Lining a Jewelry Chest
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
First Review - Professional Peers - ITAA Members
DESIGN EXHIBITION COMMITTEE First Review - Professional Peers - ITAA Members Mounted Gallery Co-Chairs: Melinda Adams, University of the Incarnate Word Laura Kane, Framingham State University Su Koung An, Central Michigan University Ashley Rougeaux-Barnes, Texas Tech University Laurie Apple, University of Arkansas Lynn Blake, Lasell College Lynn Boorady, Buffalo State College Design Awards Committee: Melanie Carrico, University of North Carolina, Greensboro Review Chair: Belinda Orzado, University of Delaware Chanjuan Chen, Kent State University Kelly Cobb, University of Delaware Catalog: Sheri L. Dragoo, Texas Woman’s University Sheri Dragoo, Texas Woman’s University V.P. for Scholarship: Youn Kyung Kim, University of Tennessee Rachel Eike, Baylor University Andrea Eklund, Central Washington University Jennifer Harmon, University of Wyoming First Review Erin Irick, University of Wyoming A total of 107 pieces were accepted through the peer review Ashley Kim, SUNY Oneonta process for display in the 2017 ITAA Design Exhibition with Eundeok Kim, Florida State University a 37% acceptance rate. All jurying employed a double blind Helen Koo, Konkuk University process so the jurors had no indication of whose work they Ashley Kubley, University of Cincinnati were judging. A double-blind jury of textile and apparel peers Jung Eun Lee, Virginia Tech reviewed each submission including design statement and YoungJoo Lee, Georgia Southern University images. Further, a panel of Industry experts reviewed submissions Diane Limbaugh, Oklahoma State University -
The Velveteen Rabbit Study Guide
STUDY GUIDE T adapted for the stage by Janet Allard from the book by Margery Williams directed by Beth Lopes M AY 2 4 JU N E 9 Prepared by Literary Associate Kat Zukaitis and Literary Intern Marcus Beebe The Velveteen Rabbit • SOUTH COAST REPERTORY •1 TABLE OF CONTENTS PART I: THE PLAY The Characters ........................................................................................................................................................................................ 3 The Story ...................................................................................................................................................................................................... 3 Going by the Book: The Velveteen Rabbit ......................................................................................................................... 4 Meet the Playwright: Janet Allard ........................................................................................................................................... 5 Meet the Author: Margery Williams ....................................................................................................................................... 5 From Page to Stage: Making The Velveteen Rabbit ................................................................................................... 6 PART II: CLASSROOM ACTIVITIES BEFORE THE SHOW Questions for Discussion and Activities ................................................................................................................... -
The Velveteen Rabbit by Margery Williams
The Velveteen Rabbit By Margery Williams The Velveteen Rabbit by Margery Williams There was once a velveteen rabbit, and in the beginning he was really splendid. He was fat and bunchy, as a rabbit should be; his coat was spotted brown and white, he had real thread whiskers, and his ears were lined with pink sateen. On Christmas morning, when he sat wedged in the top of the Boy's stocking, with a sprig of holly between his paws, the effect was charming. There were other things in the stocking, nuts and oranges and a toy engine, and chocolate almonds and a clockwork mouse, but the Rabbit was quite the best of all. For at least two hours the Boy loved him, and then Aunts and Uncles came to dinner, and there was a great rustling of tissue paper and unwrapping of parcels, and in the excitement of looking at all the new presents the Velveteen Rabbit was forgotten. For a long time he lived in the toy cupboard or on the nursery