142 Jenna Leigh Inst Correct
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Convertible Collar Construction
Convertible Collar Construction Directory Click any image to go to that section Yoke/Facing Options: Intro and Gallery By far the most common set-up for a The purpose of this introductory section is to convertible-collar shirt is that it has front facings feature and compare the range of other options and a yoke, and that these two details don’t touch, also, if less commonly, in use beyond this classic as in the example at right. one, before I proceed to work step-by-step through a handful of useful variants . Many other possible That is, the facings don’t extend far enough combinations, and of course, variations on the towards the shoulders at the neckline that they’ll ones here, are conceiveable and may suit your meet with or join to the fronts of the yoke layers. As project better, so feel free to experiment. a result, the yoke construction steps aren’t integrated into the collar steps and are completed, in front at least, before the collar is begun, so the options for using the yoke as a back facing are eliminated. The steps for this classic arrangement are described below in Variation #5, in the Front Facing Only category. Collar Insertion Options Step-By-Step No Yoke or Facings Required Front facings Only Front and Back Facings, or Yoke Used as Facing Variation 1: Collar Applied as Band Variation 3: Collar’s Back Neckline Edge-Stitched Variation 6: Back Facings 1 3 and Facings Secured at Shoulder Seams 6 Options: Options: 1. Edge-stitched neckline 2. -
Londa Rohlfing - Memory T-Shirt
Londa Rohlfing - Memory T-Shirt Londa digs in, filters, and combines men’s collared polo knit shirts and seven dress shirts into strikingly artistic tops so the men in your life better lock their closets! Mannequin 1: The Khaki/Black Shirt Interesting collar edge - how it flows over the shoulder to the back 1. Asymmetrical/Informal Balance - accented with woven striped shirt set in from behind to fill in low neckline. 2. Combination of textures - couched edges for ‘finish’ - more on how to couch later. Yarn ‘connects’ everything, finishes edges. 3. Light hand stitching as center of interest - also on back, and sleeves 4. Bound neckline using knit fabric 5. Even Daddy’s ‘spot’ is OK! 6. Original uneven hemline - bound slits at side seams Mannequin 2: The Periwinkle Shirt 1. Symmetrical/Formal balance 2. Curved line of inset check knit shirt flows over the shoulder/sleeve seam - had to stitch shoulder seams, insert sleeves before working the check shirt ‘fill-in’ at the chest. 3. Reason for lower yoke, to cover up the logo embroidery at left chest. 4. Wider at shoulders always makes hips look slimmer 5. Use of polo collar - wrong side as ‘outside’ to not show ‘worn’ folded edge of collar. 6. Bias is ALWAYS better/more flattering - check shirt inset. 7. ALWAYS stay-stitch neckline edges. 8. Bound neckline finished with bias tie fabric. 9. Bias cut 2 layer ‘Fabric Fur’ + yarn = the trim. 10. Somewhat wild eye-attracting ‘hairy’ Couched yarn connects everything and adds some ‘pizazz. 11. Sleeves - tie label covers insignia at sleeve, bias Fabric Fur + yarn trim connects with rest of the shirt. -
Louis-Napoléon and Mademoiselle De Montijo;
CORNELL UNIVERSITY LIBRARY Cornell University Library DC 276.132 1897 3 1924 028 266 959 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/cu31924028266959 LOUIS NAPOLEON AND MADEMOISELLE DE MONTIJO LOUIS NAPOLEON BONAPARTE President if the French Republic LOUIS NAPOLEON AND MADEMOISELLE DE MONTIJO BY IMBERT DE SAINT-AMAND TRANSLATED BY ELIZABETH GILBERT MARTIN WITH PORTRAITS NEW YORK CHARLES SCRIBNER'S SONS 1899 COPYRIGHT, 1897, BY CHARLES SCRIBNER'S SONS NotiDOOtI ^tttt }. a. Cuahing & Co. —Berwick k Smith NsiTOod Mill. U.S.A. CONTENTS CHAPTSB PASZ Intboduction 1 I. Tee Childhood OF Louis Napoleon 15 II. The !Fibst Restoration 28 in. The Hundred Days 39 rv. The First Years op Exile 50 V. Rome 62 VI. The Birth op the Empress 69 Vn. 1830 77 VIII. The Italian Movement 90 IX. The Insurrection op the Romagna 97 X. Ancona 107 XI. The Journey in Erance 115 Xn. Arenenbeko 128 Xin. Stbasburg 142 XIV. The Childhood op the Empress 154 XV. The " Andromeda " 161 XVI. New York 170 V Vi CONTENTS OHAPTEE PAGB XVII. Some Days in London 179 XVIII. The Death op Queen Hoktensb 187 XIX. A Year IN Switzerland 197 XX. Two Years in England 211 XXI. Boulogne 222 XXn. The Conciehgerie 233 XXm. The Court OP Peers 240 XXIV. The Fortress op Ham 247 XXV. The Letters prom Ham 261 XXVI. The Prisoner's Writings 274 XXVII. The End op the Captivity 281 XXVIIL The Escape 292 XXIX. -
Garments, Parts of Garments, and Textile Techniques in the Assyrian
