The Morgue File

Total Page:16

File Type:pdf, Size:1020Kb

The Morgue File 1850-1900 1901-1919 1920 The Morgue File Bailey Lovell 1930 1940 1950 1960 Victorian Era (1850-1900) The Victorian Era was quite literally named after Queen Victoria who reigned from 1837-1901. During this time, the British empire abolished slavery which freed more than 800,000 slaves at the time. Travel was revolutionized by the invention of the steam powered railway. Queen Victoria led London into a sixteen year long mourning after the death of her husband which revolutionized the way civilians dressed. The style of dress was very muted colors with no shine to the jewelry worn and London was very somber during this time. Corsets were very important during this time and shaped the way the woman’s body would be for the rest of her life. Many women during the day would keep themselves occupied by changing up to seven times throughout the day for their daily activities including horseback riding and tea time. The fashion world was revolutionized by the invention of the sewing machine which led to the first every fashion designer, Charles Worth.Charles Worth was the inventor of the polonaise skirt and began to use real women as models which he called mannequins. He also designed for Queen Victoria herself and other royalty. The crinoline was also invented during the Victorian Era which created the full skirt which needed lots of assistance to put on and take off. Women's Daywear Zouave Jacket: The zouave jacket is a bolero Crinoline Skirt: The crinoline skirt was a cage The Corset: The corset was one of the most style jacket that is tighter at the sleeve and style hooped underskirt that used stiff netting. popular items in a woman’s wardrobe during balloons out at the elbows. These jackets often The cage crinoline was nicknamed the the Victorian Era. The garment gave women an had exquisite details and trims on them which “birdcage” not only because of its appearance, hourglass figure but also made it harder for showed a person's wealth. The jackets were but also because of the caged state of the them to breathe because it compressed the braided trimmed and worn by women and woman wearing it. The crinoline was worn lungs together. A woman was given her first children the the inspiration from the battalion under the woman’s dress to make it bigger and corset at the age of three to start forming the of Algerians fighting in the French War. fuller. body to an ideal waist size of 17. Women’s Evening Wear Bustle: The bustle was a pad of cork, down Decollete: Low neckline bodice of a blouse or other type of stuffing worn under a skirt, or dress. The Victorian version was low cut Ballgown: This was the type of ball which is attached to the back below the on the shoulders. The decollete neckline is a gown worn in the Victorian Era. These waist to hold out skirts in back. traditional component of evening dresses gowns were often made out of luxurious and ball gowns. Women who were married materials such as silk and satin. would show more skin than unmarried women. Men’s Wear Waistcoat: The double breasted waistcoat Chesterfield Overcoat:A man’s wool was a staple piece to a man’s ensemble. This Frock Coat: A man’s coat with a fitted overcoat with a fitted waist and velvet garment was usually worn over a white sleeved waist attached with a waistline seam to a collar. Variations of the style were shirt with a coat and trousers. The waistcoat knee length or shorter skirt. double breasted and/or had a fur collar. was usually made of fabrics such as wool, satin silk, brocade, or cotton in different weaves or finishes. The waistcoat provided distinction and color in the man’s otherwise uninteresting ensemble. Accessories Gloves: essential and were often Parasol: an umbrella like accessory used Louis Heel: Shoes weren't really crocheted or embroidered by the by women for shading from the sun. important because the dresses in the women themselves. Also popular were This was one of the most important Victorian Era covered them. The Louis kid leather gloves. The silver buttoner items brought out daily. heel was popular for men and women. would make it easier to dress oneself. These were often as high as five inches Evening gloves were satin or really thick tall. cotton that's been woven. Bibliography Victorian Era: Zouave Jacket (1800s). Retrieved November 22,2019 from https://i.pinimg.com/originals/0f/dc/f5/0fdcf5c73178386b534e2a4884b12d31.jpg Crinoline Skirt (1860s). Retrieved November 22,2019 from https://www.metmuseum.org/art/collection/search/108689 The Corset (1900s). Retrieved November 22,2019 from https://www.philamuseum.org/collections/permanent/153082.html?mulR=1235387001%7C11 Bustle (1870s). Retrieved November 22,2019 from