Lesson Guide Bustier Dress Draping: Intermediate Module 1 – Prepare the Dress Form
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GRADUATE LEARNING PLAN for Pamela Vanderlinde
DePaul University School for New Learning Graduate Programs MASTER OF ARTS PROGRAM IN APPLIED PROFESSIONAL STUDIES (MAAPS) 1 E. Jackson Blvd., Chicago, IL 60604 [email protected] (312-362-8448) GRADUATE LEARNING PLAN for Pamela Vanderlinde •ADDRESS: •PHONE: •EMAIL: DOCUMENT DATE: January 18, 2011 FOCUS - Applying study of historical and contemporary AREA: bespoke fashion to my design practice, philosophy and teaching. Prof. - Ms. XXX XXXX Advisor: •PA Position/Title: _Instructor, Illinois Institute of Art-Chicago •PA Address: _____________________________________ •PA Phone: ______ •PA Email: Faculty - Michelle Navarre Cleary, PhD •Position/Title: Resident Faculty, School for New Learning, DePaul University Mentor: •Address: DePaul University, 1 E. Jackson Blvd., Chicago, IL 60604 •Phone: 312-362-7301______ •Email: [email protected] Cluster: - 86_______ - __1/21/11_____ (date approved by Student’s Academic Committee) Approval: - ___2/18/11________ (date approved by Graduate Student Program Review Committee) - 1 - PART I: Personal/Professional Background & Goals Directions: In Part I, the student provides a context for the Graduate Learning Plan and a rationale for both his/her career direction and choice of the MAAPS Program of study as a vehicle to assist movement in that direction. Specifically, Part I is to include three sections: A. a brief description of the student’s personal and professional history (including education, past/current positions, key interests, etc.); B. an explanation of the three or more years of experience (or equivalent) offered in support of the Graduate Focus Area; C. a brief description/explanation of the student’s personal and professional goals. A. Description of My Personal/Professional History: I have many passions in this world; fashion, teaching, travel, reading, yoga to name a few. -
HISTORY and DEVELOPMENT of FASHION Phyllis G
HISTORY AND DEVELOPMENT OF FASHION Phyllis G. Tortora DOI: 10.2752/BEWDF/EDch10020a Abstract Although the nouns dress and fashion are often used interchangeably, scholars usually define them much more precisely. Based on the definition developed by researchers Joanne Eicher and Mary Ellen Roach Higgins, dress should encompass anything individuals do to modify, add to, enclose, or supplement the body. In some respects dress refers to material things or ways of treating material things, whereas fashion is a social phenomenon. This study, until the late twentieth century, has been undertaken in countries identified as “the West.” As early as the sixteenth century, publishers printed books depicting dress in different parts of the world. Books on historic European and folk dress appeared in the late eighteenth and nineteenth centuries. By the twentieth century the disciplines of psychology, sociology, anthropology, and some branches of art history began examining dress from their perspectives. The earliest writings about fashion consumption propose the “ trickle-down” theory, taken to explain why fashions change and how markets are created. Fashions, in this view, begin with an elite class adopting styles that are emulated by the less affluent. Western styles from the early Middle Ages seem to support this. Exceptions include Marie Antoinette’s romanticized shepherdess costumes. But any review of popular late-twentieth-century styles also find examples of the “bubbling up” process, such as inner-city African American youth styles. Today, despite the globalization of fashion, Western and non-Western fashion designers incorporate elements of the dress of other cultures into their work. An essential first step in undertaking to trace the history and development of fashion is the clarification and differentiation of terms. -
