DOCSLIB.ORG

" 47.4% Attorney United States Patent Office

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
C, A, TURNER. ONE BUTTON UNION SUIT, 1,204,615. APPLICATION FLED NOW, 8, 1915. Patented Nov. 14, 1916. Fig.5 INVENTOR CHARLES A TL/FNER " 47.4% ATTORNEY UNITED STATES PATENT OFFICE. CHARLES A TURNER, OF UTICA, NEW YORK. oNE-BUTTON UNION-suIT. 1,204,615. Specification of Letters Patent. Paterated Nov. 14, f$91 6, , Application filed November 8, 1915. Serial No. 60,215. To all whom, it may concern; will eliminate, the double thickness of cloth Be it known that I, CHARLEs A. TURNER, at the crotch and obviate bulkiness in this a citizen of the United States, residing at section. However, if a double flap should Utica, in the county of Oneida and State of be found desirable, a small gusset can be New York, have invented certain new and readily attached to the corresponding edge 60 useful Improvements in One-Button Union of the garment to obtain this effect. Suits, of which the following is a specifica The flap or gusset, at the back of the gar tion, reference being had therein to the ac ment, is designed to be sewed to one edge of companying drawing. the slit or opening in the rear of the garment 0 My invention relates to one button union and to extend from the top or neckportion 65 suit, and I declare the following to be a full, to the crotch. The flap is cut with a greater clear, 'concise and exact description thereof width in that part opposite the lower per sufficient to enable anyone skilled in the art manent opening of the garment, whereby to to which it appertains to make and use the prevent the accidental opening of the same 15 same, reference being had to the accompany and the consequent exposition of the body. ing drawings in which like reference char As a further advantage, the long flap orgus 70 acters refer to like parts throughout the set extending from the top or neck portion specification. to the crotch is sewed across approximately The object of the invention is to provide a its middle portion to the other parts of the 20 union suit that may be fastened in proper. garment, whereby the said seam will act as position upon the body of the wearer by a a stay and strengthen the back of the gar 75 single button located on the garment in the ment. Furthermore, the long flap does away rear df the neck. with the usual or customary slit across the The garment is designed especially for back, which slit necessitates an ugly seam 25. the comfort of the wearer in that it fur that not only presents a raw edge but mars so nishes a better covering for the protection the general appearance of the garment. of the body, as well as the avoidance of harm resulting from the use of many buttons. stoodThe by invention referring will to the be drawingsmore fully in which:under Still further, the garment is so made, that it. Figure 1 is a front view of the garment 30 can be conveniently donned, for the entering: outstretched; Fig. 2 is a rear view of the 85 portion thereof is located adjacent the top, garment outstretched; Fig. 3 is a detail view, whereby both legs can be easily projected showing the pattern of a flap or gusset em through the corresponding portions, the gar ployed; Fig. 4 is a fragment of the garment, ment then drawn up as far as the chest, showing the flap sewed thereto; Fig. 5 is a 35 whereupon the arms are inserted into the fragment of the garment showing a certain 90 sleeves and the garment fastened in the back modification thereof. Fig. 6 is a detail view or rear of the neck by buttoning a single enlarged of a front underlying flap' 'em member or by Snapping a clasp. It will be ployed; Fig. 7 is a detail view enlarged of a also observed that the garment eliminates all front overlying flap employed. - 40 possible exposure of the body, particularly Referring more particularly to the draw 95 where harmful in front about the chest, and ings, the garment is knitted with a constant ..especially when in a sitting position by locat Stitch throughout its texture, leaving, of ing the opening in the rear. This feature course, the usual openings for the neck and has also the advantage of effecting a modest sleeves. An aperture T-1-- is formed in 45 as well as graceful garment in appearance. the front