Basque Clothing Size Guide
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De Cursussen
Merckwaerdigh Design Margreet van Dam Koestraat 40 3011MC Rotterdam The Netherlands www.merckwaerdigh.nl e-mail: [email protected] KvK Rotterdam: 24264422 Adjusting LINGERIE PATTERNS for SWIMWEAR Sewing patterns originally ment for stretchy lingerie usually are great for swimwear as well. The fabrics have equal stretchability which means the patterns themselves don't need alterations. The main difference is in the kind of notions and the way they are used. POINTS OF INTEREST Whenever the instructions mention a scalloped lace galloon just replace this with a lycra (or spandex). Often a contrast colour will do the design even more justice. DO NOT FORGET TO ADD SEAM ALLOWANCES all around the pattern, there is no scalloped selvedge! Trim the whole garment with clear elastic and not with picot elastic which is not chloride and sun resistant. Straps elastic will not last on the long run as well in chloride and bright sunlight, replace this with channeling of the same lycra as the swim or beach wear Discard the hook and eye closure in the crotch and just stitch the seams, preferably with a blind seam. Replace the hook and eye closure of the bra with a bikini clip. There is no need to adjust the width of the bra band. Some pleats and wrinkling are not a problem in this garment since there will not be any upper clothing over it. Do NOT use cotton as a lining in the crotch, use mesh or a quick-dry thin lycra. www.merckwaerdigh.nl CHOICE OF FABRIC The choice of a fabric is directly connected to the goal of the garment. -
Intimately Yours Summer 2019
REVEALED INTIMATELY YOURS A SOURCE OF LOVE, LINGERIE + PASSION SUMMER 2019 1 | REVEALED REVEALED, THE NEW MAGA- ZINE CREATED BY CURVEN- EWYORK TO: REVEAL THE INS AND OUTS OF THE EVER-CHANGING IN- TIMATE APPAREL INDUSTRY. UNCOVER THE DESIRES OF THE CONSUMER. DISCOVER THE IN- NOVATIONS IN DESIGN, TREND AND PRODUCTION. SHOW OFF THE IMPROVEMENTS OF IN- CLUSIVITY IN THE INDUSTRY. TEACH THE IMPORTANCE OF THE PERFECT FITTING BRA. EL- EVATE KEY INTIMATE APPAR- EL BRANDS AND RETAILERS DRIVING THE INDUSTRY. CEL- EBRATE THE BEAUTY OF INTI- MATE APPAREL IN ALL FORMS. WATCH THE UP AND COMING BRANDS THAT PROVIDE INNO- VATIVE PRODUCTS. PROVOKE THOUGHT ON A WORLD THAT’S CHANGING AND EVOLVING. LEAD THE INDUSTRY BY PRO- VIDING INFORMATION RELE- MAISON LEJABY 2 | REVEALED ForEWord REVEALED, THE NEW MAGAZINE CREATED BY CURVE TO: REVEAL the ins and outs of the ever-changing intimate apparel industry. UNCOVER the desires of the consumer. DISCOVER new innovations in design, trend and production. SHOW OFF the improvements of inclusivity in the industry. TEACH the importance of the perfect fitting bra.ELEVATE key intimate apparel brands and retailers driving the industry. CELEBRATE the beauty of intimate apparel in all forms. WATCH the up- and-coming brands that provide innovative products. PROVOKE thought in a world that’s changing and evolving. LEAD the industry by providing information relevant for all. And finally,SHARE with you our PASSION, for LINGERIE, FASHION, and DESIGN! Table of ContentS 8 Intimate Apparel Market Trends and Strategies 10 5 Favorite Intimate Apparel Trends 12 Intimate Apparel Brands to Watch 14 The Rack Shack: All-Inclusive Bra Boutique 16 Living Coral 18 Up and Coming: Evelyn + Bobbie 20 Swimwear Trends 22 Swim Brands to Watch 24 Chantelle: 2019 Designer of the Year 26 Interview with Renaud Cambuzet – CCO at CL 28 Intimate Brands Excelling in Bodysuits 30 Want to show off your intimates? 34 Intimates Collab with RTW 36 Styling + Lingerie 39 Interview with Vanessa Crausse – Trend Forecaster 40 Minimalism v. -
The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions
Center for Basque Studies Basque Classics Series, No. 6 The Basques of Lapurdi, Zuberoa, and Lower Navarre Their History and Their Traditions by Philippe Veyrin Translated by Andrew Brown Center for Basque Studies University of Nevada, Reno Reno, Nevada This book was published with generous financial support obtained by the Association of Friends of the Center for Basque Studies from the Provincial Government of Bizkaia. Basque Classics Series, No. 6 Series Editors: William A. Douglass, Gregorio Monreal, and Pello Salaburu Center for Basque Studies University of Nevada, Reno Reno, Nevada 89557 http://basque.unr.edu Copyright © 2011 by the Center for Basque Studies All rights reserved. Printed in the United States of America Cover and series design © 2011 by Jose Luis Agote Cover illustration: Xiberoko maskaradak (Maskaradak of Zuberoa), drawing by Paul-Adolph Kaufman, 1906 Library of Congress Cataloging-in-Publication Data Veyrin, Philippe, 1900-1962. [Basques de Labourd, de Soule et de Basse Navarre. English] The Basques of Lapurdi, Zuberoa, and Lower Navarre : their history and their traditions / by Philippe Veyrin ; with an introduction by Sandra Ott ; translated by Andrew Brown. p. cm. Translation of: Les Basques, de Labourd, de Soule et de Basse Navarre Includes bibliographical references and index. Summary: “Classic book on the Basques of Iparralde (French Basque Country) originally published in 1942, treating Basque history and culture in the region”--Provided by publisher. ISBN 978-1-877802-99-7 (hardcover) 1. Pays Basque (France)--Description and travel. 