Gathering Techniques
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Cora Ginsburg Catalogue 2015
CORA GINSBURG LLC TITI HALLE OWNER A Catalogue of exquisite & rare works of art including 17th to 20th century costume textiles & needlework 2015 by appointment 19 East 74th Street tel 212-744-1352 New York, NY 10021 fax 212-879-1601 www.coraginsburg.com [email protected] NEEDLEWORK SWEET BAG OR SACHET English, third quarter of the 17th century For residents of seventeenth-century England, life was pungent. In order to combat the unpleasant odors emanating from open sewers, insufficiently bathed neighbors, and, from time to time, the bodies of plague victims, a variety of perfumed goods such as fans, handkerchiefs, gloves, and “sweet bags” were available for purchase. The tradition of offering embroidered sweet bags containing gifts of small scented objects, herbs, or money began in the mid-sixteenth century. Typically, they are about five inches square with a drawstring closure at the top and two to three covered drops at the bottom. Economical housewives could even create their own perfumed mixtures to put inside. A 1621 recipe “to make sweete bags with little cost” reads: Take the buttons of Roses dryed and watered with Rosewater three or foure times put them Muske powder of cloves Sinamon and a little mace mingle the roses and them together and putt them in little bags of Linnen with Powder. The present object has recently been identified as a rare surviving example of a large-format sweet bag, sometimes referred to as a “sachet.” Lined with blue silk taffeta, the verso of the central canvas section contains two flat slit pockets, opening on the long side, into which sprigs of herbs or sachets filled with perfumed powders could be slipped to scent a wardrobe or chest. -
Senior Textile Artist Badge Workshop
Senior Textile Artist Badge Workshop An At-Home Program GSCCC Senior Textile Artist Badge Workshop (At-Home) • When you see fabrics, yarn, or string off all colors and textures what do you think of? Do you envision all of the things you could create? Let’s turn those visions into reality! Program Outline Materials: - Computer - Internet access - Materials for craft of choice Step 1: Choose your textile art There are a number of textile arts in the world from macramé to crocheting to quilting and much more. In this step you will be doing some research to learn about a textile art that you find interesting and that you would like to learn. Some of the most common textile arts are macramé, embroidery, cross-stitch, needlework, knitting, crocheting, weaving, and quilting. Do some research to find out about these or other textile arts. Below are some helpful links to start with. Here are a few links to get your search started – crochet, macramé, embroidery, weaving. Click here to see what some current textile artists are doing. Step 2: Find your tools and materials Now that you have chosen your art, you need to gather materials. Crocheting needs crochet hooks and yarn. Embroidery needs needles, embroidery floss, hoops, and fabric. Do some research about what you will need for your chosen textile art form. What all is involved? Do you know anyone who already has the supplies? Would they be willing to lend you some materials? Below are some great resources to learn about materials needed for the most common textile arts. -
BRAND NAME PRODUCTS Branded Male Marketing to Men.Pdf
Branded Male hb aw:Branded Male 15/1/08 10:10 Page 1 BRANDED MALE Mark Tungate is the “Tungate dissects the social trends that have been shaping the male consumer across a Men are not what they were. In article after author of the variety of sectors in recent years… Provides insights on how brands can tackle the article we’re told a new type of man is bestselling Fashion business of engaging men in a relevant way – and the influential role that the women in abroad – he’s more interested in looking Brands, as well as the their lives play.” good and he’s a lot keener on shopping. highly acclaimed Carisa Bianchi, President, TBWA / Chiat / Day, Los Angeles Adland: A Global Branded Male sets out to discover what History of Advertising, “Finally a book that uses humour, examples and clever storytelling to shed a new light on makes men tick as consumers and how both published by male trends. Helps us approach male consumers as human beings and not simply as products and services are effectively Kogan Page. Based in marketing targets.” branded for the male market. Using a day Photography: Philippe Lemaire Paris, he is a journalist in the life of a fictional “branded male”, specializing in media, marketing and Roberto Passariello, Marketing Director, Eurosport International Mark Tungate looks at communication. Mark has a weekly column BRANDED male-orientated brands and their in the French media magazine Stratégies, “Ideas, advice and insights that will help anyone aiming to get messages across marketing strategies in areas as diverse as: and writes regularly about advertising, style to men.” and popular culture for the trends David Wilkins, Special Projects Officer, Men’s Health Forum • grooming and skincare; intelligence service WGSN and the • clothes; magazine Campaign. -
