DOCSLIB.ORG

What Well-Dressed Women Will Wear by ANNE Rlttenhouse

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
What Well-Dressed Women Will Wear by ANNE Rlttenhouse What Well-Dressed Women Will Wear by ANNE RlTTENHOUSE Cultivate Taste and Knowledge in Dress If You Would Be Individual The .«American woman should do that, so she may buy wisely and well.Let her study her own style through the history of clothing and through art, in order that her individuality may be shown.Paris leads the way into history for the choice of the newfashions.Revivalof the polonaise.Mediaeval styles still rule, but many evening gowns will be in Empire style, picturesque, but rather scanty r hemme the arbiters of our own «.artorial fa' the fighters oLthe Voeget and the Alpine passes The war in Prance has abolished leadership have a comradeship. The rakish Continental MODIFIED certain fashions by their acceptance in t hat wac included in the fashions because the highest circles of power, and, with our drei land nf that George Washington whom '¡encrai CONTINENT makers and shops somewhat puzrled as to wh Lafayette came to assist is spreading her sol¬ will lead and what will not, we ha\e the be diers over the pleasant valleyt 0Í the sister re the AL HAT chance of our career to suit ourselve«. public and sending her huge guns to protect of as all and true, Black velvet with This will be really the millennium in dret Road Ladlet gentlemen, good bunch of colored Paris, the centre of art in the world, rreat should do. a«: at '1 ho crown and the rollicking brim ..o»e« »t the »idc. from a point In air, the engineers say, pinched-in of she sends weahooT hunt been included in the most, fashionable hat", a» ilring» of velvet. from the mass material thousand different, types of costumes if we «rie because these soldiers have been smiled at and, Look a bit, into the history of each costume, some -ay, kissed by, the midinette- as they Paris die«;, and say to yourself, doe» my fa ¦¡rolled the boulevards at noon hour. Why try and figure, my physical and mortal individuals t«> outline the conglomeration of episodes that reflect that period? If the an«.wer il in tl are reflecte.) in these autumn clothes that we negative, don't let any one persuade you will soon be asked to buy and mould to our in¬ buy i*. dividuality? France has put the pns-mg pano The of Type rama of the planet, into MOtumery. If we Importance it all, we shall lcx>k like a procession of not of tl adopt "Know thyself" was written only the apes staged by some Gargantuan stage di¬ to rlothes. grc, spirit; it can be applied No rector. It is our part, in this procession that i« of Siamese-twin mi designer is ignorant the4 of vital importance. It is necessary that e«ch matter as it relat» »action between mind and womiiii should furo the situation with some the outf to the n^ntal and moral outlook and knowledge, much discernment and an inclina¬ in a covering. The Doric character shepherdc» tion to express herself. «ostume is painful. The black-browed type I ! have outlined the periods from which the in a old Egypt is a caricature garlanded hoof new clothes are drawn. The varied-expres- skirt. The mid-Victorian type is terrifying t lioiU of the personal opinions of the French de see in a vampire role. So it. goes. signers will be interesting, for each will take on. Hut In a few weeks the gamble will be different parts of the period to suit, his special «Ireds of women a«'t in the. buying of clot.hr skill. It, is safe to that Victorian- th enough say somewhat, after the manner that, governed m will be eliminated; superfluous frills, lottery of our national conscription. Theyblin«: flounces, pochctl will be abandoned to the past. fold the eyes, put the hand into the mass of ma teri.il offered and draw out a number. Coats, Long and Short that the man-mad When the ships dodge The struggle will not he between wide and «harks of the sea bring to us these cases 0 metals, embroideries and vel narrow skirts this coming season, but between silks, brocades, long and short coats. vets fashioned for the American woman, w Fach designer has turned out a few of each will see that these clothes are the heirs to al length, some to the shoe top?, some to the hips. the ages. China will dominate some bits o influence of will b The public can choose between them, or adopt i i WÊm m* costumery, the Napoleon both. there, the Russian Cossacks who threw them the 11th Regiment ii The coat and waistcoat in