DOCSLIB.ORG

Chapter 2 – Design Evolution

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapter 2 – Design Evolution axÉ „ WtÇwç WEARABILITY, DESIGN INNOVATION AND THE FORMAL WHITE DRESS SHIRT FOR MEN Dean Brough, Master of Arts (Research) Queensland University of Technology Creative Industries, 2008 Principle Supervisor - Dr Luke Jaaniste Associate Supervisor - Professor Suzi Vaughan Keywords Fashion, design, menswear, dress shirt, white shirt, blouse, wearability, practice- led research, innovation, Neo-Dandy, dandy, gendered object. 1 Abstract This practice-led research creates innovative menswear designs for formal white dress shirts, within boundaries of contemporary mainstream wearability. As a result of an historical analysis, a conceptual spectrum is developed to scope the possibilities of the contemporary white dress shirt, from the orthodox menswear shirt to the many variations of the women’s blouse. Within this spectrum for the white shirt, the possibilities for innovation are discussed in terms of a threshold position between the shirt and the blouse - a position that parallels that of the dandy figure who subversively confronts dress norms of the day. This position is then explored in relation to an acceptable/ ‘wearable’ aesthetic which I have labelled ‘Neo-Dandy’. White shirts from contemporary menswear designers are then examined relative to this aesthetic. In doing so, this examination highlights the white dress shirt as a garment that is ripe for experimentation. My own creative design process is then described as taking up the challenge of Neo-Dandy design innovation for the contemporary white dress shirt. On this archetypal garment, different styles and varying degrees of detailing were tested. A range of ‘concept shirts’ were produced, tested and documented, with each shirt succeeding to various degrees in achieving a Neo-Dandy aesthetic. Based on this range, a list of design principles for achieving this aesthetic are identified. The weighting is 60% for the design objects (a collection of men’s white dress shirts that explore wearability and design innovation within a Neo-Dandy aesthetic) and 40% for the design discussion (exegesis and supporting appendices). 2 Key Terms – Glossary Formal wear – a broad, contemporary notion of formal wear and formal occasions (not simply the high formality of white and black tie dress codes) is being applied in this research; it includes evening wear, the formal end of social wear and cosmopolitan professional dress (where the suit and tie may not be dominant). Modern white shirts (generic to both men and women) – upper body garment that is made from white fabric and has a collar, front opening and some form of sleeving. Encompasses a broad diversity of style, fit, silhouette and fabric type and worn from around the 1890s to the present. Note: the British English usage of the term ‘shirt’ is being followed in this research. American English usage of the term ‘shirt’ includes tee-shirts and other tops. These fall outside the definition applied in this research as they do not include collar treatments and front openings. Formal white dress shirts (for men) – shirts that are made from white fabric and are designed to be worn as formal wear for men. Like all shirts, white formal shirts are an upper-body garment with a collar treatment, front opening with buttons, set in sleeving and cuffs. The shirts are usually almost entirely white, but may have some colour in minor trimmings (such as buttons). Fabric type is either 100% cotton or cotton synthetic blend. Note: although men’s formal white shirts are often worn with a tie, this research is focused upon formal white shirts that can be worn without extra accessories such as ties and vests. White blouses (for women) – upper body garment worn by women that is made from white fabric and has a collar, front opening and some form of sleeving. A broad array of styles exist, ranging from decorative to plain in appearance, and loose to fitted in silhouette. A large diversity of fabric types and densities are used. Note: like the term ‘shirt’, ‘blouse’ can sometimes be used as a generic description that may include tops which have no collar or sleeves. However, such tops fall outside of the definition applied in this research. 3 Blousy – used in this research to refer to aspects of a shirt’s design which belong to the blouse, even if incorporated into a men’s dress shirt. Specific blousy attributes are: looseness of fit or a female silhouette that curves to fit bust and waist; detailing that exists in areas and excesses beyond those found in the tuxedo shirt; and fabric that is highly sheer. Mainstream wearability – used to describe the degree to which a garment can be worn in a particular setting whilst falling within conventions of dress that are shared by mainstream communities for that particular time and place. Furthermore, wearability is relative to the identity of those who are wearing it (in terms of age, social status, occupation and, most relevant for this