DOCSLIB.ORG

Dr. Windi D. Turner 1 FCSE 3080 Dress and Humanity Part 2: Fashion in Dress

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dr. Windi D. Turner 1 FCSE 3080 Dress and Humanity Part 2: Fashion in Dress Dr. Windi D. Turner 1 FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Introduction: Fashion has always been a staple as to how we have presented ourselves to the world, and how society has wanted to present men, women, and children to the world. Fashion has been influenced by many different factors throughout history. Course Objective: Expand global awareness related to textiles, apparel, and dress relative to design, production, marketing, and consumption. Goals: What is fashion influence? What are the notable fashion trends during each decade? How did women’s fashion evolve? How did men’s fashion evolve? Materials: 100 years in 100 seconds Wearable Art Awards Show Moments Decade Defining Songs The fashion of politics FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Early fashion developed out of necessity with people creating apparel that was climate appropriate with the materials available. Clothing evolved from basic necessity to defining: culture socioeconomic conditions and status individual expression visual appeal Fashion involves change, novelty, and context of time, place, and wearer. Fashion influence is a process of "collective selection" whereby the formation of taste derives from a group of people responding collectively to the zeitgeist or "spirit of the times" (Blumer, 1969). Fashion eras and influences: textile availability ethnicity cultural traditions art and music expression military political technology FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Textile Availability Until international textile trade became common, textile availability by geographic region dictated fabric options and by default, fashion. Artificial silk was first introduced in the 1910s. FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Ethnicity Clothing choices tend to vary by ethnicity as evidenced by Afrocentric fashion and the significant differences in fashion across areas within East Asia and Central Asia. Cultural Traditions Apparel plays an important role as evidenced by Japanese traditional dress and adornment and traditional carnival apparel in various regions. Carnival dress refers to a pageant, festival, or public celebration found all over the world. FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Art There’s a long relationship between art and fashion. We see this with art deco on apparel and more recently with the concept of wearable art. Music There’s a close relationship between music and fashion. From dance costumes for cultural celebrations and performances to modern hip hop, punk rock, and grunge (messy, unkempt, punk). FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Expression People have long sought to express themselves through fashion, often pushing boundaries toward dress reform to change norms and leading to attacks on fashion. FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Military Undeniably, the military of the world have influenced fashion for the past several hundred years because of the varied terrain and weather encountered by the military as well as the nature of living in one’s uniform. FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Military It’s said the word camouflage originated from the Parisian slang term camoufler (“to disguise”) after the French army employed artists to paint their artillery and observation posts in the now ubiquitous pattern instead of the more traditional white gloved attire in WWI (Banks, 2014). Croatian mercenaries arrived in Paris during the Thirty Years’ War (1618-1648) dressed for battle with bright scarves tied so tight around their necks, they fainted during maneuvers. The French adapted the look, looping the scarves more loosely in a style that became known as “La Croate” and later “La cravate” (Banks, 2014). The white T-shirt was officially designated as part of the U.S. Naval uniform in 1913, as a means to both beat the heat in tropical climates and aboard submarines, and to avoid soiling their uniform while doing dirty jobs (Banks, 2014). FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Military New airplanes of the 1930s allowed people to fly higher and farther, thus issues of altitude: U.S. Air Force pilots reported headaches and altitude sickness from the glaring sun. Thus, the Army Airs Corps commissioned a new type of eyewear/goggles featuring plastic frames and the classic aviator shape, which reduced the sun’s intensity on pilot’s faces and instruments. Later, a slight remodel emerged in the form of the “Ray-Ban Aviators” with further innovations over the years (Banks, 2014). The British military first wore cargo pants in 1938 as part of their Battle Dress Uniforms (BDU). The original cargo pant style featured one pocket on the side thigh and one on the front hip. Cargo pants were first worn by the U.S. military in the 1940s. Initially, the side cargo pockets were only on paratroopers’ uniforms, providing them with easy access to ammunition and radios (Banks, 2014). FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Military No other item of outerwear embodies heritage British style as much as the trench coat. The piece is practically synonymous with the Burberry and Aquascutum brands. For the latter, the history dates to 1853, when the company produced practical coats for officers fighting in the Crimean War using its patented waterproof wool. For Burberry, Thomas Burberry entered his design to the War Office in 1901 for an officer’s raincoat made using his very own patented cotton gabardine fabric featuring large lapels, convertible collar, and epaulets (Banks, 2014). The “pea” in pea coat derived from the Dutch word “pije,”which references the type of cloth used (coarse twilled blue cloth fabric with a nap on one side) -first made popular in the 16th century and favored by the naval powered Dutch. It was aesthetically pleasing yet durable and warm thanks to the double-breasted nature of the construction, large lapels and vertical pockets. Quickly, the coat was mimicked and slightly modified depending upon the amount of wool needed and the region where one was sailing (Banks, 2014). FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Military Most airplanes during WWI didn’t have enclosed cockpits so the daring sharpshooters in the sky had to be outfitted with coats suitable for high-speeds and icy climates. Although