Operational Definitions
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CLOTHING Gown : Áo Đầm Dài Frock
TRANG PHỤC - CLOTHING Gown : áo đầm dài Frock : áo đầm, áo thầy tu Tailcoat : áo đuôi tôm Topcoat : áo bành tô Pallium/pallia : áo bào (của tổng giám mục) Blouse : áo cánh nữ Caftan : áo cáptân (Thổ Nhĩ Kì) Windbreaker : áo chống gió Cassock : áo chùng (tu sĩ) Frock coat : áo choàng Gown : áo choàng (quan tòa; luật sư) Capote : áo choàng dài (thường có mũ trên đầu) Cloak : áo choàng không tay Pelisse : áo choàng lông (nữ) Roe : áo choàng mặc trong nhà Mantlet/ mantelet : áo choàng ngắn Mackinaw : áo choàng ngắn, dày Dress : áo đầm Vest : áo ghi lê Waistcoat : áo ghi lê Jacket : áo jắc két Parka : áo jắc két dày có mũ 76 Trần Quang Khải, Hồng Bàng, Hải Phòng | 02256.538.538 | 01286.538.538 | www.myenglish.edu.vn | facebook.com/MyEnglishCenter Coat : áo khoác Bolero : áo khoác ngắn của nữ (không có nút, khuy phía trước) Overcoat : áo khoác ngoài Smock : áo khoác ngoài (để làm việc); áo chửa Manteau : áo khoác, áo măng tô Kimono : áo ki mô nô Skivvies : áo lót Undershirt : áo lót Vest : áo lót Chemise : áo lót phụ nữ Cardigan : áo len Surplice : áo lễ Chasuble : áo lễ (tu sĩ) Cope : áo lễ (tu sĩ) Blazer : áo màu (thể thao) Mackintosh : áo mưa Raincoat : áo mưa Waterproof : áo mưa Trench coat : áo mưa (quân đội) Slicker : áo mưa thụng dài Nightshirt : áo ngủ (nam) Jersey : áo nịt len Poncho : áo pôn sô (áo cánh dơi) 76 Trần Quang Khải, Hồng Bàng, Hải Phòng | 02256.538.538 | 01286.538.538 | www.myenglish.edu.vn | facebook.com/MyEnglishCenter T-shirt : áo thun có tay Nightclothes : áo quần ngủ Pyjamas, pajamas : áo quần ngủ (nam) Shirt : áo -
Kilts & Tartan
Kilts & Tartan Made Easy An expert insider’s frank views and simple tips Dr Nicholas J. Fiddes Founder, Scotweb Governor, Why YOU should wear a kilt, & what kind of kilt to get How to source true quality & avoid the swindlers Find your own tartans & get the best materials Know the outfit for any event & understand accessories This e-book is my gift to you. Please copy & send it to friends! But it was a lot of work, so no plagiarism please. Note my copyright terms below. Version 2.1 – 7 November 2006 This document is copyright Dr Nicholas J. Fiddes (c) 2006. It may be freely copied and circulated only in its entirety and in its original digital format. Individual copies may be printed for personal use only. Internet links should reference the original hosting address, and not host it locally - see back page. It may not otherwise be shared, quoted or reproduced without written permission of the author. Use of any part in any other format without written permission will constitute acceptance of a legal contract for paid licensing of the entire document, at a charge of £20 UK per copy in resultant circulation, including all consequent third party copies. This will be governed by the laws of Scotland. Kilts & Tartan - Made Easy www.clan.com/kiltsandtartan (c) See copyright notice at front Page 1 Why Wear a Kilt? 4 Celebrating Celtic Heritage.................................................................................................. 4 Dressing for Special Occasions.......................................................................................... -
The Morgue File 2010
the morgue file 2010 DONE BY: ASSIL DIAB 1850 1900 1850 to 1900 was known as the Victorian Era. Early 1850 bodices had a Basque opening over a che- misette, the bodice continued to be very close fitting, the waist sharp and the shoulder less slanted, during the 1850s to 1866. During the 1850s the dresses were cut without a waist seam and during the 1860s the round waist was raised to some extent. The decade of the 1870s is one of the most intricate era of women’s fashion. The style of the early 1870s relied on the renewal of the polonaise, strained on the back, gath- ered and puffed up into an detailed arrangement at the rear, above a sustaining bustle, to somewhat broaden at the wrist. The underskirt, trimmed with pleated fragments, inserting ribbon bands. An abundance of puffs, borders, rib- bons, drapes, and an outlandish mixture of fabric and colors besieged the past proposal for minimalism and looseness. women’s daywear Victorian women received their first corset at the age of 3. A typical Victorian Silhouette consisted of a two piece dress with bodice & skirt, a high neckline, armholes cut under high arm, full sleeves, small waist (17 inch waist), full skirt with petticoats and crinoline, and a floor length skirt. 1894/1896 Walking Suit the essential “tailor suit” for the active and energetic Victorian woman, The jacket and bodice are one piece, but provide the look of two separate pieces. 1859 zouave jacket Zouave jacket is a collarless, waist length braid trimmed bolero style jacket with three quarter length sleeves. -
