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American Culture: Fashion and Sustainability
AMERICAN CULTURE: FASHION AND SUSTAINABILITY A thesis submitted to the Kent State University Honors College in partial fulfillment of the requirements for Departmental Honors by Kelsey Merritt May, 2018 Thesis written by Kelsey Merritt Approved by _____________________________________________________________________, Advisor _____________________________________________________________________, Co Advisor ______________________________________________, Director of Fashion Accepted by ___________________________________________________, Dean, Honors College ii TABLE OF CONTENTS LIST OF FIGURES…..……………………………………………...……………………iv LIST OF TABLES………..………………………………………………………………vi ACKNOWLEDGMENT………………………………………….……………………..vii CHAPTERS I. INTRODUCTION……………………………………………….………..1 Delimintations……………………………………………………………..4 II. LITERATURE REVIEW………………………………………….………6 III. DATA COLLECTION METHODS……………………………………..12 IV. FINDINGS AND DISCOVERINGS…………………………………….42 V. RECOMMENDATIONS………………………………………………...48 REFERENCES……………………………………………………………………...…...54 APPENDIX 1. Appendix A………………………………………………………………58 2. Appendix B………………………………………………………………60 3. Appendix C………………………………………………………………63 4. Appendix D………………………………………………………………66 iii LIST OF FIGURES Figure 1: Inside Stoll knit factory………………………………………………………..15 Figure 2: Stoll’s knit factory entrance…………………………………………………...16 Figure 3: Sample garments created………………………………………………………16 Figure 4: Ka de We shoe floor…………………………………………………………...18 Figure 5: Rug maker……………………………………………………………………..20 Figure 6: Testing rug making myself…………………………………………………….20 -
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. -
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”. -
Depictions of Empowerment? How Indian Women Are Represented in Vogue India and India Today Woman a PROJECT SUBMITTED to the FACU
Depictions of Empowerment? How Indian Women Are Represented in Vogue India and India Today Woman A PROJECT SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Monica Singh IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF LIBERAL STUDIES August 2016 © Monica Singh, 2016 Contents ILLUSTRATIONS........................................................................................................................ ii INTRODUCTION......................................................................................................................... 1 CHAPTER 1 .................................................................................................................................. 5 CHAPTER 2 ................................................................................................................................ 19 CHAPTER 3 ................................................................................................................................ 28 CHAPTER 4 ................................................................................................................................ 36 CHAPTER 5 ................................................................................................................................ 53 CHAPTER 6 ................................................................................................................................ 60 REFLECTION FOR ACTION................................................................................................. -
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. -
FASHION DESIGNING PAPER 1 (THEORY) (Maximum Marks: 70) (Time Allowed: Three Hours) (Candidates Are Allowed Additional 15 Minutes for Only Reading the Paper
FASHION DESIGNING PAPER 1 (THEORY) (Maximum Marks: 70) (Time allowed: Three hours) (Candidates are allowed additional 15 minutes for only reading the paper. They must NOT start writing during this time.) --------------------------------------------------------------------------------------------------------------------- Answer five questions, choosing at least two from Section A and two from Section B. Use illustrations/sketches/diagrams wherever necessary. The intended marks for questions or parts of questions are given in brackets [ ]. --------------------------------------------------------------------------------------------------------------------- SECTION A Question 1 (a) Explain the uses of textiles in industrial and medical fields. [7] (b) Write any four advantages and any three disadvantages of cotton and silk fibres. [7] Question 2 (a) Write about the tests used for identification of wool and polyester fibres. [7] (b) Discuss the method of ring spinning used for making spun yarns. [7] Question 3 (a) Write short notes on the following: (i) Crochet [3½] (ii) Lace [3½] (b) Write short notes on the uses and characteristics of the following non-woven fabrics: (i) Felt [3½] (ii) Leather [3½] --------------------------------------------------------------------------------------------------------------------- 1218-865A This paper consists of 2 printed pages. © Copyright reserved. Turn over Question 4 (a) Explain the significance of colour in India with reference to the social, cultural [7] and psychological aspects. (b) Write a short note on the traditional Pochampalli Sari of India. [7] SECTION B Question 5 With reference to the frugal period, discuss in detail the silhouettes, the head gears and [14] the hair styles of women. Question 6 Discuss the fashion of the Swinging Sixties. [14] Question 7 Discuss the following traditional costumes of women with the help of sketches: (a) Ghagra, choli and odhni of Rajasthan. -
