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Styling by the Sea 140 Years of Beachwear
Styling by the Sea 140 Years of Beachwear Beach Fashions in the 1930s The stock market crash on Tuesday, October 29, 1929, and the subsequent deterioration in the value of business assets over the following three years, had a devastating impact on the economies of United States and the world at large. The high flying,care-free days of the Roaring ‘20s were over and with them went the risk taking and pushing of boundaries that characterized the lives of people during the decade. The Great Depression had begun and would continue for ten years. Spending on luxuries declined as disposable cash became scarce and people grew more fiscally conservative. Concern about employment and their long term financial prospects became paramount as the atmosphere of the country became serious and sober. Businesses closed and jobs were cut by many companies due to falling demand for their products. This caused a domino effect that resulted in economic stagnation and the deep economic depression. Luckily the pleasures derived from time spent on the beach remained an affordable and welcome means of escape from the harsh realities of everyday life. The cover of the September 3, 1932 issue of The Saturday Evening Post presented above shows a rollicking image of life at the shore at the close of summer on Labor Day Weekend. The lifeguard sits calmly on his stand, eyes closed, while pretty girls preen, an amorous swain serenades his gal who is attired in the latest “beach pajamas”, boys play leapfrog, dogs bark, babies shovel sand into pales and bathers, both large and small, hold on to a rope to save them from being knocked over by waves. -
Two Moms Kitchen Cookie Cut Outs
Animals/Bugs Alligator (M) Dog Paw (L) Barn (Jumbo) Dragonfly (M, XL) Beehive (Jumbo) Fox Face (L) Bird (See Valentine’s Day) Fox Sitting (L) Bumblebee (M, L) Frog (L, XL) Butterfly (M, L) Goose (M) Cat (Sitting=L, Face=Jumbo, XL) Horse (L) Caterpillar (S) Ladybug (side view M Chicken (M) and top view L) Cow (L) Mallard Duck (Jumbo) Dog (Sitting-L, Retriever- XL, Mouse (M) Terrier- XL) Nesting Hen (Jumbo) Dog Bone (M, Jumbo) Pig (M) Baby Bib (S, XL) Foot (L) Bottle (L) Onesie (L) Carriage (L, Specialty) Pacifier (L) Christening/Day Gown (L) Rattle (L) Diaper Shirt (L) Rocking Horse (L) Duck (M) Teddy Bear (Sitting-L, Standing-XL) Birthday Cupcake without candle (L) Balloon (M) Dragon (Specialty) Candle (S) Ice Cream Cone (M, XL) Castle (L, Specialty) Party Hat (M, L) Crayon (S) Shooting Star (L) Cupcake with candle (L) Sundae (XL) Christmas Angel (XL) Mitten (L) Bells (XL) Nutcracker (Specialty) Bow (L) Ornament (L) Candy (M) Presents (S, L) Candy Cane (M) Reindeer Head (L) Stocking (M) Reindeer (XL) Wreath (XL) Rudolf (L) Christmas Tree (L, 2Jumbo) Ski Cap (L) Elf (XL) Snowflake (3L, Jumbo) Elf Hat (XL) Snowman (M, L, Jumbo) Gingerbread Man (XS, 2L, Jumbo) Gingerbread Woman (L) Holly (M) Light Bulb (XL) Dinosaurs Brontosaurus (2L) T-Rex (XL) Dino Foot (L) Triceratops (L) Pterodactyl (L) Velociraptor (XL) Stegosaurus (2XL) Easter Bunny Head (M, Jumbo) Christian Fish (Jumbo) Bunny Running (L) Crosses (2L, 2XL) Bunny Sitting (M, L, Jumbo) Dove/Holy Spirit (L) Bunny Peeps (BtSz) Easter Chick (M, 3L) Carrot (M) Easter Eggs (S, 2Jumbo) Education/Medical/Work -
Vacanze Italiane Lookbook
VACANZE ITALIANE, è un’ode allo stile di vita degli italiani e al loro modo di vivere le vacanze al mare, ovvero senza mai rinunciare allo stile. VACANZE ITALIANE è un brand trendsetter che rappresenta il lato più frizzante, fashion e sensuale della moda mare. VACANZE ITALIANE, which translates into “Italian holidays”, is an ode to the Italian lifestyle and the way Italians live beach holidays: playfully and glamorously. VACANZE ITALIANE is a trendsetter brand that represents the sparkling,coolest and sensual side of the summer fashion. S/S 2021 Celebrating your inner diva 1 VI21-001 Kiwi triangle bikini 42 - 46 VI21-003 Mimosa bralette bikini 42 - 46 2 3 VI21-001 Kiwi triangle bikini 42 - 46 VI21-003 Mimosa bralette bikini 42 - 46 2 3 VI21-002 Mango halterneck bikini 44 - 48 VI21-005 Nespola push up bikini 42 - 48 VI21-011 Sarong OS 4 5 VI21-002 Mango halterneck bikini 44 - 48 VI21-005 Nespola push up bikini 42 - 48 VI21-011 Sarong OS 4 5 VI21-004 Ribes bandeau bikini 42 - 48 VI21-020 Elsa skirt S - L VI21-004 Ribes bandeau bikini 42 - 48 6 7 VI21-004 Ribes bandeau bikini 42 - 48 VI21-020 Elsa skirt S - L VI21-004 Ribes bandeau bikini 42 - 48 6 7 VI21-006 Fiona underwired bikini 44 - 50 VI21-009 Sandra short kaftan S - XL 8 9 VI21-006 Fiona underwired bikini 44 - 50 VI21-009 Sandra short kaftan S - XL 8 9 VI21-008 Papaya swimsuit 44 - 50 11 VI21-008 Papaya swimsuit 44 - 50 11 VI21-010 Alba poncho OS VI21-007 Amarena swimsuit 42 - 48 12 13 VI21-010 Alba poncho OS VI21-007 Amarena swimsuit 42 - 48 12 13 VI21-012 Kiwi triangle bikini 42 -
