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PARENT-STUDENT HANDBOOK St. Frances Cabrini School Academic
PARENT-STUDENT HANDBOOK St. Frances Cabrini School 2215 E. Texas Avenue Alexandria, LA 71301 (318) 448-3333 Fax (318) 448-3343 www.cabrinischool.com Academic Year 2015-2016 Diocese of Alexandria Founded in 1948 Approved by the Louisiana State Department of Education Member of the National Catholic Educational Association Association for Supervision and Curriculum Development Revised, July 2015 Knowledge through virtue; virtue through love. - 2 - TABLE OF CONTENTS St. Frances Cabrini School Academics……………………………..... 15 Mission …………………………………...5 Supply Lists……………………………...16 Philosophy ...………………….…………..5 Homework Policy………………………..16 History…………………………………….5 Assessment……………………………….16 Administrative Structure …………………...6 Field Trips………………………………..17 Admission Policies Textbooks………………………………...18 Non-Discriminatory Policy……….............7 Report Cards/Student Progress Reports….18 Entrance Requirements …………………..7 Grading Scale…………………………….18 Registration ………………………………7 Honor Roll……………………………….19 Priorities for Admission ………………….8 Promotion/Retention……………………..19 Participating, Involved Catholics ………...8 Make-Up Work/Test Policy……………...20 Withdrawals ……………………………...8 Transfer Students………………………...20 Dismissal ………………………………... 8 Policies on Records and Reports…………20 Parent Cooperation Statement…………… 8 Class Section Assignments………………21 Financial Information Academic Probation……………………...21 Tuition and Fees……………………..........9 Awards Assemblies………………………21 Tuition Policy…………………...………...9 Student Discipline Policy FACTS Tuition Management………........10 Rules of -
What to Do When Your Child Refuses to Put on Winter Clothes
www.autism-mi.org 40th Anniversary 1976-2016 email: [email protected] Autism Society of Michigan 2178 Commons Pky Okemos, MI 48864 517-882-2800 What to Do When Your Child Refuses to Put on Winter Clothes Many people—kids and adults—find putting on winter clothes to be a pain. But sensory processing issues can make it a real misery. Kids who are hypersensitive or who are tactile defensive may literally scream if they put on clothes that don’t feel right. The clothes might be too tight, too bulky, too itchy or too hot. And that can make everyday life difficult for the whole family. Getting your child with sensory processing issues to wear winter clothes isn’t impossible. But it can take time, compromise and some creativity. The strategies you use will depend on your child’s age and his particular challenges and sensitivities. But giving him choices and some sense of control is key. Here are some tips to consider: Buy sweaters and sweatshirts with loose collars. (If your child prefers his clothes to be close to his skin, do the opposite and get tighter-fitting items or even turtlenecks.) Settle on hoodies instead of a coat. Hooded sweatshirts are a great compromise item because they can be layered over T-shirts and worn unzipped. If your child doesn’t mind warmth or weight, buy some extra-fleecy ones. Remove all tags. That goes for hats, mittens, scarves, sweaters—coats, too. Even if a tag is touching a layer of clothing rather than skin, it can be annoying to some kids. -
Cloth Without Weaving: Beaten Barkcloth of the Pacific Islands, November 1, 2000-February 18, 2001
Cloth Without Weaving: Beaten Barkcloth of the Pacific Islands, November 1, 2000-February 18, 2001 Unlike most textiles, which are made of interworked yarns, beaten barkcloth is made of strips of the inner bark of trees such as the paper mulberry, breadfruit, or fig, pounded together into a smooth and supple fabric. It is an ancient craft, practiced in southern China and mainland Southeast Asia over 5,000 years ago. From there, the skill spread to eastern Indonesia and the Pacific Islands. While the technique is also known in South America and Africa, it is most closely associated with the islands of