Fashion Terms and Styles
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Know Your Body Know Your Style
KNOW YOUR BODY KNOW YOUR STYLE Our bodies are classified according to certain specific types of silhouettes. You will learn about your body type, the clothes that favor each silhouette and those that should definitely be avoided. Your body shape may have traits of two types of silhouettes. Stand in front of a full-length mirror in your underwear and carefully study your body shape. Regardless of whether you are slim or plump, your body will tend to predominantly conform to one of the body types described below. Knowing your silhouette, you will be able to know what type of outfits that will make you look great, and which ones you should avoid as they throw the shape of your body off balance. 2020 Playfication Learning, LLC © PagePage 1 of 1 8 of 8 HOURGLASS SHAPE This type of female figure is typically considered the perfect figure because it is the most proportionate. It is the most versatile body shape and practically everything that women with this figure wear looks good on them. However, you should avoid falling into exaggerations that unbalance your body. You have an hourglass figure, when your shoulders and hips measure the same, and your waist is narrower. You have a balanced and symmetrical body. Clothes that lengthen your body will accentuate your figure and make you look great. What to wear: 1. Wrap dresses and “A” shaped skirts 2. Dresses with a defined waist and knee-length skirts highlighting your curves 3. Solid colors 4. Two-piece dresses 5. Shirt dresses with a waist belt 6. -
How Fashion Invades the Concert Stage
MPA 0014 HOW FASHION INVADES THE CONCERT STAGE by MAUD POWELL Published in Musical America December 26, 1908 The amateur who dreams of a life of fame in music, has one of two ideas about her future work. If she has talent and personality, she fancies that her playing alone will bring the desired recognition; if artistic and fond of dress, she has visions of beautiful gowns trailing behind her on the concert platform, producing a picture of harmony and elegance. Both pictures have other sides, however. For dress plays almost as important a part in the concert as the talent itself and becomes, as the season progresses, a veritable “Old Man of the Sea.” The professional woman owes it to her public to dress fashionably, for the simple gowns of former years have passed into obscurity and with the increased importance of dress in everyday life, it has spread into all professions, until the carelessly dressed woman or one whose clothes are hopelessly old fashioned has no place in the scheme of things. The business woman receives much help from the fashion periodicals; the mother of a large family is also reached and it is possible for many persons to procure ready-made clothing, thus obviating the necessity of shopping and fitting. Valuable as these two are in the acquiring of an up-to-date wardrobe, they help the musician but little. It is absolutely essential that she have a certain style and individuality in the selection of her gowns, particularly those which must be worn before a critical audience. -
Business Professional Dress Code
Business Professional Dress Code The way you dress can play a big role in your professional career. Part of the culture of a company is the dress code of its employees. Some companies prefer a business casual approach, while other companies require a business professional dress code. BUSINESS PROFESSIONAL ATTIRE FOR MEN Men should wear business suits if possible; however, blazers can be worn with dress slacks or nice khaki pants. Wearing a tie is a requirement for men in a business professional dress code. Sweaters worn with a shirt and tie are an option as well. BUSINESS PROFESSIONAL ATTIRE FOR WOMEN Women should wear business suits or skirt-and-blouse combinations. Women adhering to the business professional dress code can wear slacks, shirts and other formal combinations. Women dressing for a business professional dress code should try to be conservative. Revealing clothing should be avoided, and body art should be covered. Jewelry should be conservative and tasteful. COLORS AND FOOTWEAR When choosing color schemes for your business professional wardrobe, it's advisable to stay conservative. Wear "power" colors such as black, navy, dark gray and earth tones. Avoid bright colors that attract attention. Men should wear dark‐colored dress shoes. Women can wear heels or flats. Women should avoid open‐toe shoes and strapless shoes that expose the heel of the foot. GOOD HYGIENE Always practice good hygiene. For men adhering to a business professional dress code, this means good grooming habits. Facial hair should be either shaved off or well groomed. Clothing should be neat and always pressed. -