Volume 2, Issue 3, Autumn 2018
The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit. -
Press Kit the History of French Lingerie at the Sagamore Hotel Miami Beach
LINGERIE FRANCAISE EXHIBITION PRESS KIT THE HISTORY OF FRENCH LINGERIE AT THE SAGAMORE HOTEL MIAMI BEACH Continuing its world tour, the Lingerie Francaise exhibition will be presented at the famous Sagamore Hotel Miami Beach during the Art Basel Fair in Miami Beach from November 29th through December 6th, 2016. Free and open to all, the exhibition showcases the ingeniousness and creativity of French lingerie which, for over a century and a half, has been worn by millions of women worldwide. The exhibition is an immersion into the collections of eleven of the most prestigious French brands: AUBADE, BARBARA, CHANTELLE, EMPREINTE, IMPLICITE, LISE CHARMEL, LOU, LOUISA BRACQ, MAISON LEJABY, PASSIONATA and SIMONE PÉRÈLE. With both elegance and playfulness, the story of an exceptional craft unfolds in a space devoted to contemporary art. The heart of this historic exhibition takes place in the Game Room of the Sagamore Hotel. Beginning with the first corsets of the 1880’s, the presentation documents the custom-made creations of the 1930’s, showcases the lingerie of the 1950’s that was the first to use nylon, and culminates with the widespread use of Lycra® in the 1980’s, an epic era of forms and fabrics. This section focuses on contemporary and future creations; including the Lingerie Francaise sponsored competition’s winning entry by Salima Abes, a recent graduate from the university ESMOD Paris. An exclusive collection of approximately one hundred pieces will be exhibited, all of them emblematic of a technique, textile, and/or fashion innovation. A selection of landmark pieces will trace both the history of intimacy and the narrative of women’s liberation. -
Sports Bra Basics
SPORTS BRA BASICS 1. Choosing the Perfect Bra for You Before buying a sport bra, ask yourself these questions: • What’s my regular bra size? • What’s my activity level? • Do I run/walk every day, do aerobics, take a yoga class three times a week – how active am I? • What styles do I like? You should select a bra that fits your size, activity level, and personal preferences. 2. Avoiding Chafing Chafing happens because of abrasion and moisture. When you wear a bra close to your body, after an extended time, the seams tend to run against your skin and cause abrasions. Rubbing seams combined with perspiration results in painful red marks in some very sensitive areas! You can avoid chafing by choosing seamless bras. Seamless refers to bras made using a new knitting technology that reduces or eliminates seams. The bras are made of fabrics that lift moisture away from your skin and allow it to evaporate. Selecting a bra that fits right is very important. If your bra is too loose or too tight, you’ll increase your chances of chafing. Body lubricants also reduce chafing by acting as a protective barrier between your bra and your tender skin. Use it on all chafe-prone areas before every run or walk. 3. Avoiding the Uni-Boob Look If you don’t like the one boob look you get from bras that support your breasts by means of compression, choose bras that feature molded cups, which help you maintain your shape without sacrificing support. They’re perfect for A cup women who want more shape, and A- C cups who simply hate compression sport bras. -
Download the Covid Fashion Report
E H T COVID FASHION REPORT A 2020 SPECIAL EDITION OF THE ETHICAL FASHION REPORT THE COVID FASHION REPORT A 2020 SPECIAL EDITION OF THE ETHICAL FASHION REPORT Date: October 2020 Australian Research Team: Peter Keegan, Chantelle Mayo, Bonnie Graham, Alexandra Turner New Zealand Research Team: Annie Newton-Jones, Claire Gray Report Design: Susanne Geppert Infographics: Susanne Geppert, Matthew Huckel Communications: Samara Linehan Behind the Barcode is a project of Baptist World Aid Australia. New Zealand headquartered companies researched in partnership with Tearfund New Zealand. www.behindthebarcode.org.au Front cover photo: KB Mpofu, ILO via Flickr CONTENTS PART ONE PART TWO PART THREE The COVID Challenge COVID Fashion Actions & Commitments Recommendations The 2020 Special Edition .......................5 1: Support Workers’ Wages by Industry Action ....................56 .... COVID Fashion Commitments ................7 Honouring Supplier Commitments 19 Consumer Action.................57 Industry Response to COVID-19 ..............8 2: Identify and Support the Workers at Greatest Risk .......... 