Fashion and Accessories (Clothing Styles and Trends)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Indian Culture By: Rachita Vinoth
The Indian Culture By: Rachita Vinoth Red, pink, yellow, green, purple, orange, blue, white. Colors float and wave around me. They are in front of me, beside me, behind me, everywhere! There are so many colors that it feels like I am in the sun where all the colors are combined. But to tell you the truth, I am in India. India is a place full of colors, and everywhere you look, everything is so lively and beautiful. There are so many varieties of everything here. India is even called “The Land of Diversity” because of the varieties of food, entertainment, traditions, festivals, clothing, religions, languages, and so much more. Every direction you look, from food to religion, you will see so many unique things. It helps you, it gives you energy, it is the thing that keeps you moving and working - it’s food. There are so many famous foods in India that it is called the land of spices. People from Northern India desire foods like Mughlaifood. Famous foods in Southern India are dosa, idli, and more rice-based dishes. Some foods that people across the country like are chole bhature, all kinds of bread like roti and naan, and of course the all time favorite biryani! Some Indian desserts that are famous are kheer, rasgulla, gulab jamun, and more different varieties. Indians like to play a musical game called antakshari. They also like to watch movies, and the movies are mostly musical, including many types of songs and dances. The movie industry, Bollywood, is almost as big as Hollywood now. -
Clothing of Ancient India
Clothing of Ancient India India has a strong connection to its history and traditions. This is especially evident in traditional Indian dress. Many people still wear traditional garments, although the use of Western clothes has increased markedly. Indian clothing is very diverse and varies by region and religious group. One of the most common garments for women is the sari. A sari is a wide strip of cotton cloth, 1.5 to 2.75 metres long, which is draped around the body. There are many methods for draping a sari. One common method is to wrap it around the waist like a skirt and then drape the end over the left shoulder. Saris are usually worn over a petticoat and a tight fitting blouse, or choli. Also common is the salwar kameez, a loose shirt over loose trousers. Men often wear a dhoti, which is similar to the sari. It only covers the lower half of the body and is worn with a traditional or Western-style shirt. Both the dhoti and the sari are ancient garments, possible dating back thousands of years. Men in some parts of India. On formal occasions men may wear a long, fitted coat called a sherwani. The turban was once a common head covering, but its use is in decline. Questions 1. Write a summary of the text. 2. True or False: (3 marks) a. Traditional Indian dress is diverse and is still worn today. b. Most Indians now wear Western-style cothing. c. The turban has undergone changes in popularity over the years. -
Ancient Civilizations Huge Infl Uence
India the rich ethnic mix, and changing allegiances have also had a • Ancient Civilizations huge infl uence. Furthermore, while peoples from Central Asia • The Early Historical Period brought a range of textile designs and modes of dress with them, the strongest tradition (as in practically every traditional soci- • The Gupta Period ety), for women as well as men, is the draping and wrapping of • The Arrival of Islam cloth, for uncut, unstitched fabric is considered pure, sacred, and powerful. • The Mughal Empire • Colonial Period ANCIENT CIVILIZATIONS • Regional Dress Harappan statues, which have been dated to approximately 3000 b.c.e. , depict the garments worn by the most ancient Indi- • The Modern Period ans. A priestlike bearded man is shown wearing a togalike robe that leaves the right shoulder and arm bare; on his forearm is an armlet, and on his head is a coronet with a central circular decora- ndia extends from the high Himalayas in the northeast to tion. Th e robe appears to be printed or, more likely, embroidered I the Karakoram and Hindu Kush ranges in the northwest. Th e or appliquéd in a trefoil pattern. Th e trefoil motifs have holes at major rivers—the Indus, Ganges, and Yamuna—spring from the the centers of the three circles, suggesting that stone or colored high, snowy mountains, which were, for the area’s ancient inhab- faience may have been embedded there. Harappan female fi gures itants, the home of the gods and of purity, and where the great are scantily clad. A naked female with heavy bangles on one arm, sages meditated. -
Research Guru Volume-5 (March, 2015) (ISSN: 2349-266X)
