Vintage Style Quotes

I've no idea when I'm going to wear it, the girl replied calmly. I only knew that I had to have it. Once I tried it on, well... She shrugged. The dress claimed me.

That spring was the start of everything, for me. Before then, I might have been half-asleep, drifting through life.

Trent was tall, built, and tan. His black hair was buzzed close to the scalp, marines-style, and he wore charcoal slacks, a collared white shirt, and a vintage Rolex. Gorgeous prick. Stunning, arrogant bastard.

He turns toward the voice. It is as though the darkness itself has spoken. But when he looks closer he can make her out - the very pale blonde hair first, gleaming in what little light there is, then the shimmering stuff of her dress.

We see the illusion of individual predilection being maintained, for example, in the array of different styles of iPhone cases available to us. We wonder which of the provided range of colourful or sophisticated sheaths best communicates to the world our unique character. Thus we lean towards the wood effect, or the Batman one (ironically sported, of course), or the vintage Union Jack. Meanwhile, it is much harder to honestly ask ourselves whether our lives would be improved were we not to be attached to our devices quite as umbilically, and how much misery they bring us alongside the various conveniences and amusements. Whether we might be more authentically ourselves if, with a pioneering and curious spirit, we occasionally left them at home. It

Patricia Lovell up at the vicarage wants everything "vintage" themed this year. She wants it all 1950s Country Living style. You know the sort of thing: pastel bunting, flowers in jam jars and mismatched teacups.

...Violet followed her friend into the massive kitchen with its Restoration Hardware fixture and faux-weathered, farmhouse-style cabinets. Its perplexed Violet, the way people tried to make the insides of new homes look old.

An extreme representative of this view is Ted Kaczynski, infamously known as the Unabomber. Kaczynski was a child prodigy who enrolled at Harvard at 16. He went on to get a PhD in math and become a professor at UC Berkeley. But you’ve only ever heard of him because of the 17-year terror campaign he waged with pipe bombs against professors, technologists, and businesspeople. In late 1995, the authorities didn’t know who or where the Unabomber was. The biggest clue was a 35,000-word manifesto that Kaczynski had written and anonymously mailed to the press. The FBI asked some prominent newspapers to publish it, hoping for a break in the case. It worked: Kaczynski’s brother recognized his writing style and turned him in. You might expect that writing style to have shown obvious signs of insanity, but the manifesto is eerily cogent. Kaczynski claimed that in order to be happy, every individual “needs to have goals whose attainment requires effort, and needs to succeed in attaining at least some of his goals.” He divided human goals into three groups: 1. Goals that can be satisfied with minimal effort; 2. Goals that can be satisfied with serious effort; and 3. Goals that cannot be satisfied, no matter how much effort one makes. This is the classic trichotomy of the easy, the hard, and the impossible. Kaczynski argued that modern people are depressed because all the world’s hard problems have already been solved. What’s left to do is either easy or impossible, and pursuing those tasks is deeply unsatisfying. What you can do, even a child can do; what you can’t do, even Einstein couldn’t have done. So Kaczynski’s idea was to destroy existing institutions, get rid of all technology, and let people start over and work on hard problems anew. Kaczynski’s methods were crazy, but his loss of faith in the technological frontier is all around us. Consider the trivial but revealing hallmarks of urban hipsterdom: faux vintage photography, the handlebar mustache, and vinyl record players all hark back to an earlier time when people were still optimistic about the future. If everything worth doing has already been done, you may as well feign an allergy to achievement and become a barista.

Rather than love, than money, than fame, give me truth. I sat at a table where were rich food and wine in abundance, and obsequious attendance, but sincerity and truth were not; and I went away hungry from the inhospitable board. The hospitality was as cold as the ices. I thought that there was no need of ice to freeze them. They talked to me of the age of the wine and the fame of the vintage; but I thought of an older, a newer, and purer wine, of a more glorious vintage, which they had not got, and could not buy. The style, the house and grounds and "entertainment" pass for nothing with me. I called on the king, but he made me wait in his hall, and conducted like a man incapacitated for hospitality. There was a man in my neighborhood who lived in a hollow tree. His manners were truly regal. I should have done better had I called on him.