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Step 1 Apply style tape to your dress form to establish the bust level. Tape from the left apex to the side seam on the right side of the dress form. 1 Module 1 – Prepare the Dress Form Step 2 Place style tape along the front princess line from shoulder line to waistline. 2 Module 1 – Prepare the Dress Form Step 3A On the back, measure the neck to the waist and divide that by 4. The top fourth is the shoulder blade level. 3 Module 1 – Prepare the Dress Form Step 3B Style tape the shoulder blade level from center back to the armhole ridge. Be sure that your guidelines lines are parallel to the floor. 4 Module 1 – Prepare the Dress Form Step 4 Place style tape along the back princess line from shoulder to waist. 5 Lesson Guide Princess Bodice Draping: Beginner Module 2 – Extract Measurements Step 1 To find the width of your center front block, measure the widest part of the cross chest, from princess line to centerfront and add 4”. Record that measurement. 6 Module 2 – Extract Measurements Step 2 For your side front block, measure the widest part from apex to side seam and add 4”. 7 Module 2 – Extract Measurements Step 3 For the length of both blocks, measure from the neckband to the middle of the waist tape and add 4”. 8 Module 2 – Extract Measurements Step 4 On the back, measure at the widest part of the center back to princess style line and add 4”. -
Effects of Combinations of Patternmaking Methods and Dress Forms on Garment Appearance
AUTEX Research Journal, Vol. 17, No 3, September 2017, DOI: 10.1515/aut-2016-0020 © AUTEX EFFECTS OF COMBINATIONS OF PATTERNMAKING METHODS AND DRESS FORMS ON GARMENT APPEARANCE Chinami Fujii1, Masayuki Takatera2, KyoungOk Kim2 1Shinshu University, Graduate School of Science and Technology, Ueda, Nagano, 3-15-1 Tokida, 386-8567, Japan. 2Division of Kansei and Fashion Engineering, Institute for Fiber Engineering (IFES), Interdisciplinary Cluster for Cutting Edge Faculty of Textile Science and Technology, Shinshu University, 3-15-1 Tokida, Ueda, Nagano 386-8567, Japan. Corresponding author e-mail: [email protected] Abstract: We investigated the effects of the combinations of patternmaking methods and dress forms on the appearance of a garment. Six upper garments were made using three patternmaking methods used in France, Italy, and Japan, and two dress forms made in Japan and France. The patterns and the appearances of the garments were compared using geometrical measurements. Sensory evaluations of the differences in garment appearance and fit on each dress form were also carried out. In the patterns, the positions of bust and waist darts were different. The waist dart length, bust dart length, and positions of the bust top were different depending on the patternmaking method, even when the same dress form was used. This was a result of differences in the measurements used and the calculation methods employed for other dimensions. This was because the ideal body shape was different for each patternmaking method. Even for garments produced for the same dress form, the appearances of the shoulder, bust, and waist from the front, side, and back views were different depending on the patternmaking method. -
Modern Pattern Design by Harriet Pepin
1942—Modern Pattern Design by Harriet Pepin Chapter 1—Pattern Designing Description of Equipment As the doctor, sculptor or artist should understand the purpose of various tools and equipment common to his profession, it is equally important that the patternmaker understands the purpose for which his equipment has been designed. Most of the following articles may be purchased at art supply houses, tailor's supply firms or at the notion departments in retail stores: 1. Triangle: The transparent right triangle is useful in pattern making to "square" a corner. The two smaller points will serve to establish a true bias from a vertical or horizontal line. Diagrams in problems which follow illustrate how this is done. In the study of geometry we learn that a triangle must total 180 degrees. This right triangle has two 45 degree angles and one 90 degree angle. 2. Tracing Wheel: This clever instrument saves hours of needless labor of thread marking. It is used to transfer lines or symbols from one pattern to another or from the final pattern to the muslin or fabric. When the test muslins are being made by the designer, ordinary pencil carbon may be used. When actual garments are being cut, white carbon or chalk boards are used. These markings can be easily removed later. 3. Carbon Boards: A suitable carbon board can be made by purchasing a 24 × 36 sheet of pencil carbon from an art supply house. This should be laid, face upward, upon a similar size piece of heavy cardboard or ply board. Then a length of cheese cloth is laid over and securely fastened to the back of the board with gum tape or thumb tacks. -
