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Augusta Auction Company Historic Fashion & Textile
AUGUSTA AUCTION COMPANY HISTORIC FASHION & TEXTILE AUCTION MAY 9, 2017 STURBRIDGE, MASSACHUSETTS 1 TRAINED CHARMEUSE EVENING GOWN, c. 1912 Cream silk charmeuse w/ vine & blossom pattern, empire bodice w/ silk lace & sequin overlay, B to 38", W 28", L 53"-67", (small holes to lace, minor thread pulls) very good. MCNY 2 DECO LAME EVENING GOWN, LATE 1920s Black silk satin, pewter lame in Deco pattern, B to 36", Low W to 38", L 44"-51", excellent. MCNY 3 TWO EMBELLISHED EVENING GOWNS, 1930s 1 purple silk chiffon, attached lace trimmed cape, rhinestone bands to back & on belt, B to 38", W to 31", L 58", (small stains to F, few holes on tiers) fair; 1 rose taffeta underdress overlaid w/ copper tulle & green silk flounce, CB tulle drape, silk ribbon floral trim, B to 38", W 28", L 60", NY label "Blanche Yovin", (holes to net, long light hem stains) fair- good. MCNY 4 RHINESTONE & VELVET EVENING DRESS, c. 1924 Sapphire velvet studded w/ rhinestones, lame under bodice, B 32", H 36", L 50"-53", (missing stones, lame pulls, pink lining added & stained, shoulder straps pinned to shorten for photo) very good. MCNY 5 MOLYNEUX COUTURE & GUGGENHEIM GOWNS, 1930-1950s Both black silk & labeled: 1 late 30s ribbed crepe, "Molyneux", couture tape "11415", surplice bodice & button back, B to 40", W to 34", H to 38", L 58", yellow & black ikat sash included, (1 missing button) excellent; "Mingolini Guggenheim Roma", strapless multi-layered sheath, B 34", W 23", H 35", CL 46"-50", (CF seam unprofessionally taken in by hand, zipper needs replacing) very good. -
Every Fur Coat Hurts!
Whims of Fashion Fatal to Furbearers What's it Like to be Trapped? Economics of the The raccoon on the cover of this report is Are young children taught to be insensi A fox emerges from the swamp grass and chews off his foot. The terror-stricken fox U.S. Fur Trade only one of about 17 million U.S. furbear tive to pain and suffering when there's a moves along its usual path of travel. limps off into the swamp grass leaving a ers killed each year. Most have been made trapping tradition in their homes? When WHAM! The jaws of the trap slam shut on trail of blood. The HSUS estimates that there are about to suffer the agony of the steel jaw trap. they see row upon row of fur coats in the the fox's right rear leg. The startled and ter This event, commonly called "wring 300,000 trappers in the United States, the The trapper's coup de grace is often admin department stores? rified fox struggles to break free. The off" by trappers, could have taken two vast majority of whom do not derive a sub istered with a club, a noose, or a boot heel. Parents are always confronted with ques smooth jaws of the trap bite into flesh caus hours, two days, or maybe even two weeks. stantial portion of their income from trap And let us not forget the millions of other tions such as: "How did they kill it Daddy? ing traumatic injury to skin, ligaments, and ping. -
Building Best Practices for Fashion Design Pedagogy: Meaning, Preparation, and Impact
Steven Faerm Building best practices for fashion design pedagogy: meaning, preparation, and impact Fecha de recepción: julio 2014 Building best practices for fashion Fecha de aceptación: marzo 2015 Versión final: julio 2015 design pedagogy: meaning, preparation, and impact Steven Faerm * Summary: Historically, universities have adopted a “sink or swim” approach with their hiring of art and design faculty. After years of professional experience, these new faculty enter classrooms without pedagogical training and are expected to succeed as educators. However, designing product and educating students require significantly different skill- sets. Additionally, faculty challenges are radically increased due to the seismic changes occurring in design education, the evolving student generation, and the increasingly volatile professional world for which students must be trained. Through trial and error, new faculty often rely on outdated teaching methods used during their own undergraduate experiences. This lack of faculty preparation negatively impacts programs, the graduates’ preparation, and ultimately our design industries. This article will discuss the critical need for tomorrow’s art and design faculty to acquire –and master– solid pedagogical skills if they are