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Autumn Winter 19 Guide
DRESD ARTISANS OF BLACK TIE Autumn/Winter 2019 Cloth selection: Dormeuil & Alumo Made in Europe *** TIER I $3,000 - $5,000 ~ Example black tie ensemble ~ Ceremonial 2-piece suit in black wool barathea, self covered buttons, peak lapels faced in black silk satin. - Ceremonial dress shirt in white cotton, signature 9cm collar, french cuffs, self bib front, concealed placket, matching monogrammed pocket square. - Ceremonial 6.5cm hand finished classic butterfly bow tie in black silk satin. - Ceremonial whole cut oxford dress shoes in patent black leather. *** Suite 220, 33 Pirie Street Adelaide SA 5000, Australia Phone: +61 423 399 978 WWW.DRESD.COM.AU !1 of !3 DRESD ARTISANS OF BLACK TIE Autumn/Winter 2019 Cloth selection: Dormeuil & Alumo Made in Europe *** TIER II $5,000 - $7,000 ~ Example black tie ensemble ~ Ceremonial jacket in black cotton & silk velvet, self covered buttons, self faced peak lapels. - Ceremonial trouser in black wool & silk twill. Ceremonial dress shirt in white cotton, signature 9cm collar, french cuffs, self bib front, concealed placket, matching monogrammed pocket square. - Ceremonial 6.5cm hand finished classic butterfly bow tie in black silk satin. - Ceremonial whole cut oxford dress shoes in patent black leather. ~ Evening dress change ~ Evening dress shirt in black cotton, signature 9cm collar, french cuffs, self bib front, concealed placket, matching monogrammed pocket square. - Evening 6cm hand finished pointed butterfly bow tie in black silk faille. *** Suite 220, 33 Pirie Street Adelaide SA 5000, Australia Phone: +61 423 399 978 WWW.DRESD.COM.AU !2 of !3 DRESD ARTISANS OF BLACK TIE Autumn/Winter 2019 Cloth selection: Dormeuil & Alumo Made in Europe *** TIER III $7,000 - $9,000 ~ Example black tie ensemble ~ Ceremonial jacket in black wool & silk jacquard, self covered buttons, self faced peak lapels. -
C U R R I C U L U M G U I
C U R R I C U L U M G U I D E NOV. 20, 2018–MARCH 3, 2019 GRADES 9 – 12 Inside cover: From left to right: Jenny Beavan design for Drew Barrymore in Ever After, 1998; Costume design by Jenny Beavan for Anjelica Huston in Ever After, 1998. See pages 14–15 for image credits. ABOUT THE EXHIBITION SCAD FASH Museum of Fashion + Film presents Cinematic The garments in this exhibition come from the more than Couture, an exhibition focusing on the art of costume 100,000 costumes and accessories created by the British design through the lens of movies and popular culture. costumer Cosprop. Founded in 1965 by award-winning More than 50 costumes created by the world-renowned costume designer John Bright, the company specializes London firm Cosprop deliver an intimate look at garments in costumes for film, television and theater, and employs a and millinery that set the scene, provide personality to staff of 40 experts in designing, tailoring, cutting, fitting, characters and establish authenticity in period pictures. millinery, jewelry-making and repair, dyeing and printing. Cosprop maintains an extensive library of original garments The films represented in the exhibition depict five centuries used as source material, ensuring that all productions are of history, drama, comedy and adventure through period historically accurate. costumes worn by stars such as Meryl Streep, Colin Firth, Drew Barrymore, Keira Knightley, Nicole Kidman and Kate Since 1987, when the Academy Award for Best Costume Winslet. Cinematic Couture showcases costumes from 24 Design was awarded to Bright and fellow costume designer acclaimed motion pictures, including Academy Award winners Jenny Beavan for A Room with a View, the company has and nominees Titanic, Sense and Sensibility, Out of Africa, The supplied costumes for 61 nominated films. -