the British Army favored long leather coats, the U.S. Army established the Aviation Clothing Board in 1917 and began distributing heavy-duty leather flight jackets. They featured high wraparound collars, zipper closures with wind flaps, snug cuffs, and waists. In 1931, the U.S. Air Corp issued the A2 Bomber Jacket made of seal skin leather and cotton lining. As the requirement for these jackets grew, supplying seal skin was impractical so the jacket was made of horsehide (Banks, 2014). Designed by a German doctor, Klaus Martens, during WWII while on leave from the army due to an ankle injury suffered while skiing in the Bavarian Alps. Martens noticed that his bum foot needed extra comfort that his military-issue boots did not provide. He partnered with Dr. Herbert Funck and tinkered with softer leather and cushioned soles (Banks, 2014). FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Political First Lady Jacqueline Kennedy Onassis represented style and sophistication of the 1960s and is credited with making politics fashionable. Princess Diana is considered to be the fashion icon of the 1980s and 1990s. Consider these headlines during the recent US Presidential campaign: “How Donald Trump’s Clothes Reinforce His Campaign” Time; August 4, 2016 “How Hillary Clinton Ended the Clothing Conversation” New York Times; January 20, 2016 FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Technology Once upon a time, fashion and technology were “just friends.” Now, fashion week has expanded to 52 fashion weeks with real time for what’s trending. We now have 3D printing capabilities and technology is embedded in apparel. Early technology brought us zippers in the 1930s and nylon stockings in the 1940s. FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Simply put: people change and the new replaces the old. People are greatly influenced by: popular culture athletes musicians movie stars politicians royalty popular films/movies/television shows books music fashion industry’s advertising FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Let’s take a look at the evolution of women’s fashion beginning with the 18th century. By no means are the preceding pages an inclusive listing of women’s fashion- just some interesting innovations. FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Women’s Fashion In the years preceding the French Revolution, fashion was characterized by great abundance, elaboration and intricacy in clothing designs. Marie Antoinette, iconic fashion figure, embodies the decadence of the time. 18th Century The "Louis heel" was fashion-forward shoes of the mid-18th century with high, curved heels made of fabric or leather, with separate shoe buckles. The height of heels have been seen as economic indicators; the higher the heel, the wealthier a nation. Panniers (side hoops that extended the width of a dress while keeping the front and back relatively flat) were worn with formal gowns at court. FCSE 3080 Dress and Humanity Part 2: Fashion in Dress History of Fashion Women’s Fashion Following the French Revolution, most did not want to be associated with the aristocracy or the decadence of the fashion previously worn by the aristocrats, so fashions adopted simpler silhouettes.
Load more

Recommended publications
  • The Textiles of the Han Dynasty & Their Relationship with Society
    The Textiles of the Han Dynasty & Their Relationship with Society Heather Langford Theses submitted for the degree of Master of Arts Faculty of Humanities and Social Sciences Centre of Asian Studies University of Adelaide May 2009 ii Dissertation submitted in partial fulfilment of the research requirements for the degree of Master of Arts Centre of Asian Studies School of Humanities and Social Sciences Adelaide University 2009 iii Table of Contents 1. Introduction.........................................................................................1 1.1. Literature Review..............................................................................13 1.2. Chapter summary ..............................................................................17 1.3. Conclusion ........................................................................................19 2. Background .......................................................................................20 2.1. Pre Han History.................................................................................20 2.2. Qin Dynasty ......................................................................................24 2.3. The Han Dynasty...............................................................................25 2.3.1. Trade with the West............................................................................. 30 2.4. Conclusion ........................................................................................32 3. Textiles and Technology....................................................................33
    [Show full text]
  • The Mad, Mad World of Niche Sports
    By Ruth S. Barrett Th e Mad, Mad World of Niche Sports 74 Where the desperation of late-stage m 1120_WEL_Barrett_TulipMania [Print]_14155638.indd 74 9/22/2020 12:04:44 PM Photo Illustrations by Pelle Cass Among Ivy League– Obsessed Parents meritocracy is so strong, you can smell it 75 1120_WEL_Barrett_TulipMania [Print]_14155638.indd 75 9/22/2020 12:04:46 PM On paper, Sloane, a buoyant, chatty, stay-at-home mom from Faireld County, Connecticut, seems almost unbelievably well prepared to shepherd her three daughters through the roiling world of competitive youth sports. She played tennis and ran track in high school and has an advanced “I thought, What are we doing? ” said Sloane, who asked to be degree in behavioral medicine. She wrote her master’s thesis on the identied by her middle name to protect her daughters’ privacy connection between increased aerobic activity and attention span. and college-recruitment chances. “It’s the Fourth of July. You’re She is also versed in statistics, which comes in handy when she’s ana- in Ohio; I’m in California. What are we doing to our family? lyzing her eldest daughter’s junior-squash rating— and whiteboard- We’re torturing our kids ridiculously. ey’re not succeeding. ing the consequences if she doesn’t step up her game. “She needs We’re using all our resources and emotional bandwidth for at least a 5.0 rating, or she’s going to Ohio State,” Sloane told me. a fool’s folly.” She laughed: “I don’t mean to throw Ohio State under the Yet Sloane found that she didn’t know how to make the folly bus.
