dress pleated designer 2019 Resort 2019 Givenchy by Clare Waight Keller Metallic Pleated Lame Dres –  Shrimpton Couture
SKU: 52389730849
dress pleated designer 2019

dress pleated designer 2019 Resort 2019 Givenchy by Clare Waight Keller Metallic Pleated Lame Dres – Shrimpton Couture

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dress pleated designer 2019 Resort 2019 Givenchy by Clare Waight Keller Metallic Pleated Lame Dres – Shrimpton CoutureThis was the closing look of the resort collection and one of the most visible of the pieces from Clare Waight Keller's time as Creative Director for the house. It was featured in the ad campaign that year and Emma Stone chose it for her red carpet premiere. And just this year Nicole Kidman was spotted wearing one on her Instagram in a behind the scenes look from her new show. It also appears in the trailer for her show. It is a very well documented

This was the closing look of the resort collection and one of the most visible of the pieces from Clare Waight Keller's time as Creative Director for the house. It was featured in the ad campaign that year and Emma Stone chose it for her red carpet premiere. And just this year Nicole Kidman was spotted wearing one on her Instagram in a behind the scenes look from her new show. It also appears in the trailer for her show. It is a very well documented dress that will only gain in importance as time goes by.

Clare said of the collection that year “There’s a powerful woman in there that I really love; she’s a very strong character who loves a strong shape—something that gives a real sense of fashion.”, and in the Vogue review of the resort collection, fashion journalist Amy Verner mentions this gown in particular along with another comment from Clare; "This marks the first season since the passing of Monsieur de Givenchy in March and Waight Keller hinted that a more intentioned homage might be forthcoming. In the meantime, the collection’s evening looks—specifically the long-sleeved black dress showered with silver embroidery, and the gradient celadon and rust plissé lamé gown—further the couture spirit we’ve seen most recently at the Met Gala and at Cannes. “It’s a real joy to be able to work at both ends of the spectrum,” she said. “It’s what I believe in: everything from the really simple everyday to the absolutely fantastic and fabulous.” You can believe she means it.

The dress is amazing. It is made out of a light weight silk mixed with a metallic thread. The fabric was then pleated into permanent, sharp edged knife pleats. The color of it is gorgeous and it ranges from a deep metallic green to a burnt rust and copper and these are done in a gradient ombre that runs the length of the dress. The front is cut into a dramatic cut out that leaves a wide swath of skin exposed down the front. The width is kept perfectly in place by how it is set into the waist and closed at the top of the neck. The dress is so well made that I think you could spin it around and wear the cut out at the back if you wished. Each shoulder has a caped effect with the pleating allowed to splay out dramatically over them. I love how the colors are set to follow each pleat and the cut of the dress. This extra detailing shows the high quality in making this. The waist is banded with the only bit of fabric not pleated on the dress and then the skirt falls to the floor from there in an extra long supermodel length. There is a ton of fabric in the skirt so it moves and flows around you when you move. It is absolutely amazing  and the dress originally retailed at just about the 10k mark. This one appears to have never been worn or worn very little. Excellent condition

The skirt is lined in a black silk chiffon and the bodice has a built in halter under the exterior fabric made out of a fine  black silk netting. It closes with a hidden set side zipper and there is a hook & eye at the top neck. Tagged a 38. It appears to have never been worn or worn very little. Note that the owner took the main tag out but it has its correct inner fabric and size tag present

Bust: the inner net halter is open does the sides to the waist so there are no true side seams
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to top waist seam
Skirt: 50" from the top waist seam to hem including the 1.5" band at the waist

Modern Sizing Equivalent: SML-MED

Item# DD3543

Reference Photos: (1) Resort 2019 Givenchy Collection, Look 57.  /  (2-3) Emma Stone in Givenchy for Netflix’s Maniac premiere, September 20th, 2018.  /  (4-5) Nicole Kidman in Givenchy for HBO's "The Undoing". 
Reference Video: (1) Givenchy Pre-Spring/Resort 2019 Campaign.  /  (2) Nicole Kidman in Givenchy for HBO's "The Undoing".