Fall/Winter 2020
FALL/WINTER 2020 MISSION STATEMENT SINCE 1880 FRAAS HAS PROVIDED INNOVATIVE PRODUCT CONCEPTS USING OUR OWN IN-HOUSE DESIGN TEAMS, VERTICALLY INTEGRATED STATE-OF-THE-ART PRODUCTIONS, AND WORLDWIDE DISTRIBUTION FACILITIES. SCARVES ARE OUR TRADITION, OUR PASSION AND OUR HERITAGE. FOR MORE THAN 130 YEARS, WE AT FRAAS HAVE UPHELD A FAMILY TRADITION OF MANUFACTURING HIGH QUALITY SCARVES. IT IS OUR MISSION TO PROVIDE EXCEPTIONAL ACCESSORIES AND IMPECCABLE CUSTOMER SERVICE, TO ENSURE YOUR BUSINESS ENDEAVORS ARE SUCCESSFUL. THANK YOU FOR CHOOSING FRAAS. TABLE OF CONTENTS FW20 TRENDS 3 FASHION SCARVES 4-10 EVENING 11 PONCHOS 12 RUANAS 13-14 CASHMINK 15-19 CASHMINK OVERSIZED 20 CASHMERE 21 KNIT COORDINATES 22-25 MENS CASHMINK 26-27 HOME 28-30 CONTACT INFO 32 FALL | WINTER 2020 TRENDS 3 FASHION SCARVES 750 KHAKI 10 WHITE 210 PEACH 990 BLACK 612100 LIPSTICK LOVE 612102 DITZY FLORAL 520 BLUE 100% SILK / 53 X 53CM 100% SILK / 53 X 53CM $14.00 / MSRP $38.00 $14.00 / MSRP $38.00 750 KHAKI 280 BRICK 710 LIME 210 PEACH 760 OLIVE 180 CAMEL 612168 CLASSIC DOTTIE NECKIE 612103 BORDER ANIMAL 590 ROYAL 100% SILK / 53 X 53CM 990 BLACK 100% SILK / 53 X 53CM $14.00 / MSRP $38.00 $14.00 / MSRP $38.00 140 OCHRE 140 OCHRE 560 ROYAL 560 ROYAL 632000 PATCHWORK EQUESTRIAN 632001 RAINBOW HOUNDSTOOTH 100% SILK / 88 X 88CM 100% SILK / 88 X 88CM $28.75 / MSRP $78.00 $28.75 / MSRP $78.00 4 FASHION SCARVES 690 PETROL 450 PINK 450 PINK 360 CLASSIC RED 602001 PUNK PATCHWORK 602002 VIVID ANIMAL 960 MID GREY 710 LIME 100% POLYESTER / 90 X 180CM 100% POLYESTER / 90 X 180CM $13.75 -
Electric Scotland's Weekly Newsletter for January 23Rd, 2015
Electric Scotland's Weekly Newsletter for January 23rd, 2015 To see what we've added to the Electric Scotland site view our What's New page at: http://www.electricscotland.com/whatsnew.htm To see what we've added to the Electric Canadian site view our What's New page at: http://www.electriccanadian.com/whatsnew.htm For the latest news from Scotland see our ScotNews feed at: http://www.electricscotland.com/ Electric Scotland News I've actually been reading rather than publishing this week. I got hooked on reading the biography of Lord Strathconna and Mount Royal which was a very enjoyable read. I'd previously put up a biography about him but that one almost ignored his early life in both Scotland and Canada. I was also taken with all the work he did for Newfoundland to promote the area economically. He also created an experimental farm which demonstrated that you could live well as long as you were well organised and so as one person put it when visiting him he enjoyed all the best in beef, pork and lamb along with fresh vegetables. I've made this book available and you'll see a link to it below. ----- And as this coming Saturday usually sees the Burns Suppers being celebrated all over the world I've made available a great book by the Rev. Paul who is credited with starting the Burns Suppers. The book is... The Poems and Songs of Robert Burns with a Life of the Author Containing a Variety of Particulars, drawn from sources inaccessible by former Biographers to which is subjoined an Appendix of a Panegyrical Ode, and a demonstration of Burns' Superiority to every other poet as a writer of Songs, by Rev. -
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) . -
Diana's Favorite Things