Research Guru Volume-5 (March, 2015) (ISSN: 2349-266X) Apparel art of Solanki Period Dr. Dharti Patel Apparel is the most eminent from of individual as well as racial self expression. It is at the same time an excellent embodiment of their sense if beauty. An Artistic age generally produces artistic apparel and artistic people cloth then selves accordingly. Archeological art in an aesthetic expression or exercise it‟s a study of great civilization of humanistic ideas. It can be explored in many new materials, so this study makes it possible to like at it with a fresh set of ideas and new research idea. The traditional Indian clothing takes us close to our cultural roots and reminds us of the glorious past. Read about the Indian ethnic wear. In Earlier dynasties i.e Maurya , Sunga, Saka , Parthian , Satvahana & Kushan etc. Many Beautiful costumes are found of the different sculpture . These sculptures are from walls Of temples , stups , pillar , viharas , caves , relics etc. Traditional clothing has come into prominence once again. Well, if you notice the trends in fashion industry, you'll realize that modern fashion has aped the styling and designing of the bygone eras, the period of royalty, when Maharajas and Rani „s used to spend extravagantly on their clothing. Whatever the royals chose to go in for was reminiscent of splendor and luxury. The creative fashion designers of today are in a lookout for ethnic designs that take us close to our cultural roots and remind us of the glorious past. Well, in this section, we will provide you with information on the different kinds of traditional clothing in India. -
Kuala Lumpur, Malaysia's Dazzling Capital City
CONTENTS 4 DOING THE SIGHTS 38 SENSATIONAL SHOPPING 5 Prestigious Landmarks 39 Shopping Malls 6 Heritage Sites 42 Craft Centres 10 Places of Worship 43 Street Markets and Bazaars 12 Themed Attractions 44 Popular Malaysian Souvenirs 14 TROPICAL ENCLAVES 45 EATING OUT 15 Perdana Botanical Gardens 46 Malay Cuisine 16 KLCC Park 46 Chinese Cuisine 17 Titiwangsa Lake Gardens 46 Indian Cuisine 17 National Zoo 46 Mamak Cuisine 17 Bukit Nanas Forest Reserve 47 International Cuisine 47 Malaysian Favourites 18 TREASURE TROVES 49 Popular Restaurants in KL 19 Museums 21 Galleries 52 BEYOND THE CITY 22 Memorials 53 Kuala Selangor Fireflies 53 Batu Caves 23 RELAX AND REJUVENATE 53 Forest Research Institute of Malaysia 24 Spa Retreats (FRIM) 25 Healthcare 54 Putrajaya 54 Port Dickson 26 ENTHRALLING PERFORMANCES 54 Genting Highlands 27 Premier Concert Halls 55 Berjaya Hills 27 Cultural Shows 55 Cameron Highlands 28 Fine Arts Centres 55 Melaka 29 CELEBRATIONS GALORE 56 USEFUL INFORMATION 30 Religious Festivals 57 Accommodation 31 Events and Celebrations 61 Getting There 62 Getting Around 33 ENTERTAINMENT AND 65 Useful Contacts EXCITEMENT 66 Malaysia at a Glance 34 Theme Parks 67 Saying it in Malay 35 Sports and Recreation 68 Map of Kuala Lumpur 37 Nightlife 70 Tourism Malaysia Offices 2 Welcome to Kuala Lumpur, Malaysia’s dazzling capital city Kuala Lumpur or KL is a modern metropolis amidst colourful cultures. As one of the most vibrant cities in Asia, KL possesses a distinct and charming character. Visitors will be greeted by the Petronas Twin Towers, a world-renowned icon of the country. The cityscape is a contrast of the old and new, with Moorish styled buildings standing alongside glittering skyscrapers. -
View/Download
VISION Government Polytechnic, Aurangabad will be world class technical institute pursuing for excellence, catering to the needs of global community, striving for its harmonious development by inculcating lifelong learning skills to serve for the socio economic development having concerned for ecology and social harmony MISSION To create multi disciplinary best citizens to suit local, state, National and International needs having scientific temperament , moral ethics , values and multi facetted proactive personality by providing excellent education system ii Date CERTIFICATE This is to certify that the Curriculum of Diploma in Dress Designing and Garment Manufacturing Programme has been implemented with effect from 2011-2012. This Curriculum Document contains pages from to and from to Head of In Charge Principal Dress Designing and Curriculum Development Cell Government Polytechnic Garment Manufacturing Government Polytechnic Aurangabad Aurangabad Aurangabad iii Date CERTIFICATE This is to certify that the Curriculum of Diploma in Dress Designing and Garment Manufacturing Programme of Govt. Polytechnic Aurangabad (An Autonomous Institute of Govt. of Maharashtra), which has been implemented with effect from 2011-12 academic year, is equivalent to Diploma in Dress Designing and Garment Manufacturing Programme Implemented by Maharashtra State Board of Technical Education, therefore Equivalence is hereby granted. Member Member Member ( ) ( ) ( ) Member Member Member ( ) ( ) ( ) Member Member Member ( ) ( ) ( ) Member Secretary Chairman ( ) ( ) iv Index SR. CONTENTS COURSE PAGE CODE NO. NO. 1. Scope of Diploma In Dress Designing & Garment Mfg. ------ 8-12 2. Strategy adopted for Curriculum Development ------------- 13-16 3. Sample Path -10th Pass -------------- 17 4. Level Wise Course Structure --------------- 18-24 5. Semester Wise Course Structure -------------- 25-30 6. Basic Drawing-I [BDR-I ] 5D101 31-32 7. -
