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The Textiles of the Han Dynasty & Their Relationship with Society
The Textiles of the Han Dynasty & Their Relationship with Society Heather Langford Theses submitted for the degree of Master of Arts Faculty of Humanities and Social Sciences Centre of Asian Studies University of Adelaide May 2009 ii Dissertation submitted in partial fulfilment of the research requirements for the degree of Master of Arts Centre of Asian Studies School of Humanities and Social Sciences Adelaide University 2009 iii Table of Contents 1. Introduction.........................................................................................1 1.1. Literature Review..............................................................................13 1.2. Chapter summary ..............................................................................17 1.3. Conclusion ........................................................................................19 2. Background .......................................................................................20 2.1. Pre Han History.................................................................................20 2.2. Qin Dynasty ......................................................................................24 2.3. The Han Dynasty...............................................................................25 2.3.1. Trade with the West............................................................................. 30 2.4. Conclusion ........................................................................................32 3. Textiles and Technology....................................................................33 -
C H R I S T Y &
C h r i s t y & C ooC Since 1773 History and Legacy by Irra K With special thanks to The Stockport library and hat museum FamilyFamily Six reigns of Royals, and Eight generations of the Christy family have forged the brand of Christys London since it’s foundation by Miller Christy in 1773, 237 years ago Following his apprenticeship to a Hatter in Edinburgh, Miller Christy created a company that would survive for generations, outliving thousands of hat makers across the former British Empire: by 1864 for example there were 53 hatting firms in Stockport alone. Throughout hundreds of years, the factory was still managed by direct descendants of the founder of the Firm ValuesValues 1919 Christys readily registered their own The Christy Collection in Stockport is appreciation testament to the influence the company of workers’ had. At its height, it employed 3000 excellent local people leaving a valuable legacy service < - During World War II, hats were not rationed in order to boost morale, and Christys supported the effort within their family-run company, effectively running it like an extended family Celebrating Victory as well as mourning the fallen at the -> end of World War I Trade MarksTrade Marks The Stockport Collection With business of Christy Papers includes a expanding to 500 page booklet detailing foreign lands, trade marks registered safeguarding around the world at the the insignia in height of the British Empire. all it’s forms These involve registering the full name, letters 'C', it’s became vital – insignia, shape, and colours as we shall see In the early days, < - several variations - > of company marks and insignia were circulated, later consolidating into the Christy crown and heraldry which is now recognised the world over Trade Marks iiiiTrade In many territories, Trade Marks were either disputed or had to be re-registered. -
Ask the Judge Questions About Dressage with Amy Mcelroy
Ask the Judge Questions about Dressage With Amy McElroy Amy McElroy is a USEF R judge, qualified to officiate at any USEF recognized show at all national dressage levels. She rides, trains and teaches at Fairlane Farm in Aiken and judges about a dozen dressage shows and events each year. In her popular Ask the Judge column, she answers readers’ questions about dressage. Dear Amy, in recent years. They come in many styles, are comfortable, cool and lightweight. Some even come with “bling.” I am getting ready to start this year’s show season at the Fourth There are also a few other recent changes in the rules for proper Level. I just got a gorgeous top hat for Christmas. My trainer has attire. The rules state that in Fourth