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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. -
Rolled Edge Napkins Created By: Melinda Stephenson
Beginning Serging: Rolled Edge Napkins Created by: Melinda Stephenson One of the most often used stitches on your serger, apart from the four thread overlock, is the rolled edge. This works beautifully on napkins, as well as for hemming difficult to hem, slippery chiffon. To learn how to serge a rolled hem, start with either 100% cotton, 100% linen or a cotton/linen blend. These natural fabrics work best for napkins as they absorb moisture. Polyester or any synthetic fabric blends are not recommended for making napkins— they just don’t absorb as well. Supplies: • Cotton or linen squares cut to 18 or 20” • Scrap fabric cut from the same linen or cotton • 2 cones serger thread • 1 cone Wooly Nylon • Seam sealant (Fray-Check) 3. Set Tension: • Instruction manual a. Right needle: Normal • Optional: clear wash-away stabilizer b. Upper Looper: 2-3 (check your owner’s manual) Machine Set-up c. Lower Looper: 5-7 (check your owner’s manual) 3-thread Rolled Hem 4. Set Stitch Length: 1.0-2.0 (check your owner’s 1. Remove your left needle. manual) 2. Thread your machine: Wooly Nylon in Upper 5. Set Differential Feed: 1.0 or N (if edges draw in Looper and serger thread in right needle and and pucker, try .5) lower looper. 6. Set Stitch Finger: disengaged 7. Set knife: engaged elnaUSA.com Page 1 Beginning Serging: Rolled Edge Napkins Practice: 5. Stitch a few stitches until your napkin is about halfway beneath the presser foot, right up to, Using a piece of scrap fabric that is the same but not beneath, the needle. -
Skinny Scarves by SUSAN BECK
This article originally appeared in Through the Needle ONLINE Issue 9 Skinny Scarves by SUSAN BECK These long, narrow scarves made of t-shirt knit or sheer fabric are fast to make and fun to wear – one, two, or even three at a time! They’re a great item to make for craft fairs and bazaars – and they also make great gifts! Directions Cut a rectangle of fabric 10” wide and 3 yards long. Note: The more lightweight the fabric, the wider the scarf can be (12”-14”). If the fabric has more bulk, you can cut it very narrow (6”-8”). Thread the serger for a 3-thread rolled hem, adjusting the tensions as directed in your user manual. Generally, the needle tension will be normal, the upper looper tension will be loose, and the lower tension will be tight. Sew a sample on fabric scraps to decide if the resulting rolled edge looks the way you want it to. Adjust the settings as needed. Different fabric types and weights may require different tension adjustments for the perfect rolled edge. Serge all four edges of the scarf, starting at one end and serging off the opposite end, and trimming the edge slightly as you go. Supplies • 3 yards of lightweight, sheer, or single knit fabric in polyester, cotton, rayon, or silk (yardage will make 4-6 scarves) • Serger with 2- or 3-thread rolled hem capabilities • Three cones or spools of fine (60-weight) thread to match or blend with the fabric • Seam sealant Tip: Hold your hand lightly on the fabric to the left of Option 3: To wear the foot to make sure the fabric is going under the two or three scarves needle and not falling away after it passes the knife. -
Guide to the Preparation of an Area of Distribution Manual. INSTITUTION Clemson Univ., S.C
DOCUMENT RESUME ID 087 919 CB 001 018 AUTHOR Hayes, Philip TITLE Guide to the Preparation of an Area of Distribution Manual. INSTITUTION Clemson Univ., S.C. Vocational Education Media Center.; South Carolina State Dept. of Education, Columbia. Office of Vocational Education. PUB DATE 72 NOTE 100p. EDRS PRICE MF-$0.75 HC-$4.20 DESCRIPTORS Business Education; Clothing Design; *Distributive Education; *Guides; High School Curriculum; Manuals; Student Developed Materials; *Student Projects IDENTIFIERS *Career Awareness; South Carolina ABSTRACT This semester-length guide for high school distributive education students is geared to start the student thinking about the vocation he would like to enter by exploring one area of interest in marketing and distribution and then presenting the results in a research paper