research, gender). A garment is highly ‘wearable’ if it strongly adheres to such conventions. Issues of garment comfort, fit, marketability or saleability relate, but do not equate, to this definition of wearability. In reference to menswear and womenswear in cosmopolitan settings, mainstream wearability differs along gender lines. In the main, for women, both menswear (what is sold as the domain of men) and womenswear (what is sold as the domain of women) are wearable, while for men, only menswear is wearable. If men wear clothes with significant characteristics aligned to womenswear, it is not considered within mainstream norms for dress styles. Such dressing is deemed to reside in the extremes of either cross-dressing or eccentric dress. ‘Neo-Dandy’ aesthetic – an aesthetic for men’s clothing that appears refined, formal, and leans towards characteristics of womenswear. The aesthetic attempts to be experimental and innovative with menswear and to confront, or at least nudge, gender conventions, whilst still operating within mainstream wearability for men. It could be viewed as operating on the cusp-of-wearability for men and it can be argued that this represents part of a growing trend in cosmopolitan menswear in the last decade or so which is heading towards a less gender restrictive aesthetic. Design Innovation – effecting a change from an established custom of design practice and form. Concept shirt – prototype garment to test innovative possibilities without being limited by marketplace pragmatics; not a final sample ready for commercial production. 4 Table of Contents Keywords 1 Abstract 2 Key Terms – Glossary 3 Table of Contents 5 Statement of Authorship 7 Acknowledgement 8 Introduction – Design Approach Background 10 Aims, research question and outputs 12 Methodology 14 Significance 15 Chapter 1 – Design Context 1.1 Defining Mainstream Wearability 18 1.2 Mainstream Wearability and Gender Norms in the Modern Era 20 1.3 Shifting Dress Norms and the Dandy Figure 25 1.4 Recent Trends and the Neo-Dandy Aesthetic 29 Chapter 2 – Design Evolution 2.1 Evolution of the Modern Men’s White Shirt 35 2.2 Evolution of the Modern Women’s White Blouse 54 2.3 Contemporary White Dress Shirt Designers and the Neo-Dandy 67 aesthetic Chapter 3 – Design Journey 3.1 Machinery, Studio and Pattern Block 84 3.2 Designing and Assembling the Concept Shirts 87 3.3 Wearing, Exhibiting and Documenting the Concept Shirts 89 3.4 Conceptualising the Collection of Concept Shirts 98 3.5 Bringing Together the Research – the Final Exhibition 102 Summary – Design Contributions Central Contribution – the concept shirts and key design principles 110 Broader Contributions 113 Further Research 115 Reflection 116 5 Appendices – Design Notebook A.1 Characteristic differences between men’s dress shirts and women’s 119 blouses A.2 Complete thumbnails of white shirts by other designers 121 A.3 Images and studio design notes on all sixty concept shirts 125 …...Safe (Conservative) 126 …...Mildly-Dandy (Approaching) 130 …...Neo-Dandy (Aligning) 137 …...Blousy (Beyond) 157 …...Shirts not displayed in the exhibition (no matrix position) 185 A.4 Specific elements of experimentation on the concept shirts 191 References Texts cited 194 Figures – General (Chapter 1 and 2) 198 Figures – Contemporary White Dress Shirt Designers (Chapter 2) 199 6 Statement of Authorship The written and creative work contained in this exegesis has not been previously submitted to meet the requirements of an award or degree at this or any other higher education institution. To the best of my knowledge and belief, the exegesis contains no material previously published or written by another person except where due references are made. Signature: Date: 17.11.08 7 Acknowledgement I would like to express my deep and sincere gratitude to my partner, Judith Brough, for her understanding and encouragement during this journey. Her foresight and emotional strength has been of great value for me. To my two beautiful young children, Remington and Avalon, I apologise for the considerable loss of family time as a result of trying to juggle part-time study and full-time work commitments and I hope you understand. To my long term work colleague, Wendy Armstrong, I thank you for being a shoulder to confide in and greatly appreciate your friendship. You were always prepared to listen to me and I have enormous gratitude for your time and advice. To my principle supervisor, Dr Luke Jaaniste, I wish to express my sincere thanks for your time and vision for this research project. I would also like to warmly convey my appreciation to Professor Suzi Vaughan for her input and assistance. Finally, I would like to mention my gratitude for the use of QUT’s excellent gallery facilities and the assistance of all precinct staff involved, in particular Nigel Oram and Jason Zadkovich. 8 (Intentionally left blank) 9 Introduction – Design Approach This section introduces the reader to my background as well as the aims, methodology, outputs and significance of this research project.
