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General Information
General Information: Summer dresses, made from lightweight fabric like silk organza or printed cotton, were popular during the time of the early bustle era from 1869-1876 for excursions to the sea or sporting activities like tennis. Hence the name “seaside costume” comes. Beside strong and light colors also striped fabrics were popular. Striped fabric often was cut on the bias for ruches and decorations to create lovely patterns. At the beginning of the era skirts were supported by smaller crinolines with an additional bustle at the back. At the middle of the seventies the crinoline was displaced by the actual tournure or “Cul de Paris”. Information’s about the sewing pattern: A seam allowance of 5/8” (1,5cm) is included, except other directions directly on the sewing pattern. Transfer all marks carefully when cutting the fabric. Pleas always do a mockup first. To get the desired shape the dress should be worn over a corset and suitable underpinnings. The dress is intended to be worn for more sporting activities, so it is designed to be worn over a small to a medium size bustle pad. If you want to wear the dress over a small crinoline or a larger bustle you have to spread the back width of the skirt to the hip era. Plan to make two or three pleats into the skirt gore #2 and #3 at the hip section. The front waist piece and the front apron are cut as one piece, at the side and the back the apron pieces are sewn on and folded into regular pleats at the back. -
Use and Applications of Draping in Turkey's
USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION DUYGU KOCABA Ş MAY 2010 USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF IZMIR UNIVERSITY OF ECONOMICS BY DUYGU KOCABA Ş IN PARTIAL FULFILLMENTOF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF DESIGN IN THE GRADUATE SCHOOL OF SOCIAL SCIENCES MAY 2010 Approval of the Graduate School of Social Sciences ...................................................... Prof. Dr. Cengiz Erol Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Design. ...................................................... Prof. Dr. Tevfik Balcıoglu Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adaquate, in scope and quality, as a thesis for the degree of Master of Design. ...................................................... Asst. Prof. Dr. Şölen Kipöz Supervisor Examining Committee Members Asst. Prof. Dr. Duygu Ebru Öngen Corsini ..................................................... Asst. Prof. Dr. Nevbahar Göksel ...................................................... Asst. Prof. Dr. Şölen Kipöz ...................................................... ii ABSTRACT USE AND APPLICATIONS OF DRAPING IN TURKEY’S CONTEMPORARY FASHION Kocaba ş, Duygu MDes, Department of Design Studies Supervisor: Asst. Prof. Dr. Şölen K İPÖZ May 2010, 157 pages This study includes the investigations of the methodology and applications of draping technique which helps to add creativity and originality with the effects of experimental process during the application. Drapes which have been used in different forms and purposes from past to present are described as an interaction between art and fashion. Drapes which had decorated the sculptures of many sculptors in ancient times and the paintings of many artists in Renaissance period, has been used as draping technique for fashion design with the contributions of Madeleine Vionnet in 20 th century. -
Cloth, Fashion and Revolution 'Evocative' Garments and a Merchant's Know-How: Madame Teillard, Dressmaker at the Palais-Ro
CLOTH, FASHION AND REVOLUTION ‘EVOCATIVE’ GARMENTS AND A MERCHANT’S KNOW-HOW: MADAME TEILLARD, DRESSMAKER AT THE PALAIS-ROYAL By Professor Natacha Coquery, University of Lyon 2 (France) Revolutionary upheavals have substantial repercussions on the luxury goods sector. This is because the luxury goods market is ever-changing, highly competitive, and a source of considerable profits. Yet it is also fragile, given its close ties to fashion, to the imperative for novelty and the short-lived, and to objects or materials that act as social markers, intended for consumers from elite circles. However, this very fragility, related to fashion’s fleeting nature, can also be a strength. When we speak of fashion, we speak of inventiveness and constant innovation in materials, shapes, and colours. Thus, fashion merchants become experts in the fleeting and the novel. In his Dictionnaire universel de commerce [Universal Dictionary of Trade and Commerce], Savary des Bruslons assimilates ‘novelty’ and ‘fabrics’ with ‘fashion’: [Fashion] […] It