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												  Femininity and Dress in fic- Tion by German Women Writers, 1840-1910ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Scripts, skirts, and stays: femininity and dress in fic- tion by German women writers, 1840-1910 https://eprints.bbk.ac.uk/id/eprint/40147/ Version: Full Version Citation: Nevin, Elodie (2015) Scripts, skirts, and stays: femininity and dress in fiction by German women writers, 1840-1910. [Thesis] (Unpub- lished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Scripts, Skirts, and Stays: Femininity and Dress in Fiction by German Women Writers, 1840-1910 Elodie Nevin Thesis submitted for the degree of PhD in German 2015 Department of European Cultures and Languages Birkbeck, University of London Declaration for PhD thesis I have read and understood the regulations for students of Birkbeck, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: Date: 12/08/2015 2 Abstract This thesis examines the importance of sartorial detail in fiction by German women writers of the nineteenth century. Using a methodology based on Judith Butler’s gender theory, it examines how femininity is perceived and presented and argues that clothes are essential to female characterisation and both the perpetuation and breakdown of gender stereotypes.
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												  Replica Styles from 1795–1929Replica Styles from 1795–1929 AVENDERS L REEN GHistoric Clothing $2.00 AVENDERS L REEN GHistoric Clothing Replica Styles from 1795–1929 Published by Lavender’s Green © 2010 Lavender’s Green January 2010 About Our Historic Clothing To our customers ... Lavender’s Green makes clothing for people who reenact the past. You will meet the public with confidence, knowing that you present an ac- curate picture of your historic era. If you volunteer at historic sites or participate in festivals, home tours, or other historic-based activities, you’ll find that the right clothing—comfortable, well made, and accu- rate in details—will add so much to the event. Use this catalog as a guide in planning your period clothing. For most time periods, we show a work dress, or “house dress.” These would have been worn for everyday by servants, shop girls, and farm wives across America. We also show at least one Sunday gown or “best” dress, which a middle-class woman would save for church, weddings, parties, photos, and special events. Throughout the catalog you will see drawings of hats and bonnets. Each one is individually designed and hand-made; please ask for a bid on a hat to wear with your new clothing. Although we do not show children’s clothing on most of these pages, we can design and make authentic clothing for your young people for any of these time periods. Generally, these prices will be 40% less than the similar adult styles. The prices given are for a semi-custom garment with a dressmaker- quality finish.
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												  Dressing for the Times: Fashion in Tang Dynasty China (618-907)Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 BuYun Chen All rights reserved ABSTRACT Dressing for the Times: Fashion in Tang Dynasty China (618-907) BuYun Chen During the Tang dynasty, an increased capacity for change created a new value system predicated on the accumulation of wealth and the obsolescence of things that is best understood as fashion. Increased wealth among Tang elites was paralleled by a greater investment in clothes, which imbued clothes with new meaning. Intellectuals, who viewed heightened commercial activity and social mobility as symptomatic of an unstable society, found such profound changes in the vestimentary landscape unsettling. For them, a range of troubling developments, including crisis in the central government, deep suspicion of the newly empowered military and professional class, and anxiety about waste and obsolescence were all subsumed under the trope of fashionable dressing. The clamor of these intellectuals about the widespread desire to be “current” reveals the significant space fashion inhabited in the empire – a space that was repeatedly gendered female. This dissertation considers fashion as a system of social practices that is governed by material relations – a system that is also embroiled in the politics of the gendered self and the body. I demonstrate that this notion of fashion is the best way to understand the process through which competition for status and self-identification among elites gradually broke away from the imperial court and its system of official ranks.
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												  The Morgue File 2010the morgue file 2010 DONE BY: ASSIL DIAB 1850 1900 1850 to 1900 was known as the Victorian Era. Early 1850 bodices had a Basque opening over a che- misette, the bodice continued to be very close fitting, the waist sharp and the shoulder less slanted, during the 1850s to 1866. During the 1850s the dresses were cut without a waist seam and during the 1860s the round waist was raised to some extent. The decade of the 1870s is one of the most intricate era of women’s fashion. The style of the early 1870s relied on the renewal of the polonaise, strained on the back, gath- ered and puffed up into an detailed arrangement at the rear, above a sustaining bustle, to somewhat broaden at the wrist. The underskirt, trimmed with pleated fragments, inserting ribbon bands. An abundance of puffs, borders, rib- bons, drapes, and an outlandish mixture of fabric and colors besieged the past proposal for minimalism and looseness. women’s daywear Victorian women received their first corset at the age of 3. A typical Victorian Silhouette consisted of a two piece dress with bodice & skirt, a high neckline, armholes cut under high arm, full sleeves, small waist (17 inch waist), full skirt with petticoats and crinoline, and a floor length skirt. 1894/1896 Walking Suit the essential “tailor suit” for the active and energetic Victorian woman, The jacket and bodice are one piece, but provide the look of two separate pieces. 1859 zouave jacket Zouave jacket is a collarless, waist length braid trimmed bolero style jacket with three quarter length sleeves.