known as an area of distribution manual. The first 25 pages of this document pertain to procedures to follow in writing a manual, rules for entering manuals in national Distributive Education Clubs of America competition, and some summary sheet examples of State winners that were entered at the 25th National DECA Leadership Conference. The remaining 75 pages are an example of an area of distribution manual on "How Fashion Changes Relate to Fashion Designing As a Career," which was a State winner and also a national finalist. In the example manual, the importance of fashion in the economy, the large role fashion plays in the clothing industry, the fast change as well as the repeating of fashion, qualifications for leadership and entry into the fashion world, and techniques of fabric and color selection are all included to create a comprehensive picture of past, present, and future fashion trends. -
Primary-Grade Students' Knowledge and Thinking About Clothing As a Cultural Universal
DOCUMENT RESUME ED 439 072 SO 031 485 AUTHOR Brophy, Jere; Alleman, Janet TITLE Primary-Grade Students' Knowledge and Thinking about Clothing as a Cultural Universal. SPONS AGENCY Spencer Foundation, Chicago, IL. PUB DATE 1999-00-00 NOTE 253p. PUB TYPE Reports Research (143) EDRS PRICE MF01/PC11 Plus Postage. DESCRIPTORS Action Research; American Indian History; *American Indians; Curriculum Development; Educational Philosophy; Educational Research; Elementary Education; *Elementary School Students; Qualitative Research; *Social Studies; *Student Attitudes; *United States History IDENTIFIERS *Native Americans ABSTRACT This paper summarizes responses of students in grades K-3 to questions about Native Americans. The paper draws on findings from two studies, both done in a suburban school system deemed "average" on a variety of educational and socioeconomic indicators. In each study, samples of students stratified by gender and achievement level were interviewed individually about topics addressed in social studies. Analyses focused not just on the accuracy of responses, but on their qualitative nuances that provided insights into students' ideas, including their misconceptions. Responses across grades K-3 suggest that students' knowledge and thinking about Native Americans tends to proceed through the following stages:(1) no knowledge;(2) cartoon stereotypes of the appearance or behavior of Indians; (3) Indians as the first people in America, wilderness survivors, and teachers of and learners from the Pilgrims and other early Europeans; (4) knowledge about Indians' lives and cultures and empathy with them as noble ecologists and victims of European aggression and greed; and (5) distancing and loss of empathy as attention shifts to the pioneers and the westward expansion of the United States. -
CLUBHOUSE ATTIRE: Dining Room & Centennial Room - Sport Coat Encouraged, Not Required, for Men
CLUBHOUSE ATTIRE: Dining Room & Centennial Room - Sport coat encouraged, not required, for men. Business casual or similar attire required for men, women and children. Grill Room, 19th Hole, Patio - Proper golf attire, casual attire, or better for men, women and children. No denim*, short shorts, cut-offs, strapless tops, tank tops, or shirts without collars. Gentlemen should remove hats in the Clubhouse. * Denim is not permitted anywhere on the Hinsdale Golf Club campus, with the exception of the Paddle Tennis Facility. Guests should be notified of these rules in advance. GOLF ATTIRE: Proper golf attire is required at all times while using the course and practice facilities. Golf attire should be consistent with accepted standards of propriety and good taste. Denim is not permitted anywhere on the Hinsdale Golf Club campus, with the exception of the Paddle Tennis Facility. Examples of improper attire for men, women and children are: Jeans, shorts that are too long or short (shorts should be worn below mid-thigh and above the knee); cutoff shorts; strapless tops; tank tops; shirts with neither sleeves nor collars (full coverage shirts with either sleeves or collars are appropriate for women only). Other examples of improper attire include: high top shoes; caps with visors pointing other than forward; and shirttails worn outside of pants, unless they are made to be worn that way. Mock turtlenecks are considered collared shirts. The golf staff has been authorized to enforce the above standards. Improperly attired Members or Guests will not be allowed to play or practice until they have adjusted their attire to appropriate standards. -
