Hamda Al Fahim
Fall/ Winter 2013 Collection
I’ve always told my mother I would be an unconventional bride, I want to wear a gown in a soft pastel colour, I want flowers tangled in my hair, and something unique that expresses me.
So today I have decided to do something a bit different. I’m going to share a collection from my favourite designer. I discovered him some time ago and I have followed him closely since then. The surface decoration, the shape, the influence, and the use of lace just speaks to my creativity.
Without further ado may I present the Spring/Summer 2013 Collection of Hamda Al Fahim.
I’m sure someone will reblog this and be negative about it but I don’t really care. My mother is a strong woman and I am proud to take after her. She raised me to be very independent and it’s one of the reasons I was able to say farewell to my home and move to London alone. I have always known that if I was ever trapped in a tower I wouldn’t need a prince to rescue me, I can save myself.
That said I hope that one day I will find a man who will say something like what is inscribed on this ring. Who knows maybe I will find him and maybe I won’t. I’m only 23, I have time.
England, 18th century AD
‘Many are the stars I see but in my eye no star like thee’
The term ‘posy’, based on the French ‘poésy’, describes the amatory verse or rhyming motto with which the rings are engraved. Here the inscription reads: ‘Many are thee starrs I see yet in my eye no starr like thee’.
The practice of giving gold hoop rings engraved with mottoes at betrothals or weddings was common in England from the sixteenth century onwards, and continued until the late eighteenth century. ‘Posy’ rings could, however, be given on many other occasions as tokens of friendship or loyalty, and ‘posies’ are also found on religious and memorial rings. The inscription is generally found on the interior of the ring, hidden to everyone except the wearer. Most of the sentimental mottoes were taken from popular literature of the time, such as ‘chapbooks’ (pamphlets), or from collections on the language of courtship. A few customers would supply their own composition for the goldsmith to engrave.
The outside of the hoop was often decorated to enhance the message or to form part of the message itself. Coloured enamels could be used, or chased motifs, like the sixteen stars on this example. The inscriptions were usually enamelled in black, which makes them easier to read, although very few survive with all their enamel. The language and the style of the inscription helps us to date them.
S. Bury, An introduction to sentimental (London, Victoria and Albert Museum, 1985)
C. Oman, British rings 800-1914 (London, Batsford, 1974)
O.M. Dalton, Catalogue of the finger rings, (London, British Museum, 1912)
J. Evans, English posies and posy rings (Oxford University Press, 1931)
Lady’s mule slippers with long, narrow Continental toe, early 18th century
Lady’s shoes, Swedish, c. 1700
Sofia Magdalena’s coronation shoes, 1771
Queen Desideria’s coronation shoes, 1829
Queen Lovisa Ulrika’s coronation shoes, 1751
Queen Victoria’s white silk atlas wedding shoes, 1881
Queen Desideria’s silk shoe, including a silk bow decorated with 31 gold-colored spangles
Mrs. Cappelen’s shoes, covered in white silk, from Paris c. 1850
Absolutely fantastic article! Please make sure to stop by and let her know how much you enjoyed the post!
‘In fact, some have described shoes as “candy for the eye, a poetry of the feet” ‘.
I think this lady took the something blue to heart!
Off topic, I love the excellent detail shots that were included with this set. Please click through the link to see more of the buttons.