Polynesia. In Polynesia, the making of beaten barkcloth, or tapa, as it is commonly known, is primarily women's work. The technique is essentially the same throughout the Pacific Islands, with many local variations. Bark is stripped from the tree, and the inner bark separated from the outer. The inner bark is then pounded with wooden beaters to spread the fibers into a thin sheet. Large pieces of tapa can be made by overlapping and pounding together several smaller sheets. Women decorate the cloth in many ways, and techniques are often combined. Mallets carved or inlaid with metal or shell designs may impart a subtle texture to the surface. Color may be applied with stamps, stencils, freehand painting, or by rubbing dye into the tapa over a patterned board. Glazes may be brushed onto the finished cloth. Each tapa-producing culture has its own vocabulary of recognized decorative motifs. Many pattern names are drawn from the natural world, and the motifs appear as highly stylized images of local flora and fauna or simple geometric shapes. -
Modh-Textiles-Scotland-Issue-4.Pdf
A TEXTILES SCOTLAND PUBLICATION JANUARY 2013 AN ENCHANTING ESCAPE IN SCOTLAND FABULOUS FABRIC AND DETAILED DESIGN FASHION FOUNDRY NURTURING SCOTTISH TALENT contents Editor’s Note Setting the Scene 3 Welcome from Stewart Roxburgh 21 Make a statement in any room with inspired wallpaper Ten Must-Haves for this Season An Enchanting Escape 4 Some of the cutest products on offer this season 23 A fashionable stay in Scotland Fabulous Fabric Fashion Foundry 6 Uncovering the wealth of quality fabric in Scotland 32 Inspirational hub for a new generation Fashion with Passion Devil is in the Detail 12 Guest contributor Eric Musgrave shares his 38 Dedicated craftsmanship from start to fi nish thoughts on Scottish textiles Our World of Interiors Find us 18 Guest contributor Ronda Carman on why Scotland 44 Why not get in touch – you know you want to! has the interiors market fi rmly sewn up FRONT COVER Helena wears: Jacquard Woven Plaid with Herringbone 100% Merino Wool Fabric in Hair by Calzeat; Poppy Soft Cupsilk Bra by Iona Crawford and contributors Lucynda Lace in Ivory by MYB Textiles. Thanks to: Our fi rst ever guest contributors – Eric Musgrave and Ronda Carman. Read Eric’s thoughts on the Scottish textiles industry on page 12 and Ronda’s insights on Scottish interiors on page 18. And our main photoshoot team – photographer Anna Isola Crolla and assistant Solen; creative director/stylist Chris Hunt and assistant Emma Jackson; hair-stylist Gary Lees using tecni.art by L’Oreal Professionnel and the ‘O’ and irons by Cloud Nine, and make-up artist Ana Cruzalegui using WE ARE FAUX and Nars products. -
European Union
OFFICE OF TEXTILES AND APPAREL (OTEXA) Market Reports Textiles, Apparel, Footwear and Travel Goods European Union The following information is provided only as a guide and should be confirmed with the proper authorities before embarking on any export activities. Import Tariffs The EU is a customs union that provides for free trade among its 28 member states--Austria, Belgium, Bulgaria, Cyprus, Czech Republic, Croatia, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, The Netherlands, Poland, Portugal, Romania, Slovak Republic, Slovenia, Spain, Sweden, and The United Kingdom. The EU levies a common tariff on imported products entered from non-EU countries. By virtue of the Belgium-Luxembourg Economic Union (BLEU), Belgium and Luxembourg are considered a single territory for the purposes of customs and excise. The United Kingdom (UK) withdrew from the EU effective February 1, 2020. During the transition period, which ends on December 31, 2020, EU law continues to be applicable to and in the UK. Any reference to Member States shall be understood as including the UK where EU law remains applicable to and in the UK until the end of the transition period according to the Withdrawal Agreement (OJ C 384 1, 12.11.2019, p. 1). EU members apply the common external tariff (CET) to goods imported from non-EU countries. Import duties are calculated on an ad valorem basis, i.e., expressed as a percentage of the c.i.f. (cost, insurance and freight) value of the imported goods. EU: Tariffs (percent ad valorem) on Textiles, Apparel, Footwear and Travel Goods HS Chapter/Subheading Tariff Rate Range (%) Yarn -silk 5003-5006 0 - 5 -wool 5105-5110 2 - 5 -cotton 5204-5207 4 - 5 -other vegetable fiber 5306-5308 0 - 5 -man-made fiber 5401-5406/5501-5511 3.8 - 5 ....................... -
