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TREND SETTER 205464 ADORNED 215482 FEMME 1 $425 5 $325 FUCHSIA-CAMPARI RED-DEEP FUCHSIA Stretch Crepe Sheath RED Bi-Colored Twill Embellished with Sheer Lace Trim
1 TREND SETTER 205464 ADORNED 215482 FEMME 1 $425 5 $325 FUCHSIA-CAMPARI RED-DEEP FUCHSIA stretch crepe sheath RED bi-colored twill embellished with sheer lace trim. Fitted. military jacket with sequined Shaped with bust darts, ribbon trim. Regular fit. Shaped princess seams, waist seams, with front and back princess side seams and center back seams. Stand collar with Red seam. Jewel neckline, short velvet facing, hook-and-eye raglan sleeves, pencil skirt, closures, long sleeves with hidden back zipper, hook-and- deep satin-faced vented three eye closure. Sheer lace, dyed snap cuffs. Banded hem patch to match lining at shoulders pockets at chest. Sequined and side panels from hip-to- ribbon trim at collar, placket, hem, sleeves unlined. 2” hem. pockets, cuffs and satin-piped Back vent. Fully lined. Length: hem. Shoulder pads. Fully lined. 23”. Sizes 00-16. Length: 20 1/2 ”. Sizes 00-16. 67% polyester, 29% viscose, 42% acrylic, 26% polyester, 4% elastane 17% wool, 15% viscose 2 | 8 | 10 | 2 | 8 | 10 | 4 | 6 8 | 2/14 | 8 | 6 | 10 | 4 | 12/0 | 10 203318 ARTISTRY 205475 RADIANT 210475 ROMANTIC 2 $225 6 $495 9 $195 FUCHSIA-CAMPARI RED– CAMPARI RED-FUCHSIA- FUCHSIA rayon-blend jersey SAPPHIRE BLUE-AUBURN- BLACK-DEEP RED-AUBURN sweater with point d’esprit lace BLACK Paisley print on silk large Paisley printed stretch mesh trim. Regular fit. Jewel georgette cami with scarf cotton velveteen tie-belted neckline with small knit bow neckline. Regular fit. Shaped trench jacket. Regular fit. Shaped and lace mesh insert at yoke, with bust darts, gathers at with front and back princess long sleeves. -
Centro Cultural De La Raza Archives CEMA 12
http://oac.cdlib.org/findaid/ark:/13030/kt3j49q99g Online items available Guide to the Centro Cultural de la Raza Archives CEMA 12 Finding aid prepared by Project director Sal Güereña, principle processor Michelle Wilder, assistant processors Susana Castillo and Alexander Hauschild June, 2006. Collection was processed with support from the University of California Institute for Mexico and the United States (UC MEXUS). Updated 2011 by Callie Bowdish and Clarence M. Chan University of California, Santa Barbara, Davidson Library, Department of Special Collections, California Ethnic and Multicultural Archives Santa Barbara, California, 93106-9010 (805) 893-8563 [email protected] © 2006 Guide to the Centro Cultural de la CEMA 12 1 Raza Archives CEMA 12 Title: Centro Cultural de la Raza Archives Identifier/Call Number: CEMA 12 Contributing Institution: University of California, Santa Barbara, Davidson Library, Department of Special Collections, California Ethnic and Multicultural Archives Language of Material: English Physical Description: 83.0 linear feet(153 document boxes, 5 oversize boxes, 13 slide albums, 229 posters, and 975 online items)Online items available Date (inclusive): 1970-1999 Abstract: Slides and other materials relating to the San Diego artists' collective, co-founded in 1970 by Chicano poet Alurista and artist Victor Ochoa. Known as a center of indigenismo (indigenism) during the Aztlán phase of Chicano art in the early 1970s. (CEMA 12). Physical location: All processed material is located in Del Norte and any uncataloged material (silk screens) is stored in map drawers in CEMA. General Physical Description note: (153 document boxes and 5 oversize boxes).Online items available creator: Centro Cultural de la Raza http://content.cdlib.org/search?style=oac-img&sort=title&relation=ark:/13030/kt3j49q99g Access Restrictions None. -
Scripts18 (Version 1).Xlsb