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												  Crazy for You'o",."c ""C-""""""""'~T"'~-- . .. ,. ~ . \."-' COSTUMEPLOT: "CRAZY FOR YOU' Act I scene1 Backstageat the Zangler Theatre BOBBY: Black tuxedo,black vest. white tux shirt, black bowtie TESS: dressand sweater PATSY: showgirl costume ASSORTEDSHOWGIRLS: 4 in matchingpanniers, leotards and headpiecesfor the "performance" 3 others(magician, circus act, baton twirler) ACROBATS: 3 Men in unitards with capesand trunks STAGE MANAGER: pants,open vest. shirt sleevesrolled up, loosetie STAGE HAND(S): similar to stagemanager OR in coveralls ZANGLER: black tails, white vest. white tie, white gloves,fur coat worn over shoulders Also needswig and goatee NOTE: BOBBY will needa DUPLICATE of Zangler's wig and goateefor his impersonation of Zangler MITZI: showgirl costume Act I scene2 OutsideZangler Theatre; later that evening BOBBY: repeatabove TESS:Repeat above; add coat and hat (lightweight for autumn) ",~,. PATSY: similar to Tess if\; SHOWGIRLS (optional): 4 in coatsand hats IRENE: Evening gown and matching coat, hat or headpiece LACKEY#l: Businesssuit attire LACKEY #2: Businesssuit attire CHAUFFEUR:Chauffeur uniform and hat, glovesoptional BOBBY'S MOTHER: Evening dressand coat with furs, elaborateheadpiece or hat, gloves,excessive jewelry and matching shoes PERKINS: Dark businesssuit attire PINK FOLLIES GIRLS (Bobby'sFantasy Number "Can't be BotheredNow"): Pink wigs, pink sequin showgirl costumeswith matching gauntlets;silver tap shoesrecommended NOTE: Our versionof theseare basedupon the original Broadwaydesign and havea thong. It is adviseablefor your
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												  Daily Iowan (Iowa City, Iowa), 1943-03-14Ration Calendar Light Snow OA8 "AU o01lpoa • ulol... ,..,••• 1/ FllEL OIL OOUpGD • oxpl,.. April 1,8, IOWA: Licbt.Dow In north 00,.,.B8 o.u,.n 25 ...plr.. Mar•• 11/ liDd t porUou 8UOAIC .oupon II 'ICpl". ~r.. "b 161 THE DAILY IOWAN HROIIN, •• ",..n 17 upl'lI Iv.. J(' cold., loda,. Iowa City's Morning Newspaper fIVE CENTS IOWA CITY, IOWA SUNDAY, MARCH 14, 1943 VOLUME XLID NUMBER 144 e I e al 5 n, 1 U.S.·TRAINED CHINESE AIRMEN NOW FIGHT SIDE BY SIDE WITH YANKS Visiting Eden Warns Allies of Long Road Ador Very III To Victory as Talks With F.D.R. Begin Unloads 1,000 • War, Global Security Tons of Bombs Germans Gain Will Be Chief Points Of Vital Conferences Upon Railways WASHINGTON (AP) - Warn- On Kharkov ing that "we'vc gol a long way yct to go" on the road to victory, Pummels Supply Route Reds Admit Situation Anthony Eden, British foreign sec To Coastline Troops l retary, ha tened to get tOGether AJong Somme, Seine ISerious as Enemy Iwith President Roosevelt last night on the vast problcrru of war Advances New Units I LO 'DO~ (AP)-Thc RAF llnd global. ecurity. • h'oPP d mor thlln 1, ton LONDON, Sunday (AP)-Gcr The president invited Eden for J[ bomb on E "pn Frid , man troops gained fresh ground in a dinner and a lalk. the White the flaming right for Kharkov. a Housc announced. Anothcr guest night, and y . t rdllY 11ft rnoo;, midnight Moscow bulletin an was John G. Winant, the Ameri whil fil't' till w re l'1Il>ing nounced today, and Russian field can ambas.