EXPRESSION of INTEREST for TESTING of SAMPLES.Pdf
EXPRESSION OF INTEREST FOR TESTING OF SAMPLES UNDER INDIA HANDLOOM BRAND Government of India Ministry of Textiles Office of the Development Commissioner for Handlooms Udyog Bhawan, New Delhi-110 011 Tel : 91-11-2306-3684/2945 Fax: 91-11-2306-2429 1. Introduction 1.1 India Handloom Brand (IHB) has been launched by the Govt. of India to endorse the quality of the handloom products in terms of raw material, processing, embellishments, weaving, design and other parameters besides social and environmental compliances. The IHB is given only to high quality defect free product to cater to the needs of those customers who are looking for niche handmade products. 1.2 The list of products eligible for registration under the IHB is enclosed at Annexure – 1(A). However, as per recommendation of IHB Review Committee, new items can be included/ existing specifications can be changed/ new specifications may be added in the list from time to time. 1.3 For registration under IHB, the applicant has to submit on-line application in the website www.indiahandloombrand.gov.in. The applicant has to then submit the printout of the online application form and the sample of the product of atleast 0.25 mt. length in full width to the concerned Weavers’ Service Centre (WSC). The applicant also has to submit registration fee of Rs. 500 plus service taxes in the form of Demand Draft or through on-line payment. The WSCs will then send the sample to the testing laboratory for testing. 1.4 The sample received by the laboratory has to be tested as per standard testing procedure and testing result has to be submitted before Evaluation Committee in the Evaluation committee meeting which is generally held in Textiles Committee, Mumbai. -
Universi^ Micn^Lms
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Traditional Clothes of the Country(Joint
Message froM PRESIDENT Dear Rotaractors, Warm Rotaract Greetings from Rotaract Club of Thane North (RID 3142- India) We are glad sharing an editorial space with you and find great pleasure introducing the Traditional attire of our country. As you know India is a diverse country and has 29 states and 7 union territories. Every state has their own diverse language and traditional attire. We even have diversity in religion maximum people following Hinduism and the rest being Islam, Christianity and Sikhism; leave aside the other tribes which have their own traditional attire. Living in such a diversified country it is difficult to write about the entire traditional clothing, but here I will just try giving you a glimpse of the same. For men, traditional clothes are the Achkan/Sherwani, Bandhgala, Lungi, Kurta, Angarkha, Jama and Dhoti or Pajama. Additionally, recently pants and shirts have been accepted as traditional Indian dress by the Government of India. In India, women's clothing varies widely and is closely associated with the local culture, religion and climate. Traditional Indian clothing for women in the north and east are saris worn with choli tops; a long skirt called a lehenga or pavada worn with choli and a dupatta scarf to create an ensemble called a gagra choli; or salwar kameez suits, while many south Indian women traditionally wear sari and children wear pattu langa. Saris made out of silk are considered the most elegant. Mumbai, formerly known as Bombay, is one of India's fashion capitals. In many rural parts of India, traditional clothes is worn. -
BEFORE YOUR VISIT Inquisitive Students Want to Know
