Fashion Museum July
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PRESS RELEASE: Hand & Lock, Fashion's Secret Weapon
For Immediate release – March 2015 Contact: Robert McCaffrey [email protected] 0207 580 7488 Hand & Lock 86 Margaret Street London, W1W 8ET Hand & Lock: Fashion’s secret weapon Since 1767 Hand & Lock have been at the forefront of British fashion and ceremonial embroidery. Over their long history they have been commissioned produce high quality fashion embroidery for European couture houses including Chanel, Dior and Louis Vuitton. They also supply military badges for the Royal forces, ceremonial embroidery for the British Royal family and exquisite hand monogramming to the public. In recent years embroidery has undergone a dramatic fashion renaissance with the hottest new designers looking at inventive ways of reimagining embellishments. M ary Katrantzou commissioned Hand & Lock to produce jewellery inspired, heavily embroidered panels for her AW14 collection. Originally famous for Prints, Katrantzou took her keen eye for detail and used it to make high definition embellished mink sweaters that, in her words, were “about taking an everyday garment and making it really stand out for its decorative nature and luxury value”. Up and coming Fashion East designer E d Marler is a true embroidery convert charging Hand & Lock with embroidering his debut SS15 and follow up AW15 collections. His eclectic debut collection featured embroidered stab vests and embroidered bandanas and evoked the myth of the immortal vampire drifting through the decades collecting styles, garments and trinkets. His AW15 follow up was a kitsch nod to East end London culture with no shortage of references to the classic TV series, Only Fools and Horses. Hand & Lock were tasked with producing a new babycham inspired design that ran throughout the collection reinforcing his key reference along with his trademark crown motif. -
Autumn 2017 Cover
Volume 1, Issue 2, Autumn 2017 Front cover image: John June, 1749, print, 188 x 137mm, British Museum, London, England, 1850,1109.36. The Journal of Dress History Volume 1, Issue 2, Autumn 2017 Managing Editor Jennifer Daley Editor Alison Fairhurst Published by The Association of Dress Historians [email protected] www.dresshistorians.org i The Journal of Dress History Volume 1, Issue 2, Autumn 2017 ISSN 2515–0995 [email protected] www.dresshistorians.org Copyright © 2017 The Association of Dress Historians Online Computer Library Centre (OCLC) accession number: 988749854 The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. 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 journal is published biannually, every spring and autumn. 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 distributed completely free of charge, solely for academic purposes, and not for sale or profit. The Journal of Dress History is published on an Open Access platform distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The editors of the journal encourage the cultivation of ideas for proposals. -
Focusing on the Dress and Role Enactment
IJCC, V이 . 13, No. 1, 12-22(2010) 12 A Study on Queen Elizabeth U's Dress : Focusing on the Dress and Role Enactment Youn Yui^ Cho aM Sook«Hi Yang* Dept. of Clothing & Textiles, Sookmyung Womens University, Seoul, Korea (Received February 18, 2010 : Accepted April 30, 2010) Abstr^t As an influential political leader, Queen Elizabeth U holds the link between past queens and today's yeomen political leaders and her dress represents so much in accordance to her role. Il is important to analyze the dress and role enactment of Queen Elizabeth H in order to provide a guide to the future women political leaders all over the world. The Queers dress helps her show tradition which has developed over one thousand years of history. She represents Britain to the world focusing on national identity and unity. The Queen always distinct herselffrom the rest of the world to show the pride of British Monarch, but when she is visiting other counties for diplomatic r이 afion아 lips she would surely show a friendly gesture on her dress to assimilate herself with that country. Also, same as all other women, the Queen seeks practicality in her dress. Therefore, I was able to classify the Queen's dress into five groups as a way of role enactment. They are tradition, represeMation, distinction, assimilation, and practicality. Key words : role enactment, women political leader, dress. less formal role as Head of Nation. The Sovereign I. Introduction acts as a ibcus for national identity, unity 曲 d pride. The Sovereign acts as a focus for national identity, The purpose of this study is to understand the unity and pride. -
Utility Futility: Why the Board of Trade's Second World War Clothing Scheme Failed to Become a Fashion Statement Amanda Durfee Dartmouth College
