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The Sherpa and the Snowman
THE SHERPA AND THE SNOWMAN Charles Stonor the "Snowman" exist an ape DOESlike creature dwelling in the unexplored fastnesses of the Himalayas or is he only a myth ? Here the author describes a quest which began in the foothills of Nepal and led to the lower slopes of Everest. After five months of wandering in the vast alpine stretches on the roof of the world he and his companions had to return without any demon strative proof, but with enough indirect evidence to convince them that the jeti is no myth and that one day he will be found to be of a a very remarkable man-like ape type thought to have died out thousands of years before the dawn of history. " Apart from the search for the snowman," the narrative investigates every aspect of life in this the highest habitable region of the earth's surface, the flora and fauna of the little-known alpine zone below the snow line, the unexpected birds and beasts to be met with in the Great Himalayan Range, the little Buddhist communities perched high up among the crags, and above all the Sherpas themselves that stalwart people chiefly known to us so far for their gallant assistance in climbing expeditions their yak-herding, their happy family life, and the wav they cope with the bleak austerity of their lot. The book is lavishly illustrated with the author's own photographs. THE SHERPA AND THE SNOWMAN "When the first signs of spring appear the Sherpas move out to their grazing grounds, camping for the night among the rocks THE SHERPA AND THE SNOWMAN By CHARLES STONOR With a Foreword by BRIGADIER SIR JOHN HUNT, C.B.E., D.S.O. -
Costume Crafts an Exploration Through Production Experience Michelle L
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Costume crafts an exploration through production experience Michelle L. Hathaway Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Hathaway, Michelle L., "Costume crafts na exploration through production experience" (2010). LSU Master's Theses. 2152. https://digitalcommons.lsu.edu/gradschool_theses/2152 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. COSTUME CRAFTS AN EXPLORATION THROUGH PRODUCTION EXPERIENCE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Arts in The Department of Theatre by Michelle L. Hathaway B.A., University of Colorado at Denver, 1993 May 2010 Acknowledgments First, I would like to thank my family for their constant unfailing support. In particular Brinna and Audrey, girls you inspire me to greatness everyday. Great thanks to my sister Audrey Hathaway-Czapp for her personal sacrifice in both time and energy to not only help me get through the MFA program but also for her fabulous photographic skills, which are included in this thesis. I offer a huge thank you to my Mom for her support and love. -
Letter Carriers' Uniform: Hats, Introduction
Letter Carriers’ Uniform: Hats, Introduction In 1868 the Postmaster General listed a cap as the letter carrier’s uniform headgear. It was to be made of the same material as the coat, bound round with a black cloth band 1 1/2 inches wide, and have small buttons at the sides. In 1873, panama hats were authorized for summer. In 1887, numbered badges were added to the carriers' headwear, and helmets were approved for use. Helmets were short-brimmed with a tall crown, similar to British bobby helmets. In 1893, the more general straw hat replaced the panama hat as allowable summer headgear. By 1901, a western-style hat appeared, with a stiff crown and wide brim. Though never described in the Postal Laws and Regulations, photographs indicate this cowboy-style hat was standard wear at some Post Offices. From 1902 through 1948, postal regulations listed the hat, cap or helmet as acceptable carrier headwear. Uniform manufacturers advertised many variations in headgear style. The bobby-style helmet was last advertised in The Postal Record in 1907; in 1949, the safari-style helmet ws first pictured. Although carriers at each Post Office were to dress uniformly, photographs indicate that this was not always enforced. In 1955, only the helmet and cap were listed as acceptable headgear. The helmet was specified for summer; it was made of molded fiber in a blue-gray cadet shade and had a maroon chinstrap. The cap was a blue-gray eight-point style cap with braid the same color as the cap and a maroon chin strap. -
Sanmar Glossary of Terms August 2019 1X1 Rib Knit. This Narrow Rib