one, as Drecoll SEPARATE BODICE FOR EVEN- selves before retreating conceives is both and dignified. Galicia will be another motive for certain cu it, graceful The cloth is a dark velour, a shade and ING GOWN and color and the recent exhibition of Prend green a fabric that seem to have made an I he skirt is of cyclamen tulle, accordion pleated, clothes in Madrid is reflected in the things tha impression already upon the early fall fashions. with garland of embroidery apd formal bouqueta. were out of Spain. brought The of the coat are The bodke and sash are of black satin. long panels generally Clothes Form Historic Episodes «gathered at the waistline and the lining of EMPIRE FROCK shows as the material swirls from «rid Aoomrt Not only will different countries be repre repe away Jade green »alin with embroidery AN ENGLISH paper has recently pub- that is com the tucked skirt of (ieorgette crêpe in dark »trap» in green. the at- serted in the medley of costumery Z\ Bahed an article dealing with in ol reí. The armholcs are characteristic, for they --.*- ing to us, but various epochs the history tempt and failure of American women First are indicative of the caprices which these open¬ of Paris and places, especially of France.the Empire grounod together the advance tj H that pad deaignera to he independent the swirling and transparent ings have taken to themselves. as it were. the Consulate, \merirans will ad«>pt, there is » def¬ tes Ol on OVa good sense, made famous by Mme. Tallien, the They arc battlemented, they are scalloped, probably to the source. draperies and sometimes run to the show¬ inite suggestion of Empire evening «Town«. in returning of Shreds and Patches, as she was nick¬ they waistline, there was not a serious or concerted Queen or Thc.-^ are nol the P. m pue s? w, In truth, the biblike of embroidery worn ing heavy cords of satin silk. It is a me¬ eoetsunee to he of Paris. It was named, panels to it and as we have abusen' it, It M mpt independent of Rumania when she arrayed dieval fashion bring the armholes down on have known .: the should by the Queen Th» Amerkna people costumes. and over the sleeve and slash them into artistic (he actúa! Kmpire of the Napoleonic day«1. of the war in France herself in the native It is of free*. leel that the outbreak will he revived from that day irregularities, and the dressmakers have sud¬ sketi-b shows «nc of these frock'. w'heels of her commerce in The polonaise THE POLONAISE OF POLAND which chirnei would «¿top all the of Rose Bertin, who denly thoui/ht of it and accepted it as a fa.-hmn satin in the shade known as jade, that the other countries would be when the predece.».-or Will be revivt>d for the autumn. It it of dull blue désira for i clothes, and Marie Antoinette, made fashionable to be indulged for the autumn. in well with the overwhelming --«r« to go on their own. gowned velour with front panel in skirt of beige cloth. touch of Chinese that is exhibited in the mod¬ polled VI the striking garment worn by the Polish prin¬ Lanvin's Continental Hat It is a happy ->Nv to report in s.up- ern costumery. /y« cess, Marie, whom Louis XV made Queen of i.'f this outlined sc-ntnnent that the ship- We are to have the out¬ Fiance. Those Chinese wraps and sleeves and going Kerensky and stiff bouquet of colored roses and long stream¬ The skirt is gathered to the band that of costumée from France which will take PEASANT FROCK the the skirt, the there is B» tassels worn by the noblemen who represented Per.-hing hat, cowboy poncho, ers of black velvet ribbon. lines the decolletage. In truth, placo on or about August ¿j will be as heavy as In beige Georgette and blue Rumanian em¬ and now, in far more manner, we will that the to? Peking as the first embassy sent from China to dignified The prospect for any especial coiffure for the bodice. Shoulder straps suggest in normal times. The number of buyers who broidery, with the new neck line and «hort reflect America's warlike in that same evidence of France are recalled into the new fashions be¬ spirit hours that are hatless is waning, if the hats of part of the figure snout give some have gone abroad has een reduced, on account ileeve». evi¬ China is with F ranee and is fighting, as Lanvin's introduction of the hat worn by Gen¬ the autumn continue to grow in size so that a covering, but that .-light sop to tradition of volunteering, conscription and changes. cause eral and Horse Lee. the actrrM she fought, to be a republic.
