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Leather cuff bracelet with felted strip
Colors: wine red, bronze,violet, orange
Materials: leather, wool, beads.
Size: 7 x 2 inches
Christian Cuff performing at the Kennebunk Coffeehouse in Kennebunk, ME. Christian was joined by cellist Janet Lee and opened for Susan Werner.
Feb 9th, 2008
These urbun steel cuffs snap on with a functional hinge and are lined with high quality leather for maximum comfort. The image is sealed with a protective gloss finish. Your size made to order.
**Got an image you'd like transformed into wearable art? I make custom jewelry with your photos!
Specific geographical locations can be requested for map jewelry.**
CONTACT: zannejewelry@gmail.com
I cut this cuff out of sheet metal, textured it using special texturing hammers, and then played with its shape. The rough nature of the bends is deliberate, as I didn't want to do something that was perfectly rounded. Once it was done, I used liver of sulfur with some ammonia added in. The ammonia is responsible for the gorgeous colors on the bracelet's inside in particular.
An Aboriginal cuff design commissioned as a gift for someone who lived overseas. The customer wanted Aboriginal drawings which told a story, and an animal. The cuff shows a Goana, and the symbols for 'travel' and 'over water'.
I love jewelry with words!
This leather cuff bracelet features a metal tag with the word "absolutely." I added the wonderful, rich patina that makes it glow! The metal is attached with cotton cord and knotting. The leather cuff bracelet is adjustable with three different notches for resizing. The "absolutely" metal piece was purchased from B'Sue Boutiques.
This metal cuff is made from seashell of the "limpit" variety overlaid on metal. Its adjustable circumference allows you to wear it on the wrist or near the elbow. This natural shell design mimics a blackhole and exudes rocker chic, a hot trend for Fall 2009. Go Green Certified. www.zemis.com
Detail of Court suit of coat, waistcoat and breeches, c.1760s
Possibly French
Red and gold cut silk velvet
During the 1760s three-piece suits made of matching fabric returned to fashion... This similar example is made of red silk velvet, woven to create a pattern reminiscent of brickwork, accentuated with stripes of woven gold thread. Throughout the eighteenth century the French city of Lyon produced the finest quality and widest range of silk fabrics in Europe, rivalled only by the industry centred around Spitalfields in London, originally set up by Huguenot exiles from France.
This suit demonstrates the fashion for buttons to be covered in the same material as the garment. By 1790, concern about the detrimental impact on the traditional button-making industry prompted a revival of an historic Act of Parliament, imposing a penalty of £40 (more than £5,000 today) on wearers of cloth-covered buttons. One commentator wrote 'soon they had all disappeared, and are now replaced by simple goldplated buttons for Half Dress'.*
From the exhibition
Style & Society: Dressing the Georgians
(April to October 2023)
The display brings together over 200 works from the Royal Collection, including paintings, prints and drawings by artists such as Gainsborough, Zoffany and Hogarth, as well as rare surviving examples of clothing and accessories. The exhibition builds up a layer-by-layer picture of what the Georgians wore - from the practical dress of laundry maids to the glittering gowns worn at court - and chart the transformation of clothing and silhouettes from the accession of George I in 1714 to the death of George IV in 1830.
At the heart of the exhibition is a rarely displayed, full-length portrait of Queen Charlotte by Thomas Gainsborough, c.1781, which usually hangs in the White Drawing Room at Windsor Castle. Painted by candlelight, it depicts the Queen in a magnificent gown, worn over a wide hoop and covered with gold spangles and tassels. The painting is be shown alongside a beautifully preserved gown of a similar style, worn at Queen Charlotte’s court in the 1760s, on loan from the Fashion Museum Bath.
On display for the first time is Queen Charlotte’s book of psalms, covered in the only silk fabric known to survive from one of her dresses. The expensive fabric, decorated with metal threads to glimmer in candlelight, was most likely repurposed after the dress had passed out of fashion. As textiles were highly prized, Georgian clothing was constantly recycled, even by the royal family, and there was a thriving market for second-hand clothes.
The exhibition includes items of jewellery from Queen Charlotte’s famed collection, such as a diamond ring featuring a miniature of her husband George III, given to her on her wedding day. Other accessories on display will include beautiful English and French fans, which reached their fashionable zenith during this period, some representing topical events such as the first hot air balloon flight, and jewel-encrusted snuffboxes, reflecting the craze amongst both men and women for taking snuff throughout the 18th century.
The exhibition reveals how the Georgians ushered in many of the cultural trends we know today, including the first stylists and influencers, the birth of a specialised fashion press and the development of shopping as a leisure activity. From the popularity of fancy-dress and the evolution of childrenswear, to the introduction of military uniforms and the role of clothing in showing support for revolutions at home and abroad, Style & Society will explore what clothing can tell us about all areas of life in the rapidly changing world of 18th-century Britain.
[*IanVisits]
From the Queen's Gallery, Buckingham Palace
Buckingham Palace
Royal Palace. 1825 design, begun 1826 by John Nash, rebuilding Buckingham House of 1705 as a palace for George IV, completed 1837 with alterations by Edward Blore; The east range added 1847-50 by Blore; the Ballroom block of 1853-54, with Ambassadors' Court, by Sir James Pennethorne; the east front refaced 1913 by Sir Aston Webb for George V
Marble faced east front, the rest Bath stone except for Blore's west quadrangle front in Caen stone; slate and leaded roofs. Quadrangle plan. Monumental Graeco-Roman, composed with picturesque intent by Nash; Webb's east front a stiff Dixhuitieme exercise constrained by Blore's existing range but with elegant detailing: East front: three storeys with ground and attic floor mezzanines. Fenestration in rhythm 3:7:3:7:3 with centrepiece and terminal pavilion. Channelled ground floor with semicircular arched central gateway flanked by square headed doorways, all with fine ornamental iron gates of 1847; end pavilions and main range with square headed and semicircular arched gateways respectively; architraved sashes with open pediments on first floor and cornices on second floor; fluted Corinthian pilasters rise through first and second floors supporting main entablature with blocking course and balustraded parapet; centrepiece and terminal pavilions with Corinthian columns in antis and plain outer pilasters, in pairs on centrepiece, crowned by blind attics with pediments; continuous balustraded balcony to first floor.
