CPC Notice of Changes 1116-MP0472

Total Page:16

File Type:pdf, Size:1020Kb

CPC Notice of Changes 1116-MP0472 EUROPEAN PATENT OFFICE U.S. PATENT AND TRADEMARK OFFICE CPC NOTICE OF CHANGES 1116 DATE: AUGUST 1, 2021 PROJECT MP0472 The following classification changes will be effected by this Notice of Changes: Action Subclass Group(s) SCHEME: Titles Changed: A41B 13/005 A41B 2300/00 A41B 2400/00 A41B 2500/00 A41D 1/02 A41D 13/002, 13/02 A41D 15/04 A41D 17/02 DEFINITIONS: Definitions New: A41D 1/089 A41D 15/007 A41D 2400/70 Definitions Modified: A41B Subclass A41B 1/00, 1/06, 1/08, 1/18 A41B 7/00 A41B 9/06, 9/10, 9/12 A41B 11/00 A41B 13/00, 13/005, 13/08 A41B 2400/36 A41D Subclass A41D 1/02, 1/04, 1/18 A41D 3/00 A41D 7/00, 7/001, 7/005 A41D 10/00 A41D 11/00 A41D 13/0007, 13/002, 13/015, 13/02, 13/1254, 13/1281 A41D 15/04 A41D 17/02 A41D 19/0055 A41D 27/12, 27/13 A41D 31/00, 31/02, 31/325 A41D 2300/33 This Notice of Changes includes the following [Check the ones included]: 1. CLASSIFICATION SCHEME CHANGES A. New, Modified or Deleted Group(s) B. New, Modified or Deleted Warning(s) 1 CPC NOTICE OF CHANGES 1116 DATE: AUGUST 1, 2021 PROJECT MP0472 C. New, Modified or Deleted Note(s) D. New, Modified or Deleted Guidance Heading(s) 2. DEFINITIONS A. New or Modified Definitions (Full definition template) B. Modified or Deleted Definitions (Definitions Quick Fix) 3. REVISION CONCORDANCE LIST (RCL) 4. CHANGES TO THE CPC-TO-IPC CONCORDANCE LIST (CICL) 5. CHANGES TO THE CROSS-REFERENCE LIST (CRL) 2 CPC NOTICE OF CHANGES 1116 DATE: AUGUST 1, 2021 PROJECT MP0472 1. CLASSIFICATION SCHEME CHANGES A. New, Modified or Deleted Group(s) SUBCLASS A41B - SHIRTS; UNDERWEAR; BABY LINEN; HANDKERCHIEFS Type* Symbol Indent Level Title Transferred Number of “CPC only” text should normally be enclosed to# dots (e.g. 0, 1, in {curly brackets}** 2) M A41B13/005 1 {Babies overalls, e.g. bodysuits or bib overalls} M A41B2300/00 0 Details of shirts, underwear, baby linen or handkerchiefs not provided for in other groups of this subclass M A41B2400/00 0 Functions or special features of shirts, underwear, baby linen or handkerchiefs not provided for in other groups of this subclass M A41B2500/00 0 Materials for shirts, underwear, baby linen or handkerchiefs not provided for in other groups of this subclass SUBCLASS A41D - OUTERWEAR; PROTECTIVE GARMENTS; ACCESSORIES Type* Symbol Indent Level Title Transferred Number of “CPC only” text should normally be enclosed to# dots (e.g. 0, 1, in {curly brackets}** 2) M A41D 1/02 1 Jackets M A41D 13/002 1 with controlled internal environment M A41D 13/02 1 Overalls {, e.g. bodysuits or bib overalls} (sweating suits A61H 36/00) M A41D 15/04 1 Garments convertible into other articles M A41D 17/02 1 Leggings {, i.e. worn over lower body garments for protecting the garment underneath} *N = new entries where reclassification into entries is involved; C = entries with modified file scope where reclassification of documents from the entries is involved; Q = new entries which are firstly populated with documents via administrative transfers from deleted (D) entries. Afterwards, the transferred documents into the Q entry will either stay or be moved to more appropriate entries, as determined by intellectual reclassification; T= existing entries with enlarged file scope, which receive documents from C or D entries, e.g. when a limiting reference is removed from the entry title; M = entries with no change to the file scope (no reclassification); D = deleted entries; F = frozen entries will be deleted once reclassification of documents from the entries is completed; U = entries that are unchanged. NOTES: **No {curly brackets} are used for titles in CPC only subclasses, e.g. C12Y, A23Y; 2000 series symbol titles of groups found at the end of schemes (orthogonal codes); or the Y section titles. The {curly brackets} are used for 2000 series symbol titles found interspersed throughout the main trunk schemes (breakdown codes). U groups: it is obligatory to display the required “anchor” symbol (U group), i.e. the entry immediately preceding a new group or an array of new groups to be created (in case new groups are not clearly subgroups of C-type groups).Always include the symbol, indent level and title of the U group in the table above. 