How to Hack Boning for Spectacular Costumes
TECHNIQUE TUTORIAL How to Hack Boning for Spectacular Costumes Boning is the invisible structure used to shape corsets, bustiers and other form-fitting bodices such as those in evening gowns. It is also a great structure for costuming. Think about wings, bustles and warrior corsets involving many, many rows of boned structure. Your pattern may call for boning in the most basic way. But imagination sets in and Voilà – boning appears everywhere. Here are some tips to get those creative juices flowing. COSTUMES – WINGS & CORSETRY HATS & FASCINATORS Boning is slipped between Flexicurve® Boning is used so that Create loops or dramatic stitched channels in two support stitching and additional V-shaped crowns with fabric- layers of fabric. boning can crisscross. or ribbon-covered boning. Binding finishes the outer edges. BAGS & TOTES Make a channel in the lining to insert boning for square structure. Or encase boning in fabric for a sturdy handle. FASHION OR COSTUME Boning ends CORSETS & BUSTIERS 1/4” –3/8” from Use on all seams plus, add edge so Boning is placed additional rows for design binding at corners. It can and stability. can be go at the top edge too! attached. A casing is wrapped around boning for handles, then topstitched to bag. © PRYM CONSUMER USA TECHNIQUE TUTORIAL How to Hack Boning for Spectacular Costumes How to hack your pattern for add-on boning: You will need: There is more than one kind of boning. Try them out to see which is best for your project. Test the different techniques to achieve a • Dritz® Boning truly spectacular outfit, whether for fashion or cosplay. -
The Shape of Women: Corsets, Crinolines & Bustles
The Shape of Women: Corsets, Crinolines & Bustles – c. 1790-1900 1790-1809 – Neoclassicism In the late 18th century, the latest fashions were influenced by the Rococo and Neo-classical tastes of the French royal courts. Elaborate striped silk gowns gave way to plain white ones made from printed cotton, calico or muslin. The dresses were typically high-waisted (empire line) narrow tubular shifts, unboned and unfitted, but their minimalist style and tight silhouette would have made them extremely unforgiving! Underneath these dresses, the wearer would have worn a cotton shift, under-slip and half-stays (similar to a corset) stiffened with strips of whalebone to support the bust, but it would have been impossible for them to have worn the multiple layers of foundation garments that they had done previously. (Left) Fashion plate showing the neoclassical style of dresses popular in the late 18th century (Right) a similar style ball- gown in the museum’s collections, reputedly worn at the Duchess of Richmond’s ball (1815) There was public outcry about these “naked fashions,” but by modern standards, the quantity of underclothes worn was far from alarming. What was so shocking to the Regency sense of prudery was the novelty of a dress made of such transparent material as to allow a “liberal revelation of the human shape” compared to what had gone before, when the aim had been to conceal the figure. Women adopted split-leg drawers, which had previously been the preserve of men, and subsequently pantalettes (pantaloons), where the lower section of the leg was intended to be seen, which was deemed even more shocking! On a practical note, wearing a short sleeved thin muslin shift dress in the cold British climate would have been far from ideal, which gave way to a growing trend for wearing stoles, capes and pelisses to provide additional warmth. -
How to Choose a Dress Form What Is a Dress Form? a Dress Form Is an Integral Part of the Sewing Process
