Living in a Lungi
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Instructions-BUTTON-UP-DRESS.Pdf
BUTTON-UP DRESS ISSUE 39 SKILL LEVEL In the Folds patterns are designed to inspire and encourage modern makers to create garments that are beautiful both inside ABOUT CONTENTS and out. Through selected techniques and construction details, IN THE In the Folds aims to encourage thought-provoking and ABOUT IN THE FOLDS 3 memorable making experiences - helping you enjoy each stitch in PATTERNS FOLDS the process. PATTERNS GARMENT OVERVIEW 4 Techniques may differ slightly to the home sewing methods you (INCLUDING FABRIC SUGGESTIONS AND NOTIONS) are used to, but in some cases industrial finishes will give you the cleanest and most professional finish. SIZING + GARMENT 5 MEASUREMENTS Seam allowances are marked on each pattern piece and detailed (INCLUDING FABRIC REQUIREMENTS) in each step. You will notice that in some cases the seam allowances meet each PRINTING THE PATTERN 6 other at different angles at the end of the seam. This is so that PRINTING PLAN 7 when you press the seam allowances open the seams will sit flush with the edges and will help you get a really clean finish. CUTTING YOUR FABRIC 8 In the Folds patterns are designed to include thoughtful Consider using fabric SUGGESTED CUTTING PLAN 9-10 details and interesting techniques so that you can enjoy the from your stash before process of making the garment as much as the end result. going to buy something INSTRUCTIONS 11-20 new. I dare you. If we slow down and take in every stitch, we can better You might be surprised GLOSSARY 21 our skills, appreciate the amazing things we can do with by what you find there. -
United Nations Archives
- \ • <\ � Cj \Cl OL � I \.L �- � � l Date arrived date departed Purp:>se I Freetown 5 June 6 June Official visit witH Mrs. Perez de CUellar. Weds. 5 une: ar i ed by private plane frcm Al::uja, Ni ria. t at airp:>rt by Vice- depart by helicopter for guest President lial � c;;;Qerif and.FM �1 /** house. Kar .i.m Korcma. 1 �Hdga �g8gpfiORSffi9iOR&r of SG by Vice es. Cherif (with Mrs. Perez de CUellar) , fo �owed by dinner by Mr. Onder Yucer (UNDP -Res. Coordinator) in honour of SG and Mrs. Pere-z de CUellar, and attended by reps. of UN System and Specialized - • 6 Formal welco,ing ceranony at State House, Agencies Thurs. June : * *� with Pres • folloY.ed by rreeting with: Jos� � f:iaroh (S� � .. .. s t� �); encies ; f ; Wn� � HADPRESS ENCOUNTER; � �· L� Conakry, Guinea. Conakry 6 June 1991 8 June 1991 Official visit with Mrs. Perez de CUellar. Thurs. 6 June: arrived frcm Freetown by private plane. Met at ai rt by . President Conte (GUJNEA) , ilas�®i1�d ** andmet �iefly with of Honour. *!NStaxiak�n . press. met/w1 ��es. Conte; and FM �. Private d· er. Fri. 7 June ..... _ ...... Had rreeting with H.E, • Sylla (Min. for LiEut. "·-.p..J_�ing and Cooperll'tion) and H. E. Mx¥. 6fiji� Col. traore (Fr.'i)-1- met with reps. of UN Specialzied agenci es; priv:�te luncheon;. Boat trip to !les de Loos (wi��s. Perez de CUellar); Briefing by �-�ekio (�R· �-n.,ur;mP) on Technical. �ting �t...._ UN and/tfffli8f"als.� Attended 5)tld made toast""-at- banquet in his honour bf FM 'Fraore (with Mrs. -
Khandua Sarees and Fabrics:Tradition and Pride of Orissa
Khandua Sarees & Fabrics : Tradition and Pride of Orissa A project of Ministry of Commerce & Industry UNCTAD and DFID Prepared by P Nayak T.K Rout P.K Samantray Pradip Dash Textiles Committee & Mumbai ORIFAB Government of India Bhubaneswar © Textiles Committee, June, 2008 This is an official document prepared by the Textiles Committee. All rights reserved. Unless otherwise specified, no part of this publication may be reproduced or utilized in any form or by means, electronic or mechanical, including photocopying and microfilm, without permission in writing from the Textiles Committee at the address given below: Director, Market Research Textiles Committee, Ministry of Textiles, Government of India, P. Balu Road, Prabhadevi Mumbai 400 025, India Telephone : 91+ 22 + 66527515/16 Telefax : 91+ 22 + 66527509/653 Email : [email protected] Website : www.textilescommittee.gov.in Preface The entrepreneurial history of handloom production in the country has been traced back to even as early as Rig Veda, when the hiranya (gold cloth) existed in the society. Village industries and handlooms were well integrated into the rural economy and the whole organisation was a part and parcel of socio-cultural fabric of the society. The social traditions, ethos and values were reflected in the handloom products. The handloom products, which have survived against the competition from machine made cloth, represent the rich artistic traditions of our country. Globalised economy has contributed to the ever-increasing competition among the developing nations. Due to this, the traditional crafts of the country are under threat from the neighboring countries by way of replication of the traditional items. -
The Indian Culture By: Rachita Vinoth
