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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 -
Trash to Treasure Sweater Welcome Back to the May Arts Blog! Recently
Trash to Treasure Sweater Welcome back to the May Arts Blog! Recently I decided it was time to go through my closet and drawers and do some weeding out of clothes I no longer wore. This sweater still had lots of wear in it but the boxy cut and tie at the neckline made it a candidate for the donate pile. That is, until I received a roll of May Arts Denim Ribbon! I couldn’t believe the transformation! The first step was absolutely the hardest…cutting the sweater apart. I found using a cutting mat, ruler and rotary cutter to be the best way to get a straight line. Place the cutting mat inside the sweater, line the ruler up and cut! I just snipped the ties with scissors. Next, measure your sweater from the bottom edge to the top. Cut May Arts 1 ½ inch Denim the length of your sweater plus one inch for folding under. Wash and dry your ribbon, then, using an iron, fold and press lengthwise. Fold under 1/2 inch at the top and bottom. Pin and sew close to the unfolded edge. I could have stopped there but I decided to make an easy denim flower pin to adorn the sweater. A pin back means it can be removed and added to another outfit. Simply cut a length of May Arts Denim ribbon, hand pleat and sew along the edge to secure the pleats. You can make the pin as big or small as you’d like. Fold into a spiral then add a few hand stitches to secure your flower shape. -
PPE:In Laboratories Lab Coats Esearch and Teaching Activities Often Require Personal Protective Equipment (PPE) to Ensure Maximum Safety of Personnel
Food and Drink FactSheet PPE:in Laboratories Lab Coats esearch and teaching activities often require personal protective equipment (PPE) to ensure maximum safety of personnel. A lab coat is an essential component of PPE for many types of laboratory work. This fact sheet will assist the researcher in selecting the appropriate lab coat type for the hazard encountered. TipsR on Wearing Lab Coats • Fully button/snap the lab coat and wear in conjunction • Always ensure lab coat fits properly. with other PPE, such as eye protection and gloves, when deemed necessary per your risk assessment. • Wear appropriate clothing under your lab coat, including long pants and closed-toe/heel shoes. Roll up long sleeves • Lab coats provide moderate protection against chemical to prevent contamination if necessary. Wear personal exposure, but may degrade over time. Replace if heavily clothing that is made of natural rather than synthetic soiled/contaminated or visibly degraded. fibers (e.g., cotton jeans vs. Lycra leggings) if working with • Immediately remove and dispose of as hazardous waste if flammable liquids or open flames. grossly contaminated. Lab Coat Selection Guide Flame Resistant, Nomex® Nomex® is a meta-aramid synthetic fiber that provides the highest level fire protection for a lab coat. The material is intrinsically flame resistant. Its protection will not diminish over repeated washes. Appropriate for protecting against: • Open flames • Electrical arc flash hazard • Extreme fire hazard (e.g., large volumes of flammable materials) • Organometallic compounds, metal hydrides, alkali metals, or other materials that ignite on contact with air (pyrophoric) or moisture Flame Resistant, Treated Cotton Cotton lab coats that are treated with flame resistant material provide a good balance of protection from chemicals, and low-to-medium fire risk procedures. -
Dressing Aids F Are Available Through Specialtyretailers
The War Amps For Your Information Tel.: 1 877 622-2472 Fax: 1 855 860-5595 [email protected] Dressing Aids rom buttons, buckles, zippers and laces, these Fsimple fasteners can pose difficulties in an amputee’s daily activities. Featured below are various Velcro tabs dressing aids that can make many of these tasks easier. Some can be made using household items and others are available through specialty retailers. Hassle-free Fasteners • Velcro tabs under shirt or blouse buttons instead of conventional button holes. • A Velcro strip instead of a zipper in the fly of trousers. • Velcro on jacket cuffs. • Toggle buttons on outer wear which are easier to manage than stiff, flat buttons. Elastic cufflink • Cuff links made of elastic thread between two buttons keep cuffs looking tidy while letting you slide your hand in and out without undoing the button. • Some button-up shirts can be put on without being fully unbuttoned, simply leave enough buttons undone to allow room for your head, and then A C fasten the rest later. B D Button Hooks To assist the amputee with buttoning clothing, various button hooks are available including the regular handle(A), rubber handle(B), cuff handle(C), and ball or knob handle(D). Prosthetic Limbs and Devices Prosthetic A button hook has a small wire loop that slips over the button and when pulled, guides the button through the buttonhole. Zipper Pull Rings For those who have difficulty holding onto and pulling the regular zipper tabs, a variety of zipper pull rings are available which attach to the regular zipper tab and which can be grasped more easily by artificial limbs. -
