Denim – Construction and Common Terminology
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Business Professional Dress Code
Business Professional Dress Code The way you dress can play a big role in your professional career. Part of the culture of a company is the dress code of its employees. Some companies prefer a business casual approach, while other companies require a business professional dress code. BUSINESS PROFESSIONAL ATTIRE FOR MEN Men should wear business suits if possible; however, blazers can be worn with dress slacks or nice khaki pants. Wearing a tie is a requirement for men in a business professional dress code. Sweaters worn with a shirt and tie are an option as well. BUSINESS PROFESSIONAL ATTIRE FOR WOMEN Women should wear business suits or skirt-and-blouse combinations. Women adhering to the business professional dress code can wear slacks, shirts and other formal combinations. Women dressing for a business professional dress code should try to be conservative. Revealing clothing should be avoided, and body art should be covered. Jewelry should be conservative and tasteful. COLORS AND FOOTWEAR When choosing color schemes for your business professional wardrobe, it's advisable to stay conservative. Wear "power" colors such as black, navy, dark gray and earth tones. Avoid bright colors that attract attention. Men should wear dark‐colored dress shoes. Women can wear heels or flats. Women should avoid open‐toe shoes and strapless shoes that expose the heel of the foot. GOOD HYGIENE Always practice good hygiene. For men adhering to a business professional dress code, this means good grooming habits. Facial hair should be either shaved off or well groomed. Clothing should be neat and always pressed. -
She Has Good Jeans: a History of Denim As Womenswear
Bard College Bard Digital Commons Senior Projects Spring 2018 Bard Undergraduate Senior Projects Spring 2018 She Has Good Jeans: A History of Denim as Womenswear Marisa S. Bach Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2018 Part of the Fashion Design Commons, and the Fiber, Textile, and Weaving Arts Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Bach, Marisa S., "She Has Good Jeans: A History of Denim as Womenswear" (2018). Senior Projects Spring 2018. 317. https://digitalcommons.bard.edu/senproj_s2018/317 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. She Has Good Jeans: A History of Denim as Womenswear Senior Project Submitted to The Division of Arts of Bard College by Marisa Bach Annandale-on-Hudson, New York May 2018 Acknowledgements To my parents, for always encouraging my curiosity. To my advisor Julia Rosenbaum, for guiding me through this process. You have helped me to become a better reader and writer. Finally, I would like to thank Leandra Medine for being a constant source of inspiration in both writing and personal style. -
WO 2013/148295 A2 3 October 2013 (03.10.2013) P O P CT
(12) INTERNATIONAL APPLICATION PUBLISHED UNDER THE PATENT COOPERATION TREATY (PCT) (19) World Intellectual Property Organization International Bureau (10) International Publication Number (43) International Publication Date WO 2013/148295 A2 3 October 2013 (03.10.2013) P O P CT (51) International Patent Classification: AO, AT, AU, AZ, BA, BB, BG, BH, BN, BR, BW, BY, D06M 15/19 (2006.01) BZ, CA, CH, CL, CN, CO, CR, CU, CZ, DE, DK, DM, DO, DZ, EC, EE, EG, ES, FI, GB, GD, GE, GH, GM, GT, (21) International Application Number: HN, HR, HU, ID, IL, IN, IS, JP, KE, KG, KM, KN, KP, PCT/US20 13/03 1830 KR, KZ, LA, LC, LK, LR, LS, LT, LU, LY, MA, MD, (22) International Filing Date: ME, MG, MK, MN, MW, MX, MY, MZ, NA, NG, NI, 15 March 2013 (15.03.2013) NO, NZ, OM, PA, PE, PG, PH, PL, PT, QA, RO, RS, RU, RW, SC, SD, SE, SG, SK, SL, SM, ST, SV, SY, TH, TJ, (25) Filing Language: English TM, TN, TR, TT, TZ, UA, UG, US, UZ, VC, VN, ZA, (26) Publication Language: English ZM, ZW. (30) Priority Data: (84) Designated States (unless otherwise indicated, for every 61/618,166 30 March 2012 (30.03.2012) US kind of regional protection available): ARIPO (BW, GH, GM, KE, LR, LS, MW, MZ, NA, RW, SD, SL, SZ, TZ, (71) Applicant: CELANESE INTERNATIONAL CORPOR¬ UG, ZM, ZW), Eurasian (AM, AZ, BY, KG, KZ, RU, TJ, ATION [US/US]; 222 W. Las Colinas Blvd., Irving, Texas TM), European (AL, AT, BE, BG, CH, CY, CZ, DE, DK, 75039 (US). -