11. Contemporary Traditions a Chronicle of Exhibition Practice of the Jamdani by Abeer Gupta.Pdf
Projects / Processes Volume I Series Editor: Senjuti Mukherjee Constructing Traditions: The Jamdani within Exhibition Practice of Handicrafts Abeer Gupta Installation view of “Weftscapes: Jamdani Across New Horizons” at Serendipity Arts Festival 2019. Photograph by Philippe Calia and Sunil Thakkar. Weftscapes Jamdani Across New Horizons Curated by Pramod Kumar KG Venue Adil Shah Palace Installation view of “Weftscapes: Jamdani Across New Horizons” at Serendipity Arts Festival 2019. Photograph by Philippe Calia and Sunil Thakkar. PROJECTS / PROCESSES Curatorial Note Curatorial By Pramod Kumar KG Curatorial Assistant Ankita Chugh Artists Bappaditya Biswas, Rumi Biswas Exhibition Design Vertex Inc. Weftscapes examines a fresh approach to the creation and making of jamdani fabrics, both in its weaving, choice of raw materials, colour, patterns, designs and the end product – a finished garment. Multiple intertwined yet disparate stories coming together in this contemporary initiative. The versatility of the jamdani weaving technique involves the use of a supplementary weft technique. The idea here is to explore the various possibilities of introducing different yarns, materials, and constructions into the weave. The ingenuity of Indian handlooms and the dexterity of its weavers allows for a unique experiment where diverse materials and objects are strung and woven in by hand through the fabric. Bengal’s history is strewn with references to the Indigo trade and its impact on her people. An important aspect of jamdani was the use of the colour indigo which also lent its name to several lengths of fabric with the iconic Nilambari sari becoming popular across the subcontinent. This project has exclusively used the Indigo palette with its non-traditional yarns being dyed in organic Indigo vats; 10 Constructing Traditions namely in a banana vat, dates vat, and the henna vat. -
From Maroons to Mardi Gras
FROM MAROONS TO MARDI GRAS: THE ROLE OF AFRICAN CULTURAL RETENTION IN THE DEVELOPMENT OF THE BLACK INDIAN CULTURE OF NEW ORLEANS A MASTERS THESIS SUBMITTED TO THE GRADUATE FACULTY OF LIBERTY UNIVERSITY BY ROBIN LIGON-WILLIAMS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 18, 2016 Copyright: Robin Ligon-Williams, © 2016 CONTENTS ACKNOWLEDGEMENTS iv. ABSTRACT vi. CHAPTER 1. INTRODUCTION 1 History and Background 1 Statement of the Problem 1 Research Question 2 Glossary of Terms 4 Limitations of the Study 6 Assumptions 7 2. LITERATURE REVIEW 9 New Orleans-Port of Entry for African Culture 9 Brotherhood in Congo Square: Africans & Native Americans Unite 11 Cultural Retention: Music, Language, Masking, Procession and Ritual 13 -Musical Influence on Jazz & Rhythm & Blues 15 -Language 15 -Procession 20 -Masking: My Big Chief Wears a Golden Crown 23 -African Inspired Masking 26 -Icons of Resistance: Won’t Bow Down, Don’t Know How 29 -Juan “Saint” Maló: Epic Hero of the Maroons 30 -Black Hawk: Spiritual Warrior & Protector 34 ii. -Spiritualist Church & Ritual 37 -St. Joseph’s Day 40 3. METHODOLOGY 43 THESIS: 43 Descriptions of Research Tools/Data Collection 43 Participants in the Study 43 Academic Research Timeline 44 PROJECT 47 Overview of the Project Design 47 Relationship of the Literature to the Project Design 47 Project Plan to Completion 49 Project Implementation 49 Research Methods and Tools 50 Data Collection 50 4. IN THE FIELD 52 -Egungun Masquerade: OYOTUNJI Village 52 African Cultural Retentions 54 -Ibrahima Seck: Director of Research, Whitney Plantation Museum 54 -Andrew Wiseman: Ghanaian/Ewe, Guardians Institute 59 The Elders Speak 62 -Bishop Oliver Coleman: Spiritualist Church, Greater Light Ministries 62 -Curating the Culture: Ronald Lewis, House of Dance & Feathers 66 -Herreast Harrison: Donald Harrison Sr. -
