A Thesis Submitted in Partial Satisfaction of The· Requirements for the Degree of Master of Science In
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Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Step 1 Apply style tape to your dress form to establish the bust level. Tape from the left apex to the side seam on the right side of the dress form. 1 Module 1 – Prepare the Dress Form Step 2 Place style tape along the front princess line from shoulder line to waistline. 2 Module 1 – Prepare the Dress Form Step 3A On the back, measure the neck to the waist and divide that by 4. The top fourth is the shoulder blade level. 3 Module 1 – Prepare the Dress Form Step 3B Style tape the shoulder blade level from center back to the armhole ridge. Be sure that your guidelines lines are parallel to the floor. 4 Module 1 – Prepare the Dress Form Step 4 Place style tape along the back princess line from shoulder to waist. 5 Lesson Guide Princess Bodice Draping: Beginner Module 2 – Extract Measurements Step 1 To find the width of your center front block, measure the widest part of the cross chest, from princess line to centerfront and add 4”. Record that measurement. 6 Module 2 – Extract Measurements Step 2 For your side front block, measure the widest part from apex to side seam and add 4”. 7 Module 2 – Extract Measurements Step 3 For the length of both blocks, measure from the neckband to the middle of the waist tape and add 4”. 8 Module 2 – Extract Measurements Step 4 On the back, measure at the widest part of the center back to princess style line and add 4”. -
The Shape of Women: Corsets, Crinolines & Bustles
The Shape of Women: Corsets, Crinolines & Bustles – c. 1790-1900 1790-1809 – Neoclassicism In the late 18th century, the latest fashions were influenced by the Rococo and Neo-classical tastes of the French royal courts. Elaborate striped silk gowns gave way to plain white ones made from printed cotton, calico or muslin. The dresses were typically high-waisted (empire line) narrow tubular shifts, unboned and unfitted, but their minimalist style and tight silhouette would have made them extremely unforgiving! Underneath these dresses, the wearer would have worn a cotton shift, under-slip and half-stays (similar to a corset) stiffened with strips of whalebone to support the bust, but it would have been impossible for them to have worn the multiple layers of foundation garments that they had done previously. (Left) Fashion plate showing the neoclassical style of dresses popular in the late 18th century (Right) a similar style ball- gown in the museum’s collections, reputedly worn at the Duchess of Richmond’s ball (1815) There was public outcry about these “naked fashions,” but by modern standards, the quantity of underclothes worn was far from alarming. What was so shocking to the Regency sense of prudery was the novelty of a dress made of such transparent material as to allow a “liberal revelation of the human shape” compared to what had gone before, when the aim had been to conceal the figure. Women adopted split-leg drawers, which had previously been the preserve of men, and subsequently pantalettes (pantaloons), where the lower section of the leg was intended to be seen, which was deemed even more shocking! On a practical note, wearing a short sleeved thin muslin shift dress in the cold British climate would have been far from ideal, which gave way to a growing trend for wearing stoles, capes and pelisses to provide additional warmth. -
Design Your Own Muumuu
• UNIVERSITY OF HAWAII COOPERATIVE EXTENSION SERVICE • HOME ECONOMiCS CIRCULAR 351 . OJ. COOPERATIVE EXTENSION WORK IN AGRICULTURE AND HOME ECONOMICS 'COLLEGE OF TROPICAL AGRICULTURE UNIVERSITY OF HAWAII. HONOLULU. HAWAII 116822 UNITED STATES DEPARTMENT OF AGRICULTURE COOPERATING C. PEAIRS WILSON, DIRECTOR, HAWAII COOPERATIVE "EXTENSION SERVICE ,DISTRIBUTED IN FURTHERANCE OF THE ACTS OF CONGRESS OF MAY 8 AND JUNE 30, ll1U HOME ECONOMICS CIRCULAR 351-FEBRUARY 1967 DESIGN YOUR OWN MUUMUU GERTRUDE P. HARRELL Extension Specialist in Clothing Muumuus have been a popular way of dressing for many years in the islands. In the last decade, muumuus have become very versatile in styles, making them suitable for all occasions. Some of them are short; some are very basic and good for working around the house; and some are very dressy, used for very formal occasions. The muumuu is a form of dress that can be adapted to the individual's style of dress. Many people can design a muumuu that is very becoming to them. Because muumuus can be straight and on the tailored side or very full and quite fancy, they give every woman the chance to wear the type most becoming to her figure. Also, they can be made with various types of fabric. Muumuu fabrics range from the inexpensive cotton prints to the very ex pensive brocades and even to the expensive lace with lovely backing or lining. Muumuu fashions change the. same as dress styles of today. It is possible to use dress patterns and redesign them slightly and have lovely muumuus. If you have a desire to have individual muumuus, you can follow some basic prin ciples and design your own by using a current fashion pattern or a basic pattern that has been made to fit you. -
