drawing-room; too old to be taught to shave regularly, to change his linen, or to wash when he did not feel the need - an impossible husband. He was not house-trained; and although he made earnest attempts at the beginning of their marriage he soon perceived that in time the strain must damage their relationship, all the more so since Diana was as intransigent as himself and far more apt to fly into a passion about such things as a pancreas in the drawer of the bedside table or orange marmalade ground into the Aubusson.

Sunset at Seminyak Barefoot, the well heeled expats drift from the beach into mauve chaise lounges wearing trendy Thai fisherman pants and billowing knock-off Armani linens. They dis the local touts, piss and moan about the tawdry and 'so yesterday'. Devout Splenglerians, they spout the rise and fall of fashion every fucking fifteen minutes. Exhaling the outlaw plumes of Hoyo de Monterrey Churchills, they drown in their Courvoisier and Hennessey Privilege as the unfashionable sun plunges divinely into the Bali Strait unnoticed.

And barbarians were inventors not only of philosophy, but almost of every art. The Egyptians were the first to introduce astrology among men. Similarly also the Chaldeans. The Egyptians first showed how to burn lamps, and divided the year into twelve months, prohibited intercourse with women in the temples, and enacted that no one should enter the temples from a woman without bathing. Again, they were the inventors of geometry. There are some who say that the Carians invented prognostication by the stars. The Phrygians were the first who attended to the flight of birds. And the Tuscans, neighbours of Italy, were adepts at the art of the Haruspex. The Isaurians and the Arabians invented augury, as the Telmesians divination by dreams. The Etruscans invented the trumpet, and the Phrygians the flute. For Olympus and Marsyas were Phrygians. And Cadmus, the inventor of letters among the Greeks, as Euphorus says, was a Phoenician; whence also Herodotus writes that they were called Phoenician letters. And they say that the Phoenicians and the Syrians first invented letters; and that Apis, an aboriginal inhabitant of Egypt, invented the healing art before Io came into Egypt. But afterwards they say that Asclepius improved the art. Atlas the Libyan was the first who built a ship and navigated the sea. Kelmis and Damnaneus, Idaean Dactyli, first discovered iron in Cyprus. Another Idaean discovered the tempering of brass; according to Hesiod, a Scythian. The Thracians first invented what is called a scimitar (arph), -- it is a curved sword, -- and were the first to use shields on horseback. Similarly also the Illyrians invented the shield (pelth). Besides, they say that the Tuscans invented the art of moulding clay; and that Itanus (he was a Samnite) first fashioned the oblong shield (qureos). Cadmus the Phoenician invented stonecutting, and discovered the gold mines on the Pangaean mountain. Further, another nation, the Cappadocians, first invented the instrument called the nabla, and the Assyrians in the same way the dichord. The Carthaginians were the first that constructed a triterme; and it was built by Bosporus, an aboriginal. Medea, the daughter of Æetas, a Colchian, first invented the dyeing of hair. Besides, the Noropes (they are a Paeonian race, and are now called the Norici) worked copper, and were the first that purified iron. Amycus the king of the Bebryci was the first inventor of boxing-gloves. In music, Olympus the Mysian practised the Lydian harmony; and the people called Troglodytes invented the sambuca, a musical instrument. It is said that the crooked pipe was invented by Satyrus the Phrygian; likewise also diatonic harmony by Hyagnis, a Phrygian too; and notes by Olympus, a Phrygian; as also the Phrygian harmony, and the half-Phrygian and the half-Lydian, by Marsyas, who belonged to the same region as those mentioned above. And the Doric was invented by Thamyris the Thracian. We have heard that the Persians were the first who fashioned the chariot, and bed, and footstool; and the Sidonians the first to construct a trireme. The Sicilians, close to Italy, were the first inventors of the phorminx, which is not much inferior to the lyre. And they invented castanets. In the time of Semiramis queen of the Assyrians, they relate that linen garments were invented. And Hellanicus says that Atossa queen of the Persians was the first who composed a letter. These things are reported by Seame of Mitylene, Theophrastus of Ephesus, Cydippus of Mantinea also Antiphanes, Aristodemus, and Aristotle and besides these, Philostephanus, and also Strato the Peripatetic, in his books Concerning Inventions. I have added a few details from them, in order to confirm the inventive and practically useful genius of the barbarians, by whom the Greeks profited in their studies. And if any one objects to the barbarous language, Anacharsis says, "All the Greeks speak Scythian to me." [...]

