DOCSLIB.ORG

Finest Traditional Tailoring

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Finest Traditional Tailoring Finest Traditional Tailoring Contents Style Plates Page Single breasted 1-2 Double breasted 3-4 Formal wear Dinner suits 5 Smoking jackets 6 Nehru jacket 7 Tail coat and Morning coat 8 Shooting jacket 9 Jacket pockets (out) 10 Facings 11 Cuffs 12 Waistcoats 13 Gilets 14 Trousers 15-18 Breeks 19-20 Overcoats 21-22 Jacket Terminology 23 Measuring guide and tips 24-34 Figuration and Block Details 35-37 Order processing 38 Order Form Explanation 39-46 Size charts 47-50 Personnel and Responsibilities 51 Conditions of Sale 52-53 All images appearing in this manual are the copyright of the photographers and illustrators represented by Lambton Tailoring and may not be reproduced in any way whatsoever without the express prior consent of Lambton Tailoring. © Lambton Tailoring Single Breasted Single breasted Button 1 / Classic (SB1/C) Single breasted Button 1 with peak lapel / Classic (SB1/C/P) Single breasted Button 2 / Classic (SB2/C) © Lambton Tailoring Single Breasted Single breasted Button 3 / Classic (SB3/C) Single breasted Button 4 / Classic (SB4/C) Single breasted Button 3 / West End (SB3/WE) © Lambton Tailoring Double Breasted Double breasted Double breasted Button 1 Show 2 / Classic Button 2 Show 2 / Classic (DB1x2/C) (DB2x2/C) Double breasted Double breasted Button 1 Show 3 / Classic Button 2 Show 3 / Classic (DB1x3/C) (DB2x3/C) © Lambton Tailoring Double Breasted Double breasted Button 3 Show 3 / Classic (DB3x3/C) Double breasted Double breasted Button 2 Show 3 / West End Button 1 Show 3 / West End (DB2x3/WE) (DB1x3/WE) © Lambton Tailoring Dinner Suits Single breasted Single breasted Button 1 Dinner Jacket Button 1 Dinner Jacket with notch lapel with peak lapel (SB1/C/DJ/N) (SB1/C/DJ/P) Single breasted Double breasted Button 1 Dinner Jacket Button 1 Show 2 with shawl collar Dinner Jacket with (SB1/C/DJ/S) peak lapel (DB1x2/C/DJ/P) © Lambton Tailoring Smoking Jackets Double breasted Double breasted 2 Show 2 / Classic 2 Show 2 / Classic Smoking Jacket with shawl collar, Smoking Jacket with silk faced deep covered buttons on fleur de lys front shawl collar, covered buttons on fleur frogging, looped frogging on cuffs, de lys front frogging, looped frogging frogging around lapel. on silk faced cuffs. (DB2x2/C/SJ/S) (DB2x2/C/SJ/SD) Double breasted Double breasted 2 Show 2 / Classic 2 Show 2 / Classic Smoking Jacket with shawl collar, Smoking Jacket with silk faced shawl toggles on fleur de lys front frogging, collar, covered buttons on fleur de fleur de lys frogging on cuffs, lys front frogging, fleur de lys frogging around lapel. frogging on silk faced cuffs. (DB2x2/C/SJ/S) (DB2x2/C/SJ/S) © Lambton Tailoring Nehru Jacket Nehru Jacket (Nehru 5) Square fronts available © Lambton Tailoring Tail Coat & Morning Coat Tail Coat T/C Morning Coat M/C © Lambton Tailoring Shooting Jacket Single breasted Button 3 / Classic Bellows pockets with flaps & storm collar, hand-warmer pockets (SB3/C) Action shoulders Action back half belt or full belt sewn on or loose © Lambton Tailoring Pocket Details Bellows Round Flap Bellows Round Flap with Fastening Bellows Square Flap Bellows Square Flap with Fastening Box Pleat Patch Box Pleat Patch with Flap © Lambton Tailoring Jacket Pockets (Out) Standard slant ( ) Extreme slant ( ) Pocket Angle Extra extreme slant () © Lambton Tailoring Facings Framed facing Plain facing © Lambton Tailoring Cuffs Kissing Buttons Flared Cuff Gauntlet Cuff Flash Cuff © Lambton Tailoring Waistcoats Single breasted Double breasted button 6 with points and 3 show 3 with peak lapels, notch lapels, 4 pockets 2 lower pockets and and vertical chain hole straight bottom (W/CSB6) (W/CDB3x3) Single breasted Single breasted button 5, 2 lower pockets button 6, notch lapels, and straight bottom 2 lower pockets with (W/CSB5/S) pointed bottoms (W/CSB6/P) © Lambton Tailoring Gilets Gilet Bellows pockets & flaps, hand-warmer pockets (Gilet 5) Gilet Bellows pockets & flaps, hand-warmer pockets, suede patches (Gilet 3) © Lambton Tailoring Trousers (waistband) Tab & button Buckle & strap (Tabs) (MSS) Zip waist adjuster (ZWA) © Lambton Tailoring Trousers (pleats) 1 reverse pleat and slanted 1 forward pleat and slanted pockets pockets 2 reverse pleats and slanted 2 forward pleats and slanted pockets pockets © Lambton Tailoring Trousers (pockets) Drop cross frog mouth Drop cross pockets pockets Slanted jetted pockets with a Peak back with jetted rear hip rear hip pocket on the LHS pocket on the RHS with a with a flap button through © Lambton Tailoring Trousers (extension end) 2 hidden hook and bar Rounded extension end with extension end button through Pointed extension end