Penn History Review Volume 25 | Issue 2 Article 4 4-5-2019 Utility Futility: Why the Board of Trade's Second World War Clothing Scheme Failed to Become a Fashion Statement Amanda Durfee Dartmouth College This paper is posted at ScholarlyCommons. https://repository.upenn.edu/phr/vol25/iss2/4 For more information, please contact [email protected]. Second World War Clothing Scheme Utility Futility: Why the Board of Trade's Second World War Clothing Scheme Failed to Become a Fashion Statement Amanda Durfee Dartmouth College If one were to interview a survivor of the Second World War British home front, they would almost certainly mention the Utility clothing scheme. Along with well-known propaganda campaigns like “Make Do and Mend” and “Mrs. Sew and Sew,” the Utility scheme is one of the most prominent and enduring features of the collective memory of the British home front experience.1 An unprecedented program of economic regulation, Utility was a system of price and quality controls imposed by the Board of Trade - a legislative body that governed British commerce - on every stage of production in the clothing industry, from the price and type of cloth produced by textile mills to the price of a finished garment on the sales floor. The foremost intent of the program was to keep prices down and quality consistent to ensure that middle- and working-class wartime British citizens could afford good quality clothing. Every garment produced through the scheme bore a distinct label: twin CC’s paired with the number 41, nicknamed “the double cheeses.”2 This label became one of the most prominent trademarks of the British home front. -
Exhibition Catalog
The Missouri Historic Costume and Textile Collection presents FASHIONING A COLLECTION: 50 Years 50 Objects March 7 – May 20, 2017 State Historical Society of Missouri Gallery FASHIONING A COLLECTION: 50 YEARS, 50 OBJECTS Missouri Historic Costume and Textile Collection Department of Textile and Apparel Management College of Human Environmental Sciences University of Missouri State Historical Society of Missouri FASHIONING A COLLECTION: 50 YEARS, 50 OBJECTS Curated by Nicole Johnston and Jean Parsons The Missouri Historic Costume and Textile Collection was established in 1967 by Carolyn Wingo to support the teaching mission of the Department of Textile and Apparel Management within the College of Human Environmental Sciences at the University of Missouri. MHCTC received its first donation of artifacts from the Kansas City Museum in Kansas City, Missouri and has grown to include over 6,000 items of apparel, accessories and household textiles donated by alumni, faculty and friends. Curator Laurel Wilson guided and nurtured the collection for over half of the Collection’s fifty years, and today, the MHCTC collects and preserves clothing and textiles of historic and artistic value for purposes of teaching, research, exhibition and outreach. This exhibit celebrates the variety and mission of the collection, and is thus organized by the three branches of that mission: education, research and exhibition. It was a challenge to choose only 50 objects as representative. We have chosen those objects most frequently used in teaching and are student favorites, as well as objects used in research by undergraduate and graduate students, faculty, and visiting scholars. Finally, favorites from past exhibits are also included, as well as objects and new acquisitions that have never been previously exhibited. -
Legion of Frontiersmen Notebook
Legion of Frontiersmen Notebook Includes over 30 pages with maps, charts, images and about 300 referenced historical entries Part I - General Information Part II - Referenced Timeline Part III - Uniform and Accoutrements ©Barry William Shandro M.Ed – Edmonton Canada – 01 January 2017 1 Foreword This is a personal notebook. Hopefully, this cache of information from a Canadian perspective assists with understanding the enigmatic Legion of Frontiersmen. This document is not intended for commercial reproduction nor is it intended for sale; however, the reader is most welcome to use this information as a starting point for further research. Please credit the original sources of information noted. Four decades ago I began to hear stories about the Legion of Frontiersmen from First and Second World War veterans. These accounts seemed questionable so I began a long process of investigating these claims and looking for informative sources. – To my surprise much of the verbal lore was confirmed with news quotations, documents, photos or addressed in rediscovered Frontiersmen publications. Concurrent to my efforts, the members of the History and Archives Section, Legion of Frontiersmen [Countess Mountbatten’s Own] willingly discussed their respective efforts to rediscover and preserve a very unique piece of Imperial history. Spearheaded by the Legion Historian, Geoffrey A. Pocock [Outrider of Empire, University of Alberta Press] a great deal of material has been placed online - see The Frontiersmen Historian. Additionally, the University of Alberta has been most helpful as the repository of Legion of Frontiersmen related documents. Finally, the grammatical errors and technical writing irregularities have been inserted to see if you are paying attention. -
A Dictionary of Men's Wear Works by Mr Baker