Lady Isabeau was tall for a woman, nearly as tall as Molly, but slender where Molly was stout, with a smooth immobile face that looked as if it had been carved from ivory, pale and serene. Hob stared at her: glossy black hair bound about the brows with a broad white linen fillet and partly concealed by a veil that draped down her neck; dark eyes beneath dark brows plucked thin; unsmiling lips, full and well-shaped. There was so little expression on her face, and its beauty was so unworldly, that Hob had a moment when he thought her an apparition, or a graven figure. “Blanche comme la neige,” came to his mind, a song Molly had taught him, “belle comme le jour.” The thinnest of scars ran from her hairline down her forehead, divided her left eyebrow, and curved along her cheek to the corner of her mouth, and seemed at once to augment her beauty and to reinforce its carven stillness, as if some wright's chisel had slipped in the course of fashioning her visage. A linen band of the sort known as a barbette ran down from the fillet at her temples and passed under her chin, framing her face, and rendering her features all the more austere. Her gown was a muted purple; heavy embroidery of red and blue circled its neckline, and it was gathered by a zone of gray silk, sewn with pearls, that circled her hips. From this belt depended a silver ring, as wide around as a big man's fist. On the ring was a bunch of black iron keys, of varying sizes: the symbol and reality of her standing as administrator of the household. As she spoke, she fiddled with the keys as though they were prayer beads; they gave off a continual muted clink, just barely audible to Hob above the rumble of voices, the thuds and thumps of plank tabletops settling onto their trestles.

She went alone to the vast room where the second-hand clothes were kept. Later, she thought it the happiest hour of her life. There were silks and brocades by the yard, and pile upon pile of hats, wigs, cloaks, and masks. After two years in wretched rags, even the linen shifts felt as soft as thistledown. She whirled from one delight to another- clutching lace, burying her nose in furs, holding flashy paste jewels next to her new-bleached skin. Catching her reflected eye in the mirror she laughed out loud, her red mouth wide and knowing. She put aside a few carefully-chosen costumes and elbow-length mittens. Then, finally, she chose a few costumes of a particular nature: shiny satin, ebony black. Lastly, she gathered the garments she would wear for her journey: a grass-green woolen gown and a lace cap and apron. The effect was somewhat grand for a domestic servant. Her auburn locks were pinned tightly, her figure flattered by a frilled muslin kerchief, crisscrossed in an 'X' over her breast. Pulling out a few auburn tendrils from her cap, she adjusted her bodice to show a little more flesh. Then she grew very still, and smiled slowly into the empty space before her. "How do you do, sir," she said with a graceful curtsy. "Now, what pretty dish might you care for tonight?

There was also a package wrapped in pale blue paper and tied with a matching ribbon. Picking up a small folded note that had been tucked under the ribbon, Beatrix read: A gift for your wedding night, darling Bea. This gown was made by the most fashionable modiste in London. It is rather different from the ones you usually wear, but it will be very pleasing to a bridegroom. Trust me about this. -Poppy Holding the nightgown up, Beatrix saw that it was made of black gossamer and fastened with tiny jet buttons. Since the only nightgowns she had ever worn had been of modest white cambric or muslin, this was rather shocking. However, if it was what husbands liked... After removing her corset and her other underpinnings, Beatrix drew the gown over her head and let a slither over her body in a cool, silky drift. The thin fabric draped closely over her shoulders and torso and buttoned at the waist before flowing to the ground in transparent panels. A side slit went up to her hip, exposing her leg when she moved. And her back was shockingly exposed, the gown dipping low against her spine. Pulling the pins and combs from her hair, she dropped them into the muslin bag in the trunk. Tentatively she emerged from behind the screen. Christopher had just finished pouring two glasses of champagne. He turned toward her and froze, except for his gaze, which traveled over her in a burning sweep. "My God," he muttered, and drained his champagne. Setting the empty glass aside, he gripped the other as if he were afraid it might slip through his fingers. "Do you like my nightgown?" Beatrix asked. Christopher nodded, not taking his gaze from her. "Where's the rest of it?" "This was all I could find." Unable to resist teasing him, Beatrix twisted and tried to see the back view. "I wonder if I put it on backward..." "Let me see." As she turned to reveal the naked line of her back, Christopher drew in a harsh breath. Although Beatrix heard him mumble a curse, she didn't take offense, deducing that Poppy had been right about the nightgown. And when he drained the second glass of champagne, forgetting that it was hers, Beatrix sternly repressed a grin. She went to the bed and climbed onto the mattress, relishing the billowy softness of its quilts and linens. Reclining on her side, she made no attempt to cover her exposed leg as the gossamer fabric fell open to her hip. Christopher came to her, stripping off his shirt along the way. The sight of him, all that flexing muscle and sun-glazed skin, was breathtaking. He was a beautiful man, a scarred Apollo, a dream lover. And he was hers.

