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John Brown and George Kellogg
John Brown and George Kellogg By Jean Luddy When most people think of John Brown, they remember the fiery abolitionist who attacked pro-slavery settlers in Kansas in 1855 and who led the raid on the Federal arsenal at Harpers Ferry, Virginia in 1859 in order to spark a slave rebellion. Most people do not realize that Brown was no stranger to Vernon and Rockville, and that he worked for one of Rockville’s prominent 19th century citizens, George Kellogg. John Brown was born in Torrington, CT in 1800. His father was a staunch opponent of slavery and Brown spent his youth in a section of northern Ohio known as an abolitionist district. Before Brown became actively involved in the movement to eliminate slavery, he held a number of jobs, mainly associated with farming, land speculation and wool growing. (www.pbs.org) Brown’s path crossed with George Kellogg’s when Brown started to work for Kellogg and the New England Company as a wool sorter and buyer. John Brown George Kellogg, born on March 3, 1793 in Vernon, got his start in the woolen industry early in life when he joined Colonel Francis McLean in business in 1821. They established the Rock Manufacturing Company and built the Rock Mill, the first factory along the Hockanum River, in the area that would grow into the City of Rockville. Kellogg worked as the company’s agent from 1828 to 1837. At that time, he left the Rock Company to go into business with Allen Hammond. They founded the New England Company and built a factory along the Hockanum River. -
The Revised Trade Marks Rules, 1963
1940: Act-V STATUTORY RULES AND ORDERS 1 (Under section 84,-Revised Trade Marks Rules) THE REVISED TRADE MARKS RULES, 1963 S.R.O.699(K) 63, dated the 10th September, 1963.-In exercise of the powers conferred by section 84 of the Trade Marks Act, 1940 (V of 1940), the Government of Pakistan is pleased to publish the following Trade Marks Rules. They will come into effect immediately:- THE REVISED TRADE MARKS RULES, 1963 PART-1 CHAMPTER-I PRELIMINARY 1. Short title and commencement.-(1) These rules may be called the Revised Trade Marks Rules, 1963. (2) They shall come into force at once. 2. Definitions.- In these rules, unless there is anything repugnant in the subject or context,- I. “Act” means the Trade Marks Act, 1940; II. “Branch Registry” means a Branch of Trade Marks Registry established under rule 139; III. “Form” means a form set forth in either the Second or the Third Schedule to these rules; IV. “Journal” means the Trade Mark Journal; V. “Section” means a section of the Act; VI. “Specification” means the designation of goods in respect of which a trademark, or a registered user of a trademark, is registered or proposed to be registered. 1940: Act-V STATUTORY RULES AND ORDERS 2 (Under section 84,-Revised Trade Marks Rules) 3. Fees.-(1) The fees to be paid in respect of applications and registration and other matters under the Act shall be those specified in the First Schedule to these rules, hereinafter referred to as the prescribed fees. (2)(a) Fees may be paid in cash at the Trade Marks Registry, or may be sent by money order or postal order or cheque, payable to the Registrar. -
A Brief History of the Evolution of Operating Room Attire
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 1 From formalwear and frocks to scrubs and gowns: A brief history of the evolution of operating room attire AUTHORS Jessica L. Buicko, MD1 Michael A. Lopez, DO1 Miguel A. Lopez-Viego, MD, FACS1 1Department of Surgery, University of Miami-JFK Medical Center, Atlantis, FL CORRESPONDING AUTHOR Jessica L. Buicko 225 NE 1st St #209 Delray Beach, FL 33444 518-229-7711 [email protected] ©2016 by the American College of Surgeons. All rights reserved. CC2016 Poster Competition • From formal wear and frocks to scrubs and gowns • 6 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Most of the knowledge of the history of surgical Introduction attire is derived from drawings, paintings and Stroll into any operating room and you will find surgeons anecdotal reports. Although conventional adorned in various shades of blues and greens along with their today, “scrubs” were not routinely worn until masks, scrub hats, and surgical gowns. The surgical attire that has become commonplace throughout operating rooms around the mid-20th century. In the 19th century, it the world, has only been around for less than a century. would be commonplace for a surgeon to shrug off his suit jacket, roll up his sleeves, throw on A brief surgical timeline a frock or apron, and begin operating. Over the Prior to 19th century - Surgeons performed operations in their years, surgical garb continues to evolve to make street clothes with the only concessions being the removal of procedures safer for both the patient and the coats and rolling-up of shirt-sleeves during bloody procedures. -
Woven Fabrics