Diana’s Favorite Things By Trail End State Historic Site Curator Dana Prater; from Trail End Notes, March 2000 “Girls in white dresses with blue satin sashes ... “ Although we didn’t find a blue satin sash, we recently discovered something even better. While cataloging items from the Manville Kendrick Estate collection, we had the pleasure of examining some fantastic dresses that belonged to Manville’s wife, Diana Cumming Kendrick. Fortunately for us, Diana saved many of her favorite things, and these dresses span almost sixty years of fashion history. Diana Cumming (far right) and friends, c1913 (Kendrick Collection, TESHS) Few things reveal as much about our personalities and lifestyles as our clothing, and Diana Kendrick’s clothes are no exception. There are two silk taffeta party dresses dating from around 1914-1916 and worn when Diana was a young teenager. The pink one is completely hand sewn and the rounded neckline and puffy sleeves are trimmed with beaded flowers on a net background. Pinked and ruched fabric ribbons loop completely around the very full skirt, which probably rustled delightfully when she danced. The pale green gown consists of an overdress with a shorter skirt and an underdress - almost like a slip. The skirt of the slip has the same pale green fabric and extends out from under the overskirt. Both skirt layers have a scalloped hem. A short bertha (like a stole) is attached at the back of the rounded neckline and wraps around the shoulders, repeating the scalloped motif and fastening at the front. This dress even includes a mini-bustle of stiff buckram to add fullness in the back. -
Fashion,Costume,And Culture
FCC_TP_V4_930 3/5/04 3:59 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V4_930 3/5/04 3:59 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 4: Modern World Part I: 19004 – 1945 SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos. -
C U R R I C U L U M G U I
C U R R I C U L U M G U I D E NOV. 20, 2018–MARCH 3, 2019 GRADES 9 – 12 Inside cover: From left to right: Jenny Beavan design for Drew Barrymore in Ever After, 1998; Costume design by Jenny Beavan for Anjelica Huston in Ever After, 1998. See pages 14–15 for image credits. ABOUT THE EXHIBITION SCAD FASH Museum of Fashion + Film presents Cinematic The garments in this exhibition come from the more than Couture, an exhibition focusing on the art of costume 100,000 costumes and accessories created by the British design through the lens of movies and popular culture. costumer Cosprop. Founded in 1965 by award-winning More than 50 costumes created by the world-renowned costume designer John Bright, the company specializes London firm Cosprop deliver an intimate look at garments in costumes for film, television and theater, and employs a and millinery that set the scene, provide personality to staff of 40 experts in designing, tailoring, cutting, fitting, characters and establish authenticity in period pictures. millinery, jewelry-making and repair, dyeing and printing. Cosprop maintains an extensive library of original garments The films represented in the exhibition depict five centuries used as source material, ensuring that all productions are of history, drama, comedy and adventure through period historically accurate. costumes worn by stars such as Meryl Streep, Colin Firth, Drew Barrymore, Keira Knightley, Nicole Kidman and Kate Since 1987, when the Academy Award for Best Costume Winslet. Cinematic Couture showcases costumes from 24 Design was awarded to Bright and fellow costume designer acclaimed motion pictures, including Academy Award winners Jenny Beavan for A Room with a View, the company has and nominees Titanic, Sense and Sensibility, Out of Africa, The supplied costumes for 61 nominated films. -
Get a Taste of Theatre Design with Our Newest Series: the Old Globe Coloring Book! Every Thursday, We'll Post a New Page Featu
Get a taste of theatre design with our newest series: The Old Globe Coloring Book! Every Thursday, we’ll post a new page featuring an original design for costumes, sets, or props from past Globe shows. Along the way, you’ll be treated to design insight from artisans who brought these ideas to life. Color them in however you want (creativity welcome!), and post on your social media and tag @theoldglobe and #globecoloringbook. The following Tuesday, we’ll post some of our favorites, along with the designer’s original rendering and a photo of the final design onstage. It’s time for your vision to take the spotlight! Hamlet: Laertes, a young lord Dashing in a velvet cloak and cap, a richly textured houndstooth doublet (jacket) and breeches (calf length trousers). Cap