Evolving Conceptions of Democracy in Islamic Political Thought
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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 -
Innovation in Design of Traditional Mashru Textiles for Product Diversification
INNOVATION IN DESIGN OF TRADITIONAL MASHRU TEXTILES FOR PRODUCT DIVERSIFICATION Synopsis of Proposed Ph. D. Thesis By Priyanka Kumari (Registration No: Fo FCSC/2/150, Dated: August 7th 2013) Guided By Prof. (Dr.) Anjali Karolia Department of Clothing and Textiles Dean Faculty of Family and Community Sciences Department of Clothing and Textiles Faculty of Family and Community Sciences The Maharaja Sayajirao University of Baroda Vadodara, Gujarat India June 2019 Endorsement from the Supervisor Ms. Priyanka Kumari has researched extensively on the topic “Innovation in Design of Traditional Mashru Textile for Product Diversification” vide registration no. FoFCSC/2/150 (Dated: 07-08-2013). She has presented her progress of work in seminars well attended by teachers and students of department. She has presented following papers: “Design intervention for handloom silk fabric of Bihar”, in International conference on Empowering Khadi and Handloom through Design Intervention Organized by Consortium of Green Fashion, an initiative of School of Fashion Technology, Pune and in association with Department of Clothing and Textiles faculty of Family and community Science The Maharaja Sayajirao University of Baroda on 30th September and 01st October 2016. “Mesmerizing Mashru Craft and Need of Geographical Indication (GI)”, in International Case Symposium on Fashion, Retail & Management Organized by Department of Fashion Management Studies–NIFT,Bhubneshwar India on 19th and 20th November 2015. She has published following papers: “Voyage of a traditional woven craft – Mashru” , in proceedings of International Textiles and Costume Congress -2015 organized by Marmara University, Istanbul , Turkey on 4th -6th November 2015 (ISBN:978-605-87108- 4-9) “Mesmerizing Mashru Craft and need of Geographical Indication (GI)” in book named “Case Handbook of Fashion, Retail and Management”, Publisher- Pragun Publication, year of publication-2018, [ISBN 978-93-80397-90-0] Ms. -
Women's Clothing in the 18Th Century
National Park Service Park News U.S. Department of the Interior Pickled Fish and Salted Provisions A Peek Inside Mrs. Derby’s Clothes Press: Women’s Clothing in the 18th Century In the parlor of the Derby House is a por- trait of Elizabeth Crowninshield Derby, wearing her finest apparel. But what exactly is she wearing? And what else would she wear? This edition of Pickled Fish focuses on women’s clothing in the years between 1760 and 1780, when the Derby Family were living in the “little brick house” on Derby Street. Like today, women in the 18th century dressed up or down depending on their social status or the work they were doing. Like today, women dressed up or down depending on the situation, and also like today, the shape of most garments was common to upper and lower classes, but differentiated by expense of fabric, quality of workmanship, and how well the garment fit. Number of garments was also determined by a woman’s class and income level; and as we shall see, recent scholarship has caused us to revise the number of garments owned by women of the upper classes in Essex County. Unfortunately, the portrait and two items of clothing are all that remain of Elizabeth’s wardrobe. Few family receipts have survived, and even the de- tailed inventory of Elias Hasket Derby’s estate in 1799 does not include any cloth- ing, male or female. However, because Pastel portrait of Elizabeth Crowninshield Derby, c. 1780, by Benjamin Blythe. She seems to be many other articles (continued on page 8) wearing a loose robe over her gown in imitation of fashionable portraits. -
Building Character the Civitas Way
Civitas The Official Magazine of Ark Academy #13 Autumn 2014 Autumn #13 Building Character the Civitas Way Building Character the Civitas Way Warm Welcome… Dear Parents, This edition of Civitas is entitled ‘Building Character the Civitas way’. How do we all build character? Well, certainly we can try and model it and we have also talked a great deal about great character traits in assemblies and tutor periods. We have focussed on resilience, integrity and gratitude. These have produced some really reflective moments. The last assembly helped us reflect on what we are grateful for, it is so easy to assume that what we have is the norm, and of course so much is not. So I am grateful to our students and staff for going that extra mile in Charity Week (marvellous moments abound but ‘Strictly’ will be forever a favourite) . I am grateful for my good health this tiring term and all the people who have supported me, and more importantly, the school. I am grateful to the teachers and support staff who step up to the plate when other staff are sick. Students who help each other and particularly help students catch up with or help understand their work. Then there is integrity or doing the right thing when no-one is watching. Please look at our ‘Good Deed Feed’, it warms the heart. There are many unsung heroes, who model what we aspire to be – good citizens, friendly, supportive, kind and life enablers. These are traits that lead for a happy life. Resilience.....aaah the Holy Grail. -
