Evening Gown Quilt Mystique

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Evening Gown

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888.768.8454
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Border 1
FINISHED QUILT SIZE 56” x 60”

Cut 5 strips 5½” x WOF from black main

Measurements include ¼” seam allowance. Sew with right sides together unless otherwise stated.

Border 2

Cut 6 strips 3½” x WOF from gray dot

Please check our website www.rileyblakedesigns.com for any revisions before starting this project. This pattern requires a basic knowledge of quilting technique and terminology.

QUILT ASSEMBLY

Refer to quilt photo for placement of strips.

FABRIC REQUIREMENTS
Evening Gown Strips

1 yard (90 cm) black main (C3080 Black) ¼ yard (20 cm) white main (C3080 White)

1/8 yard (10 cm) gray damask (C3081 Gray) ¼ yard (20 cm) gray ﬂower (C3082 Gray) ¼ yard (20 cm) white ﬂower (C3082 White) 1/2 yard (40 cm) gray petal (C3083 Gray)

¼ yard (20 cm) white petal (C3083 White)

5/8 yard (50 cm) gray dot (C3084 Gray) ¼ yard (20 cm) white dot (C3084 White) ¼ yard (20 cm) black stripe (C3085 Black) 1/8 yard (10 cm) clean white solid (C100-01 Clean White) 1/2 yard (40 cm) slate shade (C200-10 Slate) 1/8 yard (10 cm) phantom shade (C200-18 Phantom) Binding 5/8 yard (50 cm)
Cut each strip 40½” wide. Sew strips together in the following order: gray petal, white ﬂower, white dot, white main, black stripe, white petal, and gray ﬂower.

Flower Appliqué

Use your favorite method of appliqué. Refer to quilt photo for

placement of large, medium, and small ﬂowers and centers.

Borders

Seam allowances vary so measure through the center of the quilt before cutting border pieces.

Border 1

Backing 3½ yards (3.2 m)

Side borders should be 44½”. Top and bottom borders should be 50½”.

CUTTING REQUIREMENTS

Please read instructions ﬁrst before cutting. Seam allowances Border 2

vary so measure through the center of the quilt before cutting Side borders should be 54½”. Top and bottom borders should border pieces.

be 56½”.

Evening Gown Strips

Finish quilt by layering the quilt top, batting, and back. Bind

with your favorite Riley Blake fabric from the Mystique Collection. Have fun with your colors and enjoy the journey of making your quilt.

Cut 1 strip 4½” x WOF from white dot Cut 1 strip 4½” x WOF from white petal Cut 1 strip 6½” x WOF from white ﬂower Cut 1 strip 6½” x WOF from black stripe Cut 1 strip 8½” x WOF from gray petal Cut 1 strip 8½” x WOF from white main Cut 1 strip 8½” x WOF from gray ﬂower

Flower Appliqué

Using the templates provided, cut 1 large flower, 1 medium flower, 1 small flower, 1 large center, 1 medium center, and 1

small center from assorted prints. Add a ¼” seam allowance if necessary for your favorite method of appliqué.

Place on Fold

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Evening Gown Sewing Supplies Embroidering on Lightweight Silk Satin

Evening Gown Sewing supplies Embroidering on lightweight silk satin The deLuxe Stitch System™ improves the correct balance • HUSQVARNA VIKING® DESIGNER DIAMOND between needle thread and bobbin thread. Thanks to the deLuxe™ sewing and embroidery machine deLuxe Stitch System™ you can now easily embroider • HUSQVARNA VIKING® HUSKYLOCK™ overlock with different kinds of threads in the same design. machine. • Use an Inspira® embroidery needle, size 75 • Pattern for your favourite strap dress. • Turquoise sand-washed silk satin. • Always test your embroidery on scraps of the actual fabric with the stabilizer and threads you will be using • Dark turquoise fabric for applique. before starting your project. • DESIGNER DIAMOND deLuxe™ sewing and • Hoop the fabric with tear-away stabilizer underneath embroidery machine Sampler Designs #1, 2, 3, 4, 5. and if the fabric needs more support use two layers of • HUSQVARNA VIKING® DESIGNER™ Royal Hoop tear-away stabilizer underneath the fabric. 360 x 200, #412 94 45-01 • Endless Embroidery Hoop 180 x 100, #920 051 096 Embroider and Sew • Inspira® Embroidery Needle, size 75 • To insure a good fit, first sew the dress in muslin or • Inspira® Tear-A-Way Stabilizer another similar fabric and make the changes before • Water-Soluble Stabilizer you start to cut and sew in the fashion fabric for the dress. • Various blue embroidery thread Rayon 40 wt • Sulky® Sliver thread • For the bodice front and back pieces you need to embroider the fabric before cutting the pieces. Trace • Metallic thread out the pattern pieces on the fabric so you will know how much area to fill with embroidery design #1.
Results and Discussion 83 RESULTS and DISCUSSION the Interest That Indian Women Showed in Ornamentation and Aesthetic Expression

