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Operation Manual Product Code 885-V31/V32/V33 GETTING READY
Computerized Embroidery and Sewing Machine Operation Manual Product Code 885-V31/V32/V33 GETTING READY SEWING BASICS UTILITY STITCHES EMBROIDERY APPENDIX Please visit us at http://solutions.brother.comp where you can get product support and answers to frequently asked questions (FAQs). — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — Introduction Thank you for purchasing this embroidery and sewing machine. Before using this machine, carefully read the "Important Safety Instructions", and then study this manual for the correct operation of the various functions. In addition, after you have finished reading this manual, store it where it can quickly be accessed for future reference. Important Safety Instructions Please read these safety instructions before attempting to use the machine. This machine is intended for household use. DANGER - To reduce the risk of electric shock 1 Always unplug the machine from the electrical outlet immediately after using, when cleaning, when making any user servicing adjustments mentioned in this manual, or if you are leaving the machine unattended. WARNING - To reduce the risk of burns, fire, electric shock, or injury to persons. 2 Always unplug the machine from the electrical outlet when removing covers, lubricating, or when making any adjustments mentioned in the instruction manual • To unplug the machine, switch the machine to the symbol “O” position to turn it off, then grasp the plug and pull it out of the electrical outlet. Do not pull on the cord. • Plug the machine directly into the electrical outlet. Do not use an extension cord. • Always unplug your machine if the power is cut. 3 Never operate this machine if it has a damaged cord or plug, if it is not working properly, if it has been dropped or damaged, or water is spilled on the unit. -
Standing Through the Tide of Time S
STANDING THROUGH THE TIDE OF TIME S Once a royal court master tailor for the Empress Eugénie, wife of Emperor Napoleon III, Alex was the reason why ESMOD PARIS WAS RENOWNED FOR 170 YEARS AROUND THE WORLD, flourished and Lavigne’s contribution to the became ESMOD International world of fashion education which still stands tall today. continues with the publication of his first cutting manual It was founded in 1841 as containing intricate tailoring the first fashion school in the methods, principles of pattern world. Now, it is enriched with drafting and illustrations igne a colorful fashion education for various body types and history of almost two centuries. postures, a required knowledge in fashion schools that era and still relevant to this day. v Thereafter, Lavigne invented the measuring tape and the draping mannequin, known as the ‘Lavigne Bust’. La Alexis Guerre- Alexis The One Academy & ESMOD Paris Lead A World-Class Fashion Education A MERGER OF PIONEERS Both institutions share a similar vision which is prioritising the pillars of success - outstanding results. With The One Academy’s “Masters Train Masters” teaching philosophy, ESMOD’s programmes are delivered with a practical teaching approach taught by industry experienced lecturers. These become the key elements to becoming the next generation of creative leaders in the fashion world. 1 9 2 3 4 6 5 15 10 7 12 14 13 8 17 16 18 11 20 19 1 ESMOD OSLO -Norway- 2-6 ESMOD ROUBAIX ESMOD RENNES ESMOD PARIS ESMOD BORDEAUX ESMOD LYON -France- 7-8 13-14 ESMOD TUNIS ESMOD KYOTO ESMOD SOUSSE ESMOD TOKYO -Tunisia- -Japan- 9 15 ESMOD MOSCOW ESMOD ISTANBUL -Russia- -Turkey- 10-11 16 ESMOD BEIJING ESMOD DAMASCUS ESMOD GUANGZHOU -Syria- -China- 17 12 ESMOD BEIRUT ESMOD SEOUL -Lebanon- International Network & -South Korea- 18 ESMOD DUBAI -United Arab Emirates- 19 ESMOD Jakarta -Indonesia- 20 ESMOD KUALA LUMPUR World Class -Malaysia- Recognition Education Highlights Vanessa Chua Yen May Esmod Kuala Lumpur 01 Student consulting our fashion design lecturer during class. -
Paris Region Facts & Figures 2021
