Mughal Period Costume
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The Apparel Industry, the Retail Trade, Fashion, and Prostitution in Late 19Th Century St Louis Jennifer Marie Schulle Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2005 Fashion and fallen women: the apparel industry, the retail trade, fashion, and prostitution in late 19th century St Louis Jennifer Marie Schulle Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the United States History Commons, Women's History Commons, and the Women's Studies Commons Recommended Citation Schulle, Jennifer Marie, "Fashion and fallen women: the apparel industry, the retail trade, fashion, and prostitution in late 19th century St Louis " (2005). Retrospective Theses and Dissertations. 1590. https://lib.dr.iastate.edu/rtd/1590 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Fashion and fallen women: The apparel industry, the retail trade, fashion, and prostitution in late 19th century St. Louis by Jennifer Marie Schulle A dissertation submitted to the graduate faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Textiles and Clothing Program of Study Committee: Jane Farrell-Beck, Major Professor Mary Lynn Damhorst Kathy Hickok Barbara Mack Jean Parsons Iowa State University Ames, Iowa 2005 Copyright © Jennifer Marie Schulle, 2005. All rights reserved. UMI Number: 3184648 Copyright 2005 by Schulle, Jennifer Marie All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. -
Medieval Roslin – What Did People Wear?
Fact Sheet 4 Medieval Roslin – What did people wear? Roslin is in the lowlands of Scotland, so you would not see Highland dress here in the Middle Ages. No kilts or clan tartans. Very little fabric has survived from these times, so how do we find out what people did wear? We can get some information from bodies found preserved in peat bogs. A bit gruesome, but that has given us clothing, bags and personal items. We can also look at illustrated manuscripts and paintings. We must remember that the artist is perhaps making everyone look richer and brighter and the people being painted would have their best clothes on! We can also look at household accounts and records, as they often have detailed descriptions. So over the years, we have built up This rich noblewoman wears a patterned satin dress some knowledge. and a expensive headdress,1460. If you were rich, you could have all sorts of wonderful clothes. Soldiers returning from the crusades brought back amazing fabrics and dyes from the East. Trade routes were created and soon fine silks, satins, damasks, brocades and velvets were readily available – if you could afford them! Did you know? Clothing was a sign of your status and there • Headdresses could be very were “sumptuary laws“ saying what you could elaborate. Some were shaped and could not wear. Only the wives or daughters like hearts, butterflies and even of nobles were allowed to wear velvet, satin, church steeples! sable or ermine. Expensive head dresses or veils were banned for lower class women. -
Uniform Procurement Guide
UNITED STATES COAST GUARD AUXILIARY UNIFORM PROCUREMENT GUIDE How do we look? ILLUSTRATIONS AND INSTRUCTIONS – 10/1/2009 ANSC # 7053 RECORD OF CHANGES # DATE CHANGE PAGE 1. Insert “USCG AUXILIARY TUNIC OVERBLOUSE” information page with size chart. 19 2. Insert the Tunic order form page. 20 3. Replace phone and fax numbers with “TOLL FREE: (800) 296-9690 FAX: (877) 296-9690 and 26 1 7/2006 PHONE: (636) 685-1000”. Insert the text “ALL WEATHER PARKA I” above the image of the AWP. 4. Insert the NEW ALL WEATHER II OUTERWEAR SYSTEM information page. 27 5. Insert the RECEIPT FOR CLOTHING AND SMALL STORES form page. 28 1. Insert additional All Weather Parka I information. 26 2 11/2006 2. Insert All Weather Parka II picture. 27 1. Replace pages 14-17 with updated information. 14-17 3 3/2007 2. Insert UDC Standard Order Form 18 1. Change ODU Unisex shoes to “Safety boots, low top shoes, or boat shoes***” 4 4/2007 6, 8 2. Add a footnote for safety boots, low top shoes, or boat shoes 5 2/2008 1. Remove ODU from Lighthouse Uniform Company Inventory 25 1. Reefer and overcoat eliminated as outerwear but can be worn until unserviceable 6-10 6 3/2008 2. Remove PFD from the list of uniform items that may be worn informally 19 3. Update description of USCG Auxiliary Tunic Over Blouse Option for Women 21 1. Remove “Long”, “Alpha” and “Bravo” terminology from Tropical Blue and Service Dress Blue 7 6/4/2009 All uniforms 1. Sew on vendors for purchase of new Black “A” and Aux Op authorized 32 8 10/2009 2. -
Dress and Fabrics of the Mughals