Results and Discussion RESULTS AND DISCUSSION The interest that Indian women showed in ornamentation and aesthetic expression through their costumes has been documented well. It is pertinent to understand the messages that they conveyed through their sartorial preferences which is documented in various forms sculptures, scriptures, literature, paintings, costume archives, cinema, media –advertisements and magazines etcetera. Each community and ethnic group maintained unique characteristics, which become symbols of recognition and identification and served to establish their cultural affiliation. Central to this was the Indian woman who was the symbol of patriarchal society. She combined both the functions of being the nurturer and protector of her household and cultural ethos of the society. The woman was as important part as the man; of the Indian society, which embraced both the indoor and outdoor roles within the social- cultural paradigms of the community. The span of evolution of Indian women’s costume, especially the draped version, the sari has undergone immense changes, however to interpret the semiology of the era bygone is rather complex; as one can attempt to understand and decode the tacit meaning through the lens of current observation only. Since the people who shared the ancient set of rules or code for contextual reading that enables us to connect the signifier with the signified are not present, this will prove to be delimiting. The Indian fashion scene began receiving its due credibility and attention from 1980’s onwards and gained the industry recognition in 21st century: hence this research focuses on new millennium to understand the Indian Fashion System.
2016 Annual Meeting Dress Guidelines Western USA Lieutenancy

2016 Annual Meeting Dress Guidelines Western USA Lieutenancy DRESS CODE INFORMATION Gentlemen Gentlemen Clergy Knights Ladies Lady Investees Lady Guests Clergy THURSDAY Investees Guests Investees Hotel Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Church Church Church Church Appropriate Year of Mercy Pilgrimage Clericals Appropriate attire Appropriate attire Appropriate attire attire Gentlemen Gentlemen Clergy Knights Ladies Lady Investees Lady Guests Clergy FRIDAY Investees Guests Investees Hotel Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Church Church Church Church Appropriate Vigil Retreats Clericals Appropriate attire Appropriate attire Appropriate attire attire Gentlemen Gentlemen Clergy Knights Ladies Lady Investees Lady Guests Clergy SATURDAY Investees Guests Investees Hotel Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Resort Casual1 Dark Suit, White Dark Dress Dark Dress Dark Dress Shirt, Tie Dark Suit Dark Suit Alb Alb (NO jacket or Suit or Suit or Suit under Cape) Promotions & Cape Cape Stole of the Stole Memorial Mass (No Decorations) (No Decorations) Order Beret (Badge worn Mantilla to the right) White Gloves Black Gloves Black Shoes Black Shoes Black Shoes Black Shoes DRESS CODE INFORMATION Gentlemen Gentlemen Clergy Knights Ladies Lady Investees Lady Guests Clergy SUNDAY Investees Guests Investees Hotel Resort Casual1
& What to Wear

