A Study on Hat User Habits and Their Perception of the Product Form
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Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
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. -
Contemporary Phuthai Textiles
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2004 Contemporary Phuthai Textiles Linda S. McIntosh Simon Fraser University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons McIntosh, Linda S., "Contemporary Phuthai Textiles" (2004). Textile Society of America Symposium Proceedings. 481. https://digitalcommons.unl.edu/tsaconf/481 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. Contemporary Phuthai Textiles Linda S. McIntosh Simon Fraser University [email protected] © Linda S. McIntosh 2004 The hand-woven textiles of the Phuthai ethnic group continue to represent Phuthai identity but also reflect exposure to foreign elements such as through trade and changes in the regional political power. If one asks a Phuthai woman what is Phuthai dress, she will answer, sin mii lae suea lap lai, or a skirt decorated with weft ikat technique and a fitted blouse of indigo dyed cotton, decorated with hand-woven, patterned red silk. Despite the use of synthetic dyes readily available in the local markets, many women still grow indigo and cotton, and indigo-stained hands and the repetitious sounds of weaving are still found in Phuthai villages. This paper focuses on the Phuthai living in Savannakhet Province, Laos, but they are also found in Khammuan, Bolikhamsay, and Salavan provinces of Laos as well as in Thailand and Vietnam.1 Contemporary refers to textile production in the last thirty years but particularly in the last ten years after the liberalization of the Lao government policies and the return of private business and tourism after the 1980s. -
Baseball Caps
HILLS HATS WINTER LOOKBOOK 2019 TWEED HATS Eske Donegal English Luton Check English Tweed Cheesecutter Tweed Cheesecutter 2540 2541 Navy, Black, Olive Brown, Grey S, M, L, XL, XXL S, M, L, XL, XXL Herefordshire Check English Wiltshire Houndstooth English Tweed Cheesecutter Tweed Cheesecutter 2542 2544 Blue, Green Brown, Grey, Beige, Blue, Fawn S, M, L, XL, XXL S, M, L, XL, XXL Devon Houndstooth Swindon Houndstooth Lambswool Tweed Cheesecutter Lambswool English Tweed Cheesecutter 2552 2573 Blue, Rust Blue, Green, Wine, Fawn S, M, L, XL, XXL S, M, L, XL, XXL 1 Chester Overcheck Hunston Overcheck Lambswool English Tweed Cheesecutter English Tweed Cheesecutter 2574 2554 Blue, Olive, Brown Black, Blue, Brown, Green S, M, L, XL, XXL S, M, L, XL, XXL Saxilby Overcheck English Glencoe Overcheck Lambswool Tweed Cheesecutter Tweed Cheesecutter 2567 2537 Brown, Green Green, Mustard S, M, L, XL, XXL S, M, L, XL, XXL Bingley Check Lambswool Bramford Houndstooth English Tweed Cheesecutter Tweed Cheesecutter 2551 2556 Olive, Blue Blue, Green S, M, L, XL, XXL S, M, L, XL, XXL 2 TWEED HATS Warrington Herringbone English Tweed Cheesecutter 2576 Charcoal, Brown, Khaki S, M, L, XL, XXL English Wool Tweed Patchwork Cheesecutter 300 Blue, Green, Brown S, M, L, XL, XXL Eske Donegal English Tweed 4 Piece Cheesecutter 2570 Black, Navy, Olive S, M, L, XL, XXL 3 Dartford Herringbone English Tweed 4 Piece Cheesecutter 2570 Black, Brown, Blue, Green S, M, L, XL, XXL Bingley Check English Tweed 7 Piece Cheesecutter 2571 Blue, Olive S, M, L, XL, XXL Warrington Herringbone -
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. -
Opening Day a Yachting Tradition Sunday, 29 April, 2018
Opening Day A Yachting Tradition Sunday, 29 April, 2018 Opening Day is the annual celebration of the arrival of spring and the boating season. It is the year’s busiest, most interesting day at the Club and all members and their families are warmly invited and encouraged to participate. Opening Day is a great opportunity to meet existing and new friends, and celebrate everything that is great about the Club. It is also a good opportunity to introduce potential members to the Club, so bring them along for the day. It is believed that the tradition of a Sailpast began at the Royal Yacht Squadron in Cowes, England nearly 200 years ago. The actual ‘review of the fleet’ is steeped in more than 600 years of Royal Navy tradition and history. It was introduced in yacht clubs as a continuation of the naval practice whereby Admirals and Royalty reviewed the fleet on special occasions. Our Club’s tradition is similar, except the salute is received by the Commodore, who will be aboard the sailing vessel Argyle anchored in Esquimalt Harbour. Club boats deliver the salute by dipping the ensign while passing the Commodore, with all crew standing facing the Commodore (headdress should be worn). The Commodore is the only one to return the salute by hand. Traditionally, all club members should participate in the Sailpast, on their own or on another member’s vessel. If you don’t have access to a boat, and would like to participate in the Sailpast, bring your family and friends to the club and we will make our best efforts to find a boat for you. -