with button through © Lambton Tailoring Breeks, plus 2’s, 3’s 4’s etc General Information. The difference between breeks and plus 2’s, 3’s and 4’s is in the amount of over hanging cloth from the knee band. Breeks are a slimmer cut and generally run directly into the knee band. Plus 2’s have 2” of fold/over hang and thus 4” of extra cloth, plus 3’s have 3” of fold and thus 6” of extra cloth and so on. How to measure. Option one: Copying an existing pair. Lay them out flat on a table or whilst being worn, undo the fasteners and let them hang down. Measure the outside and inside leg to the top of the knee band. Supply the required net/finished measure. Knee bands vary in depth. Lambton tailoring knee bands are 11/2” deep. Option two: Calculating from an existing pair of trousers. Take the outside and inside leg measure and divide by two. Add two inches and then add a further 2 times X” depending on what style you want. Where X = the name/number of the garment. IE Breeks = 0” Plus 2’s = 4” Plus 3’s = 6” Plus 4’s = 8” Measure the customer’s waist and seat as normal. Measure the below knee/above calf circumference and enter in the ‘bottoms’ box. Tips: Establish whether the customer is going to wear his socks underneath or on top of the knee band and allow in the measure. The width at the knee increases as the length of the breeks grows through plus 2’s, 3’s, 4’s etc. If customer is to be very active in this garment (climbing over styles etc) then a longer option should be advised to prevent the garment pulling up away from the socks. © Lambton Tailoring Breeks, plus 2’s, 3’s 4’s etc Plus 2’s Plus 3’s Plus 4’s Velcro fastener Buckle & strap fastener © Lambton Tailoring Overcoats Covert Coat Single breasted button 4 with fly front and slanted pockets plus out ticket pocket (velvet top collar optional) (C/CSB4/FF) Overcoat Double breasted 2 show 3 (O/CDB2x3) © Lambton Tailoring Overcoats Raglan Sleeve Overcoat button 4 with slanted welt pockets and fly front (O/C Raglan4/FF) Overcoat Single breasted button 4 with slanted pockets (O/CSB4) © Lambton Tailoring Jacket Terminology Collar Stand Gorge Seam Top Collar Shoulder End Lapel Notch Collar Step Front Scye Lapel Step Out Breast Welt Crease Edge (or Row) Chest Darts Outside Ticket Pocket Pockets Out Forepart Edge (Leaf Edge) Forepart Skirt Shoulder Seam Sleeve Crown Lapel Scye Side Body Seam Hindarm Seam Forearm Seam Cuff Side Body Seam Neck Point Collar Fall Side Seam Back Sleeve Pitch Back Scye Back Panel Waist Centre Back Seam Seat Side Seam Back Skirt © Lambton Tailoring Measurements Full Length With the jacket on the customer measure from the bottom of the melton (cloth under the collar) down along the centre back seam to the desired length of the jacket (or coat). The figure you give will be what you get including figurations. Lambton work to 1/2” sensitivity in this measurement. Tips: A good fitting, well-balanced jacket should be level around the bottom/hem with the floor. A jacket should reach the top of the leg, below the seat. The length of a jacket is usually within 1” of the inside leg measurement. Beware short or corpulent customers are often used to long jackets to the point where the correct length (top of the leg) may feel short to them. Nape to waist/natural waist This is an optional measurement for suits but mandatory for overcoats, morning coats and evening tail coats. As for the full length above, measure from the bottom of the melton (cloth under the collar) down along the centre back to the point where the waist is narrowest. This is usually about l” to 2” above the trouser waist/belt or located directly behind the naval. © Lambton Tailoring Measurements Half Back Measure from the centre back seam approximately 4” to 5” down from the collar across to the side seam close to where the sleeve seam joins the side body. Lambton work to 1/8” sensitivity in this measurement. Tips: The half back measure dictates the shoulder width. Too tight on the shoulders is far worse than too wide. All men’s jackets require a little drape (loose cloth) around the back scye/hind arm to allow forward arm movement. Linen, cotton & velvet have less natural stretch and are prone to shrinkage so Lambton recommend you give a little extra, compared to wool. © Lambton Tailoring Measurements Shoulder Point to Shoulder Point. Measure from the point at which the shoulder seam meets the shoulder end at the sleeve seam (T junction) at one side and run the tape horizontally across the back, below the collar, to the same point on the other side. Lambton work to 1/4" sensitivity in this measurement. Tips This measurement will over-ride the half back measurement and thus the fit in the drape/shoulder blade area will be dictated by this measurement.