Grace cut across an Oriental rug done in a plum, navy, and cream geometric pattern. The colors in the carpet pulled the richness of the furniture together. She noticed that Cade walked the perimeter of the room, sticking to the hardwood floor. Off to the right, a glassed-in sunroom caught the first rays of sunshine from the overcast day. The forest-green wicker furniture, abundant greenery, and a small bookcase with monthly magazines and mystery novels offered peace and solitude.

New York is the worst-dressed rich city in the world. There is an inexplicable lost connection between the countless clothes shops, sophisticated, expensive, modern, classic, amused, serious, postmodern, and vintage, and the stuff, the schmutter that people actually put on in the morning. It’s a city where the rich dress worse than the poor. Generally poor people affect an élan that money can’t buy. Style rises from the bottom. But not in New York. There’s a one-class-fits-all, oversized blahness. They all shop in department stores and boutiques and fashionable chain stores.

Thus, no matter where you live in New York City, you will find within a block or two a grocery store, a barbershop, a newsstand and shoeshine shack, an ice-coal-and-wood cellar (where you write your order on a pad outside as you walk by), a dry cleaner, a laundry, a delicatessen (beer and sandwiches delivered at any hour to your door), a flower shop, an undertaker's parlor, a movie house, a radio-repair shop, a stationer, a haberdasher, a tailor, a drug-store, a garage, a tearoom, a saloon, a hardware store, a liquor store, a shoe-repair shop. Every block or two, in most residential sections of New York, is a little main street. A man starts for work in the morning and before he has gone two hundred yards he has completed half a dozen missions: bought a paper, left a pair of shoes to be soled, picked up a pack of cigarettes, ordered a bottle of whiskey to be dispatched in the opposite direction against his home-coming, written a message to the unseen forces of the wood cellar, and notified the dry cleaner that a pair of trousers awaits call. Homeward bound eight hours later, he buys a bunch of pussy willows, a Mazda bulb, a drink, a shine-- all between the corner where he steps off the bus and his apartment.

Rather than love, than money, than fame, give me truth. I sat at a table where were rich food and wine in abundance, and obsequious attendance, but sincerity and truth were not; and I went away hungry from the inhospitable board. The hospitality was as cold as the ices. I thought that there was no need of ice to freeze them. They talked to me of the age of the wine and the fame of the vintage; but I thought of an older, a newer, and purer wine, of a more glorious vintage, which they had not got, and could not buy. The style, the house and grounds and “entertainment” pass for nothing with me. I called on the king, but he made me wait in his hall, and conducted like a man incapacitated for hospitality. There was a man in my neighborhood who lived in a hollow tree. His manners were truly regal. I should have done better had I called on him.

We love the unexpected, the gloriously chaotic combination of a million different elements. We love things that have history. We’re not looking for perfection. If we love something, we will find a way to make it fit. We love rock ’n’ roll style as well as farmhouse. We love boho and hippie and country. The truth is, we’re a little of all those things combined. You could say we have commitment issues. We love color, but we also love white. We love vintage concert posters mixed with red-lacquered Asian pieces, then combined with chippy, peely farmhouse furniture and maybe topped off with fringed velvet curtains. For us, the design process is a gut-wrenchingly beautiful thing, a deeply meditative process, a cultural exploration of who you are, and it’s one of the most personal things you can do. If a home is set up the right way, there’s something you can feel, and it’s not for anyone else; it’s for yourself. All the stars (or the chandeliers) align, and you just know: It’s right.

