Fashion History B.C. to Present Times B.C
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Dress Code and Etiquette Guidelines
DRESS CODE AND ETIQUETTE GUIDELINES The Montour Heights Country Club Dress Code and Etiquette Guidelines apply to all members, their families and guests, including children. The purpose of the Dress Code and Etiquette Guidelines is to ensure that proper respect is shown to all of our members, their families and guests while using the Club. If there are any questions, please contact the Golf Professional. CLUBHOUSE AND CLUB GROUNDS: • Hats, caps or visors are not to be worn in the following areas: Member’s Lounge, Dining Room, Ballroom or Banquet Rooms, including hallways associated with these areas. • Hats, when worn elsewhere, are to be worn in the traditional manner. • Sweatpants, sweatshirts or other related work-out type clothing are not permitted in the Clubhouse in any area. • Dress slacks, dress shorts (Bermuda length) and business casual wear are recommended for all dining areas. • Shirts must be tucked in at all times regardless of age. Shirts and shoes must be worn at all times, except in the pool area. • Pool attire is not permitted. T-shirts and tank tops are not appropriate and are not permitted. GRILL ROOM AND GRANDE TERRACE: • General appearance should remain neat and subdued dressy casual, golf or tennis attire. • Pool attire is not permitted. MAIN DINING ROOM: Prior to 5:30 pm: • Slacks, dressy shorts and shirts with collars or mock-collared shirts are required for men. After 5:30 pm: • Slacks, dressy shorts or evening wear are required for women. • Hats, caps and visors are not permitted. DRESS CODE AND ATTIRE EXCEPTION FOR DRESS BLUE JEANS: • Blue jeans and appropriate denim attire will be permitted in the Member’s Lounge, the Grill Room and Grand Terrace. -
(12) Patent Application Publication (10) Pub. No.: US 2004/0210990 A1 Stevenson (43) Pub
US 20040210990A1 (19) United States (12) Patent Application Publication (10) Pub. No.: US 2004/0210990 A1 Stevenson (43) Pub. Date: Oct. 28, 2004 (54) WOMENS UNDERGARMENT AND Publication Classification COMPATIBLE OVERGARMENT (51) Int. Cl." ....................................................... A41B 9/04 (52) U.S. Cl. .................................................................. 2,406 (76) Inventor: Jane M. Stevenson, Norwich, VT (US) (57) ABSTRACT Correspondence Address: The present invention provides an undergarment, alone or in WOODCOCKWASHIBURN LLP combination with a compatible overgarment. Also, an ONE LIBERTY PLACE, 46TH FLOOR embodiment of the present invention includes a bodysuit 1650 MARKET STREET comprising a torso Section and an undergarment Section. PHILADELPHIA, PA 19103 (US) Undergarments of the present invention comprise a crotch (21) Appl. No.: 10/813,247 panel for covering a crotch opening. In a closed position, the crotch panel is fixably attached to a back panel and is (22) Filed: Mar. 30, 2004 releasably attached to a front panel. The crotch panel is slidable from front to back which permits bodily waste Related U.S. Application Data elimination without the need for disrobing. In the open position, the crotch panel can be Secured to the back panel. (60) Provisional application No. 60/464,827, filed on Apr. Methods of facilitating elimination of bodily waste are also 23, 2003. provided by the present invention. Patent Application Publication Oct. 28, 2004 Sheet 1 of 4 US 2004/0210990 A1 Patent Application Publication Oct. 28, 2004 Sheet 2 of 4 US 2004/0210990 A1 Patent Application Publication Oct. 28, 2004 Sheet 3 of 4 US 2004/0210990 A1 (C.O.P.). - 100 104 Fig. -
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 -
Clothing and Power in the Royal World of Catherine of Aragon, Anne Boleyn, and Elizabeth I)
University of New Hampshire University of New Hampshire Scholars' Repository Inquiry Journal 2020 Inquiry Journal Spring 4-10-2020 Clothing and Power in the Royal World of Catherine of Aragon, Anne Boleyn, and Elizabeth I) Niki Toy-Caron University of New Hampshire Follow this and additional works at: https://scholars.unh.edu/inquiry_2020 Recommended Citation Toy-Caron, Niki, "Clothing and Power in the Royal World of Catherine of Aragon, Anne Boleyn, and Elizabeth I)" (2020). Inquiry Journal. 10. https://scholars.unh.edu/inquiry_2020/10 This Article is brought to you for free and open access by the Inquiry Journal at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Inquiry Journal 2020 by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. journal INQUIRY www.unh.edu/inquiryjournal 2020 Research Article Clothing and Power in the Royal World of Catherine of Aragon, Anne Boleyn, and Elizabeth I —Niki Toy-Caron At President Trump’s 2019 State of the Union speech, “the women of the US Democratic party dressed in unanimous white” to make “a powerful statement that the status quo in Washington will be challenged” (Independent 2019). In the 1960s, women burned bras in support of women’s rights. In the late 1500s, Queen Elizabeth I took the reins of England, despite opposition, by creating a powerful image using clothing as one of her tools. These are only a few examples of how women throughout history have used clothing to advance their agenda, form their own alliances, and defend their interests. -