3 CPC NOTICE OF CHANGES 1116 DATE: AUGUST 1, 2021 PROJECT MP0472 All entry types should be included in the scheme changes table above for better understanding of the overall scheme change picture. Symbol, indent level, and title are required for all types. “Transferred to” column must be completed for all C, D, F, and Q type entries. F groups will be deleted once reclassification is completed. When multiple symbols are included in the “Transferred to” column, avoid using ranges of symbols in order to be as precise as possible. For administrative transfer of documents, the following text should be used: “< administrative transfer to XX>”, “<administrative transfer to XX and YY simultaneously>”, or “<administrative transfer to XX, YY ...and ZZ simultaneously>” when administrative transfer of the same documents is to more than one place. Administrative transfer to main trunk groups is assumed to be the source allocation type, unless otherwise indicated. Administrative transfer to 2000/Y series groups is assumed to be “additional information”. If needed, instructions for allocation type should be indicated within the angle brackets using the abbreviations “ADD” or “INV”: <administrative transfer to XX ADD> , <administrative transfer to XX INV>, or < administrative transfer to XX ADD, YY INV, ... and ZZ ADD simultaneously>. In certain situations, the “D” entries of 2000-series or Y-series groups may not require a destination (“Transferred to”) symbol, however it is required to specify “<no transfer>” in the “Transferred to” column for such cases. For finalisation projects, the deleted “F” symbols should have <no transfer> in the “Transferred to” column. For more details about the types of scheme change, see CPC Guide. 4 CPC NOTICE OF CHANGES 1116 DATE: AUGUST 1, 2021 PROJECT MP0472 2. A. DEFINITIONS (i.e. new) Insert the following new definitions. A41D1/089 References Informative references Attention is drawn to the following places, which may be of interest for search: Bathing drawers or trunks A41D7/005 A41D15/007 Definition statement This place covers: Illustrative example of subject matter classified in this group. 5 CPC NOTICE OF CHANGES 1116 DATE: AUGUST 1, 2021 PROJECT MP0472 A41D2400/70 Definition statement This place covers: A part of the garment is removable from the garment itself. Special rules of classification If the garment has a feature which aids in removability from the wearer, classify in A41D2400/44. 6 CPC NOTICE OF CHANGES 1116 DATE: AUGUST 1, 2021 PROJECT MP0472 2. A. DEFINITIONS (i.e. modified) A41B Definition statement Insert: In the “Definition statement” section the following new text under the existing paragraph. In particular, the following subjects are classified as follows: • Button-down shirts or formal dress shirts are classified in A41B 1/00. • Undershirts are classified in A41B9/06. • Chemises, e.g. slips with shoulder straps worn beneath a dress, are classified in A41B 9/06; slips that only cover the lower body are classified in A41B 9/10. • Bodices, e.g. baby onesies, are classified in A41B 13/08. • Overalls, e.g. coveralls or bodysuits for baby, are classified in A41B 13/005. Insert: The following new “Relationships with other classification places” section. Relationships with other classification places Machines, appliances or methods are classified as inventive information in A41H and non-trivial technical and useful information with regard to the article of apparel may be discretionarily classified as additional information in A41B - A41F. Limiting references Delete: The entire existing “Limiting references” section. Insert: The following new “Informative references” section. Informative references Attention is drawn to the following places, which may be of interest for search: Outerwear, dressing-gowns, bathing costumes and pyjamas A41D Jackets, e.g. dress jackets or sport coats A41D 1/02 Waistcoats, vests, jerseys, sweaters and t-shirts A41D 1/04 Blouses, e.g. women’s tops A41D 1/18 7 CPC NOTICE OF CHANGES 1116 DATE: AUGUST 1, 2021 PROJECT MP0472 Overalls, e.g. coveralls or Bodysuits (for adult) A41D 13/02 Leggings, e.g. chaps A41D 17/02 Special rules of classification Delete: The entire existing “Special rules of classification” section. Insert: The following new “Glossary of terms” section. Glossary of terms In this place, the following terms or expressions are used with the meaning indicated: Dressing-gown A loose gown worn while making one's toilet or when in dishabille. Shirt An upper body garment