Pricelist for : Web - Standard Jan 2020 - Valid Until Mar 15 2020
Pricelist for : Web - Standard Jan 2020 - Valid until Mar 15 2020 Prices include base fabric and digital printing. No setup/ hidden costs. Prices inc VAT Create your fabric today at www.fashion-formula.com Natural Fibres Fabric Code Fabric Name Composition Colour Weight Face Popular For Width (mm) Sample FQ 40 - 300 m 20-39m 10-19m 4-9m 1-3m CF001 SATIN 100% COTTON White 240 Satin ✂️ 1350 £3.25 £12.80 £20.65 £21.90 £26.25 £30.00 £33.15 CF002 DRILL 100% COTTON White 250 Twill ✂️ 1400 £3.25 £10.00 £18.75 £21.25 £22.50 £27.50 £29.40 CF004 POPLIN 100% COTTON White 130 Plain ✂️ 1400 £3.25 £12.00 £20.65 £22.50 £26.25 £27.50 £30.00 CF005 PANAMA 100% COTTON White 210 Panama ✂️ 1400 £3.25 £12.00 £19.40 £20.65 £21.90 £27.50 £30.00 CF006 LIGHT TWILL 100% COTTON White 210 Twill ✂️ 1400 £3.25 £11.60 £20.00 £21.25 £22.50 £25.65 £28.70 CF007 TOP SATEEN 100% COTTON White 170 Satin ✂️ 1350 £3.25 £11.60 £20.65 £22.50 £25.00 £28.75 £30.65 CF008 MELINO LINEN 93% CO 7% LINEN White 228 Panama ✂️ 1350 £3.25 £12.40 £20.65 £22.50 £25.00 £29.40 £31.90 CF009 LIMANI LINEN 90% CO 10% LINEN White 250 Panama ✂️ 1350 £3.25 £12.80 £23.15 £26.25 £30.00 £32.50 £35.00 CF011 CALICO COTTON 100% COTTON White 155 Plain ✂️ 1400 £3.25 £8.00 £16.25 £18.15 £20.00 £21.90 £23.75 GOTS ORGANIC CF014 COTTON PANAMA 100% COTTON Natural 309 Panama ✂️ 1400 £3.25 £12.00 £20.65 £22.50 £25.00 £28.75 £31.90 NATURAL CF016 HEAVY DENIM 100% COTTON White 395 Twill ✂️ 1400 £3.25 £12.80 £23.15 £26.25 £28.75 £31.25 £32.25 CF017 COTTON SLUB 100% COTTON White 150 Slub -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book. -
Textiles Under Mughals
Chapter V Textiles under Mughals- The advent of the Mughal dynasty gave an undeniable boost to production of the up-market textile, as to other craft. Textiles are singled out for mentioned by Abul Fazl, the minister and biographer of Akbar (1556-1605), in his Ain-i-Akbari, compile in the 1590‟s as a subject in which the emperor took particular interest. Akbar favoured woollen garment – the chosen wear of Sufis (Muslim mystics) – „from his indifference to everything that is worldly‟ in preference to the richer stuffs. His penchant for wool is also indicated by the steps he took to improve shawl manufacture; especially in the relation to dyes and width of fabric.1 Ain-i- Akbari goes into fascinating details on the manner of classifying garments in the imperial wardrobe (toshkhana). The textiles were arranged according to the date of entry which was recorded, sometime with other information, on a label tacked on to the piece (practice which survived in provision toshkhana into the 20th century). Price, colour and weight were also taken into account. Within these boundaries, textile took precedence according to the nature of the day, astrologically auspicious or otherwise on which they were received. A further refinement took into account the colours, of which thirty five are listed in the order of precedence. Abul Fazl further records that imperial workshops had been set up in the cities of Lahore, Agra, Fatehpur Sikri and Ahmedabad, where the best of the local craftsmen were requisitioned to supply the needs of the court.2 Persian masters were brought in to teach improved techniques. -
CAMELLIA RETICULATA • SHOT SILK Courtesy Camellias in America Revised Edition, by H, Harold Hume 2 Tbe Camellia Bulletin