portion adjacent the crotch and is OO In designing the garment, the flap at the protected by the two small flaps 2-2 that back portion is cut on a slight angle to about are superimposed and sewed to the body the center of the back and from there down of the garment as follows: to wit: the un the cut continues with a curve to the bottom derlying flap 2 shown in Fig. 6 is sewed to 50 of the opening or crotch, which cut avoids the garment from the point. A along the 05 the use of an extra flap or gusset at this por - edge thereof to the point Bat which place tion, as heretofore, and hence the resultant the other flap 2 is superimposed and both economy of material and cost of manufac flaps, shown in Figs. 6 and 7, are sewed to ture. Moreover, the avoidance of the extra the garment from points B to C to D. At 55 flap or gusset at this portion of the garment, point D the second flap 2, illustrated in Fig. 110 g 1,204,615 7 is sewed to the garment from point D to neck, if the wearer should find that the but A, whereby the side A to D is open on the ton 25 when secured to the button hole 26 underlying flap 2 and the side A to B on left any looseness thereabout. the overlying flap 2, to provide an opening The flap 12 is illustrated as passing from 70. 5 between said flaps. underneath to a superimposed position in The sleeves 5-5 which may be short or relation to the part of the garment con long to suit the taste of the wearer, are tiguous with the edge 19, yet the structure sewed into their proper places at the arm will permit the union suit to be made with holes. out slitting the edge 19 at right angles, as The legs 6-6 are knitted continu 75 O ously with the body of the garment and are at 20, but still retaining the stitching there closed in each instance by a seam along the along for strengthening the flap 12. In lines 7-7. this instance, the flap 12 will superimpose The rear portion of the garment has an the opposite edge of the garment and ne edge 8 on the left side, extending from the cessitate the interchange of the button and 15 neck 14 down to about the center of the button-hole. 80 back, as at 9 on an incline and then con The flap 12 may be made in two pieces, tinues on to the crotch 15, curving grace if desired. In this event, the portion of the fully inward at 11. A flap or gusset 12, flap 12 above the seam 23 will form one shown in detail in Fig. 3, and having an piece, and the portion below the seam 23 85 20 edge 13 conforming in contour to the edge will form the other. 8 of the garment, is sewed therealong, so as Fig. 5 shows a modification of the gar to extend from the neck 14 to the crotch ment, with respect to the addition of the . 15. The opposite edge 16 is left free its gusset 27 that is seamed along the lower entire extent. The lower edge 17 of the flap part of the edge 19 of the right hand side 25 is sewed to the corresponding part of the and also along the edge, 17 of the flap 12, 90 garment. thus leaving an opening at 30, as in the for The edge 19 of the garment or the one mer construction. The gusset 27 will with opposite the edge 8, is slit transversely for the flap 12 form a double thickness at the a short distance at 20 for the passage there Seat. w 95 30 between of the flap or gusset 12, whereby Having thus described my invention what the upper half of the flap 12 is covered by I claim as new and desire to secure by Let the contiguous part 21 of the garment, and ters Patent is: the lower half of said flap 12 will cover the 1. In a union suit, a rear portion cut from like portion 22 of the garment, or in other. the neck at an angle to about the waist 35 -words to reverse the position of the upper line terminating in a curve, whereby an en 00 and lower portions of the gusset 12 from larged piece is formed in the lower part of underlying to overlying with respect to the the garment, a gusset seamed to the edge right hand portion of the garment adjacent of said cut to form a closed crotch, and a the free edge 19. single member for securing said garment 40 The flap 12, the portion 21, and the lower upon the wearer. 05 . part 22 of the garment are all sewed along 2.
Load more

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]
  • 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.