Percy Savage Interviewed by Linda Sandino: Full Transcript of the Interview
IN PARTNERSHIP WITH AN ORAL HISTORY OF BRITISH FASHION Percy Savage Interviewed by Linda Sandino C1046/09 IMPORTANT Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB United Kingdom +44 [0]20 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators. THE NATIONAL LIFE STORY COLLECTION INTERVIEW SUMMARY SHEET Ref. No.: C1046/09 Playback No.: F15198-99; F15388-90; F15531-35; F15591-92 Collection title: An Oral History of British Fashion Interviewee’s surname: Savage Title: Mr Interviewee’s forenames: Percy Sex: Occupation: Date of birth: 12.10.1926 Mother’s occupation: Father’s occupation: Date(s) of recording: 04.06.2004; 11.06.2004; 02.07.2004; 09.07.2004; 16.07.2004 Location of interview: Name of interviewer: Linda Sandino Type of recorder: Marantz Total no. of tapes: 12 Type of tape: C60 Mono or stereo: stereo Speed: Noise reduction: Original or copy: original Additional material: Copyright/Clearance: Interview is open. Copyright of BL Interviewer’s comments: Percy Savage Page 1 C1046/09 Tape 1 Side A (part 1) Tape 1 Side A [part 1] .....to plug it in? No we don’t. Not unless something goes wrong. [inaudible] see well enough, because I can put the [inaudible] light on, if you like? Yes, no, lovely, lovely, thank you. -
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. -
Draperies Make Your Own
RSlTV Of CULTURE DRAPERIES MAKE YOUR OWN . ARE DRAPERIES ON THE AGENDA for your next 15 stitches per inch; for medium-weight fabrics, 10 home furnishings project? By making your to 12 stitches per inch will give good results. For all own, you can save money and enjoy a sense of ac- stitching on draperies use a loose tension to avoid complishment. This booklet will help you sew drap- puckers on seams and hemlines. eries with a custom-made look in any color, texture, and design you choose. Measuring Length and Width The length of your draperies is a matter of per- SEWING PREPARATIONS sonal taste, as there are several generally accepted Select the appropriate thread and sewing machine lengths. In casual decorating, draperies may go needles for the fabric you choose. The thread should down to the sill or to the apron ; more formal drap- be about the same color and weight as the drapery eries go to the floor. Also, draperies may be hung fabric: for cotton or linen draperies, use mercerized from any of a number of places — from the top of thread; for synthetic fabrics, use synthetic thread. the window frame, at ceiling height, or from any If you use mercerized thread, use a number 14 point on the wall between the ceiling and the window needle; for synthetic thread, a number 11 needle is frame ( see Fig. 1 ) recommended. The width of the draperies depends on how much Cut a small swatch of the drapery fabric and test window you want exposed when the draperies are your sewing machine's stitch and tension. -
Shirt, Flame-Resistant Aramid
5100-91K April 28, 2020 Supersedes 5100-91J February 24, 2011 U.S. DEPARTMENT OF AGRICULTURE FOREST SERVICE SPECIFICATION FOR SHIRT, FLAME RESISTANT ARAMID Beneficial comments (recommendations, additions, deletions) and any pertinent data that may be used in improving this document should be addressed: via electronic mail <[email protected]> or U.S. mail to the U.S. Department of Agriculture, Forest Service, National Technology and Development Program, 5785 Highway 10 West, MT 59808. Distribution Statement A: Approved for public release; distribution is unlimited. FSC 8415 5100-91K CONTENTS 1. SCOPE AND CLASSIFICATION ............................................................................................ 4 1.1. Scope. This specification covers the requirements for flame resistant aramid shirts. .......................... 4 1.2. Classification. The shirt shall be of one type in the following sizes (see 6.2): ...................................... 4 1.3. Interpretations and Definitions. ............................................................................................................ 4 2. APPLICABLE DOCUMENTS ..................................................................................................................... 4 2.1. Government documents. ..................................................................................................................... 4 2.2. Non-Government publications. ........................................................................................................... -
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I Was Tempted by a Pretty Coloured Muslin