TECHNIQUE TUTORIAL 1 How to Choose a Dress Form What is a dress form? A dress form is an integral part of the sewing process. It is a shaped form that mimics your own body measurements. Use it to pin on pattern pieces, testfit seams during construction or to drape and design a garment ashion is much easier to create and fit hen the garment is in front of ouaso more accurate because ou dont hae to tist our bod to fit and pin the garment Dritz dress forms are adjustable so you can personalize the form to match your own measurements. We have two different styles of dress forms for women, one form for a man and one for a young child (male or female). Each has different shapes and features. the simiarities and differences i be epained in this tutoria ind the one that is perfect for ou Twin-Fit My Double Designer Mr. Tailor Little Double © PRYM CONSUMER USA TECHNIQUE TUTORIAL 2 ress forms not on hae different fabric coors and top finia shapes the hae differ- ent proportions and size ranges as well. Note the difference in armscye shape and body fullness. Notice the waist and hip shapes and the body length. The Twin-Fit has a center poe hie the oube esigner and r aior hae an offset poe for pants fitting he oube esigner and the r aior hae both a center poe position as e as the offset one n the offset position is shon beo Stands ar b ste and each features different shouder to oor height measurements dusters aso ar forms hae measurements on the poe and a hem marer ecept for the r aior See the fooing pages for specific sie differences Neck styles vary Armscyes vary cm 84 35 cm 89 84 89 cm 35 89 84 35 cm 35 89 84 cm Adjusters 35 84 89 cm 35 vary 89 84 cm 89 84 35 cm 89 84 35 cm 35 84 89 LITTLE MY DOUBLE cm MR. -
Garden Couture 7 Designs from BERNINA’S Exclusive “Sepia Petals” Embroidery Collection Embellish a Printed Dress Form to Make a Classy Addition to Your Sewing Room
11ISSUE www.throughtheneedle.com exclusive! Pillowcase Dress Garden Add Punch to Your Fabrics Couture My BERNINA 830 Quilt 2 • THROUGH THE NEEDLE ONLINE Table of Contents Empire Waist Pillowcase Dress 4 Would you believe you can make this sweet sundress in an afternoon? Start with a ready-made hemstitched pillowcase, add an apron, some elastic, and a bit of embroidery – that’s all there is to it! Garden Couture 7 Designs from BERNINA’s Exclusive “Sepia Petals” embroidery collection embellish a printed dress form to make a classy addition to your sewing room. Cardigan Cut-Up: Part 2 10 Three more upcycled thrift store sweater projects from Jennifer Gigas’ “Style Fashion for Cents” appearance on The Balancing Act. My BERNINA 830 Quilt 12 To explore the embroidery features of the BERNINA 830, Maryann Kotowski embroidered blocks and created borders using designs and stitches included on this amazing sewing and embroidery system. The on-screen embroidery tools made it easy to combine and customize designs right on the screen – no software needed! Circular Embroidery Attachment #83 15 Perfectly round circles of decorative stitches are easy to sew using this simple accessory. Add Punch to your Projects! 16 Paula Scaffidi, a.k.a. Fiberella, shares techniques for creating Sepia Petals Collection 21002 unique “Wash ‘n Wear” needlepunch fabrics with the new Needle © OESD 2012 Punch Tool for Rotary Hook Machines #45. The Last Word 22 Valuable coupons, a list of quick links, and a sneak peek inside the next issue of Through the Needle ONLINE. Errata We accidentally omitted the name of the pattern used for the “Picnic in the Park” casserole cover in Issue 10. -
Sample Schedule
Grab a Ramah Darom map and take an audio tour of campus at ramahdarom�org/take-a-tour FRIDAY, MARCH 26 TIME ACTIVITY LOCATION 11:00am-5:00pm Check In and Intake Welcome Center Enjoy DIY projects or check out activity boxes, sports equipment 11:00am-5:00pm Concierge Desk and games Boating Open Agam (Lake) Check the Concierge Desk to see what time slots are available for: 12:30-5:00pm Archery* Archery Range Climbing* Alpine Tower/Climbing Wall Pool* Breicha (Pool) Outside of Omanut 2:00-4:00pm Art: Embossed Jerusalem with Judy Robkin* (Art Building) Stroll Ramah Darom (Easy) Meet at Levine 3:00-4:00pm Enjoy a tour of our campus. Center Portico Mirpesset T'fillah 4:00-4:45pm Gentle Yoga with Jenn Krueger* (Mountainside Pavilion) 5:00-5:15pm Symbolic Burning of the Chametz Medura (Lakeside Fire Pit) Family Program: A Story Concert with Maxine Handelman Families are invited to enjoy Shabbat, Pesach and getting-to-know- Beit Am 5:30-6:15pm you stories as we prepare to welcome the holiday! Recommended for (Covered Basketball Court) children up to the age of 8. Beit Am 6:15-7:15pm Welcome! Mincha, Kabbalat Shabbat and Maariv (Covered Basketball Court) Levine Center Portico/ 6:30-7:30pm Candle Lighting Available Center Dining Hall *See Session Descriptions on pages 40-41. Grey Denotes Preregistration Required! 12 Passover 2021 Kaplan Mitchell Retreat Center at Ramah Darom FRIDAY, MARCH 26 TIME ACTIVITY LOCATION 7:30-9:00pm Shabbat Dinner Chadar Ochel (Dining Hall) The Rabbi, The Witch and The Prevaricator: The Life of Shimon ben Shetach with Maharat Rori Picker Neiss Shimon ben Shetach is well-known for hunting witches. -
