Spring is already in a hurry to visit us. And although winter is not going to give it the reins for now, this does not mean that one should not prepare for warming. What is the most important thing for girls? Of course, update your wardrobe and buy some new pairs of shoes! But what's trending for the spring 2021 season? You will find the answer in our material.
Clogs are back in fashion for the spring 2021 season. And if in the past such shoes were made of wood and worn only by poor girls, today such models can be found in the arsenal of any self-respecting fashionista.
Kitten heels, or small heels, are ideal if you want to look fashionable, but at the same time take care of your health. After all, not everyone can run out all day on a 10-centimeter stiletto heel. In the spring season of 2021, the heel-glass, mini-stiletto heel, square heel are relevant. Such models are ideally combined with cropped jeans, shorts, midi skirts and culottes.
In the continuation of the health trend in the spring of 2021, models of shoes without heels are very relevant. This is a super practical choice for those who are on their feet all day. For a trendy look, wear these shoes with casual or smart casual attire.
A few seasons ago, no one wanted to hear about ballet shoes. However, in the spring of 2021, these shoes again took off to heights and won the hearts of almost all representatives of the beautiful half of humanity.
Square toe shoes still do not give up their positions and remain at the peak of popularity. For Spring 2021, go for the narrow square toe and the big toe accent. These shoes are best paired with 90s clothing. Fortunately, she is just in fashion.
2021 can rightfully be called the year of sustainability. More and more designers are giving preference to woven shoes. Pair these styles with simple maxi dresses. Just don't go overboard with accessories. Remember: there are no more than two elements in one image. For example, shoes and a hat. Or shoes and a handbag.
Shoes with ankle straps or higher are simply gorgeous. And here the height of the heel or the material from which they are made is not at all important. Shoes like classic pumps are always in trend. Pair these styles with cropped jeans or trousers, midi skirts and dresses.
As for the decor and color, in the spring of 2021, various models of shoes with a floral print are at the peak of popularity. Still would! What, if not flowers, is associated with spring ?! However, in the spring season, not only floral prints are relevant, but also whole appliques.
In addition to floral applications in the spring of 2021, shoes decorated with chains, stones, ribbons, laces and even pearls are in trend! Models in which such a delicate decor are combined with a rough sole or a stable heel are relevant.
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Once again about chrysanthemums.
Chrysanthemums ... Everyone knows these beautiful flowers. Many associate chrysanthemums with the cool days of late autumn - when a heavy, humid fog hangs over an empty garden, when we spend less time in the garden. Everyone knows the pleasant wormwood smell of chrysanthemums, the smell of autumn, the smell of the first chill ...
Many have confessed to me their love for chrysanthemums. But why are there so few of them in gardens, in front gardens, in flower beds in cities? Are chrysanthemums so difficult to grow? Is it so much demanded?
It is clear that compactness is an excellent quality of chrysanthemum, because no one wants to have a crumbling bush in the garden.
Since ancient times, people have decorated their bodies with various animalistic patterns and ritual images. In those days, a tattoo often served as a kind of passport. From the image applied to the body, it was possible to understand what class a person belonged to, what tribe he was and what deeds he did.
In the course of history, the role and status of tattoos have undergone a huge number of perturbations. Whether it's social markers among the Egyptians, runes that serve as magical amulets among the Vikings, or imperial tattoos in Japan - the essence has changed many times, often the opposite.
Even in the 20th century, the attitude of society towards tattoos changed several times, moving from indifference and stigmatization to interest and widespread popularity. What is the example of the late Russian Empire and the Soviet Union, in which the attitude towards tattoos was diametrically opposite. So, for example, in the late period of the Russian Empire, tattoos were not considered something reprehensible, and specialized salons began to open in large cities. But what to say, Emperor Nicholas II proudly wore on his right hand a Japanese dragon, made in a pair with King George V of Great Britain during a visit to the Land of the Rising Sun.
In the Soviet period, due to party propaganda and the restructuring of public institutions, in the mass consciousness, tattooing becomes the prerogative of marginalized groups, all sorts of criminals and renegades.
This stereotype naturally spread throughout the entire territory of the Soviet Union, including South Ossetia. However, if in Russia such stereotypes come to naught, cultivated either in certain strata of society (often directly or indirectly connected with the criminal environment), or among the older generation brought up in conditions of Soviet stereotypes and propaganda, then in Ossetia such stereotypes still exist.
