Hat Makers with Attitude - Nytimes.Com
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
BOWLS BERETS BANGLES FROCKS PRINTS PLATES Media Release
MEDIA RELEASE: ISSUED ON 5 February 2018 BOWLS BERETS BANGLES FROCKS PRINTS PLATES An art and fashion collaboration by Bruce and Flora McLean 2 – 28 March Private View 5.30 – 7.00, Live presentation 7.30, Friday 9 March Sponsored by Vantage Premier Bruce McLean graduated from Glasgow school of art in 60’s. He studied under Anthony Caro at St Martins and went on to become one of the leading figures in conceptual art in 60’s Great Britain. Bruce rebelled against the more formal academicism of his teachers, abandoning conventional studio production for his own distinctive sculpture and performance art. Creating sculptures with rubbish, water and impermanent materials as well as using his body to impersonate sculptures by others, Bruce lead the development of Conceptual Art in Britain. Bruce’s fearless artistic experimentation whilst poking fun at the establishment has continued through his varied career in the arts and enabled many artistic collaborations incuding architecture, education and theatre. At 27 Bruce was given a retrospective exhibition at the Tate Gallery London, which he candidly programmed to run for one day only and titled ‘King for a Day’. Bruce was Head of Painting at The Slade School of Art and also taught at Maidstone College of Art where he established Nice Style, aka ‘The World’s First Pose Band’ as well as a number of collaborative performances (Academic Board,1975; Sorry! A Minimal Musical in Parts, 1977; The Masterwork; Award Winning Fishknife, 1979). His witty interpretations confronted the pretentiousness of the art world and wider social issues such as institutional politics and bureaucracy. -
The Hat Magazine Archive Issues 1 - 10
The Hat Magazine Archive Issues 1 - 10 Issue No Date Main Articles Workroom Process ------------------------------------------------------------------------------------------------------------------------ Issue 1 Apr-Jun 1999 Luton - Ascot Shoot - Sean Barratt Feathers - Dawn Bassam -Trade Shows - Fashion Museums & Dillon Wallwork ------------------------------------------------------------------------------------------------------------------------ Issue 2 Jul-Sep 1999 Paris – Marie O’Regan – Royal Ascot Working with crinn with - Student Shows – Geoff Roberts Frederick Fox ------------------------------------------------------------------------------------------------------------------------ Issue 3 Oct-Nov 1999 Hat Designer of the Year ’99 - Block Making with Men in Hats, shoot – Trade Fairs Serafina Grafton-Beaves ------------------------------------------------------------------------------------------------------------------------ Issue 4 Jan-Mar 2000 Mitzi Lorenz – Philip Treacy couture Working with sinamay (1) show Paris – Florence – Bridal shoot with Marie O’Regan Street page – Trades Shows ------------------------------------------------------------------------------------------------------------------------ Issue 5 Apr-Jun 2000 Coco Chanel – Trade Fairs Working with sinamay (2) Dagmara Childs – Knits Shoot with Marie O’Regan Street page - Trade Shows ------------------------------------------------------------------------------------------------------------------------ Issue 6 Jul-Sep 2000 Luton shoot – Royal Ascot Working with -
Women's Collection by Dorfman Pacific | Winter 2020
WOMEN’S COLLECTION BY DORFMAN PACIFIC | WINTER 2020 CALLANAN™ | AEGEAN | SCALA™ | SCALA™ KIDS | DPC® | FALL/WINTER 2020 For so long, people thought Dorfman was about selling hats. But really, we’re about our hat community. You see a hat is just an accessory, but our millinery community is fostered by the artisans that hand make our hats, local shops that display our creations, and our customers’ stories who wear them with distinction. This is coupled with our relentless commitment to service instilled by our founder, Jack Dorfman. Fashion trends are in a constant state of motion, but happy retail partners and valued customers are a constant for us. RIVERSIDE • LW749-ASST • PG 65 THE TREK • MC146 • MEN’S FW20 PG 78 An American Headwear Company Since 1921. Page 2 HANDMADE SINCE 1921 CONTENTS CALLANAN™ WOOL FELT ........................................................................... 6 WOOL BLEND ........................................................................ 8 HEADBANDS ......................................................................... 22 WEATHERED COTTON ........................................................ 24 BOILED WOOL ...................................................................... 24 SCALA™ WOOL FELT CLOCHE ........................................................... 31 WOOL FELT WESTERN ......................................................... 38 WOOL FELT SAFARI .............................................................. 38 WOOL FELT BOATER ........................................................... -