    [Show full text]
  • The Morgue File 2010
    the morgue file 2010 DONE BY: ASSIL DIAB 1850 1900 1850 to 1900 was known as the Victorian Era. Early 1850 bodices had a Basque opening over a che- misette, the bodice continued to be very close fitting, the waist sharp and the shoulder less slanted, during the 1850s to 1866. During the 1850s the dresses were cut without a waist seam and during the 1860s the round waist was raised to some extent. The decade of the 1870s is one of the most intricate era of women’s fashion. The style of the early 1870s relied on the renewal of the polonaise, strained on the back, gath- ered and puffed up into an detailed arrangement at the rear, above a sustaining bustle, to somewhat broaden at the wrist. The underskirt, trimmed with pleated fragments, inserting ribbon bands. An abundance of puffs, borders, rib- bons, drapes, and an outlandish mixture of fabric and colors besieged the past proposal for minimalism and looseness. women’s daywear Victorian women received their first corset at the age of 3. A typical Victorian Silhouette consisted of a two piece dress with bodice & skirt, a high neckline, armholes cut under high arm, full sleeves, small waist (17 inch waist), full skirt with petticoats and crinoline, and a floor length skirt. 1894/1896 Walking Suit the essential “tailor suit” for the active and energetic Victorian woman, The jacket and bodice are one piece, but provide the look of two separate pieces. 1859 zouave jacket Zouave jacket is a collarless, waist length braid trimmed bolero style jacket with three quarter length sleeves.
    [Show full text]
  • CRISIS of PURPOSE in the IVY LEAGUE the Harvard Presidency of Lawrence Summers and the Context of American Higher Education
    Institutions in Crisis CRISIS OF PURPOSE IN THE IVY LEAGUE The Harvard Presidency of Lawrence Summers and the Context of American Higher Education Rebecca Dunning and Anne Sarah Meyers In 2001, Lawrence Summers became the 27th president of Harvard Univer- sity. Five tumultuous years later, he would resign. The popular narrative of Summers’ troubled tenure suggests that a series of verbal indiscretions created a loss of confidence in his leadership, first among faculty, then students, alumni, and finally Harvard’s trustee bodies. From his contentious meeting with the faculty of the African and African American Studies Department shortly af- ter he took office in the summer of 2001, to his widely publicized remarks on the possibility of innate gender differences in mathematical and scientific aptitude, Summers’ reign was marked by a serious of verbal gaffes regularly reported in The Harvard Crimson, The Boston Globe, and The New York Times. The resignation of Lawrence Summers and the sense of crisis at Harvard may have been less about individual personality traits, however, and more about the context in which Summers served. Contestation in the areas of university governance, accountability, and institutional purpose conditioned the context within which Summers’ presidency occurred, influencing his appointment as Harvard’s 27th president, his tumultuous tenure, and his eventual departure. This work is licensed under the Creative Commons Attribution - Noncommercial - No Derivative Works 3.0 Unported License. To view a copy of this license, visit http://creativecom- mons.org/licenses/by-nc-nd/3.0/. You may reproduce this work for non-commercial use if you use the entire document and attribute the source: The Kenan Institute for Ethics at Duke University.
