REMODELING CLOTHING Published and Distributed in Furtherance of the Acts of May 8 and June 30, 1914, by the Colorado State College, Extension Service, F
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Convertible Collar Construction
Convertible Collar Construction Directory Click any image to go to that section Yoke/Facing Options: Intro and Gallery By far the most common set-up for a The purpose of this introductory section is to convertible-collar shirt is that it has front facings feature and compare the range of other options and a yoke, and that these two details don’t touch, also, if less commonly, in use beyond this classic as in the example at right. one, before I proceed to work step-by-step through a handful of useful variants . Many other possible That is, the facings don’t extend far enough combinations, and of course, variations on the towards the shoulders at the neckline that they’ll ones here, are conceiveable and may suit your meet with or join to the fronts of the yoke layers. As project better, so feel free to experiment. a result, the yoke construction steps aren’t integrated into the collar steps and are completed, in front at least, before the collar is begun, so the options for using the yoke as a back facing are eliminated. The steps for this classic arrangement are described below in Variation #5, in the Front Facing Only category. Collar Insertion Options Step-By-Step No Yoke or Facings Required Front facings Only Front and Back Facings, or Yoke Used as Facing Variation 1: Collar Applied as Band Variation 3: Collar’s Back Neckline Edge-Stitched Variation 6: Back Facings 1 3 and Facings Secured at Shoulder Seams 6 Options: Options: 1. Edge-stitched neckline 2. -
Londa Rohlfing - Memory T-Shirt
Londa Rohlfing - Memory T-Shirt Londa digs in, filters, and combines men’s collared polo knit shirts and seven dress shirts into strikingly artistic tops so the men in your life better lock their closets! Mannequin 1: The Khaki/Black Shirt Interesting collar edge - how it flows over the shoulder to the back 1. Asymmetrical/Informal Balance - accented with woven striped shirt set in from behind to fill in low neckline. 2. Combination of textures - couched edges for ‘finish’ - more on how to couch later. Yarn ‘connects’ everything, finishes edges. 3. Light hand stitching as center of interest - also on back, and sleeves 4. Bound neckline using knit fabric 5. Even Daddy’s ‘spot’ is OK! 6. Original uneven hemline - bound slits at side seams Mannequin 2: The Periwinkle Shirt 1. Symmetrical/Formal balance 2. Curved line of inset check knit shirt flows over the shoulder/sleeve seam - had to stitch shoulder seams, insert sleeves before working the check shirt ‘fill-in’ at the chest. 3. Reason for lower yoke, to cover up the logo embroidery at left chest. 4. Wider at shoulders always makes hips look slimmer 5. Use of polo collar - wrong side as ‘outside’ to not show ‘worn’ folded edge of collar. 6. Bias is ALWAYS better/more flattering - check shirt inset. 7. ALWAYS stay-stitch neckline edges. 8. Bound neckline finished with bias tie fabric. 9. Bias cut 2 layer ‘Fabric Fur’ + yarn = the trim. 10. Somewhat wild eye-attracting ‘hairy’ Couched yarn connects everything and adds some ‘pizazz. 11. Sleeves - tie label covers insignia at sleeve, bias Fabric Fur + yarn trim connects with rest of the shirt. -
Senior Textile Artist Badge Workshop
Senior Textile Artist Badge Workshop An At-Home Program GSCCC Senior Textile Artist Badge Workshop (At-Home) • When you see fabrics, yarn, or string off all colors and textures what do you think of? Do you envision all of the things you could create? Let’s turn those visions into reality! Program Outline Materials: - Computer - Internet access - Materials for craft of choice Step 1: Choose your textile art There are a number of textile arts in the world from macramé to crocheting to quilting and much more. In this step you will be doing some research to learn about a textile art that you find interesting and that you would like to learn. Some of the most common