Bachelor of Design Foundation Course SEMESTER I Sr
Bachelor of Design Foundation Course SEMESTER I Sr. Th Pr Subject TC Hours Internal External Total No. C C Th Pr Th Pr Drawing and Sketching 100 marks continuous 1 4 - 4 120 100 (c) evaluation Environmental Studies 2 4 4 - 60 25 75 100 (c) Fundamental of Design 3 4 2 2 90 25 25 50 25 100 (c) 25+25=50/2=25 4 Communication Skills (c) 4 3 1 75 15 10 60 15 100 History of Art & Design 5 4 3 1 75 15 10 60 15 100 (c) 20 500 SEMESTER II Th Pr Sr. No. Subject TC Hours Internal External Total C C Th Pr Th Pr 1 Art Appreciation (c) 4 3 1 75 15 10 60 15 100 Technical Drawing- 100 marks continuous 2 4 - 4 120 100 Foundation (b) evaluation 3 Advance Design (c) 4 2 2 90 25 25 50 25 100 25+25=50/2=25 100 marks continuous 4 Material Studies (b) 4 - 4 120 100 evaluation Computer Application 100 marks continuous 5 4 - 4 120 100 for Design evaluation 20 500 Fashion Design SEMESTER III Sr. Subject TC Th C Pr C Hrs Internal External Total No. Th Pr Th Pr Fundamentals of Illustration & 1 4 0 4 120 100 marks continuous evaluation 100 Design Concept 2 Introduction to Pattern Making 4 0 4 120 100 marks continuous evaluation 100 Introduction to Garment 3 4 0 4 120 100 marks continuous evaluation 100 Construction 4 Introduction to Textile 4 4 0 60 25 75 100 History of fashion (Indian & 5 4 4 0 60 25 75 100 Western) and women's studies TOTAL 20 500 SEMESTER IV Sr. -
Department of the Air Force Washington, Dc
DEPARTMENT OF THE AIR FORCE WASHINGTON, DC AFI36-2903_AFGM2018-03 28 September 2018 MEMORANDUM FOR DISTRIBUTION C MAJCOMs/FOAs/DRUs FROM: SAF/MR SUBJECT: Air Force Guidance Memorandum to AFI 36-2903, Dress and Personal Appearance of Air Force Personnel By Order of the Secretary of the Air Force, this Air Force Guidance Memorandum immediately changes AFI 36-2903, Dress and Personal Appearance of Air Force Personnel. Compliance with this Memorandum is mandatory. To the extent its directions are inconsistent with other Air Force publications, the information herein prevails, in accordance with AFI 33-360, Publications and Forms Management. This memorandum provides policy and guidance for all military personnel serving in the United States Air Force, Reserve and Guard components. The specific changes to AFI 36-2903 are listed in the attachment. The paragraphs listed replace the corresponding paragraphs in AFI 36-2903 or add new paragraphs. Failure to observe the mandatory provisions in paragraphs 3.4.1 and 3.4.2 of this memorandum by Regular Air Force military members, Air Force Reserve military members on active duty or inactive duty for training, and Air National Guard military members in Title 10 status is a violation of Article 92 of the Uniform Code of Military Justice. Air National Guard members in Title 32 status performing full-time National Guard duty or inactive duty for training, who violate the mandatory provisions of this instruction, may be held accountable through similar provisions of their respective State Military Codes. There are no releasability restrictions on this publication. Ensure that all records created as a result of the processes prescribed in this publication are maintained in accordance with Air Force Manual 33-363, Management of Records, and disposed of in accordance with Air Force Records Disposition Schedule in the Air Force Information Management System. -
The Traje De Berberisca: an Encoded Dress