SanMar Glossary of Terms August 2019 1x1 Rib Knit. This narrow rib has a soft, fine hand and retains its slim fit. 2x1 Rib Knit. Textured rib knit with a comfortable stretch—made to be worn alone or layered. 2-Way Zipper. A zipper with two zipper pulls so the garment can be unzipped from either direction. 3-in-1 Jacket. A jacket that consists of two jacket layers that zip together. You can wear either jacket layer separately, or zip them together for extra warmth and weather protection. 4-Needle Stitching. A finish commonly used on a sleeve or bottom hem that uses four needles to create parallel rows of visible stitching, giving the garment a cleaner, more finished look, as well as adding durability. 4-Way Stretch. A fabric that stretches both on the crosswise and lengthwise grains of the fabric. Also called mechanical stretch, except mechanical stretch doesn’t use spandex or other stretch yarns. Air Jet Yarn. A type of open-end spinning that uses a stationary tube in which jets of air are directed to cause fibers to twist thereby forming a yarn. This process definitely influences the soft hand feel of the fabric while maintaining excellent resistance to pilling. Airlume Combed and Ring Spun Cotton (BELLA+CANVAS). 100% Airlume combed and ring spun cotton, 32 singles. BELLA+CANVAS removes 2.5x more impurities than standard ring spun cotton and uses only long cotton staples, which means there are less stray fibers when the yarn is spun, resulting in a smoother print surface. All-Weather Microfiber. -
Sherpa & Shire
featuring... Sherpa & Shire Sherpa & Shire have been the hallmark of durability and cleanability since their inception. Cited by Interior Design magazine for their longevity as the best of the past 25 years, these fabrics are nearly impervious to damage. upholstery fabric ll* 100% Polyolefin 40 New color introductions! * Covered by a Limited Lifetime performance warranty. yellow • gold • bronze The color of intelligence, a cerebral left brain stimulant and aids in clear thinking and communications. As yellow moves towards gold, it is the color of symbolism and higher wisdom, hope and inner radiance. Sherpa Amber Shire Nectar Shire Marigold Shire Acorn Shire Phoenix (New!) orange • rust • copper A powerful color that implies enthusiasm and opportunity. Optimistic, energetic and non-conforming, it is in tune with world culture. Bright oranges for artistic accent, softer and muted versions are comforting and complement wood finishes. Shire Marmalade (New!) Shire Paradise (New!) Shire Copper Clay (New!) Shire Tigerlily Shire Grassland Sherpa Snappy (New!) Shire Peachland (New!) Shire Citrus (New!) Shire Serengeti (New!) Shire Garden Sherpa Sparkler Shire Adobe Orange (New!) Sherpa Autumn Shire Bricktown Shire Caramel (New!) red • burgundy • berry A pick me up color that calls for action. Bold, passionate, powerful, loving and charitable, it is an energetic color that communicates strength and confidence. Pink and mauve are more relaxed and nurturing. Sherpa Cardinal Sherpa Scarlet Sherpa Mauve Shire Ascot Shire Oxford Shire Tulip (New!) Shire Red Rose Sherpa Rosewood Shire Aristocrat Shire Black Cherry Sherpa Garnet Sherpa Maroon Sherpa Newport Shire Country Shire Berry Blue (New!) green • sage • jade • hunter This is the color of hope, evoking feelings of renewal and growth. -
Hat, Cap, Hood, Mitre
CHAPTER 1 Headgear: Hat, Cap, Hood, Mitre Introduction down over his shoulders;4 and in Troilus and Criseyde Pandarus urges his niece, a sedate young widow, to Throughout the later Middle Ages (the twelfth to early cast off her face-framing barbe, put down her book and sixteenth centuries), if we are to believe the evidence of dance.5 art, some kind of headgear was worn by both sexes in- In art of the middle medieval period (from about doors and out: at dinner, in church, even in bed. This is the eighth to the eleventh centuries), headgear is less understandable if we consider the lack of efficient heat- well attested. Men are usually depicted bareheaded. ing in medieval buildings, but headgear was much more Women’s heads and necks are wrapped in voluminous than a practical item of dress. It was an immediate mark- coverings, usually depicted as white, so possibly linen is er of role and status. In art, it is possible to distinguish being represented in most cases. There is no clue to the immediately the head of a man from that of woman, as shape of the piece of cloth that makes up this headdress, for example in a fourteenth-century glass panel with a sa- how it is fastened, or whether there is some kind of cap tirical depiction of a winged serpent which has the head beneath it to which it is secured. Occasionally a fillet is of a bishop, in a mitre, and a female head, in barbe* and worn over, and more rarely under, this veil or wimple. -
Aw19 Packaged Goods