Contestant # Reader Script Leah, from the Central Kansas District, wanted to sew a nice, simple dress this year. The easy-care, floral fabric caught her eye when she noticed one of her favorite colors, corral. The pattern she chose proved to be more challenging than anticipated. However, once she deciphered a portion of the instructions, the difficulties slipped away. The full skirt makes for a very comfortable fit. Now she has a beautiful dress to wear to her senior 1 Brooklyn Hahn homecoming dance this fall. Strut your stuff; here comes Tamara, from Shawnee County, in her Senior prom dress. She graduated from Shawnee Heights High School this past May and is attending K-State, for Apparel and Textiles. Tamara loves the uniqueness of her dress, as she is the designer. She went dress shopping but never found a dress she loved so she took all the ideas she had and combined them into a one-of-kind dress. She has accessorized her dress with a belt that she created by hand stitching three strands of trim to a piece of ribbon. She has also paired her dress with a sparkly necklace and earrings as well as matching silver sparkly heels and a corsage made by her Grandma. Looking good Tamara! 3 Brooklyn Hahn Faith from Reno County knew that the wide ombre plaid she choose for this dress would need a limited amount of seems to get everything to match so she combined 2 different patterns to get the look she wanted. She used one pattern to create the bodice and a second pattern for the skirt. -
Adding a Back Vent to the Jenny Skirt Pattern By: Sunnilj9
Adding a Back Vent to the Jenny Skirt Pattern By: sunnilj9 http://www.burdastyle.com/techniques/adding-a-back-vent-to-the-jenny-skirt-pattern One thing I found when making my Danger! Curves Ahead Pencil Skirt from the Jenny Pattern from Burda Style is that the back had a slit and not a vent or kick pleat. I have strong feelings about slits. Slits, for skirts, belong in the front along one leg, if they belong anywhere at all. That’s my opinion and I’m sticking to it. I really feel that adding a back vent or even a kick pleat (kick pleats are closed back vents) adds real value and durability to a garment. Slits are much more likely to tear or distort over time from wear. You might also be surprised that though this little tutorial brings your skirt up a notch, its very easy to do. Weird huh? Usually things that look better on garments are much harder to do. I mean don’t you find it a relief to know that this is easy peasy? Come now, let’s cheer! OK enough silliness, down to brass tacks. So, this is a tutorial for a pencil skirt that has a slit that you want to convert to a back vent (or front vent, or side or whatever). I used the Jenny Skirt, but this tutorial will work for any skirt or dress pattern that has a slit. Step 1 — Step 1 Adding a Back Vent to the Jenny Skirt Pattern 1 OK, ready? Here we go. -
Augusta Auction Company Historic Fashion & Textile
AUGUSTA AUCTION COMPANY HISTORIC FASHION & TEXTILE AUCTION MAY 9, 2017 STURBRIDGE, MASSACHUSETTS 1 TRAINED CHARMEUSE EVENING GOWN, c. 1912 Cream silk charmeuse w/ vine & blossom pattern, empire bodice w/ silk lace & sequin overlay, B to 38", W 28", L 53"-67", (small holes to lace, minor thread pulls) very good. MCNY 2 DECO LAME EVENING GOWN, LATE 1920s Black silk satin, pewter lame in Deco pattern, B to 36", Low W to 38", L 44"-51", excellent. MCNY 3 TWO EMBELLISHED EVENING GOWNS, 1930s 1 purple silk chiffon, attached lace trimmed cape, rhinestone bands to back & on belt, B to 38", W to 31", L 58", (small stains to F, few holes on tiers) fair; 1 rose taffeta underdress overlaid w/ copper tulle & green silk flounce, CB tulle drape, silk ribbon floral trim, B to 38", W 28", L 60", NY label "Blanche Yovin", (holes to net, long light hem stains) fair- good. MCNY 4 RHINESTONE & VELVET EVENING DRESS, c. 1924 Sapphire velvet studded w/ rhinestones, lame under bodice, B 32", H 36", L 50"-53", (missing stones, lame pulls, pink lining added & stained, shoulder straps pinned to shorten for photo) very good. MCNY 5 MOLYNEUX COUTURE & GUGGENHEIM GOWNS, 1930-1950s Both black silk & labeled: 1 late 30s ribbed crepe, "Molyneux", couture tape "11415", surplice bodice & button back, B to 40", W to 34", H to 38", L 58", yellow & black ikat sash included, (1 missing button) excellent; "Mingolini Guggenheim Roma", strapless multi-layered sheath, B 34", W 23", H 35", CL 46"-50", (CF seam unprofessionally taken in by hand, zipper needs replacing) very good. -
