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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. -
Identifying Textile Types and Weaves 1750-1950 DATS in Partnership with the V&A
Identifying Textile Types and Weaves 1750-1950 DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Textile Types and Weaves 1750-1950 Text copyright © DATS, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name taught by Sue Kerry and held at Birmingham Museum and Art Gallery Collections Centre on 29th November 2007. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audience. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Printed Textiles in Dress 1740 -1890 Identifying Handmade and Machine Lace Front Cover - English silk tissue, 1875, Spitalfields. T.147-1972 , Image © V&A Images / Victoria and Albert Museum 2 Identifying Textile Types and Weaves Contents Page 2. List of Illustrations 1 3. Introduction and identification checklist 3 4. Identifying Textile Types - Fibres and Yarns 4 5. Weaving and Woven Cloth Historical Framework - Looms 8 6. Identifying Basic Weave Structures – Plain Cloths 12 7. Identifying Basic Weave Structures – Figured / Ornate Cloths 17 8. -
A Dictionary of Men's Wear Works by Mr Baker
LIBRARY v A Dictionary of Men's Wear Works by Mr Baker A Dictionary of Men's Wear (This present book) Cloth $2.50, Half Morocco $3.50 A Dictionary of Engraving A handy manual for those who buy or print pictures and printing plates made by the modern processes. Small, handy volume, uncut, illustrated, decorated boards, 75c A Dictionary of Advertising In preparation A Dictionary of Men's Wear Embracing all the terms (so far as could be gathered) used in the men's wear trades expressiv of raw and =; finisht products and of various stages and items of production; selling terms; trade and popular slang and cant terms; and many other things curious, pertinent and impertinent; with an appendix con- taining sundry useful tables; the uniforms of "ancient and honorable" independent military companies of the U. S.; charts of correct dress, livery, and so forth. By William Henry Baker Author of "A Dictionary of Engraving" "A good dictionary is truly very interesting reading in spite of the man who declared that such an one changed the subject too often." —S William Beck CLEVELAND WILLIAM HENRY BAKER 1908 Copyright 1908 By William Henry Baker Cleveland O LIBRARY of CONGRESS Two Copies NOV 24 I SOB Copyright tntry _ OL^SS^tfU XXc, No. Press of The Britton Printing Co Cleveland tf- ?^ Dedication Conforming to custom this unconventional book is Dedicated to those most likely to be benefitted, i. e., to The 15000 or so Retail Clothiers The 15000 or so Custom Tailors The 1200 or so Clothing Manufacturers The 5000 or so Woolen and Cotton Mills The 22000 -
Blue Jeans (Edited from Wikipedia)
Blue Jeans (Edited from Wikipedia) SUMMARY Jeans are a type of pants, typically made from denim or dungaree cloth. Often the term "jeans" refers to a particular style of pants, called "blue jeans," which were invented by Jacob W. Davis in partnership with Levi Strauss & Co. in 1871 and patented by Jacob W. Davis and Levi Strauss on May 20, 1873. Prior to the Levi Strauss patented trousers, the term "blue jeans" had been long in use for various garments (including trousers, overalls, and coats), constructed from blue colored denim. Originally designed for cowboys and miners, jeans became popular in the 1950s among teenagers, especially members of the greaser subculture. Jeans were a common fashion item in the 1960s hippie subculture and they continued to be popular in the 1970s and 1980s youth subcultures of punk rock and heavy metal. Historic brands include Levi's, Lee, and Wrangler. Today, jeans remain a popular fashion item and come in various fits. HISTORY Research on the trade of jean fabric shows that it emerged in the cities of Genoa, Italy, and Nîmes, France. Gênes, the French word for Genoa, may be the origin of the word "jeans". In Nîmes, weavers tried to reproduce jean but instead developed a similar twill fabric that became known as denim, from de Nîmes, meaning "from Nîmes". Genoa’s jean was a fustian textile of "medium quality and of reasonable cost", very similar to cotton corduroy for which Genoa was famous, and was "used for work clothes in general". The Genoese navy equipped its sailors with jeans, as they needed a fabric which could be worn wet or dry. -