Load more

Recommended publications
  • Charitably Chic Lynn Willis
    Philadelphia University Spring 2007 development of (PRODUCT) RED, a campaign significantly embraced by the fashion community. Companies working with Focus on . Alumni Focus on . Industry News (PRODUCT) RED donate a large percentage of their profits to the Global Fund to fight Lynn Willis Charitably Chic AIDS. For example, Emporio Armani’s line donates 40 percent of the gross profit By Sara Wetterlin and Chaisley Lussier By Kelsey Rose, Erin Satchell and Holly Ronan margin from its sales and the GAP donates Lynn Willis 50 percent. Additionally, American Express, Trends in fashion come and go, but graduated perhaps the first large company to join the fashions that promote important social from campaign, offers customers its RED card, causes are today’s “it” items. By working where one percent of a user’s purchases Philadelphia with charitable organizations, designers, University in goes toward funding AIDS research and companies and celebrities alike are jumping treatment. Motorola and Apple have also 1994 with on the bandwagon to help promote AIDS a Bachelor created red versions of their electronics and cancer awareness. that benefit the cause. The results from of Science In previous years, Ralph Lauren has the (PRODUCT) RED campaign have been in Fashion offered his time and millions of dollars to significant, with contributions totaling over Design. Willis breast cancer research and treatment, which $1.25 million in May 2006. is senior includes the establishment of health centers Despite the fashion industry’s focus on director for the disease. Now, Lauren has taken image, think about what you can do for of public his philanthropy further by lending his someone else when purchasing clothes relations Polo logo to the breast cancer cause with and other items.
    [Show full text]
  • Convertible Collar Construction
    Convertible Collar Construction Directory Click any image to go to that section Yoke/Facing Options: Intro and Gallery By far the most common set-up for a The purpose of this introductory section is to convertible-collar shirt is that it has front facings feature and compare the range of other options and a yoke, and that these two details don’t touch, also, if less commonly, in use beyond this classic as in the example at right. one, before I proceed to work step-by-step through a handful of useful variants . Many other possible That is, the facings don’t extend far enough combinations, and of course, variations on the towards the shoulders at the neckline that they’ll ones here, are conceiveable and may suit your meet with or join to the fronts of the yoke layers. As project better, so feel free to experiment. a result, the yoke construction steps aren’t integrated into the collar steps and are completed, in front at least, before the collar is begun, so the options for using the yoke as a back facing are eliminated. The steps for this classic arrangement are described below in Variation #5, in the Front Facing Only category. Collar Insertion Options Step-By-Step No Yoke or Facings Required Front facings Only Front and Back Facings, or Yoke Used as Facing Variation 1: Collar Applied as Band Variation 3: Collar’s Back Neckline Edge-Stitched Variation 6: Back Facings 1 3 and Facings Secured at Shoulder Seams 6 Options: Options: 1. Edge-stitched neckline 2.
    [Show full text]
  • Business Professional Dress Code
    Business Professional Dress Code The way you dress can play a big role in your professional career. Part of the culture of a company is the dress code of its employees. Some companies prefer a business casual approach, while other companies require a business professional dress code. BUSINESS PROFESSIONAL ATTIRE FOR MEN Men should wear business suits if possible; however, blazers can be worn with dress slacks or nice khaki pants. Wearing a tie is a requirement for men in a business professional dress code. Sweaters worn with a shirt and tie are an option as well. BUSINESS PROFESSIONAL ATTIRE FOR WOMEN Women should wear business suits or skirt-and-blouse combinations. Women adhering to the business professional dress code can wear slacks, shirts and other formal combinations. Women dressing for a business professional dress code should try to be conservative. Revealing clothing should be avoided, and body art should be covered. Jewelry should be conservative and tasteful. COLORS AND FOOTWEAR When choosing color schemes for your business professional wardrobe, it's advisable to stay conservative. Wear "power" colors such as black, navy, dark gray and earth tones. Avoid bright colors that attract attention. Men should wear dark‐colored dress shoes. Women can wear heels or flats. Women should avoid open‐toe shoes and strapless shoes that expose the heel of the foot. GOOD HYGIENE Always practice good hygiene. For men adhering to a business professional dress code, this means good grooming habits. Facial hair should be either shaved off or well groomed. Clothing should be neat and always pressed.