Klnliuwaht)N Normal Tkaimvl CL\*A
* LOCAL MENTION. HIS CHECKERED CAREER. MILITARY TACTICS. From Rorkrlllr. CITY ITEMS. AMUSEMENTS. EDUCATIONAL. The The Much-Married Prisoner Practical Infractions for the COCKT MATTEBR.A T0V\0 MAX DBOWNKD.A Weather. Newman, Officers of PROMINENT RESIDENT Golden-Hatr NATIONAL THEATER .u. 11 n t k< i BKi.wnmc*A»*Ai»i i> Por the District of Colombia. Marvland. snd alius De Hughes. tbe National Guard. HTRICKKN WITH PARAX" Waak, guaranteed to bleach: MeUaal«. VS18.POLITICAL CELEBRATIONS. in any quantity to rait. Kolb* Pharmhot. JEW KiM>khM»J. *». Lmrlaud wy Wku Virginia, rain Thursday; fair Fridav- slightly 7th and E «to. TO XTC.HT AND BATVRDAT M VT1NEES M tta «»*., 1187 1 :uh at *.«. 1i» I; colder; wind* shifting to RRAJCEKAK. LAWTER ASD PREACHER.PART OF is Time or peace prhpare roa war.how to CoiTMivuOeiK-e of The Evrxrto Star. 16,17* Hoyt'« Very Funny Hun Comedy, ilrniiB. Dra«in* atad OnHaUwglra IWtMntti J^ar westerly. A Him IMIUNk and N«»CRR. Prlu.-(»*i«- Xomaal HIS EXPERIENCES AS PKEACHER AND MARRY- A BIOT.DEFENSE Or PCBLIO Rocktiluc, Mb., Not. 14, 1888. The Great Atlantic iH j-trtim iit for I cK hm. ttH-lm* Drop ix QUELL AND PRI¬ _ Pmcm Drum Goou«. -Woodward In the circuit court now in session H H OO L *KCMS * Lothrop wUl offer to-morrow 50 of 50 150 *0-THE 8TORT TOLD Bt AX EX-PHILA- VATE FBOPEBTT IX CASK OF AS ATTACK BT A here since And M H O O L t «> V i-m i.rs:*<N os niso lessons at and .>2-inch pieces DELPHIAN. -
Technological Studies Kunsthistorisches Museum Vienna
Technological Studies Kunsthistorisches Museum Vienna CONSERVATION – RESTORATION – RESEARCH – TECHNOLOGY Special volume: Storage Vienna, 2015 Technological Studies Kunsthistorisches Museum Vienna Special volume: Storage Vienna, 2015 Technological Studies Kunsthistorisches Museum Vienna CONSERVATION – RESTORATION – RESEARCH – TECHNOLOGY Special volume: Storage Vienna, 2015 Translated from the German volume: Content Technologische Studien Kunsthistorisches Museum. Konservierung – Restaurierung – Forschung – Technologie, Sonderband Depot, Band 9/10, Wien 2012/13 PREFACE Sabine Haag and Paul Frey 6 Editor: Kunsthistorisches Museum Vienna INTRODUCTION Martina Griesser, Alfons Huber and Elke Oberthaler 7 Sabine Haag Editorial Office: ACKNOWLEDGEMENTS 9 Martina Griesser, Alfons Huber, Elke Oberthaler Assistant, Editorial Office: ESSAYS Stefan Fleck Building a Cost-Effective Art Storage Facility that 13 Tanja Kimmel maintains State-of-the-Art Requirements Joachim Huber Creating a Quantity Structure for Planning Storage 21 Translations: Equipment in Museum Storage Areas Aimée Ducey-Gessner, Emily Schwedersky, Matthew Hayes (Summaries) Christina Schaaf-Fundneider and Tanja Kimmel Relocation of the 29 Collections of the Kunsthistorisches Museum Vienna to the New Art Direction: Central Storage Facility: Preparation, Planning, and Implementation Stefan Zeisler Pascal Querner, Tanja Kimmel, Stefan Fleck, Eva Götz, Michaela 63 Photography: Morelli and Katja Sterflinger Integrated Pest Management (IPM) Christian Mendez, Thomas Ritter, Alexander Rosoli, -
Heritage and Innovation: Charles Frederick Worth, John Redfern, And
