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8364 Licensed Charities As of 3/10/2020 MICS 24404 MICS 52720 T
8364 Licensed Charities as of 3/10/2020 MICS 24404 MICS 52720 T. Rowe Price Program for Charitable Giving, Inc. The David Sheldrick Wildlife Trust USA, Inc. 100 E. Pratt St 25283 Cabot Road, Ste. 101 Baltimore MD 21202 Laguna Hills CA 92653 Phone: (410)345-3457 Phone: (949)305-3785 Expiration Date: 10/31/2020 Expiration Date: 10/31/2020 MICS 52752 MICS 60851 1 For 2 Education Foundation 1 Michigan for the Global Majority 4337 E. Grand River, Ste. 198 1920 Scotten St. Howell MI 48843 Detroit MI 48209 Phone: (425)299-4484 Phone: (313)338-9397 Expiration Date: 07/31/2020 Expiration Date: 07/31/2020 MICS 46501 MICS 60769 1 Voice Can Help 10 Thousand Windows, Inc. 3290 Palm Aire Drive 348 N Canyons Pkwy Rochester Hills MI 48309 Livermore CA 94551 Phone: (248)703-3088 Phone: (571)263-2035 Expiration Date: 07/31/2021 Expiration Date: 03/31/2020 MICS 56240 MICS 10978 10/40 Connections, Inc. 100 Black Men of Greater Detroit, Inc 2120 Northgate Park Lane Suite 400 Attn: Donald Ferguson Chattanooga TN 37415 1432 Oakmont Ct. Phone: (423)468-4871 Lake Orion MI 48362 Expiration Date: 07/31/2020 Phone: (313)874-4811 Expiration Date: 07/31/2020 MICS 25388 MICS 43928 100 Club of Saginaw County 100 Women Strong, Inc. 5195 Hampton Place 2807 S. State Street Saginaw MI 48604 Saint Joseph MI 49085 Phone: (989)790-3900 Phone: (888)982-1400 Expiration Date: 07/31/2020 Expiration Date: 07/31/2020 MICS 58897 MICS 60079 1888 Message Study Committee, Inc. -
Islander Sewing Systems: Tuesdays at Two with Janet Pray and Jessica
Islander Sewing Systems: Tuesdays at Two With Janet Pray and Jessica Johnson Index Through June 2019 Subject Type Topics Video Date Alterations Charge at least $10 to hem a pair of pants October 2, 2018 Alterations Tip If asked to hem pants or sew on a button, show the person who asked how October 2, 2018 Alterations Learn how to do alterations for any figure "flaws" and make it a priority for April 9, 2019 one's sewing education Alterations One can just say no to requests for alterations. Give the person who asks for October 2, 2018 alterations a high price; the individual will accept or say no. If one accepts alterations, do it under your conditions Batting Tip Use two layers of Insulbrite or similar batting with a silver backing, not one December 18, 2018 layer. Temporarily adher fabric to back, quilt top, and then put on the binding Bias Tape Maker Demo Make bias tape strip twice as wide as needed using iron and Simplicity Bias July 10, 2018 Tape Maker Books & DVDs Connie Crawford's Patternmaking Made Easy is a textbook, but filled with 3/27/18 & 11/13/2018 good information Books & DVDs Easy Zipper class is available online or on DVD and includes five different 4/24/18 & 8/28/2018 zipper techniques. The class is also on SewBetter.com Books & DVDs Fitting and Pattern Alteration by Elizabeth Leichty and Judith Rasband is an 5/15/2018 & 5/30/18 excellent resource, or take a class from Lorraine Henry Books & DVDs Gail Yellen's It's All About Embelishments is a good resource for decorative April 24, 2018 serger techniques. -
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 -
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. -
SOBHD Dress Code THIS COMPILATION IS COPYRIGHT of the SCOTTISH OFFICIAL BOARD of HIGHLAND DANCING
SOBHD Dress Code THIS COMPILATION IS COPYRIGHT OF THE SCOTTISH OFFICIAL BOARD OF HIGHLAND DANCING. PHOTOGRAPHS ARE COPYRIGHT OF RONNIE CAIRNS PHOTOGRAPHY. UNAUTHORISED COPYING IS PROHIBITED. SOBHD Dress Code This compilation of photographs should be viewed in conjunction with the SOBHD Dress Code document on www.sobhd.net/useful-information Highland Dances Highland outfit with waistcoat Arms by side Arms in 1st position Highland outfit with waistcoat Left side view Right side view Highland outfit with waistcoat Back view Pre-Premier dancers only • White blouse • worn with waistcoat; Full sleeves to the elbow with a lace ornamented front. • An upright stiff half inch lace trim may be attached to the back of the neck • Or plain white shirt worn with or without a tie. • Hose • White or plain coloured knee socks to match the kilt. • Hose can be full clan or diced red/white, blue/white or green/white. Highland Jacket Front view Back view with kilt and socks Highland outfit with jacket Side view Highland Jackets • A sleeveless blouse with lace front or a lace insert should be worn. The lace frills should be visible. • Not more than five ornamental Scottish embossed buttons on each side of the facings. • Full length sleeves may have a single row of not more than five silver or gold buttons at the vent. • If desired, ruffles (not more than 1 inch in depth) may be worn at the wrist, but they must be fastened to the sleeve. Male Highland Outfit Front view Jacket only Male Highland Outfit • Jacket – may be of velvet or cloth, in any colour and any recognised style of doublet. -