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. -
The Serpentine Essence of a Chancay Gauze Headdress
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2008 The Serpentine Essence of a Chancay Gauze Headdress Jessica Gerschultz Emory University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Gerschultz, Jessica, "The Serpentine Essence of a Chancay Gauze Headdress" (2008). Textile Society of America Symposium Proceedings. 94. https://digitalcommons.unl.edu/tsaconf/94 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Serpentine Essence of a Chancay Gauze Headdress Jessica Gerschultz [email protected] A small but fascinating Chancay gauze fragment in the collection of the Michael C. Carlos Museum stands out as an exemplary object that embodies the symbolic associations and aesthetic principles of the Peruvian coastline during the Late Intermediate Period (Fig. 1).1 Its weave structure, production process, iconography, and polychromy unite in reinforcing the protective and regenerative purposes of the original headdress. Consisting of variably spun threads knotted together, its unique discontinuous warp relates to its function in funerary and ceremonial contexts. Significantly, its weaver pushed beyond technical limitations to bring together the laborious techniques of gauze weaving and discontinuous warping in a single textile.2 The result of this ingenious yet unpublished technical combination was a “jumping” serpentine figure on an indigo background. -
Club Events Guest Guidelines
Club Events Guest Guidelines Welcome to Baltimore Country Club! Prior to coming to our Club, we encourage you to review our policies and traditions, as we want to ensure that you enjoy your stay with us. We look forward to your visit. Roland Park Clubhouse Five Farms Clubhouse 4712 Club Road 11500 Mays Chapel Road Baltimore, MD 21210 Lutherville, MD 21093 410.889.4400 410.252.6505 Club Events Dress Code Country Club Casual Required standards at Roland Park and Five Farms Gentlemen & Boys • Standard: Collared dress shirts or collared polo-style shirts, sweaters, dress slacks, which include cotton chinos and dress shorts. Collared shirts are required to be worn underneath sweaters • Acceptable: Neatly tailored blue denim jeans with finished hems. Dress conforming to the Club’s Golf and Tennis Dress policies are permitted in the Tap Room, Terrace Room and on the Tap Porch, on the Tilly Porch, and on the Patios at Five Farms. Squash and Paddle Tennis attire are permitted on the Grille Porch and in the Maryland Room at Roland Park • Not Acceptable: Denim shirts and denim jackets or denim jeans with rips, frays, tears, worn, faded or “acid washed”. T-shirts, collarless shirts, tank tops, hoodies, gym shorts or spandex, athletic gear with team logos or numeric jerseys, camouflage patterns, apparel decorated with multiple letters, characters, or symbols, overalls, cargo-style pants, cut- offs of any length, bathing suits, open-toed shoes, Crocs ®, Croc® -like shoes, or sandals, rubber flip flops or bare feet It is recommended for gentlemen wearing appropriate denim to wear a blazer or sport coat Ladies & Girls • Standard: Dresses, blouses, dress tops, collarless dress shirts, collared shirts, sweaters, skirts, dress slacks, and dress shorts. -
How to Dress for Success