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												  Bruno Piattelli.PdfThe Italian designer, one of the founders of Made in Italy BIOGRAPHY The Italian designer, one of the founders of Made in Italy BIOGRAPHY Born and raised in Rome, Piattelli attended the well-known Visconti “liceo” there before continuing his stu- dies, in law, at the Roman La Sapienza Univerity. He began his career helping in his father’s atelier in Piazza S. Sylvestro in Rome, which, when he started, already had a select and international clientele. Within only a few years time, Piattelli’s work was noticed by clothing and fabric manufacturers which lead to collaboration with important domestic and international fashion houses. Contracts were signed with: D’Avenza, Ellesse, Petronius, Lanerossi and Sanremo. He designed collections for Burberry’s of London and D’Urban of Tokyo. He collaborated with the NASA Space Mission designing knitwear for the astronauts. He created the uniforms for Zambia Airlines male and female flight attendants and for the hostesses of Dunhill of London. He made the uniforms for Alitalia’s male ground personnel and he dressed the Italian National Olympic Teams in Mexico City in 1968 and Atlanta in 1996. Piattelli Corners were opened in some of the most prestigious luxury department stores and shops such as Liberty’s in London, Barney’s in New York, Louis in Boston, The Executive in Johannesburg in South Africa. In Asia, Piattelli Corners were opened Hong Kong, Bangkok and Tokyo in Takashimaya, Mitsukoshi and Sei- bu luxury department stores. An invitation from the government of the Chinese People’s Republic to do a study of the clothing manufac- turing industry lead to a new adventure – a joint venture with the clothing manufacturing industry in China.
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												  Tate: Arizona County: YavapaiAnnual Report of Home Demonstration Agent, Yavapai County 1950 Item Type text; Report Authors University of Arizona. Agricultural Extension Service. Home Demonstration Agents; Hughes, Lucinda E. Publisher University of Arizona Rights Public Domain: This material has been identified as being free of known restrictions under U.S. copyright law, including all related and neighboring rights. Download date 27/09/2021 01:38:29 Item License http://creativecommons.org/publicdomain/mark/1.0/ Link to Item http://hdl.handle.net/10150/637321 ANNUAL NARRATIVE REPORT �TATE: ARIZONA COUNTY: YAVAPAI REPORT OF: LUCINDA E. HUGHES FROM: DECEMBER 1, 1949 to NOVEMBER .30, 1950 TABLE OF CONTENTS ------- Page Cover and Title Page ••••••••••••••••••••••••••••• o - Table of Contents •••••••••••••••••••••••••••••••• 1 2 Preface ••••••••' •••••••••••••••••••••••••••••••••• .3 Highlight s ••••••••••••••••••••••••••••••••••••••• 4 Projects: Organizati on 'and P'lanning ••.••••••••••••••••• 5 16 Pzogram and Progress Report ••••••••••••• '6 11 House Furnishings and Surroundings •••••••••• 17 21 Cloth ing and Texti les ••••••••••••••••••••••• 22 24 Nutrition Food Preservation and Storage •••••••••• 25 34 Freezing Demon strati on not es ••••••• 28 33 Food Selection and Preparation ••••••••• 34 ,38 Health and Safety ••••••••••••••••••••••••••• 41 42 Recreation and Community Life ••••••••••••••• 43 Extension Information ••••••••••••••••••••••• 44 Page 4-H Club Program: County S ituat ion . 45 Statistical Summary •••••••••••••••••••••••• 46 Summary by Projects ••••••••••••••••
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												  Albuquerque Morning Journal, 03-19-1922 Journal Publishing CompanyUniversity of New Mexico UNM Digital Repository Albuquerque Morning Journal 1908-1921 New Mexico Historical Newspapers 3-19-1922 Albuquerque Morning Journal, 03-19-1922 Journal Publishing Company Follow this and additional works at: https://digitalrepository.unm.edu/abq_mj_news Recommended Citation Journal Publishing Company. "Albuquerque Morning Journal, 03-19-1922." (1922). https://digitalrepository.unm.edu/ abq_mj_news/510 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Albuquerque Morning Journal 1908-1921 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. X X CITY CITY EDITION JBNAL EDITION FORTY-S- PAGES TODAY IN ONI) YEAR PACKS TODAY I 78. 