International Journal of Textile Science and Engineering Chowdhary U
International Journal of Textile Science and Engineering Chowdhary U. Int J Text Sci Eng 3: 125. Review Article DOI: 10.29011/IJTSE-125/100025 Impact of Interfacings and Lining on Breaking Strength, Elongation and Duration of the Test for Knitted Wool Usha Chowdhary* Department of Human Environmental Studies Fashion Merchandising and Design, Central Michigan University, Mount Pleasant, Mich- igan, USA *Corresponding author: Usha Chowdhary, Department of Human Environmental Studies Fashion Merchandising and Design, Central Michigan University, Mount Pleasant, Michigan, USA. Email: [email protected] Citation: Chowdhary U (2019) Impact of Interfacings and Lining on Breaking Strength, Elongation and Duration of the Test for Knitted Wool. Int J Text Sci Eng 3: 125. DOI: 10.29011/IJTSE-125/100025 Received Date: March 5, 2019; Accepted Date: March 20, 2019; Published Date: March 29, 2019 Abstract The study examined breaking strength, elongation and time at break for 100% medium weight knitted wool with in- terfacings and lining. Several ASTM standards were used to measure structural and performance attributes. Fabric strength, elongation, and time taken to rupture for fabric exclusively and with interfacings and lining attached were measured for eight relationships. Hypotheses were tested using T-test analysis. Confidence level was established at 95%. Results revealed that majority of the hypotheses were accepted. Results for fusible and non-fusible interfacings varied. Adding fusible interfacing did not enhance strength in the lengthwise direction. Fusible and non-fusible interfacings did not differ for elongation. It took longer for fabric to break in lengthwise than the crosswise direction. Future research is needed to confirm the findings of this study for various fabrics, seam types, stitch types, fabric construction and fiber contents. -
GRADUATE LEARNING PLAN for Pamela Vanderlinde
DePaul University School for New Learning Graduate Programs MASTER OF ARTS PROGRAM IN APPLIED PROFESSIONAL STUDIES (MAAPS) 1 E. Jackson Blvd., Chicago, IL 60604 [email protected] (312-362-8448) GRADUATE LEARNING PLAN for Pamela Vanderlinde •ADDRESS: •PHONE: •EMAIL: DOCUMENT DATE: January 18, 2011 FOCUS - Applying study of historical and contemporary AREA: bespoke fashion to my design practice, philosophy and teaching. Prof. - Ms. XXX XXXX Advisor: •PA Position/Title: _Instructor, Illinois Institute of Art-Chicago •PA Address: _____________________________________ •PA Phone: ______ •PA Email: Faculty - Michelle Navarre Cleary, PhD •Position/Title: Resident Faculty, School for New Learning, DePaul University Mentor: •Address: DePaul University, 1 E. Jackson Blvd., Chicago, IL 60604 •Phone: 312-362-7301______ •Email: [email protected] Cluster: - 86_______ - __1/21/11_____ (date approved by Student’s Academic Committee) Approval: - ___2/18/11________ (date approved by Graduate Student Program Review Committee) - 1 - PART I: Personal/Professional Background & Goals Directions: In Part I, the student provides a context for the Graduate Learning Plan and a rationale for both his/her career direction and choice of the MAAPS Program of study as a vehicle to assist movement in that direction. Specifically, Part I is to include three sections: A. a brief description of the student’s personal and professional history (including education, past/current positions, key interests, etc.); B. an explanation of the three or more years of experience (or equivalent) offered in support of the Graduate Focus Area; C. a brief description/explanation of the student’s personal and professional goals. A. Description of My Personal/Professional History: I have many passions in this world; fashion, teaching, travel, reading, yoga to name a few. -
Cloth, Fashion and Revolution 'Evocative' Garments and a Merchant's Know-How: Madame Teillard, Dressmaker at the Palais-Ro