Load more

Recommended publications
  • Women's Clothing in the 18Th Century
    National Park Service Park News U.S. Department of the Interior Pickled Fish and Salted Provisions A Peek Inside Mrs. Derby’s Clothes Press: Women’s Clothing in the 18th Century In the parlor of the Derby House is a por- trait of Elizabeth Crowninshield Derby, wearing her finest apparel. But what exactly is she wearing? And what else would she wear? This edition of Pickled Fish focuses on women’s clothing in the years between 1760 and 1780, when the Derby Family were living in the “little brick house” on Derby Street. Like today, women in the 18th century dressed up or down depending on their social status or the work they were doing. Like today, women dressed up or down depending on the situation, and also like today, the shape of most garments was common to upper and lower classes, but differentiated by expense of fabric, quality of workmanship, and how well the garment fit. Number of garments was also determined by a woman’s class and income level; and as we shall see, recent scholarship has caused us to revise the number of garments owned by women of the upper classes in Essex County. Unfortunately, the portrait and two items of clothing are all that remain of Elizabeth’s wardrobe. Few family receipts have survived, and even the de- tailed inventory of Elias Hasket Derby’s estate in 1799 does not include any cloth- ing, male or female. However, because Pastel portrait of Elizabeth Crowninshield Derby, c. 1780, by Benjamin Blythe. She seems to be many other articles (continued on page 8) wearing a loose robe over her gown in imitation of fashionable portraits.
    [Show full text]
  • Autumn 2017 Cover
    Volume 1, Issue 2, Autumn 2017 Front cover image: John June, 1749, print, 188 x 137mm, British Museum, London, England, 1850,1109.36. The Journal of Dress History Volume 1, Issue 2, Autumn 2017 Managing Editor Jennifer Daley Editor Alison Fairhurst Published by The Association of Dress Historians [email protected] www.dresshistorians.org i The Journal of Dress History Volume 1, Issue 2, Autumn 2017 ISSN 2515–0995 [email protected] www.dresshistorians.org Copyright © 2017 The Association of Dress Historians Online Computer Library Centre (OCLC) accession number: 988749854 The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. 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 journal is published biannually, every spring and autumn. 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 distributed completely free of charge, solely for academic purposes, and not for sale or profit. The Journal of Dress History is published on an Open Access platform distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. The editors of the journal encourage the cultivation of ideas for proposals.
    [Show full text]
  • The History of Fashion in France, Or, the Dress of Women from the Gallo
    r\ U Ly c r ^ -=4^-^ r J^^^ y^ ^^ ^->^ THE HISTORY OF FASHION IN FRANCE. 3-\MML THE HISTORY OF FASHION IN FRANCE; OR. THE DRESS OF WOMEN FROM THE GALLO-ROMAN PERIOD TO THE PRESENT TIME, FROM THE FRENCH OF M. AUGUSTIN CHALLAMEL. nv Mrs. CASHEL HOEY and Mr. JOHN LILLIE. S C R I R N E R A N IJ \V K L I' O k 1 J. I»»2. LONDON : PRINTED BY GILBERT AND RIVINGTON, LIMITED, ST. John's square. —— CONTENTS. INTRODUCTION. Various definitions of fashion—The grave side of its history—Quotations from the poets —Character of Frenchwomen—The refinement of their tastes and fancies — Paris the temple of fashion —The provinces ^Mdlle. Mars' yellow gown— The causes of fashion —A saying of Mme. de Girardin's —A remark of Mrs. TroUope's — The dress of actresses— Earliest theories of fashion— The Gyna;ceum of Amman First appearance of the "Journal des Dames et des Modes "—Lamesangere Other pubhcations—An anecdote concerning dolls— Plan of the History of Fashion in France CHAPTER I. THE GALLIC AND GALLO-ROMAN PERIOD. Gallic period—Woad, or the pastel—Tunics and boulgetes—"Mavors"and "Palla" — Cleanliness of the GaUic women -The froth of beer or "kourou"—The women of Marseilles; their marriage-portions — Gallo-Roman period — The Roman garment—The " stola "— Refinement of elegance—Extravagant luxury of women Artificial aids—A " vestiaire" or wardrobe-room of the period—Shoes—^Jewels and ornaments—The amber and crj'stal ball—Influence of the barbarians . -13 CHAPTER II. THE MEROVINGIAN PERIOD. Modifications in female dress after the Invasion of the Franks—Customs of the latter The Merovingians —Costumes of skins and felt ; cloaks and camlets—The coif, the veil, the skull-cap, the " guimpe," the cape—Fashionable Merovingian ladies adorn themselves with flowers — Various articles of dress— The "suint" —Young girls dress their hair without omamenis— St.