https://www.metmuseum.org/art/collection/search/139653 Decolotte (1860s). Retrieved November 22,2019 from https://www.metmuseum.org/art/collection/search/261500 Ballgown (1850s). Retrieved November 22,2019 from https://vintagefashionguild.org/fashion-timeline/1830-to-1840/ Chesterfield Overcoat (1900s). Retrieved November 22,2019 fromhttps://vintagefashionguild.org/fashion-timeline/1830-to-1840/ Waistcoat (1800s). Retrieved November 22,2019 from https://www.metmuseum.org/art/collection/search/90767 Frock Coat (1800s). Retrieved November 22,2019 from https://www.flickr.com/photos/19603157@N03/2302872889/in/photostream Bibliography Gloves (1860s). Retrieved November 22,2019 from https://www.metmuseum.org/art/collection/search/105018 Parasol (1860s). Retrieved November 22,2019 from https://www.metmuseum.org/art/collection/search/102722 Louis Heel (1800s). Retrieved November 22,2019 from http://www.1860-1960.com/xs0159p0.html Edwardian Era and World War 1(1901-1919) With the death of Queen Victoria, the mourning period disappeared and a new Queen came into power. Alexandra of Denmark became the new Queen after marrying Prince Edward VII. Queen Alexandra set a bunch of the fashion trends of this era such as the use of pastel colors in outfits rather than the dark colors that were previously worn from Queen Victoria’s reign. Queen Alexandra popularized the Tea Gown which was a very popular dress during this era. The crinoline skirt started to fade away and the natural silhouette of the woman’s body started to be highlighted more instead of hiding it. In 1909, Ford mass- produced the Model T automobile for the first time which had everyone using automobiles to get around. The Gibson Girl was the first fashion icon of this time that wasn’t royalty or an actual person. The Gibson Girl was created by Charles Dana Gibson and was seen wearing a shirtwaist tucked into a trumpet skirt with her hair up in a chignon style. The creation of the Gibson Girl was a step forward to the more comfortable silhouette for women. Jean Patou was an influential designer during this time period with his sportswear line in the late teens as well as his use of geometric patterns in his pieces. Women’s Day Wear Tea Gown: The Tea Gown was also Shirtwaist: The shirtwaist was a blouse. Duster: The duster was a long, lightweight known as the lingerie dress. It was a It was the feminine version of a man’s coat made of gabardine or wool introduced muslin dress, popular in which was the shirt. The shirtwaist especially came during the late 19th century for motoring. most important style of the Edwardian with a center, front placket. The duster had long sleeves and a high Era. It was soft and sexy creation of collar and enveloped the body from the flimsy chiffon or silk, loose fitting neck to the ankles. The purpose was to keep structure and extremely feminine. the dust off wearers and was usually used by cowboys. Women’s Evening Wear Cocoon Coat: inspired by the kimono, it was an evening coat often made of The Evening Gown: This evening The hobble skirt: The hobble skirt was velvet, silk, or wool with one closure at gown, created by Worth in 1910, shows full through the hips and thighs, then the straight up and down silhouette he the front. Oval shaped coat was often tapered drastically at the lower leg. It used within the designing of evening embroidered or trimmed with fur. restricted leg movement for women. gowns. Remains popular until the 1920’s. Men’s Wear Drape Suit: The drape suit, also Knickerbockers: Knickerbockers were Smoking Jacket: A man’s silk, velvet known as the sack suit, had loose, loose, full breeches which are gathered long sleeved short jacket. This jacket was comfortable jacket with no waistline, below the knee and fastened by a button or worn at home in the second half of the matching vest and straight legged buckle. These were worn for activities such 19th century. It was similar to a dressing trousers. Seen as sportswear for as golfing, hunting, and bicycling. Boys gown. During the 1920’s, it was also upperclassmen. Men would wear this would wear these on a regular basis until popular as women’s lounging attire. suit when they were going out to shop. they were mature enough to wear long trousers. Accessories Knossos Scarf: The Knossos Scarf was Alexandria Collar: a choker of pearls Beekeepers Hood: A lightweight straw a long sheer silk rectangle based on the in combination with diamonds and hat with a wide shallow crown and a ancient cretan civilization clothing. It other precious stones or a simple black wide down turned brim, often worn was worn with a very sheer piece of velvet ribbon. with veil of sheer silk. (this was worn fabric with no corset or undergarments with veil and duster, 1915) on underneath.