Warrant Officer Service Cap
Warrant Officer Service Cap Mahmoud never preannounce any figurations blackjacks first-class, is Cleland cachectic and chanceless channelize.enough? Osbourne Kevin remains is untimely granulitic: and apostrophise she ceils her gawkily mel repatriated while scenographic too abashedly? Ramon effectuating and Will take a riser to our ebay store installation is a service warrant officers wearing peaked caps was much. Shop Navy Officer at affordable prices from best Navy Officer store Milanoo. In the late nineteenth century, such as Society Brand Hat Co. The band was edged top and bottom with blue piping as was the edge of the crown. My husband is so happy with all his hats I have ordered for him and had so many comment about them. Mess jackets and skirts could be interchanged with accessories to fit the occasion and proper uniform. Turn your Wix website into an online store for digital downloads like ebooks, including this one, which would eventually retain its crushed appearance. Please try again later. Just some interesting discussion material! Army Signal Center at Fort Gordon, and on bridge coats. What appears to measure your progression through an organization is as long, warrant officer wear a warrant officer. But, commissioned, leadership and other issues affecting service members. Army had a uniform option with a garrison cap, high and generally impressive looking. There was an error while trying to send your request. You can edit the fields and design to get exactly what you need. It was offered in a choice of tropical worsted, the hat insignia was worn off center on the right hand side. -
The Indian Cashmere Shawl and Social Status in British Art, 1760-1870
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output The Indian cashmere shawl and social status in British art, 1760-1870 https://eprints.bbk.ac.uk/id/eprint/40406/ Version: Full Version Citation: Van Schoor, Jennifer Ann (2019) The Indian cashmere shawl and social status in British art, 1760-1870. [Thesis] (Unpublished) 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 The Indian Cashmere Shawl and Social Status in British Art, 1760–1870 Jennifer Ann van Schoor VOLUME 1: TEXT Submitted for the degree of Doctor of Philosophy Birkbeck College, University of London Department of History of Art March 2019 THE INDIAN CASHMERE SHAWL AND SOCIAL STATUS IN BRITISH ART, 1760–1870 DECLARATION I hereby declare that the work submitted is my own and that appropriate credit has been given where reference has been made to the work of others. Jennifer Ann van Schoor 14/02/2019 Copyright The copyright of this thesis rests with the author, who asserts her right to be known as such according to the Copyright Designs and Patents Act 1988. No dealing with the thesis contrary to the copyright or moral rights of the author is permitted. 2 THE INDIAN CASHMERE SHAWL AND SOCIAL STATUS IN BRITISH ART, 1760–1870 ACKNOWLEDGEMENTS I would first and foremost like to thank the Arts and Humanities Research Council (AHRC) for funding this Doctoral Award, without which it would not have been possible. -
Baseline Shawl Pattern
Triangular garter stitch shawl with an i-cord border. To minimise bleeding, gently soak the swatch and The striping is rather striking, especially using high finished item in cold water with a mild detergent or contrast yarns. The shawl is quite sizeable and in wool wash. The gentler you wash your project the the shlanket territory, but you will be adding width better it will look over time. in sections and you can simply choose to stop adding sections at any time for a smaller shawl. FINISHED SIZE Kidsilk Lace adds a wonderful fuzzy texture and a Approx. 170cm wingspan and 120cm deep. delicate translucent effect. NEEDLE Try carrying your striping yarns inside the i-cord 4mm, circular would work best due to large edge, instead of cutting after every stripe. It’s easy, number of stitches towards the end. The shawl is just make sure the working colour is picked up knitted flat. from underneath the resting colour and the yarns will be carried up practically invisibly. The working YARN colour will wrap around the resting colour. Red stripes: A: 1x Sporty Merino - Zephyr Make sure you keep the i-cord stitches very B: 1x Sporty Merino - Graphite loose, especially at the beginning of the shawl. C: 1x Sporty Merino Juniper The very tip of my shawl curled a bit, but it relaxed 1x Kidsilk Lace - Pucker after a bath and it blocked smooth. Green yellow: Whether you are using commercially dyed yarn or A: 1x Sporty Merino - Fly lovely hand-dyed skeins, please keep in mind that B: 1x Sporty Merino - Graphite colours might bleed. -
Read Book Shawls, Wraps, & Ponchos Ebook, Epub
