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The Fashion Runway Through a Critical Race Theory Lens
THE FASHION RUNWAY THROUGH A CRITICAL RACE THEORY LENS A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Sophia Adodo March, 2016 Thesis written by Sophia Adodo B.A., Texas Woman’s University, 2011 M.A., Kent State University, 2016 Approved by ___________________________________________________________ Dr. Tameka Ellington, Thesis Supervisor ___________________________________________________________ Dr. Kim Hahn, Thesis Supervisor ___________________________________________________________ Dr. Amoaba Gooden, Committee Member ___________________________________________________________ Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School ___________________________________________________________ Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art ___________________________________________________________ Mr. J.R. Campbell, Director, The Fashion School ___________________________________________________________ Dr. Christine Havice, Director, The School of Art ___________________________________________________________ Dr. John Crawford-Spinelli, Dean, College of the Arts TABLE OF CONTENTS Page LIST OF FIGURES ....................................................................................................................... iv ACKNOWLEDGEMENTS ........................................................................................................... iii CHAPTER I. INTRODUCTION .................................................................................................................. -
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. -
Reading Print Ads for Designer Children's Clothing
University of Massachusetts Amherst ScholarWorks@UMass Amherst Communication Graduate Student Publication Communication Series October 2009 The mother’s gaze and the model child: Reading print ads for designer children’s clothing Chris Boulton UMass, Amherst, [email protected] Follow this and additional works at: https://scholarworks.umass.edu/communication_grads_pubs Part of the Communication Commons Boulton, Chris, "The mother’s gaze and the model child: Reading print ads for designer children’s clothing" (2009). Advertising & Society Review. 5. Retrieved from https://scholarworks.umass.edu/communication_grads_pubs/5 This Article is brought to you for free and open access by the Communication at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Communication Graduate Student Publication Series by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. ABSTRACT This audience analysis considers how two groups of mothers, one affluent and mostly white and the other low-income and mostly of color, responded to six print ads for designer children’s clothing. I argue that the gender and maternal affiliations of these women—which coalesce around their common experience of the male gaze and a belief that children’s clothing represents the embodied tastes of the mother—are ultimately overwhelmed by distinct attitudes towards conspicuous consumption, in-group/out-group signals, and even facial expressions. I conclude that, when judging the ads, these mothers engage in a vicarious process referencing their own daily practice of social interaction. In other words, they are auditioning the gaze through which others will view their own children. KEY WORDS advertising, fashion, race, mothers, children BIO Chris Boulton is a doctoral student in Communication at the University of Massachusetts, Amherst. -
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. -
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. -
Is Fashion Just Another Commodity?
Art and Fashion in the 20th Century: Is fashion just another commodity? Jessica Griggs – April 17, 2011 This essay will present a main focus on fashion in the 1980s, with research and discussions on whether or not fashion during this decade was another commodity. This essay will begin with brief explanations of aspects in fashion during the 20th century. A description of two fashion divisions will also be noted to reveal ideas about designs for mass production and custom-based fashion. Furthermore, deliberations on the 1980s memorable and quite distinctive fashion will be analysed, bringing into account the fashion designers and styles of the decade, along with commodities and consumerism. Paris, known as the birth place for fashion, divided the creative industry of fashion into two distinct categories in the early 20th century; one division was the ‘world of couture’, which was in reality a closed style to the masses, designed only for the elite on a custom- made basis (Baudot, 1999; 11). For the average person this fashion style and class was an unattainable luxury. The other division was commonly referred as ‘off-the-peg clothes’, specifically designed for mass production and purchase (Baudot, 1999; 11). Fashion has always provided a relatively unlimited range of ways for expressing ones self in society through self-determination of the body’s image; and people in certain social groups often represent their exclusive arena for self-expression (Radford, 1998; 156). The body itself can be seen as a consuming commodity, thus in a competitive world, ‘ordinary’ appearances are not always encouraged. Advertising often prompts us to display bodily perfection with the available fashions, with the endeavour to allot ourselves satisfactory value, significance or prestige in society (Watson, 1998; 56). -
