Dress Designing Tailoring
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History and Drafting of Hose By: Adelheid Holtzhauer
History and Drafting of Hose By: Adelheid Holtzhauer Introduction Leg coverings of some sort have been worn throughout history by both men and women. For the purposes of this class, the hose we will be looking at are fitted, closed footed and made of woven fabric. There are many garments called Hose and Hosen worn throughout history. Extant examples have been found dating back to the 2nd century such as the footed hose found a Martres-de- Veyre. Image 1: Womens woollen twill hose excavated at Martres-de-Veyre Although there are many different garments that could be referred to as hose, in this class we will be focusing on "Single Hose" and "Attached Hose". Single hose cover one leg and can vary in length/height. Attached hose are essentially tight fitted trews. Over the course of time, single hose went from knee length and gartered with trim, to full fitted "pants" to thigh high and attached with to a belt at the waist, to detached and gartered under the knee to the full legging style common in the late 161h century. Image 2 shows a pair of attached hose which are carbon dated to 1355 AD and were found in the Damendorf Bog. Image 2: Susan Moller- Image 4: After a photo in Wlering: War and worship, p Nockert: 114 Bockstenmannen och Image 3: Margareta hans drakt Nockert: Bockstenmannen och hans drakt. pg 61 The knee high hose in image 3 were found on the Bocksten Bog Man generally dated to the th 14 century but were carbon dated between 1290 and 1430. -
Issue: Fashion Industry Fashion Industry
Issue: Fashion Industry Fashion Industry By: Vickie Elmer Pub. Date: January 16, 2017 Access Date: October 1, 2021 DOI: 10.1177/237455680302.n1 Source URL: http://businessresearcher.sagepub.com/sbr-1863-101702-2766972/20170116/fashion-industry ©2021 SAGE Publishing, Inc. All Rights Reserved. ©2021 SAGE Publishing, Inc. All Rights Reserved. Can it adapt to changing times? Executive Summary The global fashion business is going through a period of intense change and competition, with disruption coming in many colors: global online marketplaces, slower growth, more startups and consumers who now seem bored by what once excited them. Many U.S. shoppers have grown tired of buying Prada and Chanel suits and prefer to spend their money on experiences rather than clothes. Questions about fashion companies’ labor and environmental practices are leading to new policies, although some critics remain unconvinced. Fashion still relies on creativity, innovation and consumer attention, some of which comes from technology and some from celebrities. Here are some key takeaways: High-fashion brands must now compete with “fast fashion,” apparel sold on eBay and vintage sites. Risk factors for fashion companies include China’s growth slowdown, reduced global trade, Brexit, terrorist attacks and erratic commodity prices. Plus-size women are a growing segment of the market, yet critics say designers are ignoring them. Overview José Neves launched Farfetch during the global economic crisis of 2008, drawing more on his background in IT and software than a love of fashion. His idea: Allow small designers and fashion shops to sell their wares worldwide on a single online marketplace. The site will “fetch” fashion from far-off places. -
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......................................... -
The Mini Skirt Danielle Hueston New York City College of Technology Textiles
The Mini Skirt Danielle Hueston New York City College of Technology Textiles When I was six my mother and I took one of our weekly day shopping trips to the mall. On our way back we stopped at this local thrift store. This being one of the first times I had ever experienced one, everything seemed so different and weird, in a good way. I wasn’t used to there only being one of everything, or one store that sold clothes, books, toys, home decor and shoes.Walking down the ‘bottoms aisle’ is where I first came across it. It was black and flowy, probably a cotton material, with a black elastic band around the waist. I wanted it, I needed it. It was the perfect mini skirt. It reminded me of the one I saw Regina George wear in the Hallway Scene in the movie ‘Mean Girls’ a few months prior and had to get it, even though it was a “little” big. There was only one, I was going to make it work. When Monday came I wasted no time showing off my new skirt at school. It made me feel like a whole new person. At some point of the day however my teacher had stepped out of the room to talk to another teacher, in conjunction one of my classmates playfully grabbed my pencil out of my hand, to which I decided to chase him around the room to retrieve it back. I tripped and my skirt fell right to my ankles, in front of the entire class. -
Destabilizing Shakespeare: Reimagining Character Design in 1 Henry VI