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Dressing for the Times: Fashion in Tang Dynasty China (618-907)
Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks. -
The Rights of War and Peace Book I
the rights of war and peace book i natural law and enlightenment classics Knud Haakonssen General Editor Hugo Grotius uuuuuuuuuuuuuuuuuuuu ii ii ii iinatural law and iienlightenment classics ii ii ii ii ii iiThe Rights of ii iiWar and Peace ii iibook i ii ii iiHugo Grotius ii ii ii iiEdited and with an Introduction by iiRichard Tuck ii iiFrom the edition by Jean Barbeyrac ii ii iiMajor Legal and Political Works of Hugo Grotius ii ii ii ii ii ii iiliberty fund ii iiIndianapolis ii uuuuuuuuuuuuuuuuuuuu This book is published by Liberty Fund, Inc., a foundation established to encourage study of the ideal of a society of free and responsible individuals. The cuneiform inscription that serves as our logo and as the design motif for our endpapers is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 b.c. in the Sumerian city-state of Lagash. ᭧ 2005 Liberty Fund, Inc. All rights reserved Printed in the United States of America 09 08 07 06 05 c 54321 09 08 07 06 05 p 54321 Frontispiece: Portrait of Hugo de Groot by Michiel van Mierevelt, 1608; oil on panel; collection of Historical Museum Rotterdam, on loan from the Van der Mandele Stichting. Reproduced by permission. Library of Congress Cataloging-in-Publication Data Grotius, Hugo, 1583–1645. [De jure belli ac pacis libri tres. English] The rights of war and peace/Hugo Grotius; edited and with an introduction by Richard Tuck. p. cm.—(Natural law and enlightenment classics) “Major legal and political works of Hugo Grotius”—T.p., v. -
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. -
Designed Fashion Identity
Designed Fashion Identity The concept of contemporary women Author : Emily van Gent Supervisor: Dr. M.H. Groot MA Thesis: Arts & Culture Specialization: Design Words: 17.017 Date: 3-8-2015 Content Introduction p. 3 Chapter I .I Theoretical frame: Third Wave Feminism p. 4 Chapter II.I How women are represented in two case studies of 2014-15. p. 11 Chapter II.II Case Study Music Video Beyoncé/ Björk p. 15 Chapter II.III Case Study TV Series USA/Scandinavia p. 26 Chapter III.I Daily Fashion and Popular Culture p. 34 Chapter IV.I Advertisement and the Sexual Identity p. 36 Chapter IV.II The Identity of Designs : Feminism p. 43 Chapter IV.III The Identity of Designs : Blurring Gender p. 44 Chapter V.I: The Biocouture, Interfaces and Technology p. 47 Conclusion p. 54 References: Literature p. 56 Online Sources p. 57 2 Introduction Feminism and the female identity are topics that recently appear all around us in the news.. Questions about what it means to be feminist today raised among us. Women protest groups call for attention to discuss their position in society. The methods to do so are interesting and somehow problematic. Such as in the case of ‘Femen’, who use their bodies to battle sexism. The angelic appearance and the rough message they deliver is very provocative and seems to fit in with the way women are objectified. However they also do this to themselves in a way. It is hard to decide what to think of women who are so explicit about being a feminist and at the same time do everything to – in a way- offend women. -
HISTORY and DEVELOPMENT of FASHION Phyllis G
HISTORY AND DEVELOPMENT OF FASHION Phyllis G. Tortora DOI: 10.2752/BEWDF/EDch10020a Abstract Although the nouns dress and fashion are often used interchangeably, scholars usually define them much more precisely. Based on the definition developed by researchers Joanne Eicher and Mary Ellen Roach Higgins, dress should encompass anything individuals do to modify, add to, enclose, or supplement the body. In some respects dress refers to material things or ways of treating material things, whereas fashion is a social phenomenon. This study, until the late twentieth century, has been undertaken in countries identified as “the West.” As early as the sixteenth century, publishers printed books depicting dress in different