    [Show full text]
  • Design Iterations Through Fusion of Additive and Subtractive Design
    DESIGN ITERATIONS THROUGH FUSION OF ADDITIVE AND SUBTRACTIVE DESIGN A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Gordon Stumpo May 2016 i Thesis written by Gordon Stumpo B.A., Washington State University, 2014 M.A., Kent State University, 2016 Approved by Vince Quevedo, Thesis Supervisor Brian Peters, Committee Member Margarita Benitez, Committee Member Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art Mr. J.R. Campbell, Director, The Fashion School Dr. Christine Havice, Director, The School of Art Dr. John Crawford-Spinelli, Dean, College of the Arts ii TABLE OF CONTENTS Page LIST OF FIGURES ……………………………………………………………………………………….……….…….….vi LIST OF TABLES………………………………………………………………………………………...……….………..xi ACKNOWLEDGMENTS……………………………………………………………………………...………..………..xii CHAPTER I. INTRODUCTION…………………………………………………………………………………………..………….13 Concept……………………………………………………………………………………...................................13 Design Framework…………………………………………………………………………………………..…13 Surface and Structure Frameworks…………………………………………………………….….……14 Additive Design…………………………………………………………………………………………..…..….18 Subtractive Design……………………………………………………….……………………………....….…18 Tension…………….……………………………………………………………………………….…………..…..18 Price Point…………….…………………………….………………………………………………………...…..19 Personal Skills & Background…………….……………………………………………………….…..…..19 Problem Statement &
    [Show full text]
  • LAPTOP SHOULDER BAG by Jackie Robinson, Animas Quilts - 2017
    LAPTOP SHOULDER BAG by Jackie Robinson, Animas Quilts - 2017 Hydrangea Embroidery - digitized by OESD adapted from Hydrangea fabric by Jackie Robinson & Benartex LLC Outer Fabric - 7/8 yd Fusible Woven Interfacing - 1-3/4 yds if 40” wide or 3-1/2 yds if 20” wide Pellon Fleece - 1/2 yd Lining Fabric - 1/2 yd Medium weight Tear-Away, preferably Ultra Clean & Tear from OESD OESD Perfect Press Cloth Begin by measuring your laptop – width, height, and thickness. MacBook is: 14.125 x 9.75 x .75 I wanted a 6” flap, 2” of gusset (it has to include that on top, plus 9.75” height for the back = 17.75” x 14.125. Add 1” to both measurements (1/4” seams plus ease for the included batting) = 18.75” x 15.125” That’s the measurement I trimed to after embroidery. Therefore, begin with a 20” x 17” for the Back & Flap. It’s large, so fuse two layers of woven iron-on interfacing to the wrong side. Double interface all the pieces for strength, as well because of embroidery on the back as well as the flap. Use two layers of stabilizer also. Flap embroidery is 5” x 12”. At the Raw edge of the flap, mark center 2.5” + .5” = 1.125” + 4.125” up from the edge. Strap - Cut fabric at least 7” x 42” Two layers of Interfacing. Place leaves as desired, with two layers of stabilizer. After stitching, trim to 6-1/8” x 36” Cut front 10.75” x 15.125”. Double Interface.
    [Show full text]
  • Princess & the Pea Pincushions
    Princess & the Pea Pincushions Materials Required Granny Square Cushion Selvage String Cushion Fabric: Fabric: • 8 - 1 3/4” squares The Sweetest Thing • Variety of strips between 1” and 1 1/2” to blue & green prints make 4” x 6” string piece • 3 - 3 1/8” squares Bleached Denim solid • 1 - 4” x 6” rectangle Main Flower Blue • 1 - 4” x 6” rectangle Main Flower Blue • 1 - 2” x 21” strip Chevron Blue • 1 - 2” x 21” strip Chevron Blue Notions: Notions: • Sewing Machine • Sewing Machine • Fiberfill Stuffing • Fiberfill Stuffing • Vase Filler or Crushed Walnut Shells • Vase Filler or Crushed Walnut Shells • Hand sewing needle & thread • Hand sewing needle & thread • Scissors or rotary cutter • Scissors or rotary cutter 1 Granny Square Cushion 1. Cut Setting Triangles & Piece Top First, cut the three 3 1/8” squares into four quarter square triangles for setting, you will need 10 triangles for this project, two are leftover as scraps. Next arrange prints as shown and sew together in diagonal rows. Press seams in opposite directions, as shown, to make lining up points easy. Sew the rows together; then add the corner triangles to the piece. 2. Trim & Round Corners Trim the block so that 1/4” of the Bleached Denim fabric extends beyond the prints. Using a circle with a 1” diameter (I used a small spray bottle, but have provided a circle on the printer friendly pattern), draw a rounded corner on each corner triangle. Place the backing piece wrong sides together with the top and cut around the curves through both layers.