Level and below “A short riding always told me that when I can come down the centerline in the coat of conservative color . is mandatory.” Proper conservative canter, it would be time for me to wear my top hat. When my colors are: black, grey, navy or brown. A newer rule says that coats husband learned that I would be showing Fourth level, he surprised may have contrast coloring, and/or piping. For example a black coat me with this gift. with light pink collars would be acceptable, or a grey coat with black So, now that I am ready and I have the hat, I have heard that I can collars. A cutaway coat is also permitted – this is like a modified no longer wear it in Fourth level. -
Crazy for You'
o",."c ""C-""""""""'~T"'~-- . .. ,. ~ . \."-' COSTUMEPLOT: "CRAZY FOR YOU' Act I scene1 Backstageat the Zangler Theatre BOBBY: Black tuxedo,black vest. white tux shirt, black bowtie TESS: dressand sweater PATSY: showgirl costume ASSORTEDSHOWGIRLS: 4 in matchingpanniers, leotards and headpiecesfor the "performance" 3 others(magician, circus act, baton twirler) ACROBATS: 3 Men in unitards with capesand trunks STAGE MANAGER: pants,open vest. shirt sleevesrolled up, loosetie STAGE HAND(S): similar to stagemanager OR in coveralls ZANGLER: black tails, white vest. white tie, white gloves,fur coat worn over shoulders Also needswig and goatee NOTE: BOBBY will needa DUPLICATE of Zangler's wig and goateefor his impersonation of Zangler MITZI: showgirl costume Act I scene2 OutsideZangler Theatre; later that evening BOBBY: repeatabove TESS:Repeat above; add coat and hat (lightweight for autumn) ",~,. PATSY: similar to Tess if\; SHOWGIRLS (optional): 4 in coatsand hats IRENE: Evening gown and matching coat, hat or headpiece LACKEY#l: Businesssuit attire LACKEY #2: Businesssuit attire CHAUFFEUR:Chauffeur uniform and hat, glovesoptional BOBBY'S MOTHER: Evening dressand coat with furs, elaborateheadpiece or hat, gloves,excessive jewelry and matching shoes PERKINS: Dark businesssuit attire PINK FOLLIES GIRLS (Bobby'sFantasy Number "Can't be BotheredNow"): Pink wigs, pink sequin showgirl costumeswith matching gauntlets;silver tap shoesrecommended NOTE: Our versionof theseare basedupon the original Broadwaydesign and havea thong. It is adviseablefor your -
Hat Should I Wear for a Horse Show? While the Answer to This Question
hat should I wear for a horse show? While the answer to this question will W vary depending on whether you are riding in a local schooling show or competing in a rated show (e.g. the “A” rated Midstates Horse Shows in Mason City, or the “B” rated Valley Park in Des Moines), the following information should help you figure out what is appropriate. If you have any questions about whether something is appropriate, ask your trainer. This is always good advice. Helmet & Hair Whether you are jumping huge fences or just sitting on your horse waiting for your lesson to begin, accidents can happen to anyone, at any time. Thus, any time you are mounted you need to be wearing a helmet with the chin-strap fastened. Purchase an ASTM/SEI-approved helmet that hasn’t been involved in a fall. After a serious impact resulting in obvious helmet damage, discard the helmet and buy a new one. You May wish to replace it even if there is no external damage. The general rule is to replace a helmet every 5 years, whether or not it has been involved in a fall. When trying on helmets, wear your hair as you’ll wear it when riding, as this will affect the fit. Helmets should fit snugly and be worn over the top of your head, with the brim resting just above your eyebrows. Do not wear your helmet perched on top of your head, or tilted back. If your helmet wiggles when you shake your head, it is too large. -
My Father's Fortune