Load more

Recommended publications
  • Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
    Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern
    [Show full text]
  • 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.
    [Show full text]
  • The Republican Journal: Vol. 78, No. 10
    The Republican Journal. r^^ME78 BELFAST, MAINE, THURSDAY, MARCH 8, 1906. __NUMBER 10 CASH RECEIPTS. of Waldo County Veterans. fOR Emery F. a New York contents of Today’s Paper. Meeting MAYOR. White, entertainer, Government Fines.».$87.06 PERSONAL. will appear under the auspices of the Help- City Meeting. Cards. 32-10 The Waldo County Veteran Association somehow societv of the Baptist church at Churches.... Booklovers. 3.04 ii gliway Robbery ...The March Hancock hall, Ellsworth, Friday The of the Council Old sold. .. 4.87 hall, Swanville, evening, I’- ‘Cuts and Boats....City Government regular meeting City paper met at the Grange Sherman W. Freeman of Hartford, Conn, March 27.—Hancock March 5th. books sold. 8.88 County Demoorat. Mu ting ..Municipal Elections..»ieet- was held Monday evening, 1st. was cold and the traveling ...News The day was in town Monday. ,,f Waldo County Veterans Mayor Shales presided, a full board of al- Mrs. Florence Shibles Mahar and sou so- $123.86 but a number was present. the Granges .Obituary..Seciet. dermen was present and there was a full hard, quite good Chester A. Sun- ror Orlando E. Frost, called to order Grant, Colby '06, spent Llewellyn of Wrentham, Mass., were sud- iies Mayor board in the council room. Roll of accounts of the children’s books should be The forenoon meeting was Elections..Transfers in Real ts- Many at his home in un No. 12 are the new About 70 books Bowen -of Morrill. day Unity. denly called back to her old home in Belfast Maiue News Items...Personal.
    [Show full text]
  • The Life of Saint Francis of Assisi
    ✦✦ My God and My All The Life of Saint Francis of Assisi • ELIZABETH GOUDGE • #1 NEW YORK TIMES BESTSELLING AUTHOR My God and My All This is a preview. Get entire book here. Elizabeth Goudge My God and My All The Life of Saint Francis of Assisi Plough Publishing House This is a preview. Get entire book here. Published by Plough Publishing House Walden, New York Robertsbridge, England Elsmore, Australia www.plough.com Copyright © 1959 by Elizabeth Goudge. Copyright renewed 1987 by C. S. Gerald Kealey and Jessie Monroe. All rights reserved. First published in 1959 as Saint Francis of Assisi in London (G. Duckworth) and as My God and My All in New York (Coward-McCann). Cover image: El Greco, Saint Francis in Prayer, 1577, oil on canvas, in Museo Lazaro Galdiano, Madrid. Image source: akg-images. ISBN: 978-0-87486-678-0 20 19 18 17 16 15 1 2 3 4 5 6 Library of Congress Cataloging-in-Publication Data Goudge, Elizabeth, 1900-1984. My God and my all : the life of St. Francis of Assisi / Elizabeth Goudge. pages cm Reprint of: New York : Coward-McCann, ?1959. Includes bibliographical references. ISBN 978-0-87486-678-0 (pbk.) 1. Francis, of Assisi, Saint, 1182-1226. I. Title. BX4700.F6G6 2015 271’.302--dc23 [B] 2015008696 Printed in the U.S.A. This is a preview. Get entire book here. Author’s Note Such a number of books have been written about Saint Francis, and so many of them works of scholarship, that a writer who is not a scholar should apologize for the presumption of attempting yet another.