Alice in Wonderland Set & Costume
Alice in Wonderland Set & costume For more information about Alice in Wonderland set & costume rental contact Production Manager Josh Neckels at 541 485 3992. [email protected] 1 SET PIECES 2 pieces Backdrop with scrim center for projection 1 center small piece backdrop (plays up stage of 2 piece back drop) Grass units 5 Doors (1 with pyro, 3 with Alice photos) 1 Key hole Revolving Alice Photo Boat w. punt oar Mushroom 3 Rose briar units 1 large tea pot Mock Turtle set piece Falling cards 2 COSTUMES Father William Fat suit, pants, shirt, waistcoat, jacket, mask Young Man Pants, shirt, jacket hat Caterpillar Black unitard caterpillar costume 3 COSTUMES The Mock Turtle Shirt, pants, soft sculpture shell, mask Gryphon Yellow/brown unitard with wings & tail, 1/2 mask with beak 2 Lobsters Red unitard (door movers) blue jackets, pink lobster head & pink claws 4 COSTUMES The Mad Hatter Pants, shirt, jacket, socks, top hat The Dormouse red/brown unitard, mask The March Hare Yellow unitard, Jacket, mask Tea Table Soft sculpture tea table with tea pot, cups & saucers (dancers under table with elastic support "wear table" ) 5 COSTUMES Fish Footmen Black unitards, jackets, masks The Cook Tights, dress, hat, nose piece The Duchess Tights, Dress, mask 6 COSTUMES Dodo Blue unitard and large foam body piece Mouse Grey unitard, mask Eaglet Green/yellow unitard with wings, mask 7 COSTUMES Eaglet Green/yellow unitard with wings, mask Duck White unitard with wings, mask Marten Blue unitard with tail, mask 8 COSTUMES Flamingos Pink unitards with wings, -
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. -
Spring Summer 2020 Vienna
SPRING SUMMER 2020 VIENNA What exactly is „Viennese Style“? The typical Was ist denn jetzt eigentlich dieser Wiener Stil? Viennese je-ne-sais-quoi, which has gained a Dieses typisch Wienerische, das längst eine world-wide reputation? In our Spring/Summer 2020 Weltkarriere hingelegt hat? Um nichts Geringeres collection we did our utmost to try and unearth this. als das herauszufinden, ging es in der Kollektion Did we find a succinct answer? Unfortunately not! Frühling/Sommer 2020. Haben wir eine schlüssige Vienna is many things, maybe even too many. Antwort darauf gefunden? Leider nein! But above all it is a “melange” – a blend of Wien ist Vieles, vielleicht sogar zu Vieles. Vor allem different influences and style directions, which, aber ist es eine „Melange“ unterschiedlichster when mixed together just so, result in something Einflüsse und Stilrichtungen, die in einem ganz typically Viennese. This is a fine balance between bestimmten Mischverhältnis eben Wienerisch simplicity and opulence, patina and gloss, art ergeben. Das spielt sich zwischen Schlichtheit und nouveau and social housing, superficiality and Opulenz ab, Patina und Hochglanz, Jugendstil skilful understatement. And generally between east und Gemeinde bau, Oberfläche und Understatement. and west, north and south – and we are right at Und überhaupt zwischen Westen und Osten, Norden the epicentre. Exuberant, completely over the top und Süden – und wir mittendrin. Überbordend and then again there is total clarity. Decorations, und dann wieder ganz klar. Ornamente, Rüschen, frills, fraying or their entire absence – this is the Fransen und deren Abwesenheit – das ist die Mühlbauer Spring/Summer 2020 collection. Mühlbauer- Kollektion Frühling/Sommer 2020. -
Strut, Sing, Slay: Diva Camp Praxis and Queer Audiences in the Arena Tour Spectacle