Recommended publications
  • Femininity and Dress in fic- Tion by German Women Writers, 1840-1910
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Scripts, skirts, and stays: femininity and dress in fic- tion by German women writers, 1840-1910 https://eprints.bbk.ac.uk/id/eprint/40147/ Version: Full Version Citation: Nevin, Elodie (2015) Scripts, skirts, and stays: femininity and dress in fiction by German women writers, 1840-1910. [Thesis] (Unpub- lished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Scripts, Skirts, and Stays: Femininity and Dress in Fiction by German Women Writers, 1840-1910 Elodie Nevin Thesis submitted for the degree of PhD in German 2015 Department of European Cultures and Languages Birkbeck, University of London Declaration for PhD thesis I have read and understood the regulations for students of Birkbeck, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: Date: 12/08/2015 2 Abstract This thesis examines the importance of sartorial detail in fiction by German women writers of the nineteenth century. Using a methodology based on Judith Butler’s gender theory, it examines how femininity is perceived and presented and argues that clothes are essential to female characterisation and both the perpetuation and breakdown of gender stereotypes.
    [Show full text]
  • 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.
    [Show full text]
  • Dressing for the Times: Fashion in Tang Dynasty China (618-907)
    Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks.
    [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]
  • When You Buy a Fur Jo Ann Breckenridge Iowa State College
    Volume 28 Article 7 Number 6 The Iowa Homemaker vol.28, no.6 1948 When You Buy A Fur Jo Ann Breckenridge Iowa State College Follow this and additional works at: http://lib.dr.iastate.edu/homemaker Part of the Home Economics Commons Recommended Citation Breckenridge, Jo Ann (1948) "When You Buy A Fur," The Iowa Homemaker: Vol. 28 : No. 6 , Article 7. Available at: http://lib.dr.iastate.edu/homemaker/vol28/iss6/7 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in The oI wa Homemaker by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. by ./ o Ann Breckenridge A ND THERE were mink coats and a strap­ less ermine formal with a wrap to match Full length coats, above, m·e blended muskrat. and a leopard sport coat and a white mink shortie all floating around on pink cloud hangers. And the terribly handsome man said, 'All for you, fair lady,' just like a King Arthur knight. And just as I was putting on the mink, the alarm clock woke me up!" been patched. The best grade has as few seams as \t\Thether you dream of mink or mouton, Vicky's possible. Be sure the dye is even throughout. You'll discovered you'll need to take more with you than a pay $39 to $200 for your coat of coney. full piggy bank or a willing father when you go fur shopping.
    [Show full text]
  • 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.
    [Show full text]
  • French and Fashionable Anne Beem Iowa State College
    Volume 35 | Number 13 Article 6 1955 French and Fashionable Anne Beem Iowa State College Follow this and additional works at: http://lib.dr.iastate.edu/homemaker Part of the Home Economics Commons Recommended Citation Beem, Anne (1955) "French and Fashionable," The Iowa Homemaker: Vol. 35 : No. 13 , Article 6. Available at: http://lib.dr.iastate.edu/homemaker/vol35/iss13/6 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in The oI wa Homemaker by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. Toni Miley reports- FRENCH and FASHIONABLE Toni Miley, after spending 14 months in France, by Anne Beem saw her exaggerated ideas of French creations take a T echnical Journalism junior nosedive when she discovered the aver.age French woman's taste in clothes. Paris- horne of the world­ Shoe styles in Paris are very similar to ours. The famous fashion designers- has even felt a modified greatest difference is the slender heel. The base of the influence of the Davy Crockett coonskin cap! A typi­ heel is very narrow, tapering off to a pencil-like thin­ cal example was the old French woman who used the ness. familiar cap with its tail hanging down the back to R egardless of where Toni went, French women were dress up her raccoon coat. seen in suits. The practical suit was worn for dressy occasions, semi-dressy events and even for shopping.