20 TWO New March 1922. OH Daily Carrier or MjiA M5c a VOIi. CLXXII. No. SECTIONS Albuquerque, Mexico, Sunday, 19, TWO hj Hiiqtb UJ TIO.NS Single ( op!,. t BLIZZARD BRAVED BY mm mdddle E Plans For Evacuation A DUADRUPL PACT NURSE TO ASSIST "Pink Lady's" Romance telndes COVERS DESTITUTE FAMILY TO BE PASSED RATON; 1 WEATHER COLD of Mines Are Klamath Falls, Ore., March Seeing cr Wedding S UPPORTFR S April 18. Miss Lydia Fx'ieke, Klam- ilDEfl ath county health nurse, is re- IIPIClAL DISPATCH TO MONNINA JOURNALj covering today from a hazard- itaton, N. M., .March IS. Unionist ous trip of 20 miles on skis Baton is again in one of the SENATE Begun, Says through a blinding snow storm F0I SGLBTKMl worst storms of the wintei, FOES II $. which she undertook for the which came .suddenly Friday relief of a destitute family in night with a high wind.
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												  Retro House Dress ApronMS. DIOR’S Retro House Dress Apron by Trish Vernazza 1952 was the year of “double-duty” fashion. !is was a reflection of the economy, the drab aftermath of the deprivations of World War II, and the need for practically. Women desired fashionable, flirty, and sophisticated styles in their wardrobe. !ere was a need for a combination of sweaters, skirts, and blouses to create a larger wardrobe along with a staple of day dresses. !e housedress served both as a cover-up and a dressing gown. Worn in the day and removed before early evening, they were a necessary staple for household chores or running out to do daily errands. Made out of simple, washable fabrics, they still needed to be feminine, stylish, and easy to put on and remove. Some housedresses even came with a matching oven glove! Ultra-feminine designs abounded that showcased tiny waists, huge skirts, and rounded shoulders. Christian Dior was, at the time, the most famous couturier that established Paris as the leader of world fashion. On a Paris street, a well-dressed young woman in a copy of Dior’s New Look had the clothes nearly torn off her body by enraged housewives. When it was time to create a new collection, Christian Dior had a ritual: He would retreat to his garden and sit among the flowers. !is is where he would sketch out his designs, inspired by what was blooming. As Dior once said, “Elegance must be the right combination of distinction, naturalness, care, and simplicity.” Other designers wanted to shock, to impress, to dress the working woman, or to pursue an artistic ideal.
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												  Clothing Terms from Around the WorldClothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat.
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												  Hunting Shirts and Silk Stockings: Clothing Early CincinnatiFall 1987 Clothing Early Cincinnati Hunting Shirts and Silk Stockings: Clothing Early Cincinnati Carolyn R. Shine play function is the more important of the two. Shakespeare, that fount of familiar quotations and universal truths, gave Polonius these words of advice for Laertes: Among the prime movers that have shaped Costly thy habit as thy purse can buy, But not expressed infancy; history, clothing should be counted as one of the most potent, rich not gaudy; For the apparel oft proclaims the man.1 although its significance to the endless ebb and flow of armed conflict tends to be obscured by the frivolities of Laertes was about to depart for the French fashion. The wool trade, for example, had roughly the same capital where, then as now, clothing was a conspicuous economic and political significance for the Late Middle indicator of social standing. It was also of enormous econo- Ages that the oil trade has today; and, closer to home, it was mic significance, giving employment to farmers, shepherds, the fur trade that opened up North America and helped weavers, spinsters, embroiderers, lace makers, tailors, button crack China's centuries long isolation. And think of the Silk makers, hosiers, hatters, merchants, sailors, and a host of others. Road. Across the Atlantic and nearly two hundred If, in general, not quite so valuable per pound years later, apparel still proclaimed the man. Although post- as gold, clothing like gold serves as a billboard on which to Revolution America was nominally a classless society, the display the image of self the individual wants to present to social identifier principle still manifested itself in the quality the world.