Heritage and Innovation: but despite his efforts to simplify women’s daytime clothes the usual effect was heavily Charles Frederick Worth, draped and fringed, and as stuffily claustro - phobic as the gewgaw-cluttered interiors John Redfern, and the associated with Victorian English taste”. Dawn of Modern Fashion The Kyoto Costume Institutes 2002 publi - cation of fashions from the 18 th through the Daniel James Cole 20 th Centuries includes a short, partially accurate biography Redfern but with erro - neous life dates that would have him opening his business around the age of 5. Recent scholarship creates a different pic - ture of both Worth and Redfern. Pivotal to the history of clothing, Redfern’s story is only recently being rediscovered, and only in the past few years has a proper explo - ration and assessment begun (primarily by the work of Susan North). North (2008) puts forward the thesis that in the late 19 th century, Redfern and Sons was of equal importance to the House of Worth. It is even possible to assert that Redfern, and his legacy, were actually of greater importance as shapers of 20 th Century styles. An exam - ination of Redfern and Redfern Ltd., in Charles Frederick Worth’s story has been comparison to their contemporaries, calls told often and is familiar to fashion schol - into question not only the preeminence of ars. But while Worth has enjoyed a place of Worth, but also aspects of the careers of Paul significance in fashion history, the story of Poiret and Gabrielle Chanel. his contemporary, John Redfern has been The following explores how Worth and ignored, or at best reduced to mere footnote Redfern, in different ways, shaped the tastes status. -
Websites of the Week Embroiderers' Guild of WA Week 8 Each Address
Websites of the Week Embroiderers’ Guild of WA Week 8 Each address below is a hyperlink so to visit, select the address, then press ‘Ctrl+click’. 1. www.trc-leiden.nl/trc/index.php/en/ The Textile Research Centre – Leiden (The Netherlands) houses a range of textiles, garments and accessories from around the world with over 28,000 items. Its catalogue is published online. This includes items from the 19th and 20th and pre-industrial technology (looms, spindles etc.). Its collection was important to the publication of the “Encyclopedia of Embroidery from the Arab World”. The collection can be searched in a number of different ways, for example, by country, date, technique, as well as by subject category, such as hats, shoes, belts, and so forth. The site has an excellent English version. 1. www.Lynxlace.com A website by Lorelei Halley for “those who love to make lace, who want to learn lace making, or who love to collect lace.”. This site has sections on: Lace Identification -- Kinds of Lace: brief descriptions of the major structural methods of making lace; photos showing different kinds of lace side by side to help in distinguishing them; the names of the parts of a lace; structural analysis of various styles of bobbin lace; and a brief historical summary of bobbin lace. About Specific Laces – • Bobbin Lace ( Lace Identification-History; Modern Bobbin Lace); • Learning Bobbin Lace ( Achieving a basic understanding of the various kinds of bobbin lace; learning bobbin lace; make bobbin lace; and how to get started; the different kinds of bobbin lace; and different ways of solving problems. -
Textiles and Clothing the Macmillan Company
Historic, Archive Document Do not assume content reflects current scientific knowledge, policies, or practices. LIBRARY OF THE UNITED STATES DEPARTMENT OF AGRICULTURE C/^ss --SOA Book M l X TEXTILES AND CLOTHING THE MACMILLAN COMPANY NEW YORK • BOSTON • CHICAGO • DALLAS ATLANTA • SAN FRANCISCO MACMILLAN & CO., Limited LONDON • BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Ltd. TORONTO TEXTILES AXD CLOTHIXG BY ELLEX BEERS >McGO WAX. B.S. IXSTEUCTOR IX HOUSEHOLD ARTS TEACHERS COLLEGE. COLUMBIA U>aVERSITY AXD CHARLOTTE A. WAITE. M.A. HEAD OF DEPARTMENT OF DOMESTIC ART JULIA RICHMAX HIGH SCHOOL, KEW YORK CITY THE MACMILLAX COMPAXY 1919 All righU, reserved Copyright, 1919, By the MACMILLAN company. Set up and electrotyped. Published February, 1919. J. S. Gushing Co. — Berwick & Smith Co. Norwood, Mass., U.S.A. ; 155688 PREFACE This book has been written primarily to meet a need arising from the introduction of the study of textiles into the curriculum of the high school. The aim has been, there- fore, to present the subject matter in a form sufficiently simple and interesting to be grasped readily by the high school student, without sacrificing essential facts. It has not seemed desirable to explain in detail the mechanism of the various machines used in modern textile industries, but rather to show the student that the fundamental principles of textile manufacture found in the simple machines of primitive times are unchanged in the highl}^ developed and complicated machinerj^ of to-day. Minor emphasis has been given to certain necessarily technical paragraphs by printing these in type of a smaller size than that used for the body of the text. -