floor, and no one thought very much about him. He was naturally shy, and being only made of velveteen, some of the more expensive toys quite snubbed him. The mechanical toys were very superior, and looked down upon every one else; they were full of modern ideas, and pretended they were real. The model boat, who had lived through two seasons and lost most of his paint, caught the tone from them and never missed an opportunity of referring to his rigging in technical terms. The Rabbit could not claim to be a model of anything, for he didn't know that real rabbits existed; he thought they were all stuffed with sawdust like himself, and he understood that sawdust was quite out-of-date and should never be mentioned in modern circles. -
NF00-430 Sewing with Velveteen
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Historical Materials from University of Nebraska-Lincoln Extension Extension 2000 NF00-430 Sewing with Velveteen Rose Marie Tondl Follow this and additional works at: https://digitalcommons.unl.edu/extensionhist Part of the Agriculture Commons, and the Curriculum and Instruction Commons Tondl, Rose Marie, "NF00-430 Sewing with Velveteen" (2000). Historical Materials from University of Nebraska-Lincoln Extension. 1179. https://digitalcommons.unl.edu/extensionhist/1179 This Article is brought to you for free and open access by the Extension at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Historical Materials from University of Nebraska-Lincoln Extension by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Nebraska Cooperative Extension NF00-430 Sewing with Velveteen Rose Marie Tondl, Extension Clothing Specialist What is velveteen? Velveteen is made from cotton or a cotton-blend fabric that has a short dense pile. It is woven in a single layer with an extra set of filling yarns that are cut to form the short, closely set pile. Velveteen is available in solid colors and printed with plaid, floral or paisley designs. As a medium weight fabric, it is used whenever a velvet look is desired. It is easier to sew and more durable than velvet. Patterns This fabric is used for dresses, jumpers, vests, children's clothes, jackets, coats, skirts and slacks. Simple styles with few seams are good choices. Preshrink All cotton velveteen will shrink. For finished garments that will be laundered, stitch ends of fabric closed, then wash and tumble dry on delicate cycle. -
Velvet and Velveteen All Sewn up Beverly Rhoades*
;j. - 7J1~77 L-1002 Velvet and Velveteen All Sewn Up Beverly Rhoades* For a plush, fashionable look any time of the year, Veh'eteCJl COIlstnlcti()Jl choose velvet or velveteen, the most luxurious of the floats pile fabrics. For centuries, these fabrics have added elegance, femininity and versatility to wardrobes as beautiful dresses, gowns or separates. While these fabrics are similar in appearance, the process used to construct each fabric is quite differ warp ends ent. Velvet, the oldest of the pile fabrics (since 2000 B.C.), may be woven or knitted. In woven velvet the pile is formed by the lengthwise warp yams; in velve teen the crosswise filling yarns form the pile. In woven velvet, two layers offabric are woven simulta neously forming a sandwich with the vertical warp yams as the filling. Layers are then separated with a knife to form the pile. Velveteen, a simulation of true Types of Velvet velvet used since the late 1700's, is woven in a single Velvet was originally made from silk, but today's layer with a floating yarn which is cut to form the pile. velvet is usually all or part synthetic (particularly rayon and acetate), or may be cotton or a cotton Velvet constructiun blend. With vast improvements in weaving, knitting and finishing techniques, today's velvet is easier to work with and care for. It has become a fabric for all double woven velvet before splitting seasons in weights for every type of garment. Lightweight velvets are suitable for dresses, sepa cut rates or evening wear, especially in warmer seasons. -
Glossary of Terms