Paris Region Facts & Figures 2021 Welcome to Paris Region Europe’s Leading Business and Innovation Powerhouse Paris Region Facts and Figures 2021 lays out a panorama of the Region’s economic dynamism and social life, positioning it among the leading regions in Europe and worldwide. Despite the global pandemic, the figures presented in this publication do not yet measure the impact of the health crisis, as the data reflects the reality of the previous months or year.* With its fundamental key indicators, the brochure, “Paris Region Facts and Figures 2021,” is a tool for decision and action for companies and economic stakeholders. It is useful to economic and political leaders of the Region and to all who wish to have a global vision of this dynamic regional economy. Paris Region Facts and Figures 2021 is a collaborative publication produced by Choose Paris Region, L’Institut Paris Region, and the Paris Île-de-France Regional Chamber of Commerce and Industry. *L’Institut Paris Region has produced a specific note on the effects of the pandemic on the Paris Region economy: How Covid-19 is forcing us to transform the economic model for The Paris Region, February 2021 Cover: © Yann Rabanier / Choose Paris Region 2nd cover: © Pierre-Yves Brunaud / L’Institut Paris Region © Yann Rabanier / Choose Paris Region Table of contents Welcome to Paris Region 5 Overview 6 Population 10 Economy and Business 12 Employment 18 Education 20 R&D and Innovation 24 Digital Infrastructure 27 Real Estate 28 Transport and Mobility 30 Logistics 32 Meetings and Exhibitions 34 Tourism and Quality of life 36 Welcome to Paris Region A Dynamic and A Thriving Business Paris Region, Fast-growing Region and Research Community A cultural and intellectual The highest GDP in the EU28 in A Vibrant, Innovative metropolis, a scientific and billions of euros. -
Cheil Industries Stronger Is the Unconventional Challenges
year in review in year unconventional challenges and our responses What makes Cheil Industries stronger is the unconventional challenges. We continued to move forward when competitors were at a standstill, and worked on making the company better while others were solely focused on external growth. Cheil Industries looks to push boundaries and seeks challenges and innovation even in times of great uncertainty. This Corporate Report is a record of what Cheil Industries has done in the past, and how we have responded to crisis by taking full advantage of opportunities and boldly adopting changes. It is also a commitment to growth in the future, so that Cheil Industries can join with all of our stakeholders in becoming a stronger, better company. 03 Cheil Industries Corporate Report 2011 year in review in year we are original strong no future creative without a past Cheil Industries’ 57 year history has built a company of immense experience. The company has always upheld a strong set of values, resulting in today’s growth and success. This is an introduction to the history of Cheil Industries – a history which also serves as the basis for the core values that will shape our future. 04 05 Cheil Industries Corporate Report 2011 1954 Cheil Woolen Fabrics Industries founded ns I 1956 Commenced plant operations and manufactured Korea’s first combed yarn Beg year in review in year 1961 Launched Korea’s first textile exports (1954~1968) 1965 Became the first Korean business to secure a license to use the WOOL trademark A Journey 1969 Became the -
Cultural Reinvention: Design Management for Korean Cultural Textile Products
Cultural Reinvention: Design management for Korean cultural textile products Meong Jin Shin Submitted in accordance with the requirements for the degree of Doctor of Philosophy University of Leeds School of Design September 2011 The candidate confirms that the work submitted is her own, except where work which has formed part of jointly-authored publications has been included. The contribution of the candidate and the other authors to this work has been explicitly indicated below. The candidate confirms that appropriate credit has been given within the thesis where reference has been made to the work of others. The candidate has published 4 papers from her thesis and these have been submitted with the thesis. She is the first named author and definitely the main author with all others named being in normal supervisor or adviser roles. All the data collection was carried out by the candidate and the other authors helped with tool design, methodology advice and advice on analysis and interpretation. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2011 The University of Leeds and Meong Jin Shin ii Abstract The subject dealt with in this thesis is to develop design management models for a translation from a traditional cultural product into a modern product to meet a relevant target market. This thesis provides a review of the basic disciplines of culture, cultural product and design management. Attention is focused on the concept of cultural reinvention as an effective design management tool for producing a successful cultural product, which can fit into a contemporary market. -
