HE FASHION INSTITUTE of TECHNOLOGY Catalogue

Total Page:16

File Type:pdf, Size:1020Kb

HE FASHION INSTITUTE of TECHNOLOGY Catalogue HE FASHION INSTITUTE OF TECHNOLOGY , Catalogue 1963 -1965 { THE FASHION INSTITUTE OF TECHNOLOGY CATALOGUE A COMMUNITY COLLEGE 1963-1965 under the pr·ograrn of the STATE UNIVERSITY OF NEW YORK sponsored by the BOARD OF EDUCATION OF THE CITY OF NEW YORK and the EDUCATIONAL FOUNDATION FOR THE APPAREL INDUSTRY Day Program accredited by the Evening Program MIDDLE STATES ASSOCIATION OF Special Studies COLLEGES AND SECONDARY SCHOOLS 227 West Twenty-seventh Street, New York 1, New York TABLE OF CONTENTS Page GENERAL INFORMATION . 23 HISTORY 23 OBJECTIVES 23 PROGRAMS 23 ONE- YEAR PROGRAMS FOR COLLEGE GRADUATES 24 SPECIAL STUDIES AND EVENING PROGRAMS 24 TRANSFER OF CREDIT 25 LOCATION 25 FACILITIES .................................................. 26 INSTRUCTIONAL 26 LIBRARY 26 SPECIAL ACTIVITY AND STUDENT SERVICE FACILITIES 27 HOUSING ACCOMMODATIONS 27 INDUSTRY AND COMMUNITY CO-ORDINATION 28 Resources 28 The Educational Foundation for the Apparel Industry 28 Endowments of Professorial Chairs 29 ADMISSION .................................................. 29 SELECTION OF APPLICANTS 29 PROCEDURES 30 ADMISSION WITH ADVANCED STANDING 30 READMISSION 31 VETERANS 31 SELECTIVE SERVICE 31 FOREIGN STUDENTS 31 FINANCIAL POLICIES ....................................... 31 TUITION AND FEES 31 TUITION REFUNDS 32 FINANCIAL ASSISTANCE 33 COUNSELING SERVICES ..................................... 35 COUNSELORS 35 HEALTH 35 PLACEMENT 35 Placement Counseling 35 Co-operative (Work-Study) Program 35 Part-Time Employment 36 Summer Employment 37 Placement of Graduates 37 COLLEGE REGULATIONS .................................... 37 ATTENDANCE 37 SCHOLASTIC STANDING 37 COMMUNITY SERVICE 38 STUDENT PROJECTS 38 HONORS 39 STUDENT CONDUCT 40 TRANSCRIPTS 40 STUDENT ACTIVITIES ....................................... 40 STUDENT ASSOCIATION 40 STUDENT COUNCIL 40 CLUB AND SOCIAL ACTIVITIES 41 PUBLICATIONS 41 INTERCOLLEGIATE AFFILIATIONS 41 THE ALUMNI ASSOCIATION ................................. 42 THE STUDENT-FACULTY CORPORATION ................... 42 4 FASHION INSTITUTE OF TECHNOLOGY BOARD OF TRUSTEES 5 TABLE OF CONTENTS (cont.) BOARD OF TRUSTEES Page INTERPRETATION OF SYMBOLS AND NUMERALS .......... 42 SYMBOLS 42 NUMBERING SYSTEM 43 MORRIS W. HAFT Chairman SEMESTER-HOUR CREDIT 43 CURRICULUMS . 44 SAMUEL L. DEITSCH Executive Committee Chairman ADVERTISING CURRICULUM 44 Fashion Illustration and Advertising Design 44 BUSINESS CURRICULUM 46 HARRY J. DELANEY Trustee Fa&,hicn Buying and Merchandising 47 Fashion Communications 48 ANDREW GOODMAN Trustee DESIGN (FASHION) CURRICULUM 49 Apparel Design 51 ISIDORE GROSSMAN Trustee Interior Design 52 Pattern Drafting and Design 53 Textile Design 54 MORRIS !USHEWITZ Trustee INDUSTRIAL TECHNOLOGY CURRICULUM 55 Management Engineering Technology 56 HELEN S. LEFKOWITZ Trustee Textile Administration and Sales 57 COURSE DESCRIPTIONS ..................................... 58 MARY BROOKS PICKEN Trustee APPAREL DESIGN 58 ENGLISH 66 LOUIS STULBERG Trustee FASHION ART AND DESIGN 68 FASHION BUYING AND MERCHANDISING 71 FASHION ILLUSTRATION AND ADVERTISING DESIGN 76 SHIRLEY GOODMAN Secretary FINE ARTS 80 FOREIGN LANGUAGES 81 JOHN J. FERRIS Treasurer HEALTH EDUCATION 82 INTERIOR DESIGN 82 THEODORE FRED KUPER Administrative Consultant MANAGEMENT ENGINEERING TECHNOLOGY 85 MATHEMATICS 91 MUSIC 92 PATTERN DRAFTING AND DESIGN 92 SCIENCE 95 SOCIAL SCIENCES 96 TEXTILE DESIGN 98 TEXTILE SCIENCE 106 COURSES FOR TEACHERS 112 EXECUTIVE SEMINARS 115 STATE OF NEW YORK ................................. 