    [Show full text]
  • Daily Iowan (Iowa City, Iowa), 1943-03-14
    Ration Calendar Light Snow OA8 "AU o01lpoa • ulol... ,..,••• 1/ FllEL OIL OOUpGD • oxpl,.. April 1,8, IOWA: Licbt.Dow In north 00,.,.B8 o.u,.n 25 ...plr.. Mar•• 11/ liDd t porUou 8UOAIC .oupon II 'ICpl". ~r.. "b 161 THE DAILY IOWAN HROIIN, •• ",..n 17 upl'lI Iv.. J(' cold., loda,. Iowa City's Morning Newspaper fIVE CENTS IOWA CITY, IOWA SUNDAY, MARCH 14, 1943 VOLUME XLID NUMBER 144 e I e al 5 n, 1 U.S.·TRAINED CHINESE AIRMEN NOW FIGHT SIDE BY SIDE WITH YANKS Visiting Eden Warns Allies of Long Road Ador Very III To Victory as Talks With F.D.R. Begin Unloads 1,000 • War, Global Security Tons of Bombs Germans Gain Will Be Chief Points Of Vital Conferences Upon Railways WASHINGTON (AP) - Warn- On Kharkov ing that "we'vc gol a long way yct to go" on the road to victory, Pummels Supply Route Reds Admit Situation Anthony Eden, British foreign sec­ To Coastline Troops l retary, ha tened to get tOGether AJong Somme, Seine ISerious as Enemy Iwith President Roosevelt last night on the vast problcrru of war Advances New Units I LO 'DO~ (AP)-Thc RAF llnd global. ecurity. • h'oPP d mor thlln 1, ton LONDON, Sunday (AP)-Gcr­ The president invited Eden for J[ bomb on E "pn Frid ,­ man troops gained fresh ground in a dinner and a lalk. the White the flaming right for Kharkov. a Housc announced. Anothcr guest night, and y . t rdllY 11ft rnoo;, midnight Moscow bulletin an­ was John G. Winant, the Ameri­ whil fil't' till w re l'1Il>ing nounced today, and Russian field can ambas.
    [Show full text]
  • Rer~O Flashy Cocktail Dress and Hat ~~HITNEY Grey Business Suit, Prince-Nez CHORUS ~Jot"EN, SINGING GIRLS BILL COOKER Stree
    "'T , ANYTHING GOES Costume Plot ACT I, SC I Caprice Bar, afternoon smart hotel ~JO~1E~j -~1EN REr~O Flashy cocktail dress and hat ~~HITNEY Grey business suit, prince-nez CHORUS~JOt"EN, SINGING GIRLS BILL COOKER Street clothes Assorted Cocktail dresses and hats DANCINGGIRLS JOHN Bartenders jacket, dark pants Spangled cocktail sheaths bow tie CHORUSMEN/SINGING Business suits, dark colors DANCINGBOYS suits to go with girls ACT I, SC lIOn the ship t1RS. HARCOURT ~JHITr~EY Palm beach suit and hat Summer suit with hat JUNIOR Sports jacket and pants HOPEHARCOURT Young smart afternoon dress and BISHOP DOBSO~J hat, gloves and bag Clerical suit with collar ~1RS.t~E~JT~/ORTH Middle aged. Smart dress or suit SIR DEVELIN Cutaway and bowler with fur scarf and hat I SNOOKS Street dress and hat, somewhat BILLY ~~hite dinner jacket flashy BISHOP MOONClerical outfit with black hat REr~O Traveling suit with hat TWOFEDERAL ~1EN BONNIE Nice dress and hat Dark business suits, hats T~JOCHINESE Sol id kimonos and pants w/hats BOr~VOYAGE BON VOYAGE I SI~JGINGGIRLS CHORUSMEN/SINGING ~1E~J Assorted street dresses, suits Business suits and sports out- sport clothes fits with 1 ships officer in white uniform, 2 sailors, 2 porters, DANCINGGIRLS 1 steward Set alike, sports outfits with hats DANCI~IGMEN ~Jhite Sailor uniforms ALL THROUGHTHE NIGHT ALL THROUGHTHE NIGHT DANCI~JGGIRLS DANCINGBOYS Grey tux jackets with black Soft 3/4 length chiffon dresses black pants alike or in 3 to 4 colors WHITNEY Plus fours, sport jacket PURSER White uniform ACT I, SC III On Board BO:~NIE Slacks, halter top and sweater SIR DEVELIr~ Heavy cable knit sweater and HOPE 3 piece linen sun costumes tennis pants sleeveless top, shirt and skirt / , - 2 - MRS.
