Amy's Autumn Bliaut

Total Page：16

File Type：pdf, Size：1020Kb

Amy’s Autumn Bliaut Pattern/Cutting Layout (Not to Scale) E F A B C D G H I J 45” K front back 96” skirt 45” A-D: maunches K: torso (dotted line marks the shoulders, horizontal E-F: sleeves (dotted line marks fold on top of arm) line shows slit-V neck) G-J: gussets for armpits and elbows Vertical lines show the direction of the dupioni slubs in the silk. The pattern is laid out so that the slubs match the direction of the wrinkles across the torso and the gathers in the skirt. Waste fabric is dark green. There will be a few inches of additional waste on the bottom of the skirt (unless you are ridiculously tall), the sides of the torso (unless you are a perfect cylinder), and the bottoms of the maunches (unless you like dragging them in the dirt). Sleeve Lining Sleeve lining is made to match the shape of the maunch (A) with a folded gusset (G) and the folded sleeve (E) all attached. The lining is the pale red and the waste is the darker color (although it would be interesting to see what it would look like the other way around…) Amy’s Autumn Bliaut Sewing Layout E F C/D A/B K 42” skirt (gathered) Letters indicating pattern pieces are the same as in the pattern layout. Vertical lines indicate the direction of dupioni slubs, which are aligned with the wrinkle direction for that part of the gown. Yellow and red overlays show where the trim was added (border on maunches, covering bicep seam, facing around the slit-v neck, and waist trim). I found that the ideal length of the maunches/sleeve for me was approximately 42 inches. This kept them skimming just above the ground when my arms were down, and resulted in my sleeves being the answer to Life, the Universe, and Everything. ☺ Please feel free to use/modify/improve upon this design – I’ve posted it to help you! Kindly cite me if you use any part of this in your own documentation. ©2008 Amy Botica .