Every Fur Coat Hurts!
Whims of Fashion Fatal to Furbearers What's it Like to be Trapped? Economics of the The raccoon on the cover of this report is Are young children taught to be insensi A fox emerges from the swamp grass and chews off his foot. The terror-stricken fox U.S. Fur Trade only one of about 17 million U.S. furbear tive to pain and suffering when there's a moves along its usual path of travel. limps off into the swamp grass leaving a ers killed each year. Most have been made trapping tradition in their homes? When WHAM! The jaws of the trap slam shut on trail of blood. The HSUS estimates that there are about to suffer the agony of the steel jaw trap. they see row upon row of fur coats in the the fox's right rear leg. The startled and ter This event, commonly called "wring 300,000 trappers in the United States, the The trapper's coup de grace is often admin department stores? rified fox struggles to break free. The off" by trappers, could have taken two vast majority of whom do not derive a sub istered with a club, a noose, or a boot heel. Parents are always confronted with ques smooth jaws of the trap bite into flesh caus hours, two days, or maybe even two weeks. stantial portion of their income from trap And let us not forget the millions of other tions such as: "How did they kill it Daddy? ing traumatic injury to skin, ligaments, and ping. -
Building Best Practices for Fashion Design Pedagogy: Meaning, Preparation, and Impact
Steven Faerm Building best practices for fashion design pedagogy: meaning, preparation, and impact Fecha de recepción: julio 2014 Building best practices for fashion Fecha de aceptación: marzo 2015 Versión final: julio 2015 design pedagogy: meaning, preparation, and impact Steven Faerm * Summary: Historically, universities have adopted a “sink or swim” approach with their hiring of art and design faculty. After years of professional experience, these new faculty enter classrooms without pedagogical training and are expected to succeed as educators. However, designing product and educating students require significantly different skill- sets. Additionally, faculty challenges are radically increased due to the seismic changes occurring in design education, the evolving student generation, and the increasingly volatile professional world for which students must be trained. Through trial and error, new faculty often rely on outdated teaching methods used during their own undergraduate experiences. This lack of faculty preparation negatively impacts programs, the graduates’ preparation, and ultimately our design industries. This article will discuss the critical need for tomorrow’s art and design faculty to acquire –and master– solid pedagogical skills if they are to successfully educate and train future designers. This study aims to provide fashion design educators and program directors with awareness for the importance of providing pedagogy support for new faculty in order to strengthen the students’ learning. Key words: design education - design pedagogy - student development - teaching - fashion design - fashion industry - Parsons - faculty - higher education. [Summaries in spanish and portuguese at pages 212-213] (*) Associate Professor, The School of Fashion, Parsons The New School for Design. Introduction Historically, universities have adopted a “sink or swim” approach with their hiring of fashion design faculty.