LIBRARY v A Dictionary of Men's Wear Works by Mr Baker A Dictionary of Men's Wear (This present book) Cloth $2.50, Half Morocco $3.50 A Dictionary of Engraving A handy manual for those who buy or print pictures and printing plates made by the modern processes. Small, handy volume, uncut, illustrated, decorated boards, 75c A Dictionary of Advertising In preparation A Dictionary of Men's Wear Embracing all the terms (so far as could be gathered) used in the men's wear trades expressiv of raw and =; finisht products and of various stages and items of production; selling terms; trade and popular slang and cant terms; and many other things curious, pertinent and impertinent; with an appendix con- taining sundry useful tables; the uniforms of "ancient and honorable" independent military companies of the U. S.; charts of correct dress, livery, and so forth. By William Henry Baker Author of "A Dictionary of Engraving" "A good dictionary is truly very interesting reading in spite of the man who declared that such an one changed the subject too often." —S William Beck CLEVELAND WILLIAM HENRY BAKER 1908 Copyright 1908 By William Henry Baker Cleveland O LIBRARY of CONGRESS Two Copies NOV 24 I SOB Copyright tntry _ OL^SS^tfU XXc, No. Press of The Britton Printing Co Cleveland tf- ?^ Dedication Conforming to custom this unconventional book is Dedicated to those most likely to be benefitted, i. e., to The 15000 or so Retail Clothiers The 15000 or so Custom Tailors The 1200 or so Clothing Manufacturers The 5000 or so Woolen and Cotton Mills The 22000 -
Fashion Museum January
Fashion Museum January – June 2018 Fashion Museum Gallery information for 2018 3 Assembly Rooms, Bennett Street, Bath BA1 2QH The Fashion Museum Welcome Bath is one of the Welcome to the Fashion Museum Bath, world’s great museum one of the world’s great museum collections collections of historical of historical and contemporary dress. and contemporary dress. Your visit includes an audioguide available in 12 different languages and fashionmuseum.co.uk the opportunity to try on replica historical dresses, coats, corsets and hats. We recommend you allow at least an hour to enjoy the two exhibitions and Dress of the Year on display in the Museum. In addition to the unique collection, we also offer a varied events programme. This includes evening talks on different aspects of fashion history and creative family activities in school holidays. We are also home to the Bath branch of the Knitting and Crochet Guild. Details of school holiday activities for families and children are on page 8. More information at fashionmuseum.co.uk, Facebook, Pinterest and Twitter. You can also contact us on [email protected] We hope you enjoy your visit to the Fashion Museum! Front cover image: Evening Dress, embroidered chiffon, by Doeuillet, Paris 1910. Worn by Queen Alexandra ‘One of the world’s best fashion museums…’ Condé Nast Traveler Until 1 January 2019 5 A History of Fashion in 100 Objects The Fashion Museum Bath Fashion touches everyone’s life – it presents 100 ‘star’ objects is intrinsically linked to society – and from its collection in the headline A History of Fashion in 100 Objects exhibition A History of Fashion references moments in history, in 100 Objects. -
Key Objects Fashion Rules Dress from the Collections of HM the Queen, Princess Margaret and Diana, Princess of Wales
Key Objects Fashion Rules Dress from the collections of HM The Queen, Princess Margaret and Diana, Princess of Wales STAR ITEM This apricot silk evening gown typifies the new, more feminine HM The Queen shape of 1950s fashions. The luxurious skirt, supported by layers of Evening gown, tulle, is enhanced by intricate floral probably Norman lace embellished with gold thread. Hartnell, early Silk flounces extend from the bodice, 1950s providing added volume and movement. Lent by kind This dress would have been worn for permission of Her a formal engagement. Norman Majesty The Hartnell said of Royal dressing ‘As a Queen Historic Royal Palaces © Her rule, ladies of the Royal Family wear Majesty Queen Elizabeth II 2013 light coloured clothes because such colours are more discernible against a great crowd.’ HM The Queen Worn for the opening of the New Zealand parliament, during a Evening gown Commonwealth visit, 1963. Norman Hartnell, 1963 Norman Hartnell was renowned for his intricately detailed beading. This evening gown of oyster-coloured Lent by kind duchesse satin is embroidered with permission of Her pearls, beads, diamanté and sequins Majesty The in a striking diamond pattern, with Queen bugle beads forming tassel drops, alternately in silver and gold. The Royal Collection Trust © Her scissor cut skirt creates fullness and Majesty Queen Elizabeth II 2013 reveals further embroidery underneath. Press Office, Waterloo Block, HM Tower of London, London EC3N 4AB Registered Charity No 1068852 www.hrp.org.uk HM The Queen Worn at a banquet hosted by President Ayab Khan of Pakistan, on Evening gown the first day of a six-week tour of Norman Hartnell, Pakistan and India, 1961. -