Grace adored Amelia. The older woman was a close friend of her grandmother and mother, and a constant in Grace's life. She visited Amelia often. The inn was her second home. As a child she'd always raced up the stairs and raided Amelia's bedroom closet, and Amelia had encouraged her unconventional behavior. Grace had loved dressing up in vintage clothing. Attempting to walk up in a pair of high button shoes. Amelia was the first to recognize Grace's love of costume. Her enjoyment of tea parties. She'd supported Grace's dream of opening her business, Charade, when Grace sought a career. From birthdays to holidays, the costume shop was popular and successful. Grace couldn't have been happier. She admired Amelia now. Her long, braided hair was the same soft gray as her eyes. Years accumulated, but never seemed to touch her. She appeared youthful, ageless, in a sage-green tunic, belted over a paisley gauze skirt in shades of cranberry, green, and gold. Elaborate gold hoops hung at her ears, ones designed with silver beads and tiny gold bells. The thin metal chains on her three-tiered necklace sparkled with lavender rhinestones and reflective mirror discs. Bangles of charms looped her wrist. A thick, hammered-silver bracelet curved near her right elbow. A triple gold ring with three pearls arched from her index finger to her fourth. She sparkled.

It was a gorgeous evening, with a breeze shimmering through the trees, people strolling hand in hand through the quaint streets and the plaza. The shops, bistros and restaurants were abuzz with patrons. She showed him where the farmer's market took place every Saturday, and pointed out her favorite spots- the town library, a tasting room co-op run by the area vintners, the Brew Ha-Ha and the Rose, a vintage community theater. On a night like this, she took a special pride in Archangel, with its cheerful spirit and colorful sights. She refused to let the Calvin sighting drag her down. He had ruined many things for her, but he was not going to ruin the way she felt about her hometown. After some deliberation, she chose Andaluz, her favorite spot for Spanish-style wines and tapas. The bar spilled out onto the sidewalk, brightened by twinkling lights strung under the big canvas umbrellas. The tables were small, encouraging quiet intimacy and insuring that their knees would bump as they scooted their chairs close. She ordered a carafe of local Mataro, a deep, strong red from some of the oldest vines in the county, and a plancha of tapas- deviled dates, warm, marinated olives, a spicy seared tuna with smoked paprika. Across the way in the plaza garden, the musician strummed a few chords on his guitar. The food was delicious, the wine even better, as elemental and earthy as the wild hills where the grapes grew. They finished with sips of chocolate-infused port and cinnamon churros. The guitar player was singing "The Keeper," his gentle voice seeming to float with the breeze.

Scotch Whisky Single Malt: This Scotch can only contain malted barley and water, must be the product of one distillery and aged in wood for at least three years. However, single malts can contain a mix of different distillations, casks, and years. This allows brands like a twelve-year-old Glenlivet to maintain consistency and always taste the same, no matter when it’s bottled. Single Grain: Like single malt, this Scotch is a product of one distillery but can be made from other grains and/or unmalted barley. It is used mainly for blending and rarely sold on its own, though it is becoming more popular as whisky connoisseurship increases. Blended Malt: This style, consisting of a mix of single malts from different distilleries, is not common. Blended Grain: This style uses a mix of single grains from different distilleries and is also not common. Blended Scotch: The most popular style in the world, including nondistillery names such as Johnnie Walker (red, black, and blue), Chivas Regal, Dewar’s, Ballantine’s, Cutty Sark, and so on. These are blends of single malts and grain whiskies from different distilleries, sometimes dozens. Vintage Year: While there are really no “vintages” in the sense of better or worse harvests, as with wine, bottles with a year on the label can only contain whiskies made in that year. This will usually taste different from the same distillery’s standard single malt—different but not necessarily better or as good.

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Overhead a plane passes dreamily, its running lights winking.

Happily there are ways to keep costs down and sustainable kudos up – like Lofty Frocks’ vintage fabric library, or the growing numbers of free patterns and tutorials available to download from sites like Hobbycraft and so-sew-easy.com. You can always do a Sound of Music with an old pair of curtains (try charity shops), or follow the lead of blogger Kari Greaves, @east_london_style, who upcycles vintage finds into entirely new pieces, like a kind of glam high-fashion Dr Frankenstein.