Copy Link

Recommended publications

Fashion,Costume,And Culture
FCC_TP_V4_930 3/5/04 3:59 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V4_930 3/5/04 3:59 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 4: Modern World Part I: 19004 – 1945 SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos.
[Show full text]
Magical Clothing Fo R Discerning Adventurers
Magical Clothing fo r Discerning Adventurers Anja Svare Sample file Introduction Table of Contents I really like making magic items. General Clothing 3 Now, there’s nothing wrong with how 5e presents the majority of magic items. But the tend to get a little stale. Potions are all essentially the same, scrolls don’t really have much interest Outerwear 6 other than what spell they contain, you’ve got a few interesting things that aren’t weapons or armor, but that’s about it. Most of those will either break a game because of their power, or Headwear 12 they should require a massive quest of campaign-level, world- spanning heroics to obtain. There just aren’t a lot of items that everyday adventurers want, Footwear 14 that won’t break the bank so to speak, and are things that are actually useful. Everybody wears clothes (I don’t want to think about nude D&D), and everybody loves magic items for their Accessories 16 character.. Combining the two seemed like a good idea, but I didn’t want Special Orders 20 to go with just pants, shirts, etc. I scoured the internet for medieval period clothing, and narrowed down a list of items that were common across a wide range of times and places throughout Europe during the Middle Ages. Now, I did come Glossary 22 across some interesting clothing items that fell outside that range or geography, and a few are included here. None of the items presented here are gender specific. I intentionally left any mention of that out of each item.
[Show full text]
Fashion,Costume,And Culture
FCC_TP_V2_930 3/5/04 3:55 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V2_930 3/5/04 3:55 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 2: Early Cultures Across2 the Globe SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos.
[Show full text]
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.
[Show full text]
Newcomer's Silhouettes of Fashion Show
Newcomer’s Silhouettes of Fashion Show Sokhur Dash Sohkur Dash is wearing early Greek; this outfit is comprised of a teal chiton (tunic), a burgundy himation (overtunic) and a black chlamys (short cloak). Early Greek is a great way to get started in the SCA as it doesn’t require much sewing, looks great, and is very comfortable during those Georgia summers. Signora Justina di Silvestri Signora Justina is wearing garb suitable for a Roman matron. The innermost pink layer is a tunica, green layer is a stola, veil is a palla. These are often made from linen and very light wool. Like Greek, Roman garb is another style that works very well during summers in Geor- gia and can be put together fairly easily. When Justina is not in Roman she often wears garb of a Venetian Courtesan. What makes Courtesan clothing different from what other ladies wore in Venice? Not as much as you would think! In fact, it was difficult to tell the difference because they dressed in very similar styles. In some cases there were sumptuary rules stating that Courtesans would wear a yellow scarf, but that wasn’t always followed. In the SCA, some Courtesans distinguish themselves by wearing a red or yellow veil. Mei Li Yuan & Wendy Mei Li Yuan brings to us the beauty of the late Tang Dynasty court where her focus is dance, as well as Courtly life. Her outfit is comprised of many different pieces and lay- ers, with some of the more noticeable features being the excessively long sleeves used in ‘Water Sleeve Dancing’.
[Show full text]
Fashion,Costume,And Culture
FCC_TP_V3_930 3/5/04 3:57 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V3_930 3/5/04 3:57 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 3: European Culture from the Renaissance to the Modern3 Era SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos.
[Show full text]
Focus for August: Late 12Th Century Dress
August, A.S. XLI page 9 Focus for August: Late 12th Century Dress Each month’s It Cometh in the Mail offers, in addition to the local news and official records which are its main purpose, a few resources relevant to one particular S.C.A. topic. This month’s focus is on the fashionable clothing of the late 21th century C.E.--the sort of thing you’ll want to wear if you’re going to dress to suit the themes of our upcoming Yule and Candlemas events. A 12th-Century Bliaut by Lady Aíbell ingen Dairmata Used by permission. This is a pattern for a bliaut which both fits me and looks a lot like the sculptures. It is on-line mostly so I can reproduce the bliaut or edit the pattern easily. If you are trying to make a bliaut, hopefully it will help. [Chronicler’s note: This article has been adapted for printing. You can see it in its original form, with additional graphics and links, at www.eg.bucknell.edu/~lwittie/sca/garb/bliaut.html.] The bliaut was worn by both men and women from around 1150 to 1250 all over Europe. These directions are based on On Making Bliauts, or Norman Court Dress by Marguerie de Jauncourt and on A Practical Worksheet for Tunic Construction by Cynthia Virtue aka Cynthia du Pre Argent. For the research behind the pattern, see Marguerie's page. Marguerie's current website can be found at bliautlady.50megs.com. Length & Width For a woman, the gown should fall to your toe tips or the floor.
[Show full text]
2.3-Proctor:Layout 1 3/9/07 15:17 Page 70
2.3-Proctor:Layout 1 3/9/07 15:17 Page 70 Extreme fashion: Pushing the boundaries of design, technology and business 70 Structure, constraint and sexual provocation Gillian Proctor Abstract For centuries, the outerwear silhouette has been contrived by means of moulding, coaxing, squeezing, lacing, and effectively forcing the human form into a fascinating series of ‘unmentionables,’ ‘underpinning,’ and ‘foundation wear’ in order to achieve that ultimate silhouette which contemporary fashion demands. This paper will trace the necessity and consequent development of ‘foundation wear,’ specifically corsetry, and through this media, reveal the variances of gender application and social restriction of dress throughout the realms of status and rank. A journey through design development will reveal the idiosyncrasies of technological experimentation to remould the body to a preferred silhouette. The paper will examine breast augmentation – from ‘The Lemon Bust Improver’ to ‘Chicken Fillets,’ – the introduction of ‘Uplift Knickers,’ and the lengths to which women in particular are driven to reshape their bodies to meet the demands of fashion, and will include a look at key pieces from history: the Mantua, the Farthingale, and maternity corsets. The basis for much of my research is routed in my involvement as Advisor to ‘The Symington Collection,’ acknowledged to be the most notable Foundation Collection in the world, started by the Symington Corset manufacturing company based in rural Leicestershire, UK (Warren, 2001). The collection affords an insight into the wonderful world of ‘what lies beneath’ and inspires researchers and students alike to review fashion construction in a new and more architectural light. The paper will trace historical garments, from quirky one-off concepts and various commercial developments to the Keywords: reinstatement of corsetry into the contemporary couture collections of structure, designers such as: Galliano, McQueen, Mugler, and Gaultier.