CLOTH, FASHION AND REVOLUTION ‘EVOCATIVE’ GARMENTS AND A MERCHANT’S KNOW-HOW: MADAME TEILLARD, DRESSMAKER AT THE PALAIS-ROYAL By Professor Natacha Coquery, University of Lyon 2 (France) Revolutionary upheavals have substantial repercussions on the luxury goods sector. This is because the luxury goods market is ever-changing, highly competitive, and a source of considerable profits. Yet it is also fragile, given its close ties to fashion, to the imperative for novelty and the short-lived, and to objects or materials that act as social markers, intended for consumers from elite circles. However, this very fragility, related to fashion’s fleeting nature, can also be a strength. When we speak of fashion, we speak of inventiveness and constant innovation in materials, shapes, and colours. Thus, fashion merchants become experts in the fleeting and the novel. In his Dictionnaire universel de commerce [Universal Dictionary of Trade and Commerce], Savary des Bruslons assimilates ‘novelty’ and ‘fabrics’ with ‘fashion’: [Fashion] […] It is commonly said of new fabrics that delight with their colour, design or fabrication, [that they] are eagerly sought after at first, but soon give way in turn to other fabrics that have the charm of novelty.1 In the clothing trade, which best embodies fashion, talented merchants are those that successfully start new fashions and react most rapidly to new trends, which are sometimes triggered by political events. In 1763, the year in which the Treaty of Paris was signed to end the Seven Years’ War, the haberdasher Déton of Rue Saint-Honoré, Paris, ‘in whose shop one finds all fashionable merchandise, invented preliminary hats, decorated on the front in the French style, and on the back in the English manner.’2 The haberdasher made a clear and clever allusion to the preliminary treaty, signed a year earlier. -
PDF File Generated From
OCCASION This publication has been made available to the public on the occasion of the 50th anniversary of the United Nations Industrial Development Organisation. DISCLAIMER This document has been produced without formal United Nations editing. The designations employed and the presentation of the material in this document do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations Industrial Development Organization (UNIDO) concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries, or its economic system or degree of development. Designations such as “developed”, “industrialized” and “developing” are intended for statistical convenience and do not necessarily express a judgment about the stage reached by a particular country or area in the development process. Mention of firm names or commercial products does not constitute an endorsement by UNIDO. FAIR USE POLICY Any part of this publication may be quoted and referenced for educational and research purposes without additional permission from UNIDO. However, those who make use of quoting and referencing this publication are requested to follow the Fair Use Policy of giving due credit to UNIDO. CONTACT Please contact [email protected] for further information concerning UNIDO publications. For more information about UNIDO, please visit us at www.unido.org UNITED NATIONS INDUSTRIAL DEVELOPMENT ORGANIZATION Vienna International Centre, P.O. Box 300, 1400 Vienna, Austria Tel: (+43-1) 26026-0 · www.unido.org · [email protected] RESTltlCTED IP.III>/Sm.A/1061 26 SeptaltJer 1988 f 10b~-E aaGniU.: :oG.ISH URGENT ASSISTANCE 'l'O THE ARGENTIRE \IOOL INDUSTRY SI/ARG/86/836/11-03 THE ARGENTINE REPUBLIC -· Technical report: Finishing of wool and wool blends* Prepared for the Governaent of the Argentine Republic by the United N•tions Industrial Development Organization. -
Tonbi) LACMA Costume and Textiles Pattern Project
UNDERTAKING THE MAKING: REIGNING MEN Man’s Overcoat (Tonbi) LACMA Costume and Textiles Pattern Project Man’s Overcoat (Tonbi) during the Taisho¯ (–) and . The beaver fur collar is slightly Japan, Taisho¯ period (–) early Sho¯wa (–) periods among padded and underlined with black to Sho¯wa period (–); intellectuals, professionals, and the wool plain weave, full finish, with – wealthy, who often added a Western- horizontal stitches at the collar stand Wool plain weave, full finish, and style hat and walking stick or umbrella and broad zigzag stitches at the top beaver fur, sheared and dyed to their kimono ensemble. The con- of the collar fall. A felt under-collar Gift of