    [Show full text]
  • Atlanta Attachment Company Innovative Technology for the Sewn Products Industry Worldwide © 2006 Atlanta Attachment Company
    Atlanta Attachment Company Innovative Technology for the Sewn Products Industry Worldwide © 2006 Atlanta Attachment Company. All rights reserved. All materials contained herein are additionally protected by United States copyright law and may not be used, disclosed, reproduced, distributed, published or sold without the express written consent of Atlanta Attachment, which consent may be withheld in Atlanta Attachment’s sole discretion. You may not alter or remove any copyright, trademark or other notice from copies of these materials. Atlanta Attachment Company, AAC, Atlanta Parts Depot, “Sudden Service”, Sewing Automation, individually and when used in combination are registered trademarks of Atlanta Attachment Company. 05087011506 Welcome to Atlanta Attachment Company Innovative Technology for the Sewn Products Industry Worldwide Equipment Indexed by Category Category Page Corporate . iv - xi Binding . 0 - 3 Border - Foundation . 4 - 11 Border - Mattress . 12 - 25 Embroidery . 26 - 27 Flanging . 28 - 35 Handle Making . 36 - 37 Label . 38 - 41 Packaging . 42 - 43 Panel Cutting / Border Slitting . 44 - 45 Quilting . 46 - 49 Repair . 50 - 51 Ruffler . 52 - 67 Serger . 68 - 73 Springs . 74 - 81 Table . 82 - 83 Tape Edge . 84 - 93 Tufting . 94 - 95 Zipper . 96 - 101 Attachments & Folders . 102 - 103 Climate Control: Cool-Space . 104 Material Handling: ZRack, Mattress Trucks . 105 Plant Information & Control System: Satelite Plus . 106 Serial Bus Control System . 107 Parts . 108 ii Equipment Index by Model Number Model Description Page 1303 . Automatic Pocket Spring Production Line . 74 1304 . Wire Straightening Machine . 76 1305 . Pneumatic Border Bending Machine . 76 1309 . Spring Unbaler . 77 1312 . Automatic Decorative Border Workstation . 12 1313 & 1313M . Automatic Pocket Spring Machine . 78 1314 & 1314M .
    [Show full text]
  • Gusset Plate Stress
    GUSSET PLATE STRESS Gusset plates are used in steel buildings to connect bracing members to other structural members in the lateral force resisting system. Figure 1 shows a typical vertical bracing connection at a beam-to-column intersection. Gusset plates are also used to connect diagonal members to the chords and vertical members of trusses. Fig. 1. Vertical brace connection. A large number of research projects have been dedicated to the stresses in gusset plates. The research includes laboratory tests, finite element models, and theoretical studies. Many different failure modes have been identified, and design methods and specification requirements have been formulated based on the research. Design information for gusset plates can be found in the AISC Steel Construction Manual (AISC, 2005); however, the behavior of gusset plates is very complex and cannot be fully defined by the available design procedures. Engineering judgment is critical in the design process; therefore, it is important that engineers understand the background of the guidelines. This paper provides a design-based review of the available information on gusset plates and references for engineers who want to study the topic in-depth. Only the documents relevant to the evolution of the current design procedures are presented; however, additional references are listed in the bibliography. Other aspects of gusset plate design, such as stability, calculation if interface loads, and seismic design will be presented in future papers in this series. This paper is organized into three sections: Effective Width, Normal and Shear Stresses, and Combined Stresses. Connection Design for Steel Structures Chapter 7a, Page 1 of 21 Copyright © 2011 by Bo Dowswell EFFECTIVE WIDTH Existing Literature The first major experimental work on gusset plates was done by Wyss (1923).
