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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. -
Fashion,Costume,And Culture
FCC_TP_V4_930 3/5/04 3:59 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V4_930 3/5/04 3:59 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 4: Modern World Part I: 19004 – 1945 SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos. -
Costume Crafts an Exploration Through Production Experience Michelle L
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Costume crafts an exploration through production experience Michelle L. Hathaway Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Hathaway, Michelle L., "Costume crafts na exploration through production experience" (2010). LSU Master's Theses. 2152. https://digitalcommons.lsu.edu/gradschool_theses/2152 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. COSTUME CRAFTS AN EXPLORATION THROUGH PRODUCTION EXPERIENCE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Arts in The Department of Theatre by Michelle L. Hathaway B.A., University of Colorado at Denver, 1993 May 2010 Acknowledgments First, I would like to thank my family for their constant unfailing support. In particular Brinna and Audrey, girls you inspire me to greatness everyday. Great thanks to my sister Audrey Hathaway-Czapp for her personal sacrifice in both time and energy to not only help me get through the MFA program but also for her fabulous photographic skills, which are included in this thesis. I offer a huge thank you to my Mom for her support and love. -
Wool 11 Merchandising Planogram 14 Imagery 16 Betmar® Details 16 Sales Agents 17
cover Fall/Winter 2016 112046_BetmarAW16.indd 1 12/29/15 9:19 PM Made in USA 1 Felt 2 Cut and Sew 5 Braid 9 Wool 11 Merchandising Planogram 14 Imagery 16 Betmar® Details 16 Sales Agents 17 Proud Member of American Made Matters® Promoting American craftsmanship and ingenuity. This product complies with American Made Matters® standards for Made in America. Betmar® and LiteFelt® are registered trademarks of the Bollman Hat Company. All Hat Sizes except Made in USA are 1SFM 112046_BetmarAW16.indd 2 12/29/15 9:19 PM Made in USA Made in USA USA Sizes Only: S/M, M/L Blush pictured Burgundy pictured B1675H Mary • Round crown felt cloche B1671H Tessa • Floppy wide brim fedora • Satin trim with Betmar 3/4 • Faux snakeskin band and Brim: 2” metal slider Brim: Front 3 ” buckle Black, Scarlet, Blush* • Made in USA Back 3” • Made in USA • LiteFelt® finish Black, Burgundy* • LiteFelt® finish Navy pictured Olive pictured B1524H Izette II • Floppy brim fedora with B1677H Hannah • Floppy wide brim round 3/4 center dent crown crown Brim: 2 ” • Velvet ribbon trim Brim: 3” • Self trim with hardware Black, Navy*, Cranberry • Made in USA Black, Olive*, Lt. Camel • Made in USA • LiteFelt® finish • LiteFelt® finish Cranberry pictured Navy pictured B1676H Evelyn • Round crown felt cloche B1674H Colleen • Floppy short brim fedora 1/2 • Single pleat detail on brim 1/4 • Grossgrain ribbon trim Brim: 2 ” • Leather cord trim Brim: 2 ” • Made in USA Black, Cranberry*, Lt. Camel • Made in USA Navy*, Chestnut Roast • LiteFelt® finish • LiteFelt® finish Black Navy Olive Burgundy Chestnut Roast Cranberry Scarlet Blush Lt. -
Fashion Through the Ages
Fashion Through The Ages • In the Victorian era, both boys and girls wore dressed until the age of around 5 years old. • High-heeled shoes were worn from the 17th century, and were initially designed for men. • Women often wore platform shoes in the 15th to 17th centuries, which kept their skirts up above the muddy streets. • Wearing purple clothes has been associated with royalty since the Roman era. The dye to make clothes purple, made from snail shells, was very expensive. • Napoleon was said to have had buttons sewn onto the sleeves of military jackets. He hoped that they would stop soldiers wiping their noses on their sleeves! • Vikings wore tunics and caps, but they never wore helmets with horns. • See the objects in the Museum collections all about looking good: http:// heritage.warwickshire.gov.uk/museum-service/collections/looking-good/ • View the history of fashion from key items in the collection at Bath’s Fashion Museum: https://www.fashionmuseum.co.uk/galleries/history- fashion-100-objects-gallery • Google’s ‘We Wear Culture’ project includes videos on the stories behind clothes: https://artsandculture.google.com/project/fashion • Jewellery has been key to fashion for thousands of years. See some collection highlights at the V&A website: https://www.vam.ac.uk/ collections/jewellery#objects A Candy Stripe Friendship Bracelet Before you begin you need to pick 4 – 6 colours of thread (or wool) and cut lengths of each at least as long as your forearm. The more pieces of thread you use, the wider the bracelet will be, but the longer it will take. -
Roaring Into the Future: New York 1925-35 FINAL Installation Checklist