parts of the world. Books on historic European and folk dress appeared in the late eighteenth and nineteenth centuries. By the twentieth century the disciplines of psychology, sociology, anthropology, and some branches of art history began examining dress from their perspectives. The earliest writings about fashion consumption propose the “ trickle-down” theory, taken to explain why fashions change and how markets are created. Fashions, in this view, begin with an elite class adopting styles that are emulated by the less affluent. Western styles from the early Middle Ages seem to support this. Exceptions include Marie Antoinette’s romanticized shepherdess costumes. But any review of popular late-twentieth-century styles also find examples of the “bubbling up” process, such as inner-city African American youth styles. Today, despite the globalization of fashion, Western and non-Western fashion designers incorporate elements of the dress of other cultures into their work. An essential first step in undertaking to trace the history and development of fashion is the clarification and differentiation of terms. -
The Corset and the Crinoline : a Book of Modes and Costumes from Remote Periods to the Present Time
THE CORSET THE CRINOLINE. # A BOOK oh MODES AND COSTUMES FROM REMOTE PERIODS TO THE PRESENT TIME. By W. B. L. WITH 54 FULL-PAGE AND OTHER ENGRAVINGS. " wha will shoe my fair foot, Aud wha will glove my han' ? And wha will lace my middle jimp Wi' a new-made London ban' ?" Fair Annie of L&hroyan. LONDON: W A R D, LOCK, AND TYLER. WARWICK HOUSE, PATERNOSTER ROW. LOS DOS PRINTKD BY JAS. WAOE, TAVISTOCK STREET, COVBSI GARDEN 10 PREFACE. The subject which we have here treated is a sort of figurative battle-field, where fierce contests have for ages been from time to time waged; and, notwithstanding the determined assaults of the attacking hosts, the contention and its cause remain pretty much as they were at the commencement of the war. We in the matter remain strictly neutral, merely performing the part of the public's " own correspondent," making it our duty to gather together such extracts from despatches, both ancient and modern, as may prove interesting or important, to take note of the vicissitudes of war, mark its various phases, and, in fine, to do our best to lay clearly before our readers the historical facts—experiences and arguments—relating to the much-discussed " Corset question" As most of our readers are aware, the leading journals especially intended for the perusal of ladies have been for many years the media for the exchange of a vast number of letters and papers touching the use of the Corset. The questions relating to the history of this apparently indispensable article of ladies' attire, its construction, application, and influence on the figure have become so numerous of late that we have thought, by embodying all that we can glean and garner relating to Corsets, their wearers, and the various costumes worn by ladies at different periods, arranging the subject-matter in its due order as to dates, and at the same time availing ourselves of careful illustration when needed, that an interesting volume would result. -
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Paris Fashions The New Orleans Daily Picayune had the latest word on “Paris Fashions” in 1864 when it printed “A Paris letter of Jan. 24th”, announcing: “A new blue and green have been contrived by the scientific dyers of silks, which keep their color so distinctly and vividly by candle-light as to throw all previous dyes into the shade. These, and a beautiful violet, which does not redden by candle-light, are the favorite new colors, replacing the oak shades so fashionable last winter under the names of ‘Russia leather,’ ‘Queen's hair’ and ‘Wood.’ Figured silks, plaid stripes, small and large Chine flower and brocades keep their place in public favor; but the plain shades are considered the newest and most fashionable for evening dresses.” The above report from France was the result of the latest scientific discoveries in the field of synthetic dyes and a fashion firestorm that took place in the City of Light in 1864. It involved the Empress Eugénie, wife of Emperor Napoléon III of the Second Empire of France, and an exquisite green silk gown (more on that later). Born on May 5, 1826, in Granada, Spain, the Empress Eugénie became the fashion icon of all Europe and across the ocean to New Orleans and the rest of the United States, as well. The Empress adored haute couture, a term first used to describe the work of fashion designer Charles Fredrick Worth (1826-1895), and set a standard in Paris that had not been seen since the days of Josephine.