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!

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.

I don’t know what instructions Nimiar gave her seamstress in private. I had expected a modest trunk of nice fabric, enough for a gown or two in the current fashions. What returned, though, just over a week later, was a hired wagon bearing enough stuff to outfit the entire village, plus three determined young journey-seamstresses who came highly recommended and who were ready to make their fortunes. “Good,” Nee said, when we had finished interviewing them. She walked about inspecting the fabulous silks, velvets, linens, and a glorious array of embroidery twists, nodding happily. “Just what I wanted. Melise is a treasure.” “Isn’t this too much?” I asked, astounded. She grinned. “Not when you count up what you’ll need to make the right impression. Remember, you are acquiring overnight what ought to have been put together over years. Morning gowns, afternoon gowns, riding tunics and trousers, party dresses, and perhaps one ball gown, though that kind of thing you can order when we get to town, for those take an unconscionable amount of time to make if you don’t have a team doing it.” “A team? Doing nothing but sewing? What a horrible life!” I exclaimed. “Those who choose it would say the same about yours, I think,” Nee said with a chuckle. “Meaning your life as a revolutionary. There are many, not just women, though it’s mostly females, who like very much to sit in a warm house and sew and gossip all day. In the good houses the sewers have music, or have books read to them, and the products are the better for their minds being engaged in something interesting. This is their art, just as surely as yon scribe regards her map and her fellows regard their books.” She pointed toward the library. “And how those at Court view the way they conduct their public lives.” “So much to learn,” I said with a groan. “How will I manage?” She just laughed; and the next day a new arrival brought my most formidable interview yet: with my new maid.

Paul Costelloe One of the most established and experienced names in British fashion, Irish-born Paul Costelloe has maintained a highly successful design label for more than twenty-five years. He was educated in Paris and Milan, and has since become known for his expertise in fabrics, primarily crisp linen and tweed. I remember another moment, in the pouring rain in Hyde Park, when Pavarotti was singing for an audience. Diana went up to him in a design of mine, a double-breasted suit consisting of a jacket and skirt. She was absolutely soaked and she was beautifully suntanned. To me, the most radiant photograph of her that has ever appeared anywhere was taken then. If you ever get a chance to look at it, you must. It is featured in a couple of books about her. It really is something special to me--I have it on my wall, in my studio, at this very moment. Whenever I look at it, I get a lump in my throat. There was another occasion when she wore something of mine that stands out in my mind. Diana was wearing a very sheer skirt and jacket and was standing in the sun. She was in India, in front of the Taj Mahal, and her skirt was see-through. Of course, the press went full out on that. My last memory of her is when she was wearing a linen dress of mine in Melbourne and was surrounded by a large group of Australian swimmers. That, for me, was a very exciting moment. She was always incredibly polite, incredibly generous. There is simply no comparison. She had a completely different manner from everyone else. I have been to Buckingham Palace, and she was always far above the rest. I must have been the one and only Irishman ever to dress a member of the Royal Family!

Paul Costelloe One of the most established and experienced names in British fashion, Irish-born Paul Costelloe has maintained a highly successful design label for more than twenty-five years. He was educated in Paris and Milan, and has since become known for his expertise in fabrics, primarily crisp linen and tweed. I was commuting to London from Ireland at the time when I got a call to come to Kensington Palace. I got a minicab and threw some garments in the back of the car, and the driver drove me to Kensington Palace. The police at the gate were surprised to see a battered minicab--it was no black cab, if you know the difference between a black cab and a minicab in London (a minicab is half the price of a black cab and always more battered). Anyway, they asked me who I was. I said, “I have an appointment to see Diana,” and they told me to wait. They were reluctant to let me through the gates--it was during the major troubles in Northern Ireland, during the mid to late seventies and early eighties, when Belfast was blazing--but I was soon met at the door. I remember hauling my garments up the stairs of the palace. I fell. Diana came halfway down the stairs and gave me a hand with the garments. Then we went into the living room and had a lovely cup of tea, and I met the children, William and Harry. She tried on some of the garments right there in front of me. I (being a confirmed heterosexual) found her very attraction. I came back down the stairs, and half an hour later she made her selection. She was a perfect size 10 (that would be a U.S. size 8), except she was tall, so a few things had to be lengthened. She was an absolute delight. Afterward, I went into Hyde Park for the afternoon and sat on a bench. I just couldn’t believe what had just happened!