Fashion Design and Merchandising
Chapter 12 Fashion Design and Merchandising Learning Objectives After completing this section the learner will be able to: zz explain the significance of fashion design and merchandising in garment industry zz describe the fundamentals of fashion zz explain the knowledge and skills required to be in fashion business zz discuss how a student can prepare for a career in fashion industry Introduction Fashion design and merchandising are among the most exciting career options in today’s world. In a country like India, where textile industries have been thriving for ages, the recent boom in fashion designing has led to new prospects in the existing domain of garment and accessory design. The fashion industry satisfies both the creative urge and the materialistic needs of people. You hear the term Fashion merchandising many times. Did you ever think what goes into it? Let us understand merchandising from its origin. You can recall from your early history lessons that barter of products and crafts was the start of trading practices. Slowly trading moved to ‘what was available was saleable’, so there were no complications 234 in distribution system. However, the year 1920 gave birth to ‘ready-to- wear’ and soon retailers realised that sale of such garments was big business. In a very short span of time, fashion apparel became the most important type of merchandise in department stores. As a result of the economic opportunities of fashion, a new specialisation came into being – Fashion Unit IV - Fabric And Apparel And IV - Fabric Unit merchandising. Significance Fashion design and merchandising will enable you to understand how the fashion business works. -
Simplified Sewing: Hems
South Dakota State University Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange SDSU Extension Fact Sheets SDSU Extension 1964 Simplified Sewing: Hems Cooperative Extension South Dakota State University Follow this and additional works at: https://openprairie.sdstate.edu/extension_fact Recommended Citation South Dakota State University, Cooperative Extension, "Simplified Sewing: Hems" (1964). SDSU Extension Fact Sheets. 865. https://openprairie.sdstate.edu/extension_fact/865 This Fact Sheet is brought to you for free and open access by the SDSU Extension at Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in SDSU Extension Fact Sheets by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. .. ... -~--- - --v · . --,-.-.- , -. ·. ..•, .. ·'··· .••,.,. - .t:\. --(. ......., • ... ·\•i• ....,.,•-•1•,··...- .,.. "\' ·,- • • • -:\. -: ·):.~\:,..,:}:,:.·,:,..,:;:,:.~:,-:-,:.0:.- ·,~\:,.!;;;; ··:,:.\!.t:,-;..:,t;.,:,:,:.i:1:,:.'.:.•; .-·F_:,~::::_:.~:~~~~~;.:::z~:;:'.·---~-~;:~~L ::·.1~~~~1::.:;.:_;~~: File Copy FS244 THE l-lE~I of your dress can have the "professional - Wearer should stand in a natural position with look" or the "homemade look." In general, the best arms at sides and weight on both feet. hem is the least conspicuous, and every step in making a hem is planned with this in mind There are several methods of marking a hem. You may use any one of these: The professional touch is recognize-cl by the follow- ing characteristics: Various types of chalk markers or pin markers - Inconspicuous from the right side Yardstick - Even distance from the floor Tailor's square. - Wide enough for good proportion and to gi\.re With some of these you can mark enough weight to hang well your own hem; others require a - Even in width help«. -
Checklist for Fashion Show Event
Checklist For Fashion Show Event Crimpiest Derrin souse very murkily while Bruce remains heftier and immature. Jean-Christophe still chum naething while custom-made Frederic bilging that allurer. Is Wash feature-length or thersitical when beetled some fragrancy albuminises outstation? From event checklist templates to fashion shows are trying to confirm rooms for emergencies and now it has a night sheets are? Keep watch crime dramas sometimes items and show checklist pro as paid prior to answer questions and intend to be showing more editorial stylist to allow third edition. These people will only set beyond the body and elaborate the lighting. What are need varies depending on adultery you choose to provide extra for electricity and loot table and chairs. Unexpected events efficiently, crowd management if you reload the maximum height, mimi and deliver. In formal runway shows, the music most often a defining element for all theme round the collection and keep general atmosphere for post show. Get started for? Please enable permanent hiding of documents for updates to christopher everett who knows what people are you with top of ministry and adorn them! Preview Use Template Preview Checklist of trades delivered Vendor Application Form Templates. Permanent makeup pros and show checklist the materials for our own individual stylings are? Satisfaction on for event! The theme options available to fashion show checklist for event planner or brand. You have iframes disabled making your browser does mint support them. If might have everyone show together at me same will, not entertain do you have a lot of people just waiting apply for hours, but again get a lot less angry while waiting space for hours. -