having a collar and an opening at the front which is fastened closed via fastening elements (e.g. buttons) disposed adjacent the opening, also referred to as a men’s dress shirt, button-up shirt or button-down shirt Chemise Undergarment with shoulder strap worn beneath dress or the like, also referred to as slip Bodices Baby garment usually with sleeves but leaving the legs uncovered and fastening means at the crotch, also referred to as a onesie Jacket Lightweight long-sleeve garment typically having a collar and lapel extending below the front sides of the collar providing a central opening between the lapels, also referred to as a dress jacket or sport coat Waistcoat Upper body garment without sleeves also referred to as a vest in American English Vest T-shirt or casual top with or without sleeves Jersey Knitted garment with or without sleeves, also referred to as a sweater in American English Sweater Garment typically worn for playing team sports, also referred to as a jersey in American English Blouse Shirt having features specific to women, also referred to as a women’s top Overalls A one-piece garment having an upper body portion (e.g.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • On Köhler's 14Th Century Chemise. by Ffride Wlffsdotter / Rebecca Lucas
    On Köhler©s 14th century Chemise. By ffride wlffsdotter / Rebecca Lucas Carl Köhler's “A History of Costume” seems to be a staple of the costumer's library, and although the line drawings for some garment patterns may be outdated, and the black and white photos are passe compared to full-colour glossy books, it is still often a typical reference. But looking beyond the front cover of our well-thumbed, 1963 Dover edition, the situation seems much more complex: Dover had reprinted a 1928 work (now in the public domain, incidentally including colour plates), which was apparently a compilation of Köhler's 1870s works “Die Trachten der Völker im Bild und Schnitt” [The costumes of the people, in image and cut] (1871) and “Die Entwickelung der Tracht in Deutschland während des Mittelalters und der Neuzeit”[The development of the costume in Germany during the Middle Ages and Modern Times] (1877), with new photos and text included by Emma von Sichart. This was then published in 1926 as “Praktische Kostümkunde” [Practical Costume Design]. The entire work was then translated from the German by Alexander Dallas. So items mentioned in the 1928/1963 English editions may never have originated with Köhler at all! One such item that is closely associated with Köhler, is a black and white photo captioned “Chemise of the Fourteenth Century” (Köhler, 1963; 177), with the additional cryptic subtitle “Heyne. Thuringia, Burg Rhanis” in the list of illustrations (Köhler, 1963; 23). (The photo, from the now Public Domain 1930 edition of “A History of Costume” can be seen at right.) However, at the beginning of this list, it says (Köhler, 1963; 11): “The names in italic indicate the source of the illustrations (fuller details of this are given in the Bibliography) or the owner of the originals.
    [Show full text]
  • Tudors History W2
    The Tudors: History Worksheet 2A Name: _____________________________ Date: ____________________ Tudor Fashion Copyright © PlanBee Resources Ltd 2016 www.planbee.com The Tudors: History Worksheet 2B Name: _____________________________ Date: ____________________ There are lots of differences in the way you dress today and the way we used to dress in Tudor times. Have a look at some of the outfits we used to wear and find as many differences between Tudor fashion and today’s fashion as you can. Tudor Fashion Modern Fashion Copyright © PlanBee Resources Ltd 2016 www.planbee.com The Tudors: History Worksheet 2C Name: _____________________________ Date: ____________________ Tudor Fashion Glossary Can you find out what each of these words relating to Tudor fashion mean? Te r m Meaning Bodice Bombast Breeches Chemise Coif Corset Doublet Farthingale Headdress Hose Kirtle Mantle Patten Petticoat Robe Ruff Stomacher Copyright © PlanBee Resources Ltd 2016 www.planbee.com The Tudors: History Worksheet 2D Name: _____________________________ Date: ____________________ Can you design an outfit for a Tudor woman? Remember, the Tudors loved to show-off with their clothes so make it as elaborate and detailed as you can. Copyright © PlanBee Resources Ltd 2016 www.planbee.com The Tudors: History Worksheet 2E Name: _____________________________ Date: ____________________ Can you design an outfit for a Tudor man? Remember, the Tudors loved to show-off with their clothes so make it as elaborate and detailed as you can. Copyright © PlanBee Resources Ltd 2016