Design Your Own Muumuu
• UNIVERSITY OF HAWAII COOPERATIVE EXTENSION SERVICE • HOME ECONOMiCS CIRCULAR 351 . OJ. COOPERATIVE EXTENSION WORK IN AGRICULTURE AND HOME ECONOMICS 'COLLEGE OF TROPICAL AGRICULTURE UNIVERSITY OF HAWAII. HONOLULU. HAWAII 116822 UNITED STATES DEPARTMENT OF AGRICULTURE COOPERATING C. PEAIRS WILSON, DIRECTOR, HAWAII COOPERATIVE "EXTENSION SERVICE ,DISTRIBUTED IN FURTHERANCE OF THE ACTS OF CONGRESS OF MAY 8 AND JUNE 30, ll1U HOME ECONOMICS CIRCULAR 351-FEBRUARY 1967 DESIGN YOUR OWN MUUMUU GERTRUDE P. HARRELL Extension Specialist in Clothing Muumuus have been a popular way of dressing for many years in the islands. In the last decade, muumuus have become very versatile in styles, making them suitable for all occasions. Some of them are short; some are very basic and good for working around the house; and some are very dressy, used for very formal occasions. The muumuu is a form of dress that can be adapted to the individual's style of dress. Many people can design a muumuu that is very becoming to them. Because muumuus can be straight and on the tailored side or very full and quite fancy, they give every woman the chance to wear the type most becoming to her figure. Also, they can be made with various types of fabric. Muumuu fabrics range from the inexpensive cotton prints to the very ex pensive brocades and even to the expensive lace with lovely backing or lining. Muumuu fashions change the. same as dress styles of today. It is possible to use dress patterns and redesign them slightly and have lovely muumuus. If you have a desire to have individual muumuus, you can follow some basic prin ciples and design your own by using a current fashion pattern or a basic pattern that has been made to fit you. -
Supafit Deluxe/ My Double 8 Part Small Medium
SupaFit/ NEW Groves Dressform My Double 8 Part Adjustoform’s NEW low-cost dress form! “the classic Adjustoform dressmaking dummy!” 8 Part Dress Form with 9 adjusting thumb wheels 12 adjusting wheels Adjustable neck and useful pin cushion & 2 adjusting dials Adjustable back length & neck Foam-backed nylon covering allows easy pinning and Pin grip hem marker with graduated hem and marking measurements on centre pole Strong tripod stand folds for easy storage 4 footed stand Hem Marker or Hem Leveller options Available Sizes: Petite, Small, Medium & Full Figure Covered with nylon, foam backed grey with white polka dot fabric for easy pinning Size Guide SupaFit Deluxe/ My Double 8 Part Small Medium Bust 84 - 100cm 99 - 117cm 12 adjusting wheels Adjustable neck and useful pin cushion Waist 65 - 85cm 82 - 102cm Foam-backed nylon covering for easy pinning and Hips 88 - 105cm 104 - 120cm marking Back Length 38 - 43cm 38 - 43cm Strong tripod stand folds for easy storage Neck 36 - 43cm 38 - 45cm Scale tapes showing back length & scale tapes on tripod stand Please Note: ‘Groves Dressform’ sizes differ Chalk hem marker attachment from other Adjustoform Dress Forms Available Sizes: Petite, Small, Medium & Full Figure Olivia/ Celine/ NEW My Double 8 Part My Double 8 Part 12 adjusting thumb wheels “Celine the collection includes three models, each with an 8-part fash- Hand adjuster with pin cushion insert to ionable body incorporating Adjustoform’s back length adjustment fea- ture, adjusters at bust, waist and hips and a simple make for easy back length adjustment ‘press and turn’ finial neck adjuster.” Adjuster which allows the waist to neck Celine Standard is the basic model with a stable five star base and hem length to be changed with ease marker Shaped hips, bottom and thighs for trou- Celine Plus is the basic model with a hem marker and stable five star base ser fitting and the addition of locking castors.