    [Show full text]
  • 16 Textiles in Defence* Richard a Scott Defence Clothing and Textiles Agency, Science and Technology Division, Flagstaff Road, Colchester, Essex CO2 7SS, UK
    16 Textiles in defence* Richard A Scott Defence Clothing and Textiles Agency, Science and Technology Division, Flagstaff Road, Colchester, Essex CO2 7SS, UK 16.1 Introduction To be prepared for War is one of the most effectual means of preserving Peace (George Washington, 1790)1 Defence forces on land, sea, or air throughout the world are heavily reliant on tech- nical textiles of all types – whether woven, knitted, nonwoven, coated, laminated, or other composite forms. Technical textiles offer invaluable properties for military land forces in particular, who are required to move, live, survive and fight in hostile environments. They have to carry or wear all the necessities for comfort and sur- vival and thus need the most lightweight, compact, durable, and high performance personal clothing and equipment. The life-critical requirements for protecting indi- viduals from both environmental and battlefield threats have ensured that the major nations of the world expend significant resources in developing and providing the most advanced technical textiles for military use. 16.2 Historical background Military textile science is not new, and one of the earliest documented studies can probably be credited to Count Rumford, or Benjamin Thompson. Rumford was an American army colonel and scientist who issued a paper in 1792 entitled ‘Philo- sophical Transactions’, which reported on the importance of internally trapped air in a range of textile fabrics to the thermal insulation provided by those fabrics.2 He was awarded the Copley Medal for his paper, as the significance of his discovery was recognised immediately. * Copyright MOD (1997) DCTA, Colchester, Essex CO2 7SS 426 Handbook of technical textiles 16.2.1 Pre-Twentieth century Up until the end of the 19th century military land battles were fought at close quar- ters by individual engagements.
    [Show full text]
  • Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
    Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern
    [Show full text]
  • Techniques of Fashion Earrings Pdf, Epub, Ebook
    TECHNIQUES OF FASHION EARRINGS PDF, EPUB, EBOOK Deon Delange | 72 pages | 01 Sep 1995 | Eagles View Publishing | 9780943604442 | English | Liberty, Utah, United States Techniques of Fashion Earrings PDF Book These stunning geometric earrings are perfect for a night out on the town or a shopping trip with the girls. And even if you don't go straight over your pencil lines, just kind of go with the flow; let your body feel it as you go. Trends influence what all of us wear to some extent, which is fine. Brendan How to draw human body for fashion design? Do share with us your creations! Two completely different looks, one set of clothe. Spice up some simple silver hoops with this awesome video tutorial for how to make bead earrings. You'll end up losing yourself. My advice? Make a note of the combinations you like if that helps to trigger your memory later. Stringing beads on multiple wires. The days of only wearing one tone of metal is over. When it comes to DIY jewelry, beaded earrings are some of the prettiest patterns out there. As an illustration, one pair of earring contains three hanging flowers: gentle pink, pale purple, and deep purple. Your email address will not be published. Tutorial Features: This beaded Christmas tree pattern will teach you how to make peyote stitch earrings and a peyote stitch necklace. All these bangle styles may be worn in one or each arms relying in your outfit, model and occasion. Eco-friendly jewellery. Try some dangling pearl earrings with a summer print for a fun and flirty look.
    [Show full text]
  • SOBHD Dress Code THIS COMPILATION IS COPYRIGHT of the SCOTTISH OFFICIAL BOARD of HIGHLAND DANCING
    SOBHD Dress Code THIS COMPILATION IS COPYRIGHT OF THE SCOTTISH OFFICIAL BOARD OF HIGHLAND DANCING. PHOTOGRAPHS ARE COPYRIGHT OF RONNIE CAIRNS PHOTOGRAPHY. UNAUTHORISED COPYING IS PROHIBITED. SOBHD Dress Code This compilation of photographs should be viewed in conjunction with the SOBHD Dress Code document on www.sobhd.net/useful-information Highland Dances Highland outfit with waistcoat Arms by side Arms in 1st position Highland outfit with waistcoat Left side view Right side view Highland outfit with waistcoat Back view Pre-Premier dancers only • White blouse • worn with waistcoat; Full sleeves to the elbow with a lace ornamented front. • An upright stiff half inch lace trim may be attached to the back of the neck • Or plain white shirt worn with or without a tie. • Hose • White or plain coloured knee socks to match the kilt. • Hose can be full clan or diced red/white, blue/white or green/white. Highland Jacket Front view Back view with kilt and socks Highland outfit with jacket Side view Highland Jackets • A sleeveless blouse with lace front or a lace insert should be worn. The lace frills should be visible. • Not more than five ornamental Scottish embossed buttons on each side of the facings. • Full length sleeves may have a single row of not more than five silver or gold buttons at the vent. • If desired, ruffles (not more than 1 inch in depth) may be worn at the wrist, but they must be fastened to the sleeve. Male Highland Outfit Front view Jacket only Male Highland Outfit • Jacket – may be of velvet or cloth, in any colour and any recognised style of doublet.