to successfully educate and train future designers. This study aims to provide fashion design educators and program directors with awareness for the importance of providing pedagogy support for new faculty in order to strengthen the students’ learning. Key words: design education - design pedagogy - student development - teaching - fashion design - fashion industry - Parsons - faculty - higher education. [Summaries in spanish and portuguese at pages 212-213] (*) Associate Professor, The School of Fashion, Parsons The New School for Design. Introduction Historically, universities have adopted a “sink or swim” approach with their hiring of fashion design faculty. -
Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By
Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 By Elizabeth Sallinger M.M., Duquesne University, 2010 B.A., Pennsylvania State University, 2008 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Paul R. Laird Roberta Freund Schwartz Bryan Kip Haaheim Colin Roust Leslie Bennett Date Defended: 5 December 2016 ii The dissertation committee for Elizabeth Sallinger certifies that this is the approved version of the following dissertation: Broadway Starts to Rock: Musical Theater Orchestrations and Character, 1968-1975 Chair: Paul R. Laird Date Approved: 5 December 2016 iii Abstract In 1968, the sound of the Broadway pit was forever changed with the rock ensemble that accompanied Hair. The musical backdrop for the show was appropriate for the countercultural subject matter, taking into account the popular genres of the time that were connected with such figures, and marrying them to other musical styles to help support the individual characters. Though popular styles had long been part of Broadway scores, it took more than a decade for rock to become a major influence in the commercial theater. The associations an audience had with rock music outside of a theater affected perception of the plot and characters in new ways and allowed for shows to be marketed toward younger demographics, expanding the audience base. Other shows contemporary to Hair began to include rock music and approaches as well; composers and orchestrators incorporated instruments such as electric guitar, bass, and synthesizer, amplification in the pit, and backup singers as components of their scores. -
New York City (2)” of the Sheila Weidenfeld Files at the Gerald R
The original documents are located in Box 23, folder “3/20/76 - New York City (2)” of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Gerald Ford donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 23 of the Sheila Weidenfeld Files at the Gerald R. Ford Presidential Library ...;._...,' For immediate release Friday, March 19, 1976 THE WHITE HOUSE Office of Mrs. Ford's Press Secretary -----~---------------------------------------------------------------------- \ Monday evening, March 29th, Mrs. Ford will accept the 1976 Parsons Award at the annual Critics Awards Show sponsored by the Parsons School of Design at the New York Hilton Hotel in New York City. There will be a photo session with Mrs. Ford and student award winners at 6:00 p. m. in the Rendevous Trianon Room1 11 of the New York Hilton, followed by a private reception. The fashion show and awards presentation will take place betweei 7:00 and 8:00 p. m. Mrs. Ford will make brief remarks at the award presentation. -
Ballet West Mark Morris A.I.M
NORTHROP 2019-20 SEASON | WINTER DANCE SERIES MARK MORRIS DANCE GROUP Sat, Jan 25, 7:30 pm Pepperland with live music BALLET WEST Sat, Feb 22, 7:30 pm & Sun, Feb 23, 2:00 pm Jewels with live orchestra Northrop and Walker Art Center Present A.I.M BY KYLE ABRAHAM Sat, Feb 29, 7:30 pm Mixed repertory Welcome to Northrop! I am so pleased that you are joining me for a very special time filled with dance, community, and fellowship. As we come together in anticipation of the extraordinary experience we are about to share, I encourage you to look around and connect with someone you have not yet met. You can be sure that you have at least one commonality! This Winter Dance Series brings together the old, the new, and the timeless—and is sure to delight, inspire, and move us. Let us share more than space and, instead, be open to exchanging thoughts, ideas, and perspectives. In doing so, I hope that we each come away with a deeper understanding of ourselves and those around us. LETTER FROM THE DIRECTOR THE LETTER FROM The Winter Dance Series begins with Mark Morris’ Pepperland, set to a score of innovative arrangements of the iconic songs from the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album, performed by a live jazz ensemble. Originally commissioned by the city of Liverpool to celebrate the 50th anniversary of the groundbreaking album, this delightful, vividly colorful hour-long work demonstrates why this dancemaker is noted as “the most successful and influential choreographer alive, and indisputably the most musical” (New York Times). -