Fabric – Woven Fabrics WOVEN FABRICS Fabrics are made of yarns by weaving them in different combinations. It is mostly done by interlacing two sets of yarn or thread made of fibers called the warp and weft of the loom. It only stretches in the bias directions, between the warp and weft directions, unless the threads are elastic. Lengthwise stronger vertical yarns with more twist are Warp or Picks while widthwise filling yarns are termed as weft or ends. Sidewise edge of fabric is termed as Selvedge. THREE BASIC WEAVES There are three main types of weave: Plain, Twill and Satin Plain weave is a basic weave which is made when the thread is woven on one up and one down principle, some plain weave fabrics are Chambray, Chiffon, Gingham, and Organza etc. Twill weave is made when the thread is placed by varying the order of interlacing the yarns so that diagonal parallel lines are produced across the fabric. Satin Weave is a weave made when each warp yarn floats over four filling yarns and interlaces with fifth filling yarn. Plain weave Twill weave Satin weave Fabric – Weft Knit Fabrics Knitted Fabrics Knitting is the process of construction of a fabric by interlocking loops of yarn by means of hooked needles. Knitted fabric consists of horizontal rows known as courses and vertical columns of loops known as Wales. Knitted fabrics are porous having insulated air pockets giving warmth when worn. Knitted fabrics are very absorbent, wrinkle resistant and lightweight. They shrink more than woven fabrics unless shrink- proofing techniques are used. -
An Industrial History of Easthampton G
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 1937 An Industrial history of Easthampton G. B. Dennis University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Dennis, G. B., "An Industrial history of Easthampton" (1937). Masters Theses 1911 - February 2014. 1449. Retrieved from https://scholarworks.umass.edu/theses/1449 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. UMASS/AMHERST 312066 0306 7762 4 AN INDUSTRIAL HISTORY OF 5ASTHAMFFQN Gr. B. Dennis Thesis Submitted for Degree of Master of Science, Massachusetts State College, Amherst. June 1, 1937 . TABLE OF CONTENTS Outline. Introduction. Map of the Business District of Easthampton. Chapter I. Early History of Easthampton. Page 1. " II. The Industry Founding Period 1227-1276. n 6. » III. Early Transportation, A Problem. n 16. IV. Population Growth and Composition. n 21. " V. Conditions During the Expansion Period. it 30. " VI. Easthampton At the Turn of the Century. n H VII. Population in the New Era 1295-1937 n " VIII. The New Era 1295-I937. n 56. " IX. The Problem of Easthampton Analyzed. n 73- • X. Conclusions and Summary. n 21. References Cited n 26. Appendix I. Tables and Graphs on Population n 22. Appendix II. Tables showing Land in Agriculture n 93. AN INDUSTRIAL HISTORY OF EASTHAMPTON Outline I. Early History. A. Land purchases and settlement. -
THE LEICESTERSHIRE ARCHJEOLOGICAL and HISTORICAL SOCIETY 1967-68 President Professor Jack Simmons, M.A., F.R.HIST.S., F.R.S.L
THE LEICESTERSHIRE ARCHJEOLOGICAL AND HISTORICAL SOCIETY 1967-68 President Professor Jack Simmons, M.A., F.R.HIST.S., F.R.S.L. * President-Emeritus Colin D. B. Ellis, Esq., C.B.E., M.C., M.A., F.S.A, * Vice-Presidents Kathleen, Duchess of Rutland The Hon. Lady Martin The Right Reverend The Lord Bishop of Leicester, D.D. The High Sheriff of Leicestershire The Right Worshipful The Lord Mayor of Leicester The Very Reverend H. A. Jones, B.SC. Victor Pochin, Esq., C.B.E., M.A., D,L., J.P. A. Bernard Clarke, Esq. Levi Fox, Esq., M.A., F.S.A. Professor W. G. Hoskins, M.A., M.Sc., PH,D. Miss K. M. Kenyon, C.B.E., M.A., D.LITT., F.B.A., F.S.A, Mrs. F. E. Skillington * Officers Hon. Secretaries: James Crompton, Esq., M.A., B.LITT., F.R.HIST.S., F.S.A, (Minutes) Miss Mollie P. Rippin, B.A. (General) Miss Winifred A. G. Herrington (Excursions) Hon. Treasurer : C. L. Wykes, Esq., F.C.A. (resigned 30 April 1968) Hon. Auditor: Lieut.-Col. G. L. Aspell, T.D., D.L., F.C.A. Hon. Editor: James Crompton, Esq., M.A., B.LITT., F.R.HIST.S., F.S.A. Hon. Librarian: F. S. Cheney, Esq. * Trustees of the Leicestershire Archawlogical and Historical Society J. E. Brownlow, Esq. Colin D. B. Ellis, Esq., C.B.E., M.C., M.A., F.S.A, J. N. Pickard, Esq., J.P. J. R. Webster, Esq. c. L. Wykes, Esq., F.C.A. * Trustees of the Leicestershire Archceological Research Fund 0. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
Alphabetical Price List April 2020 SKU SKU Description Status Retail Whl