How to Use Access Commodities Filament Silk Gimp
How to Use Access Commodities Filament Silk Gimp This innovative thread was recreated from 17th century examples found on period needlework. The unique structure of silk gimp consists of a filament silk core wrapped with filament silk. The cord like appearance is both sleek and supple to use, providing an interesting surface texture. It is recommended to treat Filament Silk Gimp like real metal thread passing threads, which are not stitched back and forth through a fabric or canvas, but applied on the surface to great effect. Step 1: First knot the end of the silk gimp before unreeling it off the spool. As you un- reel the silk gimp, it may twist back on itself, due to the composition of the thread. Sim- ply stroke it to smooth it out. Step 2: Unreel a small amount of thread about 4 to 6 inches and snap the top of the spool on the remainder. (See illustration #1) Don’t cut it off the spool but leave it on, unrolling a little more as you stitch. This helps controls the thread as you work and minimizes the twisting. Illustration No. 1 Step 3: The thread can be couched with Au Ver á Soie, Soie 100/3 or a single ply of Au Ver à Soie, Soie de Paris. (See list below for list matching colors.) A Crewel #10 needle is recommended. You will find it helpful if the couching thread is waxed for control. Copyright L. Haidar for Access Commodities, 2013. Date: December 2013 Step 4: Make your couching stitches slanted rather than straight because of the twist of the thread. -
That Was a T-Shirt!!! We Need Tops! While Cotton Tops Are Easy to Make, Knit Tops Are the Most Versatile Due to the Forgiving Stretch
That was a t-shirt!!! We need tops! While cotton tops are easy to make, knit tops are the most versatile due to the forgiving stretch. Because of the challenges in working with knit fabric, updating a t-shirt is the perfect compromise. Our goal is to have someone look at our top and say “that was a t-shirt?!” All hemlines need to be removed and restyled and the neckline needs to be either ruffled (size small and some medium) or trimmed. Here are some guidelines that we are looking for. Simply sewing a decorative stitch or zigzag over the existing hemline (sleeves and bottom hem) does not make visual changes to the t-shirt. Please cut off the existing hemline and if you like, you can make it shorter. If you have a serger, you can finish the edge prior to hemming but because the knit does not ravel it is not necessary. You also do not need to turn over the edge prior to hemming. Sleeves Match the sleeves and cut off both hems at the same time. You can cut straight or at an angle and make it a cap sleeve Use a decorative stitch for the hemming, variegated thread looks great! Use either white or black thread in the bottom as variegated thread is expensive. Remember to sew on the right side with your finger on the bottom feeling for the fabric edge. Watch for those sales and coupons!! Sulky blendables, 30 weight, 100% cotton is very nice to use. If you hem with a straight stitch, make it a little longer perhaps 3.0 and add some elastic to make it gathered at the hem edge. -
Powerhouse Museum Lace Collection: Glossary of Terms Used in the Documentation – Blue Files and Collection Notebooks
Book Appendix Glossary 12-02 Powerhouse Museum Lace Collection: Glossary of terms used in the documentation – Blue files and collection notebooks. Rosemary Shepherd: 1983 to 2003 The following references were used in the documentation. For needle laces: Therese de Dillmont, The Complete Encyclopaedia of Needlework, Running Press reprint, Philadelphia, 1971 For bobbin laces: Bridget M Cook and Geraldine Stott, The Book of Bobbin Lace Stitches, A H & A W Reed, Sydney, 1980 The principal historical reference: Santina Levey, Lace a History, Victoria and Albert Museum and W H Maney, Leeds, 1983 In compiling the glossary reference was also made to Alexandra Stillwell’s Illustrated dictionary of lacemaking, Cassell, London 1996 General lace and lacemaking terms A border, flounce or edging is a length of lace with one shaped edge (headside) and one straight edge (footside). The headside shaping may be as insignificant as a straight or undulating line of picots, or as pronounced as deep ‘van Dyke’ scallops. ‘Border’ is used for laces to 100mm and ‘flounce’ for laces wider than 100 mm and these are the terms used in the documentation of the Powerhouse collection. The term ‘lace edging’ is often used elsewhere instead of border, for very narrow laces. An insertion is usually a length of lace with two straight edges (footsides) which are stitched directly onto the mounting fabric, the fabric then being cut away behind the lace. Ocasionally lace insertions are shaped (for example, square or triangular motifs for use on household linen) in which case they are entirely enclosed by a footside. See also ‘panel’ and ‘engrelure’ A lace panel is usually has finished edges, enclosing a specially designed motif. -