    [Show full text]
  • Crotchless Panties
    www.superstar.lv www.superstar.lv TABLE OF CONTENTS LINGERIE ...........................4 SCHOOLGIRL SKIRTS .........................25 SIGNATURE BUSTIERS & CORSETS .........................26 CROTCHLESS PANTIES .........................32 GARTERS .........................45 PANTIES .........................48 SEAMLESS DRESSES .........................52 BODYSTOCKINGS .........................54 HOSIERY .........................62 PLUS SIZE .........................65 INTERNATIONAL SIZE CHART .........................67 International Intimates Inc. • 31 West 34th Street, 9th Floor • New York, NY 10001 Tel: 212-213-4848 • Fax: 212-213-4120 • Email: [email protected] renerofesexy.com 3 512128-BLK 2pc Caged Lace Garter Chemise Set S/M, M/L *Thigh–high not included 512128-RED 512127-BLK 2pc Caged Lace Garter Chemise Set 2pc Rough Romance Garter Chemise Set S/M, M/L *Thigh–high not included S/M, M/L *Thigh–high not included 4 LINGERIE www.superstar.lv 532130-BLK 2pc Most Wanted Lace Bra Set S/M, M/L 502127-BLK 502126-BLK Bedroom Ready Crotchless Teddy Stage Door Bodysuit S/M, M/L S/M, M/L LINGERIE 5 www.superstar.lv 532132-BLK 2pc Hot Harness Bra & Panty Set S/M, M/L 532132-RED 532131-BLK 2pc Hot Harness Bra & Panty Set 2pc Rough Romance Bra & G-String Set S/M, M/L S/M, M/L 6 LINGERIELINGERIE www.superstar.lv 532129-BLK 532118-BLK 3pc Crave Me Bra, Garter & G-String Set 2pc Side Business Lace Bra & Panty Set S/M, M/L *Thigh–high not included One Size Fits Most 532133-BLK 532123-BLK 2pc Strictly Strings Harness Set 2pc Strapped In Bra &
    [Show full text]
  • Medieval & Early Modern Manuscripts: Bookbinding Terms, Materials, Methods, and Models
    Medieval & Early Modern Manuscripts BOOKBINDING TERMS, MATERIALS, METHODS, AND MODELS Medieval & Early Modern Manuscripts BOOKBINDING TERMS, MATERIALS, METHODS, AND MODELS This booklet was compiled by the Special Collections Conservation Unit of the Preservation Department of Yale University Library. If you have any comments or questions, please email Karen Jutzi at [email protected]. A NOTE ON DATES & TERMINOLOGY: The terms ‘Carolingian’, ‘Romanesque’, and ‘Gothic’ are used in this booklet to describe a method of board attachment as recognized by J.A. Szirmai in The Ar- chaeology of Medieval Bookbinding (Aldershot: Ashgate, 1999), and are often used by others to describe medi- eval binding structures. While a convenient method of categorization, using the name of the historical period to describe a style of binding can be misleading. Many other styles of binding existed concurrently; it should not be as- sumed that all bindings of a certain historical period were bound the same way. Furthermore, changes in bookbinding did not happen overnight. Methods co- existed; styles overlapped; older structures continued to be used well into the next historical period. Many thanks to Professor Nicholas Pickwoad, Uni- versity College, London, for his helpful comments, suggestions, and corrections on terminology. kaj 1/2015 Table of Contents MATERIALS OF MEDIEVAL & EARLY MODERN BOOKBINDING Wood 8 Leather 9 Alum-tawed skin 10 Parchment & vellum 11 TERMINOLOGY Parts of a medieval book 14 Outside structure 15 Inside structure 16 Bindery tools & equipment
    [Show full text]
  • Lightseven 'Til Midnight, Or Rather, the Hours
    Spot Spot SEDUCTION Seven ‘til Midnight, or rather, the hours that conjure up titillating fantasies lightand mischievous rendezvous, is when the fun begins. The sensual aesthetics of Old Hollywood established that a woman with curves can be a sexy seductress. Seven ‘til Midnight’s 2021 collection reimagines classic silhouettes from this Golden Age with luxurious fabrics, sparkling details, and lustrous colors in daring cuts. Embrace the art of seduction by playing the role of the passionate leading lady in lace, the mysterious temptress in lamé, or the glamorous vixen in strappy ensembles. The bedroom is her theater and she is the ultimate scene stealer. STYLE & SUSTAINABILITY Seven ‘til Midnight continues to be an innovator in style and sustainability. In