In 1429, a seventeen-year-old girl who would soon come to be renowned as Jehanne la Pucelle (“Jeanne, the maiden”) left a small town in northeast France to offer her services as a military strategist to Charles VII, the Dauphin—or heir to the throne—whose forces were losing a protracted war against English partisans threatening to displace him. At first, no one took her seriously, but Jehanne’s determination overcame initial resistance: her skill and insight helped the French develop new battle plans and her courage inspired the demoralized troops. Under Jehanne’s leadership, the French forces successfully thwarted a siege on the city of Orleans. Later she led a campaign to retake the city and cathedral of Reims, where the kings of France had been crowned ever since the Frankish tribes were united under one ruler, allowing the Dauphin to be crowned king in the ancient tradition. Jehanne’s remarkable successes seemed divinely ordained, which necessarily implied Charles’s divine right to rule France. In 1430 Jehanne was captured in battle and imprisoned. An ecclesiastical tribunal stacked with English partisans tried her for heresy. But Jehanne’s faith was beyond reproach. She showed an astonishing familiarity with the intricacies of scholastic theology, evading every effort to lure her into making a heretical statement. Unable to discredit her faith through her verbal testimony, the tribunal seized on the implicit statements made by Jehanne’s attire. In battle, she wore armor, which required linen leggings and a form-fitting tunic fastened together with straps—both traditionally masculine attire—and, like the men she fought alongside, she adopted this martial attire when off the battlefield as well. Citing the biblical proscription in Deuteronomy 22:5 (KJV) which warns, “A woman shall not wear anything that pertains to a man, nor shall a man put on a women’s garment, for all who do are an abomination to the Lord your God,” the tribunal charged Jehanne with heresy. They burned her at the stake in 1431.

Historian Anne Hollander notes that tailoring was first used to make linen trousers and shirts designed to be worn under full-body plate armor, which was invented in the late Middle Ages. This new armor was a high-tech improvement over both chain mail and smaller plate armor that covered only discrete parts of the body such as the chest, forearms, or shins; it was expensive and cast for warriors and the elite, and so the tailored undergarments became a sign of high status as they evolved into outwear.

This was a back that had carried the pain of others until it had become impossible for her bones to unbend themselves, like certain saplings will become permanently twisted under the force of windstorms. I thought of Hawa, whether it was this slow bending she had tried to escape with her linen wings, and whether there was any mercy in the world for those who decline to carry the burdens they are assigned to carry. My mother's back and mine were made from the same mold. Our spines were fashioned for bearing and bending and bowing and burying. Our backs had been honed over generations for the thankless labor of woman. They had never been made for wings.

The idea that holiness is received, not achieved, shouldn’t come as a shock. Every one of us does the same thing with ordinary objects. Take a toothbrush, for example. It’s an ordinary object that has dozens of potential uses. Yet once you put it in your mouth, you’re protective of anyone else using it for anything else. Or take an ordinary bolt of white linen fabric, fashion it into a garment, drape it on a bride, and it becomes unthinkable to wear it on a morning jog. Why? Because when ordinary objects are sanctified for special service, they become “out of bounds”—or to use biblical terminology, “holy.” Just to ensure we’re on the same page before moving on, let me restate this as clearly as I can: You are holy not because of your performance but because of God’s proclamation. You don’t become holy though religious rites. You don’t develop holiness through sheer discipline. You become holy the millisecond God places his hand on you and says “Mine.