    [Show full text]
  • The Well Dress'd Peasant
    TheThe WWellell DrDress’dess’d Peasant:Peasant: 1616thth CenturCenturyy FlemishFlemish WWorkingwomen’orkingwomen’ss ClothingClothing by Drea Leed The Well-Dress’d Peasant: 16th Century Flemish Workingwoman’s Dress By Drea Leed Costume & Dressmaker Press Trinidad, Colorado ACKNOWLEDGEMENTS The author and publisher wish to thank the following institutions for their help with the color images for the cover and interior color plates. Copyright for these images is retained by them, in accordance with international copyright laws. The images are used with permission. Cover A Marketwoman and Vegetable Stand, by Pieter Aertsen © Bildarchiv Preüssuscher Kulturbesitz Märkishes Ufer 16-18 D-10179 Berlin Germany Inside front cover Harvest Time by Pieter Aertsen and Plates 1, 3 The Pancake Bakery by Pieter Aertsen Harvest Time (A Vegetable and Fruit Stall) by Pieter Aertsen © Museum Boijmans van Beuningen Museumpark 18-20 CX Rotterdam The Netherlands Plate 2 (Centerfold) The Meal Scene (Allegorie van de onvoorzichtigheid) by Joachim Beuckelaer © Koninklijk Museum voor Schone Kunsten Plaatsnijderstraat2, B-2000 Antwerp Belgium © November 2000 by Drea Leed © November 2000 by Costume & Dressmaker Press Published by Costume & Dressmaker Press 606 West Baca Street Trinidad Colorado 81082 USA http://www.costumemag.com All rights reserved. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means - graphic, electronic or mechanical, including scanning, photocopying, recording, taping or information storage
    [Show full text]
  • Metraflex Quality Products FLEXIBLE RUBBER PIPE
    NON-METALLIC EXPANSION JOINTS APPLICATION & DESIGN GUIDE 2323 W. HUBBARD ST. • CHICAGO, IL 60612 • 312-738-3800 • FAX 312-738-0415 • http://www.metraflex.com How to Order Metraflex Non-Metallic Expansion Joints Please Provide the Following Information (as a minimum): 1. Size of Line: Nominal Pipe Diameter 2. System Application: Flowing Media, Requirements 3. Pressure or Vacuum: Internal, External 4. Temperature: Operating, Ambient 5. Movement: Direction, Amount 6. Need for Control Units: Based on System Anchoring 7. End Fittings: ANSI, DIN, British Standard, Metric, etc. This guide provides additional information on the details of choosing a joint for a given application. However, with the above information our engineers can choose a joint right for your needs. Metraflex has been supplying industry with quality piping products for over 40 years. Our reputation for superior products and technical support sets us apart from our competition. In addition to non-metallic expansion joints, Metraflex is a supplier of metallic expansion joints, braided hose, expansion loops, and other specialty piping products using bellows technologies. For more information or to order, Contact us at: (312) 738-3800 (312) 738-0415 Fax or contact the representative in your area - see back cover. Page 1 Non-Metallic Expansion Joints Elastomer (rubber) and Teflon® expansion joints have been specified for many years to accommodate movement in piping runs and insure efficient systems. Elastomer joints are widely used to provide efficient ways to relieve movement stresses, reduce noise, isolate vibration, compensate for misalignment. Teflon joints are used with highly corrosive media, with glass piping, or in systems where space is at a premium.