& what to wear One of the most difficult areas of cruising can be what to pack; does the cruise have formal nights, casual night, and what should you wear? There are so many options, and so many cruise liners to & what to wear suit any fashionista!So here’s a guide to help you out. Not Permitted in Cruise Line On-board Dress Code Formal Nights Non Formal Nights Day Wear Restaurants • Polo Shirts • Trousers • No Bare Feet • Dinner Jacket • Casual • Tank Tops • Shirt • Swimwear • Swim Wear • Resort Casual N/A Azamara • Sports Wear • Caps • Casual Dresses • Jeans • Shorts • Separates • Jeans • Trousers • Suits • Jeans • Shorts • Tuxedos • Long Shorts • Swimwear • Beach Flip Flops • Cruise Casual • Dinner Jacket • Polo Shirts • Shorts • Swimwear • Cruise Elegant Carnival • T-Shirts • Cut-off Jeans • Evening Gown • Casual Dress • Summer Dresses • Sleeveless Tops • Dress • Trousers • Caps • Formal Separates • Blouses • Polo Shirt • Swimwear • T-Shirts • Trousers • Shorts • Swimwear • Tuxedo • Dinner jacket • Trousers • Robes • Formal • Suit (with Tie) • Dresses • T-Shirts • Tank Tops Celebrity • Smart Casual • Skirt • Jeans • Beachwear • Evening Gown • Blouse • Casual • Shorts • Trousers • Flip Flops • Jeans • Polo Shirts • Shirts • Swimwear • Suits • Shorts • Shorts Costa • Resort Wear • Summer dresses • Jeans • Swimwear • Cocktail Dresses • Casual separates • Sports Wear • Flip Flops • Skirts • T-shirts • Dinner Jacket • Suit ( no tie ) • Sensible shoes • Suit • Shorts • Formal • Warm jacket Cruise & Maritime • Casual dress • Swimwear • Deck
Dress Code Table

DRESS CODE FOR CONFERMENT CEREMONIES Wreathbinding Conferment Ceremony and Church Conferment and service or Secular Service Dinner and swordwhetting Ball day Masters, evening tail evening tail coat 1), black waistcoat, white evening tail gentlemen coat 1), white gloves, wreath and ring coat 1), white waistcoat waistcoat, white gloves, wreath and ring Masters, colourful, white, fulllength gown that is not white, ladies fulllength décolleté, white gloves and shoes, fulllength evening gown 2) wreath and ring 3) gown, white gloves and shoes, wreath and ring 5) Wreath evening tail evening tail coat 1), black waistcoat, white evening tail binders coat 1), white gloves coat 1), white waistcoat waistcoat, white gloves Wreath colourful, white, fulllength gown that is not White fulllength binderesses fulllength décolleté, white gloves and shoes 3) gown, white evening gown 2) gloves and shoes 5) Jubilee evening tail evening tail coat 1), black waistcoat, white evening tail masters, coat 1), white gloves, wreath and ring coat 1), white gentlemen waistcoat waistcoat, white gloves, wreath and ring Jubilee colourful, black, fulllength gown that is not black, masters, fulllength décolleté, black gloves and shoes, fulllength ladies evening gown 2) wreath and ring 4) gown, black gloves and shoes, wreath and ring 5) Jubilee evening tail evening tail coat 1), black waistcoat, white evening tail masters' coat 1), white gloves coat 1), white wreath waistcoat waistcoat, white binders gloves Jubilee colourful, black, fulllength gown that is not
Competition Rules

® Pageant Competition Rules Competition Requirements o Each qualifying barangay can only send one (1) official representative. o Each delegate must be born female. o Each contestant must be a resident of the barangay she represents for at least 6 months. o Age is determined by October 1,2010. Entrants must be at least 16 years old - 20 years old. o Delegates must be single and have never been married. o Delegates must have never been pregnant or given birth. Competition Categories: Preliminaries (first part) This part will determine the Top 15 semi finalist for the Presentation Show. All contestants will undergo the Preliminary Interviews, Evening Gown and Casual Wear. Preliminary Personal Interview: All delegates must possess excellent conversational skill. She must be able to express herself with clarity and diplomacy and exude a friendly and inviting personality. Interview Details: Each contestant participates in an individual 3-5 minute interview with our panel of judges. There are typically 5-7 judges on a panel. Interview will begin with a 30 second self-introduction. The body of the interview will be a combination of questions from information given on your fact sheet as well as current events… (This can be anything from war to reality TV questions to questions about your platform.) The interview concludes with a 30 second opportunity to make a final statement to the judges of “Why you’d like to be Miss SK Baguio 2010.” As well as any information you’d like the judges to know that wasn’t covered in the interview itself. Attire: Wear a dress suit for the interview competition.
Exhibition Catalog