The Dress Code for Women at Shanti Bhavan, Like Many
The dress code for women at Shanti Bhavan, like many places throughout rural South India is relatively conservative: absolutely no shoulders, no cleavage, looser clothing (ie. no leggings and no tight tops) and nothing above the knees. Female Teachers’ Typical Clothing Many professional women wear kurtas, or long dresses with high slits at the sides which are paired with leggings or pants. Kurtas are also often worn with scarves that are draped across the shoulders as a display of modesty. This article of clothing is often worn by teachers, as it is often considered to be casual yet appropriate in the workspace. One important thing to note is that men also wear kurtas in India: in fact, traditionally women would wear the female version called kurtis while men wore kurtas. However, the term kurta is often used for the clothing article that both men and women wear. Volunteers and teachers are often recommended to wear kurtas while at the school—although wearing a kurta is not compulsory. In lieu of wearing kurtas, typically business-casual styles of dress (as long as they adhere to the rules of no exposed shoulders, cleavage, or knees) is acceptable. You will often see volunteers wearing trousers with a blouse, or long skirts paired with both a blouse and scarf. This is an example of a kurta, notice the high slit at the sides (often seen in kurtas) Aunties and Female Maintenance Workers’ Typical Clothing The aunties, who are the caretakers of the children, often wear traditional clothes, whether they wear kurtas or saris (a cropped blouse that often stops underneath the bustline and is paired with a nine-yard long fabric which is wrapped around the lower part of the body and draped over one shoulder). -
Chikankari Embroidery of Lucknow the Craft of Floral Embroidery by Sakshi Gambhir IDC, IIT Bombay
D’source 1 Digital Learning Environment for Design - www.dsource.in Design Resource Chikankari Embroidery of Lucknow The craft of floral embroidery by Sakshi Gambhir IDC, IIT Bombay Source: http://www.dsource.in/resource/chikankari-em- broidery-lucknow 1. Introduction 2. Place 3. People 4. Process 5. Products 6. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Resource Introduction Chikankari embroidery of Chikankari is an ancient form of white floral embroidery, intricately worked with needle and raw thread on a va- Lucknow riety of fabrics like cotton, muslin, silk, organza etc. There are 36 types of stitches used in chikan work.The word The craft of floral embroidery ‘chikan’ is probably a derivative from the Persian word ‘chikin’ or ‘chikeen’ which means a kind of embroidered fab- by ric.It is said to have been originally introduced by NoorJehan, the beautiful wife of the Mughal emperor Jahangir. Sakshi Gambhir Since then it has evolved and attained its glory and perfection in Lucknow, the capital of Uttar Pradesh. Today it IDC, IIT Bombay is a practiced tradition and an important commercial activity in the city and around. Source: http://www.dsource.in/resource/chikankari-em- broidery-lucknow/introduction 1. Introduction 2. Place 3. People 4. Process 5. Products 6. Contact Details D’source 3 Digital Learning Environment for Design - www.dsource.in Design Resource Place Chikankari embroidery of Lucknow is a lovely old city and has the most spectacular gardens, palaces, fine architectural mosques and tem- Lucknow ples. It is synonymous withcultural finesse, social warmth and an enduring love for gracious living.Chowk, as the The craft of floral embroidery name suggests, is a street in old Lucknow with the distinction of being the oldest in the city. -
Bollywood and Fashion Trends in India: a Longitudinal Study Jashandeep Singh, Kanupriya Gupta M.M
