Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly, cultural style, show front and back

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly, cultural style, show front and back

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I want a black dress that looks elegant and vintage, it should be long and one leg appearing we could cover up the neck a little and add some sleeves and also I want a front decolte. You can make the dress shiny and add little details and patterns

I want a black dress that looks elegant and vintage, it should be long and one leg appearing we could cover up the neck ...

Create a photo of abeautiful short bubu gown made with a 20%Ankara and 80%plain material

Create a photo of abeautiful short bubu gown made with a 20%Ankara and 80%plain material

Create a photo of abeautiful short bubu gown made with a 20%Ankara and 80%plain material

Create a photo of abeautiful short bubu gown made with a 20%Ankara and 80%plain material

Baggy jeans with dark brown dantele details combined with a top

Baggy jeans with dark brown dantele details combined with a top

Baggy jeans with dark brown details combined with a top

Baggy jeans with dark brown details combined with a top

I want a blouse in muted yellow colour with slitted puff with button sleeve, net an stone work on the front blouse area, neck shape round and a baby pink lehenga with mirror work

I want a blouse in muted yellow colour with slitted puff with button sleeve, net an stone work on the front blouse area,...

I want a blouse in muted yellow colour with pagoda sleeve and a pink lehenga with mirror work

I want a blouse in muted yellow colour with pagoda sleeve and a pink lehenga with mirror work

Balloon pants.1950s optimism, military fieldwear, 1950s optimism – rounded volume, material silhouette, utility cotton; containment, protection, modularity, survival; and garments that shield, structure and endure. Rust dye

Balloon pants.1950s optimism, military fieldwear, 1950s optimism – rounded volume, material silhouette, utility cotton; ...

Balloon pants.1950s optimism, military fieldwear, 1950s optimism – rounded volume, material silhouette, utility cotton; containment, protection, modularity, survival; and garments that shield, structure and endure.

Balloon pants.1950s optimism, military fieldwear, 1950s optimism – rounded volume, material silhouette, utility cotton; ...

Balloon pants.1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1950s optimism – rounded volume, material silhouette, utility cotton; Military GFieldwear - control points, reinforcement, restraint; FALLOUT/armour - containment, protection, modularity, survival; and WGSN "Armour" - garments that shield, structure and endure.

Balloon pants.1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utili...

Balloon pants.1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1950s optimism – rounded volume, material silhouette, utility cotton; Military GFieldwear - control points, reinforcement, restraint; FALLOUT/armour - containment, protection, modularity, survival; and WGSN "Armour" - garments that shield, structure and endure.

Balloon pants.1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utili...

1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1950s optimism – rounded volume, material silhouette, utility cotton; Military GFieldwear - control points, reinforcement, restraint; FALLOUT/armour - containment, protection, modularity, survival; and WGSN "Armour" - garments that shield, structure and endure.

1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1...

1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1950s optimism – rounded volume, material silhouette, utility cotton; Military GFieldwear - control points, reinforcement, restraint; FALLOUT/armour - containment, protection, modularity, survival; and WGSN "Armour" - garments that shield, structure and endure.

1950s optimism, military fieldwear, FALLOUT/armour and WGSN "Armour". Label the Centre: Field Matron Utility Trousers. 1...

I need a beige gold velvet kaftan with broccar open collar

I need a beige gold velvet kaftan with broccar open collar

Vestito lungo satinato stampa pois con pizzo su spacco.Lunghezza 120 cm.pois rossi su fondo bianco.pizzo rosso

Vestito lungo satinato stampa pois con pizzo su spacco.Lunghezza 120 cm.pois rossi su fondo bianco.pizzo rosso

Vestito lungo satinato stampa pois con pizzo su spacco

Vestito lungo satinato stampa pois con pizzo su spacco

I want yellow dress long.

I want yellow dress long.

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly Do not add any flare shape to the bottom. Make it like a pencil skirt structure that gets smaller as it gets to the bottom. Add fringes to the bottom and do not make it off the shoulder. Make the designs floral and make the sash structured and still and with no layers. Add a slight design to the sash but make it thicker and more stiff. Make everything look traditional Yoruba style. And absolutely no flare at the bottom, no mermaid structure at all. Make the fan look more traditional with a fan shape and use the same fabric as the dress but make it more subtle with light embellishments. Make the sash structured and stuff with no flowyness. No flare or mermaid structure at the bottom of the dress at all

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly s...

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly Do not add any flare shape to the bottom. Make it like a pencil skirt structure that gets smaller as it gets to the bottom. Add fringes to the bottom and do not make it off the shoulder. Make the designs floral and make the sash structured and still and with no layers. Add a slight design to the sash but make it thicker and more stiff. Make everything look traditional Yoruba style. And absolutely no flare at the bottom, no mermaid structure at all. Make the fan look more traditional with a fan shape and use the same fabric as the dress

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly s...

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly Do not add any flare shape to the bottom. Make it like a pencil skirt structure that gets smaller as it gets to the bottom. Add fringes to the bottom and do not make it off the shoulder. Make the designs floral and make the sash structured and still and with no layers. Add a slight design to the sash but make it thicker and more stiff. Make everything look traditional Yoruba style. And absolutely no flare at the bottom, no mermaid structure at all.

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly s...

Indian lehenga skirt

Indian lehenga skirt

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly Do not add any flare shape to the bottom. Make it like a pencil skirt structure that gets smaller as it gets to the bottom. Add fringes to the bottom and do not make it off the shoulder. Make the designs floral and make the sash structured and still and with no layers.

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly s...