116 CITY OF NEW YORK ........................................ 116 BOARD OF EDUCATION OF THE CITY OF NEW YORK ..... 116 LAWRENCE L. BETHEL President, Fashion Institute STATE UNIVERSITY OF NEW YORK ....................... 117 of Technology EDUCATIONAL FOUNDATION FOR THE APPAREL INDUSTRY ................................... 120 6 FASHION INSTITUTE OF TECHNOLOGY ADMINISTRATION 7 ADMINISTRATION ANITA DELEMOS, M.D ........ Physician University of Heidelberg LAWRElNCE L. Bll::THEL • , .......... , , , , , , .. , .........•.. , . , .President JANE MANTELLO, R.N. , .. , , , , , . ...................... Nurse B.S., Central Missouri State College; M.A., Columbia University; St. Vincent's Hospital Ph.D., Yale University CHARLOTTE GUEDENET ................... iVlanager, F.I.T. College.Shop B. FRANK FULLER, Jr. , ......... , ................ Dean of the ~olleg_e B.A., South Eastern State College, Okla.; M.A., Columbia Um- ASSISTANTS IN ADMINISTRATION versity; Ph.D., Yale University HILDA BOCK ... College Administrative Assistant, Scheduling of SHIRLEY GOODMAN •.••.• , ••.•....•.•..••.... Secretary of the College Building Facilities, Student Faculty Corporation THEODORE FRED KUPER .••...•••••..•.•.•.. Administrative Consultant BARBARA BOYER ........................ Secretary, Placement Office L.L.R,, New York University Law School CLARA BRANCH .. , .. .. Technical Assistant, Faculty Ofjice, MORRIS H. GERSHON ....•.. , •.•.•.. , .•...... Assistant to the Treasurer B.C.S., New York University; L.L.B., New York University; Apparel Design Depa.rtment C.P.A., University of the State of New York ESTELLE BRITTMAN ...... Secreta.ry, Admissions Office !SABEL CONNELLY .. .... Receptionist and Switchboard Ope-rator ANNE CRANE ..... ..... Secretary, Faculty Office, MARION K. BRANDRISS .. , ................. Dean of Student Personnel Management and Textile Science Dep't B.A., Cornell University; M.A., Cornell University GEORGETTA GITTENS . Secretary, Educational Foundation for the ALFRED B. WAGNER ............... Assistant Dean Evening Programs Apparel Industry B.S., Temple University; M.S., Bucknell University HARRIET HUNT ... ..... Receptionist and Switchboard Operator MARY W. JONES •....•. , ........... Assistant Dean Student Activities B.A., Brooklyn College JOYCE JACOBSON ........................... Secretary, Business Office ELEANOR L. FRIED ....... , ... , .... , .......... Director of Placement BENJAMIN KLEIN ... Scc'J'eta1·y, Special Studies and Evening Programs B.A., Barnard College JOHANNA LANDMAN ..................... Secretary, Ofjice of the Dean JOHN C. NICHOLS ................ Assistant Director, Evening P1·ograms B.S., Texas Wesleyan College; M.S., Texas College of Arts and NETTIE LEVINE .. .. Sec1·etary, Office of Student Activities Industries CLARA LEVINSON ....... Secretary, Faculty Office, Fashion Buying and Merchandising Dep't ROBERT G. JONES .•..•..•. , ..•. , .............. , ........ Fiscal Officer American Institute of Banking ROSLYN LEVINSON ............ Colle,qe Admissions Assistant MILDRED WINCOR .........