Identifying Woven Textiles 1750-1950 Identification
Identifying Woven Textiles 1750–1950 DATS in partnership with the V&A 1 Identifying Woven Textiles 1750–1950 This information pack has been produced to accompany two one-day workshops taught by Katy Wigley (Director, School of Textiles) and Mary Schoeser (Hon. V&A Senior Research Fellow), held at the V&A Clothworkers’ Centre on 19 April and 17 May 2018. The workshops are produced in collaboration between DATS and the V&A. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audience. Participants will have the chance to study objects at first hand to help increase their confidence in identifying woven textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the wider public and is also intended as a stand-alone guide for basic weave identification. Other workshops / information packs in the series: Identifying Textile Types and Weaves Identifying Printed Textiles in Dress 1740–1890 Identifying Handmade and Machine Lace Identifying Fibres and Fabrics Identifying Handmade Lace Front Cover: Lamy et Giraud, Brocaded silk cannetille (detail), 1878. This Lyonnais firm won a silver gilt medal at the Paris Exposition Universelle with a silk of this design, probably by Eugene Prelle, their chief designer. Its impact partly derives from the textures within the many-coloured brocaded areas and the markedly twilled cannetille ground. Courtesy Francesca Galloway. 2 Identifying Woven Textiles 1750–1950 Table of Contents Page 1. Introduction 4 2. Tips for Dating 4 3. -
The Complete Costume Dictionary
The Complete Costume Dictionary Elizabeth J. Lewandowski The Scarecrow Press, Inc. Lanham • Toronto • Plymouth, UK 2011 Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2011 by Elizabeth J. Lewandowski Unless otherwise noted, all illustrations created by Elizabeth and Dan Lewandowski. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Lewandowski, Elizabeth J., 1960– The complete costume dictionary / Elizabeth J. Lewandowski ; illustrations by Dan Lewandowski. p. cm. Includes bibliographical references. ISBN 978-0-8108-4004-1 (cloth : alk. paper) — ISBN 978-0-8108-7785-6 (ebook) 1. Clothing and dress—Dictionaries. I. Title. GT507.L49 2011 391.003—dc22 2010051944 ϱ ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America For Dan. Without him, I would be a lesser person. It is the fate of those who toil at the lower employments of life, to be rather driven by the fear of evil, than attracted by the prospect of good; to be exposed to censure, without hope of praise; to be disgraced by miscarriage or punished for neglect, where success would have been without applause and diligence without reward. -
Dit D by I Tzp
ofP Where Business Meets Leisure dit d by i tzp. a trick Copyright © 2013 Museum of Early Trades and Crafts 9 Main Street Madison, NJ 07940 USA All rights reserved. I B :0985957026 ISB -13:978-0-9859570-2-5 2. WORKING MEN'S CLOTHING IN NEW JERSEY, 1750-1825 BYTYLERRUDDPUTMAN This article examines who made clothing and what poor men wore in early New Jersey. It focuses on the clothing of sailors, farm laborers, slaves, apprentices, and servants between 1750 and 1825. Their clothing was surprisingly varied and colorful, suggesting that they cared more about clothes than might be expected. Following is a glossary of historical fabric and garment terms used in this article. Making and Buying Clothes in Early New Jersey Most of the clothing worn by working men in early New Jersey was made in New Jersey.l Some relied on their wives, mothers, and daughters for certain garments, especially shirts, constructed from a series of cloth squares. Making other men's garments, however, such as breeches, coats, and jackets, required more skill, the sort of trade knowledge restricted to professional tailors. Tailoring was a common occupation in early America; 344 tailors worked in Philadelphia in 1800, for instance.2 Many of these men, especially in the cities, were poor, and either sewed for their immediate neighbors or worked as "journeymen," free employees of a master who owned his own business. In tailoring shops that catered to men from middle and upper social levels, all garments were "bespoke," or custom-made using personalized measurements. Before the 1820s, tailors did not use 9 PlITMAN incremental tape measures but instead marked an individual's measurements on a long, narrow length ofpaper.3 Using these dimensions, a tailor drafted a pattern, the variously-shaped pieces of a commissioned garment, onto cloth. -