    [Show full text]
  • A History of the French Revolution Through the Lens of Fashion, Culture, and Identity Bithy R
    Bucknell University Bucknell Digital Commons Honors Theses Student Theses Spring 2012 The oM dernity of la Mode: a History of the French Revolution Through the Lens of Fashion, Culture, and Identity Bithy R. Goodman Bucknell University Follow this and additional works at: https://digitalcommons.bucknell.edu/honors_theses Part of the History Commons Recommended Citation Goodman, Bithy R., "The odeM rnity of la Mode: a History of the French Revolution Through the Lens of Fashion, Culture, and Identity" (2012). Honors Theses. 123. https://digitalcommons.bucknell.edu/honors_theses/123 This Honors Thesis is brought to you for free and open access by the Student Theses at Bucknell Digital Commons. It has been accepted for inclusion in Honors Theses by an authorized administrator of Bucknell Digital Commons. For more information, please contact [email protected]. i ii iii Acknowledgments I would like to thank my adviser, David Del Testa, for his dedication to history as a subject and to my pursuits within this vast field. His passion and constant question of “So what?” has inspired me to think critically and passionately. Furthermore, he has helped me to always face the task of history with a sense of humor. Thank you to my secondary advisor and mentor, Paula Davis, who has always encouraged me to develop my own point of view. She has helped to me to recognize that my point of view is significant; for, having something to say, in whatever medium, is a creative process. Thank you to the History, Theater, and English Departments, which have jointly given me the confidence to question and provided me a vehicle through which to articulate and answer these questions.
    [Show full text]
  • Apparel and Fashion Design, St.Teresa’S College(Autonomous),Ernakulam
    B.Sc. Programme in Apparel and Fashion Design, St.Teresa’s College(Autonomous),Ernakulam ST.TERESA’S COLLEGE (AUTONOMOUS) ERNAKULAM 1 Curriculum and Syllabus 2015 onwards B.Sc. Programme in Apparel and Fashion Design, St.Teresa’s College(Autonomous),Ernakulam ST TERESA’S COLLEGE (AUTONOMOUS) ERNAKULAM, WOMEN’S STUDY CENTRE DEPARTMENT OF FASHION DESIGNING B.Sc PROGRAMME FOR APPAREL AND FASHION DESIGN (C.B.C.S.S) 2015 ADMISSION ONWARDS 1. PREAMBLE: B.Sc.in Apparel and Fashion Design is a 6semesters full time program with an ultimate aim to produce a Responsible Fashion Designers AIMS AND OBJECTIVES OF THE PROGRAMME B.Sc.in Apparel and Fashion Design is a six semester full time programme with an ultimate aim to create a responsible designer who will serve the country and society by innovation, education, technology and research. The course falls under an emerging area of design necessity. The yesteryear fashion designing course churned out designers for the field of clothing and its related industry but without a thorough understanding of the society, environment or technologies around them. The course is based on the core subject – “Design Thinking” with an aim of creating a ‘Responsible Designer’. This programme provides a perspective of society, environment, education, technology and innovation so that a fresh and unique approach in the fields of clothing, accessories and furnishings may be developed thereby creating more meaningful products and experiences. The syllabus of the course is designed in such a way that it provides skill development required to be a successful fashion designer along with entrepreneurial skills to set up their own venture.