AW19 PACKAGED GOODS SINGLE ORIGINAL SLIPPER-SOX (3220N) The famous Original toastie™ Slipper-Sox, featuring our slip-resistant tread & available in three fabulous novelty designs available in fox, penguin & polar bear have you seen my slip-resistant tread? TWIN PACK ORIGINAL SLIPPER-SOX (3218N) The famous Original toastie™ Slipper-Sox, featuring our slip-resistant tread & available in three fun twin packs available in penguin/Fair Isle, red robin/multi robin & polar bear/multi penguin ANKLE SOCKS IN A STAR BAUBLE (3438N) THREE PAIR PACK OF (3405N) Our cotton blend, novelty ankle socks in a range of fun designs ANKLE SOCKS Perfect for gifting in festive, bauble packaging. Three pairs of un-treaded, ankle length available in reindeer, fox & llama socks in cute packaging & fun designs available in cats & pandas THREE PAIRS NOVELTY COSY SLIPPER-SOX (3403N) available in bear, mouse, rabbit & reindeer TWIN COSY SLIPPER-SOX (3436N) available in grey bear & pink rabbit CHUNKY KNIT SLIPPER-SOX (3373N) Super soft sherpa lining available in white Fair Isle & pink multi warm lining LUXURIOUS SUPER SOFT BED SOCKS (3372N) available in white & pink WARM & COSY TWIN CHENILLE & FAIR ISLE SOCKS (3223N) available in navy & pink TWO PAIRS CHUNKY CHENILLE SLIPPER-SOX (3406N) Super soft sherpa lining available in grey, white & pink multi WARM & COSY soft sole NOVELTY CAT FOOTSIES (3380N) Fun & cute faux fur footsie slippers available in pink cat & brown cat ift set? g g in h c t a m r u o n e e s u o y e v a h CHUNKY KNIT NOVELTY SLIPPER-SOX (3375N) Super soft -
FABRICS/ DYING Dictionary
FABRICS/ DYING dictionary ACRYLIC BABYCORD Acrylic fabric is a manufactured fiber with a soft wool-like feel and Babycord is a ribcord fabric with a very small and thin rib line. The an uneven finish. It is used widely in knits as the fabric has the same fabric is often lighter and softer than normal or corduroy fabric. It is cozy look as wool. Acrylic fabric is favored for a variety of reasons very soft and comfortable, and is often made in a stretch quality. it is warm, quite soft, holds color well, is both stain and wrinkle resistant and it doesn’t itch. These qualities make acrylic a great BLEND substitute for wool. A blend fabric or yarn is made up of more than one fibre. In the yarn, two or more different types of fibres are used to form the yarn. ALPACA Blends are used to create a more comfortable fabric with a softer Alpaca wool comes from a South American animal that roams the feel. A good example is a cotton/wool blend; the mixture of cotton mountain slopes of Ecuador, Peru, Bolivia and Chile. The fleece and wool will prevent the fabric from being excessively warm and from an alpaca is similar to wool or mohair, but is softer, silkier, and will make the fabric softer to the skin. warmer. Because alpaca wool takes much longer to grow it is often more expensive and exclusive. However, garments made from this BOUCLE fabric are stronger and more comfortable. The term boucle is derived from the French word boucle, which literally means “to curl”. -
Autumn Winter 2021/22
AUTUMN WINTER 2021/22 cover: CLOCHE, wool felt soft, M21506, this page: CAP, lambskin, P21601, following page, left: BUCKET HAT, melusine felt, M21514, right: BUCKET HAT, melusine felt, M21515 AUTUMN WINTER 2021/22 BIG HUG Where have you gone, you intimate, stormy, friendly, romantic, comforting hugs? We have missed you so much. The autumn winter 2021/22 collection invites you to join it in a big, all-enveloping hug. The hats are fluffy and light as a feather, voluminous, as soft and padded as cotton wool. You can wrap yourself up in them, squeeze them heartily, literally crawl into them for comfort. In return they will hug you back and wrap themselves protectively around you. These are materials that invite cuddles, to feel, to sense, to lose ourselves in them. Because it’s simply impossible to keep your hands off cashmere loden, melusin felt, soft sherpa wool and thickly padded fabrics. The pieces in this collection are approachable, easy to grasp, and just as easy to experience and wear. This feels so good. Wo seid ihr geblieben, ihr innigen, stürmischen, freund- schaftlichen, romantischen, tröstenden Umarmungen? Wir haben euch so vermisst. Die Modelle der Kollektion Herbst Winter 2021/22 laden zu einer großen Umarmung ein. Sie sind flauschig und federleicht, watteweich gepolstert und mit Volumen gefüllt. Man kann sich darin einwickeln, sie herzhaft drücken, förmlich in sie hineinkriechen. Sie sind uns nahe und legen sich schützend um uns. Da sind Materialien, die zum Kuscheln einladen, zum Spüren, Fühlen, sich darin verlieren. Denn von Kaschmir- loden, Melusinfilz, weicher Sherpa-Wolle und dick gepolster- ten Stoffen kann man einfach nicht die Finger lassen. -
Pangden: Sherpa Women and Marriage Dolma D. Sherpa Introduction Every Piece of Clothing Has Its Own Story Behind It