2. Pays Basque (France)-- History. I. Title. DC611.B313V513 2011 944’.716--dc22 2011001810 Contents List of Illustrations..................................................... vii Note on Basque Orthography......................................... -
DRAPE: Dressing Any Person
DRAPE: DRessing Any PErson Peng Guan1;∗ Loretta Reiss1;∗ David A. Hirshberg2;y Alexander Weiss1;∗ Michael J. Black1;2;y; z 1Dept. of Computer Science, Brown University, Providence 2Max Planck Institute for Intelligent Systems, Tubingen¨ Figure 1: DRAPE is a learned model of clothing that allows 3D human bodies of any shape to be dressed in any pose. Realistic clothing shape variation is obtained without physical simulation and dressing any body is completely automatic at run time. Abstract 1 Introduction We describe a complete system for animating realistic clothing Clothed virtual characters in varied sizes and shapes are necessary on synthetic bodies of any shape and pose without manual inter- for film, gaming, and on-line fashion applications. Dressing such vention. The key component of the method is a model of cloth- characters is a significant bottleneck, requiring manual effort to de- ing called DRAPE (DRessing Any PErson) that is learned from a sign clothing, position it on the body, and simulate its physical de- physics-based simulation of clothing on bodies of different shapes formation. DRAPE handles the problem of automatically dressing and poses. The DRAPE model has the desirable property of “fac- realistic human body shapes in clothing that fits, drapes realistically, toring” clothing deformations due to body shape from those due and moves naturally. Recent work models clothing shape and dy- to pose variation. This factorization provides an approximation to namics [de Aguiar et al. 2010; Feng et al. 2010; Wang et al. 2010] the physical clothing deformation and greatly simplifies clothing but has not focused on the problem of fitting clothes to different synthesis. -
Press Kit the History of French Lingerie at the Sagamore Hotel Miami Beach
LINGERIE FRANCAISE EXHIBITION PRESS KIT THE HISTORY OF FRENCH LINGERIE AT THE SAGAMORE HOTEL MIAMI BEACH Continuing its world tour, the Lingerie Francaise exhibition will be presented at the famous Sagamore Hotel Miami Beach during the Art Basel Fair in Miami Beach from November 29th through December 6th, 2016. Free and open to all, the exhibition showcases the ingeniousness and creativity of French lingerie which, for over a century and a half, has been worn by millions of women worldwide. The exhibition is an immersion into the collections of eleven of the most prestigious French brands: AUBADE, BARBARA, CHANTELLE, EMPREINTE, IMPLICITE, LISE CHARMEL, LOU, LOUISA BRACQ, MAISON LEJABY, PASSIONATA and SIMONE PÉRÈLE. With both elegance and playfulness, the story of an exceptional craft unfolds in a space devoted to contemporary art. The heart of this historic exhibition takes place in the Game Room of the Sagamore Hotel. Beginning with the first corsets of the 1880’s, the presentation documents the custom-made creations of the 1930’s, showcases the lingerie of the 1950’s that was the first to use nylon, and culminates with the widespread use of Lycra® in the 1980’s, an epic era of forms and fabrics. This section focuses on contemporary and future creations; including the Lingerie Francaise sponsored competition’s winning entry by Salima Abes, a recent graduate from the university ESMOD Paris. An exclusive collection of approximately one hundred pieces will be exhibited, all of them emblematic of a technique, textile, and/or fashion innovation. A selection of landmark pieces will trace both the history of intimacy and the narrative of women’s liberation. -
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. -
Comparing the Basque Diaspora