    [Show full text]
  • Historiesof Ornament
    HISTORIES of ORNAMENT FROM GLOBAL TO LOCAL Edited by GÜLRU NECIPOĞLU and ALINA PAYNE With contributions by María Judith Feliciano Alina Payne Michele Bacci Finbarr Barry Flood Antoine Picon Anna Contadini Jonathan Hay David Pullins Thomas B. F. Cummins Christopher P. Heuer Jennifer L. Roberts Chanchal Dadlani Rémi Labrusse David J. Roxburgh Daniela del Pesco Gülru Necipoğlu Hashim Sarkis Vittoria Di Palma Marco Rosario Nobile Robin Schuldenfrei PRINCETON UNIVERSITY PRESS Anne Dunlop Oya Pancaroğlu Avinoam Shalem Princeton and Oxford Marzia Faietti Spyros Papapetros and Gerhard Wolf Copyright © 2016 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, 6 Oxford Street, Woodstock, Oxfordshire OX20 1TW press.princeton.edu {~?~Jacket/cover art credit here, if needed} All Rights Reserved Library of Congress CataLoging-in-PubLiCation Data Histories of Ornament : From Global to Local / Edited by Gulru Necipoglu and Alina Payne ; With contributions by Michele Bacci, Anna Contadini, Thomas B.F. Cummins, Chanchal Dadlani, Daniela del Pesco, Vittoria Di Palma, Anne Dunlop, Marzia Faietti, Maria Judith Feliciano, Finbarr Barry Flood, Jonathan Hay, Christopher P. Heuer, Remi Labrusse, Gulru Necipoglu, Marco Rosario Nobile, Spyros Papapetros, Oya Pancaroglu, Alina Payne, Antoine Picon, David Pullins, Jennifer L. Roberts, David J. Roxburgh, Avinoam Shalem, Hashim Sarkis, Robin Schuldenfrei, and Gerhard Wolf. pages cm Includes bibliographical references and index. ISBN 978-0-691-16728-2 (hardcover : alk. paper) 1. Decoration and ornament, Architectural. I. Necipoglu, Gulru, editor. II. Payne, Alina Alexandra, editor. NA3310.H57 2016 729.09—dc23 2015022263 British Library Cataloging- in- Publication Data is available This book has been composed in Vesper Pro Light and Myriad Pro Printed on acid- free paper.
    [Show full text]
  • In Pursuit of the Fashion Silhouette
    ResearchOnline@JCU This file is part of the following reference: Fillmer, Carel (2010) The shaping of women's bodies: in pursuit of the fashion silhouette. PhD thesis, James Cook University. Access to this file is available from: http://eprints.jcu.edu.au/29138/ The author has certified to JCU that they have made a reasonable effort to gain permission and acknowledge the owner of any third party copyright material included in this document. If you believe that this is not the case, please contact [email protected] and quote http://eprints.jcu.edu.au/29138/ THE SHAPING OF WOMEN’S BODIES: IN PURSUIT OF THE FASHION SILHOUETTE Thesis submitted by CAREL FILLMER B.A. (ArtDes) Wimbledon College of Art, London GradDip (VisArt) COFA UNSW for the degree of Master of Arts in the School of Arts and Social Sciences James Cook University November 2010 Dedicated to my family Betty, David, Katheryn and Galen ii STATEMENT OF ACCESS I, the undersigned, author of this work, understand that James Cook University will make this thesis available for use within the University Library and, via the Australian Digital Theses network, for use elsewhere. I understand that, as an unpublished work, a thesis has significant protection under the Copyright Act and; I do not wish to place any further restriction on access to this work. Signature Date iii ELECTRONIC COPY I, the undersigned, the author of this work, declare that the electronic copy of this thesis provided to the James Cook University Library is an accurate copy of the print thesis submitted, within the limits of the technology available.