Strut, Sing, Slay: Diva Camp Praxis and Queer Audiences in the Arena Tour Spectacle by Konstantinos Chatzipapatheodoridis A dissertation submitted to the Department of American Literature and Culture, School of English in fulfillment of the requirement for the degree of Doctor of Philosophy Faculty of Philosophy Aristotle University of Thessaloniki Konstantinos Chatzipapatheodoridis Strut, Sing, Slay: Diva Camp Praxis and Queer Audiences in the Arena Tour Spectacle Supervising Committee Zoe Detsi, supervisor _____________ Christina Dokou, co-adviser _____________ Konstantinos Blatanis, co-adviser _____________ This doctoral dissertation has been conducted on a SSF (IKY) scholarship via the “Postgraduate Studies Funding Program” Act which draws from the EP “Human Resources Development, Education and Lifelong Learning” 2014-2020, co-financed by European Social Fund (ESF) and the Greek State. Aristotle University of Thessaloniki I dress to kill, but tastefully. —Freddie Mercury Table of Contents Acknowledgements...................................................................................i Introduction..............................................................................................1 The Camp of Diva: Theory and Praxis.............................................6 Queer Audiences: Global Gay Culture, the Arena Tour Spectacle, and Fandom....................................................................................24 Methodology and Chapters............................................................38 Chapter 1 Times -
1 Miss May Wilson Photography/Scrapbook Album (A
Miss May Wilson photography/scrapbook album (A.1984.593-614) Overseas missionary fellowship, Chiangrai, Thailand, mid/late 1970s – early 1980s. Front outer album cover: Hardcover, photograph of beach scape with mountain landscape, across the outer shell of the scrapbook, fastened with two detachable screw fixtures holding together 25 individual pages of the photograph album. D.2017.5.1 The front inside cover sheet is buff coloured paper. On the reverse side is a biblical quote hand-written in black ink and underlined: “The Lord keeps close watch over the whole world to give strength to those whose hearts are loyal to him. 2 Chronicles 16,9a” There is a map of Thailand drawn in black ink, with place names labelled in red ink these include: 1. Chiangrai 2. Chiangmai 3. Bangkok The countries surrounding Thailand are also labelled, including: Laos; North Vietnam, Burma, Cambodia and Malaysia. D.2017.5.2 There are five black and white photographs of roughly 6x24cm dimensions. There is a typed description in the centre of the page saying “The Akha – a Tibetan- Burmese people living in China, Burma and North Thailand”. This is typed onto an adhesive sticky label stuck in the centre of the page. Correcting fluid has been used over a question mark once situated next to “China” in the sentence and which now has a comma. The photographs are all portraits of individuals, one landscape orientated photograph at the bottom of the page depicting a woman with a child on her back. The photographs from left to right: 1. A woman from chest upwards, taken at a slightly off centred side portrait. -
Accompanying Label Information for Respect the Dress Exhibit
Accompanying Label Content for Virtual Tour of Respect the Dress: Clothing and Activism In U.S. Women’s History Section I: Introduction R.E.S.P.E.C.T. the Dress: Clothing and Activism in U.S. Women’s History The year 2020 marks the 100th anniversary of the ratification of the 19th Amendment. It took many decades for advocates to reach the successful passage of federal-level suffrage for women in the United States. In the century that followed, challenges toward women’s right to vote, to hold office, and to participate fully and completely in American society remain. Advocates for and against women’s expanded rights have used clothing to define or support their mission. From bloomer costumes to bra burning, the story of women’s rights activism in the United States is filled with references to how women dress. Radical fashion choices are often given as examples revealing the equally radical behaviors of activists. Yet few women adopted the dress reform style known as bloomers in the 1850s or burned their bras during the women’s liberation movement protests in the 1970s. The 19th Amendment legally prohibited voter discrimination based on sex. Suffragists, the name U.S. activists advocating for women’s voting rights called themselves, played on and influenced the 1910s fashion for white lacy dresses, allowing them to express affiliation with women’s rights advocacy while also maintaining a less radical choice in dress. Suffragists used the three colors of white, purple, and yellow for sashes, buttons, and flags. Feminists in the 1970s and in the new millennium continue to wear these colors as a signal of support to earlier activists. -