She Has Good Jeans: a History of Denim As Womenswear
Bard College Bard Digital Commons Senior Projects Spring 2018 Bard Undergraduate Senior Projects Spring 2018 She Has Good Jeans: A History of Denim as Womenswear Marisa S. Bach Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2018 Part of the Fashion Design Commons, and the Fiber, Textile, and Weaving Arts Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Bach, Marisa S., "She Has Good Jeans: A History of Denim as Womenswear" (2018). Senior Projects Spring 2018. 317. https://digitalcommons.bard.edu/senproj_s2018/317 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. She Has Good Jeans: A History of Denim as Womenswear Senior Project Submitted to The Division of Arts of Bard College by Marisa Bach Annandale-on-Hudson, New York May 2018 Acknowledgements To my parents, for always encouraging my curiosity. To my advisor Julia Rosenbaum, for guiding me through this process. You have helped me to become a better reader and writer. Finally, I would like to thank Leandra Medine for being a constant source of inspiration in both writing and personal style. -
9 What People Wore.Pdf
Silhouees: What Men and Women Wore in 1860-1920 New Castle The Height of Fashion: Delaware Women Dress Up” By Susan Hannell, Peggy Litchko & Betsy Marno 2014 Plus Fashion Plates from other sources. Video A ‘Gibson Girl’ Comparison of clothing men’s clothing worn in New Castle with that worn in Victorian England In England, according to Ruth Goodman: • Hats were rarely removed in public • Waistcoats & jackets were both to be worn at all mes • Shirts not to be seen except in very informal situaons. • Pants became straight legged similar to modern ones • Underpants & undershirt or ‘union suit’ were worn Men’s and boys clothing in New Castle c1878, late Victorian mes. EVERY ONE of the people was wearing a hat, almost all were wearing a jacket and many were wearing a waistcoat (“vest”). Neckwear in portraits of men from New Castle was a cravat or ruffle unl about 1830. Coats were single or double breasted and full cut except for two seamen with youthful figures. [Cutaway jackets emphasize one’s midriff] 1759 d1798 c1804 <1811 c1830? 1785 c1805 1830 1840-1850? In 1815, Mrs. James McCullough (builder of 30 the Strand) sent her husband a package including cravats and yellow coon pants, and comments that he needs new ruffles on his shirts. (He parcularly liked “a handsomely plaited ruffle”) Nankeen trousers: (yellow coon) c1759, Anna Dorothea Finney Amstel House, 2 E 4th, by John Hesselius Lace trimmed san dress Panniers under skirt, or dome-shaped hoops, One piece; not separate bodice and skirt Bodice closed with hook & loop No stomacher Worn over a -
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 -
Replica Styles from 1795–1929
Replica Styles from 1795–1929 AVENDERS L REEN GHistoric Clothing $2.00 AVENDERS L REEN GHistoric Clothing Replica Styles from 1795–1929 Published by Lavender’s Green © 2010 Lavender’s Green January 2010 About Our Historic Clothing To our customers ... Lavender’s Green makes clothing for people who reenact the past. You will meet the public with confidence, knowing that you present an ac- curate picture of your historic era. If you volunteer at historic sites or participate in festivals, home tours, or other historic-based activities, you’ll find that the right clothing—comfortable, well made, and accu- rate in details—will add so much to the event. Use this catalog as a guide in planning your period clothing. For most time periods, we show a work dress, or “house dress.” These would have been worn for everyday by servants, shop girls, and farm wives across America. We also show at least one Sunday gown or “best” dress, which a middle-class woman would save for church, weddings, parties, photos, and special events. Throughout the catalog you will see drawings of hats and bonnets. Each one is individually designed and hand-made; please ask for a bid on a hat to wear with your new clothing. Although we do not show children’s clothing on most of these pages, we can design and make authentic clothing for your young people for any of these time periods. Generally, these prices will be 40% less than the similar adult styles. The prices given are for a semi-custom garment with a dressmaker- quality finish. -