•... Executive Director, Alumni Association RUTH LEWIS . , , . , ....... , . College Admissions Assistant to the B.A., Hunter College; M.A., Columbia University Special Studies & Evening Prog1·a-ms FLORENCE FELD ....................... , , , ... , , ...•. , ........ Bursar ESTELLE LUTTRELL , , , .... , ............. , , . Secrefory to the P1·esident B.A., University of Chicago SYLVIA GALVARIN .............. , , ..... , ....•. , ... , ....... , Registrar A.B., Hunter College JUDY MAIROWITZ ..... .... College Administrative Assistant, General Aclrru'nistrative Office HELEN M. RUBIN .... , .... , .•...•.•.•.....•........•...... Librarian B.A., Hunter College; M.S., Columbia University DOROTHY MARGOLIES ... ......... Technical Assistant, Faculty Office, Textile Design Dep't EUNICE S. WALKER • , , • , . , .• , •.•. , • , .••.•..••••. • Assistant Librarian FRANCES MCMANUS B.A., New York University; M.A., New York University; M.S., .. College Adrninistrative Assistant to the Columbia University Dean of the College LILLIAN RICHMOND ..... College Administrative Assistant EDITH O'DONNELL • , •• , • , • , , • , • , •• , • , , •• , •...•.• . Assistant Librarian to the Fiscal O.fficer B.S., Cornell University; M.S., Columbia University ELEANORE RIECKMAN , .............. , , . , .Secreta.1·y, President's 0.fficc NATALIE DUBASSOFF .....•.•......... Resident Manager, Nagler Hall PEARL ROBERTSON ... Secretary, Special Studies and Evening Programs 8 FASHION INSTITUTE OF TECHNOLOGY FACULTY 9 SHEILA SELL ..•..... , ............ Technical Assistant, Faculty Office FACULTY Apparel Design Department MIRIAM SHANECK ............ Secretary, Faculty Office, Academic Dep't *S. MURRAY ABBOTT ... Instructor in Fashion Buying and Merchandising B.A., Brooklyn College FAN SHEAR ..................... Secretary, Faculty Office, Art Dep't *DONALD H. ABRAMS ............. Jnstriwtot· in History of Civilization NANCY SLANE ............•......... College Administrative Assistant B.F.A., University of Pennsylvania; M.F.A., University of Penn- to the Secretary of the College B.A., Michigan State University sylvania *MARY ALLARD •.•........ Instt-uctor in Wea11ing and Textile Design NANCY STAVROPOULOS ................ Secretary, Office of the Secretary B.S.E., Lowell Teachers College FRANCES YOUNGLEIB •..•.........•..•........ , . , , ...... Bookkeeper JosE R. ALVARODIAZ ..•................ Instnwtot· in Textile Science B.S., Philadelphia Textile Institute *EMMA AUER ....•.• . Instructor in Fashion Buying and Merchandising B.S., University of Illinois; M.S., Washington U., St. Louis, Mo. NATHAN AXELROD ........ , .... , Associate Professor & Co-ordinator of Ewming Program of Fashion Buying and Merchandising A.B., New York University; M.S., New York University Gradu- ate School of Retailing JUDITH BAHSSIN ....... Associate Professot' of Fashion Art and Design B.F.A., Pratt Institute ROSA C. BALENZANO ... Associate Professor of Fashion Art and Design Parson's School of Fine and Applied Arts; B.S., New
Recommended publications
  • Esquevin, Christian. Adrian: Silver Screen to Custom Label