Volume g, Number 2 )anuary,lgS6 © CAMELLIA RETICULATA • SHOT SILK Courtesy Camellias in America Revised Edition, by H, Harold Hume 2 Tbe Camellia Bulletin Published by NORTHERN CALIFORNIA CAMELLIA SOCIETY, INC. OFFICERS PRESIDENT TREASURER Clement A. Roberts (LAkehurst 3-2465) Walter N. Powell (OLympic 3-1586) 2851 Johnson Avenue, Alameda 423 - 60th Street. Oakland 9 VICE-PRESIDENT OTHER DIRECTORS Wallace H. Brown (OLympic 2-5404) John Beers (YEllowstone 4-9545) 201 The Uplands, Berkeley 5 1588 Geary Road, Walnut Creek Albert E. Evers (ATlantic 3-3367) SECRETARY 3676 Happy Valley Road, Lafayette David B. Grigsby (THornwall 3-4192) Mrs. G. Myron Grismore (KEllog 2-3449) 2218 Jefferson Street. Berkeley 3618 Victor Avenue, Oakland COMMITTEE CHAIRMEN PROGRAM BLOOM DISPLA Y Wallace H. Bro-dn, Berkeley Mrs. Lenore Broze, Oakland MEMBERSHIP PUBLIC ADDRESS SYSTEM Haig S. Ashuckian, Lafayette Louis J. Giomi, Redwood City LAKESIDE CAMELLIA GARDEN CULTURAL EXPERIMENTATION Albert E. Evers, Lafayette Harold L. Paige, Lafayette QUESTION PERIOD SERGEANT-AT-ARMS Rcy W. Tess, Orinda Louis J. Macchia, San Carlos AWARDS RECEPTION David B. Grigsby, Berkeley Mrs. G. Myron Grismore, Oakland HOSTESS BOOK SALES Mrs. Judson K. iCirby, Concord James G. Brady, Oakland BULLETIN EDITORIAL STAFF BULLETIN ADVISORY BOARD EDITOR Woodford F. Harrison David L. Feathers (Clifford 4-2171) 910 Oxford Street, Berkeley I Camellia Lane, Lafayette, Calif. Harold L. Paige ASSOCIATE EDITORS 1212 Monticello Road, Lafayette John D. Lawson, M.D. 2920 Capitol Avenue, Sacramento, Calif. Roy T. Thompson 2723 Hermosita Drive Glendale 8, Calif. PACIFIC CAMELLIA SOC1ETY OFFICERS PRESIDENT SECRETARY R. F. Dickson (SYcamore 7-2159) Mrs. Sidney Harris (NOrmandy 1-5104) 1494 Casa Grande, Pasadena 7 3871 Franklin Ave. -
Textile Arts and Aesthetics in and Beyond the Medieval Islamic World
Perspective Actualité en histoire de l’art 1 | 2016 Textiles Crossroads of Cloth: Textile Arts and Aesthetics in and beyond the Medieval Islamic World Aux carrefours des étoffes : les arts et l’esthétique textiles dans le monde islamique médiéval et au-delà Vera-Simone Schulz Electronic version URL: http://journals.openedition.org/perspective/6309 DOI: 10.4000/perspective.6309 ISSN: 2269-7721 Publisher Institut national d'histoire de l'art Printed version Date of publication: 30 June 2016 Number of pages: 93-108 ISBN: 978-2-917902-31-8 ISSN: 1777-7852 Electronic reference Vera-Simone Schulz, « Crossroads of Cloth: Textile Arts and Aesthetics in and beyond the Medieval Islamic World », Perspective [Online], 1 | 2016, Online since 15 June 2017, connection on 01 October 2020. URL : http://journals.openedition.org/perspective/6309 ; DOI : https://doi.org/10.4000/ perspective.6309 Vera-Simone Schulz Crossroads of Cloth: Textile Arts and Aesthetics in and beyond the Medieval Islamic World A piece of woven silk preserved in the Cooper-Hewitt National Design Museum in New York (fig. 1) shows medallions with pearl borders in which various animals appear. The elephants, winged horses, and composite creatures with dog heads and peacock tails are positioned alternately face-to-face and back-to-back. The fabric is designed to be viewed both from a distance and more closely. From a distance, the overall structure with its repeating pattern forms a grid in which geometrical roundels oscillate between contact and isolation. They are so close they seem almost to touch both each other and the complicated vegetal patterns in the spaces between, although in fact each roundel remains separate from every other visual element in the textile. -
Seritechnics
