silk wedding guest dresses Wedding Guest Dress "Blue Whispers" – Dress Your Color
SKU: 80966654021
silk wedding guest dresses

silk wedding guest dresses Wedding Guest Dress "Blue Whispers" – Dress Your Color

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Description

silk wedding guest dresses Wedding Guest Dress "Blue Whispers" – Dress Your ColorAn ethereal silk wedding guest dress in a mesmerizing ocean blue hue is bound to captivate everyone's hearts! Meticulously crafted by Japanese artisans from the 19th century, pure, hand dyed silk, this long sleeve wedding guest dress captivates with lavish use of fabric and a flowing silhouette. If you are seeking the ideal fall wedding guest outfit for your upcoming autumn event, this couture wedding guest dress promises to be the highlight of any

An ethereal silk wedding guest dress in a mesmerizing ocean blue hue is bound to captivate everyone's hearts!

Meticulously crafted by Japanese artisans from the 19th century, pure, hand-dyed silk, this long-sleeve wedding guest dress captivates with lavish use of fabric and a flowing silhouette.

If you are seeking the ideal fall wedding guest outfit for your upcoming autumn event, this couture wedding guest dress promises to be the highlight of any fall wedding celebration!

This blue wedding guest dress wows with a combination of shades of blue paired with contrasting red and yellow details. This enchanting color ensemble is further decorated with a delicate silver embroidery thread. Such a magnetic color palette is sure to complement your features and make you feel fabulous at any party, whether it's a wedding reception, a birthday party, or a tea party!

What sets this wedding guest dress apart is its couture quality and uniqueness, as it was born from the hands of dressmakers in Japan, steering clear of the ordinary mass-production fashion.
This one-of-a-kind party dress was crafted using 19th-century, top-quality vintage ceremonial kimono fabric. When you attend your special event, take pleasure in the knowledge that you will be the only one in the world wearing this stunning silk wedding guest dress.

This long-sleeve wedding guest gown has been thoughtfully crafted to make you look radiant and feminine. The sumptuous silk fabric moves gracefully with every step, draping beautifully when you choose to sit and accentuating your silhouette in any pose. This wedding guest dress, designed to be ultimately photogenic, ensures that the pictures from your special event will be unforgettable and ready for the photo album.

Distinctive and incredibly elegant, this pussy bow wedding guest dress features a delightful bow tie neck and a double frill, making it the perfect selection not only as wedding guest clothes but also for various special occasions such as opera outings, art exhibitions, fashion shows, or dinner parties.

The low-waist design of this autumn wedding guest dress complements a variety of body types. Its loose and flowy silhouette enables the silk fabric to gracefully fall in all the right places without emphasizing any particular area. A generous double frill hem adds a touch of flair to your movement while also providing enough weight to allow the fabric to drape beautifully on your body.

Matching silk fabric cover buttons enhance its upscale appearance of this wedding guest dress. This cocktail party dress is fully lined with the finest-grade cotton cupro fabric, offering breathability and a luxuriously smooth feel.

This silk wedding guest dress goes beyond being just an outfit; it's a declaration of discerning taste and admiration for life's finer aspects. Whether you find yourself at a grand wedding reception, a birthday celebration, or an elegant tea party, this long-sleeve long dress for a wedding will make sure that you stand out in the most graceful and sophisticated fashion.

SIZE: S/M, 36/38 EU size
Model hight: 165cm, size 36/38 Europen size

FABRIC 
Outer Fabric: 100% Japanese silk 
Lining: 100% Japanese Bemberg cupro lining made from cotton (read more about the lining)

CARE INSTRUCTIONS
Here are a few things to know to keep your beautiful new bow tie dress looking its best: 

  • Dry clean only
  • Silk hates moisture, so keep your piece in a dry space with optimal air circulation allowing it to air out each time you wear it. (read more about storing)
  • DO NOT GET WET – silk gets water stains. 
  • Lightly spraying with a fabric freshener is okay. 
  • Iron on medium with steam through a cloth. 

    Please note: All the items in our store are created using vintage pieces that can be over 60+ years old and do have signs of wear. Loose embroidery threads, minor stains, and minimal fading are normal in our garments. 
    Many of these kimonos have been stored away for years and can still have a slight mothball scent even after our rigorous cleaning process. This usually goes unnoticed but may bother those who are sensitive to those kinds of smells.
    Actual colors may vary. Due to computer monitors displaying colors differently, actual colors of our bow tie dresses may vary. We try extremely hard to ensure our photos are as life-like as possible, but please understand the actual color may differ slightly from your monitor. Therefore, we cannot guarantee that the color you see on the monitor accurately portrays the true color of the product.