The Textile Mills of Lancashire the Legacy
ISBN 978-1 -907686-24-5 Edi ted By: Rachel Newman Design, Layout, and Formatting: Frtml Cover: Adam Parsons (Top) Tile wcnving shed of Queen Street Mill 0 11 tile day of Published by: its clo~urc, 22 September 2016 Oxford Ar.:haeology North, (© Anthony Pilli11g) Mill 3, Moor Lane Mills, MoorLnJ1e, (Bottom) Tile iconic, Grade Lancaster, /-listed, Queen Street Mill, LAllQD Jlnrlc S.lfke, lire last sun,ini11g example ~fan in fad steam Printed by: powered weaving mill with its Bell & Bain Ltd original loom s in the world 303, Burn field Road, (© Historic England) Thornlieba n k, Glasgow Back Cover: G46 7UQ Tlrt' Beer 1-ln/1 at Hoi till'S Mill, Cfitlwroe ~ Oxford Archaeolog)' Ltd The Textile Mills of Lancashire The Legacy Andy Phelps Richard Gregory Ian Miller Chris Wild Acknowledgements This booklet arises from the historical research and detailed surveys of individual mill complexes carried out by OA North during the Lancashire Textile Mills Survey in 2008-15, a strategic project commissioned and funded by English Heritage (now Historic England). The survey elicited the support of many people, especial thanks being expressed to members of the Project Steering Group, particularly Ian Heywood, for representing the Lancashire Conservation Officers, Ian Gibson (textile engineering historian), Anthony Pilling (textile engineering and architectural historian), Roger Holden (textile mill historian), and Ken Robinson (Historic England). Alison Plummer and Ken Moth are also acknowledged for invaluable contributions to Steering Group discussions. Particular thanks are offered to Darren Ratcliffe (Historic England), who fulfilled the role of Project Assurance Officer and provided considerable advice and guidance throughout the course of the project. -
The White Company Arthur Conan Doyle
The White Company Arthur Conan Doyle Chapter I. How The Black Sheep Came Forth From The Fold. The great bell of Beaulieu was ringing. Far away through the forest might be heard its musical clangor and swell. Peat-cutters on Blackdown and fishers upon the Exe heard the distant throbbing rising and falling upon the sultry summer air. It was a common sound in those parts—as common as the chatter of the jays and the booming of the bittern. Yet the fishers and the peasants raised their heads and looked questions at each other, for the angelus had already gone and vespers was still far off. Why should the great bell of Beaulieu toll when the shadows were neither short nor long? All round the Abbey the monks were trooping in. Under the long green-paved avenues of gnarled oaks and of lichened beeches the white- robed brothers gathered to the sound. From the vine-yard and the vine- press, from the bouvary or ox-farm, from the marl-pits and salterns, even from the distant iron-works of Sowley and the outlying grange of St. Leonard’s, they had all turned their steps homewards. It had been no sudden call. A swift messenger had the night before sped round to the outlying dependencies of the Abbey, and had left the summons for every monk to be back in the cloisters by the third hour after noontide. So urgent a message had not been issued within the memory of old lay- brother Athanasius, who had cleaned the Abbey knocker since the year after the Battle of Bannockburn. -
Fustians in Englishmen's Dress: from Cloth to Emblem