A Study on the Design and Composition of Victorian Women's Mantle
Journal of Fashion Business Vol. 14, No. 6, pp.188~203(2010) A Study on the Design and Composition of Victorian Women’s Mantle * Lee Sangrye ‧ Kim Hyejeong Professor, Dept. of Fashion Design, TongMyong University * Associate Professor, Dept. of Clothing Industry, Hankyong National University Abstract This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women’s dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the 19 th century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A‐ line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three‐ dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women’s suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects. -
Clothing in Ancient Greece Edited
Clothing in ancient Greece Clothing in ancient Greece and Rome was generally created out of large, single pieces of fabric. Several different pieces of clothing could be worn in various combinations to create multiple outfits. The fabric was also draped, belted and pinned into various styles. In art, it is sometimes very difficult to differentiate the various garments worn as they all seem to be billowy drapes of fabric. In Greece, women usually wore one of two garments on a regular basis. One was the peplos, a style of dress made from a single piece of fabric that is folded over at the top, wrapped around the body and pinned up at the shoulders. Folding down the top created a second layer of fabric that ran down the back and the front of the garment, which was referred to as an apoptygma. The other piece of clothing was worn by both men and women, and was called a chiton. The chiton was very similar to the peplos, except without the apoptygma. This was created by a single piece of fabric wrapped around the body and pinned up on the shoulders, or by two pieces of fabric sewn up both sides with space left for armholes. The men wore a shorter version of the chiton. This, too, could be belted or left as-is. The pins that were often used to hold up these garments worked very similarly to safety pins or brooches, and were called fibulae. The other important piece of clothing for both men and women was called the himation. -
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. -
Textiles for Dress 1800-1920
Draft version only: not the publisher’s typeset P.A. Sykas: Textiles for dress 1800-1920 Textile fabrics are conceived by the manufacturer in terms of their material composition and processes of production, but perceived by the consumer firstly in terms of appearance and handle. Both are deeply involved in the economic and cultural issues behind the wearing of cloth: cost, quality, meaning. We must look from these several perspectives in order to understand the drivers behind the introduction of fabrics to the market, and the collective response to them in the form of fashion. A major preoccupation during our time frame was novelty. On the supply side, novelty gave a competitive edge, stimulated fashion change and accelerated the cycle of consumption. On the demand side, novelty provided pleasure, a way to get noticed, and new social signifiers. But novelty can act in contradictory ways: as an instrument for sustaining a fashion elite by facilitating costly style changes, and as an agent for breaking down fashion barriers by making elite modes more affordable. It can drive fashion both by promoting new looks, and later by acting to make those looks outmoded. During the long nineteenth century, the desire for novelty was supported by the widely accepted philosophical view of progress: that new also implied improved or more advanced, hence that novelty was a reflection of modernity. This chapter examines textiles for dress from 1800 to 1920, a period that completed the changeover from hand-craft to machine production, and through Europe’s imperial ambitions, saw the reversal of East/West trading patterns. -
Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2015 Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 27:2 — Fall 2015" (2015). Textile Society of America Newsletters. 71. https://digitalcommons.unl.edu/tsanews/71 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 Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 27. NUMBER 2. FALL, 2015 Cover Image: Collaborative work by Pat Hickman and David Bacharach, Luminaria, 2015, steel, animal membrane, 17” x 23” x 21”, photo by George Potanovic, Jr. page 27 Fall 2015 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Ellyane Hutchinson (Website Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) and Vita Plume (Vice President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives. -