SeriTechnics Historical Silk Technologies Edition Open Access Series Editors Ian T. Baldwin, Gerd Graßhoff, Jürgen Renn, Dagmar Schäfer, Robert Schlögl, Bernard F. Schutz Edition Open Access Development Team Lindy Divarci, Samuel Gfrörer, Klaus Thoden, Malte Vogl The Edition Open Access (EOA) platform was founded to bring together publication ini tiatives seeking to disseminate the results of scholarly work in a format that combines tra ditional publications with the digital medium. It currently hosts the openaccess publica tions of the “Max Planck Research Library for the History and Development of Knowledge” (MPRL) and “Edition Open Sources” (EOS). EOA is open to host other open access initia tives similar in conception and spirit, in accordance with the Berlin Declaration on Open Access to Knowledge in the sciences and humanities, which was launched by the Max Planck Society in 2003. By combining the advantages of traditional publications and the digital medium, the platform offers a new way of publishing research and of studying historical topics or current issues in relation to primary materials that are otherwise not easily available. The volumes are available both as printed books and as online open access publications. They are directed at scholars and students of various disciplines, and at a broader public interested in how science shapes our world. SeriTechnics Historical Silk Technologies Dagmar Schäfer, Giorgio Riello, and Luca Molà (eds.) Studies 13 Max Planck Research Library for the History and Development of Knowledge Studies 13 Editorial Team: Gina PartridgeGrzimek with Melanie Glienke and Wiebke Weitzmann Cover Image: © The British Library Board. (Yongle da dian 永樂大典 vol. -
University of Huddersfield Repository
University of Huddersfield Repository Bate, Toni Costume with Textiles: The Role and Development of Textiles in the Interpretation of Historical Dress for Contemporary Theatrical Costume Original Citation Bate, Toni (2015) Costume with Textiles: The Role and Development of Textiles in the Interpretation of Historical Dress for Contemporary Theatrical Costume. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/30289/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Costume with Textiles: The Role and Development of Textiles in the Interpretation of Historical Dress for Contemporary Theatrical Costume Toni Bate A thesis submitted to The University Huddersfield in partial fulfilment of the requirements of the degree of Masters by Research December 2015 Abstract Costuming a theatrical show is a complex process, from the initial design concept to opening night, the journey through the design and construction of a period costume worn for a live performance requires collaboration and compromise with director, designer, performer and the costume team. -
Fabric Construction
Fabric Construction Textile materials are produced by different construction methods. There are many advantages and disadvantages to each method which affect their end use. Weaving and knitting are the most common fabric construction methods. Other methods include non-woven fabrics such as felting, laminating and bonding. Woven Fabric Fabrics are woven on a loom by interlacing two yarns at right angles to each other. The horizontal yarns are called weft yarns. Warp yarns run The weft yarns are wrapped around the vertical the length warp yarns to create of the fabric, known an edge to the fabric, as the grain. known as the Selvedge. • Bias-the diagonal or cross grain of a woven fabric. • Selvedge- is the edge of a woven fabric that doesn’t fray. • Grain- runs the length of the fabric. ADVANTAGES DISADVANTAGE • Woven fabrics are at their strongest • Woven fabrics easily fray when cut. along the grain. • Lack elasticity. • The closer the weave the stronger and firmer the fabric. There are various woven fabrics; however below are the varieties you are likely to encounter: Plain weave Cotton, calico, muslin, lawn, shantung and rip-stop Nylon are common examples of plain weave fabrics. Characteristics: it looks the same from the front and back, has an even surface making it an ideal choice to print on. Twill weave Denim is the most popular twill weave fabric other examples include, drill, serge and gabardine. Characteristics: the front and back of the fabric is different. It is a strong and durable fabric ideal for home furnishings and work wear. Satin weave Satin, Sateen, duchesse and damask are all examples of satin weave fabrics. -