    General: Esquevin, Christian. Adrian: Silver Screen to Custom Label. New York: Monacelli Press, 2008. Designers Series. The Eleanor Lambert Collection, 1943-2003. Gladys M. Marcus Library, Fashion Institute of Technology. Horyn, Cathy. “Silver Screen to Mezzanine: His Designs Were For All. The New York Times, April 30, 2002. Kinsey, Sally Buchanan. “Gilbert Adrian: Creating the Hollywood Dream Style.” Fiber Arts, no. 3 (May/June 1987): 48–50. Riley, Robert. “Adrian.” In American Fashion: The Life and Lines of Adrian, Mainbocher, McCardell, Norell, and Trigère, edited by Sarah Lee, 3–107. New York: Quadrangle/New York Times Book Co., 1975. Milbank, Caroline Rennolds. “Adrian.” In Couture, the Great Designers, 204–211. New York: Stewart, Tabori & Chang, 1985. Palomo-Lovinski, Noël. Adrían: The Artistry of Adrian: Hollywood's Celebrated Design Innovator. [Kent, OH]: Kent State University, 2002. Reilly, Maureen. “Adrian: The Lion of MGM.” In California Couture, 11–66. Atglen, PA: Schiffer Pub. Ltd, 2000. Simms, Joseph. “Adrian, American Artist and Designer.” Costume, no. 8 (1974): 13–17. Primary Sources: “Adrian: A New Hand in the American Couture.” Vogue, March 15, 1942. Adrian. “Do American Women Want American Clothes?” Harper’s Bazaar, February 1934. Merkel, Helen. "Adrian Talks of Gowns—and of Goats." The New York Times, May 27, 1945. Film Costume Design: Berry, Sarah. Screen Style: Fashion and Femininity in 1930s Hollywood. Minneapolis: University of Minnesota Press, 2000. Evans, Caroline. “Wanting to Wear Seeing: Gilbert Adrian at MGM.” In Fashion in Film, edited by Adrienne Munich, 135–159. Bloomington, IN: Indiana University Press, 2011. Gutner, Howard. Gowns by Adrian: The MGM Years 1928-1941.
    [Show full text]
  • HISTORY and DEVELOPMENT of FASHION Phyllis G
    HISTORY AND DEVELOPMENT OF FASHION Phyllis G. Tortora DOI: 10.2752/BEWDF/EDch10020a Abstract Although the nouns dress and fashion are often used interchangeably, scholars usually define them much more precisely. Based on the definition developed by researchers Joanne Eicher and Mary Ellen Roach Higgins, dress should encompass anything individuals do to modify, add to, enclose, or supplement the body. In some respects dress refers to material things or ways of treating material things, whereas fashion is a social phenomenon. This study, until the late twentieth century, has been undertaken in countries identified as “the West.” As early as the sixteenth century, publishers printed books depicting dress in different parts of the world. Books on historic European and folk dress appeared in the late eighteenth and nineteenth centuries. By the twentieth century the disciplines of psychology, sociology, anthropology, and some branches of art history began examining dress from their perspectives. The earliest writings about fashion consumption propose the “ trickle-down” theory, taken to explain why fashions change and how markets are created. Fashions, in this view, begin with an elite class adopting styles that are emulated by the less affluent. Western styles from the early Middle Ages seem to support this. Exceptions include Marie Antoinette’s romanticized shepherdess costumes. But any review of popular late-twentieth-century styles also find examples of the “bubbling up” process, such as inner-city African American youth styles. Today, despite the globalization of fashion, Western and non-Western fashion designers incorporate elements of the dress of other cultures into their work. An essential first step in undertaking to trace the history and development of fashion is the clarification and differentiation of terms.