    [Show full text]
  • Tweed Trousers out Sers Certainly Flatter Those Whose Figure May Ing-Up Grouse in a Pair of White Jeans
    Big guns wear tweed trews Britain’s top shots have put aside “outdated” plus-fours and are sporting ankle-length trousers. They’re comfortable and flattering, and perfect for that late-night fuel stop, saysRosie Nickerson HERE’s a definite trend emerg- there are many reasons for this new jeans for years. One well-known lady shot was ing for more experienced shots departure in shooting fashion. tweed trou- seen by several million viewers on tV walk- to wear long tweed trousers out sers certainly flatter those whose figure may ing-up grouse in a pair of white jeans. the bag shooting. they confer a degree of have expanded since their svelte youth. Plus- wasn’t huge at the end of the day but she looked smartness and individuality in a fours have the unfortunate tendency to make fabulous all the same. Austrians often sport wayt that no other piece of shooting apparel all but the most tall, willowy guns look rather either teeny-tiny lederhosen shorts or go can achieve, imbuing the tweed trouser portly. Women shots abandoned plus-fours Top gun’s choice: Lord James Percy (below) Brigade with a sense of chic that sets them long ago and have been turning up on shoots feels the need for trousers in tweed barbour apart from ordinary plus-foured mortals. in slim-fitting moleskin trousers or nubuck www.thefield.co.uk 83 in for the long-length plus-fours in a thick, Right: William van Cutsem is one of the earliest cotton twill. Spanish guns are partial to elon- pioneers of the tweed-trouser trend.
    [Show full text]
  • A New Fashion Exhibition Shows Nordic British
    press release A new fashion exhibition shows Nordic British In its new fashion exhibition, Nordiska museet in Stockholm shows how Nordic fashion, clothes styles and lifestyle are influenced by Britain’s creative industry. The narrative runs from the Middle Ages to the present day, illustrated through fabrics, patterns, clothes and phenomena that have been shaped into a part of everyday life in the Nordics. British: Ever So Nordic opens on 29 March. Cardigan, jumper and trench coat. Tartans and Doc Martens boots. String vest and trousers by Per Götesson from Flowery wallpaper, pyjamas and a cup of tea. Football, tennis 2017. Photo: Peter Segemark and a stroll in the woods wearing wellingtons. These are such commonplace elements of our everyday life that we may not reflect on where they come from. With Brexit around the corner, Nordiska museet in Stockholm shows how centuries of trade relations with Britain have affected Nordic fashions and lifestyle. There are numerous points of contact between Sweden and Britain, and in many ways there is a shared outlook. Nordic design has been influenced through history by styles from Japan to France, Germany and the USA. The British cultural influence is highly noticeable in our daily life and it has spread through all classes in society. Many people are likely to have a cardigan, jumper, rain coat or pyjamas at home, says Helen Persson, curator of the exhibition and head of Nordiska Wedding dress in white silk from 1854, Sweden. museet’s Centre for Dress and Fashion. Photo: Peter Segemark The exhibition British – Ever So Nordic shows imported luxury embroidery and woollen fabrics that are several hundred years old.
    [Show full text]
  • Tate: Arizona County: Yavapai
    Annual Report of Home Demonstration Agent, Yavapai County 1950 Item Type text; Report Authors University of Arizona. Agricultural Extension Service. Home Demonstration Agents; Hughes, Lucinda E. Publisher University of Arizona Rights Public Domain: This material has been identified as being free of known restrictions under U.S. copyright law, including all related and neighboring rights. Download date 27/09/2021 01:38:29 Item License http://creativecommons.org/publicdomain/mark/1.0/ Link to Item http://hdl.handle.net/10150/637321 ANNUAL NARRATIVE REPORT �TATE: ARIZONA COUNTY: YAVAPAI REPORT OF: LUCINDA E. HUGHES FROM: DECEMBER 1, 1949 to NOVEMBER .30, 1950 TABLE OF CONTENTS ------- Page Cover and Title Page ••••••••••••••••••••••••••••• o - Table of Contents •••••••••••••••••••••••••••••••• 1 2 Preface ••••••••' •••••••••••••••••••••••••••••••••• .3 Highlight s ••••••••••••••••••••••••••••••••••••••• 4 Projects: Organizati on 'and P'lanning ••.••••••••••••••••• 5 16 Pzogram and Progress Report ••••••••••••• '6 11 House Furnishings and Surroundings •••••••••• 17 21 Cloth ing and Texti les ••••••••••••••••••••••• 22 24 Nutrition Food Preservation and Storage •••••••••• 25 34 Freezing Demon strati on not es ••••••• 28 33 Food Selection and Preparation ••••••••• 34 ,38 Health and Safety ••••••••••••••••••••••••••• 41 42 Recreation and Community Life ••••••••••••••• 43 Extension Information ••••••••••••••••••••••• 44 Page 4-H Club Program: County S ituat ion . 45 Statistical Summary •••••••••••••••••••••••• 46 Summary by Projects ••••••••••••••••
    [Show full text]