Identifying Handmade and Machine Lace Identification
Identifying Handmade and Machine Lace DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Handmade and Machine Lace Text copyright © Jeremy Farrell, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name held at The Museum of Costume and Textiles, Nottingham on 21st February 2008. 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 audiences. 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 Textile Types and Weaves 1750 -1950 Identifying Printed Textiles in Dress 1740-1890 Front cover image: Detail of a triangular shawl of white cotton Pusher lace made by William Vickers of Nottingham, 1870. The Pusher machine cannot put in the outline which has to be put in by hand or by embroidering machine. The outline here was put in by hand by a woman in Youlgreave, Derbyshire. (NCM 1912-13 © Nottingham City Museums) 2 Identifying Handmade and Machine Lace Contents Page 1. List of illustrations 1 2. Introduction 3 3. The main types of hand and machine lace 5 4. -
'L::C Make a Gathered Skirt
H7l.f -·'1~ 'l::c Make A Gathered Skirt CIRCULAR 580 OCTOBER 1964 AGRICULTURAL EXTENSION SERVICE VIRGINIA POLYTECHNIC INSTITUTE BLACKSBURG, VIRGINIA Make a Gathered Skirt Prepared by MarrJaret Groseclose, Err:tension ClothinrJ Specialist •Many girls like gathered skirts and they Make a Placket • are easy to make. Plump girls look best in 1. Work with the side seam where the gored skirts. When you make a gathered opening was left for the placket. skirt, you learn to make seams, put in a 2. Fold back the front placket extension placket, fit a waistband, hem a skirt, and put to the seam line. Press and pin. on a fastener. You study what to look for in 3. Machine stitch the length of the placket choosing a fabric and how to prepare it for opening 5/ 8" from the folded edge. Stitch cutting a garment. This will help you in diagonally to the folded edge (or seam line), making other garments. catching the back extension. 4. Clip the back seam allowance almost Supplies You Will Need to the stitching line, approximately 1/2" be- low the end of the placket. Include a sewing box, thread to match 5. Press the side seams open. background of fabric, hooks and straight eyes, 6. Two snap fasteners may be used to i:maps, and fabric. The amount of fabric keep the placket closed. needed will be twice the length of your skirt, including 3" for hem plus 5" for waistband. Figure 2 Measure and Cut 1. Straighten the fabric. 2. If you are using 2 lengths for the skirt, cut a 5-1/8" strip across the fabric for the band. -
Notions: Fabrics: Sewing with Cuddle™
Fabrics: Sewing with Cuddle™ Notions: 1/2 yard Daisy Bouquet Coral from These patterns are very easy to put Sewing machine Crazy for Daisies by ADORNit (dress) together and sew. Cuddle™ fabric Basic sewing supplies: 1/2 yard Mini Zag Aqua/Red/Breeze works best when you take care to pin Thread from Nested Owls by ADORNit each seam before sewing. You Ballpoint needle (sleeve and ruffle for pants) should be able to complete this Pins 3/4 yard Cuddle™ Dimple Teal (pants) project in under 3 hours! Scissors 1/4” elastic and 3/4” elastic 1 Cuddle™ Bouquet Peasant Dress and Ruffle Pants Below you will find a guide to tape your PDF printed pages together. When you print, make sure to select “actual size” so that your pattern does not print at the wrong scale. Check the 1 inch test box before cutting out your fabric to make sure everything is the right size! Read through each step before beginning your project! If there are any questions please contact me at [email protected] and I will be happy to help you! I drafted these patterns off of my daughter’s measurements. She wears a 24m/2T in ready to wear clothes. The dress is meant to be worn with the ruffle pants. If you prefer to have the dress worn alone, add 3-4 inches to the length. To print only the pattern pieces for the dress, print pages 12-15 To print only the pattern pieces for the pants, print pages 16-18 LEVEL—Beginner Terms of Use: Items made from this pattern may be used to sell in limited quantities. -
…Unruffled…Unruffled
