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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. -
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) . -
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 -
Oral History Collections
Oral History/Commercial/Jacobs/Transcript 1 ORAL HISTORY COLLECTIONS ______________________________________________ INTERVIEWEE: Rodney Jacobs INTERVIEWER: Richard Raxworthy DATE: 23/01/01 PLACE: Randwick ______________________________________________ TRANSCRIPT 0.00 RR: This is Commercial Oral Histories of Central Sydney; Richard Raxworthy interviewing Mr Rodney Jacobs at his home at Randwick on the 23rd of January, 2001. I’ll ask you first, Mr Jacobs, could you spell your full name for the tape recorder? RJ: Rodney, R-O-D-N-E-Y. Jacobs, J-A-C-O-B-S. RR: And what year were you born? RJ: 1925. RR: And whereabouts? RJ: Bondi. RR: Did you grow up there? RJ: Yes, the famous Bondi. Yes, I grew up there, yes. RR: Went to school there? RJ: Yes, and then onto Sydney Boys High School. Oral History/Commercial/Jacobs/Transcript 2 RE: And when you left Sydney Boys High School, what did you do then? RJ: I worked in a shop called Capital Mercery in Pitt Street and one of the shops at 420 Pitt Street was the one that Andy Ellis later bought. That was – he bought that in 1954. RR: And you first met him there, did you? 1.14 RJ Yes, I was in the shop, managing it, and he came in and he wasn’t very impressed with the shop; he said the location wasn’t good. I said, “Well, it keeps three families, it can’t be too bad”, and I saw him – in those days he had a workroom above Adelstein’s in Oxford Street. And he said, “It’s not a good address”. -
The American Lady-Tailor Glove-Fitting System of Dress Making
' : - . fdfl . - . ... • • . 1 i , 1 • • • • i ft) '•-.; r i. # i ' ".. - i ! It r it ; . CvAMDkPS^ fedt Improved and Simplified. LIBRARY OF CONGRESS. ®|ap. - ®W'Sl l 1« # Slielf .vGr..2? fc UNITED STATES OF AMERICA. 4$ f. L Second Edition.] [Price, Five Dollars, THE AMERICAN Lady-Tailor Gloye-Fitting- System OP- DRESS-MAKING Invented and Taught by ^ • Mrs, Elizabeth Gartland IN HER SCIENTIFIC COLLEGE. KE^nSED, iLLTJSTBiLTED # SlIMIIF'IQjIIF'IEID- PHILADELPHIA, PA. 1884. Entered according to Act of Congress, in the year 1884, by Mrs. Elizabeth in the Office of the Librarian of Congress, at Washington, D. C. : IMPORTANT NOTICE. \K^ To all whom it may Concern : —Only those purchasing this Book from me or my authorized agents are hereby licensed to use my Systems of Cutting and Fitting, set forth in this work, the contents of which I have secured by copyright. And no person shall have any right whatever to sell or teach in any manner, my system, without first procuring from me or my duly authorized agents a license in writing, signed by me, specifying how and in what way it may be used. MRS. E. GARTLAND, 15 SOUTH 13th STREET, PHILADELPHIA, PA. LEADING PARIS FASHION MAGAZINES And they can be had at any time by the single number or by subscrip- tion; post-paid, at the prices given in the following list One Six Three Single Year. Months. Months. Copy. *Aquarelle Mode Weekly 9 16 20 9 9 00 $ 5 00 45c. *Album de la Toilette Semi-Monthly.. 7 25 4 00 2 25 45c. *Coquet Semi-Monthly. -
Analysis of Dress Pattern of Body Fitting Without Waist Dart on Chiffon Fabrics
Advances in Social Science, Education and Humanities Research, volume 242 2nd International Conference on Vocational Education and Training (ICOVET 2018) Analysis of Dress Pattern of Body Fitting Without Waist Dart on Chiffon Fabrics Idah Hadijah1) Endang Prahastuti2) Fashion Technology Department Fashion Technology Department Universitas Negeri Malang Universitas Negeri Malang Anik Dwi Astuti3) Fashion Technology Department Universitas Negeri Malang Abstract— The type of research used is descriptive by using position of the shoulder line that tends to backward qualitative approach with observation technique, interview, through the base of the arm, and the position of the front and documentation method. Objects in this study were the neckline is loose and bumpy". forms of dresses. They consisted of 3 models, each model Similarly, the results of research Prahastuti (2012: 28) consisted of 8 dresses. The total objects were 24 dresses. concluded, there is a difference position of the fitting The results of the study of Dress Model I, II, and III, viewed from: (1) the position of the dress fitting factor, not fit on the point basic pattern women's clothing chartmant system on waist line, neck size, and armscye ; (2) using the waist dart at various body shapes of women. Fayoomy (2014) : “that, the front; and (3) in terms of the position of wise grain in reality there is no such thing as standard or perfect chiffon fabric, used length wise grain. Position of the wise figure, the formulas for constructing basic flat pattern has grain of the chiffon fabric from the waistline until the lower designed and developed for the standard figure”. -