Fabric Supplier List
FABRIC SUPPLIER LIST CANADA Kendor Textiles Ltd 1260 Cliveden Ave Delta BC V3M 6Y1 Canada 604.434.3233 [email protected] www.kendortextiles.com Fabrics Available: Fabric supplier. Eco-friendly. Organic. Knits: solids, prints, yarn dyes and warp. Wovens: solids and yarn dyes. End Use: activewear, bottomweights, medical, lingerie, childrenswear, swimwear, rainwear, skiwear and uniform. Natural & eco items include cottons, bamboo's, modals, linens, hemps, organic cottons & organic linens. Technical items include waterproof/breathable soft shells, antibacteric & wicking polyester & recycled polyesters. Is a proud representative of the British Millerain line of waxed cottons and wools, and are able to provide custom souring. Minimums: Carries stock. In-stock minimum: 5 yards/color. Minimum order for production: 10 yards/color. Gordon Fabrics LTD #1135-6900 Graybar Rd. Richmond BC Canada 604.275.2672 [email protected] Fabrics Available: Fabric Supplier. Importer. Jobber. Carries stock. Knits & Wovens: solids, prints, yarn dyes and novelties. End Use: activewear, borromweights, eveningwear/bridal, medical, lingerie and childrenswear. Minimums: In stock minimum 1 yard. Minimum order for production varies. StartUp Fashion Supplier List 2016 – Page 1 CHINA Ecopel (HX) Co., Ltd. China +86 216.767.9686 www.ecopel.cn Fabrics Available: Fake fur and leather garments. End Uses: Childrenswear, Menswear, Other, Womenswear. Minimums: Min. order 50-100 m Hangzhou New Design Source Textile Co., Ltd. China +86 057.182.530528 Fabrics Available: Knits, Polyester/Man-Made, Prints. End Uses: Juniors Fashion, Menswear, Womenswear. Minimums: Min order 50 m. Nantong Haukai Textile Co., Ltd. China +86 513.890.78626 www.huakaitex.com Fabrics Available: Cotton, Linen. End Uses: Corporatewear/Suiting, Menswear, Womenswear. -
President's Message
2013 — Issue 06 The Gazette of the FEBRUARY President’s Message Dear Fellow Members, This winter is turning out to be a super busy time for us. We recently had an interesting talk from Nicholas Thaete about chair caning. Many members have told me that they love the class he is now offering. Maybe we can ask for another class for those who were unable to attend this time. On February 7th we’ll have a presentation on IKAT weaving, by Marcia Weiss, at our meeting, with a workshop on the following day, February 8th. This is an interesting technique and I’m looking forward to attending the workshop. There’s still room for more members if you’re interested. Susan Davis will bring additional examples of IKAT pieces to the meeting. Among our goals for the new year, upgrading of the web site is very important. Nancy Shiffrin created our web site over ten years ago, and we appreciate her making it functional as long as it has been in place. With the acceleration of technology we now see that there is more that we need to add to make our site consistent with the latest expectations of cyber-technology. Our aim will be a system that is easier to use and still interesting for the readers. This may necessitate our getting a different server. We’re getting some cyber-ideas for the web site from Julia Wilson, our member with considerable com- puter savvy. A small committee will be working on the transition, chaired jointly by Tiffany Robbins and Amoi Goldman.