    [Show full text]
  • 1 FADE in EXT. CITY DAY the City of Erinol, Capital of the Kingdom Marinia. Everything Is Prosperous and Peaceful. Outside
    1 FADE IN EXT. CITY DAY The city of Erinol, capital of the kingdom Marinia. Everything is prosperous and peaceful. Outside a large, cathedral-like building a banner is hung reading "DungeonCon - All Weekend" on the front. TITLE SEQUENCE INT. CONVENTION HALL DAY Inside the convention hall it's packed with adventurers. THEODORA the duelist buys a chainmail bikini from one of the vendors selling more of the same. She's wearing leather pants, bucket boots and a white poet shirt with a black vest with gold embroidery. A bandana holds her long, curly red hair back. CIARAN the bard walks up. He's wearing a blue shirt and black trousers and boots, his shirt partially unlaced. A lute is slung over his back. He has long, messy dark hair and a short-trimmed beard. CIARAN Never thought I'd see you with one of those things, Theo. THEODORA Come again? CIARAN I know duelists like to travel light, but that thing wouldn't stop a mouse with a toothpick. THEODORA (smirking) What makes you think I'll be wearing it into combat? CIARAN (beat) Oh. Kinky. At a different booth, ELATHIL the elven scout is considering getting a portrait done in front of a fake dragon hoard. His long blond hair is tied in a braided ponytail slung over one shoulder. He wears earth tones with a cloak and black leather vest over his shirt. CELESTE (O.C.) Elathil! He turns to face CELESTE the nature priestess. She's wearing a simple green dress with a long skirt and carrying her staff of polished, 2 gnarled wood.
    [Show full text]
  • GRADUATE LEARNING PLAN for Pamela Vanderlinde
    DePaul University School for New Learning Graduate Programs MASTER OF ARTS PROGRAM IN APPLIED PROFESSIONAL STUDIES (MAAPS) 1 E. Jackson Blvd., Chicago, IL 60604 [email protected] (312-362-8448) GRADUATE LEARNING PLAN for Pamela Vanderlinde •ADDRESS: •PHONE: •EMAIL: DOCUMENT DATE: January 18, 2011 FOCUS - Applying study of historical and contemporary AREA: bespoke fashion to my design practice, philosophy and teaching. Prof. - Ms. XXX XXXX Advisor: •PA Position/Title: _Instructor, Illinois Institute of Art-Chicago •PA Address: _____________________________________ •PA Phone: ______ •PA Email: Faculty - Michelle Navarre Cleary, PhD •Position/Title: Resident Faculty, School for New Learning, DePaul University Mentor: •Address: DePaul University, 1 E. Jackson Blvd., Chicago, IL 60604 •Phone: 312-362-7301______ •Email: [email protected] Cluster: - 86_______ - __1/21/11_____ (date approved by Student’s Academic Committee) Approval: - ___2/18/11________ (date approved by Graduate Student Program Review Committee) - 1 - PART I: Personal/Professional Background & Goals Directions: In Part I, the student provides a context for the Graduate Learning Plan and a rationale for both his/her career direction and choice of the MAAPS Program of study as a vehicle to assist movement in that direction. Specifically, Part I is to include three sections: A. a brief description of the student’s personal and professional history (including education, past/current positions, key interests, etc.); B. an explanation of the three or more years of experience (or equivalent) offered in support of the Graduate Focus Area; C. a brief description/explanation of the student’s personal and professional goals. A. Description of My Personal/Professional History: I have many passions in this world; fashion, teaching, travel, reading, yoga to name a few.