PANTS for WOMEN==Fas[1Ion and Fit
n PANTS FOR WOMEN==Fas[1ion and Fit Cooperative Extension Service Oregon State University Corvallis Extension Circular 742 October 1969 CONTENTS Pattern "Selection 3 Fabric Selection 3 Accurate Measurements 3 Pattern Preparation 3 Designing Your Own Pants 5 Pattern Layout and Cutting 6 Marking i . 6 Preparing for the First Fitting 6 Fitting 6 Common Fitting Problems 7 Posture and Figure Variations 8 Pants for Bowlegs 9 Stitching 10 Making Free-Hanging Linings 10 Preparing Waistbands 10 Applying Waistbands 12 Making Hems 12 Fants for Vv omen=-IT ash ion and Jrit ELAINE K. CARLSON Extension Clothing Specialist, Oregon State University Pants have become an important part of the modern wardrobe and may be worn for nearly every occasion. Even though the names and styles of pant-type garments change with fashion, the need for a good fit is always the same. The directions in this circular are for making pants with side seams, zipper placket, applied waistband, and a lining (optional). PATTERN SELECTION marked to indicate center front, center back, and both side seams. Use a three-inch strip of firmly woven fab- The pattern size is determined by the hip size, taken ric, folded in thirds to make a one-inch strip. Edge eight to nine inches below the waistline. This keeps pat- stitch both edges. Use different colored threads to indi- tern alterations to a minimum. Choose a pattern with a cate center markings and side markings. full-length leg, even though you plan to make shorter Record your measurements in the first column of the pants. -
Course Syllabus & Itinerary, THTR 216, Maymester 2015 the Art
Course Syllabus & Itinerary, THTR 216, Maymester 2015 The Art, History, & Business of London Fashion We will explore many facets of the business of style that make London one of the most cutting-edge and influential fashion capitals of the world. Our study will begin with an overview of fashion history and its connection to the fine and decorative arts. We will learn about the origins of Haute Couture, from its roots in England and France in the 19th century, to today’s well known designers and trendsetters who have kept this cosmopolitan city at the forefront of the industry. Dynamic British designers from the 20th and 21st century at the heart of our study, who have continually pushed boundaries and changed rules of etiquette in their quest for fashion to mirror political, economic, and sociopolitical changes in society, include: Charles Frederick Worth, considered to be the father of Haute Couture; Mary Quant and her mini-skirt revolution; Vivienne Westwood and her influence on the world of punk fashion; Alexander McQueen and his creation of artful garments; and Stella McCartney and her ethical, sustainable approach to design. Excursions will include trips to: world renowned museums, to study works of fine and decorative art and historic examples of clothing; theatrical performances, to compare the theatricality of stage costumes and the principles of stage design to both runway and everyday fashion; the Making of Harry Potter, to see how designers create artful film designs; and a variety of commercial fashion venues, in which contemporary -
Knowledge of Formally and Informally Trained Dressmakers on the Application of Dart Principles in Garment Designing
Vol. 10(6), pp. 46-53, October 2018 DOI: 10.5897/IJVTE2018.0260 Article Number: 08A092958949 Copyright ©2018 International Journal of Vocational and Author(s) retain the copyright of this article http://www.academicjournals.org/IJVTE Technical Education Full Length Research Paper Knowledge of formally and informally trained dressmakers on the application of dart principles in garment designing Deborah Amoako Asare*, Patience Danquah Monnie and Modesta Efua Gavor Department of Vocational and Technical Education, University of Cape Coast, Cape Coast, Ghana. Received 11 August, 2018; Accepted 27 September, 2018 This study assessed and compared formally and informally trained dressmakers with regard to their use of dart principles in pattern making and garment designing. The descriptive research design was used for the study with a sample size of 50 dressmakers selected from three districts in the central region of Ghana. The instruments used for data collection were a semi-structured interview guide and an observation check list. The data collected were analysed with the help of descriptive and inferential statistics using the Predictive Analytical Software for windows version 22. The results of the study revealed significant differences between formally and informally trained dressmakers with regard to the application of dart principles manipulation and contouring, but not added fullness. Generally, the formally trained dressmakers performed better than the informally trained ones with the application of the three dart principles assessed in this study. It was therefore recommended that the dressmakers and tailors association incorporate a little theory on the preliminary stages involved in garment designing such as dart use into the framework they use in training apprentices. -