The Missouri Historic Costume and Textile Collection presents FASHIONING A COLLECTION: 50 Years 50 Objects March 7 – May 20, 2017 State Historical Society of Missouri Gallery FASHIONING A COLLECTION: 50 YEARS, 50 OBJECTS Missouri Historic Costume and Textile Collection Department of Textile and Apparel Management College of Human Environmental Sciences University of Missouri State Historical Society of Missouri FASHIONING A COLLECTION: 50 YEARS, 50 OBJECTS Curated by Nicole Johnston and Jean Parsons The Missouri Historic Costume and Textile Collection was established in 1967 by Carolyn Wingo to support the teaching mission of the Department of Textile and Apparel Management within the College of Human Environmental Sciences at the University of Missouri. MHCTC received its first donation of artifacts from the Kansas City Museum in Kansas City, Missouri and has grown to include over 6,000 items of apparel, accessories and household textiles donated by alumni, faculty and friends. Curator Laurel Wilson guided and nurtured the collection for over half of the Collection’s fifty years, and today, the MHCTC collects and preserves clothing and textiles of historic and artistic value for purposes of teaching, research, exhibition and outreach. This exhibit celebrates the variety and mission of the collection, and is thus organized by the three branches of that mission: education, research and exhibition. It was a challenge to choose only 50 objects as representative. We have chosen those objects most frequently used in teaching and are student favorites, as well as objects used in research by undergraduate and graduate students, faculty, and visiting scholars. Finally, favorites from past exhibits are also included, as well as objects and new acquisitions that have never been previously exhibited.
Bare Witness

are • THE METROPOLITAN MUSEUM OF ART "This is a backless age and there is no single smarter sunburn gesture than to hm'c every low-backed cos tume cut on exactly the same lines, so that each one makes a perfect frame for a smooth brown back." British Vogue, July 1929 "iVladame du V. , a French lady, appeared in public in a dress entirely a Ia guil lotine. That is to say ... covered with a slight transparent gauze; the breasts entirely bare, as well as the arms up as high as the shoulders.... " Gemleman's A·1agazine, 1801 "Silk stockings made short skirts wearable." Fortune, January 1932 "In Defence ofSh** ld*rs" Punch, 1920s "Sweet hem·ting matches arc very often made up at these parties. It's quite disgusting to a modest eye to see the way the young ladies dress to attract the notice of the gentlemen. They are nearly naked to the waist, only just a little bit of dress hanging on the shoulder, the breasts are quite exposed except a little bit coming up to hide the nipples." \ Villiam Taylor, 1837 "The greatest provocation oflust comes from our apparel." Robert Burton, Anatomy ofi\Jelancholy, 1651 "The fashionable woman has long legs and aristocratic ankles but no knees. She has thin, veiled arms and fluttering hands but no elbows." Kennedy Fraser, The Fashionahlc 1VIind, 1981 "A lady's leg is a dangerous sight, in whatever colour it appears; but, when it is enclosed in white, it makes an irresistible attack upon us." The Unil'ersol !:lpectator, 1737 "'Miladi' very handsome woman, but she and all the women were dccollctees in a beastly fashion-damn the aristocratic standard of fashion; nothing will ever make me think it right or decent that I should see a lady's armpit flesh-folds when I am speaking to her." Georges Du ~ - laurier, 1862 "I would need the pen of Carlyle to describe adequately the sensa tion caused by the young lady who first tr.od the streets of New York in a skirt ..
Sally Suggests Wardrobe Resolutions Barbara Field Iowa State College