Pangden: Sherpa Women and Marriage Dolma D. Sherpa Introduction Every piece of clothing has its own story behind it. The journey a cloth makes, that we are unaware of, is not limited to a single culture and geographical location. Clothing conveys a message without having to speak for it. The clothing piece we will focus in this paper is, Pangden. A pangden is more than just a mere piece of clothing. It’s a traditional way of determining your gender and marital status without having to explain it. However, like many other old tradition and culture, pangden has had gone through some cultural reconstruction by the newer generation. In this paper, we will be observing pangden up close and through the interviews of woman who wear it. We will also discuss the pangden and its background, the journey it has had since its manufacturing in Lhasa, Tibet, to across the globe, in my closet in New York, USA. We will also compare the Pangden with the Head adornments women in Rupea, Romania wears as a sign of being married. The main take away will be focused on the relationship it has with the wearer’s group Identity and who it is passed down to. Background Pangden is part of traditional dress for women. It is rectangular piece of weaved colorful cloth stitched together to a longer piece of fabric so you can tie it around your waist. It appears to look like a half apron but serves a very different purpose. The pangden I’ll be talking about in this paper, is a hand down from my mom and holds a significance in my wardrobe. -
Great Plains Rifle
Lyman® Dear Black Powder Shooter: Congratulations on purchasing your new Lyman Black Powder Gun. All of our black powder products are the result of extensive thought and testing. With proper care, your new gun should bring you a lifetime of shooting pleasure. Before firing your gun, there are a few precautions that should be followed. Please read these instructions carefully. 1. If your new rifle is a flintlock, we have function tested the lock assembly, flint and frizzen to ensure that it provides proper ignition. Therefore, please do not be concerned with the resulting marks on the frizzen–it is simply a reminder of our comprehensive factory inspection. 2. The barrel's bore contains a heavy duty preservative that may resemble rusty oil. It is not rust! This preservative must be thoroughly removed before firing to obtain maximum accuracy. Directions: A. Swab the bore with some form of solvent or penetrating oil (example: WD-40 or Hoppe's #9). Let soak overnight. B. Brush out the following day using a nylon brush wrapped with 00 steel wool or a brass brush (must be under bore diameter to prevent bristles from jamming at the breech of the barrel). C. Wipe out using soft flannel (avoid t-shirt material–it doesn't work well using cleaning jag and has a tendency to stay down the bore). The brass coloration you see is normal after cleaning. 3. The stock has been stained with oil leaving a dull finish. As with all oil finished stocks, rubbing in additional thin coats of oil (Linseed or Birchwood Casey's Tru-Oil) will further enhance the finish and protect the stock. -
Culture of Azerbaijan
Administrative Department of the President of the Republic of Azerbaijan P R E S I D E N T I A L L I B R A R Y CULTURE OF AZERBAIJAN CONTENTS I. GENERAL INFORMATION............................................................................................................. 3 II. MATERIAL CULTURE ................................................................................................................... 5 III. MUSIC, NATIONAL MUSIC INSTRUMENTS .......................................................................... 7 Musical instruments ............................................................................................................................... 7 Performing Arts ....................................................................................................................................... 9 Percussion instruments ........................................................................................................................... 9 Wind instruments .................................................................................................................................. 12 Mugham as a national music of Azerbaijan ...................................................................................... 25 IV. FOLKLORE SONGS ..................................................................................................................... 26 Ashiqs of Azerbaijan ............................................................................................................................ 27 V. THEATRE,