West front: of Blore's east range; advanced centrepiece with tetrastyle giant fluted Corinthian column portico above archway; sculpture in pediment. North and South quadrangle ranges: by Nash and given uniform three storey height, with attic, by him in 1828; slightly advanced five-window wide pilastered centrepieces; ground floor Greek Doric colonnades filled in by Blore; to the south Ambassadors' Court with temple portico-porch and flanking ranges with Corinthian colonnade in antis, adjoining Pennethorne's 1853-1854 Ballroom block which continues giant columned corner pavilion theme of Nash's garden front.
East front of Nash's West range: originally open to deep forecourt and Mall, has storeys and attic main block, 11 windows wide, with three storey three-window wings, the main block with prominent, tetrastyle, two storey portico centrepiece, its low ground storey with cast iron coupled Greek Doric columns and the upper with giant coupled stone Corinthian columns carrying entablature and pediment with sculpture by Baily and crowning figures in Coade stone by W Croggan; the cast iron Doric colonnade is returned across ground floor of main block which has pavilion end bays dressed with giant pairs of Corinthian columns; tall blind attic; the friezes either side of portico by Westmacott and originally intended for the attic of Marble Arch.
West garden front, by Nash: Long symmetrical composition with five accents; basement, ground floor, piano nobile through two storeys and attic to main block with three-storey wings; the main block with five-window central bow and three-window side ranges terminating in one-window pavilions; the wings each of four windows with similar pavilion end bays; ground floor channelled, giant engaged Corinthian columns to bow and detached coupled Corinthian columns to pavilions carrying entablature with rich rinceau frieze; large frieze panels of Coade stone over first floor by Croggan; the attic above half dome of bow (Blore's replacement of Nash's dome) has a frieze by Westmacott intended for Marble Arch; the range is flanked at east of terrace by projecting conservatories in the form of hexastyle Ionic temples with pediments; the south conservatory altered as palace chapel in 1893 and as the Queen's Gallery in 1962.
Interior: State Apartments in west range at firs floor level, with two suites divided by the Picture Gallery, c1829-36 by Nash and Blore, in rich and already eclectic Graeco-Roman style with Louis XIV and Wren details in mouldings and motifs, approached via the Grand Hall with marble columns and Nash's recasting of the original Buckingham House staircase as well as by Pennethorne's Grand Staircase to south extended by Pennethorne to give access to his Ballroom block; the Picture Gallery redecorated 1914; the interior of the Ballroom retains Pennethorne's ceiling and throne recess but redecorated by Ludwig Gruner in 1902 when the walls, windows and doorways were remodelled by Verity; the plainer ground floor rooms below the State Apartments survive virtually as designed by Nash. Marble Arch (qv) designed by Nash in 1828 as the forecourt gateway was removed by Blore's east range and re-erected in 1851 on its present site.
[Historic England]
This Steampunk Wrist Cuff has an assortment of fabric laid out in a patchwork design. A wide strip of leather bisects the middle of the cuff. An assortment of parts including a vintage watch movement, vintage watch plate, and vintage gears adorn the front of the cuff. Snap closures are used to close the piece. The bracelet base will measure approximately 8" in length by 3 3/4" in width.
Part of a fun shoot with singer/songwriter Christian Cuff at Head Games in Portland. www.myspace.com/christiancuff
I made a larger bull terrier head to a customer last year. Now I shrank it with molds and high shrinking copper clayand made cuff links
My photo cuff bracelet from smoy came today. This is the Soho 1-photo vegan leather version. It's like wearing a watch, except more interesting. I'm using one of my photos of the Gateway Arch until I poke through photos some more.
Exploring Non-Traditional Knitting Materials
Cuff Made with 1mm Cotton Thong Cord
Initial Notes available here: makedoandmendnovice.blogspot.com/2015/08/knitting-with-no...
My experiments with non-traditional materials are based on my Nameless Choker pattern, which is available here: makedoandmendnovice.blogspot.com/2014/09/free-pattern-nam...
STEAMPUNK Lace cuff with zipper detail.
This handmade steampunk lace zipper bracelet available on Etsy.
Ready to shop? Visit here:
www.etsy.com/listing/97908695/weddings-cuff-bracelets-wom...
Silver Inlaid Abalone Cuff on Cactus
Digital SLR
Studio Lighting
Original Set Concept, Design, and Construction
an excitable swans fan peaked too early and hit another punter before even getting to the game ... but I'm sure the crowds were better off without him
Dahlia inspired floral pattern in red, orange, silver and turquoise with an antique black wash. Handmade tooled leather cuff measures 1.5" wide and has a snap closure.
moxieandoliver.1000markets.com
moxieandoliver.etsy.com
Trash & Vaudeville series. This cuff is knitted out of furry yarn, scraps, tulle, and a black 30 gallon plastic trash bag cut into strips that were tied together to make yarn. Vintage black faceted plastic charm added for fun.
This Vegan metal cuff is made from coconut shell set on metal. Its stripe pattern design mimics a tiger's lash mark. Its adjustable circumference allows you to wear it on the wrist or near the elbow. This safari pattern set on metal mixes exotic mysticism and rocker edge - perfect theme for Fall 2009. Go Green Certified. www.zemis.com