“I was tempted by a pretty y y coloured muslin”: Jane Austen and the Art of Being Fashionable MARY HAFNER-LANEY Mary Hafner-Laney is an historic costumer. Using her thirty-plus years of trial-and-error experience, she has given presentations and workshops on how women of the past dressed to historical societies, literary groups, and costuming and re-enactment organizations. She is retired from the State of Washington . E E plucked that first leaf o ff the fig tree in the Garden of Eden and decided green was her color, women of all times and all places have been interested in fashion and in being fashionable. Jane Austen herself wrote , “I beleive Finery must have it” (23 September 1813) , and in Northanger Abbey we read that Mrs. Allen cannot begin to enjoy the delights of Bath until she “was provided with a dress of the newest fashion” (20). Whether a woman was like Jane and “so tired & ashamed of half my present stock that I even blush at the sight of the wardrobe which contains them ” (25 December 1798) or like the two Miss Beauforts in Sanditon , who required “six new Dresses each for a three days visit” (Minor Works 421), dress was a problem to be solved. There were no big-name designers with models to show o ff their creations. There was no Project Runway . There were no department stores or clothing empori - ums where one could browse for and purchase garments of the latest fashion. How did a woman achieve a stylish appearance? Just as we have Vogue , Elle and In Style magazines to keep us up to date on the most current styles, women of the Regency era had The Ladies Magazine , La Belle Assemblée , Le Beau Monde , The Gallery of Fashion , and a host of other publications (Decker) . -
Uniform and Sportswear
Uniform and sportswear from September 2020 Following feedback from students and parents, and to provide a contemporary new design, we have updated some elements of our uniform and sportswear. Changes to the school uniform are relatively minor and involve adjustments to the style of the kilt, jacket, jumper and Sixth Form suit to allow for better fit and design. There are more significant changes to sports kit allowing students to enjoy representing the school with these new styles. From June 2020, the only new items available to buy will be the uniform and sportswear outlined in this booklet. Students joining the school in September 2020 must only wear this new uniform and sportswear. Other students will be able to continue to wear existing uniform until September 2021. After September 2021 all students will be expected to have the updated uniform and sportswear. Buying uniform and sportswear From June 2020, all branded uniform and sportswear will only be available to buy from schoolblazer.com. The current prices are listed on its website. School Blazer will start selling Woldingham School uniform from 26 June 2020. The school uniform shop is now closed and no new uniform can be bought from the school. Secondhand uniform sales will continue from the autumn term 2020 onwards but will only sell current uniform and kit. We will not sell any secondhand uniform through the school that does not conform to the uniform and kit in this booklet. Some unbranded elements of our school uniform can be bought from School Blazer or other retailers. These are clearly marked in this booklet and in the uniform checklist attached. -
Sewing & Hand Application
APPLICATION MANUAL Sewing & hand application Sewing and hand application Preciosa Components offers a wide range of various products ideal for sewing and embroidery. Thanks to a rich choice of shapes, sizes, settings and applications, Preciosa crystals can be used in mass apparel and accessories production, designer´s studios and Do-It-Yourself activities. Stones can be easily applied with industrial sewing or embroidery machines or household sewing machines and are also suitable for various manual applications. PRODUCT OVERVIEW COMPONENTS SEWING HAND APPLICATION Flat Back Stones Sew-on Stones Beads and Pendants Beads Pendants Nacre Pearls Nacre Pearls Cup Chains Plastic Bandings Fashion and Fashion Jewelry Components Metal Bandings Stones in Settings Fashion and Fashion Crystal Mesh Jewelry Application MACHINES, TOOLS AND AIDS Use the following machines, tools and aids for sewing Preciosa components: • Household sewing machine with common stitch types (straight, zigzag, button sewing programme). • Industrial sewing machine. • Sewing machine accessories – presser feet, needles, threads. • Goggles. Household sewing machine Industrial sewing machine Different types of presser feet 2 PRECIOSA CRYSTAL COMPONENTS APPLICATION MANUAL 3 Sewing – basic rules TYPES OF MACHINE APPLICATION OF CRYSTAL COMPONENTS CHOICE OF THE RIGHT THREAD APPLICATION MACHINE TOOL PROGRAMME NOTE Synthetic threads of 50 – 60 Nm strength are the most suitable for sewing Preciosa stones. The threads Programme for button Switch off the lower Sewing are