A person with even the most harmless tattoo can still be subject to public criticism today. It happens that adherents of traditional values, just seeing a person with a tattoo, especially a girl, hang on him the label "informal" and, at best, accompany him with critical comments. The situation is about the same with older people, who, by habit, see tattooed people as marginals, or even just former convicts. But the question is: why on earth? What are all these people referring to? To propaganda, stereotypes or ancestral traditions? Let's figure it out.
If everything is clear with stereotypes and propaganda of a non-existent state, then with the traditions of ancestors, everything is a little more complicated. When it comes to ancestors that are relatively recent, the context is clear. The cultural influence of neighboring peoples and the religious component did not leave any chances for discrepancy. Any kind of abnormal self-expression was taboo, and the legacy of earlier ancestors was almost completely forgotten. The catch is that our ancient ancestors, for example, the Scythians, whose greatness we often refer to in everyday conversations, did make tattoos, and not just like that, but without fail. Scythian men and women made tribal tattoos for themselves, by which it was possible to understand which particular tribe they were from, and what their status in this tribe was.
Class tattoos were also made, thanks to which it was possible to distinguish, for example, a farmer from a warrior, and, of course, there were also many tattoos, amulets, jewelry and military attributes. For example, in the St. Petersburg Hermitage and today in the free access you can see Scythian mummies from Altai, quite abundantly decorated with archaic tattoos.
From all of the above, it follows that the argument with ancestral traditions is not very consistent either. Is it possible, when 15 percent of the world's population wears at least one tattoo on their bodies, when a tattoo has long passed the threshold of special functions and has become another type of art, it is already possible to abandon old concepts and stereotypes? Tattoos existed long before all these "traditional views" and will probably continue to exist after, and the value of a marginal marker is just a relic of the last century.
Whatever the motives for applying a tattoo: whether it's a childish prank, a tribute to fashion, art, perpetuating memory, or something else - this is a personal choice of a person who may carry special meaning for him, or maybe be a trinket altogether. All this is absolutely irrelevant. It is important to treat each other honestly, based on actions and personal qualities, and not on external signs, be it unusual clothes, hair color or drawings on the body.
A person completely clogged with tattoos can, for example, be a pediatrician, and people without tattoos commit no less crimes than tattooed ones - pictures on the body do not play any role here. If society remembers the simple axiom that the meaning of a tattoo is not given by the people watching it, but by the person filling it, life will become a little easier for everyone, and the world will not turn into a nursery of deliberate uniformity.
The modern world, thanks to the development of communication technologies and universal digitalization, significantly expands the range of professional fields of activity available to everyone with due agility and learning. Unfortunately, we can often observe how young and healthy people sit without work under a whole host of pretexts. One of the most popular pretexts (read excuses) is the conditional limited employment options in South Ossetia itself. Today, fortunately or unfortunately, we will try to cross out one item from the list of these excuses.
The wedding dress, in the form in which we are used to seeing it over the past hundred years, owes its appearance to Queen Victoria of England, who ruled from 1837 to 1901. Of course, women always wanted to look special on their wedding day, but wedding dresses did not have any typical features: usually girls just wore the best dress available. Queen Victoria wanted a very special dress for her wedding to Prince Albert. The outfit was supposed to be light, since the romantic young lady wanted with all her might to show that her feelings for the chosen one were sincere and pure. It is known that Victoria married Albert out of great love. It was also important for her that the dress emphasized the royal status of the ceremony and became the envy of all fashionistas in Europe.
The sketch for the dress was designed by the famous Scottish artist William Dees at that time. The Queen's personal dressmaker, Mary Bettans, worked to translate his ideas into reality. The dress was made of branded English silk, but the craftswomen had to sweat with the lace. Victoria wished that lace with a special pattern was made for her. To this end, the famous lacemaker Jane Bidney, who received a royal order, hired a whole village of craftswomen, who worked for more than six months. The hem of the dress, as well as the bodice and sleeves and veil were trimmed with branded lace. After the order was completed, the queen ordered the lace makers to destroy the sketches so that no one could get a copy of her wedding lace. Since then, the use of lace in wedding dresses of monarchs has become traditional, and a long veil with a train has also remained an integral part of the image.