    [Show full text]
  • Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form
    Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Step 1 Apply style tape to your dress form to establish the bust level. Tape from the left apex to the side seam on the right side of the dress form. 1 Module 1 – Prepare the Dress Form Step 2 Place style tape along the front princess line from shoulder line to waistline. 2 Module 1 – Prepare the Dress Form Step 3A On the back, measure the neck to the waist and divide that by 4. The top fourth is the shoulder blade level. 3 Module 1 – Prepare the Dress Form Step 3B Style tape the shoulder blade level from center back to the armhole ridge. Be sure that your guidelines lines are parallel to the floor. 4 Module 1 – Prepare the Dress Form Step 4 Place style tape along the back princess line from shoulder to waist. 5 Lesson Guide Princess Bodice Draping: Beginner Module 2 – Extract Measurements Step 1 To find the width of your center front block, measure the widest part of the cross chest, from princess line to centerfront and add 4”. Record that measurement. 6 Module 2 – Extract Measurements Step 2 For your side front block, measure the widest part from apex to side seam and add 4”. 7 Module 2 – Extract Measurements Step 3 For the length of both blocks, measure from the neckband to the middle of the waist tape and add 4”. 8 Module 2 – Extract Measurements Step 4 On the back, measure at the widest part of the center back to princess style line and add 4”.
    [Show full text]
  • Modern Pattern Design by Harriet Pepin
    1942—Modern Pattern Design by Harriet Pepin Chapter 1—Pattern Designing Description of Equipment As the doctor, sculptor or artist should understand the purpose of various tools and equipment common to his profession, it is equally important that the patternmaker understands the purpose for which his equipment has been designed. Most of the following articles may be purchased at art supply houses, tailor's supply firms or at the notion departments in retail stores: 1. Triangle: The transparent right triangle is useful in pattern making to "square" a corner. The two smaller points will serve to establish a true bias from a vertical or horizontal line. Diagrams in problems which follow illustrate how this is done. In the study of geometry we learn that a triangle must total 180 degrees. This right triangle has two 45 degree angles and one 90 degree angle. 2. Tracing Wheel: This clever instrument saves hours of needless labor of thread marking. It is used to transfer lines or symbols from one pattern to another or from the final pattern to the muslin or fabric. When the test muslins are being made by the designer, ordinary pencil carbon may be used. When actual garments are being cut, white carbon or chalk boards are used. These markings can be easily removed later. 3. Carbon Boards: A suitable carbon board can be made by purchasing a 24 × 36 sheet of pencil carbon from an art supply house. This should be laid, face upward, upon a similar size piece of heavy cardboard or ply board. Then a length of cheese cloth is laid over and securely fastened to the back of the board with gum tape or thumb tacks.
    [Show full text]
  • Sample Schedule
    Grab a Ramah Darom map and take an audio tour of campus at ramahdarom�org/take-a-tour FRIDAY, MARCH 26 TIME ACTIVITY LOCATION 11:00am-5:00pm Check In and Intake Welcome Center Enjoy DIY projects or check out activity boxes, sports equipment 11:00am-5:00pm Concierge Desk and games Boating Open Agam (Lake) Check the Concierge Desk to see what time slots are available for: 12:30-5:00pm Archery* Archery Range Climbing* Alpine Tower/Climbing Wall Pool* Breicha (Pool) Outside of Omanut 2:00-4:00pm Art: Embossed Jerusalem with Judy Robkin* (Art Building) Stroll Ramah Darom (Easy) Meet at Levine 3:00-4:00pm Enjoy a tour of our campus. Center Portico Mirpesset T'fillah 4:00-4:45pm Gentle Yoga with Jenn Krueger* (Mountainside Pavilion) 5:00-5:15pm Symbolic Burning of the Chametz Medura (Lakeside Fire Pit) Family Program: A Story Concert with Maxine Handelman Families are invited to enjoy Shabbat, Pesach and getting-to-know- Beit Am 5:30-6:15pm you stories as we prepare to welcome the holiday! Recommended for (Covered Basketball Court) children up to the age of 8. Beit Am 6:15-7:15pm Welcome! Mincha, Kabbalat Shabbat and Maariv (Covered Basketball Court) Levine Center Portico/ 6:30-7:30pm Candle Lighting Available Center Dining Hall *See Session Descriptions on pages 40-41. Grey Denotes Preregistration Required! 12 Passover 2021 Kaplan Mitchell Retreat Center at Ramah Darom FRIDAY, MARCH 26 TIME ACTIVITY LOCATION 7:30-9:00pm Shabbat Dinner Chadar Ochel (Dining Hall) The Rabbi, The Witch and The Prevaricator: The Life of Shimon ben Shetach with Maharat Rori Picker Neiss Shimon ben Shetach is well-known for hunting witches.