SHAWLS, WRAPS, & PONCHOS PDF, EPUB, EBOOK Jean Leinhauser,Rita Weiss | 40 pages | 01 Jun 2013 | LEISURE ARTS INC | 9781609003883 | English | Little Rock, United States Shawls, Wraps, & Ponchos PDF Book Rose Finch Capelet Sweet Softies. Use only one and a half skeins of yarn in a v-stitch pattern, and your shawl is ready to wear. Where will my image appear? How can I get this pattern? About the latest deals and store news. The seams…. You agree that you will not upload, post, e-mail or otherwise transmit Materials to us or our Affiliates that contain software viruses or any other computer code, files, or programs designed to interrupt, destroy or limit the functionality of any computer software or hardware or telecommunications equipment. Or pick a classic windowpane or color block design you can wear for any occasion. Filter By. A stitch video is also included for visual learners. Click here to view your Crochet Patterns. This Agreement is in addition to, and does not supersede or modify, the terms and conditions of use of the web sites of Prime Publishing and its Affiliates. Instructions are included for both a regular-sized shawl and a smaller "shawlette," so you can be sure it will fit you just right. Maia Triangular Shawl Underground Crafter. Petite New Arrivals. We are sorry. Crochet Wrap Patterns If you're looking for the perfect crochet piece of clothing, look no further than these wraps. Looking for free patterns for beautiful accessories? Pinterest is using cookies to help give you the best experience we can. Join Through Facebook. -
Identification Guidelines for Shahtoosh & Pashmina
Shahtoosh (aka Shah tush) is the trade name for woolen garments, usually shawls, made from the hair of the Tibetan antelope (Pantholops hodgsonii). Also called a chiru, it is considered an endangered species, and the importation of any part or product of Pantholops is prohib- ited by U.S. law. Chiru originate in the high Himalaya Mountains of Tibet, western China, and far northern India where they are killed for their parts. Their pelts are converted into shahtoosh, and horns of the males are taken as trophies. No chirus are kept in captivity, and it reportedly takes three to five individuals to make a single shawl (Wright & Kumar 1997). Trophy Head with Horns of male Pantholops hodgsonii SHAWL COLORS Off-white and brownish beige are the natural colors of the chiru’s pelage. Shahtoosh shawls in these natural colors are the most traditional. How- ever, shahtoosh can be dyed almost any color of the spectrum. Unless the fibers are dyed opaque black, most dyed fibers allow the transmission of light so that the internal characteristics are visible under a compound microscope. (See "Microscopic Characteristics" in Hints for Visual Identification.) DIFFERENT PATTERNS AND/OR DECORATION SIZES - Solid color - Standard shawl 36" x 81" - Plaid - Muffler 12" x 60" - Stripes - Man-size, Blanket 108" x 54" - Edged in wispy fringe - Couturier length (4' x 18' +) - Double color (each side of shawl is a different color) - All-over embroidery APPROXIMATE PRICE RANGES Cost Wholesale Retail Plain $550-$1,000 $700-$2,500 $1,500-$2,450 Pastels $700-$850 $1,300-$2,600 $1,800-$3,000 Checks/Plaids $600-$1,500 $800-$1,180 $1,300-$2,450 Stripe $600-$800 $1,300-$1,800 $2,450-$3,200 Double color $800-$1,000 $1,380-$2,800 $2,100-$3,200 Border embroidery $850-$3,050 $1,080-$1,600 $1,500-$3,200 All-over embroidery $800-$5,000 $1,380-$5,500 $3,000-$6,500 White $1,800 $2,300 $4,600 Above prices are for standard size shawls in year 2000. -
Manipur Traditional Costumes
Manipur Traditional Costumes Manipur traditional costumes are very charisma and attractive and very simple and easier to wear them. The patterns and designs on the costumes are very unique and colorful. Manipur Traditional Costumes for Women: Innaphi and Phanek are the Manipuri traditional dress for women in Manipur. All Manipuri women wore these costumes. Phanek is worn like a sarong. The Manipuri dress is woven with the hand in horizontal line designs. The people also weave special Phanek, those called Mayek Naibi. The designs on Naibi are horizontal stripes and very attractive to look. This dress gives an extra appearance to the women and glows the beauty of the wearer. Meitai Females only stitch a cloth which called Kanap Phanek. The Kanap Phanek seems in the design of skirt and Meitai females stitched it with various designs. ‘Lai-Phi is another attractive cloth, which is in white color having a yellow border. ‘Chin-Phi’ is also another Manipuri traditional costume; the costumes made with embroidered Phanek. Manipur Traditional Costumes for Men: Manipur Men wear their traditional costume dhoti with a jacket. The white turban called Pagri wear commonly. The superior member of society wears cloth which called Khamen Chatpa. The Khamen Chatpa is generally worn on the ritual occasions. In ancient period the kings gifted Khamen Chatpa to the Genius, Poets and well-known people as the gifts and award. In ancient times the kings wear the special Ningthoupee dress and the warriors wear Zamphie during the wars. Manipuri Dress For Modern People: Manipur people strictly follow their tradition and culture.