Weekly Korea Economy Digest 1St Week of Nov, 2012
Weekly Korea Economic Digest_ March 2014 Weekly Korea Economic Digest 8 - 14 March, 2014 Office of Commercial Affairs, Seoul Korea, Vietnam to hold new round of FTA negotiations <Korea Herald 11 March, 2014> South Korea and Vietnam will hold a fresh round of negotiations for a bilateral free trade agreement this week, the South Korean government said Tuesday. The fourth round of FTA negotiations between the two countries will be held in Ho Chi Minh City from Wednesday to Friday, according to the Ministry of Trade, Industry and Energy. “At the upcoming fourth round of negotiations, the two countries plan to hold in-depth discussions on various areas, such as products, service, investment, country of origin, customs and cooperation,” the ministry said in a press release. Negotiations for the Korea-Vietnam FTA were launched in September 2012 with the latest round held in South Korea’s port city of Busan in October 2013. Vietnam is South Korea’s sixth-largest trading partner, purchasing $21.09 billion worth of products from South Korea last year, according to the ministry. South Korea is Vietnam’s 16th-largest trading partner, with its imports from Vietnam surging 25.4 percent on-year to $7.17 billion in 2013. Vietnam is part of the 10-member Association of Southeast Asian Nations, with which South Korea signed an FTA in 2009. The Korea-ASEAN FTA went into effect in 2010. Office of Commercial Affairs, Seoul Page 1 Weekly Korea Economic Digest_ March 2014 ROK, Canada conclude free trade deal <The Korea Times 11 March, 2014> South Korea and Canada on Tuesday concluded their negotiations for a bilateral free trade agreement (FTA) that, once implemented, is expected to help significantly boost their bilateral trade. -
History and Design of Nineteenth-Century Minpos^ Korean Commoner's Wrapping Cloths 一 Focused on Supo 一
IJCC, Vol. 5, No. 2, 120 〜130(2002) 42 History and Design of Nineteenth-Century Minpos^ Korean Commoner's Wrapping Cloths 一 Focused on Supo 一 Sung-Kyung Im and Myung- Sook Han Dept, of Clothing and Textiles, Sang Myung University Abstract The purpose of this research is to survey minpofthe nations pojagi), especially supo(the embroidered pojagi), of the Yi Chosun of Korea during the nineteenth century. This study explores the history and background of minpo, its characteristics, including forms, designs, materials, and how they related to womens daily life during the Yi Chosun in social and cultural aspects. There were minpos for use in everyday life as well as for special occasions such as weddings, funerals and religions rites, including Buddhist and other services. The research undertaken here is done by classifying minpos according to composition, design, pattern and motif. Key -words: poiagi, tninpo, supo, embroidered pojagi. ulace, from the aristocratic class to the non I. Introduction -titled Koreans. This study explores the history and back During the Chosun Dynasty (1392 〜1910) in ground of minpo, its characteristics, including Korea, women lived in the shadow of men, their forms, designs, materials, and how they related fathers, husbands or sons. Few outlets of expres to women's daily life during the Chosun Dy sion were available to women; one of them was nasty in social and cultural aspects. There were the creation of exquisite wrapping cloths and minpos for use in everyday life as well as fbr covers for food, pojagi, which were replete with special occasions such as weddings, funerals and creativity. -
The Linked TEI: Text Encoding in the Web Book of Abstracts - Electronic Edition