textile arts are macramé, embroidery, cross-stitch, needlework, knitting, crocheting, weaving, and quilting. Do some research to find out about these or other textile arts. Below are some helpful links to start with. Here are a few links to get your search started – crochet, macramé, embroidery, weaving. Click here to see what some current textile artists are doing. Step 2: Find your tools and materials Now that you have chosen your art, you need to gather materials. Crocheting needs crochet hooks and yarn. Embroidery needs needles, embroidery floss, hoops, and fabric. Do some research about what you will need for your chosen textile art form. What all is involved? Do you know anyone who already has the supplies? Would they be willing to lend you some materials? Below are some great resources to learn about materials needed for the most common textile arts. -
Needle Keeper
Harvest Accent Rug By Marie Duncan Our indian summer corn is perfect to accent an autumn inspired throw rug. It brings a touch of fall into the house and can be used year after year. Make this autumn rug using the October 2012 free design. Our corn design is the 2012 October Monthly Design #413300. It is free for the month of October 2012 from www.myembroideries.com. Click on the link, Free Monthly Design, on the HUSQVARNA VIKING® website to download it. When you get to the Checkout, enter the coupon code FreeOCT2012 in the box. Click Apply Coupon. After October 2012, the design will be available for purchase on www.myembroideries.com. ©2012 KSIN Luxembourg II, S.ar.l. VIKING, 5D and INSPIRA are trademarks of KSIN Luxembourg II, S.ar.l. HUSQVARNA is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB. Sewing Supplies: • Three Hole Yarn Foot 413187045 • Clear Seam Guide Foot 413034845 • Do All Quilter's Hoop 920115096 • INSPIRA® embroidery needles, size 90 620071896 • INSPIRA® topstitch needles, size 90 620099096 • INSPIRA® 4mm twin needles, size 90 620105096 • INSPIRA® Tear-A-Way stabilizer 620112296 • INSPIRA® 6” applique scissors 620102696 • Purchased throw rug with NO rubber backing (Ours came from Target) • Four yards of ⅜” wide twill tape or grosgrain ribbon • Yarn • Scraps of fabric for corn and husks • Robison-Anton 40 wt. rayon embroidery thread • Bobbin thread • Sewing thread Let’s Build a Fence: 1. Snap on your Three Hole Yarn Foot. 2. Insert a size 90 topstitch needle. The topstitch needle has a sharp point and will accommodate heavier threads and fabrics. -
Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content. -
Holiday II 2014 & Resort/Spring 2015
Holiday II 2014 & Resort/Spring 2015 - 100% Cashmere LS1517 2 ply 7 gg $109 LS1551 2 ply 9 gg $114 LS1555 2 ply 7 gg $115 LS1549 2 ply 7 gg $99 LS1503 2 ply 12 gg $115 Mini Drape Cardigan Crisscross V-Neck Pullover Hi-Lo Angled Tunic Hi-Lo Angled Front Cardigan Cropped Shirttail Pullover w/ Long Sleeves. Body length - 23" in back, hip length Body length - 24" with long sleeves. Body length - 24" at shortest point, 31" Body length - 20" at shortest point, 27" Body length -21" in front, 23" in back. in front with long sleeves. XS-XL. Available in all 56 colors. at longest point, with long sleeves. at longest point, with long sleeves. SML. Available in all 56 colors. XS-XL. Available in all 56 colors. XS-XL. Available in all 56 colors. XS-XL. Available in all 56 colors. LS1562 2 ply 7 gg $129 LS1537 4 ply 7 gg $135 LS1511 2 ply 7 gg $149 LS1539 2 ply 7 gg $115 LS1522 2 ply 7 gg $175 Mesh Stitch Kimono Pullover Honeycomb Stitch Easy Cardigan Cocoon Slender Dolman Cardigan Tulip Two-Color Tunic Pointelle Zip Jacket Body length - 24" with 3/4 sleeves. Body length - 24" with long sleeves. Body length - 35" with 3/4 sleeves. Body length - 24" center front, 28" Body length - 25" with long sleeves. XS-XL. Available in all 56 colors. XS-XL. Available in all 56 colors. XS-XL. Available in all 56 colors. center back, with 3/4 sleeves. XS-XL. Available in all 56 colors. -
Placket Construction Options