Opening the lid, Beatrix found her neatly folded clothes and a drawstring muslin bag containing a brush and a rack of hairpins, and other small necessities. There was also a package wrapped in pale blue paper and tied with a matching ribbon. Picking up a small folded note that had been tucked under the ribbon, Beatrix read: A gift for your wedding night, darling Bea. This gown was made by the most fashionable modiste in London. It is rather different from the ones you usually wear, but it will be very pleasing to a bridegroom. Trust me about this. -Poppy Holding the nightgown up, Beatrix saw that it was made of black gossamer and fastened with tiny jet buttons. Since the only nightgowns she had ever worn had been of modest white cambric or muslin, this was rather shocking. However, if it was what husbands liked... After removing her corset and her other underpinnings, Beatrix drew the gown over her head and let a slither over her body in a cool, silky drift. The thin fabric draped closely over her shoulders and torso and buttoned at the waist before flowing to the ground in transparent panels. A side slit went up to her hip, exposing her leg when she moved. And her back was shockingly exposed, the gown dipping low against her spine. Pulling the pins and combs from her hair, she dropped them into the muslin bag in the trunk. Tentatively she emerged from behind the screen. Christopher had just finished pouring two glasses of champagne. He turned toward her and froze, except for his gaze, which traveled over her in a burning sweep. "My God," he muttered, and drained his champagne. Setting the empty glass aside, he gripped the other as if he were afraid it might slip through his fingers. "Do you like my nightgown?" Beatrix asked. Christopher nodded, not taking his gaze from her. "Where's the rest of it?" "This was all I could find." Unable to resist teasing him, Beatrix twisted and tried to see the back view. "I wonder if I put it on backward..." "Let me see." As she turned to reveal the naked line of her back, Christopher drew in a harsh breath. Although Beatrix heard him mumble a curse, she didn't take offense, deducing that Poppy had been right about the nightgown. And when he drained the second glass of champagne, forgetting that it was hers, Beatrix sternly repressed a grin. She went to the bed and climbed onto the mattress, relishing the billowy softness of its quilts and linens. Reclining on her side, she made no attempt to cover her exposed leg as the gossamer fabric fell open to her hip. Christopher came to her, stripping off his shirt along the way. The sight of him, all that flexing muscle and sun-glazed skin, was breathtaking. He was a beautiful man, a scarred Apollo, a dream lover. And he was hers.

Is organic cotton the future of sustainable development? With the increase in climate change and global warming, each step taken by us matters, be it even by transforming our cotton closet into an organic cotton closet. We are living in a time, where each step will either lead to an immense increase in global warming or will lead to the protection of our Mother Earth. So why not make our actions count and take a step by protecting our nature by switching to organic clothing?! As we know, the fashion industry is one of the largest industry of today, in which the cotton textiles lead the line together with the cotton manufacture setting them as the highest-ranked in the fashion industry. These pieces of regular cotton those are constructed into garments leads to 88% more wastage of water from our resources. Whereas Organic Cotton that has been made from natural seeds and handpicked for maintaining the purity of fibres; uses 1,982 fewer gallons of water compared to regular cotton. Gallons of water used by: Regular cotton: 2168 gallons Organic Cotton: 186 gallons Due to increase in market size of the fashion industry every year along with the cotton industry; regular cotton is handpicked by workers to keep up with the increase in demand for the regular cotton and because these crops are handpicked it leads to various damages and crises such as: Damage of fibres: As regular cotton is grown as mono-crop it destroys the soil quality, that exceeds the damage when handpicked by the farmers, leading to also the destruction of fibres because of the speed and time limit ordered. Damage of crops: Regular cotton leads to damage of crops when it is handpicked, as not much attention is paid while plucking it in bulk, due to which all the effort, time and resources used to cultivate the crops drain-out to zero. Water wastage: The amount of clean water being depleted to produce regular cotton is extreme that might lead to a water crisis. The clean water when used for manufacturing turns into toxic water that is disposed into freshwater bodies, causing a hazardous impact on the people deprived of this natural resource. Wastage of resources: When all the above-mentioned factors are ignored by the manufactures and the farmers, it directly leads to the waste of resources, as the number of resources used to produce the regular cotton is way high in number when compared to the results at the end. Regular cotton along with these damages also demands to use chemical dyes for their further process, that is not only harmful to our body but is also very dangerous to the workers exposed to it, as these chemicals lead to many health problems like earring aids, lunch cancer, skin cancer, eczema and many more, other than that people can also lose their lives when exposed to these chemicals for long other than that people can also lose their lives when exposed to these chemicals for long Know More about synthetic dyes on ‘Why synthetic dye stands for the immortality done to Nature?’ Organic cotton, when compared to regular cotton, brings a radical positive change to the environment. To manufacture, just one t-shirt, regular cotton uses 16% of the world’s insecticides, 7% pesticides and 2,700 litres of water, when compared to this, organic cotton uses 62% less energy than regular Cotton. Bulk Organic Cotton Fabric Manufacturer: Suvetah is one of the leading bulk organic cotton fabric manufacturer in India. Suvetah is GOTS certified sustainable fabric manufacturer in Organic Cotton Fabric, Linen Fabric and Hemp Fabric. We are also manufacturer of other fabrics like Denim, Kala Cotton Fabric, Ahimsa Silk Fabric, Ethical Recycled Cotton Fabric, Banana Fabric, Orange Fabric, Bamboo Fabric, Rose Fabric, Khadi Fabric etc.

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.