Fashion Terms and Concepts
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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. -
Evening Gown Quilt Mystique
Evening Gown FREE PROJECT SHEET • 888.768.8454 • 468 West Universal Circle Sandy, UT 84070 • www.rileyblakedesigns.com FINISHED QUILT SIZE 56” x 60” Border 1 Measurements include ¼” seam allowance. Cut 5 strips 5½” x WOF from black main Sew with right sides together unless otherwise stated. Border 2 Please check our website www.rileyblakedesigns.com for any Cut 6 strips 3½” x WOF from gray dot 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 1 yard (90 cm) black main (C3080 Black) Evening Gown Strips ¼ yard (20 cm) white main (C3080 White) Cut each strip 40½” wide. Sew strips together in the following 1/8 yard (10 cm) gray damask (C3081 Gray) order: gray petal, white flower, white dot, white main, black ¼ yard (20 cm) gray flower (C3082 Gray) stripe, white petal, and gray flower. ¼ yard (20 cm) white flower (C3082 White) 1/2 yard (40 cm) gray petal (C3083 Gray) Flower Appliqué ¼ yard (20 cm) white petal (C3083 White) Use your favorite method of appliqué. Refer to quilt photo for 5/8 yard (50 cm) gray dot (C3084 Gray) placement of large, medium, and small flowers and centers. ¼ yard (20 cm) white dot (C3084 White) ¼ yard (20 cm) black stripe (C3085 Black) Borders 1/8 yard (10 cm) clean white solid (C100-01 Clean White) Seam allowances vary so measure through the center of the 1/2 yard (40 cm) slate shade (C200-10 Slate) quilt before cutting border pieces. -
INSLAG Second Skin Nr 4 2015.Indd
Vakinformatie voor de totale Lingerie- en Badmodebranche | Oktober 2015 | 10e jaargang no.4 | Prijs € 10,50 second skin LUXE LINGERIE & MENS UNDERWEAR COVERSTORY MAGIC BOOST-COLLECTIE VAN TRIUMPH INTERVIEW SIMONE PÉRÈLE EVENT LANCERING NIEUW MERK BOLAS UNDERWEAR Tweemaandelijks Vaktijdschrift - Erkenningsnummer (P708008) Vaktijdschrift Tweemaandelijks Muriel Herbst - Amusa Agent Antwerpen - Limburg [email protected] Tel: 0473.927.601 Vera De Beule Agent Oost- en West Vlaanderen en Vlaams Brabant [email protected] Tel: 0476.759.558 Scholten Mode Agenturen Agent Netherlands [email protected] Tel: 0622.989.860 C OLOFON EN D E VISIE Vakinformatie voor de totale Lingerie- en Badmodebranche | Oktober 2015 | 10e jaargang no.4 | Prijs € 10,50 second skin LUXE LINGERIE & MENS UNDERWEAR De Visie Kent u dat gevoel, dat je terugkijkt op de afgelopen jaren en denkt: alle veranderingen zijn zo snel en soepel gegaan dat ik me nu pas realiseer dat alles daadwerkelijk anders is geworden? Ik kan dat gevoel in mijn privéleven hebben, maar ook in mijn werk. Zo heb ik nu COVERSTORY MAGIC BOOST-COLLECTIE VAN TRIUMPH de eer om als hoofdredacteur voor Second Skin aan de slag te gaan. Een grote ver- INTERVIEW andering, maar een mooie uitdaging. Ik zal me allereerst even kort voorstellen. Mijn SIMONE PÉRÈLE EVENT naam is Simone Vos en ik ben 26 jaar. Ik ben journalist en ik ben gespecialiseerd in LANCERING NIEUW MERK BOLAS UNDERWEAR Tweemaandelijks Vaktijdschrift - Erkenningsnummer (P708008) Vaktijdschrift Tweemaandelijks cultuurwetenschappen. In de afgelopen jaren heb ik gefreelancet voor diverse com- Vakinformatie voor de totale merciële en journalistieke bedrijven, zowel tijdens als na mijn studie. Lingerie- en Badmodebranche Verantwoordelijke uitgever Nederland: GPmedia BV Van Schaeck Mathonsingel 8 ‘De bodyfashionsector zit vol 6512 AP Nijmegen Tel. -
Apparel & Fashion Technology
BHARATHIDASAN UNIVERSITY, TIRUCHIRAPPALLI – 620 024. B.Sc. Apparel and Fashion Technology Course Structure under CBCS (For the candidates admitted from the academic year 2010-2011 onwards) Marks Instr Exam Course Title Hours/ Credit Part Hours Total Extn. Int. Semester Week Language Course – I (LC) – I 6 3 3 25 75 100 Tamil*/Other Languages ** # II English Language Course- I (ELC) 6 3 3 25 75 100 I Core Course – I (CC) Fashion Designing 6 4 3 25 75 100 III Core Course – II (CC) Fashion Sketching (P) 6 5 3 40 60 100 First Allied Course –I (AC) Fibre to Fabric 6 4 3 25 75 100 TOTAL 30 19 500 Language Course – II (LC) - – I 6 3 3 25 75 100 Tamil*/Other Languages ** # English Language Course – II II 6 3 3 25 75 100 (ELC) Costume and Personal Core Course – III (CC) 6 5 3 25 75 100 Appearance II Textile Testing & First Allied Course – II (AC) 5 4 3 25 75 100 III Quality Control Textile Testing & First Allied Course – III (AC) Quality Control - 3 2 3 40 60 100 Practicals IV Environmental Studies 2 2 3 25 75 100 IV Value Education 2 2 3 25 75 100 TOTAL 30 21 700 Language Course – III (LC) – I 6 3 3 25 75 100 Tamil*/Other Languages ** # English Language Course - III II 6 3 3 25 75 100 (ELC) Core Course – IV (CC) Basics of Sewing 6 5 3 25 75 100 Basics of Sewing - Core Course – V (CC) 6 4 3 40 60 100 Practicals III Second Allied Course – I Fashion Merchandising 4 3 3 25 75 100 Non Major Elective I - for those III who studied Tamil under Part I a) Basic Tamil for other language students World Costumes 2 2 3 25 75 100 b) Special Tamil for those who -