    [Show full text]
  • & Royal Ceremonies
    court pomp & royal ceremonies Court dress in Europe 1650 - 1800 31 march to 28 june 2009 2 Contents Foreword by Jean-Jacques Aillagon 3 A word from Karl Lagerfeld 5 A word from the commissioners 6 Press release 9 Tour of the exhibition 10 exhibition floor plan 11 French royal costume 12 The coronation and the royal orders 14 weddings and State ceremonies 16 the “grand habit” 18 religious pomp 20 The king’s day 21 fashion and court costume 23 scenography 25 exhibition catalogue 28 annexes 31 Glossary 32 Around the exhibition 37 Practical information 39 List of visuals available for the press 40 exhibition’s partners 42 43 44 3 Foreword by Jean-Jacques Aillagon Versailles remains the most dazzling witness to court life in Europe in the 17th and 18th century. It was here between the walls of this palace that the life of the monarch, his family and his court was concentrated, bringing together almost all of what Saint-Simon called “la France”, its government and administration, and creating a model that was to impose its style on all of Europe. While this model derived many of its rules from older traditions, notably those of the court of Bourgogne exalted by the court of Spain, it was under Louis XIV, “the greatest king on earth”, in Versailles, that the court and hence the codes of court life acquired that singular sumptuousness designed to impress ordinary mortals with the fact that the life lived around their monarch was of a higher essence than that of other mortals, however powerful, noble and rich they might be.
    [Show full text]
  • Recreating History: Examining the Bustle Dress Presentation By: Tyler Phillips Costume Technology MFA Candidate the Project
    Recreating History: Examining the Bustle Dress Presentation by: Tyler Phillips Costume Technology MFA Candidate The Project The process for this research begins with a painting. For this project the painting is In the Greenhouse by Albert Bartholome. I have long found this painting mesmerizing and thought about how this dress would be built. For those who reconstruct historical costumes for theatre most of the real-world research we do begins with a drawing or painting of some form. From this we must research the historical methods used to craft these garments and then, for the purposes of the theatrical production, decide whether to disregard, modify, or utilize these historical methods. It is my belief that research into the construction of these historical garments is beneficial to modern makers for theater. It broadens knowledge beyond the contemporary garment industry practices and fosters not only deeper understanding of historical technique but also this research endows makers with the understanding of what goes into creating a historical garment. From under structures outward, there is more work that exist underneath the exterior layers. The Inspiration and beginning of this Project In The Greenhouse Albert Bartholome The Bustle Cage The initial layer constructed for this project. It is comprised of sprung steel hoops tipped and finished to soften the edges. Strung through drapery tape and secured into the Coutil base to hold them in tension. The Skirt The skirt layer is two rectangular layers of white and purple cotton satine. The white stripe is pleated out, and stitched down only remaining free at the hem.
    [Show full text]
  • Polonaise Meets Zero-Waste Casey R
    International Textile and Apparel Association 2018: Re-Imagine the Re-Newable (ITAA) Annual Conference Proceedings Jan 1st, 12:00 AM Polonaise meets Zero-Waste Casey R. Stannard Louisiana State University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Part of the Fashion Design Commons Stannard, Casey R., "Polonaise meets Zero-Waste" (2018). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 12. https://lib.dr.iastate.edu/itaa_proceedings/2018/design/12 This Design is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Cleveland, Ohio 201 8 Proceedings Polonaise Meets Zero-Waste Casey R. Stannard, Louisiana State University, USA Keywords: Zero-waste, sustainability, historic, free-motion embroidery This design began with the fabric. The designer had been holding onto a large piece of vintage, red wool melton for over four years because she did not want to waste the expensive fabric. The fabric was 58” wide by 144” long. Thus, a zero-waste approach was adopted so that none of the fabric would end up on the cutting room floor and because of the importance of sustainable practices in the industry. The designer then investigated some typical approaches and past garments using zero-waste techniques (Rissanen & Mcquillan, 2016). Many designers view zero-waste as a brand-new design philosophy.