As a stylist, I understand how fashion can affect your mood and your perspective. It's not just about clothes. What you wear is a visual extension of your self-expression. A velvet tuxedo jacket or a vintage caftan can help identify who you are and how you want to be seen.

Keep the sun out of your eyes and the rain off your face in style with our military ball caps and tactical caps.

Fashion fades...style is eternal" Yves St Laurent

The Andy Griffith Show was anachronistic. The denizens of Mayberry wore clothing of uncertain vintage and hair of indeterminate style and drove cars of unspecified age. Scant mention was made of current affairs or changing times. Telephone calls were placed through a human operator, and no one seemed to own a television set.

At MGM, Arthur Freed and Vincente Minnelli made their last musical together, Bells Are Ringing (1960), reunited with Comden and Green. Dean Martin joined the Broadway package, replacing Sydney Chaplin, Charlie’s eldest son.13 Adding Martin’s star persona to the Judy Holliday vehicle produced another close match of movie star to musical role. As Jeff Moss, a Broadway playwright who’s been hitting the bottle harder than the typewriter, Martin fit the public perception of his romance with the grape. Even those who don’t care for the liquid Martin style find him charming in this musical.14 The vivacious answering-service operator Holliday nurses him back to sobriety and success, and the laid back, breezy Martin hoofs with Holliday in casual soft-shoe duets like “Just in Time.” In “Drop that Name,” Minnelli’s eye adds stylish brilliance to a satire of New York’s pretentious social elite, a Black-and-White Ball of burlesques and grotesques in answer to An American in Paris. Though Bells Are Ringing is neither vintage Freed nor vintage Minnelli—cramped by a middle-class present, a CinemaScope frame imprisoned in stageset interiors, and self-conscious disguises for Holliday’s shape—it is pleasant enough Holliday and Martin.

Over the last decade, entire neighbourhoods have lost their identity to the ever-growing clothing retail market. Since my first visit to the Marais quarter of Paris in 2003, I have seen the area shift from a charming, off-beat district featuring a mix of up-and-coming designers, traditional ateliers, bookstores and boulangeries to what amounts to an open-air shopping mall dominated by international brands. In the last five years, an antique shop has been replaced by a chic clothing store and the last neighbourhood supermarket transformed into a threestorey flagship of one of the clothing giants. The old quarter is now only faintly visible, like writing on a medieval palimpsest: overhanging the gleaming sign of a sleek clothes shop, on a faded ceramic fascia board, is written ‘BOULANGERIE’. In economically developed countries, people’s motivations for spending money have long since shifted from needs to desires. There’s no denying we need places to live in, food to nourish us and clothes to dress ourselves in, and, while we’re at it, we might as well do these things with a certain degree of refinement to help make life as pleasurable as possible. But when did the clothing industry turn into little more than a cash machine whose main purpose seems to be its own never-ending growth? Just as clothing retail shops are sucking the identity out of entire neighbourhoods, so that the architecture becomes little more than a backdrop for their products, the production of the garments they sell is eating away at the Earth’s resources and the life of the workers who are producing them. Fashion has become the second most polluting industry in the world. And with what result? Our wardrobes are cluttered with so many clothes that the mere sight of them becomes overwhelming, yet at the same time we feel a constant craving for the next purchase that will transform our look.

Lots of French people take pride in NOT being influenced by trends. A few months ago I conducted a series of street interviews for a podcast asking random people about the latest trends. All the most stylish women I encountered insisted they had no idea what the current trends were and that they simply dressed to please themselves, despite the fact that they clearly were following these trends. I believe their response was a mixture of snobbery and truth: they follow such trends because they genuinely love them, not just because they are trends.

HippieBoheme est une boutique en ligne dédiée à la mode bohème. Explorez notre gamme de vêtements, de bijoux et d'accessoires au style hippie chic, vintage et bohème. Découvrez des ensembles harmonieux, des robes longues, des jupes, des bagues et des bracelets bohèmes, et confectionnez votre tenue idéale. Des robes de plage aux robes blanches de mariage, notre sélection variée, de jupes, de hauts, de blouses, de sandales, de bijoux et d'accessoires en tout genre vous attend. Laissez vos envies de liberté vous guider et succombez au charme envoûtant de nos vêtements bohèmes.

