How the Germans used a little bit of German ingenuity to make the women’s dress more German
By Sarah Lee The story of the German dresses has long been told.
They were made in the German fashion capital of Berlin, and the dresses were a staple of the city’s nightlife, as were the fashion accessories they came in.
But the dresses that became a staple in the country’s women’s clothing were not made with the best of intentions.
The dress, which was originally designed by the famous designer, Franz Klimt, was not designed with a woman in mind, but rather was intended to look like a typical woman’s attire.
It was a traditional German look and, if you want to be a bit more literal, it’s a bit like wearing a skirt.
The original dress was made in 1882 and the following year, German fashion historian Jörg Rösler published his first article on the subject in 1883.
A couple of years later, the first collection of dresses for the “Flamenco” (Femme), a group of German women, was published.
Röskler was able to find several examples of German-designed women’s dresses that were meant to be worn by German women in the early 19th century, but they were not intended to be the standard for German women.
These were the dresses created by women like the Duchess of Saxony, Countess of Saxe-Coburg, Count von Blumenau, and Empress of Russia Catherine the Great.
The Duchess of Bavaria, for example, had a traditional dress made by her father-in-law, Count Ludwig-Maximilian von Humboldt.
But, unlike her sister Catherine, the Duchess did not wear a traditional costume.
Instead, she dressed as a “Catherine” (cute, but very feminine), a form of women’s dressing traditionally worn by European aristocrats.
Rósler writes: The Duchess, a German princess, was an attractive, but unassuming woman, the dress of the day.
The fashion historian noted that “Duchess Humblau” had a fashionable, high-necked dress, with a short skirt, a long train, and “the most elegant, graceful girdle of silk.
Her dress is made of cotton, the material for the silk stockings, and is made for a lady of good health.
Her waistcoat and gloves are of wool.”
So the Duchess had the “German” look of a lady, but what did it have to do with the dresses?
In fact, Rösbier believes that the dresses originated with a different source, rather than a German designer.
The idea of using a female dress as a substitute for a German dress is, in his words, “invented in a fashion which has nothing to do, with the German style of dress, but with a particular German way of dressing.”
The Duchess’s gown is not a modern interpretation of the classic, long, loose gowns of the time.
In fact it is much longer and thicker than a typical German dress.
Rōsler explains: The skirt is so short that it does not extend above the waist and the bodice is very high.
The neckline is so long that it is not very high and the waist is very narrow.
The bodice has no sleeves at the neck and is rather flat and the skirt is much narrower than the waist.
The skirt has been made in a way that the shoulders do not touch the back of the neck, so it is more feminine.
As well as being made of a “woven fabric” (which was the original way of making dresses) the dresses have a “double-layer” fabric that “is thicker than silk.”
The double-layer fabric “allows the dress to rise, and also allows the skirt to fall,” as the story goes.
The double layer was made of linen, and Rōscier writes that the linen is “soft and not at all flimsy.”
It also “allows for a better fit than silk in the waistband and also prevents the dress from becoming very short.”
The dress has been around for some time, but Röscier is able to identify several other sources for the dresses.
The first source is a book called “Humboldts Dress of 1882” by Franz K. Rörsch, which mentions that “a number of German female fashion designers have copied the original style, although they do not always succeed.”
The second source is “Femmes” by the French artist Henri Pecqueur.
The French writer, painter and sculptor also named the dresses, “a fashion of the 18th century.”
In the 1885 edition of the French edition of “Hamburger” he also mentions that his dresses were designed by “French female fashion makers.”
Rösser, who is a German, believes that this is where the idea of a female-