Rolled Edge Napkins Created By: Melinda Stephenson
Beginning Serging: Rolled Edge Napkins Created by: Melinda Stephenson One of the most often used stitches on your serger, apart from the four thread overlock, is the rolled edge. This works beautifully on napkins, as well as for hemming difficult to hem, slippery chiffon. To learn how to serge a rolled hem, start with either 100% cotton, 100% linen or a cotton/linen blend. These natural fabrics work best for napkins as they absorb moisture. Polyester or any synthetic fabric blends are not recommended for making napkins— they just don’t absorb as well. Supplies: • Cotton or linen squares cut to 18 or 20” • Scrap fabric cut from the same linen or cotton • 2 cones serger thread • 1 cone Wooly Nylon • Seam sealant (Fray-Check) 3. Set Tension: • Instruction manual a. Right needle: Normal • Optional: clear wash-away stabilizer b. Upper Looper: 2-3 (check your owner’s manual) Machine Set-up c. Lower Looper: 5-7 (check your owner’s manual) 3-thread Rolled Hem 4. Set Stitch Length: 1.0-2.0 (check your owner’s 1. Remove your left needle. manual) 2. Thread your machine: Wooly Nylon in Upper 5. Set Differential Feed: 1.0 or N (if edges draw in Looper and serger thread in right needle and and pucker, try .5) lower looper. 6. Set Stitch Finger: disengaged 7. Set knife: engaged elnaUSA.com Page 1 Beginning Serging: Rolled Edge Napkins Practice: 5. Stitch a few stitches until your napkin is about halfway beneath the presser foot, right up to, Using a piece of scrap fabric that is the same but not beneath, the needle. -
Skinny Scarves by SUSAN BECK
This article originally appeared in Through the Needle ONLINE Issue 9 Skinny Scarves by SUSAN BECK These long, narrow scarves made of t-shirt knit or sheer fabric are fast to make and fun to wear – one, two, or even three at a time! They’re a great item to make for craft fairs and bazaars – and they also make great gifts! Directions Cut a rectangle of fabric 10” wide and 3 yards long. Note: The more lightweight the fabric, the wider the scarf can be (12”-14”). If the fabric has more bulk, you can cut it very narrow (6”-8”). Thread the serger for a 3-thread rolled hem, adjusting the tensions as directed in your user manual. Generally, the needle tension will be normal, the upper looper tension will be loose, and the lower tension will be tight. Sew a sample on fabric scraps to decide if the resulting rolled edge looks the way you want it to. Adjust the settings as needed. Different fabric types and weights may require different tension adjustments for the perfect rolled edge. Serge all four edges of the scarf, starting at one end and serging off the opposite end, and trimming the edge slightly as you go. Supplies • 3 yards of lightweight, sheer, or single knit fabric in polyester, cotton, rayon, or silk (yardage will make 4-6 scarves) • Serger with 2- or 3-thread rolled hem capabilities • Three cones or spools of fine (60-weight) thread to match or blend with the fabric • Seam sealant Tip: Hold your hand lightly on the fabric to the left of Option 3: To wear the foot to make sure the fabric is going under the two or three scarves needle and not falling away after it passes the knife. -
Guide to the Preparation of an Area of Distribution Manual. INSTITUTION Clemson Univ., S.C
DOCUMENT RESUME ID 087 919 CB 001 018 AUTHOR Hayes, Philip TITLE Guide to the Preparation of an Area of Distribution Manual. INSTITUTION Clemson Univ., S.C. Vocational Education Media Center.; South Carolina State Dept. of Education, Columbia. Office of Vocational Education. PUB DATE 72 NOTE 100p. EDRS PRICE MF-$0.75 HC-$4.20 DESCRIPTORS Business Education; Clothing Design; *Distributive Education; *Guides; High School Curriculum; Manuals; Student Developed Materials; *Student Projects IDENTIFIERS *Career Awareness; South Carolina ABSTRACT This semester-length guide for high school distributive education students is geared to start the student thinking about the vocation he would like to enter by exploring one area of interest in marketing and distribution and then presenting the results in a research paper known as an area of distribution manual. The first 25 pages of this document pertain to procedures to follow in writing a manual, rules for entering manuals in national Distributive Education Clubs of America