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Terminologies from the Orient to the Centre for Textile Research Mediterranean and Europe, 1000 BC to 1000 AD 2017 Garments, Parts of Garments, and Textile Techniques in the Assyrian Terminology: The eoN - Assyrian Textile Lexicon in the 1st-Millennium BC Linguistic Context Salvatore Gaspa University of Copenhagen Follow this and additional works at: http://digitalcommons.unl.edu/texterm Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Art and Materials Conservation Commons, Classical Archaeology and Art History Commons, Classical Literature and Philology Commons, Fiber, Textile, and Weaving Arts Commons, Indo-European Linguistics and Philology Commons, Jewish Studies Commons, Museum Studies Commons, Near Eastern Languages and Societies Commons, and the Other History of Art, Architecture, and Archaeology Commons Gaspa, Salvatore, "Garments, Parts of Garments, and Textile Techniques in the Assyrian Terminology: The eN o-Assyrian Textile Lexicon in the 1st-Millennium BC Linguistic Context" (2017). Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD. 3. http://digitalcommons.unl.edu/texterm/3 This Article is brought to you for free and open access by the Centre for Textile Research at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Garments, Parts of Garments, and Textile Techniques in the Assyrian Terminology: The Neo- Assyrian Textile Lexicon in the 1st-Millennium BC Linguistic Context Salvatore Gaspa, University of Copenhagen In Textile Terminologies from the Orient to the Mediterranean and Europe, 1000 BC to 1000 AD, ed. -
The History of Fashion in France, Or, the Dress of Women from the Gallo
r\ U Ly c r ^ -=4^-^ r J^^^ y^ ^^ ^->^ THE HISTORY OF FASHION IN FRANCE. 3-\MML THE HISTORY OF FASHION IN FRANCE; OR. THE DRESS OF WOMEN FROM THE GALLO-ROMAN PERIOD TO THE PRESENT TIME, FROM THE FRENCH OF M. AUGUSTIN CHALLAMEL. nv Mrs. CASHEL HOEY and Mr. JOHN LILLIE. S C R I R N E R A N IJ \V K L I' O k 1 J. I»»2. LONDON : PRINTED BY GILBERT AND RIVINGTON, LIMITED, ST. John's square. —— CONTENTS. INTRODUCTION. Various definitions of fashion—The grave side of its history—Quotations from the poets —Character of Frenchwomen—The refinement of their tastes and fancies — Paris the temple of fashion —The provinces ^Mdlle. Mars' yellow gown— The causes of fashion —A saying of Mme. de Girardin's —A remark of Mrs. TroUope's — The dress of actresses— Earliest theories of fashion— The Gyna;ceum of Amman First appearance of the "Journal des Dames et des Modes "—Lamesangere Other pubhcations—An anecdote concerning dolls— Plan of the History of Fashion in France CHAPTER I. THE GALLIC AND GALLO-ROMAN PERIOD. Gallic period—Woad, or the pastel—Tunics and boulgetes—"Mavors"and "Palla" — Cleanliness of the GaUic women -The froth of beer or "kourou"—The women of Marseilles; their marriage-portions — Gallo-Roman period — The Roman garment—The " stola "— Refinement of elegance—Extravagant luxury of women Artificial aids—A " vestiaire" or wardrobe-room of the period—Shoes—^Jewels and ornaments—The amber and crj'stal ball—Influence of the barbarians . -13 CHAPTER II. THE MEROVINGIAN PERIOD. Modifications in female dress after the Invasion of the Franks—Customs of the latter The Merovingians —Costumes of skins and felt ; cloaks and camlets—The coif, the veil, the skull-cap, the " guimpe," the cape—Fashionable Merovingian ladies adorn themselves with flowers — Various articles of dress— The "suint" —Young girls dress their hair without omamenis— St. -
Download the Full Glossary of Terms
Glossary of Terms Term Description # (number) 1x1 Rib Knit A rib knit is produced using a style of knitting pattern which yields a distinct vertically ridged pattern known as ribbing. A 1x1 Rib knit is created when the rows of the "knit" and "purl" stitch are identical. 2-Way Zipper A zipper with two zipper pulls so the garment can be unzipped from either direction. 2x1 Rib Knit A rib knit is produced using a style of knitting pattern which yields a distinct vertically ridged pattern known as ribbing. A 2x1 Rib knit is created when there are two rows a "knit" stitch and one row of a "purl" stitch. 2-Needle Stitching See Double-Needle Stitching 4-Needle Stitching A finish commonly used on a sleeve or bottom hem that uses four needles to create parallel rows of visible stitching, giving the garment a cleaner, more finished look, as well as adding 50/50 50-percentdurability. cotton/50-percent polyester fabric; also referred to as "poly/cotton". A Air Jet Yarn A spinning technology which spins a single type of yarn or with a blend of filament yarns which provide for a virtually "pill free" fabric Allen Solley Placket A one-piece placket that's hidden after being sewn. This process utilizes the existing fabric for the outside placket face. ANSI The American National Standards Institute (ANSI) is an organization that promotes standards for industry and government. Most often refers to safety colors. Anti-Bacterial A finish or treatment that inhibits the growth of bacteria. Anti-Microbial A term used for a garment that is able to resist, either naturally or chemically, the effects of microbial secretions put off by the human body, resisting odor and increasing garment life. -