Glossary of Sewing Terms
Glossary of Sewing Terms Judith Christensen Professional Patternmaker ClothingPatterns101 Why Do You Need to Know Sewing Terms? There are quite a few sewing terms that you’ll need to know to be able to properly follow pattern instructions. If you’ve been sewing for a long time, you’ll probably know many of these terms – or at least, you know the technique, but might not know what it’s called. You’ll run across terms like “shirring”, “ease”, and “blousing”, and will need to be able to identify center front and the right side of the fabric. This brief glossary of sewing terms is designed to help you navigate your pattern, whether it’s one you purchased at a fabric store or downloaded from an online designer. You’ll find links within the glossary to “how-to” videos or more information at ClothingPatterns101.com Don’t worry – there’s no homework and no test! Just keep this glossary handy for reference when you need it! 2 A – Appliqué – A method of surface decoration made by cutting a decorative shape from fabric and stitching it to the surface of the piece being decorated. The stitching can be by hand (blanket stitch) or machine (zigzag or a decorative stitch). Armhole – The portion of the garment through which the arm extends, or a sleeve is sewn. Armholes come in many shapes and configurations, and can be an interesting part of a design. B - Backtack or backstitch – Stitches used at the beginning and end of a seam to secure the threads. To backstitch, stitch 2 or 3 stitches forward, then 2 or 3 stitches in reverse; then proceed to stitch the seam and repeat the backstitch at the end of the seam. -
PPE:In Laboratories Lab Coats Esearch and Teaching Activities Often Require Personal Protective Equipment (PPE) to Ensure Maximum Safety of Personnel
Food and Drink FactSheet PPE:in Laboratories Lab Coats esearch and teaching activities often require personal protective equipment (PPE) to ensure maximum safety of personnel. A lab coat is an essential component of PPE for many types of laboratory work. This fact sheet will assist the researcher in selecting the appropriate lab coat type for the hazard encountered. TipsR on Wearing Lab Coats • Fully button/snap the lab coat and wear in conjunction • Always ensure lab coat fits properly. with other PPE, such as eye protection and gloves, when deemed necessary per your risk assessment. • Wear appropriate clothing under your lab coat, including long pants and closed-toe/heel shoes. Roll up long sleeves • Lab coats provide moderate protection against chemical to prevent contamination if necessary. Wear personal exposure, but may degrade over time. Replace if heavily clothing that is made of natural rather than synthetic soiled/contaminated or visibly degraded. fibers (e.g., cotton jeans vs. Lycra leggings) if working with • Immediately remove and dispose of as hazardous waste if flammable liquids or open flames. grossly contaminated. Lab Coat Selection Guide Flame Resistant, Nomex® Nomex® is a meta-aramid synthetic fiber that provides the highest level fire protection for a lab coat. The material is intrinsically flame resistant. Its protection will not diminish over repeated washes. Appropriate for protecting against: • Open flames • Electrical arc flash hazard • Extreme fire hazard (e.g., large volumes of flammable materials) • Organometallic compounds, metal hydrides, alkali metals, or other materials that ignite on contact with air (pyrophoric) or moisture Flame Resistant, Treated Cotton Cotton lab coats that are treated with flame resistant material provide a good balance of protection from chemicals, and low-to-medium fire risk procedures. -
New 3 Season Jacket Trousers – 3 Great Fabrics