Placket Construction Options 1 Type1: Two Separate Bound Edges on a rectangular stitching box The key to this structure is that the bindings are initially stitched only to the seam allowances on each side, and NOT stitched across the end, of the clipped box, which means that they, and the clipped triangle at the bottom, remain loose and can be arranged before the nal nishing to go on either side of the fabric, as well as either over or under the other, after joining them at the sides. The widths and lengths of the bindings and the space between the sides of the clipped box determine all the other options available in this most exible of all the placket types I know of. Variation 1: Both bindings t inside the stitching box If you cut the bindings so the nished, folded widths of both are equal to or smaller than the space between the initial stitching lines, as shown above, you can arrange both ends at the clipped corners to all go on one side of the fabric (right or wrong side), along with the clipped triangle on the garment. You’ll get the best results if the underlapping binding is slightly smaller than the overlapping one. This can be man- aged by taking slightly deeper seam allowances when you join this piece, so they can initially be cut from the same strip. Or, you can place one end on each side with the Both ends on RS One end on RS, Both ends on WS triangle sandwiched in between. -
Stay Tapes Sheet( Notions)
Emma Seabrooke, C.S.I. Knit Patterns for the Hard To Fit Certified Fit & Pant • Palmer/Pletsch Instructor SewkeysE stay tapes are all FUSIBLE Price is $8.50 on-line, except as noted. Double Sided Stay Tape – 1/4" wide by 25 yards, color: clear SSI Knit Stay Tape – for invisible control 1/2" wide by 25 yards, color: clear 1" wide by 25 yards, colors: black, white 1" wide by 25 yards, color: clear ($13.50 online) 1/2" wide by 25 yards, colors: black, white Knit Stay Tape/Interfacings – Woven/Straight Stay Tape – 1/2" wide by 25 yards, colors: black, white, ivory 1/2" wide by 25 yards, colors: black, white, natural 1" wide by 25 yards, colors: black, white, ivory 1 1/4" wide by 25 yards, color: black, white, natural 1 1/4" wide by 25 yards, colors: black, white, ivory FOR HEMS: FOR SEAMS: 1/2" KNIT stay tape for narrow hems or very wide For shoulder seams use 1/2" WOVEN/STRAIGHT stay tape. hems on knit and or light weight fabrics. For the crotch seam use 1/2" WOVEN/STRAIGHT stay tape. 1/2" STRAIGHT stay tape for narrow or wide For light weight side and sleeve seams use 1/2" KNIT hems on woven fabric or fabric that you do not wish to stay tape. It supports side and sleeve seams in fabric that have give or stretch. is sheer or needs help to be stable, allowing the fabric to One inch or 1 1/4" STAY TAPE/INTERFACING for a go through a sewing machine and serger without 1” or 1 1/4" hem on knit and or light weight fabrics. -
'L::C Make a Gathered Skirt
H7l.f -·'1~ 'l::c Make A Gathered Skirt CIRCULAR 580 OCTOBER 1964 AGRICULTURAL EXTENSION SERVICE VIRGINIA POLYTECHNIC INSTITUTE BLACKSBURG, VIRGINIA Make a Gathered Skirt Prepared by MarrJaret Groseclose, Err:tension ClothinrJ Specialist •Many girls like gathered skirts and they Make a Placket • are easy to make. Plump girls look best in 1. Work with the side seam where the gored skirts. When you make a gathered opening was left for the placket. skirt, you learn to make seams, put in a 2. Fold back the front placket extension placket, fit a waistband, hem a skirt, and put to the seam line. Press and pin. on a fastener. You study what to look for in 3. Machine stitch the length of the placket choosing a fabric and how to prepare it for opening 5/ 8" from the folded edge. Stitch cutting a garment. This will help you in diagonally to the folded edge (or seam line), making other garments. catching the back extension. 4. Clip the back seam allowance almost Supplies You Will Need to the stitching line, approximately 1/2" be- low the end of the placket. Include a sewing box, thread to match 5. Press the side seams open. background of fabric, hooks and straight eyes, 6. Two snap fasteners may be used to i:maps, and fabric. The amount of fabric keep the placket closed. needed will be twice the length of your skirt, including 3" for hem plus 5" for waistband. Figure 2 Measure and Cut 1. Straighten the fabric. 2. If you are using 2 lengths for the skirt, cut a 5-1/8" strip across the fabric for the band. -