Connecticut College Digital Commons @ Connecticut College Self-Designed Majors Honors Papers Self-Designed Majors 2021 Destabilizing Shakespeare: Reimagining Character Design in 1 Henry VI Carly Sponzo Follow this and additional works at: https://digitalcommons.conncoll.edu/selfdesignedhp Part of the Literature in English, British Isles Commons, and the Theatre and Performance Studies Commons This Honors Paper is brought to you for free and open access by the Self-Designed Majors at Digital Commons @ Connecticut College. It has been accepted for inclusion in Self-Designed Majors Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Connecticut College Destabilizing Shakespeare: Reimagining Character Design in 1 Henry VI A Thesis Submitted to the Department of Student-Designed Interdisciplinary Majors and Minors in partial fulfillment of the requirements for the Degree in Costume Design by Carly Sponzo May 2021 Acknowledgements I could not have poured my soul into the following pages had it not been for the inspiration and support I was blessed with from an innumerable amount of individuals and organizations, friends and strangers. First and foremost, I would like to extend the depths of my gratitude to my advisor, mentor, costume-expert-wizard and great friend, Sabrina Notarfrancisco. The value of her endless faith and encouragement, even when I was ready to dunk every garment into the trash bin, cannot be understated. I promise to crash next year’s course with lots of cake. To my readers, Lina Wilder and Denis Ferhatovic - I can’t believe anyone would read this much of something I wrote. -
Clothing Docum.Indd
1545 Italian Courtesan Clothing by Baroness Briana Etain MacKorkhill hen we think of Italy, we should remember that in the period we are discussing, it was divided into various duchies, princedoms, Papal Wstates and even a Republic. Such divisiveness contributed to the political intrigue and economic situations that kept such territories in a state of flux and contention with each other. Each state not only vied for economic advantages, but also scrambled for Papal sponsorship and favor. A new role for women gainst this tumultuous background, there arose a new role a woman could Aassume, that of the “honest” courtesan. Giovanni Burchard, the chronicler of Alexander VI (Borgia) was perhaps the first to use the phrase “courtesanae honestae” making explicit its derivation from the papal curia. He differentiated between them and common prostitutes, offering some piquant accounts of some of the games played at social affairs. And in Rome, according to a document in the Archivo di Stato Florentino the “honest courtesan” held the first of 3 classes of prostitutes. They were the “regents and goddesses” from nearly the beginning. An honest courtesan was independent, strong-willed, well-educated, liberated and often elevated to be an aristocratic companion. She was frequently fluent in several languages, achieved prominence in the arts – as poets, musicians, etc. – and would use her knowledge of classical literature to enhance her image. She was at once, companion, lover, confidant, and even advisor in matters both political and economic. “Continual dualism of free and yet bound”, best describes the balancing of a courtesan’s life. This all in a time when women had very little freedom otherwise. -
1 Centro Vasco New York
12 THE BASQUES OF NEW YORK: A Cosmopolitan Experience Gloria Totoricagüena With the collaboration of Emilia Sarriugarte Doyaga and Anna M. Renteria Aguirre TOTORICAGÜENA, Gloria The Basques of New York : a cosmopolitan experience / Gloria Totoricagüena ; with the collaboration of Emilia Sarriugarte Doyaga and Anna M. Renteria Aguirre. – 1ª ed. – Vitoria-Gasteiz : Eusko Jaurlaritzaren Argitalpen Zerbitzu Nagusia = Servicio Central de Publicaciones del Gobierno Vasco, 2003 p. ; cm. – (Urazandi ; 12) ISBN 84-457-2012-0 1. Vascos-Nueva York. I. Sarriugarte Doyaga, Emilia. II. Renteria Aguirre, Anna M. III. Euskadi. Presidencia. IV. Título. V. Serie 9(1.460.15:747 Nueva York) Edición: 1.a junio 2003 Tirada: 750 ejemplares © Administración de la Comunidad Autónoma del País Vasco Presidencia del Gobierno Director de la colección: Josu Legarreta Bilbao Internet: www.euskadi.net Edita: Eusko Jaurlaritzaren Argitalpen Zerbitzu Nagusia - Servicio Central de Publicaciones del Gobierno Vasco Donostia-San Sebastián, 1 - 01010 Vitoria-Gasteiz Diseño: Canaldirecto Fotocomposición: Elkar, S.COOP. Larrondo Beheko Etorbidea, Edif. 4 – 48180 LOIU (Bizkaia) Impresión: Elkar, S.COOP. ISBN: 84-457-2012-0 84-457-1914-9 D.L.: BI-1626/03 Nota: El Departamento editor de esta publicación no se responsabiliza de las opiniones vertidas a lo largo de las páginas de esta colección Index Aurkezpena / Presentation............................................................................... 10 Hitzaurrea / Preface......................................................................................... -
GARBED for GOD Defend the Gospel Tracts