This garment has been professionally cleaned, pressed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

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SKU: 52389730849

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Omaha, US
★★★★★ 5
A Case for Jesus' Divine Self-Conception
Format: Kindle
This is a very meticulously reasoned argument attempting to show that Jesus had a Divine self-conception. That is, Jesus believed, and claimed, that he was God. Pitre begins by posing C.S. Lewis’ famous “trilemma” to the reader. If Jesus claimed to be God, we have three ways to respond – he was either a Liar, Lunatic, or Lord. Pitre’s work in this book strives to bring us back, face to face, with this trilemma. To accomplish this, Pitre needs to defeat another popular notion in the modern mind – that Jesus, or at least much of the Gospel material about him, was a “Legend.” If Pitre can show that Jesus did, in fact, historically claim Divinity, we will be forced to respond to his claim and answer Jesus’ own question for ourselves – “Who do you say that I am?” To accomplish this Pitre first attempts to show that the Gospels are historically reliable. He believes that, contrary to modern scholarly opinion, the Gospels were indeed written by the authors they have been attributed to (Matthew, Mark, Luke, and John), that they were intended to portray historically accurate biographical pictures of Jesus, and that they were written much more closely to the time of Jesus than liberal scholars assume (Pitre tentatively dates the synoptic Gospels all before the destruction of the Temple in AD 70). These three pieces of evidence – authorship, intent, and dating – all lead Pitre to the conclusion that the Gospels give us historically accurate information about Jesus. After setting the stage by arguing for the accuracy of our sources, Pitre delves into the synoptic Gospels (Matthew, Mark, and Luke) and tries to show that although it is not always explicit (i.e. Jesus doesn’t say “I am God, worship Me.”) even the synoptics portray Jesus as claiming Divinity. Using evidence such as Jesus’ use of the titles “Son of Man” and “I Am,” prophesy from the book of Daniel, Jesus’ “stilling of the storm,” the transfiguration, the pronouncement of the forgiveness of the parlytic’s sins, the riddle about the Son of David being David’s “Lord,”, the crucifixion, and the resurrection, Pitre makes his case. In the end, he believes that not only do the Gospel authors portray Jesus as Divine, but that these claims came from Jesus himself. Thus we are led, full circle, back to the trilemma. We can call Jesus Liar, Lunatic, or Lord, but not, according to Pitre, a Legend. This was a really interesting read from a conservative scholar. His exegesis of many Gospel passages illuminate how the Hebrew Scriptures provide a much needed backdrop for understanding each story. The Gospels are much more nuanced than we might first think and oftentimes one saying or image may evoke whole passages or concepts from the Old Testament that would have been apparent to early Jewish readers. As Pitre argues, understanding the Jewish context of the synoptic authors helps in understanding their Christology. In the end, I agree with Pitre that the Gospels are generally more historically accurate than “mainstream” scholars give them credit for. I think it’s plausible that the Gospel titles reveal their true authors and that they were written fairly early after Jesus’ death (before the fall of Jerusalem). I also agree that the Synoptics may implicitly ascribe Divinity to Jesus – although I don’t think that is an open and shut case. If there were more explicit cases in the synoptic Gospels where Jesus claimed Divinity, it would help his case. It still seems to me the only explicit sayings we have come from the Gospel of John, which even Pitre doesn’t seem to argue is historically reliable (at least he doesn’t focus on this in the book). It’s probably outside the scope of this book, but I would have loved to see Pitre address the idea of Jesus as Apocalyptic Prophet. He interacts with several scholars who accept this notion (EP Sanders, Dale Allison, Bart Ehrman, John Meier) and it’s a viable option in the world of Historical Jesus scholarship. I think it’s a relevant topic in all discussions surrounding a Historical Jesus and can be a large factor in how one answers the question of Jesus’ identity. This study is worth reading regardless of your theological persuasion, and Pitre’s arguments deserve serious consideration.
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