The Missing Chapter: Untold Stories of the African American Presence in the Mid-Hudson Valley Glossary of Terms Bay: A compartment in a barn, used fore storing hay or grain. Britches or Breeches: Short trousers, especially fastened below the knee. Breeches were originally made of leather, but were made of various materials. Buckskin: Leather made from a buck’s skin, could also refer to a thick smooth cotton or woolen cloth. Coating: A cloth used for making coats. Drab coloured: A dull brownish yellow or dull gray color. Felt: A fabric made of wool and hair. Fife: A small high-pitched flute without keys, often used in military and marching bands. Fustian: A coarse sturdy cloth of a cotton-linen blend; any durable fabric with a raised nap made mainly from cotton, for example, corduroy or moleskin. Gaol: is an early Modern English spelling for jail, with the same pronunciation and meaning of a place of legal detention. Grogram: A rough fabric of silk and wool with a diagonal weave. High Dutch: An eighteenth century term for German. Homespun: Spun or woven in the home; a plain coarse woolen cloth made of homespun yarn. Instant (inst.): The current calendar month. Inventory: a detailed list of things in one’s view or possession; especially, a regular survey of all goods and materials in stock. Linsey Woolsey: A coarse fabric of cotton or linen woven with wool. Low Dutch: used to signify those persons of Netherlandish descent. Manchester velvet: A fine cotton used in making dresses. The Missing Chapter: Untold Stories of the African American Presence in the Mid-Hudson Valley Nanekeen: A sturdy yellow or buff cotton cloth. -
Velvets & Velveteen
Velvets & Velveteen Traditionally, the grand or house drapes are made of velvet with a generous fullness. Velvet is a beautiful and luxurious fabric, but you must provide extra attention to the care and maintenance of this fabric. Note that Velvet Velour should not be confused with velveteen. Velour is a cotton fabric that has a deeper pile than velveteen, is heavier in weight and is commonly used in draperies. PRG offers a range of velvet, velour and velveteen options. Grand IFR Velvet GRAND IFR VELVET PRG Grand IFR Velvet is our preferred velvet • made of 100% IfR polyesteR for Grand Front Drapes. It has set a new • weIghs 500g/m2 benchmark by being the perfect combination • 137cm wIdth of the opulence of velvet with Inherently • avaIlable in a range of colouRs Flame retardant certification. As a Grand • InheRently Flame RetaRdant (IfR) Front Drape (House Curtain) the velvet can • ceRtIfIcated to ANZ 1530 paRts 2 & 3 be lined with our IFR Royal Velveteen, and can be embellished with fringes and braid, or painted for dramatic effect. Normally available ex stock in a range of popular colours including plumb, royal and black.* SOVEREIGN IFR VELVET Sovereign IFR Velvet is medium weight affordable velvet which can be used as a grand drape as well as stage masking. With less sheen than our other IFR Velvets, the Sovereign is more suitable for black masking where a velvet option is preferred. As a Grand Front Drape (House Curtain) the velvet Sovereign IFR Velvet can be lined with our IFR Royal Velveteen, and can be embellished with fringes and • made of 100% IfR polyesteR braid, or painted for dramatic effect. -
Checklist for Textiles U.S.A
THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 No. &• TENTATIVE AND CONFIDENTIAL CHECKLIST FOR TEXTILES U.S.A. Home Furnishings Category Anderson Studio of Handweaving - East Gloucester, Massachusetts. Drapery material. Cotton, viscose and Jute. Designed by Beatrice Anderson, 1951*. Thelma Becherer - West Franklin, New Hampshire. Tapestry. Handwoven of green, yellow and clear "velon" plastic, with dried horsetails and cattails. Plain weave. 1956. Monica Bella Broner, Tapestry. "Fur Weave." Wool, cotton and fur strips, 195^• Bill Carter and Dodie Childs - Chicago, Illinois. Roll Shade, Handwoven matchstick bamboo across multicolored and textured cotton, wool and metallic yarn warp, 1955* Arundell Clarke Drapery fabric. "Strocm Draden". Handscreened white print on trans parent white silk. Designed by Pierre Kleykamp, 1955. Drapery fabric, "Primitive Forms." Handscreened black print on brown cotton. Designed by Baldwin-Machado, 1950, Drapery fabric. "10,000 B.C." Cotton jacquard, charcoal on white. Designed by Naomi Raymond, 1952. Cohn-Hall-Marx Co, (For Colvin, see Bertha Schaefer Callery - Page 3.) Upholstery fabric, Saran and metal, novelty weave. Brown, 1955. Fazakas Fabrics, Inc. Drapery fabric, "Hit & Miss," Black spray on white cotton batiste, Designed by DoneIda Fazakas, 1950, Qeraldine Punk - Lancaster, Pennsylvania, Window ahade, Handwoven red and rust cotton and rayon warp. Banana bark and coconut cord weft. 1950, Screen, Handwoven in Puerto Rico, White string warp,, white jnaguey and coconut sliver weft, 19^8, % Ginstrom - Cedar Falls, Iowa. Screen. "Scallops." Handwoven, handtied openwork; all linen panel. 