    [Show full text]
  • Fabrics and Fashion in Clothing of the 18Th Century
    39 OPEN SOURCE LANGUAGE VERSION > ESPAÑOL Fabrics and fashion in clothing of the 18th century by Bárbara Rosillo, PhD in Art History 1 I have covered this topic Notary records are an essential source in studying fashion and the household more extensively and in more furnishings throughout the Modern Era. Dowry letters and post-mortem detail in my book: La moda en la sociedad sevillana del inventories give us a huge amount of information on textiles, both those used to siglo xviii, which won second make clothing and those for household items. These sources provide first-hand place in the Art category knowledge of the type of garments women and men wore, from underwear to of the Archivo Hispalense 1 2016 awards. Sección Arte, suits, as well as the many accessories . serie 1, nº 58. Excelentísima The dowry was laid out in a document before a scribe and witnesses. With Diputación de Sevilla, 2018, the parties present, the grantor and the future husband, a letter of payment and pp. 295. receipt was signed, which contained a detailed list of the tangible and intangible items in the dowry. Providing a dowry was nearly essential to get married, so it was a practice seen at all levels of the social spectrum, from ladies of high nobility to poor damsels. This type of document is of great interest, as it shows all the pieces that were part of the female wardrobe, including the fabrics, colours and decorations. To learn about male garments, we must turn to post-mortem inventories and appraisals of goods, or a type of document known as “capital” or “capital” inventory, which some men gave the families of their future bride before the wedding.
    [Show full text]
  • Re–Imagine the Re4newable
    RE–IMAGINE THE RE-NEWABLE ITAA CLEVELAND, OH 2018 November 6th - 9th Thank You to Organizations and Individuals Whose Support Made this Event Possible Event Sponsors Bloomsbury Publishing and Fairchild Books Cotton Incorporated Gerber Technology Paris American Academy Award Sponsors ATEXINC Claire Shaeffer Eden Travel International EFI Optitex Educators for Socially Responsible Apparel Practices Gerber Technology Intellect Books Lectra Regent’s University London University of Fashion/Laurence King Publishing and ITAA Members who have contributed to ITAA Development Funds Conference Chairs especially want to thank all committee chairs and volunteers! Conference Program Sponsored by Paris American Academy Introduction WELCOME TO THE ITAA 2018 ANNUAL CONFERENCE CONFERENCE MEETING SPACE ITAA 2018 DISTINGUISHED FACULTY AWARD WINNERS AND KEYNOTE LECTURERS ITAA SPONSOR PAGES ITAA PROGRAM PAGES CONFERENCE SCHEDULE (details on following pages) AWARDS CEREMONY RESOURCE EXHIBITOR LIST CAREER FAIR PARTICIPANT LIST REVIEW, PLANNING, & AWARDS COMMITTEES Monday – Tuesday at a Glance Monday, November 5 9:00am – 6:00pm ITAA Council Meeting (Cleveland Now Boardroom) Tuesday, November 6 7:30am – 7:00pm Registration Open 3rd Floor Lobby 1 Tours 8:30am – 4:30pm Kent State University (Meet in first floor lobby at 8:30am) 1:00pm – 4:00pm Downtown Cleveland Museum Tour (Meet in first floor lobby at 1:00pm) 1:00pm – 4:00pm Downtown Cleveland National Apparel Tour (Meet in first floor lobby at 1:00pm) Workshops 9:00am – Noon Vermicelli Fill Techniques for Embroidery
    [Show full text]