International Journal of scientific research and management (IJSRM) ||Volume||2||Issue||1||Pages|| 491-495 ||2014|| Website: www.ijsrm.in ISSN (e): 2321-3418 Bollywood and Fashion Trends in India: A Longitudinal Study Jashandeep Singh, Kanupriya Gupta M.M. Modi College, Patiala. [email protected] [email protected] Abstract India has very rich and varied textile heritage. The languages and dialects, foods and culture change every 80-100 kilometers. Each region of India is having a very unique traditional costumes and accessories. Therefore, every region has a different view of fashion which makes its fashion as diverse as the culture and traditions of the country. The fashion in India is not only confined within the limits of the country but a perfect touch of western culture can also be witnessed in the developed and some underdeveloped cities of the country; and all this has been done by Indian Film Industry-“Bollywood” only. This purpose of this paper is to throw some light over the impact of Bollywood on fashion in India. Keywords: Fashion, Bollywood, Fashion and of post-independence. This was period of revival, Bollywood. where various organizations were involved in reviving traditional Indian techniques, in weaving, 1. INRTODUCTION printing, dyeing or embroidery, including ikat, India is a country having an ancient clothing patola (double-ikat), bandhani (tie & dye) and design tradition, yet an emerging fashion industry. shisha (mirror embroidery).[7] Before 1980s, a handful of designers existed but the late 80s and the 1990s witnessed growth. This An early trendsetter in fashion was Bollywood (Hindi cinema), where costume designers like was the result of increasing exposure to global fashion and the economic boom after the BhanuAthaiya, started experimenting with film economic liberalization of the Indian fashion in the 1960s. -
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. -
Bangladesh! Bangladesh Is a Beautiful South Asian Country Lying in the Bay of Bengal
Welcome to Bangladesh! Bangladesh is a beautiful South Asian country lying in the Bay of Bengal. The national language is Bengali, or Bangla. The tiny country houses the world’s longest sea beach, as well as 165 million people, making it one of the most population dense countries in the world. “Bangla” Traditional Dishes Ilish Mach Bhuna (Hilsha Curry) Ingredients: 1.Hilsha fish - 7 to 8 pieces 2.Finely chopped onion - 1 cup 3.Ground turmeric - 1 teaspoon 4.Chili powder - 1 teaspoon 5.Sliced green chili - 4 to 5 6.Salt - as needed 7.Mustard Oil - ½ cup (veg. oil would work too) Preparation: 1.Clean the fish pieces in water and drain it all out and pat dry. 2.Marinate the fish with turmeric, chili powder and salt. Keep aside. 3.Heat oil in a pan and brown the onion. 4.Add ½ cup of water. 5.Once the water starts boiling, add in the fish pieces and stir gently. 6.Mix in the green chili and keep covered. 7.After 2 to 3 minutes, turn the fist pieces over. 8.Keep covered over low heat. 9.Turn off the heat once the water starts drying up and the gravy thickens slightly 10.Serve hot. Note: Ingredients can be found at Indian grocery stores or at the International Food Bazaar in Kent, WA Men’s Clothing Women’s Clothing Lungi: Sari: a loop of cloth, similar to a skirt or sarong Long piece of cloth, wrapped and tucked around waist, then draped off of shoulder Kurta: loose, collarless, jersey-like shirt Salwar kameez: three piece outfit including a long tunic, Panjabi: trousers that are wider at waist and narrow similar to a kurta, but fancier as it is worn at the ankles and a long scarf or shawl on special occasions Fun Facts! 1) Bangladesh has the longest female-led government! 2) The Bangladesh flag is a very simple design, yet symbolizes a lot 3) The currency of Bangladesh is called “taka” Places To Visit + Fun Things To Do National Parliament House Cox’s Bazar Beach Bangladesh on a map Nafakhum Waterfalls Tea Garden Cultural Artifacts ● Festival Props ● Alponna (street design) ● Rickshaw Detailing ● Dolls dressed as traditional brides. -
Ancient Civilizations Huge Infl Uence
India the rich ethnic mix, and changing allegiances have also had a • Ancient Civilizations huge infl uence. Furthermore, while peoples from Central Asia • The Early Historical Period brought a range of textile designs and modes of dress with them, the strongest tradition (as in practically every traditional soci- • The Gupta Period ety), for women as well as men, is the draping and wrapping of • The Arrival of Islam cloth, for uncut, unstitched fabric is considered pure, sacred, and powerful. • The Mughal Empire • Colonial Period ANCIENT CIVILIZATIONS • Regional Dress Harappan statues, which have been dated to approximately 3000 b.c.e. , depict the garments worn by the most ancient Indi- • The Modern Period ans. A priestlike bearded man is shown wearing a togalike robe that leaves the right shoulder and arm bare; on his forearm is an armlet, and on his head is a coronet with a central circular decora- ndia extends from the high Himalayas in the northeast to tion. Th e robe appears to be printed or, more likely, embroidered I the Karakoram and Hindu Kush ranges in the northwest. Th e or appliquéd in a trefoil pattern. Th e trefoil motifs have holes at major rivers—the Indus, Ganges, and Yamuna—spring from the the centers of the three circles, suggesting that stone or colored high, snowy mountains, which were, for the area’s ancient inhab- faience may have been embedded there. Harappan female fi gures itants, the home of the gods and of purity, and where the great are scantily clad. A naked female with heavy bangles on one arm, sages meditated.