keeping with Seven ‘til Midnight’s environmental initiative, we are committed to making an impact and change in the growing global problem of environmental pollution and waste. We will do our part by making a switch to new eco-friendly packaging that consists of recycled paper and biodegradable polybags. In light of the ever growing green awareness movement, we will continue to look into new technologies and challenge ourselves in an effort to do better. Contents NON PACKAGED GLAMOUR GIRL (Hanging Lingerie) 6 LEADING LADY (Hanging Lingerie) 48 GOLDEN AGETABLE (Hanging OF Lingerie) CONTENTS 74 STARSTRUCK (Loungerie) 84 FLASHING LIGHTS (Hanging Lingerie) 94 PACKAGED SUPERSTAR (Boxed Lingerie) 110 CAMERA READY (Boxed Lingerie) 126 SPOTLIGHT (Boxed Lingerie) 134 ROLEPLAY (Bedroom Costumes) 150 MIDNIGHT MUST HAVES LOVE SCENE (Panties) 159 SCENE STEALER (Panties) 180 TIGHT SHOT (Garters) 201 BODY LANGUAGE (Bodystockings & Legwear) 208 EXTRA EXTRA (Accessories) 226 SALES TOOLS 244 PAGE MARGIN COLOR KEY NON PACKAGED LINGERIE - GOLD PACKAGED LINGERIE - RED MIDNIGHT MUST HAVES - BLUE 4 Add more leaves & extend background 5 glamour GIRL 6 glamour GIRL Three piece bra set.
    [Show full text]
  • A Hundred Years with the Feminine Side of the Frock
    A HUNDRED YEARS WITH THE FEMININE SIDE OP THE FROCK by Sarah Whit lock Smith Submit tad as an Honors Paper in the Department of Home Economics Woman's College of the TJnirersity of North Carolina Greensboro 1958 Approved by uLj'k-Zsl 7*7, CtfL^j^ 0 Director Examining Committee e*. ^J*-fS^ TABLE OP CONTENTS CHAPTER PAGE Preface 1 I. Of Her Heritage k II. As A Lady 11 III. Off The Pedestal 29 IV. In The Gibson Way 55 V. Up With The Skirts 70 VI. At Loose Ends? &9 PREFACE If man has been lauded for his worthy contributions to an array befitting milady's fair form, she has ever been the determinant of his success. In no wise would he dare enrobe her with the "sack" without comprehending the abandon and unrestraint of her oresent lot. A gllmnse of the past hundred years or so from the feminine side of the frock Is proposed to reveal a significance between the surface display and woman's ascendancy In a masculine world. The donning of the fig leaf was a signal of the independent thought and action of the female. So, endowed with that Inherent nature, Eve's daughters of this century past have resolved their efforts in the breaking of those confines, imposed by men, as if in a quest of "back to nature." "From Bloomers to Bikinis," woman Is portrayed by Oliver Jensen in an enchanting "Pictorial History of the Century of Change." Only the unobservant would fail to note the periodic reversions on the part of fashion to previous trends and silhouettes.
    [Show full text]
  • Basque Clothing Size Guide
    Basque Clothing Size Guide Berchtold raids heliographically if undespairing Demetris misadvising or vein. Mutationally swaying, Bruno cutes bheesty and advantaging plotters. Scrupulous Zelig shim: he debates his plight closely and bulkily. We do our range of cultural allegiance and get the italian, and less relevant courier if possible so much about issues in clothing size For a long time did have been complaining online that heat of step same size can flame different depending on faculty you shop. Valance reminded Bossk that he note the one hunter to escape unscathed, unlike Valance and the others. Try again using different policy terms. Billie basque language. Explore our clothes; with folded over. Shop fashion corsets size guide to sizing options are basque, when planning a lot of basques to create a quick survey about whether or register to? Please ensure you can contact us to size guide to your clothes that chainbreaker was approached by basques are basque diaspora every direction to make you shop. The one bug you want? This sister is currently not available power purchase. September for my birthday dinner but decided to wear it service before. The back in style guide to bag is designed with a squad of clothes at myer and check your email address one of cultural allegiance and piloted by fernando bravo. Fits perfectly and offer back looks amazing with ordinary tie ups. Please turn this men to aid staple in finding the perfect fit, they feel now to contact the moderate care surgery for any assistance that society may need. And, line need the measurements below example how is take them correctly.