HOW TO DRESS FOR SUCCESS Expanding Your Wardrobe Wherever your business takes you, it’s important to look great and make a positive first impression. So whether it’s the boardroom, a golf outing, or a black tie event, you need to be prepared with a well-rounded wardrobe that’s as stylish and professional as you are. That’s where Men’s Wearhouse comes in. For over 35 years, we’ve been helping men look their best, with comfortable, great-fitting clothes for every occasion. You can count on us for quality clothing and expert style tips to help you make great choices that reflect who you are—and where you’re headed next. AT WORK It all starts with the suit In today’s big Since the suit is the foundation for your entire wardrobe, meeting, you’re it’s important to make sure you have a range of looks — not just for around the office, but for power lunches, representing your off-site meetings, and special presentations where all company. Do you eyes are upon you. have what it takes When considering a new suit, remember that your best to make the right look begins with comfort and fit. That’s why we offer Traditional, Athletic, and Modern cuts to work best with statement? your build and give you room to express your own sense of style. Once you know what looks and feels great, we’ll • Classic two-button suit help you choose from a variety of designer brands to with a great fit round out your wardrobe with a mix of solids, pinstripes, and two- or three-button styles. -
Angela Wolf Demonstrates Easy Ways to Sew with Silk
Series 100 www.itsseweasytv.com 110-1 Angela Wolf demonstrates hemming techniques on silk. Sewing with Silk Charmeuse Supplies: o Pattern: Angela Wolf Patterns #AW-1103 available at www.AngelaWolf.com o Sewing Machine Needle: . Universal 70/10 - Always use a new needle when sewing with silk, this will prevent snagging. o Thread options . Either 100% silk, 100% mercerized cotton, or 100% polyester (listed in order of quality with silk being the first choice) . Use same thread in the bobbin o Clay chalk for marking - DO NOT use wax chalk on silk! o Glass head pins o Iron with steam, check for leaking first as that can stain your silk. Steps o Pre-shrink your fabric: . If you plan on dry cleaning your finished product, take you fabric to your local dry cleaner and ask them to dry clean and "steam press". The steam press will preshrink your fabric. Another option is washing in cold water either by hand or with a delicate cycle. Then either hang to dry or very low heat. I would recommend washing a small swatch of fabric first to test. Washing silk charmeuse will change the hand of the fabric a little, so make sure that is what you want - although you will end up with a very easy to take care of top. o Set up sewing machine with a 2.5 stitch length. Techniques o French seam: . Start with the fabric wrong sides together. Pin your seam. Sew a straight seam with a 1/2 inch seam allowance. Trim seam allowance to just about 1/8th of an inch. -
Checklist for Textiles U.S.A
THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 No. &• TENTATIVE AND CONFIDENTIAL CHECKLIST FOR TEXTILES U.S.A. Home Furnishings Category Anderson Studio of Handweaving - East Gloucester, Massachusetts. Drapery material. Cotton, viscose and Jute. Designed by Beatrice Anderson, 1951*. Thelma Becherer - West Franklin, New Hampshire. Tapestry. Handwoven of green, yellow and clear "velon" plastic, with dried horsetails and cattails. Plain weave. 1956. Monica Bella Broner, Tapestry. "Fur Weave." Wool, cotton and fur strips, 195^• Bill Carter and Dodie Childs - Chicago, Illinois. Roll Shade, Handwoven matchstick bamboo across multicolored and textured cotton, wool and metallic yarn warp, 1955* Arundell Clarke Drapery fabric. "Strocm Draden". Handscreened white print on trans parent white silk. Designed by Pierre Kleykamp, 1955. Drapery fabric, "Primitive Forms." Handscreened black print on brown cotton. Designed by Baldwin-Machado, 1950, Drapery fabric. "10,000 B.C." Cotton jacquard, charcoal on white. Designed by Naomi Raymond, 1952. Cohn-Hall-Marx Co, (For Colvin, see Bertha Schaefer Callery - Page 3.) Upholstery fabric, Saran and metal, novelty weave. Brown, 1955. Fazakas Fabrics, Inc. Drapery fabric, "Hit & Miss," Black spray on white cotton batiste, Designed by DoneIda Fazakas, 1950, Qeraldine Punk - Lancaster, Pennsylvania, Window ahade, Handwoven red and rust cotton and rayon warp. Banana bark and coconut cord weft. 1950, Screen, Handwoven in Puerto Rico, White string warp,, white jnaguey and coconut sliver weft, 19^8, % Ginstrom - Cedar Falls, Iowa. Screen. "Scallops." Handwoven, handtied openwork; all linen panel. 1955. folding Decorative Fabrics. Drapery fabric. "Torero-Vermilion 33." Silk screened cotton sateen. Designed by Otto and Grete Wollner,1955» LiUy E.