competition, and some summary sheet examples of State winners that were entered at the 25th National DECA Leadership Conference. The remaining 75 pages are an example of an area of distribution manual on "How Fashion Changes Relate to Fashion Designing As a Career," which was a State winner and also a national finalist. In the example manual, the importance of fashion in the economy, the large role fashion plays in the clothing industry, the fast change as well as the repeating of fashion, qualifications for leadership and entry into the fashion world, and techniques of fabric and color selection are all included to create a comprehensive picture of past, present, and future fashion trends. -
The Influence of Woven Fabric Structures on the Continuous Dyeing of Lyocell Fabrics with Reactive Dyes
The Influence of Woven Fabric Structures on the Continuous Dyeing of Lyocell Fabrics with Reactive Dyes A thesis submitted by Uzma Syed In accordance with the requirements for the degree of Doctor of Philosophy Heriot-Watt University School of Textiles and Design Scottish Border Campus Galashiels November 2010 The copyright in this thesis is owned by the author. Any quotation from the thesis or use of any of the information contained in it must acknowledge this thesis as the source of the quotation or information. To my Parents and Grandparents ACADEMIC REGISTRY Research Thesis Submission Name: Uzma Syed School/PGI: School of Textiles and Design Version: (i.e. First, Final Degree Sought Doctor of Philosophy Resubmission, Final) (Award and Subject area) Declaration In accordance with the appropriate regulations I hereby submit my thesis and I declare that: 1) the thesis embodies the results of my own work and has been composed by myself 2) where appropriate, I have made acknowledgement of the work of others and have made reference to work carried out in collaboration with other persons 3) the thesis is the correct version of the thesis for submission and is the same version as any electronic versions submitted*. 4) my thesis for the award referred to, deposited in the Heriot-Watt University Library, should be made available for loan or photocopying and be available via the Institutional Repository, subject to such conditions as the Librarian may require 5) I understand that as a student of the University I am required to abide by the Regulations of the University and to conform to its discipline. -
Lenzing Modal ® and Lenzing Viscose ® Pre-Treatmet, Dyeing
LENZING MODAL® AND LENZING VISCOSE® PRE-TREATMET, DYEING,FINISHING DYEING / FINISHING PROCESSING GUIDELINES DYEING / FINISHING 1 General Instructions for Pre-treatment As with all textiles made of cellulose fibers the best results - luster / drape / handle - are achieved when all wet processes are conducted with low levels of pressure and stretching. This is also true of Lenzing Modal® fibers which are however considerably less sensitive than normal viscose fibers 1.1 Relaxation Hot water shrinkage of yarns and fabrics Processing Condition Fiber Origin carded Lenzing Viscose® Lenzing Modal® cotton Yarn / twisted yarn shrinkage (hot water 96°C) Fiber fineness Ring yarn Nm 50 -2.0/-2.5 -1.5/-2.0 -1.5/-2.0 Ring yarn Nm 70 -3.0 -2.0 -2.0 Rotor yarn Nm 50 -2.5 -2.5 Rotor yarn Nm 40 -2.5/-3.0 -1.5/-2.0 Plied yarn (ring) Nm 40/2 -3.5/-4.0 -2.5/-3.0 Fabrics (warp shrinkage wash 60°C) Fabrics made of Nm 50 (Ring) Fiber titre 1.7 dtex desized -3.0 -1.5 finished + sanforized -1.0 -0.5 (continuously) Fabrics made of Nm 50 (Ring) Fiber titre 1.3 dtex desized -5.5 -3.0 finished + sanforized -1.5 -0.5 (continuously) Fabrics made of Nm 70 (Ring) Fiber titre 1.7 dtex desized -12.0 -8.0 -6.0 finished + sanforized -1.5 -1.0 +/-0 (discontinuously) PROCESSING - 2 / 16 - GUIDELINES DYEING / FINISHING The fabric tensions at the preliminary textile stages should be reduced during the pre-treatment stage, i.e. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
Dyestuff Reporter