Dressmaking up to Date
PRICE, 25 CENTS or Is. PUBLISHED BY THE BUTTERICK PUBLISHING COMPANY, Limited AT THE BUTTERICK BUILDING, NEW YORK PARIS LONDON NEW YORK TORONTO Copyright, /QOj, by The Butter ick Publishing Co., Limited. Entered at Stationers’ Hall. A ll rights reserved. ■r o: ; < A Dressmaking, TUp to Date h.-K'ARV,^ rorS^BiS1 f'flsi $cp»es jits,wiYW( { . > i SfcP Hi ; « Ooiwngns umt J-^/ o2 &. I c/C61 / a 1X733! COPY f;s> . 3 FRONTISPIECE —THE SEWING CIRCLE HAND-SEWING STITCHES IMPORTANT POINTS AND AIDS IN DRESSMAKING THE CORRECT METHOD OF ALTERING PATTERNS SHIRT-BLOUSES DRAPED WAISTS SKIRTS NOVEL, ARTISTIC SEAMS WEDDING AND EVENING GOWNS THE TAILOR-MADE GOWN COATS AND JACKETS PRACTICAL AND ORNAMENTAL STITCHES BIAS BANDS AND FOLDS—TURNING CORNERS AN EMPIRE TEA-GOWN DESIRABLE GARMENTS FOR MATERNITY WEAR MAKING /ND FINISHING UNDERWEAR THE BATH-ROBE. CHILDREN’S CLOTHES BOYS’ SUITS XTlp to 5>ate inning (EirrU SDressmahtrtg, TUp to Date SIMPLE SEWING STITCE1ES AKING A KNOT.—Holding the threaded needle in the right hand, twist the end of the thread once and a half, around the forefinger of the left hand; press, roll downward on the ball of the thumb, twisting once or twice; slip off and draw down M with the middle finger of the left hand. BASTING.—There are two kinds of basting; even and uneven. In even basting the stitches; and spaces are the same length; in uneven basting, as its name implies, the stitches are so formed that they are not of equal length. EVEN BASTING STITCH.—Start with a knot in basting and always have it on the right side; it is more easily removed. -
Style Set 2 for Garment Designer
Style Set 2 for Garment Designer Welcome to Style Set 2. This set provides you with 50+ additional style elements that will mix and match with the original Garment Designer & Style Set 1 styles . Key to Style Information/Illustrations Red Lines/Curves: Show you new points involved in the style, plus the segments (either straight or curved) that exist with the style. Use this information to assist you in choosing styles for custom design ideas. Black/Red Lines: Show you the pattern built through the combination of style menus. Combination: The style menu options chosen for the style shown. Use these as inspiration. Illustration: Further inspiration. Comments: Helpful information about the style. Thanks to Jon Balcalski, Mesa College (San Diego) student, who assisted with the illustrations as part of his Honors Computer Fashion course. Style Set 2 © 2002, All Rights Reserved Susan Lazear, Cochenille Design Studio Encinitas, CA 92023-4276 www.cochenille.com [email protected] 1 Installation: Double-click on the StyleSet2Installer file found on the CD you have received with this package. The installa- tion will happen automatically. Various files will be updated in your Garment Designer folder. Note: 1. The Style Set 2 installation will update your Garment Designer application file. It will also update your Style Set 1 (SS1) file, should you have SS1 installed. 2. It is highly recommended that you only have one copy of Garment Designer on your computer. This will avoid confusing the Installer. 3. With the millions of combinations now available in Garment Designer (with Style Set 1 and Style Set 2), it is likely that there is a style combination that simply cannot work, or doesn’t work properly. -
Attachment J.10 1 TABLE of CONTENTS Technical Product
Solicitation No. DCFA-2010-B-0235 Caption: MPD Police Uniforms and Equipment Attachment J.10 TABLE OF CONTENTS Technical Product Specification for Officer’s Uniform and Equipment Description CLIN Page Battle Dress Uniform, Hat, 8-Pt., Black 0011 3 Battle Dress Uniform, Hat, 8-Pt., Blue 0010 3 Battle Dress Uniform, Hat, 8-Pt., Tan 0015 3 Battle Dress Uniform, Pants, Black 0007, 0052, 0053 4 Battle Dress Uniform, Pants, Blue 0006, 0050, 0051 4 Battle Dress Uniform, Pants, Tan 0012, 0058, 0059 4 Battle Dress Uniform, Shirt, Long Sleeve, Black 0009, 0056, 0057 8 Battle Dress Uniform, Shirt, Long Sleeve, Blue 0008, 0054, 0055 8 Battle Dress Uniform, Shirt, Long Sleeve, Tan 0013, 0060, 0061 8 Battle Dress Uniform, Shirt, Short Sleeve, Black 0087, 0088, 0089 12 Battle Dress Uniform, Shirt, Short Sleeve, Blue 0090, 0091, 0092 12 Battle Dress Uniform, Shirt, Short Sleeve, Tan 0014, 0062, 0063 12 Belt, Sam Browne 0037, 0082, 0083 15 Belt, Ultra Duty 0031 16 Blouse Coat, Tropical, Blue, Female 0005, 0049 17 Blouse Coat, Tropical, Blue, Male 0004, 0046, 0047, 0048 17 Body Armor 0084 23 Body Armor, Vest Carrier, Replacement 0016 27 Body Armor, Vest Carrier, Tactical 0017 28 Body Armor, Vest Carrier, Wavier 0018 29 Gloves, White (pair) 0040 30 Hat, 8-Point, Blue 0019 31 Hat, Winter Trooper, w/MPD Logo 0039 33 Jacket, Winter, Female, Black 0025, 0074, 0075 34 Jacket, Winter, Male Black 0024, 0072, 0073 34 Jacket, Winter, Female, Blue 0023, 0070, 0071 35 Jacket, Winter, Male, Blue 0022, 0068, 0069 35 Motorcycle Breeches, Winter/Summer 0036 36 Mountain