    [Show full text]
  • The Influence of Clothing on First Impressions: Rapid and Positive Responses
    The influence of clothing on first impressions: Rapid and positive responses to minor changes in male attire Keywords: Clothing, first impressions, bespoke, influence, communication The influence of clothing on first impressions: Rapid and positive responses to minor changes in male attire. In a world that is becoming dominated by multimedia, the likelihood of people being judged on snapshots of their appearance is increasing. Social networking, dating websites and online profiles all feature people’s photographs, and subsequently convey a visual message to an audience. Whilst the salience of facial features is well documented, other factors, such as clothing, will also play a role in impression formation. Clothing can communicate an extensive and complex array of information about a person, without the observer having to meet or talk to the wearer. A person’s attire has been shown to convey qualities such as character, sociability, competence and intelligence (Damhorst, 1990), with first impressions being formed in a fraction of a second (Todorov, Pakrashi, and Oosterhof, 2009). This study empirically investigates how the manipulation of small details in clothing gives rise to different first impressions, even those formed very quickly. Damhorst (1990) states that ‘dress is a systematic means of transmission of information about the wearer’ (p. 1). A person’s choice of clothing can heavily influence the impression they transmit and is therefore a powerful communication tool. McCracken (1988) suggests that clothing carries cultural meaning and that this information is passed from the ‘culturally constructed world’ to clothing, through advertising and fashion. Clothes designers can, through branding and marketing, associate a new product or certain designs with an established cultural norm (McCracken, 1988).
    [Show full text]
  • 2021 Clothing & Foods Project Guidelines
    OHIO STATE UNIVERSITY EXTENSION 2021 4-H Family & Consumer Science Projects Handbook For Ashtabula County 4-H Members, Advisors, and Parents OSU Extension - Ashtabula County 39 Wall St. Jefferson, OH 44047 440-576-9008 01.04.2021 ashtabula.osu.edu CFAES provides research and related educational programs to clientele on a nondiscriminatory basis. For more information: go.osu.edu/cfaesdiversity. Page 1 of 17 Clothing and Textile Science The Ohio 4-H clothing program helps develop knowledge, skills, and understanding about clothing appearance, purchasing, and construction. Projects are available for males and females with all levels of experience. Please refer to the individual project member guides for detailed information and consult your county Extension office for specific requirements related to local and state evaluation opportunities. Multiple Projects: 4-H members who take more than one clothing project must complete separate learning experiences related to each, including creating a separate, complete, Total Look outfit for each clothing project. Using items from two or more projects will not be considered as a completion of either project during evaluation. Repeating Projects: Members may repeat any project except Designed by Me and Sundresses and Jumpers. Members who repeat clothing projects should attempt new challenges each year such as doing more advanced experiments and surveys and sewing. Additional Opportunities: The County Fashion Board works to promote the sewing and clothing program through various events and activities. Youth work closely with adult volunteers to assist in the planning of clinics, workshops, project judging and the County Style Revue. Youth must have taken a clothing project for at least 2 years and be in at least 8th Grade to apply.
    [Show full text]
  • Concession Contract Format
    SAMPLE CONCESSION CONTRACT FOR Historic-Style Candy Store AT Columbia State Historic Park STATE OF CALIFORNIA – NATURAL RESOURCES AGENCY DEPARTMENT OF PARKS AND RECREATION PARTNERSHIPS OFFICE 1416 NINTH STREET, 14TH FLOOR SACRAMENTO, CA 95814 Historic-Style Candy Store Concession Contract Columbia State Historic Park Historic-Style Candy Store SAMPLE CONCESSION CONTRACT INDEX 1. DESCRIPTION OF PREMISES ............................................................................ 2 2. CONDITION OF PREMISES ................................................................................ 2 3. TERM ................................................................................................................... 2 4. RENT .................................................................................................................... 3 5. GROSS RECEIPTS .............................................................................................. 5 6. USE OF PREMISES ............................................................................................. 6 7. INTERPRETIVE SETTINGS AND COSTUME ..................................................... 7 8. RATES, CHARGES AND QUALITY OF GOODS AND SERVICES ..................... 8 10. ALCOHOLIC BEVERAGES .................................................................................. 9 11. HOUSEKEEPING, MAINTENANCE, REPAIR AND REMOVAL........................... 9 12. RESOURCE CONSERVATION .......................................................................... 11 13. HAZARDOUS SUBSTANCES
    [Show full text]