Alphabetical Price List April 2020 SKU SKU Description Status Retail Whl Break 1 Break 1 Break 2 Break 2 Break 3 Break 3 Break 4 Break 4 10003 10003-Emb NYLT A 4.99 3.29 12 2.99 48 2.79 0 0 0 0 100 100-Applique Embd FDL 4pk A 2.99 2.24 12 1.99 48 1.59 0 0 0 0 1013 1013-Giftcard TrailsEndPrgrm 013 N 13 11.05 0 0 0 0 0 0 0 0 101 101-Pin FDL Silvertone 5/8"@ A 3.99 2.99 24 2.79 0 0 0 0 0 0 10202 10202-Emb Ptrl Antelope A 2.49 1.79 12 1.69 300 1.29 0 0 0 0 10206 10206-Emb Ptrl Beaver A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10209 10209-Emb Ptrl Bobwhite A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10211 10211-Emb Ptrl Dragon A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10212 10212-Emb Ptrl Eagle A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10213 10213-Emb Ptrl Flaming Arrow A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10215 10215-Emb Ptrl Fox A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10221 10221-Emb Ptrl Lightning A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10223 10223-Emb Ptrl Owl A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10226 10226-Emb Ptrl Pheasant N 0.39 0.39 0 0 0 0 0 0 0 0 1022 1022-Giftcard TrailsEndPrgrm 022 N 22 18.7 0 0 0 0 0 0 0 0 10230 10230-Emb Ptrl Rattlesnake A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10233 10233-Emb Ptrl Scorpion A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10234 10234-Emb Ptrl Shark A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10237 10237-Emb Ptrl Viking A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10239 10239-Emb Ptrl Wolf A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10240 10240-Emb Ptrl Blnk A 2.49 1.89 12 1.69 48 1.29 0 0 0 0 10302 10302-Emb Merit Camping A 2.79 2.39 12 2.19 144 1.89 0 0 0 0 10303 10303-Emb -
CO Guide to Judging Clothing
Colorado 4-H Guide for Clothing Judges Standards of Quality Clothing Construction Introduction One of our basic tasks in evaluating or judging is to be able to recognize and identify the standards that give a garment a finished, professional look. There are many techniques that can be used to accomplish the same end product. Each of us has techniques that we like and techniques that we dislike. In an objective evaluation it is essential to play down our personal preferences and to build upon identified and accepted standards. In general, there are some standards that apply to almost all techniques. Almost all construction techniques should result in an area, finish or detail that is: • Inconspicuous o Flat and smooth o Free from bulk o Stitching a uniform distance from an edge or fold • Functional • Durable –stitching uniform and secure Specific standards that can be expected in good construction are listed on the following pages. They are organized by techniques and/or areas, and the techniques are presented in alphabetical order. Overall Appearance Be objective when considering the overall appearance and appeal of a garment. It may be helpful to think about there being at least one especially pleasing feature about this garment, reflecting the many hours of though, effort and creativity that went into its construction. It may be the design, fabric, use of unusual technique or detail. Particularly neat and well-done machine or handstitching, etc. o Overall neatness and cleanliness o Plaids, stripes, checks and other designs matched at seams o Fabric with a direction in design or nap issued in garment in one direction unless garment design requires variation. -
Sheila Never Go As Fast As You Would Wish!) Don’T Worry – We Will Let You Know When You Can Open That Present!
Bear in Mind An electronic newsletter from Bear Threads Ltd. Volume 4 – Issue 1 January 2012 From The Editor – I hope you will enjoy this newsletter. In it there is lots of information that I think you will find helpful for the 2012! coming months and beyond. And I am looking forward to showing you all that is new at the Creative Sewing Market in Birmingham. Remember the dates are January 15‐16. Seems only yesterday we were turning the calendar to the new millennium of 2000! Indeed this is a new year and an Till Birmingham, Happy Stitching – exciting one as well, for Bear Threads. * We will soon be inaugurating a new website (things Sheila never go as fast as you would wish!) Don’t worry – we will let you know when you can open that present! *I will begin teaching again with several informative as well as fun lectures and projects. There are classes for beginner to advanced, as well as shop owners, too. BIRMINGHAM CREATIVE SEWING Please call for more information. MARKET *We have many new fabrics to entice your spring sewing. Sunday and Monday Honestly there are too many new fabrics to list here, but January 15 and 16, 2012 for teasers, we have brought back the beautiful Ecru in the Marriot Hotel – Hwy. 280 just south of I‐459 Bearissima. AND we have brought back the TRUE LAWN, in white, pink and blue. *We have a new price list that is easier to read and it lists Be sure to see Bear Threads, Ltd. first. -
A Study on the Design and Composition of Victorian Women's Mantle
Journal of Fashion Business Vol. 14, No. 6, pp.188~203(2010) A Study on the Design and Composition of Victorian Women’s Mantle * Lee Sangrye ‧ Kim Hyejeong Professor, Dept. of Fashion Design, TongMyong University * Associate Professor, Dept. of Clothing Industry, Hankyong National University Abstract This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women’s dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the 19 th century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A‐ line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three‐ dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women’s suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects. -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book.