Dupont Company Textile Fibers Product Information Photographs 1984.259
DuPont Company Textile Fibers Product Information photographs 1984.259 This finding aid was produced using ArchivesSpace on September 14, 2021. Description is written in: English. Describing Archives: A Content Standard Audiovisual Collections PO Box 3630 Wilmington, Delaware 19807 [email protected] URL: http://www.hagley.org/library DuPont Company Textile Fibers Product Information photographs 1984.259 Table of Contents Summary Information .................................................................................................................................... 3 Historical Note ............................................................................................................................................... 4 Scope and Content ......................................................................................................................................... 4 Administrative Information ............................................................................................................................ 7 Controlled Access Headings .......................................................................................................................... 8 Collection Inventory ....................................................................................................................................... 8 Fashion master files ..................................................................................................................................... 8 Children and teens ................................................................................................................................... -
Costume Institute Records, 1937-2008
Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................ -
Chapter 1 1850-1890: the Dawn of Modern Clothing
Chapter 1 1850-1890: The Dawn of Modern Clothing This Teacher’s Guide, compiled with the assistance of Stephanie Kramer, is designed to provide you with a summary of the key points in the development of fashion during the period/decade covered in this chapter. It also provides a concise survey of the significant designers of the time, essay and discussion questions, and further reading and research suggestions. Objective The main objective of this chapter is to study the development of fashion during the second half of the 19th century, particularly the establishment of those aspects of the fashion system that are still in place today. Fashion in this period reflected the latest developments in engineering, chemistry, and communication and witnessed development of the role of the “fashion designer.” Key Teaching Points The following teaching points have been arranged thematically and highlight the important topics that need to be covered in order to meet the main objective of the chapter. Social and Economic Background • Britain o reign of Queen Victoria (1837-1901); stress on propriety and etiquette o rapid industrialization o expanding overseas empire • United States o impact of Civil War (1861-1865) on global trade o emergence as industrial power • France o reestablishment of court during Second Empire (begins 1852, ends with Franco-Prussian war 1870) o transformation of Paris into fashionable modern city • Japan o opens borders (1853-1854) o goods enter the Western market and impact Western tastes The Arts • Orientalism and Academic -
The People Who Buy, Make, and Market Your Clothes
