Sentences with phrase «edged veil»
The Matching beaded lace edged veil completes the look.
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My lace - edged veil was also from Lisa's Bridal wear.
She teamed the dress with a beautiful veil lace edged veil which was the perfect addition for a wedding in the grand St Paul's Cathedral.
Under the Governor's plan, New York will redesign tunnel plazas with cutting - edge veils equipped with LED capability, and gantry structures supporting the new electronic toll equipment will feature artistic «wave» designs which will vary in size and scale.
Veil was a full length stitched edge veil with waterfall front.
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Not exact matches
What with the barely veiled charges of cheating, the constant jostling for a technological or mental edge, and a competitive drive that threatens to push their sport to places never thought possible, there's no more compelling rivalry in track than the one between Marlon Shirley and Oscar Pistorius.
She travels to the edge of her normal reality, parts the Veil and goes beyond.
A gorgeous pearl edged bridal veil will give you the ultimate sparkle and glam for your wedding look.
As for my wedding - day look, I think I'll opt out of the veil and go for Veronica Lake curls with a modern edge, and makeup that's just an amplified version of what I wear every day.
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Two - tier waltz length veil with horsehair edge, $ 205, Bel Aire Bridal.
Hannah finished off her look with fresh roses and a sprig of olive from her parents» garden in her hair with a doubled layer silk tulle cathedral - length veil with lace edging.
Not just for superheroes, capes are a cutting - edge alternative to a veil, adding volume to your dress» silhouette and major «wow» factor as you walk down the aisle.
Veils with beading, lace or floral appliqués, or edged with ribbon are magnificent options in this case.
Moving onto the veil, if you look closely you'll see it has almost the exact same lace on the edges as my dress does, which is of course why I picked it.
(If you are using regular tulle, also try to cut along the edges of the pieces where the threads join, otherwise you end up with thread «legs» sticking out, rather than a neat edge) If you gather the veil in a semi circle shape, it will pull into a rounded shape and the edges will meet up with the sides of the hat.
The veil matches the dress, with satin piping around the edges.
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The Cut - Out veil is a beautiful more classic design in silk tulle in ivory, but with a real statement edging of embroidered silk organza.
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Leanne's cute satin edged short veil and her little polka dot earrings.
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Sweetness — A feminine dotted veil made from ivory spotted tulle with a hand cut edge — right on trend at the moment.
For the princess - y bride who loves herself some sparkle, a classic, raw edge cathedral veil with scattered Swarovski that will «twinkle» as you walk down the aisle is absolutely stunning, says Carla Imbriano, lead designer at Boutique de Voile.
The circular, Spanish - style mantilla veil features a thicker lace trim along its edge.
Her veil — a long, delicate, lace - edged accessory — was also by Anne Barge.
If you want to dress up your hair for a destination wedding in the sand, make like this bride and wear a vintage - style veil with scalloped lace edges over loose beachy locks.
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And this in the most important place possible — among a Jury that looks like an ideal dinner party, Mad Max's Dad, George Miller, French cutting - edge auteur, Arnaud Desplechin, sassy Kirsten Dunst and alluring actress - helmer Valeria Golino, handsome cannibal Mads Mikkelsen, Hungary's youthful father of Son of Saul, László Nemes, French actor - singer and proud Mum in Cannes, Vanessa Paradis, elegantly veiled Iranian producer Katayoon Shahabi, and the grumpily avuncular grandee, Donald Sutherland.
The veiled phantom surely has the edge when it comes to offing the little ones, but she hails from a long line of ladies who've gone all Hot Topic for the camera.
He glanced at her face, to judge what mood she was in as she said this, but the top half of her head, including her eyes, was veiled in a shadow cast by the edge of the windscreen.
Amorphous shapes, sharp - edged logos, scything blocks of colour and silky veils of tinted varnish intrude into Stubbs» picture planes, fragmenting the surface; it is as though the physicality of the works are coming up against the pixilation of the flattened, immaterial space of the digital image.
... Michael Stubbs's canvases, which suspend interlocking fragments of sharp - edged logos and scything blocks of colour in silky veils of tinted varnish, critically configure the medium for an age of teeming distraction and antiseptic corporate culture, but still come out looking ravishing and above the fray — no easy task.
Collection (1954/1955) is the artist's first «Combine painting,» an early type of Combine that hangs on the wall like a traditional painting but reaches into three dimensions with various elements attached to the work's surface — such as the silk veil over the mirror attached just off - center and the found wood scraps along the top edge.
The latter is one of the most admirable examples of the way the artist combined hard - edged painting with her spray technique, layering veils of color on the suspended geometry that made Byzantium such gravity - free pleasure.
His subjects included veiled, statuesque women filling water jars at the edge of ancient temples, men in turbans operating traditional Shadoofs, dances and scenes of Islamic ritual.
Called Dirty Mirror, it consists of four brushstrokes following the edges of the panel, surrounding a rubbed - out central area, the right half of which is veiled as if by a curtain of blackish blue.
But as you move through the painting notice the veils of color laid on over a background thinly applied and lifted away in places to suggest light in the black darkness that creeps in around the edges.
The small mirror is there, embedded just off - center and veiled with sheer fabric, and the scraps of wood and metal affixed to the top edge appear just as they do today.
Through the veil of night, hard edges are blurred and the crepuscular images of Romanticism once again emerge.»
Particularly with the colour: the vibration that Hoyland sets up between an orange bar and its green field is dazzling: colours float, disembodied, off one another, but their apparent position in space is contradicted by a smoky dark edge of washed paint that pulls them back again, turning a veil of pigment into a solid object.
The delicate veil of painted swoops and swirls that sweep across the surface extend to all edges of the canvas, suggesting the continuation of the net into the space beyond the painting.