On November 20, 1947, more than 2 thousand guests gathered at the wedding of Elizabeth (Queen Elizabeth II) and Prince Philip. The celebration was grandiose, and the bride's attire simply had to match this scale. It's no wonder that Elizabeth was recognized as one of the most gorgeous royal brides in history. The designer of her dress was the court couturier Norman Hartnell. The outfit was made of ivory satin, embroidered with flowers of silver threads, and decorated with tulle appliqués. Crystals and pearls were also used in the decor, which were specially ordered in the USA. On the head of the bride was a veil of lace and a tiara that belonged to her mother, Queen Elizabeth. The highlight of the image was the four-meter train, which at that time became the longest in the history of fashion. Looking ahead, we will say that only Princess Diana surpassed Elizabeth II in terms of the length of the train.
On April 18, 1956, the wedding of Prince Rainier of Monaco and the Hollywood diva Grace Kelly took place. Journalists closely followed this celebration, so all the details of the preparation of the wedding dress were kept in the strictest confidence. The bride wanted on her day to look elegant and status, but at the same time feminine. Surprisingly, to work on the dress, contrary to the expectations of the tabloids, she invited not at all famous designers like Hubert Givenchy, but her longtime friend, costume designer Helen Rose. It was she who created the iconic images of Grace in the cinema. Under Helen's guidance, more than 30 workers worked on the dress for six weeks.
The outfit, as the actress wanted, turned out to be very chaste, but not devoid of zest. The dress did not have a neckline, so usual for royal wedding crinolines, but it was equipped with a traditional long train. Grace also decided to ditch the corset in favor of a wide fabric belt at the waist, which was more in line with the spirit of the times. In the field of hats, the actress completely revolutionized: abandoning a wreath or tiara, she removed her hair with the help of a "juliet" - a small lace cap covered with a veil. The image of Grace, thanks to its emphasized elegance, became a cult, and it is still quoted by brides around the world. By the way, if you look carefully, you can see that in the wedding dress of the Duchess of Cambridge, Kate Middleton, a lot of details were borrowed from Kelly.
On May 6, 1960, Elizabeth II's younger sister, Princess Margaret, was married to designer Anthony Armstrong-Jones. It was one of the loudest misalliances in history. Maybe that's why not much is known about how the image of Margaret was created. Meanwhile, the dress of this princess is hardly inferior in elegance to the iconic outfit of Grace Kelly. The designer here was the same court tailor Norman Hartnell, who sculpted the outfit for Elizabeth II. According to the couturier, he considered his main task to show and emphasize the beauty and fragility of the bride. After all, according to her status, it was not at all necessary for her to dress up in kilometers of lace and hang tons of jewelry on herself. The dress turned out to be very elegant and really stunningly emphasized Margaret's natural beauty.
The wedding of Diana and Prince Charles on July 29, 1981 was a landmark event in the history of 20th century fashion. It is thanks to Lady Dee that real "princess dresses" with lush crinolines and trains have returned to fashion. By the way, the train of Diana's dress took 137 meters of fabric! Before Lady Dee, the owner of the longest train in the history of bridal fashion was considered her mother-in-law, Queen Elizabeth II. And the very dress of Charles's bride, according to the tabloids of that time, overshadowed the dress of his mother's wedding dress. The authors of this masterpiece are designers David and Elizabeth Emanuel.
Young fashion designers received the royal order quite unexpectedly. In 1981, one of the glossy magazines ordered a blouse for the couple of fashion designers, which was supposedly intended for filming, but later it turned out that the new thing was in the wardrobe of the bride of Prince of Wales, Diana. The little thing liked the future princess so much that she decided to entrust the couple with sewing her wedding dress. The sketch was developed under the strict guidance of the customer - Diana dreamed of a Victorian dress with puff sleeves and a huge crinoline. As a result, her wedding dress really strongly resembled Queen Victoria's wedding dress. Only Diana's hairstyle reconciled him with modernity. The bride decided not to grow long hair in order to hoist the royal tiara on the curls that were habitually tucked into strict styling. Lady Dee stayed with her short haircut. By the way, the tiara on her head was also not royal at all, it belonged to Diana's family.