is commonly said of new fabrics that delight with their colour, design or fabrication, [that they] are eagerly sought after at first, but soon give way in turn to other fabrics that have the charm of novelty.1 In the clothing trade, which best embodies fashion, talented merchants are those that successfully start new fashions and react most rapidly to new trends, which are sometimes triggered by political events. In 1763, the year in which the Treaty of Paris was signed to end the Seven Years’ War, the haberdasher Déton of Rue Saint-Honoré, Paris, ‘in whose shop one finds all fashionable merchandise, invented preliminary hats, decorated on the front in the French style, and on the back in the English manner.’2 The haberdasher made a clear and clever allusion to the preliminary treaty, signed a year earlier. -
GEORGE W. BROWN the BRUNSWICK Hotel Lenox
BOSTON, MASS., FRIDAY. APRIL 14. 1905 1 0 GEORGE W.BROWN SHIRTINGS FOR 1905 ARE READY Copley Square All the Newest Ideas for.Men's Negligee and Nvlercbant Summer Wear in Hotel SHIRTS tailor Made from English, Scotch and French Fabrics. Huntington Aoe. & Exeter St. Private Designs. BUSINESS AND DRESS 110 TREMONT STREET SUITS PATRONAGE of "Tech" students $1.50, $2.00, $3.50, $4.50, $5.50 and solicited in our Cafe and Lunch Upward Room All made 27he attention of Secretaries Makes up-to-date students' in our own workrooms. Consult us to ana know the Linen, the Cravet and Gloves to Wear. Banquet Committees of Dining clothes at very reasonable Clubs, Societies, Lodges, etc., is GLOVES called to the fact that the Copley Fownes' Heavy Square prl;r., Street Gloves, hand Hotel has exceptionally I lStitched, $1.50. Better ones, $2.00, ood facilities $2.50 and $3.00. Men's and Women's for serving Breakfasts, Luncheons or Dinners and will cater NECKWEAR out of the ordinary-shapes strictly especially to Suits and Overcoats from $35 new-8-1.00 to $4.50. this trade. Amos H. Whipple, Proprietor This is the best time of the ENTIRE YEAR, N oy s Oi /ros.' Summer Streets, for you to have your FULL DRESS, Tuxedo, Boston, U. S. A. or Double-Breasted Frock Suit made. We make a Specialty of these garments and make Special Established I874 Prices during the slack season. Then again, we SPRING OPENING have an extra large assortment at this time, and DURGIN, PARK & CO,. -
Rando – Introducing the World's First Ski Suit in 3-Layer Gore-Tex® Active
Press release February 2013 Rando – introducing the world’s first ski suit in 3-layer Gore-Tex® Active Perhaps the secret of Randonée lies in the contrast of struggling up the mountain only to later enjoy the ride down. Perhaps it is the science of finding snow that no one else has broken before. Or perhaps just to enjoy the vast landscape. Regardless of the reason, the activity places special demands on the equipment. For the 2013 winter season Haglöfs is introducing a new extensive collection for skiers who want to explore far away from the lift system and pistes. All of these products, which are gathered under the RANDO family, were developed with a focus on safety and being able to quickly and easily adapt the clothing based on changing weather conditions or whether you are headed up or down the mountain. One of this year’s big releases is RANDO AS SUIT – the world’s first ski suit in 3-layer Gore-Tex® Active. During its product development stage, Haglöfs focused on taking advantage of the properties of Gore’s Active technology in order to be able to offer the lightest and the most comfortable, waterproof and breathable skiing garment on the market. RANDO AS SUIT has an unembellished design, but with all of the product features a skier would expect, such as a helmet-compatible, adjustable 3-way hood, a DWR-treated outer surface and pockets strategically placed so that they are accessible even when carrying a backpack. The suit also has long, reinforced and waterproof zippers at the armpits and along the thighs in order to maximize ventilation. -
I Was Tempted by a Pretty Coloured Muslin