Chapter IV Dress and Fabrics of the Mughals- The great Mughal emperor Akbar was not only a great ruler, an administrator and a lover of art and architecture but also a true admirer and entrepreneur of different patterns and designs of clothing. The changes and development brought by him from Ottoman origin to its Indian orientation based on the land‟s culture, custom and climatic conditions. This is apparent in the use of the fabric, the length of the dresses or their ornamentation. Since very little that is truly contemporary with the period of Babur and Humayun has survived in paintings, it is not easy to determine exactly what the various dresses look like other than what has been observed by the painters themselves. But we catch a glimpse of the foreign style of these dresses even in the paintings from Akbar‟s period which make references, as in illustrations of history or chronicles of the earlier times like the Babar-Namah or the Humayun-Namah.1 With the coming of Mughals in India we find the Iranian and Central Asian fashion in their dresses and a different concept in clothing.2 (Plate no. 1) Dress items of the Mughals: Akbar paid much attention to the establishment and working of the various karkhanas. Though articles were imported from Iran, Europe and Mongolia but effort were also made to produce various stuffs indigenously. Skilful master and workmen were invited and patronised to settle in this country to teach people and improve system of manufacture.2 Imperial workshops Karkhanas) were established in the towns of Lahore, Agra, Fatehpur Sikri and Ahmedabad. -
Simple Viking Clothing for Men
Simple Viking Clothing for Men Being a guide for SCA-folk who desire to clothe themselves in a simple but reasonably accurate Viking fashion, to do honor to the reign of King Thorson and Queen Svava. Prepared by Duchess Marieke van de Dal This edition: 6/24/04 For further information, please don’t hesitate to email: [email protected] Copyright 2004, Christina Krupp Men’s Tunic Very little is known about the authentic cut of the Viking-Age men’s tunic.The Viborg shirt, below, is not typical in its complexity. Most likely, tunics were more like the first type shown. Generic Viking Men’s Tunic See Cynthia Virtue’s website, http://www.virtue.to/articles/tunic_worksheet.html for full instructions. A similar tunic worksheet website is from Maggie Forest: www.forest.gen.nz/Medieval/articles/Tunics/TUNICS.HTML This tunic is very similar to Thora Sharptooth’s rendition of the Birka-style tunic, as described on her webpage, http://www.cs.vassar.edu/~capriest/viktunic.html 2.5 or 3 yds of 60” cloth works well for this layout. Most Viking tunics look best at knee-length. Underarm gussets are optional, but if they are omitted, make the upper arms roomy. Usually the bottom half is sufficiently full with this cut, but for extra fullness, add a gore of fabric in the center front and center back.You may also omit the side gores and leave the side seams unsewn from knee to mid-thigh. The Viborg Shirt The “Viborg Shirt” was found in Denmark, and is dated to the 11th C. -
Price List Best Cleaners 03-18.Xlsx
Price List Pants, Skirts & Suits Shirts & Blouses Pants Plain…………………………………………… 10.20 Business Shirt Laundered and Machine Pants, Silk/Linen…………………………………… . 12.30 Pressed (Men’s & Women’s)…… 3.60 Pants, Rayon/Velvet………………………………… 11.80 Pants Shorts………………………………………. 10.20 Chamois Shirt…………………………………………… 5.35 Skirts, Plain………………………………………… . 10.20 Lab Smock, Karate Top………………………………… . 7.30 Skirts, Silk, Linen………………………………….. 12.30 Polo, Flannel Shirt……………………………………… .. 5.35 Skirts, Rayon Velvet……………………………… .. 11.80 Sweat Shirt……………………………………………… . 5.70 Skirts Fully Pleated………………………………. 20.95 T-Shirt…………………………………………………… .. 4.60 Skirts Accordion Pleated………………………… . 20.95 Tuxedo Shirt……………………………………………… . 6.10 Suit 2 pc. (Pants or Skirt and Blazer)……………… 22.40.. Wool Shirt………………………………………………… . 5.35 Suit 3 pc. (Pants or Skirt Blazer & Vest)……………… 27.75. Suit, body suit………………………………………… 10.60. Blouse/Shirt, Cotton, Poly…………………………………… 9.50.. Suit, Jumpsuit…………………………………… 25.10 Blouse/Shirt, Rayon, Velvet………………………………… 11.10.. Sport Jacket, Blazer……………………………… .. 12.20 Blouse/Shirt, Silk, Linen……………………………………… 11.60 Tuxedo……………………………………………… . 22.95 Blouse/Shirt, Sleeveless……………………………………… 7.80 Vest………………………………………………… . 5.35 Dresses Outerwear Dress, Plain, Cotton, Wool, Poly, Terry, Denim…….. 19.00 Blazer, Sport Jacket……………………………… . 12.20 Dress,Silk, Linen …….………………………………. 23.20 Bomber Jacket………………………………….. 16.20 Dress,Rayon,Velvet …………………………………. 22.20 Canvas Field Coat………………………………… 16.20 Dress, 2-Piece, Dress & Sleeveless Jkt……………………… 27.60 Canvas Barn Jacket……………………………… -
Fashion Trends 2016