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly structured. The look should be intentional and architectural, balancing rich embellishment with a refined, elongated silhouette. Silhouette • Fitted, floor■length gown with a clean, elongated line • Gradual tapering toward the hem (slightly slimmer as the dress approaches the bottom) • No flare or mermaid shape — controlled, elegant narrowing • Front and back must feel equally finished Fabric • Nigerian aso■oke • Subtle ceremonial sheen — woven, rich, not glossy or metallic • Fabric should hold structure and appear substantial Bodice & Neckline • Soft sweetheart or curved neckline • Fine floral embroidery at neckline and natural waist (do not remove) • Back features clean lace■up corset closure with light floral framing Sleeves • Long sleeves with pronounced flared cuffs • Flare is ceremonial but controlled — no softness or ruffles Hem Embellishment & Fringe • Floral embroidery band positioned just above the hem • Moderate density — refined, airy, evenly spaced • Florals visually connect directly into the fringe • Full fringe trim at hem in matching aso■oke, medium to long length Ipele (Sash) • Structured, single■layer ipele made from the same aso■oke as the dress • Very stiff and architectural — no drape or flow • Clean edges, ceremonial presence • Anchored firmly at the shoulder in traditional Yoruba bridal style Bridal Fan • Hand fan constructed from the same aso■oke fabric • Structured and ceremonial, not soft • Light floral detailing to coordinate with dress embroidery Overall Direction Traditional Yoruba bridal • regal • structured • intentional • balanced embellishment. Nothing soft, accidental, or overly

Overall Concept Traditional Yoruba bridal gown in burnt■orange aso■oke, designed to feel regal, ceremonial, and highly s...

a red grey and white school jersey for matric written seniors class of 2026

a red grey and white school jersey for matric written seniors class of 2026

a red grey and white school jersey for matric written seniors class of 2026

a red grey and white school jersey for matric written seniors class of 2026

Oversized kids T-shirt Colour white With embroidery sun on the chest and black print under the sun ( sunny) On the back in the middle starting up embroidered sun and under the sun embroidered crab under the crab embroidered sea wave

Oversized kids T-shirt Colour white With embroidery sun on the chest and black print under the sun ( sunny) On the back...

Tight dress especially around the waist, light pink and shell like colour's with lace sleeves which hang and a tail by the feet, a deep v neck down to the stomach but not below the belly button. Must have themed be shimmering

Tight dress especially around the waist, light pink and shell like colour's with lace sleeves which hang and a tail by t...

Tight dress especially around the waist, light pink and shell like colour's with lace sleeves which hang and a tail by the feet, a deep v neck down to the stomach but not below the belly button. Must have themed be shimmering

Tight dress especially around the waist, light pink and shell like colour's with lace sleeves which hang and a tail by t...

Design a beautiful pregnancy belly bump gown it should have Cameroonian cultural patterns with a beautiful raindrop shoulders with a big flower add beading were necessary

Design a beautiful pregnancy belly bump gown it should have Cameroonian cultural patterns with a beautiful raindrop shou...

Design a beautiful pregnancy belly bump gown it should have Cameroonian cultural patterns with a beautiful raindrop shoulders with a big flower

Design a beautiful pregnancy belly bump gown it should have Cameroonian cultural patterns with a beautiful raindrop shou...

Design a beautiful flow gown without a corset, it should have Cameroonian Bamenda cultural patterns with a beautiful raindrop shoulders

Design a beautiful flow gown without a corset, it should have Cameroonian Bamenda cultural patterns with a beautiful rai...

A beautiful dress, with beaded long sleeves, and a big flower that extend out with dripping diamonds like rain on one of the shoulders, the corset should have an African traditional pattern, the bottom should be a straight pencil like flow with beadings and it should have a cape with the same African traditional pattern as the corset add a nice head peace and a beautiful beaded African fan

A beautiful dress, with beaded long sleeves, and a big flower that extend out with dripping diamonds like rain on one of...

A beautiful dress, with beaded long sleeves, and a big flower that extend out with dripping diamonds like rain on one of the shoulders, the corset should have an African traditional pattern, the bottom should be a straight pencil like flow with beadings and it should have a cape with the same African traditional pattern as the corset add a nice head peace and a beautiful beaded African fan

A beautiful dress, with beaded long sleeves, and a big flower that extend out with dripping diamonds like rain on one of...

A beautiful dress, with beaded long sleeves, and a big flower that extend out with dripping diamonds like rain on one of the shoulders, the corset should have an African traditional pattern, the bottom should be a straight pencil like flow with beadings and it should have a cape with the same African traditional pattern as the corset

A beautiful dress, with beaded long sleeves, and a big flower that extend out with dripping diamonds like rain on one of...

A beautiful red carpet vibe dress, with long sleeves, and a big flower on one of the shoulders, the corset should have a traditional pattern, the bottom should be a straight pencil like flow with bearings and it should have a cape with the same traditional pattern as the corset

A beautiful red carpet vibe dress, with long sleeves, and a big flower on one of the shoulders, the corset should have a...

Red Carpet shirt and skirt tea Length

Red Carpet shirt and skirt tea Length

Red Carpet Wedding Dress tea Length

Red Carpet Wedding Dress tea Length

Red Carpet Wedding Dress tea Length

Red Carpet Wedding Dress tea Length

Red Carpet Wedding Dress tea Length

Red Carpet Wedding Dress tea Length

Luxury modest dresses and classic unique abayas

Luxury modest dresses and classic unique abayas

Need a summer dress outfit thats very street style colorful and comfortable. I love the use of laces and scallop trims

Need a summer dress outfit thats very street style colorful and comfortable. I love the use of laces and scallop trims

Flowery summer modest dress for hijabi women should be breathable but not see through

Flowery summer modest dress for hijabi women should be breathable but not see through