The Traje de Berberisca: an Encoded Dress By Dr. Yaëlle Azagury As a little girl, I often asked my mother in Spanish -I grew up in Tangier where Jews spoke a Spanish meshed with Judeo-Spanish: “Que me pongo hoy mama?”. Mother, what should I wear today? Invariably she gave me an enigmatic answer: “El traje de oro y de plata”. This threw me each time into the agonies of an elaborate speculation. What did she really mean by “the gold and silver gown”? I was an avid reader of fairy tales, so one came to mind. In Grimm’s the Ass’s Skin, the princess asks her father for three dresses: one the color of Time, the second one color of the Moon, and the third the color of the Sun. Neither requests is meant to be fulSilled. How can one make a moon- color dress? Or a sun-color dress? Or for that matter, how could one even fathom a dress of gold and silver? I was invariably puzzled. One day, though, I found out the “traje de oro y de plata” existed not merely as an imaginary riddle for inquisitive little girls . It was the traje de berberisca, or keswa-el-kbira (grand costume) as it is called in Arabic (Figure 1). Figure 1: traje de berberisca. 19th century. Rabat © 2012 Yaëlle Azagury 1 Despite its name which refers to a Berber dress, the traje de berberisca, an elaborate eight-piece costume still worn nowadays by Moroccan Jewish brides on the eve of their wedding during the noche de berberisca as it is called in the North of Morocco, or Lilat el henna, in the South, is originally inspired by the luxurious styles of the Spanish courts and Arab Caliphates of the late Middle Ages and early Renaissance1. -
Cadet Dress Instructions and CATO 13-16, National Cadet Honours and Awards
A-CR-CCO-100/AG-001 CADET AND JUNIOR CANADIAN RANGERS DRESS INSTRUCTIONS (ENGLISH) Cette publication est disponible en français sous le numéro A-CR-CCO-100/AG-002 Issued on Authority of the Chief of the Defence Staff OPI: National Cadet and Junior Canadian Rangers 2019-07-19 Support Group Clothing and Dress Committee A-CR-CCO-100/AG-001 FORWARD 1. A-CR-CCO-100/AG-001, Cadet and Junior Canadian Rangers Dress Instructions, are issued on authority of the Chief of the Defence Staff. 2. A-CR-CCO-100/AG-001 is effective upon receipt and supersedes all dress policy and rules previously issued as a CATO, manual, supplement, order or instruction. 3. Chapters 1 to 6 of the CJCR Dress Instructions apply to Sea, Army and Air Cadets whereas Chapters 1 and 7 apply to Junior Canadian Rangers. 4. Suggestions for revision shall be forwarded through the chain of command to the Natl CJCR Sp Gp Clothing and Dress Committee (CJCR CDC). 5. Any changes will be promulgated by a CANCDTGEN from the Comd Natl CJCR Sp Gp. i A-CR-CCO-100/AG-001 ii A-CR-CCO-100/AG-001 iii A-CR-CCO-100/AG-001 TABLE OF CONTENTS PAGE CHAPTER 1 – COMMAND AND CONTROL .............................................................................................. 1-1 COMMAND ................................................................................................................................................... 1-1 CJCR CLOTHING AND DRESS COMMITTEE ............................................................................................ 1-1 DEFINITIONS .............................................................................................................................................. -
A Study of the Cherokee Indians' Clothing Practices and History for the Period 1654 to 1838
A STUDY OF THE CHEROKEE INDIANS' CLOTHING PRACTICES AND HISTORY FOR THE PERIOD 1654 TO 1838 By EDNA GERALDINE SAUNDERS /, ··,r / Bachelor of Science New Mexico State University Las Cruces, New Mexico 1963 Submitted to the faculty of the Graduate College of the Oklahoma $tate University in partial fulfillment 9f the requirements for the degree of MASTER OF SCIENCE May, •. 1969 OKlM-l'OMA STATE llWWlititW\' l-1 Sf"iAr~Y t ·SEP ~~ tlil l. ,·.,~· ... _,;'·.-s=><'• . A STUDY OF THE CHEROKEE INDIANS' CLOTHING PRACTICES AND HISTORY FOR THE PERIOD 16.54 TO 1838 Thesis Approved: ad~~· Thesis · Adviser fJ. n . 1-w,kwr Dean of the Graduate College ii ACKNOWLEDGMENTS . The author wishes to th.ank Miss Dorothy Saville for her help and · especially her patience during the writing .of this thesis; Miss· S.ara Meador for her valuable suggestiops; Pr. Nick Stinnett for his willingness to help in time of need; and Dr. Donice Hawes for serv ing as a member of the advisory coI!llnittee; and Dr. Edna Meshke for. the original idea.. Appreciation is also expressed to Patrick Patterson of the Woola.roc· Museum; Mrs. Ma.:rtha Blaine and the library staff at the Ok::\.ahoma His..., torieal Society; and to t.he staff of the Five Civilized Tribes Museum in Muskogee. The writer also thanks her many friends and fellow students who were interested and encouraging in this undertaking. iii TABLE OF CONTENTS Chapter Page INTRODUCTION 1 Purpose of the Study . , , . 3 II. HISTORICAL SKETCH OF THE CHEROKEES 4 III. CLOTHING MATERIALS AND THEIR USAGE " 0 • • . -
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. -
Ceremonial and Academic Dress Procedure