Download Printable Instructions
Fun and Simple Passport Wallet If you’re a traveler on the go, you simply must make this fun passport wallet! Never lose this important document in your purse again when it’s in a bright and colorful protector. Make this easy project on your new Baby Lock Accomplish! Skill Level: Beginner Created by: Diane Kron, Sewing Project Manager Supplies: Baby Lock® Accomplish sewing machine 1 Fat quarter for main fabric 1 Fat quarter of contrast fabric for lining 8 ¾” x 7” of buckram used for stability 8 ¾” x 7” of clear 12-gauge clear vinyl 48” of ½” wide bias binding Madeira® Cotona thread for sewing 1 Large decorative button Frixion marking pens Baby Lock Project: Passport Wallet Page 1 of 3 ¼” Quilting Foot Basic sewing supplies Instructions: 1) Set up the machine for sewing. The thread used should coordinate with the fabrics. 2) Draw a line across the center of the buckram using the frixion pen. 3) Place the main fabric and the contrasting fabric on top of each other. Pin the buckram to the top and cut out both fabrics ½” larger all the way around than the buckram. 4) Place the buckram on the wrong side of the lining fabric. Pin in place. Stitch the two together on the drawn center line on the buckram. Stitch all the way around the outer edges of the buckram. Trim off excess fabric by cutting very close to the stitched line. Be careful not to cut into the stitched line. 5) With wrong sides of the fabric facing each other, place the lining section on top of the main fabric. -
Placement of Fabric And/Or Garment Pieces for Machine Sewing
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Historical Materials from University of Nebraska-Lincoln Extension Extension 1986 HEG86-205 Sewing Ups and Downs: Placement of Fabric and/or Garment Pieces for Machine Sewing Anna Marie White University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/extensionhist Part of the Agriculture Commons, and the Curriculum and Instruction Commons White, Anna Marie, "HEG86-205 Sewing Ups and Downs: Placement of Fabric and/or Garment Pieces for Machine Sewing" (1986). Historical Materials from University of Nebraska-Lincoln Extension. 1402. https://digitalcommons.unl.edu/extensionhist/1402 This Article is brought to you for free and open access by the Extension at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Historical Materials from University of Nebraska-Lincoln Extension by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. HEG86-205 Sewing Ups and Downs: Placement of Fabric and/or Garment Pieces for Machine Sewing This NebGuide describes how to position fabric and garment pieces during construction to facilitate sewing and achieve a more professional look. Anna Marie White -- Extension Clothing Specialist and Home Economics Program Coordinator Sewing, like much of life, has its ups and downs. Sewing ups and downs might be thought of as successes or frustrations, but the ups and downs referred to here are intended to prevent frustration at the sewing machine during garment construction. How fabrics or sections of the garment are placed when being machine stitched often affects the outcome of the stitching. It often makes a difference which layer of fabric is placed up and which one is down on the bed of the machine when stitching is done. -
The History of Fashion in France;
:J**T i-HOl RARE BOOK COLLECTION fM THE LIBRARIES The University of Georgia ~i?<j>tf . - THE HISTORY OF FASHION IN FRANCE. P- „,-.</<'•', I THE HISTORY OF FASHION IN FRANCE; OR, THE DRESS OF WOMEN FROM THE GALLO-ROMAN PERIOD TO THE PRESENT TIME. FROM THE FRENCH OF M. AUGUST] X CH.\LL.\MEI. EY MRS. CASHEL HOEY AND MR. JOHN LILLIE. jgclu |9orh : S C R T J5 V £ K A N LJ V V, L V • ) 1< U 1882. w\&r T2SO CONTENTS. INTRODUCTION. Various definitions of fashion—The grave side of its history—Quotations from the poets—Character of Frenchwomen—The refinement of their tastes and fancies— Paris the temple of fashion—The provinces—Mdlle. Mars' yellow gown—The causes of fashion—A saying of Mme. de Girardin's—A remark of Mrs. Trollope's— The dress of actresses—Earliest theories of fashion—The Gynseceum of Amman— First appearance of the "Journal des Dames et des Modes"—Lamesangere— Other publications—An anecdote concerning dolls—Plan of the History of t"sJ,oriBOK Fashion in France ............ PRINTED BY GILBERT AND RIVINGTON, LIMITED, ST. JOHN©S SQUARE. CHAPTER I. THE GALLIC AND GALLO-ROMAN PERIOD. Gallic period—Woad, or the pastel—Tunics and boulgetes—"Mavors" and "Palla" —Cleanliness of the Gallic women -The froth of beer or "kourou"—The women of Marseilles ; their marriage-portions — Gallo-Roman period — The Roman garment—The'' stola "—Refinement of elegance—Extravagant luxury of women— Artificial aids—A " vestiaire" or wardrobe-room of the period—Shoes—Jewels and ornaments—The amber and crystal ball—Influence of the barbarians CHAPTER II. -