    [Show full text]
  • 63-22 Basic Uniform Regulations
    NEWARK POLICE DIVISION GENERAL ORDER SUBJECT: GENERAL ORDER NO. Basic Uniform Regulations 63-22 SUPERCEDES: DATED: G.O. 63-22 (Dated 2/13/2019) November 1, 2019 RELATED ORDERS AND MEMORANDA: Newark Police Division Rules and Regulations, Chapter 15 I. PURPOSE The purpose of this order is to explicitly detail the specifications for the uniform of Newark Police personnel. The order will address the proper display of items affixed to the basic uniform. The order will delineate professional standards for personal appearance and the manner in which the uniform shall be worn. II. UNIFORM INSPECTIONS A. Responsibility of Commanding Officers Commanding Officers shall be responsible for inspecting of uniforms of all members assigned to their command. B. Responsibility of all Members Members of the division shall be notified of the specified time and date of appearance for uniform inspection. C. Members on Sick Leave Members on Sick Leave, or members not appearing for uniform inspection for valid reasons, shall be required to stand inspection immediately upon return to duty. D. Uniform Inspection Procedure 1. Uniform inspections shall be conducted twice annually. 2. Summer Uniform Inspection shall commence from the first Monday of April and continue, in a timely fashion, until all members of the command have been successfully inspected or by the last Friday of April. 3. Winter Uniform Inspection shall commence from the first Monday in October and continue, in a timely fashion, until all members of the command have been successfully inspected or by the last Friday of October. 4. Commanding Officers shall ensure a spreadsheet is prepared indicating all members of their Command, listed in alphabetical order according to rank.
    [Show full text]
  • The Evolution of Brassiere in the 20Th Century
    Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 12-10-2012 The Evolution of Brassiere in the 20th Century Jolene Khor Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the Journalism Studies Commons Recommended Citation Khor, Jolene, "The Evolution of Brassiere in the 20th Century" (2012). Honors Theses. 2342. https://scholarworks.wmich.edu/honors_theses/2342 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. Running Head: The Evolution of Brassiere in the 20th Century 1 The Evolution of Brassiere in the 20th Century Jolene Khor Western Michigan University The Evolution of Brassiere in the 20th Century 2 Abstract It is common knowledge that a brassiere, more widely known as a bra, is an important if not a vital part of a modern woman’s wardrobe today. In the 21st century, a brassiere is no more worn for function as it is for fashion. In order to understand the evolution of function to fashion of a brassiere, it is necessary to account for its historical journey from the beginning to where it is today. This thesis paper, titled The Evolution of Brassiere in the 20th Century will explore the history of brassiere in the last 100 years. While the paper will briefly discuss the pre-birth of the brassiere during Minoan times, French Revolution and early feminist movements, it will largely focus on historical accounts after the 1900s.
    [Show full text]
  • The War and Fashion
    F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book.
    [Show full text]
  • Boatswain's Pipe, the Office of Student Housing Rule Supersedes Those Found in This Publication
    Boatswain’s Pipe State University of New York Maritime College “Boatswain’s Pipe” 2013 Edition of the MUG Book Cadet’s Name ________________________________________ Room No. ________________________________________ Key No. ________________________________________ Indoctrination Section ________________________________________ Platoon ________________________________________ Company ________________________________________ Student ID No. ________________________________________ This book was created by the efforts of many Maritime College Cadets, past and present, and is dedicated to help incoming MUGs make their transition to Maritime College and the Regiment of Cadets. "One Hand" Introduction President’s Welcome As the 10th President of the State of New York Maritime College, it is my privilege to welcome you to our nation’s First and Foremost such institution. Steeped in more than 125 years of tradition and a proud history that runs deep and strong, the Maritime College remains a premier institution and a global leader in the field of maritime education and training. We intend to maintain such leadership through a continuing process of strategic improvement of our programs and facilities as well as key engagements and focused outreach to leading industries and academic institutions across a variety of fronts, both nationally and internationally. I can state without reservation that few colleges offer you the combination of such a highly respected academic degree with a strong, hands-on practical component (including Summer Sea Terms onboard our training ship Empire State VI), the opportunity to obtain a Merchant Marine officer’s license, a commission in the armed services if you choose, and the unsurpassed leadership opportunities availavle in the Regiment of Cadets. Indeed few such opportunities in life allow you to grow so rapidly and develop both leadership and technical competencies, which are in high demand in today’s globally integrated and complex environment.