GARBED FOR GOD (M odesty/Im m odesty) —Also for Adam and his wife the Lord God made tunics of skin, This Tract P resented B y and clothed them.“ DDeeffeenndd -Genesis 3:21 TThhee GGoossppeell TTrraaccttss M ICHAEL PICKFORD www.defendthegospel.com 29 mandate of God, we have seen His standards for INTRODUCTION: modesty. Make sacrifices and follow them. A few more good questions to ask when clothing yourself: To be garbed is to be dressed in a distinctive Is it doubtful? way. There is a certain, distinctive way in which Could it be a stumbling block to Christians ought to dress themselves. I’m dealing others? in this tract with how we dress when we come to Will it hurt my influence upon others for worship services, although the principles will godliness? apply. But I’m addressing the subject of how we, as Would I mind if Jesus saw me wearing this children of God, should clothe ourselves day by attire? day. Just ask yourself questions before you begin. His eye is always on you (Hebrews 4:13)! Think about the clothes you wear to work, to school, to work, to the mall, or grocery shopping, CONCLUSION: when you’re casual, when doing yard work... In this tract, we have dealt with the idea of Are you dressed for deity? being Garbed for God. We have considered… Are you robed for righteousness? The Mind of God... Are you clothed for Christ? The Mandate of God... Are you garbed for God? The Manipulation of Godlessness…. The Modesty of the Godly. -
Warp the Loom •Fi Wrap the Dead Trapezoid Shaped Textiles from The
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2008 Warp the Loom – Wrap the Dead Trapezoid shaped textiles from the Chiribaya culture, South Peru, AD 900-1375 Wynne Minkes Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Minkes, Wynne, "Warp the Loom – Wrap the Dead Trapezoid shaped textiles from the Chiribaya culture, South Peru, AD 900-1375" (2008). Textile Society of America Symposium Proceedings. 232. https://digitalcommons.unl.edu/tsaconf/232 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. Warp the Loom – Wrap the Dead Trapezoid shaped textiles from the Chiribaya culture, South Peru, AD 900-1375 Wynne Minkes Trapezoid shaped garments are not common in the Andean Pre-Columbian cultures. Generally, men and women wore sleeveless tunics made from the whole woven fabric without cutting and sewing it into any shape as did the Europeans for instance. The lengths of these tunics ranged from chest to ankle. Often the shorter tunics were complemented by loincloths or skirts. The number of fabrics needed to make these garments would vary: one web folded in half or two or more webs sown together. The warps were hardly ever cut from the loom bar and wefts would be inserted up to the heading cord with the use of a needle. -
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. -
Spanish Farthingale Dress
Spanish Farthingale Dress This dress has a separate bodice, under skirt and over skirt, as well as a partlet at the neck.. The bodice opens in the back, the under skirt opens at the side, and the over skirt opens in the front. There are no fitting seams in the bodice. Although I did not add boning to the bodice, you certainly could. It would help to keep the front point down and add some body to the front of the bodice. The under skirt was made with muslin in the back to conserve fabric, which was certainly done in the 16th Century. The over skirt closes in the front under the point of the bodice. The straight sleeves have a gathered cap. This dress is worn with a Spanish farthingale and can also have a bum roll in the back for the support of the cartridge pleating. (see the bum roll pattern under the French Farthingale Dress Spanish Farthingale Cut 2 from each of the pattern pieces, adding ¼” for seam allowance (This can be made using muslin or similar fabric) When tracing the pattern, make sure that you mark all of the lines for the boning. Sew the seams for each set of the pattern so that you end up with two single layer farthingale skirts. Then stitch the two together at the bottom with right sides together. Finish the side openings by turning the seam allowance in and hand or machine stitching it closed. The top is finished with a piece of bias tape, leaving enough at the sides in order to tie the farthingale into place. -
15Th C Italian Clothing
15th C clothing for men and women THL Peryn Rose Whytehorse Barony of the South Downs Meridies February 2015 CAMICIA/CAMISA (M/F). The chemise, made usually of linen, but occasionally of cotton or silk. 1494 In the earlier part of the century, the camicia is a functional washable layer of clothing worn between the skin and the outer woollen or silk garments. However, as the Quattrocento progresses, the chemise, revealed through slits and slashes down the sleeves and the bodice, and around the neckline, becomes more decorated with embroidered bands around the collar and cuffs. There must have been regional variations also; e.g. men's shirts 'a modo di Firenze' (Strozzi, op. Finish inside cit., p. 100). edges of sleeves on both sides 1452-66 1488 Definitions from Dress in Renaissance Italy, 1400-1500, by Jacqueline Herald, printed by Humanities Press: NJ, 1981. 1496 1478 Inventories Monna Bamba 1424 - 7 camicie usate 1476-78 Wedding present to Francesco de Medici 1433 – 17 chamicie Household of Puccio Pucci – 18 camicie da donna 1452-66 1452 1460s 1476-84 1460-64 1460-64 GAMURRA/CAMMURA/CAMORA (F). The Tuscan term for the simple dress worn directly over the woman's chemise (camicia). 1476-84 In the north of Italy, it is known by the terms zupa, zipa or socha. The gamurra is worn by women of all classes. It is both functional and informal, being worn on its own at home, and covered by some form of overgarment such as the cioppa, mantello, pellanda or vestimento out-of-doors or on a more formal occasion.