    [Show full text]
  • 28Abbasbath.Pdf (105.0Kb)
    The Bath1 H was Farkhanda Begam but she was known as Farrukh Bhabhi and everyone addressed her as Farrukh Bhabhi. This form of address was simply a convention because no one here was related to or had even seen her deceased husband. Whether she was ever anyone’s sister-in-law or not is beside the point, for, any observer of her dutiful nature would agree that the title suited her well. And she herself was not opposed to it. She was one of those women who are born with a singular eagerness to serve men. Such women adore their brothers in childhood, are a source of delight for their fathers as long as they are single, please their husbands in marriage and pander to the whims of sons in old age. She was a short, petite woman with a face quite large for someone with her build. If you had never seen her before and saw her the first time sitting on the floor wrapped up in a shawl, you’d be surprised when she got up for some casual errand. Your eyes would wait for her to grow taller. She was about twenty-eight years old but looked much younger. What grabbed your attention at first glance was the extraordinary sparkle in her eyes that was set off to advantage by the plainness of her other fea- tures. These sparkling eyes also covered up for her lack of education when she joined in discussions on subtle issues. Her complexion was the color of wheat and honey, and her hair sprang from her forehead thickly, forming a widow’s peak and making it almost impossible to part it from the middle, so she often wore her hair swept back in a masculine style.
    [Show full text]
  • AW20 Press Pack
    PRESS PACK Autumn/Winter 2020 OUR STORY Since 1836 Holland & Sherry has proudly supplied the most prestigious tailors and luxury brands with the finest cloths in the world. Stephen George Holland and Frederick Sherry began the business as woollen merchants at 10 Old Bond Street, London, specialising in both woollen and silk cloths. In 1886 Holland & Sherry moved premises to Golden Square, the epitome of the woollen merchanting trade. By 1900 Holland & Sherry was exporting to many countries worldwide. At this time a sales office was established in New York. In the early part of the twentieth century, the United Kingdom, Europe, North and South America were the dominant markets for the company. Amongst other distribution arrangements, there was a Holland & Sherry warehouse in St. Petersburg, Russia; a successful market prior to the revolution as it is today. In 1968 Holland & Sherry bought Scottish cloth merchant, Lowe Donald, based in Peebles in the Scottish Borders and located their distribution to the purpose- built warehouse there. Of all the cloth merchants of Golden Square which were established in the late 1800’s, only Holland & Sherry remains. Over the decades the company has purchased nearly twenty other wool companies. In 1982 Holland & Sherry moved their flagship showroom and registered office to the centre of sartorial style – Savile Row, London where it remains today. Today, our international headquarters in Peebles concentrates on customer service, ordering, shipping, cutting, bunchmaking and design operations where we are constantly engaged in research for ever finer and more luxurious fibres and fabric qualities; sourcing the finest natural fibres, ranging from Super 240’s, cashmere to pure worsted Vicuña.
    [Show full text]
  • The Mystery of a Hansom Cab
    CORNELL UNIVERSITY LIBRARY FROM ^.R. B.Willis 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/cu31924013486216 ALPHA LIBRARY. The Mystery of a Hansom Cab By Fergus W. Hume. ^|r Chicago and New York; Rand, McNally & Company, Publishers, : THE MYSTERY OF A HANSOM CAB. CHAPTER I. WHAT THB "AKGUS" SAID. The following report appeared in the Argus newspaper of Saturday, the 28th July, 18— " Truth is said to be stranger than fiction, and certainly the extraordinary murder which took place in Melbourne on Thursday night, or rather Friday morning, goes a long way towards verifying this saying. A crime has been com- mitted by an unknown assassin, within a short distance of the principal street of this great city, and is surrounded by an impenetrable mystery. Indeed, from the nature of the crime itself, the place where it was committed, and the fact that the assassin has escaped without leaving a trace behind him, it would seem as though the case itself had been taken bodily out of Gaboreau's novels, and that' his famous detective Lecocq only would be able to unravel it. The facts of the case are simply these: " On the twenty-seventh day of July, at the hour of twenty minutes to two o'clock in the morning, a hansom cab drove up to the police station, in Grey Street, St. Kilda, and the driver made the startling statement that his cab contained the body of a man whom he had reason to be- lieve had been murdered.