Roaring into the Future: New York 1925-35 FINAL Installation checklist Introduction During the 10 years that took America from effervescent heights to the invented new forms to suit a modern American lifestyle. Although depths of economic devastation, New York State transformed the nation. this period is often called Art Deco today, the term was not Roaring into the Future: New York 1925-35 is a pioneering exploration adopted until 1968.New York State’s artists, architects, and that celebrates the Empire State as the driving force behind the creation designers played a pivotal role in making the State the epicenter of 20th-century modernism. From Buffalo to Brooklyn, artists, designers, of modernism. Modernism, often called Modernistic, in New York and manufacturers generated avant-garde art, fashion, technology, was not one style but rather it was an expression of a vital decorative arts, and music that resulted in the century’s most important youthful spirit that embraced the new. Modernism appeared in artistic revolution. elegant Art Moderne designs based on classical historical precedents, faceted skyscrapers and objects influenced by When France invited the United States to send their new and original Cubism, brawny Machine Age wares using the vocabulary of designs to the Exposition Internationale des Arts Décortifs et Industriels machine parts, and sleek Streamlined products reflecting Modernes, the World’s Fair held in Paris in 1925, Secretary of Commerce aerodynamic principles of speed. Across the State, New Yorkers Herbert Hoover declined because he could not find any modern designed, manufactured, and distributed new, nationally American goods. However, the Fair proved to be a tremendous catalyst influential works, often made with innovative materials, that for modern design in the United States via those Americans who visited reflected the seismic post-World War I shifts in social customs, the Exposition or saw its highlights, mainly French, in an exhibition that women’s rights, race relations, and technological discoveries. -
A Case Study of Innovation of the Versatile
10.6977/IJoSI.201512_3(4).0003 Hsiu-Jung Chou, Chia-Hsun Lin/ Int. J. Systematic Innovation, 3(4), 15-26 (2015) A Case Study of Innovation of the Versatile Hat Hsiu-Jung Chou1*, Chia-Hsun Lin 2 1 Department of Business Administration, Cheng Shiu University, Kaohsiung, TAIWAN 2 Graduate Institute of Business Administration, Cheng Shiu University, Kaohsiung, TAIWAN * Corresponding author, E-mail: [email protected] (Received 9 March 2014; final version received 8 December 2014) Abstract Nowadays, we live in an era of rapidly changing trend of fashion. We expect to keep consumers from overspending and being awkward to storage and maintenance of hats. Therefore, “convenience” and “economy” are our main theme of this innovation. The principles of this innovation are to save storage space, reduce spending, and have storage easier. The Versatile Hat comprises the crown of the hat and at least one brim. There are three types of attaching parts at the bottom of the crown, namely buttons, Velcro, and studs; additionally, corresponding attaching parts are at the bottom of the brim so as to incorporate the brim into the crown. This ingenious design can create multi-pattern hats simply by attaching the same crown into different brims; these replaceable brims make the Versatile Hat a snap-on product. That is to say, one Versatile Hat provides many different patterns of hat to match various clothing and different occasions. For storage space, users need only one small space to lie just one crown of the hat rather than several crowns. This creative design can meet modern people’s demand perfectly by providing multi-pattern hats without overspending and also reducing storage space. -
Fashion,Costume,And Culture
FCC_TP_V2_930 3/5/04 3:55 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V2_930 3/5/04 3:55 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 2: Early Cultures Across2 the Globe SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos. -
Hats and Headdresses
Hats and Headdresses WN 704 $17.00 WN 701 $10.00 14th-15th Century Hennin Wimple Hat Two styles of Hennin Includes Wimple, Hood, coif, and veil Two styles of Hennin. Popular for a variety of medieval looks. WN 702 $10.00 th th Templer Hat during the 14 and 15 century, Features padded roll with false many noble women shaved their coxcomb, templer back and head so that the Hennin would false liripipe. This hat wear properly. High foreheads reminiscent of medieval Dutch were considered beautiful. Modern headwear. hair can be pulled under the Hennin for a period look. WN 703 $10.00 FF 02 $17.00 Men’s Hats and Caps Headwear Extraordinaire Pattern includes a variety of Contains patterns for 3 bag hats, flat men’s headwear from 14th-16th cap, mob cap, Robin Hood hat, century as shown. PP 52 $22.00 jester’s hood, wizard hat, th Tudor Era Headdresses Renaissance cap, and two 19 A variety of headdresses as century crowned bonnets suitable for pictured covering the time period Dickens event. 1490-1580 AD MR GB $6.00 MR RH $10.00 Glengarry Bonnet Randulf’s The Glengarry is a Scottish MR Coif $4.00 Round Hats bonnet with a military flair. This Randulf's Arming Coif This pattern contains many hats cap is said to have been Sizes: Multisized popular at Renaissance faires and invented by McDonnell of This is a simple pattern for a two- Highland games: flat cap, muffin Glengarry for King George IV’s panel, stretchy, close-fitting hood. It cap, Beret, Tam O’Shanter, 1828 visit to the highlands. -