The Linked TEI: Text Encoding in the Web Book of Abstracts - electronic edition Abstracts of the TEI Conference and Members Meeting 2013: October 2-5, Rome Edited by Fabio Ciotti and Arianna Ciula DIGILAB Sapienza University & TEI Consortium Rome 2013 Attribution-NonCommercial-ShareAlike 3.0 Unported Contents Introduction 1 Ciotti, Fabio; Ciula, Arianna Keynote speeches 5 Faceting Text Corpora 6 Demonet, Marie Luce Text encoding, ontologies, and the future 8 Renear, Allen Papers 11 The Linked Fragment: TEI and the encoding of text re-uses of lost authors 12 Berti, Monica; Almas, Bridget “Reports of My Death Are Greatly Exaggerated”: Findings from the TEI in 16 Libraries Survey Dalmau, Michelle; Hawkins, Kevin S. From entity description to semantic analysis: The case of Theodor Fontane’s 21 notebooks de la Iglesia, Martin; Göbel, Mathias Ontologies, data modelling, and TEI 26 Eide, Øyvind TEI and the description of the Sinai Palimpsests 30 Emery, Doug; Porter, Dot From TUSTEP to TEI in Baby Steps 34 Fankhauser, Peter; Pfefferkorn, Oliver; Witt, Andreas How TEI is Taught: a Survey of Digital Editing Pedagogy 39 Gavin, Michael Andrew; Mann, Rachel Scott TEI metadata as source to Europeana Regia – practical example and future 44 challenges Gehrke, Stefanie Documenter des “attentes applicatives” (processing expectations) 47 Glorieux, Frédéric; Jolivet, Vincent The Lifecycle of the DTA Base Format (DTABf) 49 Haaf, Susanne; Geyken, Alexander Promoting the linguistic diversity of TEI in the Maghreb and the Arab region 57 Hudrisier, Henri; Zghibi, Rachid; Sghidi, Sihem; Ben Henda, Mokhtar XQuerying the medieval Dubrovnik 63 Jovanović, Neven Analyzing TEI encoded texts with the TXM platform 66 Lavrentiev, Alexei; Heiden, Serge; Decorde, Matthieu "Texte" versus "Document". -
The Demise and Transfiguration of Haute Couture
008-021_INDUMENTA_01 29/1/09 14:19 Página 8 The demise Pablo Pena González Doctor of Art History. Professor of Design History and transfiguration for the Region of Madrid [email protected] of Haute Couture ABSTRACT: Contrary to the prediction prêt-à-porter is an industry. This article of Yves Saint-Laurent, Haute Couture does not address the necessary, eternal has not died. After two decades of death and universal profession of tailoring, throes, breathing tubes still pump life but rather the Parisian institution that, through its veins to ensure that it contin- one day in its youth, looked in the mir- ues to lead luxury market advertising. ror and said, “I am haute.” And since Of course, this is not the state we fash- this article may be of interest to people ion professionals, whether designers or outside the industry, I will begin by ex- writers, would wish for, nor do we ap- plaining what “haute” means as applied prove of the postmodern direction that to couture. recent Haute Couture has taken, which a. “Haute” means “expensive.” Haute is progressively sullying rather than glo- literally means “high” and, if we analyse rifying the profession of fashion design- it semantically, couture cannot be high ers. This article offers numbers, state- any more than it could be fat. The epi- 1 As quoted by the journalist Corinne Jeammet. ments and reflections made by the thet “high” was appended in a Unless otherwise indicated, all quotes protagonists of Parisian couture, enough metaphorical sense, and I think this was appearing in the article are taken from the to certify the debacle of the last aristo- done to mask its gory significance: high cratic art in history. -
CP Résultats
LLeess FFrriiimmoouusssseess ddee CCrrééaatteeuurrss oonntt ccoolllllleeccttéé ppllluuss ddee 227700 000000 eeuurrooss ppoouurr llleess pprrooggrraammmmeess ddee lll’’’UUNNIIICCEEFF eenn ffaavveeuurr ddeess eennffaannttss dduu DDaarrffoouurr Paris, le 20 novembre 2009 - Les enchères Frimousses de Créateurs , qui se sont tenues hier à Drouot-Montaigne, sous le marteau de Maître Georges Delletrez, Président de Drouot Holding et de Maître Pierre Cornette de Saint-Cyr, en présence de nombreuses personnalités, dont Laeticia Hallyday, marraine de l’opération, Delphine Arnault-Gancia, Présidente du Comité d’honneur, Natalie Dessay qui a confectionné une poupée ou encore Alain Delon, ont permis de récolter plus de 270 000 euros. La totalité des fonds collectés ira directement soutenir les programmes de vaccination de l’UNICEF au Darfour. Pour cette 7 ème édition, l’UNICEF France a mobilisé près d’une centaine de créateurs, d’artistes et pour la première fois cette année des personnalités, qui ont mis leur imagination et leur savoir-faire au service des enfants du Darfour, en réalisant