Donated Goods Value Sheet
3927 1st Ave. South Billings, MT 59101 (406) 259-2269 Estimated Value of Donated Property Guidelines This is merely a guideline to assist you in determining values for your own items. You must take into consideration the quality and condition of your items when determining a value. T he IRS does not allow Family Service staff to assign a dollar valuation. We can only verify your gif t, so be sure to pick up a donation receipt when the goods are dropped off. Acc ording to IRS regulations and tax code, clothing and household goods must be in “good condition or better” for tax deductions. Women’s Clothing Men’s Clothing Item Low Range High Range Item Low Range High Range Top/Shirt/Blouse $3.00 $15.00 Jacket $8.00 $30.00 Bathrobe $5.00 $15.00 Overcoat $15.00 $60.00 Bra $1.00 $5.00 Pajamas $2.00 $8.00 Bathing Suit $4.00 $15.00 Pants, Shorts $4.00 $10.00 Coat $10.00 $70.00 Raincoat $6.00 $24.00 Dress $5.00 $20.00 Suit $15.00 $70.00 Evening Dress $10.00 $40.00 Slacks/Jeans $4.00 $25.00 Fur Coats $25.00 $300.00* Shirt $3.00 $8.00 Handbag $1.00 $50.00 Sweater $3.00 $10.00 Hat $1.00 $5.00 Swim trunks $3.00 $5.00 Jacket $4.00 $20.00 Tuxedo $15.00 $40.00 Nightwear/Pajamas $4.00 $10.00 Undershirt/T-shirt $1.00 $2.00 Sock $1.00 $1.50 Undershorts $1.00 $1.50 Skirt $3.00 $20.00 Belt $1.00 $8.00 Sweater $3.00 $25.00 Tie $1.00 $2.00 Slip $1.00 $5.00 Socks $1.00 $1.50 Slacks/Jeans $4.00 $35.00 Hat/Cap $1.00 $5.00 Suit – 2 pc. -
Weaving Twill Damask Fabric Using ‘Section- Scale- Stitch’ Harnessing
Indian Journal of Fibre & Textile Research Vol. 40, December 2015, pp. 356-362 Weaving twill damask fabric using ‘section- scale- stitch’ harnessing R G Panneerselvam 1, a, L Rathakrishnan2 & H L Vijayakumar3 1Department of Weaving, Indian Institute of Handloom Technology, Chowkaghat, Varanasi 221 002, India 2Rural Industries and Management, Gandhigram Rural Institute, Gandhigram 624 302, India 3Army Institute of Fashion and Design, Bangalore 560 016, India Received 6 June 2014; revised received and accepted 30 July 2014 The possibility of weaving figured twill damask using the combination of ‘sectional-scaled- stitched’ (SSS) harnessing systems has been explored. Setting of sectional, pressure harness systems used in jacquard have been studied. The arrangements of weave marks of twill damask using the warp face and weft face twills of 4 threads have been analyzed. The different characteristics of the weave have been identified. The methodology of setting the jacquard harness along with healds has been derived corresponding to the weave analysis. It involves in making the harness / ends in two sections; one section is to increase the figuring capacity by scaling the harness and combining it with other section of simple stitching harnessing of ends. Hence, the new harness methodology has been named as ‘section-scale-stitch’ harnessing. The advantages of new SSS harnessing to weave figured twill damask have been recorded. It is observed that the new harnessing methodology has got the advantages like increased figuring capacity with the given jacquard, less strain on the ends and versatility to produce all range of products of twill damask. It is also found that the new harnessing is suitable to weave figured double cloth using interchanging double equal plain cloth, extra warp and extra weft weaving. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