COMPARING THE BASQUE DIASPORA: Ethnonationalism, transnationalism and identity maintenance in Argentina, Australia, Belgium, Peru, the United States of America, and Uruguay by Gloria Pilar Totoricagiiena Thesis submitted in partial requirement for Degree of Doctor of Philosophy The London School of Economics and Political Science University of London 2000 1 UMI Number: U145019 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U145019 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Theses, F 7877 7S/^S| Acknowledgments I would like to gratefully acknowledge the supervision of Professor Brendan O’Leary, whose expertise in ethnonationalism attracted me to the LSE and whose careful comments guided me through the writing of this thesis; advising by Dr. Erik Ringmar at the LSE, and my indebtedness to mentor, Professor Gregory A. Raymond, specialist in international relations and conflict resolution at Boise State University, and his nearly twenty years of inspiration and faith in my academic abilities. Fellowships from the American Association of University Women, Euskal Fundazioa, and Eusko Jaurlaritza contributed to the financial requirements of this international travel. -
Fashion Trends 2016
Fashion Trends 2016 U.S. & U.K. Report [email protected] Intro With every query typed into a search bar, we are given a glimpse into user considerations or intentions. By compiling top searches, we are able to render a strong representation of the population and gain insight into this population’s behavior. In our second iteration of the Google Fashion Trends Report, we are excited to introduce data from multiple markets. This report focuses on apparel trends from the United States and United Kingdom to enable a better understanding of how trends spread and behaviors emerge across the two markets. We are proud to share this iteration and look forward to hearing back from you. Olivier Zimmer | Trends Data Scientist Yarden Horwitz | Trends Brand Strategist Methodology To compile a list of accurate trends within the fashion industry, we pulled top volume queries related to the apparel category and looked at their monthly volume from May 2014 to May 2016. We first removed any seasonal effect, and then measured the year-over-year growth, velocity, and acceleration for each search query. Based on these metrics, we were able to classify the queries into similar trend patterns. We then curated the most significant trends to illustrate interesting shifts in behavior. Query Deseasonalized Trend 2004 2006 2008 2010 2012 2014 Query 2016 Characteristics Part 1 Part 2 Part 3 Top Risers a Spotlight on an Extensive List and Decliners Top Trending of the Top Volume Themes Fashion Trends Trend Categories To identify top trends, we categorized past data into six different clusters based on Sustained Seasonal Rising similar behaviors. -
The Shape of Women: Corsets, Crinolines & Bustles
The Shape of Women: Corsets, Crinolines & Bustles – c. 1790-1900 1790-1809 – Neoclassicism In the late 18th century, the latest fashions were influenced by the Rococo and Neo-classical tastes of the French royal courts. Elaborate striped silk gowns gave way to plain white ones made from printed cotton, calico or muslin. The dresses were typically high-waisted (empire line) narrow tubular shifts, unboned and unfitted, but their minimalist style and tight silhouette would have made them extremely unforgiving! Underneath these dresses, the wearer would have worn a cotton shift, under-slip and half-stays (similar to a corset) stiffened with strips of whalebone to support the bust, but it would have been impossible for them to have worn the multiple layers of foundation garments that they had done previously. (Left) Fashion plate showing the neoclassical style of dresses popular in the late 18th century (Right) a similar style ball- gown in the museum’s collections, reputedly worn at the Duchess of Richmond’s ball (1815) There was public outcry about these “naked fashions,” but by modern standards, the quantity of underclothes worn was far from alarming. What was so shocking to the Regency sense of prudery was the novelty of a dress made of such transparent material as to allow a “liberal revelation of the human shape” compared to what had gone before, when the aim had been to conceal the figure. Women adopted split-leg drawers, which had previously been the preserve of men, and subsequently pantalettes (pantaloons), where the lower section of the leg was intended to be seen, which was deemed even more shocking! On a practical note, wearing a short sleeved thin muslin shift dress in the cold British climate would have been far from ideal, which gave way to a growing trend for wearing stoles, capes and pelisses to provide additional warmth. -
Private Lessons a Photo Story by Andrea Slip