26 COVID-19 and Garment Workers ...........10 COVID-19 and Consumers .................... 11 3: Listen to the Voices and Experience of Workers ............. 32 COVID-19 and Fashion Companies ........13 Appendices 4: Ensure Workers’ Rights Methodology .....................................14 and Safety are Respected ............... 39 Fashion Company-Brand Company Fashion Tiers .......................17 Reference List 59 5: Collaborate with Others Endnotes 64 to Protect Vulnerable Workers ......... 46 About Baptist World Aid 6: Build Back Better for Workers Australia 66 and the World ............................... 50 Acknowledgements 67 Part One THE COVID CHALLENGE THE 2020 SPECIAL EDITION 2020 has been a year like no other. COVID-19 has swept across the planet, sparking subsequent health, economic, and humanitarian crises. -
Urban Representation in Fashion Magazines
Chair of Urban Studies and Social Research Faculty of Architecture and Urbanism Bauhaus-University Weimar Fashion in the City and The City in Fashion: Urban Representation in Fashion Magazines Doctoral dissertation presented in fulfillment of the requirement for the degree of Doctor philosophiae (Dr. phil.) Maria Skivko 10.03.1986 Supervising committee: First Supervisor: Prof. Dr. Frank Eckardt, Bauhaus-University, Weimar Second Supervisor: Prof. Dr. Stephan Sonnenburg, Karlshochschule International University, Karlsruhe Thesis Defence: 22.01.2018 Contents Acknowledgements ................................................................................................................................. 5 Thesis Introduction .................................................................................................................................. 6 Part I. Conceptual Approach for Studying Fashion and City: Theoretical Framework ........................ 16 Chapter 1. Fashion in the city ................................................................................................................ 16 Introduction ....................................................................................................................................... 16 1.1. Fashion concepts in the perspective ........................................................................................... 18 1.1.1. Imitation and differentiation ................................................................................................ 18 1.1.2. Identity -
Patch Works NEW YORK — Rustic and Refined — a Combination That Goes to the Heart of Ralph Lauren’S Work
SAKS NIXES BON-TON BID/2 ICONIX SAID BUYING RAMPAGE/4 WWDWomen’s Wear Daily • The Retailers’MONDAY Daily Newspaper • September 19, 2005 • $2.00 Accessories/Innerwear/Legwear Patch Works NEW YORK — Rustic and refined — a combination that goes to the heart of Ralph Lauren’s work. For spring, he mixed the elements in beautifully tailored jackets cut from patchwork denim. Here, a shapely blazer over a frilled shirt and printed jeans. For more on the shows, see pages 6 to 15. The Long, Hot Season: Buyers Applaud Spring But Gripe About Shows By Sharon Edelson and David Moin NEW YORK — A brutal show schedule with many off-site venues; hot, humid weather, and snarled traffic as a result of the United Nations summit left retailers feeling cranky last week, but nonetheless bullish about spring. Given the continuing strength of the luxury market, retailers said they expect their open-to-buys to be at least a few points ahead of last year and perhaps more if their companies are opening new stores. After all, the euro is dropping against the dollar, meaning designer goods might be less expensive come See Buyers, Page12 PHOTO BY JOHN AQUINO PHOTO BY 2 WWD, MONDAY, SEPTEMBER 19, 2005 WWD.COM Saks Turns Down Bon-Ton By Vicki M. Young WWDMONDAY Accessories/Innerwear/Legwear NEW YORK — Saks Inc. has re- jected a bid by The Bon-Ton Stores for its northern depart- FASHION Ralph Lauren presented an array of stunning items, Donna Karan offered ment store group, and will now elegant sensuality and Gwen Stefani made her runway debut to close the week. -
Private Lessons a Photo Story by Andrea Slip