AMERICAN DYESTUFF REPORTER Volume 47 January 27, 1958 Number 2 FAST DYES ON CELLULOSIC FIBERS T \ICKERSTAFF Imperial Chemical Industries Ltd Manchester 9, England INTRODUCTION in their brightness and range of fiber, and are therefore suitable for shades. Furthermore, large molecules cold dyeing and continuous process NE of the main preoccupations diffuse into cellulose very slowly so ing. To the dye molecule is attached Oof the dyer always has been the that if a direct dye molecule is made the reactive group, which contains ichievement of fast dyeings, but the larger to increase its affinity and wet one or two reactive chlorine atoms. )resent paper is concerned mainly fastness, it becomes increasingly dif In alkaline solution, reaction between vith the problem of wetfastness on ficult to level, and dyeing temper the dye and the hydroxyl groups in :ellulosic fibers. From the theoretical atures near the boil must be used in cellulose can occur to link the dye )oint of view, wetfastness can be ob- order to obtain penetration of the to the fiber by a definite chemical ained in two ways, namely: fiber in a reasonable time. Finally, bond. These dyes do therefore com 1) The introduction into the fiber direct dyeing must remain funda bine the simplicity of application of |.f insoluble coloring matters. Wet- mentally a reversible adsorption proc water-soluble dyes with high wet astness is then attained by the me- ess, and since the adsorbed dye re fastness properties to an extent which hanical retention of the pigment par- mains unchanged and water-soluble, has not hitherto been attainable. -
How to Dress for Success
HOW TO DRESS FOR SUCCESS Expanding Your Wardrobe Wherever your business takes you, it’s important to look great and make a positive first impression. So whether it’s the boardroom, a golf outing, or a black tie event, you need to be prepared with a well-rounded wardrobe that’s as stylish and professional as you are. That’s where Men’s Wearhouse comes in. For over 35 years, we’ve been helping men look their best, with comfortable, great-fitting clothes for every occasion. You can count on us for quality clothing and expert style tips to help you make great choices that reflect who you are—and where you’re headed next. AT WORK It all starts with the suit In today’s big Since the suit is the foundation for your entire wardrobe, meeting, you’re it’s important to make sure you have a range of looks — not just for around the office, but for power lunches, representing your off-site meetings, and special presentations where all company. Do you eyes are upon you. have what it takes When considering a new suit, remember that your best to make the right look begins with comfort and fit. That’s why we offer Traditional, Athletic, and Modern cuts to work best with statement? your build and give you room to express your own sense of style. Once you know what looks and feels great, we’ll • Classic two-button suit help you choose from a variety of designer brands to with a great fit round out your wardrobe with a mix of solids, pinstripes, and two- or three-button styles. -
January February March April 2021 January 2021
JANUARY FEBRUARY MARCH APRIL 2021 JANUARY 2021 JANUARY LAND OF LITTLE RAIN Cinnamon, sage, and dusky blue. Our palette draws from New Mexico and its mountains, grasses, cacti, and sunset skies. A casual, laid back vibe emerges. Easy silhouettes, soft sustainable fabric, and understated looks. 2 WHOLESALE.WEARETHOUGHT.COM JANUARY 2021 LAND OF LITTLE RAIN BLACK MID BLUE SAGE GREEN VANILLA CREAM CINNAMON BROWN WHOLESALE.WEARETHOUGHT.COM 3 JANUARY 2021 EVERLY WRAP DRESS WSD5380 LOREN CARDIGAN WWT4950 67% VISCOSE DERIVED FROM BAMBOO 28% ORGANIC COTTON 5% ELASTANE JERSEY 100% ORGANIC COTTON KNITWEAR 6 8 10 12 14 16 18 £20212495€20213140 6 8 10 12 14 16 18 20 £20211595€20211990 BLACK AMBER BLACK BIRCH GREY 4 WHOLESALE.WEARETHOUGHT.COM JANUARY 2021 MADELYN JUMPSUIT WSD5373 AURELIA JUMPER WST5382 67% VISCOSE DERIVED FROM BAMBOO 28% ORGANIC COTTON 5% ELASTANE JERSEY 85% ORGANIC COTTON 15% WOOL KNITWEAR 6 8 10 12 14 16 18 £20212295€20212895 6 8 10 12 14 16 18 £20212595€20213250 MID BLUE MID BLUE WHOLESALE.WEARETHOUGHT.COM 5 JANUARY 2021 MADELYN LEGGINGS WSB5377 KATIE TROUSERS WSB4612 67% VISCOSE DERIVED FROM BAMBOO 28% ORGANIC COTTON 5% ELASTANE JERSEY 64% MODAL 36% VISCOSE DERIVED FROM BAMBOO 6 8 10 12 14 16 18 £20211150€20211450 6 8 10 12 14 16 18 £20212115€20212660 MID BLUE BLACK 6 WHOLESALE.WEARETHOUGHT.COM JANUARY 2021 MADELYN TUNIC WST5374 NELL TOP WST5394 67% VISCOSE DERIVED FROM BAMBOO 28% ORGANIC COTTON 5% ELASTANE JERSEY 95% ORGANIC COTTON 5% ELASTANE JERSEY 6 8 10 12 14 16 18 £20211920€20212395 6 8 10 12 14 16 18 £20211535€20211925 MID