    [Show full text]
  • 5 Clothing Technology Eng Oc
    Content Page 5.1 Garment Ease and Fitting 1 5.1.1 Garment Ease 1 5.1.2 Garment Fitting 3 5.2 Pattern construction 7 5.2.1 Measurement and Sizing 7 5.2.2 Methods of Pattern Construction 13 5.2.3 Individual and Commercial Pattern Construction 21 Process 5.3 Garment Construction 23 5.3.1 Construction of Garment Parts 23 5.3.2 Trimmings and Fastenings 58 5.4 Industrial Technologies 69 5.4.1 Industrial Sewing Machine 69 5.4.2 Laser Technology 72 5.4.3 Automatic Data Collection System 75 5.1 Garment Ease and Fitting 5.1.1 Garment Ease Garments require adequate ease to provide and allow room for movement. Ease is the extra allowance added on the body measurement in pattern construction. Ease is different between garment measurement and body measurement. The exact dimensions of the body are without any addition room for comfort or movement. There are two types of ease: Wearing Ease and Design Ease. The measurement of a garment should consider the measurement of the wearer’s body, wearing ease and design ease. Body Wearing Design Fashion Style + + = Measurement Ease Ease or Silhouette Figure 5.1 The sizing design of a fashion garment Wearing ease Design ease Figure 5.2 Wearing ease – to show the basic ease on the dress for allowing the body to move comfortable. Design ease – extra ease to add into the dress by the designer to change the silhouette. 1 (A) Wearing Ease Wearing ease (comfort ease or fitting ease) must be required in all garments for body movement.
    [Show full text]
  • Creating and Managing Archestra Graphics User's Guide
    Wonderware Creating and Managing ArchestrA Graphics User’s Guide 10/21/15 No part of this documentation shall be reproduced, stored in a retrieval system, or transmitted by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Schneider Electric Software, LLC. No liability is assumed with respect to the use of the information contained herein. Although precaution has been taken in the preparation of this documentation, Schneider Electric Software, LLC assumes no responsibility for errors or omissions. The information in this documentation is subject to change without notice and does not represent a commitment on the part of Schneider Electric Software, LLC. The software described in this documentation is furnished under a license agreement. This software may be used or copied only in accordance with the terms of such license agreement. © 2015 Schneider Electric Software, LLC. All rights reserved. Schneider Electric Software, LLC 26561 Rancho Parkway South Lake Forest, CA 92630 U.S.A. (949) 727-3200 http://software.schneider-electric.com/ ArchestrA, Avantis, DYNSIM, EYESIM, Foxboro, Foxboro Evo, I/A Series, InBatch, InduSoft, IntelaTrac, InTouch, PIPEPHASE, PRO/II, PROVISION, ROMeo, Schneider Electric, SIM4ME, SimCentral, SimSci, Skelta, SmartGlance, Spiral Software, VISUAL FLARE, WindowMaker, WindowViewer, and Wonderware are trademarks of Schneider Electric SE, its subsidiaries, and affiliated companies. An extensive listing of Schneider Electric Software, LLC trademarks can be found at: http://software.schneider-electric.com/legal/trademarks/. All other brands may be trademarks of their respective owners. 3 Contents Welcome .................................................. 17 Documentation Conventions ......................................................... 17 Technical Support .......................................................................... 18 Chapter 1 About Creating and Managing ArchestrA Symbols...................................