The Well Dress'd Peasant
TheThe WWellell DrDress’dess’d Peasant:Peasant: 1616thth CenturCenturyy FlemishFlemish WWorkingwomen’orkingwomen’ss ClothingClothing by Drea Leed The Well-Dress’d Peasant: 16th Century Flemish Workingwoman’s Dress By Drea Leed Costume & Dressmaker Press Trinidad, Colorado ACKNOWLEDGEMENTS The author and publisher wish to thank the following institutions for their help with the color images for the cover and interior color plates. Copyright for these images is retained by them, in accordance with international copyright laws. The images are used with permission. Cover A Marketwoman and Vegetable Stand, by Pieter Aertsen © Bildarchiv Preüssuscher Kulturbesitz Märkishes Ufer 16-18 D-10179 Berlin Germany Inside front cover Harvest Time by Pieter Aertsen and Plates 1, 3 The Pancake Bakery by Pieter Aertsen Harvest Time (A Vegetable and Fruit Stall) by Pieter Aertsen © Museum Boijmans van Beuningen Museumpark 18-20 CX Rotterdam The Netherlands Plate 2 (Centerfold) The Meal Scene (Allegorie van de onvoorzichtigheid) by Joachim Beuckelaer © Koninklijk Museum voor Schone Kunsten Plaatsnijderstraat2, B-2000 Antwerp Belgium © November 2000 by Drea Leed © November 2000 by Costume & Dressmaker Press Published by Costume & Dressmaker Press 606 West Baca Street Trinidad Colorado 81082 USA http://www.costumemag.com All rights reserved. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means - graphic, electronic or mechanical, including scanning, photocopying, recording, taping or information storage -
PHOTOS: Behind the Beads: Fiesta Dressmaker Weaves Raves | Kens5.Com
PHOTOS: Behind the beads: Fiesta dressmaker weaves raves | kens5.com... http://www.kens5.com/slideshows/dress-146933285.html Credit: Martha Cerna / KENS 5 "Show us your shoes!" the crowd yells. As the Fiesta queen raises her bejeweled gown, everyone cranes to see her sneakers, cowboy boots, or slippers. Then they cheer long and loud. From their perspective along the crowded downtown streets, several feet below the colorful Battle of Flowers floats, the queen, the ride, and the shoes seem quite the spectacle. But they may only get a fleeting glimpse of the real pageantry. by Martha Cerna / KENS 5 kens5.com Posted on April 11, 2012 at 12:21 AM Updated Tuesday, Apr 24 at 11:37 AM Recommend "Show us your shoes!" the crowd yells. As the Fiesta queen raises her bejeweled gown, everyone cranes to see her sneakers, cowboy boots, or slippers. Then they cheer long and loud. From their perspective along the crowded downtown streets, several feet below the colorful Battle of Flowers floats, the queen, the ride, and the shoes seem quite the spectacle. But they may only get a fleeting glimpse of the real pageantry. "I thought I would make costumes for the circus!" 1 of 5 8/8/2012 4:31 PM PHOTOS: Behind the beads: Fiesta dressmaker weaves raves | kens5.com... http://www.kens5.com/slideshows/dress-146933285.html Dressmakers like Javier Castillo have a deeply intimate connection to that scene. He is one of seven designers who create the extravagantly ornate gowns worn by Fiesta royalty each year. Castillo and a staff of about 14 workers are busy bees for several months leading up to the moment the royal court is revealed. -
Medieval Clothing and Textiles
Medieval Clothing & Textiles 2 Robin Netherton Gale R. Owen-Crocker Medieval Clothing and Textiles Volume 2 Medieval Clothing and Textiles ISSN 1744–5787 General Editors Robin Netherton St. Louis, Missouri, USA Gale R. Owen-Crocker University of Manchester, England Editorial Board Miranda Howard Haddock Western Michigan University, USA John Hines Cardiff University, Wales Kay Lacey Swindon, England John H. Munro University of Toronto, Ontario, Canada M. A. Nordtorp-Madson University of St. Thomas, Minnesota, USA Frances Pritchard Whitworth Art Gallery, Manchester, England Monica L. Wright Middle Tennessee State University, USA Medieval Clothing and Textiles Volume 2 edited by ROBIN NETHERTON GALE R. OWEN-CROCKER THE BOYDELL PRESS © Contributors 2006 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2006 The Boydell Press, Woodbridge ISBN 1 84383 203 8 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620, USA website: www.boydellandbrewer.com A CIP catalogue record for this book is available from the British Library This publication is printed on acid-free paper Typeset by Frances Hackeson Freelance Publishing Services, Brinscall, Lancs Printed in Great Britain by Cromwell Press, Trowbridge, Wiltshire Contents Illustrations page vii Tables ix Contributors xi Preface xiii 1 Dress and Accessories in the Early Irish Tale “The Wooing Of 1 Becfhola” Niamh Whitfield 2 The Embroidered Word: Text in the Bayeux Tapestry 35 Gale R.