SYKAS: FUSTIANS IN ENGLISHMEN’S DRESS Fustians in Englishmen’s Dress: from Cloth to Emblem By PHILIP A. SYKAS This paper examines the nature of the textiles known as fustians, originally imported but later manufactured in England. The focus is on eighteenth-century England when fustians underwent further development into modern cloth types. Evidence of the use of fustians for men’s dress, and the status of those who wore them, is explored to shed further light on the developments leading up to the association of fustian with working- class men. The paper is based on a presentation delivered at the Costume Society Symposium: Town and Country Style in 2007. The association of fustians with rural men was familiar enough in the mid-nineteenth century to feature in a village festival sketched in the children’s classic, Tom Brown’s Schooldays. From the churchyard, the field is seen ‘thronged with country folk; the men in clean, white smocks or velveteen or fustian coats’.1 The book was based on the author’s own experiences at Rugby school from 1834 to 1842, and makes use of clothing to mark class difference and social status in the countryside. During the same years, the labouring men of England’s towns also claimed fustians as their own. So much so, that the Chartist leader Feargus O’Connor (1796?-1855) proclaimed‘fu stian jackets, blistered hands, and unshorn chins’ as the proud emblems of the urban working man.2 When did fustian become such a part of the labouring scene across both urban and rural settings? This paper examines the use of fustians in the previous century to shed light on the evolution of associations between fustian and men’s dress. -
NPG Fabrics Colors Resources-1.0
Version 1.0 7 Dec 2018 New Plimmoth Gard Fabric and Color Guidelines Publications and Merchants Resources Introduction Our group portrays events involving the English settlers in Plimoth Colony between the years 1620-1645. Clothing in the group is “best effort” and our philosophy is inclusive. New members may rely on borrowed clothing, when available, for their first events. You can purchase some items from merchants who cater to the reenactment market, commission clothing from others knowledgeable in historic tailoring, or make your own. For our portrayals, we are looking at average people here in the colonies, not at high status lords and ladies in England. These guidelines are intended to help you select styles and fabrics that will help you with that. If you have any questions, check with us before making a major investment. Construction Garments may be constructed using a sewing machine. They will have a more authentic appearance if care is taken not to have machine sewing visible. Visible stitching, including buttonholes, eyelets, topstitching, etc., can be done easily by hand. Hand sewing is not inherently difficult. Even as a novice, if you work slowly and carefully, you can achieve a nice result. (See The Modern Maker, in sources for an excellent description of period sewing techniques.) Fabrics The average person in this time period was vastly more literate in terms of textiles than we are today. There are dozens of names describing various weaves, weights, finishes, and quality of what we call “linen” or “wool.” This is a very brief guide to a few points to consider when looking for fabrics for your kit. -
Glossary of 17Th Century Terms
Glossary of 17th Century Terms The 17th Century Research Group of the St Albans & Hertfordshire Architectural & Archaeological Society has been transcribing wills and inventories of that period relating to St Albans for nearly twenty years. Over 1,000 documents have been examined and this Glossary of Terms has been compiled which other researchers may find useful. Axletree/Axtree: a fixed beam or bar, on the rounded ends of which the wheels of a vehicle are connected and revolve. Barrow-hog: a castrated boar or swine. Band: the neckband of a shirt. Baven/Bavin: a bundle of brushwood or light underwood, such as is used in bakers’ ovens. Differing from a faggot in being bound with only one withe or band, rather than two. Beakehorn (Bycorne, Bick-Iron, Bickern): The pike or taper end of a blacksmith's anvil. Also, an anvil with two projecting taper ends (bi-corn = 2 horns). Beetle: a small heavy-headed hammer, used for ramming down a pavement, hedge-stakes or wedges, but sometimes covered with nails and used for splitting wood. Binding Piece: a piece of lumber which is nailed between two opposite beams or joists to prevent lateral deflection. Birding Piece: a light gun for shooting birds. Binge: dialect spelling of bin, a container or vessel. Bloom: a mass of puddled iron hammered or squeezed into a bar. Bolting/Boulting: sieving flour or meal before bread making. The tub in in which the sifting was done was a Bolting Tun, and after sifting it was stored in a Bolting Hutch. Bolting House: a room for preparing food.