Redefining Tied Neckwear Moodboard 02
Redefining Tied Neckwear moodboard 02 Defying Expectations of a Masculine “Relic” Libertie aims to display the appeal of tied neckwear through emphasisizing quality, personal application, and visual subtext. The final considerations for a consumer’s experience with Libertie products revolve around a strong preservation of the brand’s visual identity. At the same time however, care is taken to express a balance with neutrality where neccessary, allowing the product on display to speak for itself as a universal and transformative belief, simultaneously flashy yet disciplined. This strengthens the perception of the brand as a sincere curator of the fashion that seeks to promote the consumer’s personal enjoyment of the product. libertie process book identity development 03 libertie process book identity development 04 libertie process book identity development 05 1/3x x y y y libertie process book promotional graphics development 06 The Libertie promotional graphics help consumers visualize the different archetypes to brand is seeking to broach beyond the traditional professional male stereotype. Using silhouettes based on human reference, these posters present eight possible personas defined by a simple descriptor and character pair. libertie process book promotional graphics development 07 libertie process book promotional graphics development 08 libertie process book promotional graphics development 09 G e n t l e m a n DAPPER CUNNINGIntellectual I c o n DIVINE DARINGM ave r i c k Emancipate Emancipate Emancipate Emancipate What a Tie What -
Clothing of Kansas Women, 1854-1870
CLOTHING OF KANSAS WOMEN 1854 - 1870 by BARBARA M. FARGO B. A., Washburn University, 1956 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Department of Clothing, Textiles and Interior Design KANSAS STATE UNIVERSITY Manhattan, Kansas 1969 )ved by Major Professor ACKNOWLEDGMENTS The author wishes to express sincere appreciation to her adviser, Dr. Jessie A. Warden, for her assistance and guidance during the writing of this thesis. Grateful acknowledgment also is expressed to Dr. Dorothy Harrison and Mrs. Helen Brockman, members of the thesis committee. The author is indebted to the staff of the Kansas State Historical Society for their assistance. TABLE OP CONTENTS PAGE ACKNOWLEDGMENT ii INTRODUCTION AND PROCEDURE 1 REVIEW OF LITERATURE 3 CLOTHING OF KANSAS WOMEN 1854 - 1870 12 Wardrobe planning 17 Fabric used and produced in the pioneer homes 18 Style and fashion 21 Full petticoats 22 Bonnets 25 Innovations in acquisition of clothing 31 Laundry procedures 35 Overcoming obstacles to fashion 40 Fashions from 1856 44 Clothing for special occasions 59 Bridal clothes 66 SUMMARY AND CONCLUSIONS 72 REFERENCES 74 LIST OF PLATES PLATE PAGE 1. Bloomer dress 15 2. Pioneer woman and child's dress 24 3. Slat bonnet 30 4. Interior of a sod house 33 5. Children's clothing 37 6. A fashionable dress of 1858 42 7. Typical dress of the 1860's 47 8. Black silk dress 50 9. Cape and bonnet worn during the 1860's 53 10. Shawls 55 11. Interior of a home of the late 1860's 58 12. -
9 What People Wore.Pdf
Silhouees: What Men and Women Wore in 1860-1920 New Castle The Height of Fashion: Delaware Women Dress Up” By Susan Hannell, Peggy Litchko & Betsy Marno 2014 Plus Fashion Plates from other sources. Video A ‘Gibson Girl’ Comparison of clothing men’s clothing worn in New Castle with that worn in Victorian England In England, according to Ruth Goodman: • Hats were rarely removed in public • Waistcoats & jackets were both to be worn at all mes • Shirts not to be seen except in very informal situaons. • Pants became straight legged similar to modern ones • Underpants & undershirt or ‘union suit’ were worn Men’s and boys clothing in New Castle c1878, late Victorian mes. EVERY ONE of the people was wearing a hat, almost all were wearing a jacket and many were wearing a waistcoat (“vest”). Neckwear in portraits of men from New Castle was a cravat or ruffle unl about 1830. Coats were single or double breasted and full cut except for two seamen with youthful figures. [Cutaway jackets emphasize one’s midriff] 1759 d1798 c1804 <1811 c1830? 1785 c1805 1830 1840-1850? In 1815, Mrs. James McCullough (builder of 30 the Strand) sent her husband a package including cravats and yellow coon pants, and comments that he needs new ruffles on his shirts. (He parcularly liked “a handsomely plaited ruffle”) Nankeen trousers: (yellow coon) c1759, Anna Dorothea Finney Amstel House, 2 E 4th, by John Hesselius Lace trimmed san dress Panniers under skirt, or dome-shaped hoops, One piece; not separate bodice and skirt Bodice closed with hook & loop No stomacher Worn over a -