    [Show full text]
  • Lesson Guide Bustier Dress Draping: Intermediate Module 1 – Prepare the Dress Form
    Lesson Guide Bustier Dress Draping: Intermediate Module 1 – Prepare the Dress Form Step 1A The first step when draping the bustier is to apply style tape to your dress form to establish your guidelines and neckline styleline. Start by taping across the bust level from the left apex across to the right apex. 1 Module 1 – Prepare the Dress Form Step 1B Tape the desired neckline from center front to center back. At the side seam don’t drop lower than 1” from the armplate. 2 Module 1 – Prepare the Dress Form Step 1C For beginners, it is a good idea to apply your bust level tape from center front to the side seam. This will make it easier when balancing the side front panel. Be sure the tape is level to the floor. 3 Module 1 – Prepare the Dress Form Step 1D We will be using the princess lines of the dress form both front and back as the prin- cess stylelines for this bustier. 4 Module 1 – Prepare the Dress Form Step 2A For the skirt, measure down 7” from the bottom of the waist tape. Apply the hip style tape horizontally around the right half of the dress form. You must be sure that the hipline is parallel to the floor. 5 Module 1 – Prepare the Dress Form Step 2B You can check this by resting an L Square on the table and find the number on the ruler that corresponds to center front at the bottom of the hip tape. Your style tape should align at that number as you turn the dress form from front to back.
    [Show full text]
  • 101 CC1 Concepts of Fashion
    CONCEPT OF FASHION BFA(F)- 101 CC1 Directorate of Distance Education SWAMI VIVEKANAND SUBHARTI UNIVERSITY MEERUT 250005 UTTAR PRADESH SIM MOUDLE DEVELOPED BY: Reviewed by the study Material Assessment Committed Comprising: 1. Dr. N.K.Ahuja, Vice Chancellor Copyright © Publishers Grid No part of this publication which is material protected by this copyright notice may be reproduce or transmitted or utilized or store in any form or by any means now know or here in after invented, electronic, digital or mechanical. Including, photocopying, scanning, recording or by any informa- tion storage or retrieval system, without prior permission from the publisher. Information contained in this book has been published by Publishers Grid and Publishers. and has been obtained by its author from sources believed to be reliable and are correct to the best of their knowledge. However, the publisher and author shall in no event be liable for any errors, omission or damages arising out of this information and specially disclaim and implied warranties or merchantability or fitness for any particular use. Published by: Publishers Grid 4857/24, Ansari Road, Darya ganj, New Delhi-110002. Tel: 9899459633, 7982859204 E-mail: [email protected], [email protected] Printed by: A3 Digital Press Edition : 2021 CONTENTS 1. Introduction to Fashion 5-47 2. Fashion Forecasting 48-69 3. Theories of Fashion, Factors Affecting Fashion 70-96 4. Components of Fashion 97-112 5. Principle of Fashion and Fashion Cycle 113-128 6. Fashion Centres in the World 129-154 7. Study of the Renowned Fashion Designers 155-191 8. Careers in Fashion and Apparel Industry 192-217 9.
    [Show full text]
  • Chapter Index
    Trim: 189 x 246 mm bindex.indd 12/11/2014 Page 245 Chapter index COPYRIGHTED MATERIAL Trim: 189 x 246 mm bindex.indd 12/11/2014 Page 246 246 Chapter index Acknowledgements 2 garments 10 Introduction 4 Standard body measurements – women’s sizing 11 Pattern cutting and design 5 Constructing block patterns 13 Tools and equipment for constructing patterns 6 Block patterns 13 Types of blocks available in the book 13 Chapter 1 Sizing, standard body measurements and constructing block Chapter 2 From block to pattern patterns From block to pattern 16 Industrial sizing systems 8 Pattern outlines 17 Standard body measurements 9 Seam allowances 19 Body measurements for high-street fashion Pattern instructions 20 Costing and garment sampling 21 PART ONE: FORM CUTTING Chapter 3 Fitted skirt blocks and Chapter 4 Fitted trouser