Schmuckler and Levy: Garment District The people who buy, make, and market your clothes MANUFACTURING fAMILY AFFAIR Behind some ofthe mostfamous names in clothing is the name Pietrafesa. By Renee Gearhart Levy HE MACHINE IS THE SIZE from Italy that need only to be Tof a boardroom table. An loaded- they press and stack automated arm guides an ink pen garments themselves. across a roll of paper, up and down, "There are some machines out back and forth, its motions con there that every time I see them, troled by a computer in an adjoin I have to shake my head," says ing office. Within a few moments company chairman Robert D. an image becomes recognizable. Pietrafesa. "It's great what's going It's a pattern for a man's suit on out there." jacket- front panels, sleeves, "Great" may be an understate collar, back panels. ment. The Pietrafesa Company, The apparatus is the plotter ofthe owned by Robert and his brother, Gerber CAD/CAM system- state Richard- Bob and Dick to all who of-the-art equipment for clothing know them- may well be the manufacture. It has revolutionized premiere men's clothing manufac daily procedure at the Joseph J. turer in the world. The company, Pietrafesa Company in Syracuse, which produces some 4,000 suit one of the first manufacturers in the pieces per week, manufactures top country to use it. quality tailored clothing for a blue The Gerber is but one in an ar chip list of clients, including ray of technical innovations that fill Neiman Marcus, Brooks Brothers, the Pietrafesa factory. -
Cataloguex16
CELEBRA TING SUSANIN’S YEARS Auctioneers & Appraisers Lot 7465 A PLATINUM, DIAMOND, AND SYNTHETIC SAPPHIRE RING. Sale 145 Sunday • Decemeber 7, 2014 • 10:00 AM Sale 145•December 7, 2014 Sunday•10:00 AM Please Note: The times which appear below the photos throughout the catalogue are only approximate selling times. We cannot be responsible for any errors caused by the use of estimated times. BUSINESS HOURS Monday - Friday • 10:00 am - 4:00 pm Auction Day • 9:00 am - End of Auction Saturdays & Sundays • Closed AUCTION VIEWING HOURS Friday, November 28th * 10 am - 5 pm Saturday, November 29th * 10 am - 3 pm Monday, December 1st * 10 am - 5 pm Tuesday, December 2nd * 10 am - 5 pm Wednesday, December 3rd * 10 am - 5 pm Thursday, December 4th * 10 am - 7 pm Friday, December 5th * 10 am - 5 pm Saturday, December 6th * 9 am - 12 pm Sunday, December 7th * 9 am - 12 pm PROPERTY PICK UP Monday • December 8th thru Friday, December12th • 10:00 am - 4:00 pm Strict Pickup Policy in Force — All Property Not Picked Up Within Seven Business Days Following the Auction Will Be Charged to Your Credit Card or Shipped to Storage at Your Expense. Thank You For Your Understanding and Cooperation. Illinois Auction License #440-000833 PHONE•312-832-9800 | FAX•312-832-9311 | EMAIL•[email protected] BUSINESS DEVELOPMENT TRUSTS AND ESTATES Sean E. Susanin — 312-832-9800— [email protected] CONSIGNOR SERVICES Patrick Kearney — 312-832-9037 — [email protected] Carrie Young — 312-832-9800 — [email protected] Elizabeth McCarthy — 312-832-9036 — [email protected] Emily -
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Rendering of Living Room (KA0026_kOSxx2_08_02) Village Scene (KA012201_000009) Sylvia Marlowe Seated at Harpsichord Sign for the David Mannes Music School (MP000601_000001) (MA040101_000085) Rendering of bedroom interior (KA003101_000002) Rendering of Bedroom Interior (KA003101_000004) Print of zinc-plate etching in six panels (KA0087_01) Rendering of Sitting Area (KA003101_OSxx1_f06_04) Rendering of Bedroom for Mrs. Rae in Sewickley, Pennsylvania Rendering of Guest Room for Mrs. Hassler (KA003101_000006) (KA003101_000007) Rendering of Bedroom Interior Rendering of Bedroom Interior (KA003101_000005) (KA003101_000008) Page 1 of 207 Geometric Gouache (KA0027_b01_f06_01) Scandinavian-Inspired Pattern Pink Peony Napkin (KA0027_b01_f14_01) Abstract Batik-Inspired Print (KA0027_b01_f04_01) (KA0027_kOSx3_f02_01) Realist Stereo Slide Viewing Kit (KA0034_b06_f01_01) Opera Performance at Mannes College of Music (MA040101_000058) HOPE YOU HAVE... Carl Bamberger Conducts at Mannes (KA0019_b01_f14_08) College of Music (MA040101_000057) Fashion Show Fashion Show Fashion Show (PIC04002_b02_f29_0506_01) (PIC04002_b02_f29_0506_02) (PIC04002_b02_f29_0506_03) Bonwit Teller Window Display Featuring Linen Dress by Stella Sloat and Vegetable Mask (KA0001_000215) Page 2 of 207 Fashion Show Fashion Show Fashion Show Fashion Show (PIC04002_b02_f29_0506_04) (PIC04002_b02_f29_0506_05) (PIC04002_b02_f29_0506_06) (PIC04002_b02_f29_0506_07) Fashion Show Fashion Show Fashion Show Students Observe Man Making a Garment (PIC04002_b02_f29_0506_08) (PIC04002_b02_f29_0506_09)