Volume 2, Issue 3, Autumn 2018
The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit. -
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. -
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 -
Worldwide Lingerie Guide
WLG №4/2016 приложение Beachwear trends. Summer 2017 ПЛЯЖНАЯ МОДА ЛЕТА-2017 MOON & SUN. Lingerie Boutique in Happy City Sportswear MOON & SUN. ОДЕЖДА БЕЛЬЕВОЙ БУТИК ДЛЯ СПОРТА В БЛАГОПОЛУЧНОМ ГОРОДЕ 1 | №2/2015 editorial | ОТ РЕДАКЦИИ Уважаемые читатели! Многие годы у иностранных компаний складывалось неправильное представление о российском рынке. Ка- залось, что в стране со 140-миллионным населением можно продавать много и с каждым годом все боль- ше. Сегодня же с резким падением продаж приходит понимание того, что не все так просто, но ответов на насущные вопросы, похоже, никто по-прежнему не ищет и систему работы не меняет. Этих ошибок избе- гают международные сети, которые активно занимают освобождающиеся сегменты бельевого рынка. Так же поступают некоторые мировые бренды, которые мож- но пересчитать по пальцам одной руки, и единичные российские оптовые компании, имеющие собственные торговые марки. Главное отличие успешных компаний – это нацелен- ность на продвижение в широком смысле этого сло- ва. Сейчас никого не удивишь хорошим качеством и современным дизайном, а уровень цен различается очень незначительно по предложению в одном сто- имостном сегменте. Любой марке можно найти де- сятки аналогов! Разница в подходе, в стратегии, в по- Dear readers! строении отношений с партнерами на равноправной Foreign companies have evolved a misconception about the основе. Связь с рынком – это не пустые слова, а суть Russian market for years. It seemed that in a country with a нового тренда в бельевом бизнесе. Можно сколько population of 140 million, one could sell a lot, selling all the угодно утверждать, что эта связь была, однако она more each year. With the current slump in sales, when the выражалась только в простых процессах купли-про- understanding comes that it’s not all that simple, it looks like дажи, как правило, обезличенных и хаотичных. -
The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions
Center for Basque Studies Basque Classics Series, No. 6 The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions by Philippe Veyrin Translated by Andrew Brown Center for Basque Studies University of Nevada, Reno Reno, Nevada This book was published with generous financial support obtained by the Association of Friends of the Center for Basque Studies from the Provincial Government of Bizkaia. Basque Classics Series, No. 6 Series Editors: William A. Douglass, Gregorio Monreal, and Pello Salaburu Center for Basque Studies University of Nevada, Reno Reno, Nevada 89557 http://basque.unr.edu Copyright © 2011 by the Center for Basque Studies All rights reserved. Printed in the United States of America Cover and series design © 2011 by Jose Luis Agote Cover illustration: Xiberoko maskaradak (Maskaradak of Zuberoa), drawing by Paul-Adolph Kaufman, 1906 Library of Congress Cataloging-in-Publication Data Veyrin, Philippe, 1900-1962. [Basques de Labourd, de Soule et de Basse Navarre. English] The Basques of Lapurdi, Zuberoa, and Lower Navarre : their history and their traditions / by Philippe Veyrin ; with an introduction by Sandra Ott ; translated by Andrew Brown. p. cm. Translation of: Les Basques, de Labourd, de Soule et de Basse Navarre Includes bibliographical references and index. Summary: “Classic book on the Basques of Iparralde (French Basque Country) originally published in 1942, treating Basque history and culture in the region”--Provided by publisher. ISBN 978-1-877802-99-7 (hardcover) 1. Pays Basque (France)--Description and travel. 2. Pays Basque (France)-- History. I. Title. DC611.B313V513 2011 944’.716--dc22 2011001810 Contents List of Illustrations..................................................... vii Note on Basque Orthography.........................................