blocks and adaptations adaptations The ‘form’ skirt blocks 24 The basic trouser block 44 The basic skirt block (natural waist) 24 The production trouser block 46 The production skirt block (low waist) 25 Basic modifications 1 Crutch ease 48 Straight skirts 2 Waistlines and waistbands 48 The straight skirt blocks 26 3 Alternative leg shaping 48 1 Straight skirts 26 4 Changing the body shape 48 2 Panel skirt 27 3 Straight skirt – inverted pleats 28 Trouser adaptations 4 Straight skirt with godets 29 1 Trousers with pleated waistline 49 5 Asymmetrical skirt – flared 30 2 Flared and gathered trousers 50 6 Panel skirt – gathered and flared 31 3 Culottes 52 7 Cowl skirt 32 4 Flared culottes 53 8 Gored skirt 33 The close fitting trouser/jeans
    [Show full text]
  • Report Resumcs
    I REPORT RESUMCS ED 0!? 782 VT 001 07.:: PATTERNMAKING AND DESIGN. BY- COLICCHIO, ANTOINETTE J. RUTGERS, THE STATE UNIV., NEW BRUNSWICK, N.J. NEW JERSEY STATE DEPT. OF EDUCATION, TRENTON PUB DATE JAN 67 EDRS PRICE ME-$1.25 HC-$12.52 313P. DESCRIPTORS- *STUDY GUIDES, *TRADE AND INDUSTRIAL EDUCATION, *CLOTHING DESIGN, #PATTERNMAKING, HIGH SCHOOLS, NEEDLE TRADES, NEW BRUNSWICK, TRENTON SKILLS IN PATTERNMAKING ARE IMPOP'ANT TO ALL EMPLOYE-9 IN nIC DESIGNING, ROOM TM !P -we-stop rAcurwr mAMIMACTURE. THE OBJECTIVE OF THIS COURSE OF STUDY IS TO ACQUAINT THE STUDENT vii_im THE TOOLS AND SYMBOLS OF PATTENMAKING AND TO HELP HIM MASTER THE DASiC FUNDAMENTALS OF PATTERN DEVELOPMENT. II FOLLOWS THE COURSE OF STUDY APPROVED BY THE BOARD OF EDUCATION AND WAS TESTED IN VARIOUS CLASSROOMS. THEORY AND PRINCIPLES ARE COMBINED WITH PRACTICAL AND CREATIVE APPLICATION IN COSTUME DESIGN. UNITS ARC--(1) INTRODUCTION TO PATTERNMAKING AND DESIGN,(2) SLOPERS,(3) WAISTS, (4) NECKLINES,(5) CLOSINGS AND EXTENSIONS,(6) COLLARS, (7) SLEEVES,(8) SKIRTS,(9) POCKETS] AND (10) BELTS. EACH UNIT INCLUDES OBJECTIVES, RELATED INFORMATION, ASSIGNMENTS, AND ILLUSTRATIONS. THE COURSE REQUIRES THREE PERIODS PER WEEK FOR 1 1/2 YEARS. STUDENTS SHOULD BE OF HIGH SCHOOL AGE WITH APTITUDES AND GOALS FOR THE NEEDLE TRADES. THE TEACHER SHOULD BE A NEEDLE TRADES INSTRUCTOR. INCLUDED ARE OBJECTIVE AND PERFORMANCE TESTS, ILLUSTRATIONS, AND A BIBLIOGRAFWi. THIS DOCUMENT IS ALSO .A.VAILAIXE FROM THE VOCATIONAL-TECHNICAL CURRICULUM LAt*RATORY, RUTGERS UNIVERSITY, 10 SEMINARY PLACE, NEW BRUNSWICK, NEW JERSEY 08903, FOR $2.00. (MS) .. Z.41040 41A.:.; vp 4 40 004040 41 400 Er .
    [Show full text]
  • Rex Stout Papers 1907-1980 (Bulk 1930-1975) MS.1986.096
    Rex Stout papers 1907-1980 (bulk 1930-1975) MS.1986.096 http://hdl.handle.net/2345/1132 Archives and Manuscripts Department John J. Burns Library Boston College 140 Commonwealth Avenue Chestnut Hill 02467 library.bc.edu/burns/contact URL: http://www.bc.edu/burns Table of Contents Summary Information .................................................................................................................................... 3 Administrative Information ............................................................................................................................ 4 Related Materials ........................................................................................................................................... 4 Biographical note ........................................................................................................................................... 6 Scope and Contents ........................................................................................................................................ 7 Arrangement ................................................................................................................................................... 7 Collection Inventory ....................................................................................................................................... 8 I: Literary Life ............................................................................................................................................. 8 II: Personal
    [Show full text]