Fashion Trends 2016 U.S. & U.K. Report [email protected] Intro With every query typed into a search bar, we are given a glimpse into user considerations or intentions. By compiling top searches, we are able to render a strong representation of the population and gain insight into this population’s behavior. In our second iteration of the Google Fashion Trends Report, we are excited to introduce data from multiple markets. This report focuses on apparel trends from the United States and United Kingdom to enable a better understanding of how trends spread and behaviors emerge across the two markets. We are proud to share this iteration and look forward to hearing back from you. Olivier Zimmer | Trends Data Scientist Yarden Horwitz | Trends Brand Strategist Methodology To compile a list of accurate trends within the fashion industry, we pulled top volume queries related to the apparel category and looked at their monthly volume from May 2014 to May 2016. We first removed any seasonal effect, and then measured the year-over-year growth, velocity, and acceleration for each search query. Based on these metrics, we were able to classify the queries into similar trend patterns. We then curated the most significant trends to illustrate interesting shifts in behavior. Query Deseasonalized Trend 2004 2006 2008 2010 2012 2014 Query 2016 Characteristics Part 1 Part 2 Part 3 Top Risers a Spotlight on an Extensive List and Decliners Top Trending of the Top Volume Themes Fashion Trends Trend Categories To identify top trends, we categorized past data into six different clusters based on Sustained Seasonal Rising similar behaviors. -
Conflict in Yemen
conflict in yemen abyan’s DarkEst hour amnesty international is a global movement of more than 3 million supporters, members and activists in more than 150 countries and territories who campaign to end grave abuses of human rights. our vision is for every person to enjoy all the rights enshrined in the universal declaration of human rights and other international human rights standards. We are independent of any government, political ideology, economic interest or religion and are funded mainly by our membership and public donations. first published in 2012 by amnesty international ltd Peter benenson house 1 easton street london Wc1X 0dW united kingdom © amnesty international 2012 index: mde 31/010/2012 english original language: english Printed by amnesty international, international secretariat, united kingdom all rights reserved. this publication is copyright, but may be reproduced by any method without fee for advocacy, campaigning and teaching purposes, but not for resale. the copyright holders request that all such use be registered with them for impact assessment purposes. for copying in any other circumstances, or for reuse in other publications, or for translation or adaptation, prior written permission must be obtained from the publishers, and a fee may be payable. to request permission, or for any other inquiries, please contact [email protected] Cover phot o: a building in Zinjibar destroyed during the fighting, July 2012. © amnesty international amnesty.org CONFLICT IN YEMEN: ABYAN’S DARKEST HOUR CONTENTS Contents ......................................................................................................................1 -
Costume Design for You Never Can Tell
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research and Creative Activity in Theatre and Film Theatre and Film, Johnny Carson School of 5-2010 Costume Design for You Never Can Tell Emily S. Parker University of Nebraska at Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/theaterstudent Part of the Other Theatre and Performance Studies Commons Parker, Emily S., "Costume Design for You Never Can Tell" (2010). Student Research and Creative Activity in Theatre and Film. 11. https://digitalcommons.unl.edu/theaterstudent/11 This Article is brought to you for free and open access by the Theatre and Film, Johnny Carson School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research and Creative Activity in Theatre and Film by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COSTUME DESIGN FOR YOU NEVER CAN TELL by Emily Parker A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Fine Arts Major: Theatre Arts Under the Supervision of Professor Janice Stauffer Lincoln, Nebraska May, 2010 COSTUME DESIGN FOR YOU NEVER CAN TELL Emily Parker, M.F.A. University of Nebraska, 2010 Advisor: Janice Stauffer This thesis will expound upon the costume design process for The Johnny Carson School of Theatre and Film’s 2009 production of You Never Can Tell, performed in the Howell Theatre at the University of Nebraska – Lincoln. Directed by Dr. Tice Miller, and Mijou Sahiouni, Assistant Director, the production team included Emily Parker as the Costume Designer, Ahna Packard as the Set Designer, and Harrison Hohnholt as the Lighting Designer. -
Fashionpedia: Ontology, Segmentation, and an Attribute Localization Dataset