BEFORE YOUR VISIT Inquisitive Students Want to Know: What is a botanic garden? What will we see? A botanic garden is a collection of plants. Think of it as a living plant museum. Some plants have metal signs next to them. These are labels with the common name and the scientific name (or Botanical Name). The Memphis Botanic Garden is a Level IV arboretum with over 140 different species of trees. Some trees are numbered for identification. The horticulture staff maintains the health and keeps records of this incredible collection located on 96 acres. Included are many specialty gardens and My Big Backyard family garden. http://www.memphisbotanicgarden.com/thegardens May we walk on the grass and pick flowers to bring home? GARDEN MANNERS: Do not step in planted beds or pick flowers, leaves, plants, or fruits. You may walk through the woodlands to go from The Americas tent to Asia, India, and Africa. Stay on paths in the Wildflower Woodland. Students must travel with their adult leaders at all times. Please carefully supervise students while visiting our Herb Garden. It is a global garden that represents herbal traditions from around the world. Our Herb Garden serves as a testing ground to see which herbs will thrive in the Mid-South. Help keep our garden tidy. Trash boxes are available throughout the garden. Where in the world are we? Examine world maps, a globe, and an atlas. http://www.worldatlas.com Point out the continents, the equator, and the Northern and Southern hemispheres. Five of the seven continents will be included as you visit the global tents at World of Plants. -
University of Malaya Kuala Lumpur
COMMERCIAL HAND DRAWN BATIK APPAREL AND ITS MARKET POTENTIAL WITH YOUNG MALAYSIANS PEGAH JAHANGIRI CULTURAL CENTRE UniversityUNIVERSITY OF of MALAYA Malaya KUALA LUMPUR 2017 COMMERCIAL HAND DRAWN BATIK APPAREL AND ITS MARKET POTENTIAL WITH YOUNG MALAYSIANS PEGAH JAHANGIRI THESIS SUBMITED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY CULTURAL CENTRE UNIVERSITY OF MALAYA KUALA LUMPUR University of Malaya 2017 UNIVERSITI MALAYA ORIGINAL LITERARY WORK DECLARATION Name of Candidate: Pegah Jahangiri Registration/Matric No: RHA090001 Name of Degree: Doctor of Philosophy Title of Project Paper/Research Report/Dissertation/Thesis (“this Work”): “Commercial Hand Drawn Batik Apparel and Its Market Potential with Young Malaysians” Field of Study: Visual Arts I do solemnly and sincerely declare that: (1) I am the sole author/writer of this Work; (2) This Work is original; (3) Any use of any work in which copyright exists was done by way of fair dealing and for permitted purposes and any excerpt or extract from, or reference to or reproduction of any copyright work has been disclosed expressly and sufficiently and the title of the Work and its authorship have been acknowledged in this Work; (4) I do not have any actual knowledge nor do I ought reasonably to know that the making of this work constitutes an infringement of any copyright work; (5) I hereby assign all and every rights in the copyright to this Work to the University of Malaya (“UM”), who henceforth shall be owner of the copyright in this Work and that any reproduction or use in any form or by any means whatsoever is prohibited without the written consent of UM having been first had and obtained; (6) I am fully aware that if in the course of making this Work I have infringed any copyright whether intentionally or otherwise, I may be subject to legal action or any other action as may be determined by UM. -
A Study of Foreign Policies with Special Reference to Bilateral
Malaysia and Indonesia: A Study of Foreign Policies with Special Reference to Bilateral Relations Ahmad Nizar Yaakub This thesis is presented for the degree of Doctor of Philosophy (Arts) The University of Western Australia School of Social and Cultural Studies Discipline of Political Science and International Relations October 2009 i Abstract In the post-Cold War era, the ‘special relationship’ between Malaysia and Indonesia appears to have become not as cordial as during the 1970s-80s. In fact, it has been characterized more by conflict and rivalry than cooperation. Many issues have contributed to the tension namely, clash of personality between leaders, national political transformation, cross-border environmental concerns, illegal migrant workers, separatist movement, territorial disputes, transnational terrorism, and disputes over cultural rights. While examining those specific developments, this thesis organizes its analysis of Malaysian and Indonesian foreign policies, with special reference to their evolving bilateral relations, from a constructivist perspective. Constructivists believe that culture, ethnicity, elite/leadership, national identity, and religious beliefs are among the main factors which should be examined in order to better understand a state’s behaviour in relation to other states in the international arena. Those non-material factors, which are ignored or under-studied in the leading international theories which mostly focus on military/economic power and the international system underpinned by balance of power, provide a useful interpretive framework to understand the cases of Malaysia and Indonesia. Deploying this constructivist perspective, this thesis examines and compares those factors’ impact on Malaysian and Indonesian foreign policies in general, and on their conduct of bilateral relations in particular, in the post-Cold War era.