Private Lessons A photo story by Andrea Slip 1 | P a g e Lesson01 Mike was a little nervous as he stood outside the brown front door on a Sunday afternoon. His mum had arranged for him to have some A-level revision lessons with a Miss Loren, a friend of hers who used to be a maths teacher. He didn’t quite know what to expect. He knocked on the door. Within a few moments the door opened. Mike had to try very, very hard not to let his jaw hit the floor. A lady opened the door to Mike. “You must be Mike, pleased to meet you, do come in, I am Sophie Loren” said Sophie shaking his hand. Mike recovered as he stared in amazement at the lady dressed in a cream silk dress. As she put her brown high heels on the step her button up dress split at the front to reveal both a cream lace edged slip and possibly the hint of a lacy stocking top. Miss Loren, Sophie, looked vaguely familiar, but he couldn’t quite place where from. 2 | P a g e Lesson02 Earlier that Sunday Sophie was dressing in her bedroom. She remembered that this afternoon that the son of her co-worker Alison was coming round for his first maths revision lesson. She had also established with Alison in the staffroom at work that he was the shelf stacker that had seen her up- skirt flash and had “helped” her find the toilet when her skirt had accidently fallen down at the Supermarket. -
Undergarments : Extension Circular 4-12-2
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Nebraska 4-H Clubs: Historical Materials and Publications 4-H Youth Development 1951 Undergarments : Extension Circular 4-12-2 Allegra Wilkens Follow this and additional works at: https://digitalcommons.unl.edu/a4hhistory Part of the Service Learning Commons Wilkens, Allegra, "Undergarments : Extension Circular 4-12-2" (1951). Nebraska 4-H Clubs: Historical Materials and Publications. 124. https://digitalcommons.unl.edu/a4hhistory/124 This Article is brought to you for free and open access by the 4-H Youth Development at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Nebraska 4-H Clubs: Historical Materials and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Jan. 1951 E.G. 4-12-2 o PREPARED FOR 4-H CLOTHrNG ClUB GIRLS EXTENSION SERVICE UNIVERSITY OF NEBRASKA COLLEGE OF AGRICULTURE AND U. S. DEPARTMENT OF AGRICULTURE COOPERATING A W. V. LAMBERT, DIRECTOR C i ( Undergarments for the Well Dressed 4-H Girl Allegra Wilkens The choosing or designing of the undergarments that will make a suitable foundation for her costume is a challenge to any girl's good taste. She may have attractive under- wear if she is wise in the selection of materials and careful in making it or in choosing ready-made garments. It is not the amount of money that one spends so much as it is good judgment in the choice of styles, materials and trimmings. No matter how beautiful or appropriate a girl's outer garments may be, she is not well dressed unless she has used good judgment in making or selecting her under - wear. -
On Köhler's 14Th Century Chemise. by Ffride Wlffsdotter / Rebecca Lucas
On Köhler©s 14th century Chemise. By ffride wlffsdotter / Rebecca Lucas Carl Köhler's “A History of Costume” seems to be a staple of the costumer's library, and although the line drawings for some garment patterns may be outdated, and the black and white photos are passe compared to full-colour glossy books, it is still often a typical reference. But looking beyond the front cover of our well-thumbed, 1963 Dover edition, the situation seems much more complex: Dover had reprinted a 1928 work (now in the public domain, incidentally including colour plates), which was apparently a compilation of Köhler's 1870s works “Die Trachten der Völker im Bild und Schnitt” [The costumes of the people, in image and cut] (1871) and “Die Entwickelung der Tracht in Deutschland während des Mittelalters und der Neuzeit”[The development of the costume in Germany during the Middle Ages and Modern Times] (1877), with new photos and text included by Emma von Sichart. This was then published in 1926 as “Praktische Kostümkunde” [Practical Costume Design]. The entire work was then translated from the German by Alexander Dallas. So items mentioned in the 1928/1963 English editions may never have originated with Köhler at all! One such item that is closely associated with Köhler, is a black and white photo captioned “Chemise of the Fourteenth Century” (Köhler, 1963; 177), with the additional cryptic subtitle “Heyne. Thuringia, Burg Rhanis” in the list of illustrations (Köhler, 1963; 23). (The photo, from the now Public Domain 1930 edition of “A History of Costume” can be seen at right.) However, at the beginning of this list, it says (Köhler, 1963; 11): “The names in italic indicate the source of the illustrations (fuller details of this are given in the Bibliography) or the owner of the originals.