Costume Design for Paragon Springs
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research and Creative Activity in Theatre and Film Theatre and Film, Johnny Carson School of Spring 4-16-2013 Costume Design for Paragon Springs Bethany D. Skinner University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/theaterstudent Part of the Theatre and Performance Studies Commons Skinner, Bethany D., "Costume Design for Paragon Springs" (2013). Student Research and Creative Activity in Theatre and Film. 19. https://digitalcommons.unl.edu/theaterstudent/19 This Article is brought to you for free and open access by the Theatre and Film, Johnny Carson School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research and Creative Activity in Theatre and Film by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COSTUME DESIGN FOR PARAGON SPRINGS by Bethany D. Skinner A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree Master of Fine Arts Major: Theatre Arts Under the Supervision of Professor Janice Stauffer Lincoln, Nebraska May, 2013 COSTUME DESIGN FOR PARAGON SPRINGS Bethany Diane Skinner, MFA University of Nebraska, 2013 Advisor: Janice Stauffer This thesis describes the research and costume design and production processes for the play, Paragon Springs by Steven Dietz (1958- ), performed in the Studio Theatre on November 8-9, 11, 14-16, 18, 2012, at the Johnny Carson School of Theatre and Film at the University of Nebraska. Paragon Springs was directed by Carrie Lee Patterson. -
Hat Chronicles” the Hat Chronicles Blog Mission Is to Inform and Entertain
Hats Plus Announces the Launch of its New Hat Enthusiast Blog: “Hat Chronicles” The Hat Chronicles Blog Mission is to Inform and Entertain CHICAGO, IL, April 21, 2011 – Retailer Hats Plus announced today the launch of its new hat enthusiast blog “Hat Chronicles.” Want to know about the hat Don Draper wears in “Mad Men”? Curious about how the homburg hat was invented? Wondering just how to fit the proper topper? Dying to know which celebrity was spotted sporting the latest Stetson fedora? “Hat Chronicles” is the hottest new blog offering answers to these burning questions and much, much more. Hats Plus – a bustling brick and mortar hat store in Chicago bolstered by an extensive ecommerce website – recently launched the new blog to entertain, educate and engage headwear enthusiasts and the hat curious alike. “Whether you have worn hats for a long time or not, we hope you will find something to interest you in our new blog,” said owner Martin Mann, who was named Hat Retailer of the Year in 2009 by the Headwear Association. "If you look back in history, people have always worn hats. Hats are here to stay. Hats are about lifestyle; people wear them for warmth, solar protection, fashion, personality, stage performances and many other reasons." The blog offers articles across five main categories: Hollywood Hatties, Hat University, Welcome to Our World, Get it While it’s Hot and Beyond the Brim. Celebrity Hats “Hollywood Hatties” looks at the hats worn by the stars in the movies and TV shows of today and yesterday. From Leonardo DiCaprio’s fedora in “Shutter Island” to Oddjob’s steel-rimmed bowler hat in “Goldfinger,” there are plenty of great examples of hats playing a feature role in Hollywood over the years. -
ELIZABETH ZANONI Old Dominion University
232 • Italian American Review 8.2 • Summer 2018 from its otherwise brilliant treatment of cuisines made possible by circulating people and food. —ELIZABETH ZANONI Old Dominion University Borsalino City. By Enrica Viola. Una Films, 2016. 78 minutes. Streaming format, color. Enrica Viola’s Borsalino City is a fascinating and much-needed documentary about the history of the renowned hat company—a tale of feuding cousins, calculated brand development, and the power of cinema. The birthplace of this global brand was the Italian city of Alessandria (Piedmont region), and its father was Giuseppe Borsalino. Borsalino City moves chronologically through the company’s history, which began in 1857 after its founder returned from apprenticing at Berteil, the famed Paris-based hatmaker. Giuseppe and his brother Lazzaro caught fashion and fortune at just the right time. Their hats became wardrobe staples of the elite, topping the heads of kings and statesmen literally around the world. Quality was Borsalino’s calling card. In order to expand, they diversified their offerings and audience, sent salesmen around the world, won prizes at the world’s fairs, and built an enormous factory in Alessandria. Borsalino cleared the way for “Made in Italy” to dominate the luxury goods market. The story of the company itself is upstaged by amazing archival footage of factory life and by oral histories of laborers, taken in the mid-1950s. The main strength of the movie is the richness of these historical sources. The stories of the people themselves, their feelings about their work, and their respect for the leaders of the firm paint a picture of a company town where the workers actually liked the bosses.