    [Show full text]
  • January 2021
    LEXINGTON COUNTY SCHOOL DISTRICT ONE DISBURSEMENTS BY CHECK/EFT NO. From 1/1/2021 to 1/31/2021 Check/ EFT Check/ EFT Vendor No. Date Account Key Object No. Vendor Name PO # Invoice # Description Amount 00100296 01/07/2021 1000000000 245570 V15433 ASIFLEX 2400/2101010 AP INTERFACE 1-10-2021 41,823.94 00100296 01/07/2021 1000000000 245550 V15433 ASIFLEX 2402/2101010 AP INTERFACE 1-10-2021 3,980.21 00100296 01/07/2021 1000000000 245470 V15433 ASIFLEX 2410/2101010 AP INTERFACE 1-10-2021 5,206.63 Check Total 51,010.78 00100297 01/07/2021 1000000000 245540 V15443 ASIFLEX 2492/2101010 AP INTERFACE 1-10-2021 713.40 00100297 01/07/2021 1000000000 245540 V15443 ASIFLEX 2494/2101010 AP INTERFACE 1-10-2021 27.84 00100297 01/07/2021 1000000000 245540 V15443 ASIFLEX 2496/2101010 AP INTERFACE 1-10-2021 36.00 Check Total 777.24 00100298 01/07/2021 1000000000 245710 V01954 WELLS FARGO BANK NA CUSTODIAN 2600/2101010 AP INTERFACE 1-10-2021 55,017.96 00100298 01/07/2021 1000000000 245730 V01954 WELLS FARGO BANK NA CUSTODIAN 2610/2101010 AP INTERFACE 1-10-2021 20,110.14 00100298 01/07/2021 1000000000 245980 V01954 WELLS FARGO BANK NA CUSTODIAN 2650/2101010 AP INTERFACE 1-10-2021 5,315.53 00100298 01/07/2021 1000000000 245970 V01954 WELLS FARGO BANK NA CUSTODIAN 2660/2101010 AP INTERFACE 1-10-2021 1,094.91 00100298 01/07/2021 1000000000 245820 V01954 WELLS FARGO BANK NA CUSTODIAN 2770/2101010 AP INTERFACE 1-10-2021 8,828.00 00100298 01/07/2021 1000000000 245850 V01954 WELLS FARGO BANK NA CUSTODIAN 2775/2101010 AP INTERFACE 1-10-2021 1,747.00 Check Total 92,113.54
    [Show full text]
  • The Development and Use of Bib Overalls in the United States, 1856-1945 Ann Revenaugh Hemken Iowa State University
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1993 The development and use of bib overalls in the United States, 1856-1945 Ann Revenaugh Hemken Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the American Material Culture Commons, Fashion Business Commons, Fashion Design Commons, and the Other History Commons Recommended Citation Hemken, Ann Revenaugh, "The development and use of bib overalls in the United States, 1856-1945 " (1993). Retrospective Theses and Dissertations. 337. https://lib.dr.iastate.edu/rtd/337 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. The development and use of bib overalls in the United States, 1856-1945 by Ann Revenaugh Hemken A Thesis Submitted to the Graduate Faculty in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE Department: Textiles and Clothing Major: Textiles and Clothing Signatures have been redacted for privacy Iowa State University Ames, Iowa 1993 ii TABLE OF CONTENTS LIST OF FIGURES................................................ iii ACKNOWLEDGMENTS. • • • • • • . • • • • • • • • • • . • • • . • • • • • • • • • • • • • . • • • • • • • . • •• i v INTRODUCTION
    [Show full text]
  • Austerity Fashion 1945-1951 Bethan Bide .Compressed
    Austerity Fashion 1945-1951 rebuilding fashion cultures in post-war London Bethan Bide Royal Holloway, University of London Thesis submitted for the degree of Doctor of Philosophy Figure 1: Second-hand shoes for sale at a market in the East End, by Bob Collins, 1948. Museum of London, IN37802. 2 Declaration of authorship I Bethan Bide hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Bethan Bide 8 September 2017 3 Abstract This thesis considers the relationship between fashion, austerity and London in the years 1945 to 1951—categorised by popular history as a period of austerity in Britain. London in the late 1940s is commonly remembered as a drab city in a state of disrepair, leading fashion historians to look instead to Paris and New York for signs of post-war energy and change. Yet, looking closer at the business of making and selling fashion in London, it becomes clear that, behind the shortages, rubble and government regulation, something was stirring. The main empirical section of the thesis is divided into four chapters that explore different facets of London’s fashionable networks. These consider how looking closely at the writing, making, selling and watching of austerity fashion can help us build a better understanding of London fashion in the late 1940s. Together, these chapters reveal that austerity was a driving force for dynamic processes of change— particularly in relation to how women’s ready-to-wear fashions were made and sold in the city—and that a variety of social, economic and political conditions in post- war Britain changed the way manufacturers, retailers and consumers understood the symbolic capital of London fashion.
    [Show full text]