is decorated with ostrich plumes, often placed on the left side of the cap leaving the right sword arm free to fight. A sword was an essential part of a gentlemen’s dress in the 17th century. Hamlet: In this 2007 production of Hamlet, the costumes were made from silk and wool fabrics in the shades of pale grey. In contrast, the main character, Hamlet, wore both a black and a scarlet suede doublet and breeches. The ladies were dressed in long sumptous gowns with corsets and padded petticoats. Sword fighting and scheming was afoot under the stars on the magical outdoor Lowell Davies Festival Stage. Familiar: Anne, eccentric aunt from Zimbabwe Costumed in grand style in a long colorful floral cotton skirt, blouse with large sleeve ruffles, and matching headdress. -
The Construction of the Scottish Military Identity
RUINOUS PRIDE: THE CONSTRUCTION OF THE SCOTTISH MILITARY IDENTITY, 1745-1918 Calum Lister Matheson, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2011 APPROVED: Geoffrey Wawro, Major Professor Guy Chet, Committee Member Michael Leggiere, Committee Member Richard McCaslin, Chair of the Department of History James D. Meernik, Acting Dean of the Toulouse Graduate School Matheson, Calum Lister. Ruinous pride: The construction of the Scottish military identity, 1745-1918. Master of Arts (History), August 2011, 120 pp., bibliography, 138 titles. Following the failed Jacobite Rebellion of 1745-46 many Highlanders fought for the British Army in the Seven Years War and American Revolutionary War. Although these soldiers were primarily motivated by economic considerations, their experiences were romanticized after Waterloo and helped to create a new, unified Scottish martial identity. This militaristic narrative, reinforced throughout the nineteenth century, explains why Scots fought and died in disproportionately large numbers during the First World War. Copyright 2011 by Calum Lister Matheson ii TABLE OF CONTENTS Page CHAPTER I: THE HIGHLAND WARRIOR MYTH ........................................................... 1 CHAPTER II: EIGHTEENTH CENTURY: THE BUTCHER‘S BILL ................................ 10 CHAPTER III: NINETEENTH CENTURY: THE THIN RED STREAK ............................ 44 CHAPTER IV: FIRST WORLD WAR: CULLODEN ON THE SOMME .......................... 68 CHAPTER V: THE GREAT WAR AND SCOTTISH MEMORY ................................... 102 BIBLIOGRAPHY ......................................................................................................... 112 iii CHAPTER I THE HIGHLAND WARRIOR MYTH Looking back over nearly a century, it is tempting to see the First World War as Britain‘s Armageddon. The tranquil peace of the Edwardian age was shattered as armies all over Europe marched into years of hellish destruction. -
Transparent Pannier Colleen Moretz West Virginia University, [email protected]
International Textile and Apparel Association 2017: Anchored by our Past, Navigating our Future (ITAA) Annual Conference Proceedings Jan 1st, 12:00 AM Transparent Pannier Colleen Moretz West Virginia University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Moretz, Colleen, "Transparent Pannier" (2017). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 28. https://lib.dr.iastate.edu/itaa_proceedings/2017/design/28 This Event is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. St. Petersburg, Florida 2017 Proceedings Transparent Pannier Colleen Moretz, West Virginia University, USA Keywords: Historic reference, Couture techniques, Patternmaking Contextual Review and Concept: This design is a juxtaposition of the interpretive study of eighteenth century historical fashion and contemporary ideal body image. The fashions of the eighteenth century transformed the female body into the de rigueur silhouette of the era. (Fillmer, 2010) In contrast, the body itself became a powerful medium of expression in the twenty-first century fashion. (Fukai, 2012) During the 1700’s, the female body was manipulated with the use of elaborate devices, layers of understructures, and foundations to hide and alter the woman’s true physique, where now the body itself has become the fashion. Today, it is possible to transform the appearance of the body through diet, exercise, cosmetic treatment, and plastic surgery.