Volume 18 Article 8 Number 6 The Iowa Homemaker vol.18, no.6 1938 Sally Suggests Wardrobe Resolutions Barbara Field Iowa State College Follow this and additional works at: http://lib.dr.iastate.edu/homemaker Part of the Home Economics Commons Recommended Citation Field, Barbara (1938) "Sally Suggests Wardrobe Resolutions," The Iowa Homemaker: Vol. 18 : No. 6 , Article 8. Available at: http://lib.dr.iastate.edu/homemaker/vol18/iss6/8 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in The oI wa Homemaker by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. Sally suggests Wardrobe Resolutions by Barbf!ra Field EW YEAR, new styles, new clot~es N new colors--Be a new person w1th the new year-a chic Miss 1939. Write down your resolutions or say them to yourself, but be firm. Enjoy winter sports! is resolu tion number one. Enjoy them twice as much because you know you can look attractive and still be warmly dressed. Functionalism is now as important in our clothing as in our household fumishings. One piece flannel skating dresses in pastels and whites rival the up to the minute two piece skating suits. There are oodles of practical sweaters and skirts that look well and are protective from the winter weather. Knitted peaked caps tie under the chin The crisp taffeta evening gown with date back to the popular Victorian keeping a great portion of the head bursts of fullness from tucks and gathers brooches.
Evening Gowns and Canadian Designer Ruth Dukas

Ruth Dukas brocade evening gown, ca. 1963. Ryerson FRC2013.02.001. EVENING GOWNS & CANADIAN DESIGNER RUTH DUKAS By Dr. Ingrid Mida Ruth Dukas (b.1929) is a retired Canadian fashion designer who in the 1960s was well known across North America for her evening wear designs with their October 29, 2013 luxurious beading and embroidery. This pale yellow, green and pink brocade evening gown by Ruth Dukas with banded beaded collar and beaded trim down the front of the dress and a bow at the bust-line is lined in silk. The Ruth Dukas label is now largely unknown, except amongst those who keep these finely crafted gowns from the 1960s in the back of their closet as treasured memories of a special event. 1 Ruth Dukas brocade Although Ruth Dukas was an award-winning designer who exported her evening gown, ca. 1963. fashions to the United States, little has been written about Ruth Dukas and her Ryerson FRC2013.02.001. place in Canadian fashion industry. In April 2011, I conducted an oral history Collar detail. interview with Ruth for the Royal Ontario Museum archives, supplemented that interview with correspondence with Ruth by email, and also examined newspaper and magazine clippings, photos, letters and telegrams from Ruth’s personal archive. I have also examined a handful of garments designed by her (Seneca College Fashion Resource Centre has several) and also kept in touch with Ruth, who recently shared her personal archive of sketches and other photos with me. Ruth, was the daughter of a sample maker and grew up in Toronto, attending Ryerson Public School and then Central Tech high school from 1942-1946 where she studied art (the painter Doris McCarthy was one of her teachers).
Discount Wedding Dresses Online

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1 a Hidden History Phdr. Konstantina Hlaváčková Curator, Museum of Decorative Arts, Prague, Czech Republic Abstract: the Text

A Hidden History PhDr. Konstantina Hlaváčková Curator, Museum of Decorative Arts, Prague, Czech Republic Abstract: The textile collection of the Museum of Decorative Arts in Prague comprises a broad spectrum of textile artefacts. There is both the uniqueness of a human individuality and personal history contained in each of the clothing exhibits. Some of the exhibits are forever bound to exceptional figures of public and cultural life, most of them, however, belonged to far less notable people. A specific period that demonstrates the relationship between the attire and an individual is found in the years between 1948 and 1989, when the society in Czechoslovakia was strictly subdued by the totalitarian Communist regime. The ready-made industry was ever more falling behind and it became more difficult to acquire fashionable, quality attire. There are incredible and obscure human stories behind many of the beautiful pieces from aforementioned period. A variety of other stories are linked to the wives of the former Communist party officials, who had their luxurious outfits made bespoke. Their families often donate these exquisite clothes to the Museum’s collections, although they often conceal their true origin. Contents: Collection and Personal Stories / Elegance between World Wars / Strange Circumstances Create Strange Tales / Special Cases / Conclusion Collection and Personal Stories The fashion and textile collection of the Museum of Decorative Arts in Prague contains a broad range of artefacts, ranging from fragments of Coptic fabrics dating back to the fourth century A.D., liturgical vestments from the Middle Ages, remnants of Renaissance textiles and Baroque lace, to a great many garments and clothing accessories dating from the second half of the eighteenth century to the present.