Tudor Sumptuary Laws and Academical Dress: an Act Against Wearing of Costly Apparel 1509 and an Act for Reformation of Excess in Apparel 1533
Transactions of the Burgon Society Volume 6 Article 2 1-1-2006 Tudor Sumptuary Laws and Academical Dress: An Act against Wearing of Costly Apparel 1509 and An Act for Reformation of Excess in Apparel 1533 Noel Cox Follow this and additional works at: https://newprairiepress.org/burgonsociety Recommended Citation Cox, Noel (2006) "Tudor Sumptuary Laws and Academical Dress: An Act against Wearing of Costly Apparel 1509 and An Act for Reformation of Excess in Apparel 1533," Transactions of the Burgon Society: Vol. 6. https://doi.org/10.4148/2475-7799.1047 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Transactions of the Burgon Society by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Transactions of the Burgon Society, 6 (2006), pages 15–43 Tudor Sumptuary Laws and Academical Dress: An Act against Wearing of Costly Apparel 1509 and An Act for Reformation of Excess in Apparel 1533 by Noel Cox In the United Kingdom, as in other modern liberal democracies, there are few, if any, restrictions upon one’s choice of habiliment.1 There have in the past, however, been repeated attempts in most countries and civilizations—from the Romans (and indeed earlier civilizations) onwards—to strictly control aspects of apparel, by legislation.2 They were motivated by political, moral or economic considerations. However, these sumptuary laws, as they were known,3 were generally a failure, for many reasons. Those who wished to ignore them often could do so with impunity.4 The frequency of such legislation is a sign both of the perceived importance of The author would like to acknowledge the assistance of Professor Bruce Christianson and Ms Susan North in the preparation of this paper. -
Garindan Costume Replica Guide
Garindan Version 2018-06-22 costume replica guide AKA: DZ-7959 in The 501st Legion facebook.com/PilerudsCosplay Garindan and Star Wars are trademarks of Lucasfilm. This is a unofficial fan made guide to help other fans. Research Garindan is a hard costume to research, since he has so little screen time and is never seen in full. However, looking closely at how the cloths drape around the body and all available pictures this guide at least gives you something that looks the same as far as you can see, and fills out the rest with good guesses. The action figures to date are inaccurate, especially the hooded cloak. The top right picture on this page is abso- lute proof of the ”open back” design of the cloak. It is a still from the set where on side flap goes up, and also con- firms an inner cloak is worn under the hooded cloak. In the close up (talking to the sandtrooper) the hooded cloak is drawn back at the shoulder making it look a bit different. Most likely done to make more of the face visible to the camera. Until, if ever, more reliable pictures surface, this is pretty much as close as it gets. Mask to scale based on the size of the goggles. Front view. (Note that depending on if you are very tall or short you might want to adjuste the size to make it proportional. Also note that these calculations might not be perfect. Always compare to as many reference pictures as possible.) Mask to scale based on the size of the goggles. -
General Ancient Greek Clothing Was Created by Draping One Or More Large Rectangles of Cloth Around the Body
Ancient Greek and Roman Clothing Information Sheet Greek Clothing: General Ancient Greek clothing was created by draping one or more large rectangles of cloth around the body. The cloth was woven by the women of the household, and the materials most often used were wool and linen. There were no set sizes to a piece of apparel. How the rectangles were draped, belted, and pinned determined how they fit the contours of the body and how they were named. When seen on statues or in painted pottery, the clothing often appears to be white or a single color. In actuality, the textiles used for clothing were often dyed in bright colors such as red, yel- low, green or violet. Decorative motifs on the dyed cloths were often either geometric patterns or patterns from nature, like leaves. Wide-brimmed hats were worn by men in bad weather or while traveling in the hot sun. When not letting their long hair fall in trailing curls on their backs or shoulders,Greek women put their hair up in scarves or ribbons. Depictions of men in paintings and statues also show them with filets (cloth headbands) around their heads. Though Greeks often went barefoot around the house, a variety of shoe styles were available, from sandals to boots. The sandals worn by the statue of Artemis shown in full view on the next page. Oedipus is dressed for travel in his wide-brimmed hat, cloak, and shoes. Note that the reclining man shown on this cup has put his shoes underneath A woman with her hair this couch and that the musician is wrapped in a scarf.