    [Show full text]
  • The Chemise Pinafore
    Chemise Pinafore: SA-250 Girl’s Dresses Base © Elizabeth Stewart Clark 2010. This article may be copied for personal, non-profit, and educational use. For permission for other uses, please contact us at www.elizabethstewartclark.com. This pinafore uses your Unfold one pinafore width and cut it in half, along the former chemise bodice pattern fold. This will become the back pinafore pieces. (included in SA/HMP-250 or SA/HMP-105) as a To draft the sleeve flounce, draw a pleas- On fold drafting base. ing curve from about half-way down the armscye edge, to the “cut on fold” edge of With the small shoulder the pattern piece. e flounces, it is best suited openingArm g d e e to girls, but pleated full- For a slightly full flounce, set the piece y c s m ness may work well for about 1” from a fold of fabric. For a full r small boys. flounce, set the piece 3” from a fold of the A fabric. Cut two sleeves. It may be made in white cotton, or in prints and Assemble the Pinafore plaids. All seam allowances are ½". Most pinafores will use two widths of fabric; for small chil- It is easiest to hem the sleeve flounce first; turn the long curved dren, two widths of 36” fabric is sufficient. For older girls, two edge to the wrong side ¼”; carefully tuck the raw edge under, widths of 45” fabric provides enough “swish” to fit over their and secure with a small running stitch (it is best to do this by skirts nicely.
    [Show full text]
  • Investigating the Physical Reality of Wearing Early 20Th-Century Women’S Clothing
    St.Onge 1 Wearing History: Investigating the Physical Reality of Wearing Early 20th-Century Women’s Clothing Isabella St.Onge Journal – pp. 1-6 Concluding Thoughts – pp. 7-13 Journal 13 July 2020 – Day One 8 a.m. - Putting on all the layers took about ten minutes. Putting on the corset was not difficult, and my body adjusted to the sensation quickly – no pinching or pain and breathing seemed normal. It was important to put on the corset BEFORE eating anything as this made a big difference in how comfortable it was to wear laced to 23 inches (2 inch reduction). Eating also seemed fine, I normally cannot manage a very large breakfast so my small one was normal. I did notice it took longer for me to get hungry for lunch. I ate a snack at 11 and then didn’t eat lunch until 1 (at least an hour later than usual). Riding in a car was uncomfortable as you have to sit straight up and down with the Edwardian corset which is difficult with modern car seats. I found the long skirts to be no trouble while walking. In my studio I felt a little hotter than usual, but rolling up my sleeves helped. I also actually took 45 minute long nap in the corner of my studio on some fabric I’d laid down and had no trouble falling asleep or laying comfortably even on the floor in a corset. I must say that eating my normal size lunch did cause some discomfort during the last three bites or so and I had to sit for 20 minutes to let my stomach settle or shift or digest before I felt able to move about as usual.
    [Show full text]
  • Civil War Re-Enactment and Encampment Civilian Regulations
    CIVIL WAR RE-ENACTMENT AND ENCAMPMENT CIVILIAN REGULATIONS MUSEUM RULES & REGULATIONS: Whether you are participating in the living history scenarios, presenting a special impression, or just attending the event to support your family members in the military you must follow these rules and regulations. The following list is a compilation of museum site rules and will be enforced during museum open hours (9:30am to 4:10pm both Saturday and Sunday): All modern items must be kept out of site of the public including but not limited to o cameras o baby strollers o cell phones o wrist watches o visible body piercings and tattoos o flip flops, sneakers or sandals o sunglasses o food and beverage containers, especially coolers Please refrain from wearing much make-up, nail polish, lipstick or gloss, and especially French manicures, nails art, or plastic nails. When able, please replace modern eyeglasses with period style wire frames with small oval lenses or wear contacts. NO MODERN CLOTHING OR SHOES are to be worn in the civilian camps during the hours the museum is open to the public. If, because of the heat, you wish to change out of your day dress and shoes you should consider wearing a period authentic wrapper and slippers. If you are changing into modern clothing you MUST leave the camp area and go to another part of the museum. Appearing in modern clothing in the civilian camp does not make a good impression on the museum visitors. Civilians must be fully dressed in period correct clothing when in public (outside of your tent) during the hours the museum is open to the public.
    [Show full text]