The Indian Culture By: Rachita Vinoth Red, pink, yellow, green, purple, orange, blue, white. Colors float and wave around me. They are in front of me, beside me, behind me, everywhere! There are so many colors that it feels like I am in the sun where all the colors are combined. But to tell you the truth, I am in India. India is a place full of colors, and everywhere you look, everything is so lively and beautiful. There are so many varieties of everything here. India is even called “The Land of Diversity” because of the varieties of food, entertainment, traditions, festivals, clothing, religions, languages, and so much more. Every direction you look, from food to religion, you will see so many unique things. It helps you, it gives you energy, it is the thing that keeps you moving and working - it’s food. There are so many famous foods in India that it is called the land of spices. People from Northern India desire foods like Mughlaifood. Famous foods in Southern India are dosa, idli, and more rice-based dishes. Some foods that people across the country like are chole bhature, all kinds of bread like roti and naan, and of course the all time favorite biryani! Some Indian desserts that are famous are kheer, rasgulla, gulab jamun, and more different varieties. Indians like to play a musical game called antakshari. They also like to watch movies, and the movies are mostly musical, including many types of songs and dances. The movie industry, Bollywood, is almost as big as Hollywood now. -
Nationalism by Design: the Politics of Dress in British Burma by Penny
-1- Nationalism by Design: The Politics of Dress in British Burma By Penny Edwards. IIAS Newsletter 46 (Winter 2008). Colonial attempts to hem in racial and gender difference through practice, law and lore made dress a potent field of resistance in British Burma, giving rise to new strands of nationalism by design. On 22 November 1921, a young male named Maung Ba Bwa was apprehended by police at the ShwedaGon PaGoda in RanGoon. MaunG Ba Bwa was one of an unusually hiGh number of Burmans visitinG the paGoda on this November evening for an exhibition of weaving, and a performance of a phwe (Burmese traditional theatre) by two leadinG artists. In MaunG Ba Bwa’s recollection of events, “his attire” had attracted police attention. “He was wearinG a pinni jacket and Yaw longyi, obviously rather self-consciously and in demonstration of his nationalist sympathies,” stated the resultant police report; “He seems, possibly not without reason, to think that some Government officers reGard such clothes with disapproval.” MaunG Ba Bwa was brouGht in for questioninG followinG the storminG of the ShwedaGon by British and Indian police, when Gurkhas “desecrated the paGoda by rushing up the steps with their boots on.” In the ensuinG fracas, which pitted monks aGainst such colonial aGents of ‘order,’ a Burmese civilian was killed. The scholar- official J. S. Furnivall, who presided over an independent commission of inquiry into the police response, would also pin his diaGnosis of Maung Ba Bwa’s political orientation on his wardrobe. His pinni jacket and his longyi, the commission reported, were proof positive of his “nationalist sentiment.”1 Wearing your politics on your sleeve By the early 1920s, in a climate where speakinG out or publishinG critiques of colonialism saw some younG monks and other activists jailed for years, increasinG numbers of Burmese civilians -- like MaunG Ba Bwa -- chose to express their political leaninGs in their dress. -
Kalanther Madeena Textiles
+91-8048372530 Kalanther Madeena Textiles https://www.indiamart.com/kalanthermadeenatextiles/ Since formation, we are engaged in this industry as a supplier, trader and wholesaler of wide range of garments and textile goods. Our products comprises of Pillow Cover, Churidar Salwar Kameez, Women’s Blouse, Cotton towel and many more About Us Kalanther Madeena Textiles established itself in the year 1968 as a supplier, trader and wholesaler of wide range of garments and textile goods. We have wide quality and design in our entire products range. We have incepted our self as a Sole Proprietorship Firm in the industry and constructed its operational headquarters at Chennai, Tamil Nadu (India). Our products ranges have attractive designs and amazing patterns. Our wide range of products includes Women's Saree, Women’s Nighty, Women’s Blouse and many more in the list. Our extensive product range has been widely appreciated for their immaculate quality, cost effectiveness and wide range to choose from. We use high grade technical skills and machinery in the manufacturing of our product range. We never deploy quality of our products in terms of prices and any other competitive issue. We have established an extensive supply chain through which we are able to supply our products range to our huge number of clients across nationwide. Kalanther Madeena Textiles is headed by its knowledgeable mentor Mr. K. Mohammed Yunus. He is the proud Owner of the company and provides his guidance in all processing held in our organization. He maintains his constant behavior with all the working members and equally shares the company achievements with them. -
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. -
CO Guide to Judging Clothing
Colorado 4-H Guide for Clothing Judges Standards of Quality Clothing Construction Introduction One of our basic tasks in evaluating or judging is to be able to recognize and identify the standards that give a garment a finished, professional look. There are many techniques that can be used to accomplish the same end product. Each of us has techniques that we like and techniques that we dislike. In an objective evaluation it is essential to play down our personal preferences and to build upon identified and accepted standards. In general, there are some standards that apply to almost all techniques. Almost all construction techniques should result in an area, finish or detail that is: • Inconspicuous o Flat and smooth o Free from bulk o Stitching a uniform distance from an edge or fold • Functional • Durable –stitching uniform and secure Specific standards that can be expected in good construction are listed on the following pages. They are organized by techniques and/or areas, and the techniques are presented in alphabetical order. Overall Appearance Be objective when considering the overall appearance and appeal of a garment. It may be helpful to think about there being at least one especially pleasing feature about this garment, reflecting the many hours of though, effort and creativity that went into its construction. It may be the design, fabric, use of unusual technique or detail. Particularly neat and well-done machine or handstitching, etc. o Overall neatness and cleanliness o Plaids, stripes, checks and other designs matched at seams o Fabric with a direction in design or nap issued in garment in one direction unless garment design requires variation. -