Fall 10 28#2Cs4.Indd
Volume XXVIII • Number 2 • 2010 Historical Magazine of The Archives Calvin College and Calvin Theological Seminary 1855 Knollcrest Circle SE Grand Rapids, Michigan 49546 pagepage 10 page 20 (616) 526-6313 Origins is designed to publicize 2 From the Editor 14 Back-and-Forth Wanderlust: and advance the objectives of The Autobiography of Jacob The Archives. These goals 4 An American Flyer Remem- Koenes include the gathering, bered: Martin Douma Jr., organization, and study of 1920–1944 historical materials produced by Richard H. Harms the day-to-day activities of the Christian Reformed Church, its institutions, communities, and people. Richard H. Harms Editor Hendrina Van Spronsen Circulation Manager Tracey L. Gebbia Designer H.J. Brinks Harry Boonstra Janet Sheeres Associate Editors James C. Schaap Robert P. Swierenga Contributing Editors HeuleGordon Inc. pagepage 28 page 39 Printer 25 One Heritage — 35 “When I Was a Kid,” part II Two Congregations: Meindert De Jong, with The Netherlands Reformed in Judith Hartzell Grand Rapids, 1870 – 1970 Cover photo: 44 Book Notes Saakje and Jacob Koenes with their helpers Janet Sjaarda Sheeres on the Groenstein farm. 46 For the Future upcoming Origins articles 47 Contributors from the editor . now available and personal accounts totaled more than 34,000 entries, the are being distributed via the internet. data are available in two alphabetical- Janet Sheeres details the history of the ly sorted PDF formatted fi les, A-L and Netherlands Reformed congregations, M-Z which are available at http://www. primarily in West Michigan, whose calvin.edu/hh/Banner/Banner.htm. With experiences had previously been these two fi les, this site now provides overshadowed by the stories of the access to all such data for the years Time to Renew Your Subscription larger Reformed Church in America 1985-2009. -
How Many Names for Hats Can You Find?
How many names for hats can you find? D A D E L C O G R O O N S H E W K E G V D L F A S C I N A T O R Y J R S F O I T M T A I I B I B N U J B B C C S G U R J L O S S Y G K D Y H M B K R N M O A Q E Z F W U F E Z Y L B I H R T W E C O O N S K I N C A P C B E G E H X A C T O Q U E N F B E R E T O W Q E P R V U O B E A N I E D M P I C T U R E S I D L T T A F B O H A R D H A T C O A Q O R B U R P P S Z Y X O O R C V P T O R K C E B O W L E R A L H H U N G P D S T E T S O N C A P A J N A I B N F F M L K E I V I T D E P E A C H B A S K E T A S C O T ASCOT A hard style of hat, usually worn by men, dating back to the 1900s. -
Indian Heritage in the French Creole-Speaking Caribbean: a Reference to the Madras Material
International Journal of Humanities and Social Science Vol. 4 No. 5; March 2014 Indian Heritage in the French Creole-Speaking Caribbean: A Reference to the Madras Material Hélène Zamor Lecturer Department of Languages, Linguistics and Literature Cave Hill Campus University of the West Indies in Barbados Abstract Madras appeared in both Guadeloupe and Martinique during colonization. This southern Indian material has not only been used for the national costume but also for domestic purposes and decoration. It is common to see tablecloths and bags made of madras. A house may be decorated with Madras curtains, lamps or dolls. Madras as a symbol for Creole identity has spread to the commercial sectors. Madras colours have been reproduced in advertisements, websites as well as on locally made products such as yogurts or rum. Keywords: Madras, chemise-jupe, douillette, gwan wòb’, French Creole identity Introduction The madras material reached the French Caribbean shores during the seventeenth century. The French women who settled in Guadeloupe and Martinique used madras as a headpiece. In the early twentieth century, most Guadeloupian and Martiniquan women wore a madras headpiece with their Gwan wòb1 and chemise-jupe.2In recent times, Madras has been used for decoration, craft and advertisement. When it comes to gender and age, madras is not only associated with women pertaining to a particular age bracket. In modern times, children and men also wear madras pants and shirts. The name madras has also been given to a drink in Guadeloupe. The purpose of this article is to examine how the city of Madras and the Madrasi immigrants have made a contribution to the French Caribbean heritage.