A Study on the Design and Composition of Victorian Women's Mantle
Journal of Fashion Business Vol. 14, No. 6, pp.188~203(2010) A Study on the Design and Composition of Victorian Women’s Mantle * Lee Sangrye ‧ Kim Hyejeong Professor, Dept. of Fashion Design, TongMyong University * Associate Professor, Dept. of Clothing Industry, Hankyong National University Abstract This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women’s dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the 19 th century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A‐ line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three‐ dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women’s suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects. -
40 Plus Years of History
40 PLUS YEARS OF HISTORY 100 PLUS CONTINUOUS SLABSTOCK FOAMING PLANT 300 PLUS BATCH BLOCK FOAMING PLANT 5500 MACHINES WORLDWIDE SOLD OVER 139 COUNTRIES ACROSS 7 CONTINENTS & 5 OCEANS THE ONLY COMPANY WHO OFFER HIGH END FOAMING AND CUTTING MACHINE TOGETHER WITH GRANDEST PRODUCTION FACILITY AND GREATEST SPECTRUM OF MACHINERY 1 Continuous Foaming,Injection Molding,Block Cutter,Rack System P.4 SA-1AF Promix Slabstock Machine P.5 SA-1AR Rigid Slabstock Machine SA-1HPA High Pressure Dispensing Machine P.6 SA-C1G Block Cutter (Guillotine Type) SA-C1B Block Cutter (Cross Type) P.7 ------------- Crane Unit/Ramp/Block Storage Unit Box Foaming P.8 SA-1BM Auto Batch Mixing Machine SA-1BM + Auto Batch Mixing Machine with Smart Mold System Smart Mold System P.9 SA-1BS Auto Batch Mixing Machine SA-1BVF Auto Batch Vacuum Foaming System SA-1B Auto Batch Foaming Machine SA-1H Manual Mixing Machine Horizontal Cutting,Long Splitter P.10 SA-2AC Auto Circular Horizontal Cutting Machine SA-2A Horizontal Cutting Machine with Pressure Roller SA-2AH Heavy Duty Horizontal Cutting Machine P.11 SA-2AS Auto Horizontal Rigid Foam Cutting Machine (with Dust Suction Unit) SA-2AHTV Auto Block Top and Side Trimmer SA-2AHP Heavy Duty Horizontal Splitting Machine SA-2AP Horizontal Splitting Machine P.12 SA-2AHLS Long Sheet Cutter (Slat Conveyor Type) SA-2AHLT Long Sheet Cutter (Table Type) P.13 SA-2AHPL Long Sheet Cutter with Two Side Trimming Device, Platform and Winding Device (Conveyor Type) SA-2AHP Heavy Duty Horizontal Splitting Machine with Quad Side Trimming and Auto -
Louis-Napoléon and Mademoiselle De Montijo;
CORNELL UNIVERSITY LIBRARY Cornell University Library DC 276.132 1897 3 1924 028 266 959 Cornell University Library The original of tliis book is in tlie Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924028266959 LOUIS NAPOLEON AND MADEMOISELLE DE MONTIJO LOUIS NAPOLEON BONAPARTE President if the French Republic LOUIS NAPOLEON AND MADEMOISELLE DE MONTIJO BY IMBERT DE SAINT-AMAND TRANSLATED BY ELIZABETH GILBERT MARTIN WITH PORTRAITS NEW YORK CHARLES SCRIBNER'S SONS 1899 COPYRIGHT, 1897, BY CHARLES SCRIBNER'S SONS NotiDOOtI ^tttt }. a. Cuahing & Co. —Berwick k Smith NsiTOod Mill. U.S.A. CONTENTS CHAPTSB PASZ Intboduction 1 I. Tee Childhood OF Louis Napoleon 15 II. The !Fibst Restoration 28 in. The Hundred Days 39 rv. The First Years op Exile 50 V. Rome 62 VI. The Birth op the Empress 69 Vn. 1830 77 VIII. The Italian Movement 90 IX. The Insurrection op the Romagna 97 X. Ancona 107 XI. The Journey in Erance 115 Xn. Arenenbeko 128 Xin. Stbasburg 142 XIV. The Childhood op the Empress 154 XV. The " Andromeda " 161 XVI. New York 170 V Vi CONTENTS OHAPTEE PAGB XVII. Some Days in London 179 XVIII. The Death op Queen Hoktensb 187 XIX. A Year IN Switzerland 197 XX. Two Years in England 211 XXI. Boulogne 222 XXn. The Conciehgerie 233 XXm. The Court OP Peers 240 XXIV. The Fortress op Ham 247 XXV. The Letters prom Ham 261 XXVI. The Prisoner's Writings 274 XXVII. The End op the Captivity 281 XXVIIL The Escape 292 XXIX.