    Shipping Notes
    • Free Standard Shipping on $100+ Orders to the USA.
    • Except Preorder products are shipped in 48 hours.
    • Delivery to the USA:
    1. Standard Shipping : 3-10 business days
    • If time is of the essence, please consider selecting expedited delivery for faster service.
    Exchange/Return Notes
    • We offer a 30-day return/exchange service after receiving.
    • Final sale items are not eligible for returns or exchanges.
    • To process your return/exchange, please contact us at [email protected]
    • Please click here for more details>>> Return & Exchange Policy
    SKU: 80966654021

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    4.2 ★★★★★
    Based on 1840 reviews
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    Product Reviews
    R
    RSL
    Belleville, US
    ★★★★★ 3
    DNF
    Format: Kindle
    I decided to read this based on another review here. I started skipping and couldn't finish it. The writing is good but the behavior of the MCs put me off at times. Our parents took us camping (not car camping) a lot through my teens and the lesson was, from my youngest age, if the excrement encounters the turbine, get your bearings, assess, make a plan, follow it -- no time for drama. There would always be time for a freakout once the situation was resolved. (And if it wasn't resolved, freaking out wouldn't be an option.) Apparently, neither Helen nor Lana were ever taught that lesson because there's plenty of drama, and I lost respect for them. Worse, the drama continues with this endless back and forth right up to the very last page. I actually blinked. I've read rushed endings before, but this took the cake. Overall, this is a portrayal of women that bugged me. It felt almost stereotype-y regarding being overly dramatic and unable to keep it together under stress. Maybe I just hit the bad parts, but I couldn't keep reading to find out, in case there were more, and the repeated drama after the rescue didn't give me hope. Please, Sapphic authors, can we have more books celebrating feminine resilience? Cara Malone has a pretty good one about a bunch of shipwrecked queer women. We need more of that, and less of this. I'm giving this book 3 stars because the writing is good and I didn't finish, so may have missed better parts.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on July 23, 2024
    P
    Verified Purchase
    Paula Cappa Reviews
    Lowell, US
    ★★★★★ 5
    If you can only afford one craft book on Dialogue, this one is it.
    Format: Hardcover
    The art of dialogue. How does a writer get it just right to be effective, yet original, dramatic but not too dramatic, captivating and satisfying, and most important of all convincing? The thrust of this book is how McKee spends time on characterizations and the art of the subtext—vital to thrilling and effective dialogue. McKee explains how subtext works, the thinking behind it, shows you its most effective moments, why it works well or poorly, and gives you the tools to make it work. The result: amazingly clear insight. No kidding, if you want to fully understand subtext in dialogue and sharpen your skills, this is the writing book to get. Conflict in dialogue, turning points, even sentence designs techniques. McKee describes the “suspense sentence” and the “periodic sentence.” Because prose is a natural medium for storytelling, you will learn how Charles Dickens used ‘counter pointing exposition’ and its effectiveness for the reader. I hadn’t seen this kind of hook in writing before, hadn’t heard this term before. Very powerful technique; of course none of us writes like Dickens, but what an example on how to swoop the reader in. What’s one of the takeaways in Dialogue by Robert McKee? “Quality storytelling inspires quality dialogue.” Which inspires a read of McKee’s other remarkable craft book “Story”—a great companion read as both books belong on any serious writer’s bookshelf.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on July 28, 2016
    B
    Verified Purchase
    Bookworm
    Louisville, US
    ★★★★★ 5
    It's All Right Here. All of it.
    Format: Hardcover
    I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on September 21, 2016
    J
    Verified Purchase
    jk Smiles
    Carnegie, US
    ★★★★★ 5
    A book on dialogue should be experienced first as a book on tape
    Format: Audio CD
    I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on August 30, 2018
    L
    Verified Purchase
    Lori T. Sly
    Massapequa, US
    ★★★★★ 4
    Helpful, but not as good as "Story" by same author, and it disses certain genres
    Format: Hardcover
    This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
    WAS THIS REVIEW HELPFUL?YesReportShare
    Reviewed in the United States on December 12, 2019

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