® LIBERTYUniform SOFT SHELL JACKET/LINING NEW 3 SEASON SHIRTS JACKET TROUSERS With Softshell Liner P. 3 OUTERWEAR Law Enforcement, Security, EMS, Fire Department, Corporate Liberty’s BEST ALL SHIRTS RAINWEAR THE BETTER COST EFFECTIVE Well priced & Well Made P. 5 JOB SHIRT FD Blouse Coat with ™ FABRIC Matching Trousers COMFORT ZONE MADE IN THE REVERSIBLE (Hint: Nanotex® Certified) P. 20 P. 13 3 Must-Have Garments U.S.A. P. 14 & 16 P. 14-15 TROUSERS – 3 GREAT FABRICS P.16-17 2018 EDITION - XI WHAT’S NEW AT LIBERTY UNIFORM? 3 NEW OUTERWEAR 1 HIGH-VIS PRODUCT LINE Liberty has added some great new waterproof jackets to our line: Liberty offers an expanding ANSI 3 compliant #575MFL 3-Season ANSI 3 jacket including a product line that is value priced with great soft shell liner/jacket attention to functional features and quality: #574 Convertible Jacket #524MBK & 524MNV – Reversible Police Windbreaker (see pg. 7) #578 Soft Shell Jacket/liner #561MFL – Windbreaker The separate soft shell jacket #578 can be zipped (see pg. 8) into #574 jacket to become a removable liner. (See pg. 3) #566MFL – Polar Parka (see pg. 4) #575MFL – 3-Season Jacket with Soft Shell liner/jacket (see pg. 3) 4 THE FINEST SYNTHETIC FABRIC #586MFL – 49” Reversible Raincoat with IN THE UNIFORM INDUSTRY Removable/Reversible Hood (see pg. 5) Direct from Burlington® Worldwide, maker of the finest uniform fabrics for military and law #587MFL – 30” Reversible Rain Jacket with enforcement, Liberty offers our exclusive COMFORT Removable/Reversible Hood ZONE® shirts and trousers with USA made fabrics. (see pg. -
T-SHIRT DESIGN B
EQUIPMENT AND MATERIALS 1. Supplied by the technical committee: a. Time keeper and judges T-SHIRT DESIGN b. All necessary information for the judges and technical committee 2. Supplied by the contestant: a. Rendering of the T-shirt design PURPOSE b. Supporting materials for the To evaluate a contestant’s creative, technical presentation portions of the contest and oral presentation skills and recognize i. Visual presentation materials should outstanding students for excellence and be on a standard tri-fold table display professionalism. ii. Additional materials to provide context are optional; ex. Printed T-shirt, First, download and review the General props, etc. but display should not Regulations at: http://updates.skillsusa.org. exceed the width of the standard tri- fold display. ELIGIBILITY c. All competitors must create a one-page Open to active SkillsUSA members enrolled in résumé and submit a hard copy to the career and technical programs. technical committee chair at orientation. Failure to do so will result in a penalty designated by the official CLOTHING REQUIREMENTS scorecard. Class A: SkillsUSA Attire: • Red SkillsUSA blazer, windbreaker or Note: Your contest may also require a hard sweater, or black or red SkillsUSA jacket copy of your résumé as part of the actual • Button-up, collared, white dress shirt contest. Check the Contest Guidelines (accompanied by a plain, solid black tie), and/or the updates page on the SkillsUSA white blouse (collarless or small-collared) website at: http://updates.skillsusa.org. or white turtleneck, with any collar not to extend into the lapel area or the blazer, SCOPE OF THE CONTEST sweater, windbreaker or jacket The contest consists of two parts: • Black dress slacks (accompanied by black 1. -
Approximate Weight of Goods PARCL
PARCL Education center Approximate weight of goods When you make your offer to a shopper, you need to specify the shipping cost. Usually carrier’s shipping pricing depends on the weight of the items being shipped. We designed this table with approximate weight of various items to help you specify the shipping costs. You can use these numbers at your carrier’s website to calculate the shipping price for the particular destinations. MEN’S CLOTHES Item Weight in grams Item Weight in grams Underpants 70 - 100 Jacket 1000 - 1200 Sports shirt, T-shirt 220 - 300 Coat, duster 900 - 1500 UnderpantsShirt 70120 - -100 180 JacketWind-breaker 1000800 - -1200 1200 SportsBusiness shirt, suit T-shirt 2201200 - -300 1800 Coat,Autumn duster jacket 9001200 - -1500 1400 Sports suit 1000 - 1300 Winter jacket 1400 - 1800 Pants 600 - 700 Fur coat 3000 - 8000 Jeans 650 - 800 Hat 60 - 150 Shorts 250 - 350 Scarf 90 - 250 UnderpantsJersey 70450 - -100 600 JacketGloves 100080 - 140 - 1200 SportsHoodie shirt, T-shirt 220270 - 300400 Coat, duster 900 - 1500 WOMEN’S CLOTHES Item Weight in grams Item Weight in grams Underpants 15 - 30 Shorts 150 - 250 Bra 40 - 70 Skirt 200 - 300 Swimming suit 90 - 120 Sweater 300 - 400 Tube top 70 - 85 Hoodie 400 - 500 T-shirt 100 - 140 Jacket 230 - 400 Shirt 100 - 250 Coat 600 - 900 Dress 120 - 350 Wind-breaker 400 - 600 Evening dress 120 - 500 Autumn jacket 600 - 800 Wedding dress 800 - 2000 Winter jacket 800 - 1000 Business suit 800 - 950 Fur coat 3000 - 4000 Sports suit 650 - 750 Hat 60 - 120 Pants 300 - 400 Scarf 90 - 150 Leggings