B. Rich cealed center-front button closures melton is attached along the edge. M... and sweeping construction created . The armscye openings are long a fluid silhouette that was more Western to accommodate kimono sleeves; The Inverness coat, a sleeveless overcoat in make but Japanese in aesthetic. the interior front edges are bound with a hip-length shoulder cape, was in black silk velvet. The hip-length introduced to Japan during the late Edo NOTES: shoulder cape sleeves are raglan period (–). There, it was modi- . Fabric grain follows vertical lines in construction with back edges sewn fied with enlarged armscye openings of graph paper. along the back of the deep armscye. from the shoulderline to the waistline . Pattern pieces are drawn without The bottom edges are folded under. to accommodate the wide sleeves of seam allowance. Narrow double-welt slash pockets a kimono. From the front, the shoulder . The center-front closes with five are at each side-front. -
Bulletin John Iriks
The Rotary Club of Kwinana District 9465 Western Australia Chartered: 22 April 1971 Team 2020-21 President Bulletin John Iriks No 10 07th Sept. 2020 Secretary Brian McCallum President John Rotary Club of Kwinana is in its 50th year 1971/2021 Treasurer Stephen Castelli Good meeting tonight, Guest speaker Russell Cox from the City of Kwinana talking on the Kwinana Loop trail, a 21km circuit around the perimeter of the city, pleasing that it takes in the Rotary Wildflower Reserve as part of the layout. Facts & Figures Trialling our PA set-up the last couple of weeks, it’s becoming evident that the use of lapel microphones will be the way to go, primarily for our President and Attendance this week guest speakers, hand held mic’s just don’t cut it for a guest speaker. Total Members 28 We are purchasing a second lapel mic, it’s a learning curve optimising the Apologies 6 equipment we have, huge difference in cost, $4.3k to so far $180 inc. 2nd lapel. Make -up 1 Attended 21 Looking for a suitable local venue for our 50 year celebration bash, older Hon . Member 1 LOA members will recall we held our 25th at Alcoa Social Club, our 30th at Casuarina Guests 1 Hall and our 40 th at the then brand new Kelly Pavilion on Thomas Oval. Visitors Partners Special congratulations to Genevieve and Damian 74.0% on their 20th wedding anniversary celebrated on the 9th September, I suppose I should also add that Gladys and I reach our 56th on the 12th Stay safe. -
Aic Paintings Specialty Group Postprints
1991 AIC PAINTINGS SPECIALTY GROUP POSTPRINTS Papers presented at the Nineteenth Annual Meeting of the American Institute for Conservation of Historic and Artistic Works Albuquerque, New Mexico Saturday, June 8,1991. Compiled by Chris Stavroudis The Post-Prints of the Paintings Specialty Group: 1991 is published by the Paintings Specialty Group (PSG) of the American Institute for Conservation of Historical and Artistic Works (AIC). These papers have not been edited and are published as received. Responsibility for the methods and/or materials described herein rests solely with the contributors and these should not be considered official statements of the Paintings Specialty Group or the American Institute for Conservation. The Paintings Specialty Group is an approved division of the American Institute for Conservation of Historical and Artistic Works (AIC) but does not necessarily represent AIC policies or opinions. The Post-Prints of the Paintings Specialty Group: 1991 is distributed to members of the Paintings Specialty Group. Additional copies may be purchased from the American Institute for Conservation of Historical and Artistic Works; 1400 16th Street N.W., Suite 340; Washington, DC 20036. Volume designed on Macintosh using QuarkXPress 3.0 by Lark London Stavroudis. Text printed on Cross Pointe 60 lb. book, an acid-free, recycled paper (50% recycled content, 10% post-consumer waste). Printing and adhesive binding by the Mennonite Publishing House, Scottdale, Pennsylvania. TABLE OF CONTENT S Erastus Salisbury Field, American Folk Painter: 4 His Changing Style And Changing Techniques Michael L. Heslip and James S. Martin The Use of Infra-red Vidicon and Image Digitizing Software in 4 Examining 20th-century Works of Art James Coddington Paintings On Paper: Collaboration Between Paper 11 and Paintings Conservators Daria Keynan and Carol Weingarten Standard Materials for Analysis of Binding Media and 23 GCI Binding Media Library Dusan C.