des poupées et des œuvres, toutes uniques. Parmi celles surenchéries qui ont remporté un grand succès, citons celles de Jeff Koons (26 000 euros), Damien Hirst (25 000 euros), Christian Dior (16 000 euros), Louis Vuitton (12 000 euros), Jean-Michel Othoniel (11 000 euros) ou encore celle de Cartier (10 000 euros). Pour mémoire, l’édition 2008 avait permis de collecter 219 130 euros. L’UNICEF tient à remercier chaleureusement les créateurs, les artistes et les personnalités, ayant participé à cette édition(*), ainsi que l’ensemble de ses partenaires (**) qui ont largement contribué au succès de cet événement et bien sûr ses généreux donateurs pour leur soutien. -
Dior Już W Łodzi. Projekty Światowego Wizjonera Mody Zobaczysz W CMW
Dior już w Łodzi. Projekty światowego 02-10-21 1/3 wizjonera mody zobaczysz w CMW Dior już w Łodzi. Projekty światowego wizjonera mody zobaczysz w CMW 20.04.2018 13:50 Marlena Kamińska / BPKSiT kategoria: Aktualności kulturalne Kreacje, biżuteria, buty, kapelusze marek: Dior, Coco Chanel, Yves Saint Laurent, Givenchy dotarły do Centralnego Muzeum Włókiennictwa w Łodzi. Wernisaż wystawy w czwartek, 26 kwietnia. Część wystawy poświęcona jest kreacjom spod znaku domu mody Dior , fot. Radosław Żydowicz / UMŁ Polska premiera ponad 300 eksponatów zaprojektowanych przez znanych na całym świecie projektantów mody odbędzie się 26 kwietnia o godz. 18. Jednak już dziś w łódzkim muzeum zaprezentowano osiem sylwetek z wystawy "Christian Dior i ikony paryskiej mody z kolekcji Adama Leja". Były oryginalne stroje, kapelusze, torebka z latarką oraz perfumy z 1947 roku w słynnym flakonie przypominającym amforę. - Dlaczego akurat osiem manekinów? Otóż Christian Dior uwielbiał symbolikę i "8" jest taką jego szczęśliwą liczbą. Ósemka jest nieskończonością oraz przypomina sylwetkę kobiecą i do niej też nawiązuje styl "New Look"oraz prezentowane perfumy Miss Dior - podkreślał właściciel kolekcji Adam Leja, dzięki któremu Centralne Muzeum Włókiennictwa w Łodzi ma niezwykłą okazję przypomnieć dokonania Christiana Diora, a także powojennych paryskich mistrzów haute couture. Wystawa składa się z dwóch części. Pierwsza ma być poświęcona wyłącznie kreacjom spod znaku domu mody Dior. Prezentowane będą oryginalne stroje, ale także uzupełniające je akcesoria - kapelusze, buty, jak również biżuteria. Będzie to swoista podróż przez całą historię tego domu mody, ukazująca, jak interpretował on w swoich strojach tendencje pojawiające się w nieustannie zmieniającej się rzeczywistości kolejnych dziesięcioleci. Ciekawostką będzie oryginalny autograf Christiana Diora i pierwsze perfumy oraz projekty Diora. -
Exaggerated Proportions Kick Off Shows
Lifestyle FRIDAY, JANUARY 22, 2016 Exaggerated proportions kick off Paris menswear shows Models present creations by Valentino during men’s Fashion Week for the Fall/Winter 2016/2017 collection in Paris. —AP/AFP photos cy winds and empty seats defined the first day of the divert traffic to accommodate the Imenswear shows at Paris Fashion traveling circus of fashionistas that Week - with heightened security fol- try to see over 70 official shows. lowing November’s deadly attacks in the French capital. Some front- Raf Simons goes back to school row celebrities were no-shows but And then the designers really let It was a back to school with a they ended up missing out on top- VALENTINO their hair down in a tribal-bohemian dash of the 1980’s for Raf Simons, notch creativity for the fall-winter Designers Pierpaolo Piccioli and finale - which showcased perhaps who’s been making ripples since 2016-17 season - with exaggerated Maria Grazia Chiuri did away with too many looks. Ponchos rubbed October last year for resigning as proportions featuring in Valentino the military styles that have pep- shoulders with embroidered feather Christian Dior’s creative director. At and Raf Simons.Here are the high- pered the nascent menswear aes- motifs, and bold tectonic patterns his Wednesday night menswear lights of Wednesday’s catwalk col- thetic. Wednesday’s show - in the on coats had fashionistas pulling show, the Belgian designer showed lections. magnificent 18th-century Hotel out their smartphone cameras. that he has retained a sense of Salomon de Rothschild town house humor - at least for his eponymous - was all the better for moving French federation tightens label.