My hair, always pale, is now flossy white and very, very long. It is fine too, finer it seems with each passing day. It is my one vanity- Lord knows I haven't much else to be vain about. Not any more. It has been with me a long time- since 1989, this present crop. I am fortunate indeed that Sylvia is happy to brush it for me, oh so gently; to plait it, day in, day out. It is above and beyond her job description and I am very grateful. I must remember to tell her so. I missed my chance this morning, I was too excited. When Sylvia brought my juice I could barely drink it. The thread of nervous energy that had infused me all week had overnight become a knot. She helped me into a new peach dress- the one Ruth bought me for Christmas- and exchanged my slippers for the pair of outside shoes usually left to languish in my wardrobe. The leather was firm and Sylvia had to push to make them fit, but such price respectability. I am too old to learn new ways and cannot abide the tendency of the younger residents to wear their slippers out. Face paint restored some life to my cheeks, but I was careful not to let Sylvia overdo it. I am wary of looking like an undertaker's mannequin. It doesn't take much rouge to tip the balance: the rest of me is so pale, so small. With some effort I draped the gold locket around my neck, its nineteenth-century elegance incongruous against my utilitarian clothing. I straightened it, wondering at my daring, wondering what Ruth would say when she saw.

He had taste, though, and instead of decking the pub out the usual olde worlde accouterments he’d gone with a rather classy Art Deco styling with blond walnut dining tables with matching chairs and circular Perspex light fittings hanging from the ceiling. The mahogany bar had rounded corners and brass detailing and there were framed vintage travel posters on the walls advertising impossibly sun-kissed destinations—Llandudno, Bridlington and Bexhill-on-Sea. All it needed was a murdered heiress and Hercule Poirot would have felt right at home.

It's the epitome of vintage French style, old-world romance.

If you have followed my creative journey, you may have heard of my first two books, Quilt As-You-Go Made Modern and Quilt As-You-Go Made Vintage, in which I teach how to apply the quilt as-you-go (QAYG) technique to both modern and classic-style quilts. My quilty journey continues with this book, where I expand on QAYG by showing completely new ways to use the technique,

Girls must learn to make do with the limited spaces that they're offered. In my servant adolescence, that space was the mall. Easily accessed, inviting no probing questions from our parents, always warm and safe. I can't begin to count the hours spent wandering the convoluted corridors of ever expanding shopping centers in Mississauga. I suppose we were lucky that given Mississauga size and growth rate, we had choices. […] despite the mall's inherent homogeneity, we entertained ourselves by looking at things we couldn't afford, imagining the cool people we'd be if only we had the right clothes and shoes. We found ways to make our own spaces, and stairwells, corners, and service corridors. My best friend Erica and I didn't go to the same school, so the mall was the place where we could actually gather instead of talking on the phone. But as we got older, the mall didn't reflect our changing identities. We needed to find the space and styles and people that would let us start to define ourselves as more Jewish girls from the suburbs. […] If the mall was our default space – easy to access, parents happy to leave us there for a few hours – then downtown, as we called neighboring Toronto, was our aspiration. We could take a commuter train and in about 30 minutes we'd be at the foot of Yonge Street, one of Toronto’s central shopping and tourist districts. While we might venture into the enormous Eaton center mall, our targets were the vintage shops, used record stores, poster shops, and head shops of Yonge and Queen streets. […] Of course all of this feels like a cliche now. We weren't unique. Suburban girls all over seek out ways to push back against the pressures of conformity. Like with young people we were trying to figure ourselves out and “different” space has helped us create fresh moments for self-expression. Girls’ presence on city streets, a place where they have been deemed out of place, can and should be considered part of girls’ repertoire of resistance to varying modes of control within an adult-dominated, patriarchal society.

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