Private Lessons A photo story by Andrea Slip 1 | P a g e Lesson01 Mike was a little nervous as he stood outside the brown front door on a Sunday afternoon. His mum had arranged for him to have some A-level revision lessons with a Miss Loren, a friend of hers who used to be a maths teacher. He didn’t quite know what to expect. He knocked on the door. Within a few moments the door opened. Mike had to try very, very hard not to let his jaw hit the floor. A lady opened the door to Mike. “You must be Mike, pleased to meet you, do come in, I am Sophie Loren” said Sophie shaking his hand. Mike recovered as he stared in amazement at the lady dressed in a cream silk dress. As she put her brown high heels on the step her button up dress split at the front to reveal both a cream lace edged slip and possibly the hint of a lacy stocking top. Miss Loren, Sophie, looked vaguely familiar, but he couldn’t quite place where from. 2 | P a g e Lesson02 Earlier that Sunday Sophie was dressing in her bedroom. She remembered that this afternoon that the son of her co-worker Alison was coming round for his first maths revision lesson. She had also established with Alison in the staffroom at work that he was the shelf stacker that had seen her up- skirt flash and had “helped” her find the toilet when her skirt had accidently fallen down at the Supermarket. -
The Meanders of Wearer–Clothing Relationships
sustainability Article From Wearing Off to Wearing On: The Meanders of Wearer–Clothing Relationships Ana Neto * and João Ferreira CIAUD, Lisbon School of Architecture, University of Lisbon, Rua Sá Nogueira, 1349-063 Lisboa, Portugal; [email protected] * Correspondence: [email protected] Received: 30 June 2020; Accepted: 28 August 2020; Published: 4 September 2020 Abstract: The current patterns of production and consumption of clothes are known for their negative impacts on our planet, and the efforts towards a responsible fashion system must come from industry and users alike. Whereas the fashion industry may focus on achieving eco-efficiency, designers need to engage the wearers in long-term commitment with their clothes to counteract the ongoing increase of textile waste. However, current design strategies for product attachment have proven that it is difficult to succeed at this mission. In this paper we introduce the focus and theoretical framework of a research project that aims to study the relationship between wearers and clothes. We present our research perspective through a literature review that is supported by empirical testimonies of dozens of women, whose words illustrate the complexity of human relationships with garments. When we compare our connection with clothes to interpersonal love relationships, we find that the similarities are significant enough to justify a different approach in design practice, and we suggest a re-focus on the existing wearer–clothing relationships. Keywords: wearer–clothing relationship; -
Annual Report
ANNUAL REPORT 2015 Inditex’s sustained growth is driven by a team of over 150,000 people worldwide who know that the Group’s progress has to go hand in hand with social progress and environmental sustainability ANNUAL REPORT 2015 ANNUAL REPORT Over 150,000 creative people, who also succesfully work in team, are part of Inditex. Zara employee at the store in Oxford Street, London. Massimo Dutti employees at the brand’s head office in Tordera (Barcelona). INDITEX ANNUAL REPORT 2015 Main indicators Turnover (in millions of euros) Financial and management ratios 2015 2014 2015 2014 Return on equity (ROE) 26% 25% Net sales 20,900 18,117 Return On Capital Employed (ROCE) 34% 33% Results (in millions of euros) Other relevant information 2015 2014 2015 2014 Operating profit (EBITDA) 4,699 4,103 Number of stores 7,013 6,683 Operating profit (EBIT) 3,677 3,198 Net openings 330 343 Net profit 2,882 2,510 Number of markets with commercial presence 88 88 Net profit attributable to the parent company 2,875 2,501 Number of markets with an online store 29 27 Number of employees 152,854 137,054 Percentage of women/men 76% / 24% 78% / 22% Relative energy consumption (MJ/garment) 5.56 6.24 Investment in social programmes (in millions of euros) 35 25 Number of suppliers with purchases 1,725 1,625 Sales (in millions of euros) Net income (in millions of euros) 20,900 2,882 18,117 2,510 2,367 2,382 15,946 16,724 13,793 1,946 2011 2012 2013 2014 2015 2011 2012 2013 2014 2015 Sales by geographical area Number of employees 2015 152,854 44% Europe (excluding Spain) 2014 137,054 America 15% 2013 128,313 2012 120,314 Asia and rest of the world 23% 18% Spain 2011 109,512 - 2 -- - [G4-9, G4-13] INDITEX MAIN INDICatORS Meeting at Oysho head office in Tordera (Barcelona).