Ceremonial and Academic Dress Procedure Contents Purpose ................................................................................................................................................. 1 Applicable governance instruments...................................................................................................... 1 Procedure .............................................................................................................................................. 1 1 General Information .................................................................................................................... 1 2 Ceremonial Dress ......................................................................................................................... 2 3 Academic Dress ........................................................................................................................... 3 Schedule 1 – Colours for Awards .......................................................................................................... 5 Schedule 2 – Colours for Combined and Double Degrees ................................................................... 6 Schedule 3 – Aboriginal and Torres Strait Islander Scarves .................................................................. 7 Schedule 4 – Embroidery ...................................................................................................................... 7 Versioning............................................................................................................................................. -
Lesson Guide Bustier Dress Draping: Intermediate Module 1 – Prepare the Dress Form
Lesson Guide Bustier Dress Draping: Intermediate Module 1 – Prepare the Dress Form Step 1A The first step when draping the bustier is to apply style tape to your dress form to establish your guidelines and neckline styleline. Start by taping across the bust level from the left apex across to the right apex. 1 Module 1 – Prepare the Dress Form Step 1B Tape the desired neckline from center front to center back. At the side seam don’t drop lower than 1” from the armplate. 2 Module 1 – Prepare the Dress Form Step 1C For beginners, it is a good idea to apply your bust level tape from center front to the side seam. This will make it easier when balancing the side front panel. Be sure the tape is level to the floor. 3 Module 1 – Prepare the Dress Form Step 1D We will be using the princess lines of the dress form both front and back as the prin- cess stylelines for this bustier. 4 Module 1 – Prepare the Dress Form Step 2A For the skirt, measure down 7” from the bottom of the waist tape. Apply the hip style tape horizontally around the right half of the dress form. You must be sure that the hipline is parallel to the floor. 5 Module 1 – Prepare the Dress Form Step 2B You can check this by resting an L Square on the table and find the number on the ruler that corresponds to center front at the bottom of the hip tape. Your style tape should align at that number as you turn the dress form from front to back. -
Report Resumcs
I REPORT RESUMCS ED 0!? 782 VT 001 07.:: PATTERNMAKING AND DESIGN. BY- COLICCHIO, ANTOINETTE J. RUTGERS, THE STATE UNIV., NEW BRUNSWICK, N.J. NEW JERSEY STATE DEPT. OF EDUCATION, TRENTON PUB DATE JAN 67 EDRS PRICE ME-$1.25 HC-$12.52 313P. DESCRIPTORS- *STUDY GUIDES, *TRADE AND INDUSTRIAL EDUCATION, *CLOTHING DESIGN, #PATTERNMAKING, HIGH SCHOOLS, NEEDLE TRADES, NEW BRUNSWICK, TRENTON SKILLS IN PATTERNMAKING ARE IMPOP'ANT TO ALL EMPLOYE-9 IN nIC DESIGNING, ROOM TM !P -we-stop rAcurwr mAMIMACTURE. THE OBJECTIVE OF THIS COURSE OF STUDY IS TO ACQUAINT THE STUDENT vii_im THE TOOLS AND SYMBOLS OF PATTENMAKING AND TO HELP HIM MASTER THE DASiC FUNDAMENTALS OF PATTERN DEVELOPMENT. II FOLLOWS THE COURSE OF STUDY APPROVED BY THE BOARD OF EDUCATION AND WAS TESTED IN VARIOUS CLASSROOMS. THEORY AND PRINCIPLES ARE COMBINED WITH PRACTICAL AND CREATIVE APPLICATION IN COSTUME DESIGN. UNITS ARC--(1) INTRODUCTION TO PATTERNMAKING AND DESIGN,(2) SLOPERS,(3) WAISTS, (4) NECKLINES,(5) CLOSINGS AND EXTENSIONS,(6) COLLARS, (7) SLEEVES,(8) SKIRTS,(9) POCKETS] AND (10) BELTS. EACH UNIT INCLUDES OBJECTIVES, RELATED INFORMATION, ASSIGNMENTS, AND ILLUSTRATIONS. THE COURSE REQUIRES THREE PERIODS PER WEEK FOR 1 1/2 YEARS. STUDENTS SHOULD BE OF HIGH SCHOOL AGE WITH APTITUDES AND GOALS FOR THE NEEDLE TRADES. THE TEACHER SHOULD BE A NEEDLE TRADES INSTRUCTOR. INCLUDED ARE OBJECTIVE AND PERFORMANCE TESTS, ILLUSTRATIONS, AND A BIBLIOGRAFWi. THIS DOCUMENT IS ALSO .A.VAILAIXE FROM THE VOCATIONAL-TECHNICAL CURRICULUM LAt*RATORY, RUTGERS UNIVERSITY, 10 SEMINARY PLACE, NEW BRUNSWICK, NEW JERSEY 08903, FOR $2.00. (MS) .. Z.41040 41A.:.; vp 4 40 004040 41 400 Er .