Alphabetical Price List April 2020 SKU SKU Description Status Retail Whl
Alphabetical Price List April 2020 SKU SKU Description Status Retail Whl Break 1 Break 1 Break 2 Break 2 Break 3 Break 3 Break 4 Break 4 10003 10003-Emb NYLT A 4.99 3.29 12 2.99 48 2.79 0 0 0 0 100 100-Applique Embd FDL 4pk A 2.99 2.24 12 1.99 48 1.59 0 0 0 0 1013 1013-Giftcard TrailsEndPrgrm 013 N 13 11.05 0 0 0 0 0 0 0 0 101 101-Pin FDL Silvertone 5/8"@ A 3.99 2.99 24 2.79 0 0 0 0 0 0 10202 10202-Emb Ptrl Antelope A 2.49 1.79 12 1.69 300 1.29 0 0 0 0 10206 10206-Emb Ptrl Beaver A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10209 10209-Emb Ptrl Bobwhite A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10211 10211-Emb Ptrl Dragon A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10212 10212-Emb Ptrl Eagle A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10213 10213-Emb Ptrl Flaming Arrow A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10215 10215-Emb Ptrl Fox A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10221 10221-Emb Ptrl Lightning A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10223 10223-Emb Ptrl Owl A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10226 10226-Emb Ptrl Pheasant N 0.39 0.39 0 0 0 0 0 0 0 0 1022 1022-Giftcard TrailsEndPrgrm 022 N 22 18.7 0 0 0 0 0 0 0 0 10230 10230-Emb Ptrl Rattlesnake A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10233 10233-Emb Ptrl Scorpion A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10234 10234-Emb Ptrl Shark A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10237 10237-Emb Ptrl Viking A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10239 10239-Emb Ptrl Wolf A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10240 10240-Emb Ptrl Blnk A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10302 10302-Emb Merit Camping A 2.79 2.39 12 2.19 144 1.89 0 0 0 0 10303 10303-Emb -
Innovation in Design of Traditional Mashru Textiles for Product Diversification
INNOVATION IN DESIGN OF TRADITIONAL MASHRU TEXTILES FOR PRODUCT DIVERSIFICATION Synopsis of Proposed Ph. D. Thesis By Priyanka Kumari (Registration No: Fo FCSC/2/150, Dated: August 7th 2013) Guided By Prof. (Dr.) Anjali Karolia Department of Clothing and Textiles Dean Faculty of Family and Community Sciences Department of Clothing and Textiles Faculty of Family and Community Sciences The Maharaja Sayajirao University of Baroda Vadodara, Gujarat India June 2019 Endorsement from the Supervisor Ms. Priyanka Kumari has researched extensively on the topic “Innovation in Design of Traditional Mashru Textile for Product Diversification” vide registration no. FoFCSC/2/150 (Dated: 07-08-2013). She has presented her progress of work in seminars well attended by teachers and students of department. She has presented following papers: “Design intervention for handloom silk fabric of Bihar”, in International conference on Empowering Khadi and Handloom through Design Intervention Organized by Consortium of Green Fashion, an initiative of School of Fashion Technology, Pune and in association with Department of Clothing and Textiles faculty of Family and community Science The Maharaja Sayajirao University of Baroda on 30th September and 01st October 2016. “Mesmerizing Mashru Craft and Need of Geographical Indication (GI)”, in International Case Symposium on Fashion, Retail & Management Organized by Department of Fashion Management Studies–NIFT,Bhubneshwar India on 19th and 20th November 2015. She has published following papers: “Voyage of a traditional woven craft – Mashru” , in proceedings of International Textiles and Costume Congress -2015 organized by Marmara University, Istanbul , Turkey on 4th -6th November 2015 (ISBN:978-605-87108- 4-9) “Mesmerizing Mashru Craft and need of Geographical Indication (GI)” in book named “Case Handbook of Fashion, Retail and Management”, Publisher- Pragun Publication, year of publication-2018, [ISBN 978-93-80397-90-0] Ms.