Fashionpedia: Ontology, Segmentation, and an Attribute Localization Dataset Menglin Jia?1, Mengyun Shi?1;4, Mikhail Sirotenko?3, Yin Cui?3, Claire Cardie1, Bharath Hariharan1, Hartwig Adam3, Serge Belongie1;2 1Cornell University 2Cornell Tech 3Google Research 4Hearst Magazines Abstract. In this work we explore the task of instance segmentation with attribute localization, which unifies instance segmentation (detect and segment each object instance) and fine-grained visual attribute cat- egorization (recognize one or multiple attributes). The proposed task requires both localizing an object and describing its properties. To illus- trate the various aspects of this task, we focus on the domain of fashion and introduce Fashionpedia as a step toward mapping out the visual aspects of the fashion world. Fashionpedia consists of two parts: (1) an ontology built by fashion experts containing 27 main apparel categories, 19 apparel parts, 294 fine-grained attributes and their relationships; (2) a dataset with everyday and celebrity event fashion images annotated with segmentation masks and their associated per-mask fine-grained at- tributes, built upon the Fashionpedia ontology. In order to solve this challenging task, we propose a novel Attribute-Mask R-CNN model to jointly perform instance segmentation and localized attribute recogni- tion, and provide a novel evaluation metric for the task. Fashionpedia is available at: https://fashionpedia.github.io/home/. Keywords: Dataset, Ontology, Instance Segmentation, Fine-Grained, Attribute, Fashion 1 Introduction Recent progress in the field of computer vision has advanced machines' ability to recognize and understand our visual world, showing significant impacts in arXiv:2004.12276v2 [cs.CV] 18 Jul 2020 fields including autonomous driving [52], product recognition [32,14], etc. -
Ancient Civilizations Huge Infl Uence
India the rich ethnic mix, and changing allegiances have also had a • Ancient Civilizations huge infl uence. Furthermore, while peoples from Central Asia • The Early Historical Period brought a range of textile designs and modes of dress with them, the strongest tradition (as in practically every traditional soci- • The Gupta Period ety), for women as well as men, is the draping and wrapping of • The Arrival of Islam cloth, for uncut, unstitched fabric is considered pure, sacred, and powerful. • The Mughal Empire • Colonial Period ANCIENT CIVILIZATIONS • Regional Dress Harappan statues, which have been dated to approximately 3000 b.c.e. , depict the garments worn by the most ancient Indi- • The Modern Period ans. A priestlike bearded man is shown wearing a togalike robe that leaves the right shoulder and arm bare; on his forearm is an armlet, and on his head is a coronet with a central circular decora- ndia extends from the high Himalayas in the northeast to tion. Th e robe appears to be printed or, more likely, embroidered I the Karakoram and Hindu Kush ranges in the northwest. Th e or appliquéd in a trefoil pattern. Th e trefoil motifs have holes at major rivers—the Indus, Ganges, and Yamuna—spring from the the centers of the three circles, suggesting that stone or colored high, snowy mountains, which were, for the area’s ancient inhab- faience may have been embedded there. Harappan female fi gures itants, the home of the gods and of purity, and where the great are scantily clad. A naked female with heavy bangles on one arm, sages meditated. -
Chapter 2 Review of Literature…
Chapter 2 Review of Literature… Review of Literature….. CHAPTER- II REVIEW OF LITERATURE 2.1 Conceptual review 2.1.1 History of Kachchh 2.1.1.1 The State 2.1.1.2 Origin of name 2.1.2 History of rulers of Kachchh 2.1.3 Assortment of Textiles in Court of Western India 2.1.3.1 Brocades 2.1.3.2 Silks 2.1.3.3 Mashru 2.1.3.4 Bandhani 2.1.3.5 Laheriya 2.1.3.6 Textile Crafts for Royal wardrobe 2.1.4 History of Indian Royal Garments for Men 2.1.4.1 Upper garments 2.1.4.1.1 Jama 2.1.4.1.2 Angarkha 2.1.4.1.3 Chogha 2.1.4.1.4 Atamsukh 2.1.4.1.5 Chapkan 2.1.4.1.6 Achkan 2.1.4.1.7 Bagalbandi 2.1.4.1.8 Sadri 2.1.4.1.9 Angarkhi 2.1.4.2 Lower garments: Paijama 2.1.4.3 Headdress 2.1.4.3.1 Pagh 2.1.4.3.2 Patka [13] Review of Literature….. 2.1.5 History of Indian Royal Garments for Women 2.1.5.1 Upper garments 2.1.5.1.1 Choli 2.1.5.1.2 Kanchali 2.1.5.1.3 Angia 2.1.5.1.4 Peshwaz 2.1.5.1.5 Kurta 2.1.5.1.6 Saris 2.1.5.2 Lower garments 2.1.5.2.1 Paijama 2.1.5.2.2 Ghaghra 2.1.5.3 Headdress: Odhani 2.1.6 Children’s costume 2.1.7 Ceremonies and festivals of Rulers of Kachchh 2.2 Empirical review 2.2.1 Studies related to traditional costumes of rulers of India 2.1 Conceptual Review 2.1.1 History of Kachchh 2.1.1.1 The State Kachchh is the Princely State with 17 gun salute, 19 guns local.