Unconventional Beauty Quotes

Quotes tagged as "unconventional-beauty" Showing 1-5 of 5
Edmund Wilson
“She was one of those women whose features are not perfect and who in their moments of dimness may not seem even pretty, but who, excited by the blood or the spirit, become almost supernaturally beautiful.”
Edmund Wilson

Viv Albertine
“I also tried to look conventionally attractive when I was in the Slits, but kicked against it at the same time. It's a painful position to be in, having a side, but being inexorably drawn to the other side too.”
Viv Albertine, To Throw Away Unopened

Lisa Kleypas
“As she reached the entrance hall, she saw Lady St. Vincent coming in from the back terrace, her cheeks wind-brightened, the hem of her gown littered with bits of leaves and grass. She looked like an untidy angel, with her lovely calm face and rippling red hair, and the playful spray of light gold freckles across her nose.”
Lisa Kleypas, Mine Till Midnight

Lisa Kleypas
“Evie, Lady St. Vincent, was not nearly so approachable. However, Lillian had already warned Rafe that Evie's shyness was often mistaken for reserve. She was unconventionally lovely, her skin lightly freckled, her hair rampantly red. Her blue eyes contained a cautious friendliness and vulnerability that touched Rafe.”
Lisa Kleypas, A Wallflower Christmas

Kate Morton
“It was a delicate silver frame, small enough to fit within her hand, containing a photograph of a woman. She was young, with long hair, light but not blond, half of which was wound into a loose knot on the top of her head; her gaze was direct, her chin slightly lifted, her cheekbones high. Her lips were set in an attitude of intelligent engagement, perhaps even defiance.
Elodie felt a familiar stirring of anticipation as she took in the sepia tones, the promise of a life awaiting rediscovery. The woman's dress was looser than might be expected for the period. White fabric draped over her shoulders, and the neckline fell in a V. The sleeves were sheer and billowed, and had been pushed to the elbow on one arm. Her wrist was slender, the hand on her hip accentuating the indentation of her waist.
The treatment was as unusual as the subject, for the woman wasn't posed inside on a settee or against a scenic curtain, as one might expect in a Victorian portrait. She was outside, surrounded by dense greenery, a setting that spoke of movement and life. The light was diffuse, the effect intoxicating.”
Kate Morton, The Clockmaker's Daughter