01Kimono Sleeve with Yoke
CB BACK *All values are given in cm. 90 45 This instruction is developed from the basic dress block, which is fitted to the sleeve and the basic dress sleeve. Before beginning this sleeve, place the alignment (bust dart) of the front into the waist dart. You can move it later as needed. You must also now decide whether to remove or keep the shoulder dart on the back. In our illustration we have chosen to keep the shoulder dart. Draw a line from the shoulder point on your sleeve that divides the sleeve into two pieces. Be aware that this line is perpendicular to the bicep line. Shoulder SIH point WC Instruction 9 Start by drawing a right angle in the upper right side of the paper. The BACK angle should be in a size so the pattern pieces can be placed along it as shown in the figure. Then draw a guide line that divides the angle into two 9 equal parts (45 degrees). Mark the match points on the pattern pieces. Measure 9 cm downwards BIC the armhole from the shoulder seam on front and back. Then from the match point, measure the remaining of both armholes. The value for FRONT these measures is then inserted on the sleeve from the sleeve seams and up along the sleeve cap on the side that belong to front and back respec- tively. This is marked with the symbol O on the figure, which means equal FRONT SIH CF length. Place the pattern pieces onto the angle. Start by placing the back with CB DRESS SLEEVE along one side of the angle and the sleeve so the line at the shoulder EB point lies along the 45-degree guide line. -
Standards of Quality for Custom Clothing
STANDARDS OF QUALITY Copyright © 2008 by the Association of Sewing and Design Professionals, Inc. All rights reserved. No part of this publication may be reprinted in any form without permission in writing from the Association of Sewing and Design Professionals, Inc. Table of Contents TABLE OF CONTENTS............................................................................................................................ II ACKNOWLEDGEMENTS .........................................................................................................................V THE STANDARDS AND PRACTICES COMMITTEE ........................................................................ VI INTRODUCTION........................................................................................................................................ 1 SECTION I: .................................................................................................................................................. 3 QUALITY STANDARDS IN GARMENT CONSTRUCTION................................................................ 3 SEAMS...................................................................................................................................................... 3 SEAM FINISHES...................................................................................................................................... 3 DARTS..................................................................................................................................................... -
REMODELING CLOTHING Published and Distributed in Furtherance of the Acts of May 8 and June 30, 1914, by the Colorado State College, Extension Service, F
D-36 REMODELING CLOTHING Published and distributed in furtherance of the Acts of May 8 and June 30, 1914, by the Colorado State College, Extension Service, F. A. Anderson, Director, and U. S. Department of Agriculture cooperating. FORT COLLINS, COLO. MAY 1942 Remodeling Clothing By l\IARTHA ULRICH, Clothing Specialist Now is the time to DEFEND YOUR CLOTHING DOLLAR. START AT HOME! Inventory Plan Clean Sew Save The above may challenge you regarding the "Ordinary run of clothes in your wardrobe." Why not mix interest with your useful garments and at the same time- Save your dollars so that you may be able to: 1. Buy shoes, hose, and piece goods no longer made in the home. 2. Save the part of the price of a ready-made garment that goes for labor and wages that have increased by leaps and bounds. 3. Have the quality of garment you are accustomed to but which the rise in prices now prohibits. 4. Have money for other things that add to the comfort and convenience of your family. Inventory.-\Vhat do you have on hand? How much of it is worth using again? Plan.-How large a wardrobe does your range of activities require? Where can changes be made to streamline the old garments? What new items will be needed? How can you take care of the matter financially? Study the mode-do not ignore fashion but rather adapt the mode to yourself. Clean.-1. Rip old garment apart if it is to be re-cut. a. If it is to be cut down, save time by cutting it apart at the seams.