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. -
Lapped Zipper Lapped Zippers Are Often Found on Skirts at the Waistband
Sewing Technique: Lapped Zipper Lapped zippers are often found on skirts at the waistband. A lapped zipper is constructed so that the zipper is not visible. The zipper will remain closed throughout the process of inserting the zipper. All sewing is done on the inside of the garment except for topstitching. Remember to always keep the needle positioned between the zipper foot and the zipper teeth when sewing. NOTE: Throughout this tutorial, the term “placket” will be used. A placket is the fabric that surrounds and reinforces fasteners in a garment. In this instance, the fastener referred to in this tutorial is a zipper. STEP 1: On the wrong side of the fabric, measure and mark the placket opening BASTING where the zipper STITCH will be placed. Do this by measuring from the top of the garment down along the seam to the zipper bottom stop. Take into consideration the REGULAR composition of garment and if there will be a waistband or MACHINE STITCH any other special feature at the top of the zipper. Mark the placement of the bottom stop with a marking pencil. STEP 2: While sewing the seam, machine stitch the seam closed until the marked point of the bottom of the zipper, backstitch, then switch to a basting stitch for the distance of the placket seam. Press seam allowance open. $-05)*/( CONSTRUCTION 6UBI4UBUFJTBOBóSNBUJWFBDUJPOFRVBMPQQPSUVOJUZJOTUJUVUJPO STEP 3: Replace sewing machine foot with a zipper foot. Place zipper face down with the teeth centered on the pressed open seam on the inside of the garment, matching top and bottom stops with marks. -
ASEAN Information 1. Bangkok Is the Capital City of Thailand. 2. Jakarta Is
ASEAN information ASEAN Study Centre Kanlayanawat Sister School (Credit by Ministry of Foreign Affairs, Kingdom of Thailand) 1. Bangkok is the capital city of Thailand. 2. Jakarta is the capital city of Indonesia. 3. Timor-Leste is the newest country formed in Southeast Asia in 2002. Its capital city is Dili. 4. Hanoi is the capital city of Vietnam. 5. As the capital city of Malaysia, Kuala Lumpur is an international business centre with modern transportation. It has buildings of different styles: Malay, Chinese, Indian, British and European. Kelantan has many beautiful beaches and is famous for Malay crafts like silver, kites and batik. Kedah has many rice fields and is near Thailand, so it shares some cultural traditions with Thailand. 6. The Mekong River is the “Mother of Rivers”. It is the longest river in Southeast Asia. It is 4,200 kilometers long and flows through 6 countries. It starts in China and crosses Myanmar, Lao, Thailand, Cambodia and then Vietnam. The Mekong River is important to the farmers, animals and plants in Southeast Asia. It remains us that we have many common lifestyles and cultures, and that we must co-operate with our neighbors. 7. Indonesia has over 17,000 islands and 250 million people. In Southeast Asia, it has the most number of different languages and cultures. In the past, Indonesia was ruled by Portugal, Holland, British and Japan. In religion and art, it has Hindu, Muslim, Christian and Buddhist influences. The national language is called Bahasa Indonesia. Indonesia hopes for “Unity in Diversity”, so that everyone can live in peace. -
Clothing of Ancient India
Clothing of Ancient India India has a strong connection to its history and traditions. This is especially evident in traditional Indian dress. Many people still wear traditional garments, although the use of Western clothes has increased markedly. Indian clothing is very diverse and varies by region and religious group. One of the most common garments for women is the sari. A sari is a wide strip of cotton cloth, 1.5 to 2.75 metres long, which is draped around the body. There are many methods for draping a sari. One common method is to wrap it around the waist like a skirt and then drape the end over the left shoulder. Saris are usually worn over a petticoat and a tight fitting blouse, or choli. Also common is the salwar kameez, a loose shirt over loose trousers. Men often wear a dhoti, which is similar to the sari. It only covers the lower half of the body and is worn with a traditional or Western-style shirt. Both the dhoti and the sari are ancient garments, possible dating back thousands of years. Men in some parts of India. On formal occasions men may wear a long, fitted coat called a sherwani. The turban was once a common head covering, but its use is in decline. Questions 1. Write a summary of the text. 2. True or False: (3 marks) a. Traditional Indian dress is diverse and is still worn today. b. Most Indians now wear Western-style cothing. c. The turban has undergone changes in popularity over the years.