You loved your last book...but what are you going to read next? Using our unique guidance tools, Lovereading will help you find new books to keep you inspired and entertained. Opening Extract from… My Father’s Fortune A Life Written by Michael Frayn Published by Faber & Faber All text is copyright © of the author This Opening Extract is exclusive to Lovereading. Please print off and read at your leisure. michael frayn My Father’s Fortune A Life First published in 2010 by Faber and Faber Ltd Bloomsbury House 74–77 Great Russell Street London wc1b 3da Typeset by Faber and Faber Ltd Printed in England by CPI Mackays, Chatham All rights reserved Michael Frayn, 2010 The right of Michael Frayn to be identified as author of this work has been asserted in accordance with Section 77 of the Copyright, Designs and Patents Act 1988 A CIP record for this book is available from the British Library isbn 978–0–571–27058–3 2 4 6 8 10 9 7 5 3 1 Contents Homburg 1 part one 1 Smart Lad 9 2 House of Straw 19 3 Duckmore 38 4 Furniture and Fittings 55 5 Quick / Slow 74 6 Fire Resistance 91 7 A Glass of Sherry 104 part two 1 Childcare 129 2 Top to Bottom 148 3 Skylark 169 4 Chez Nous 186 5 Black Dog 203 6 Closer 222 7 Legatees 236 List of Photographs 255 Homburg The handle of my study door softly turns. I look up from my typewriter, startled. The two older children are at school, my wife’s out with the baby, the house is empty. -
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. -
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. -
Wwd0906web.Pdf
CH_WWD_BornIn1928_CoverWrap_14.75x10.75_Mech_Final.indd 1-2 8/30/13 11:18 AM CH_WWD_BornIn1928_CoverWrap_14.75x10.75_Mech_Final.indd 3-4 8/30/13 11:19 AM RAW FOOD GO-TO VIDEO JUERGEN TELLER BRINGS HIS UNMISTAKABLE STYLE MAKEUP ARTIST BOBBI TO PHOTOGRAPHING THE BROWN IS LAUNCHING A CUISINE AT THE LEGENDARY YOUTUBE CHANNEL AIMED ITALIAN HOTEL IL PELLICANO. AT MILLENNIALS. PAGE 14 PAGE 22 EXCLUSIVE Kering Buys Stake In Joseph Altuzarra By JESSICA IREDALE NEW YORK — Joseph Altuzarra is the latest emerg- ing designer to be brought into the Kering portfolio. WWD has learned that Kering, previously PPR, has taken a minority stake in Altuzarra. The deal closed Thursday, two days before the designer shows his FRIDAY, SEPTEMBER 6, 2013 ■ $3.00 ■ WOMEN’S WEAR DAILY spring collection in New York. At his Howard Street studio Thursday afternoon, as he was in the midst of WWD fi ttings, he was excited but admittedly tired. “It’s been a superexciting week because [the Kering deal] was all coming together and the collection came in,” said Altuzarra, wearing a T-shirt and camoufl age pants, as Vanessa Traina and various design assistants went through the racks of the spring collection. The designer declined to disclose Kering’s percent- age interest in his company, but emphasized that “it was very important for me to keep [Kering] a minority stake at this point and for us to keep control of Altuzarra. They were incredibly supportive of that decision and Building really understanding of it, and that was also very rare.” “We are delighted to invest in Altuzarra to ac- company the development of this promising fash- ion house,” said Alexis Babeau, managing director, Kering Luxury division. -
Fashion Trends 2016
Fashion Trends 2016 U.S. & U.K. Report [email protected] Intro With every query typed into a search bar, we are given a glimpse into user considerations or intentions. By compiling top searches, we are able to render a strong representation of the population and gain insight into this population’s behavior. In our second iteration of the Google Fashion Trends Report, we are excited to introduce data from multiple markets. This report focuses on apparel trends from the United States and United Kingdom to enable a better understanding of how trends spread and behaviors emerge across the two markets. We are proud to share this iteration and look forward to hearing back from you. Olivier Zimmer | Trends Data Scientist Yarden Horwitz | Trends Brand Strategist Methodology To compile a list of accurate trends within the fashion industry, we pulled top volume queries related to the apparel category and looked at their monthly volume from May 2014 to May 2016. We first removed any seasonal effect, and then measured the year-over-year growth, velocity, and acceleration for each search query. Based on these metrics, we were able to classify the queries into similar trend patterns. We then curated the most significant trends to illustrate interesting shifts in behavior. Query Deseasonalized Trend 2004 2006 2008 2010 2012 2014 Query 2016 Characteristics Part 1 Part 2 Part 3 Top Risers a Spotlight on an Extensive List and Decliners Top Trending of the Top Volume Themes Fashion Trends Trend Categories To identify top trends, we categorized past data into six different clusters based on Sustained Seasonal Rising similar behaviors. -
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. -
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.