1955. folding Decorative Fabrics. Drapery fabric. "Torero-Vermilion 33." Silk screened cotton sateen. Designed by Otto and Grete Wollner,1955» LiUy E. -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book. -
THE PHYSICAL PROPERTIES AJ.\1D WASH -A..ND-~~EAR PERFORMANCE of VIYELLA, a WOOL and COTTON BLEND FABRIC a THESIS Ubv1itted I
THE PHYSICAL PROPERTIES AJ.\1D WASH - A..ND-~~EAR PERFORMANCE OF VIYELLA , A WOOL AND COTTON BLEND FABRIC A THESIS UB v1 ITTED I PARTIAL FULFILLMENT OF THE REQUIREL'1EJTS FOR THE DEGREE OF MASTER OF SCIENCE IN TEXTILES A D CLO THI G IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN 'S U IVERSITY COLLEGE OF UTRITION, TEXTILES AND HUMM DEVELOPME T BY SALLY CRISLER LO\ E , B . S . DE TO I TEXAS AUGUST I 198 1 -n • -.,~ • ! f ..f /'! 'I t"' i vr( '. ~ ~ d-- I/ { { ~- Texas VVoman's University Denton, Texas July 14 81 19 ------ We hereby recon1mend that the thesis prepared under our'supervision by Sally Crisler LOvJe entitled The Physical Properties and Wash-and-Wear Petfcirmance of Viyella, A Wool and Cotton Blend Fabric be accepted as fulfilling this part of the requiren1ents for the Degree of Master of Science in Textiles and Clothing Dissertation/Theses signature page is here. To protect individuals we have covered their signatures. TABLE OF CONTENTS LIST OF ILLUSTRATIONS v LIST OF TABLES . vii ACKNO~\TLEDGENENTS X Chapter I. INTRODUCTION . 1 Justification for Study . 2 Statement of Problem . • . • . • • . • 4 Objectives of Study . 4 Delimitations . .•..•. 5 II. REVIE\v OF LITERATURE 6 III. PLAN OF PROCEDURE . 10 Fabric Types . • . 10 Laundering Procedure . • • . • . 10 Equipment . • . • • . 13 Fabric Evaluations . 14 Fiber Content • . • . • 14 Yarn Count . • . • • . 15 Fabric Weight . • 15 Breaking Strength • . 16 Tearing Strength • . 17 Durable Press Appearance . • • . 17 Pilling Resistance . 18 Dimensional Stability . 19 Colorfastness . 21 Whiteness Retention . • . 21 Statistical Analysis . 22 IV. PRESENTATION OF DATA AND DISCUSSION OF FINDINGS . • . 23 Fabric Description . -
Hunting Shirts and Silk Stockings: Clothing Early Cincinnati
Fall 1987 Clothing Early Cincinnati Hunting Shirts and Silk Stockings: Clothing Early Cincinnati Carolyn R. Shine play function is the more important of the two. Shakespeare, that fount of familiar quotations and universal truths, gave Polonius these words of advice for Laertes: Among the prime movers that have shaped Costly thy habit as thy purse can buy, But not expressed infancy; history, clothing should be counted as one of the most potent, rich not gaudy; For the apparel oft proclaims the man.1 although its significance to the endless ebb and flow of armed conflict tends to be obscured by the frivolities of Laertes was about to depart for the French fashion. The wool trade, for example, had roughly the same capital where, then as now, clothing was a conspicuous economic and political significance for the Late Middle indicator of social standing. It was also of enormous econo- Ages that the oil trade has today; and, closer to home, it was mic significance, giving employment to farmers, shepherds, the fur trade that opened up North America and helped weavers, spinsters, embroiderers, lace makers, tailors, button crack China's centuries long isolation. And think of the Silk makers, hosiers, hatters, merchants, sailors, and a host of others. Road. Across the Atlantic and nearly two hundred If, in general, not quite so valuable per pound years later, apparel still proclaimed the man. Although post- as gold, clothing like gold serves as a billboard on which to Revolution America was nominally a classless society, the display the image of self the individual wants to present to social identifier principle still manifested itself in the quality the world.