“I was tempted by a pretty y y coloured muslin”: Jane Austen and the Art of Being Fashionable MARY HAFNER-LANEY Mary Hafner-Laney is an historic costumer. Using her thirty-plus years of trial-and-error experience, she has given presentations and workshops on how women of the past dressed to historical societies, literary groups, and costuming and re-enactment organizations. She is retired from the State of Washington . E E plucked that first leaf o ff the fig tree in the Garden of Eden and decided green was her color, women of all times and all places have been interested in fashion and in being fashionable. Jane Austen herself wrote , “I beleive Finery must have it” (23 September 1813) , and in Northanger Abbey we read that Mrs. Allen cannot begin to enjoy the delights of Bath until she “was provided with a dress of the newest fashion” (20). Whether a woman was like Jane and “so tired & ashamed of half my present stock that I even blush at the sight of the wardrobe which contains them ” (25 December 1798) or like the two Miss Beauforts in Sanditon , who required “six new Dresses each for a three days visit” (Minor Works 421), dress was a problem to be solved. There were no big-name designers with models to show o ff their creations. There was no Project Runway . There were no department stores or clothing empori - ums where one could browse for and purchase garments of the latest fashion. How did a woman achieve a stylish appearance? Just as we have Vogue , Elle and In Style magazines to keep us up to date on the most current styles, women of the Regency era had The Ladies Magazine , La Belle Assemblée , Le Beau Monde , The Gallery of Fashion , and a host of other publications (Decker) . -
Cotehardie Construction from Extant Pieces
Cotehardie Construction from Extant Pieces Mistress Mairghead de Chesholme [email protected] Mka Jacquelyne Aubuchon Uppsala gown reconstruction http://www.kostym.cz/Anglicky/1_Originaly/01_Goticke/I_01_13.htm Very few examples of clothing from the High Middle Ages have survived to the present day. Of those garments, even fewer are available for study to the amateur costumer. Marc Carlson’s website “Some Clothing of the Middle Ages” provides an invaluable resource for the costumer to find garments with which to make comparisons. For this examination, I have selected five garments for comparison. These garments include the Soderkoping kirtle, Herjolfnes No. 42, Herjolfnes No. 39, Herjolfnes No. 38, and the Uppsala gown. The Herjolfnes garments immediately precede the cotehardie in fashion, but are not necessarily cotes. What they show is a continuity of cut and style that can arguably be carried over to application in construction of cotehardies. For example, think of a man’s dress shirt. Envision the places where the seams lie on a modern shirt. One hundred years ago, the technology was radically different, but the seams will correspond on a man’s shirt from the 1800’s. Clothing construction is constantly tweaked, skirts get longer and shorter, dresses range from fitted to volumous, but the basic lines for seams remain the same. By utilizing what is known on the above five garments one can reasonably reproduce a cotehardie using a pattern that would have been plausible at the time. Soderkoping Kirtle http://personal.utulsa.edu/~marc-carlson/cloth/soder.html The first garment and most degraded of the five is the Soderkoping kirtle. -
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. -
New Licenses
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About Pins Guide Reformatted Layout 1 2/17/12 11:34 AM Page 1
023-507P8 All about Pins Guide reformatted_Layout 1 2/17/12 11:34 AM Page 1 SELECTING THE PROPER STRAIGHT PIN Select pins according to the type of pin, length of pin, type of pin head, type of metal from which it is made & project for which it will be used. Applique STRAIGHT PINS Applique Short length helps position and hold appliques during hand sewing Ball Point BAll point Rounded tip is specially designed for knits and lingerie fabrics Beading e d long BAll point i Long pin for use on medium-weight knit fabrics u g s BeAding Bridal and Lace n Large head is ideal for lace, open-weave fabrics and beading crafts i p t BridAl And lAce u Extra-fine pin for use on delicate or lightweight fabrics and lace o b Color Ball color BAll a l General purpose sewing pin for medium-weight fabrics l a extrA-long color BAll Extra-long for lofty fabrics, quilt basting & home decor sewing Craft crAft Extra-long pin for heavyweight fabrics, home decor projects and crafts dressmAker Dressmaker General purpose sewing pin suitable for medium-weight fabrics flAt flower or flAt Button Extra-long, fine pin with flat head for lace, eyelet, loose weaves, lofty Flat Flower fabrics and home decor more projects, tips & techniques at Joann.com ® free Flat Button 023-507P8 All about Pins Guide reformatted_Layout 1 2/17/12 11:34 AM Page 3 glAss HeAd SPECIALTY PINS T-Pin A general purpose pin with a heat-resistant glass head used for medium- corsAge & Boutonniere weight fabrics Black and white, pearlized head used for pinning corsage or flower onto Glass Head garment for -
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”. -
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.