    [Show full text]
  • Fashion Trends 2016
    Fashion Trends 2016 U.S. & U.K. Report [email protected] Intro With every query typed into a search bar, we are given a glimpse into user considerations or intentions. By compiling top searches, we are able to render a strong representation of the population and gain insight into this population’s behavior. In our second iteration of the Google Fashion Trends Report, we are excited to introduce data from multiple markets. This report focuses on apparel trends from the United States and United Kingdom to enable a better understanding of how trends spread and behaviors emerge across the two markets. We are proud to share this iteration and look forward to hearing back from you. Olivier Zimmer | Trends Data Scientist Yarden Horwitz | Trends Brand Strategist Methodology To compile a list of accurate trends within the fashion industry, we pulled top volume queries related to the apparel category and looked at their monthly volume from May 2014 to May 2016. We first removed any seasonal effect, and then measured the year-over-year growth, velocity, and acceleration for each search query. Based on these metrics, we were able to classify the queries into similar trend patterns. We then curated the most significant trends to illustrate interesting shifts in behavior. Query Deseasonalized Trend 2004 2006 2008 2010 2012 2014 Query 2016 Characteristics Part 1 Part 2 Part 3 Top Risers a Spotlight on an Extensive List and Decliners Top Trending of the Top Volume Themes Fashion Trends Trend Categories To identify top trends, we categorized past data into six different clusters based on Sustained Seasonal Rising similar behaviors.
    [Show full text]
  • The War and Fashion
    F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book.
    [Show full text]
  • Clothing Terms from Around the World
    Clothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat.
    [Show full text]
  • Fashion, Society, and the First World War: International Perspectives
    Mészáros, Zsolt. "The gentleman turned “enemy”: Men’s fashion in the Hungarian press, 1914–18." Fashion, Society, and the First World War: International Perspectives. Ed. Maude Bass-Krueger, Hayley Edwards-Dujardin and Sophie Kurkdjian. London: Bloomsbury Visual Arts, 2021. 231–245. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781350119895.ch-015>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 17:27 UTC. Copyright © Selection, editorial matter, Introduction Maude Bass-Krueger, Hayley Edwards- Dujardin, and Sophie Kurkdjian and Individual chapters their Authors 2021. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 15 Th e gentleman turned “enemy” Men’s fashion in the Hungarian press, 1914–18 Z s o l t M é s z á r o s Conditions were by no means favorable for the men’s clothing industry in Europe during the First World War. Trade was disrupted between the countries in the Central Empire (Germany, Austria- Hungary, Bulgaria, the Ottoman Empire), the Triple Entente (France, the United Kingdom, and Russia), and their allies (the United States, Italy, and Romania, among others). Textile industries were monopolized by various needs of the army and sales to the civil sphere declined all over Europe. Supply issues were further aggravated by shortages of raw materials such as wool and cotton and other necessary goods such as canvas.1 M o s t s i g n i fi cantly, a majority of workers and consumers were sent to the front.
    [Show full text]
  • The Influence of English in Spanish Fashion Terminology
    Isabel Balteiro* Departamento de Filología Inglesa Universidad de Alicante, España [email protected] THE INFLUENCE OF ENGLISH ON SPANISH FASHION TERMINOLOGY: -ING FORMS Abstract As has been the case with other European languages, Spanish has welcomed the arrival of English words, in spite of all purist efforts to the contrary. Moreover, it has not only adopted and adapted true Anglicisms but it has also created other forms based on English patterns, such mechanisms particularly visible in the 156 fashion jargon in Spanish. In this paper we focus on -ing forms in the Spanish language of fashion, which may at times be genuine Anglicisms (formal or semantic ones) or false Anglicisms (analogical creations, that is, English-looking lexical elements), found in Spanish editions of fashion magazines such as Vogue, Elle, InStyle, Grazia, Glamour, and Cosmopolitan. The main aim of this study is to qualitatively analyse and classify -ing Anglicisms and false Anglicisms in the aforementioned jargon in order to establish whether the impact of English in the Spanish fashion jargon is so important as to replace native words and expressions. Key words -ing forms, borrowing, Anglicisms, false Anglicisms, fashion jargon, Spanish. * Corresponding address: Dr. Isabel Balteiro, Dpto. de Filología Inglesa, Facultad de Filosofía y Letras, Universidad de Alicante, Apdo. 99, 03080 Alicante, España. Vol. 2(2)(2014): 156-173 e-ISSN:2334-9050 THE INFLUENCE OF ENGLISH ON SPANISH FASHION TERMINOLOGY: -ING FORMS Sažetak Kao i u slučaju ostalih evropskih jezika, španski je rado prihvatio dolazak reči iz engleskog, uprkos svim purističkim naporima da se to ne dogodi. Štaviše, ne samo što su prihvaćeni i prilagođeni pravi anglicizmi, već su stvoreni i novi oblici na osnovu engleskih tvorbenih obrazaca, što je naročito uočljivo u španskom jeziku mode.
    [Show full text]