    [Show full text]
  • Take Ivy Was Originally Published Shosuke Ishizu Is the Representative Director in Japan in 1965, Setting Off an Explosion of of Ishizu Office
    Teruyoshi Hayashida was born in the fashionable Aoyama District of Tokyo, where he also grew up. He began shooting cover images for Men’s Club magazine after the title’s launch. A sophisticated Photographs by Teruyoshi Hayashida dresser and a connoisseur of gourmet food, Text by Shosuke Ishizu, Toshiyuki Kurosu, he is known for his homemade, soy-sauce- and Hajime (Paul) Hasegawa marinated Japanese pepper (sansho), and his love of gunnel tempura and Riesling wine. Described by The New York Times as, “a treasure of fashion insiders,” Take Ivy was originally published Shosuke Ishizu is the representative director in Japan in 1965, setting off an explosion of of Ishizu Office. Originally born in Okayama American-influenced “Ivy Style” fashion among Prefecture, after graduating from Kuwasawa Design students in the trendy Ginza shopping district School he worked in the editorial division at Men’s of Tokyo. The product of four collegiate style Club until 1960 when he joined VAN Jacket Inc. enthusiasts, Take Ivy is a collection of candid He established Ishizu Office in 1983, and now photographs shot on the campuses of America’s produces several brands including Niblick. elite, Ivy League universities. The series focuses on men and their clothes, perfectly encapsulating Toshiyuki Kurosu was raised in Tokyo. He joined the unique student fashion of the era. Whether VAN Jacket Inc. in 1961, where he was responsible lounging in the quad, studying in the library, riding for the development of merchandise and sales bikes, in class, or at the boathouse, the subjects of promotion. He left the company in 1970 and Take Ivy are impeccably and distinctively dressed in started his own business, Cross and Simon.
    [Show full text]
  • “THE IVY LOOK POCKET GUIDE” Interview by GSTAG
    “THE IVY LOOK POCKET GUIDE” Interview by GSTAG. 1) Could you please introduce yourself? JP Gall: JP Gall, modernist, flaneur, salesman and author. Graham Marsh: Graham Marsh is an art director, illustrator and author. He never wears double breasted jackets or black shoes. 2) How did you both come to The Ivy Look? G.M.: As I said in the book, Ivy clothes were addictive. I got hooked the first time I saw them being worn by the pilgrims of modern jazz who inhabited the London based art Department of Marvel Comics where I first worked back in the early 1960s. It was an insider’s world of narrow lapelled sharp Ivy suits, narrow knitted ties and narrow haircuts. The soundtrack to this cool, detached world included the music of Miles Davis, Gerry Mulligan and Jimmy Smith. This was a world I wanted into and like a sponge proceeded to soak up all it had to offer. JP.G.: I made a concerted effort to be different from my peers. I was a teenager in the 1980s and I felt completely disconnected from the music and fashion of that period. It left me cold. I thank 2 people. Firstly Paul Weller who made me a mod, because from there it was a process of curiosity and research that led me on from elementary mod to the whole Ivy League thing. And I also need to thank John Simons, a mentor for many of us kids keen to get the feel of the original Ivy League jazz culture under our finger nails.
    [Show full text]
  • Clothing Terms from Around the World
    Clothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat.
    [Show full text]
  • The Nineteenth Century (History of Costume and Fashion Volume 7)
    A History of Fashion and Costume The Nineteenth Century Philip Steele The Nineteenth Century Library of Congress Cataloging-in-Publication Data Copyright © 2005 Bailey Publishing Associates Ltd Steele, Philip, 1948– Produced for Facts On File by A history of fashion and costume. Bailey Publishing Associates Ltd The Nineteenth Century/Philip Steele 11a Woodlands p. cm. Hove BN3 6TJ Includes bibliographical references and index. Project Manager: Roberta Bailey ISBN 0-8160-5950-0 Editor:Alex Woolf 1. Clothing and dress—History— Text Designer: Simon Borrough 19th century. 2. Fashion—History— Artwork: Dave Burroughs, Peter Dennis, 19th century. Tony Morris GT595.S74 2005 Picture Research: Glass Onion Pictures 391/.009/034—dc 22 Consultant:Tara Maginnis, Ph.D. 2005049453 Associate Professor of the University of Alaska, Fairbanks, and creator of the website,The The publishers would like to thank Costumer's Manifesto (http://costumes.org/). the following for permission to use their pictures: Printed and bound in Hong Kong. Art Archive: 17 (bottom), 19, 21 (top), All rights reserved. No part of this book may 22, 23 (left), 24 (both), 27 (top), 28 be reproduced or utilized in any form or by (top), 35, 38, 39 (both), 40, 41 (both), any means, electronic or mechanical, including 43, 44, 47, 56 (bottom), 57. photocopying, recording, or by any information Bridgeman Art Library: 6 (left), 7, 9, 12, storage or retrieval systems, without permission 13, 16, 21 (bottom), 26 (top), 29, 30, 36, in writing from the publisher. For information 37, 42, 50, 52, 53, 55, 56 (top), 58. contact: Mary Evans Picture Library: 10, 32, 45.
    [Show full text]