TheThe RufflerRuffler …Unruffled…Unruffled A Guide to Buying, Optimizing, and Using a Ruffler Attachment Downloaded by: H C - 9/13/2008 - DUPLICATION PROHIBITED - Downloaded at www.youcanmakethis.com Table of Contents Introduction 3 • Purchasing a Ruffler 4 • Ruffler Anatomy 5 Using Your Ruffler 6 • Pre-Ruffling Checklist 6 • Attaching the Ruffler 7 • Getting to Know Your Ruffler 10 Optimizing Your Ruffler 11 • Ruffling Factor 11 • Testing Your Ruffler 11 • Ruffling Calculations 16 • Ruffling Double Thicknesses 17 • Pleats 18 Attaching Ruffles 19 • “Wiggle Room” 20 • One-Step Gathering and Attachment 21 • One-Step Gathering and Attachment II 22 • Ruffles & Ribbons 23 • Embellishing with Ruffles 24 Other Materials 25 The Dedicated Ruffler 25 Troubleshooting 26 Tools 27 • Ruffler Optimization Worksheet 27 • Ruffler Optimization Gauge 28 • Pleating/Ruffling Ruler 29 You Can Make This! 30 The Ruffler…Unruffled. Copyright © 2007 by Carla Hegeman Crim. All rights reserved. This guide is complimentary, and may be shared freely as long as this copyright statement stays intact. No part of this guide may be resold or redistributed by sites other than http://youcanmakethis.com without permission from the author. I am not affiliated with any doll, pattern, or sewing machine company. Disclaimer: This guide offers instructions and suggestions for normal use of a ruffler. I am not responsible for any ruffler-related injuries or damage to equipment. http://www.dressydolly.com Downloaded by: H C - 9/13/2008 - DUPLICATION PROHIBITED - Downloaded at www.youcanmakethis.com Introduction Ruffles, ruffles everywhere! In both fashion and home décor, nothing adds femininity and flounce like a beautiful ruffle. The ruffle is an important element of custom boutique fashion. -
SPIN Sewing Curriculum.Pdf
Debra Proctor, USU Extension Associate Professor, FCS/4-H, Wasatch County Susan Haws, USU Extension Assistant Professor, FCS/4-H, Summit County Stacey Mac Arthur, USU Extension Assistant Professor, 4-H, State Office Description The Discover 4-H Clubs series guides new 4-H volunteer leaders through the process of starting a 4-H club or provides a guideline for seasoned volunteer leaders to try a new project area. Each guide outlines everything needed to organize a club and hold the first six club meetings related to a specific project area. Purpose The purpose is to create an environment for families to come together and participate in learning activities that can engage the whole family, while spending time together as a multi-family club. Members will experiment with new 4-H project areas. What is 4-H? 4-H is one of the largest youth development organizations in the United States. 4-H is found in almost every county across the nation and enjoys a partnership between the U. S. Department of Agriculture (USDA), the state land-grant universities (e.g., Utah State University), and local county governments. 4-H is about youth and adults working together as partners in designing and implementing club and individual plans for activities and events. Positive youth development is the primary goal of 4-H. The project area serves as the vehicle for members to learn and master project-specific skills while developing basic life skills. All projects support the ultimate goal for the 4-H member to develop positive personal assets needed to live successfully in a diverse and changing world. -
4.3 Characterization Methods for Slub Yarns
ABSTRACT Jaganathan, Sudhakar. Characterization Methods and Physical Properties of Novelty yarn. (Under the guidance of Dr. William Oxenham) The purpose of this work is to find the characterization methods which quantitatively define the inherent properties of novelty yarn. The research was divided in to two parts. In the first part various instrumental methods and techniques were investigated to characterize the physical properties of the novelty yarns. Various structural properties of gimp and slub yarns were defined and characterized. Instrumental method included CTT Tester, Hairiness tester and a Traveling Microscope. An image analysis algorithm was proposed to measure the size distribution of novelty yarn structural effects. In the second part visual perception of novelty yarn texture was characterized. A texture nomenclature based on the theory of “Textons” was developed. A human psychological survey was conducted to get observers response on texture terms. We proposed various image analysis methods to quantitatively characterize the novelty yarn texture. The image analysis method had good correlation with human psychological response on the novelty yarn texture. CHARACTERIZATION METHODS AND PHYSICAL PROPERTIES OF NOVELTY YARN by SUDHAKAR JAGANATHAN A thesis submitted to the Graduate Faculty of North Carolina State University In partial fulfillment of the Requirement for the degree of Master of Science Textile Management and Technology COLLEGE OF TEXTILES Raleigh, NC 2005 Approved by: Dr.William Oxenham Chair of the Advisory Committee Dr.Nancy Powell Dr.Pamela Banks-Lee Committee Member Committee Member Dedicated to Amma, Appa, Anni and Anna for all the support and encouragement they have given ii Biography Sudhakar Jaganathan was born on June 29, 1979 in Coimbatore, India.