THE GOLDEN AGE of COUTURE: PARIS and LONDON 1947-1957 22 September 2007 – 6 January 2008
THE GOLDEN AGE OF COUTURE: PARIS AND LONDON 1947-1957 22 September 2007 – 6 January 2008 ‘A golden age seemed to have come again’. Christian Dior, 1948 The V&A’s autumn exhibition, The Golden Age of Couture: Paris and London 1947-1957, will explore one of the most glamorous and remarkable decades in fashion history. Starting with the impact of Christian Dior’s New Look after the Second World War, it will look at the work of Dior and his contemporaries during the period when haute couture was at its height. Coinciding with the 60th anniversary of the launch of the New Look in 1947, the exhibition will show how Dior’s ballerina-skirted dresses signalled the return to luxury and elegance after wartime austerity. It will examine the world of couture, highlighting the work of Dior, Cristóbal Balenciaga, Hubert de Givenchy and Pierre Balmain in Paris and their London counterparts Norman Hartnell and Hardy Amies. Other successful designers of the time - such as Fath, Griffe, Stiebel, and Michael of London - will feature in a broad survey of the decade. More than 100 dresses will be on display including daywear, cocktail and evening dresses made for society and royalty alongside photographs by Cecil Beaton and Richard Avedon and original Hollywood and documentary film. There will be audio recordings, textiles and archival material such as bills of sales and letters. More than 95 per cent of the dresses are from the V&A’s own fashion collections. In a decade when Dior set the popular style, with couture’s ripple effect influencing women’s fashion at every level, the exhibition will trace how Dior created the most successful fashion business model of the 20th century through advertising, licensing, perfume and publicity. -
Tudors to Windsors: British Royal Portraits 16 March – 14 July
Tudors to Windsors: British Royal Portraits 16 March – 14 July Chris Levine, Queen Elizabeth II (Lightness of being), 2007 National Portrait Gallery, London • Founded in 1856, the National Portrait Gallery was the first gallery established exclusively for displaying portraiture. The Gallery’s collection includes a wide variety of works such as painting, sculpture, photography, prints and caricatures. Tudors to Windsors is the first time the NPG has toured their outstanding collection of royal portraiture. Bendigo Art Gallery has collaborated with the National Portrait Gallery on several occasions but this is by far the most extensive exhibition the NPG has ever sent to Australia and Bendigo Art Gallery is one of only two venues in the world, the other being Houston, Texas. The exhibition traces many of the major events in British history, examining the ways in which royal portraits were impacted by both the personalities of individual monarchs and wider historical change. The exhibition explores five royal dynasties, from the Tudors to the Windsors, and includes works by many of the most important artists to have worked in Britain. • Alongside the works of art from the National Portrait Gallery, Bendigo Art Gallery has secured some additional loans to further explain the lives of these fascinating characters. Special loans from the Royal Armouries and Historic Royal Palaces add a further dimension to this exhibition. 1483-1603 Above after Titian, Philip II, king of Spain 1555, oil on panel Right after Hans Holbein the younger King Henry VIII, c.1540s, oil on wood panel Art Gallery of South Australia, Adelaide • The Tudors are one of the most famous royal dynasties in the world. -
1910 #20 Costume De Quatier – Maitre -- Sailor Suit for This Suit, 10
1910 #20 Costume de Quatier – Maitre -- Sailor Suit For this suit, 10 patterns are needed. It is composed of a dress without sleeves, or skirt sewn onto a bodice, and of a jacket with a sailor collar. You will make, this week the dress. You will prepare the collar and the sleeves. We will finish the suit next week. Fig.1. – This is the whole suit finished. Fig.2. – Patron du col [Pattern of the collar]; it is on the straight thread on three sides. Fig.3 and 4. – Devant et dos du gilet [Front and back of the bodice] The front is pointed out to you three quarters. Trace the pattern until the dotted line which passes just through the middle of the front and place it on the fabric folded double, putting the dotted line edge to edge with the fold of the fabric. The pattern of the back will also be placed on the fabric folded double, or on two pieces placed wrong side against wrong side or right side against right side. The back and the front are joined together by the shoulder seams (a) and those of the sides (b, c). The bodice is closed at the back by snaps. It is decorated in front with small soutache or very narrow velvet. It is better to sew on this ornament before assembling the back and the front, because the ends of the soutache or velvet will go in the seams; this will be neater. The anchor which is at the top of the page was enlarged intentionally, in order to be able to be useful to your mothers for a suit for a child.