[Show full text]
CHAPTERIII.Pdf
CHAPTER III Review of Literature The purpose of this research was to determine whether or not poetry (i.e., poems, ballads, and songs) could be used as a source of knowledge on historic dress in a social, political, or economic context, using the dress of Scottish Highlanders from 1603 through 1830 as an example, and to triangulate the findings with other sources that portray dress through the written word or visual image. The review of literature, therefore, will present an overview of Scottish culture in general and the impact of its geography on the cultures of the Highlands and the Lowlands, as well as the history of its relationship with England and surrounding areas. The review of literature was organized in the following manner: subcultures, poetry and poetic analysis, Scottish political climate, Scottish social climate, Scottish economic climate, Scottish dress during the 17th, 18th, and 19th centuries, dress in written works, and content analysis. In the sections on dress, the review of literature provides the documentation of historic dress, an overview of dress from 1603-1830, European dress, Scottish dress, Highland dress, and Irish dress. Subcultures People who interact on a regular basis and behave in a similar manner are considered to be derived from a similar culture (Eicher, Evenson, &Lutz, 2000). Cultures are dependent upon material and non-material objects, including dress, literature, and works of art. In addition to culture, a society may contain one or more subcultures, which arise as a means of dealing with the contradictions that exist within a society. The subculture offers solutions to the contradictions and a “place to be oneself, explore what one is, and to make statements about one’s condition” (Brake, 1974, p.
[Show full text]
Chapter 2 – Design Evolution
axÉ „ WtÇwç WEARABILITY, DESIGN INNOVATION AND THE FORMAL WHITE DRESS SHIRT FOR MEN Dean Brough, Master of Arts (Research) Queensland University of Technology Creative Industries, 2008 Principle Supervisor - Dr Luke Jaaniste Associate Supervisor - Professor Suzi Vaughan Keywords Fashion, design, menswear, dress shirt, white shirt, blouse, wearability, practice- led research, innovation, Neo-Dandy, dandy, gendered object. 1 Abstract This practice-led research creates innovative menswear designs for formal white dress shirts, within boundaries of contemporary mainstream wearability. As a result of an historical analysis, a conceptual spectrum is developed to scope the possibilities of the contemporary white dress shirt, from the orthodox menswear shirt to the many variations of the women’s blouse. Within this spectrum for the white shirt, the possibilities for innovation are discussed in terms of a threshold position between the shirt and the blouse - a position that parallels that of the dandy figure who subversively confronts dress norms of the day. This position is then explored in relation to an acceptable/ ‘wearable’ aesthetic which I have labelled ‘Neo-Dandy’. White shirts from contemporary menswear designers are then examined relative to this aesthetic. In doing so, this examination highlights the white dress shirt as a garment that is ripe for experimentation. My own creative design process is then described as taking up the challenge of Neo-Dandy design innovation for the contemporary white dress shirt. On this archetypal garment, different styles and varying degrees of detailing were tested. A range of ‘concept shirts’ were produced, tested and documented, with each shirt succeeding to various degrees in achieving a Neo-Dandy aesthetic.
[Show full text]
Department of English Language and Literature
MASARYK UNIVERSITY FACULTY OF EDUCATION Department of English Language and Literature Development of English Terminology of Male Fashion Master’s thesis Brno 2018 Author: Supervisor: Bc. Jan Chalupa Mgr. Radek Vogel, PhD. Prohlášení Prohlašuji, že jsem závěrečnou diplomovou práci vypracoval samostatně, s využitím pouze citovaných pramenů, dalších informací a zdrojů v souladu s Disciplinárních řádech pro student Pedagogické fakulty Masarykovy university a se zákonem č. 124/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a změne některách zákonů (autorský zákon), ve znění pozdějších předpisů. Declaration I hereby declare that I worked on the thesis on my own and that I used only the sources listed in the bibliography. Brno 30.3. 2018 …………………………………….. Jan Chalupa Acknowledgements I would like to express my gratitude to Mgr. Radek Vogel, PhD. for his patience, guidance and precious advice during writing this thesis as well as the help with the topic. Abstract Although many research studies were devoted to etymologically themed works, there is no publication that is concerned specifically with male fashion. Therefore, this thesis focuses on the development of the terminology of male fashion. The aim of this thesis is to ascertain the etymological background of the terms of male fashion concerning the language origin, time period and word formation. The first part of the thesis is devoted to outlining the related of linguistic concepts, followed by a brief history of the English language and a brief history of fashion. The last chapter is devoted to the analysis of the terminology that is based on the corpus included in the appendix.
[Show full text]
A Survey of American Women's Underwear and Foundation Garments
The Woman's College of The University of North Carolina LIBRARY COLLEGE COLLECTION Gift of Peggy Sue Ott A SURVEY OF AMERICAN WOMEN'S UNDERWEAR AND FOUNDATION GARMENTS FROM 1875 TO 1950 by PEGGY SUE OTT V A thesis submitted to the Faculty of The Consolidated University of North Carolina in partial fulfillment of the requirements for the decree Master of Science Greensboro 1958 Approved by M /I'fLc^ Advisor ACKNOWLEDGMENT This is in grateful acknowledgment of the time and effort expended by Mrs. Agnes Coxe Watkins, Mrs. Helen Staley, thesis advisorsj and Dr. Pauline Keeney and Dr. I. V. Sperry, Professors of the School of Home Economics of the Woman's College of the University of North Carolina. I also wish to extend my thanks to Dr. Julia Heinlein for serving on my Thesis Committee. I would like to express my appreciation to Miss Letitia Hutton for her assistance in providing illustrations and to Mrs. Martha Hundley for her efficient clerical assistance. In addition to the above, I would like to thank all the various companies who gave information that was used in this study. * TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTION 1 II. REVIEW OF LITERATURE k Explanation of Terminology k Relation of Underwear to the Fashion Silhouette 5 Changes in the Silhouette Effect Changes in Underwear . 5 The Influence of World Affairs On the Fashions of Underwear • 7 III. A SURVEY OF THE DEVELOPMENT OF UNDERWEAR AND FOUNDATION GARMENTS BEFORE 1875 10 Early Civilizations 10 Medieval Period 11 Renaissance • 12 Seventeenth Century lit Eighteenth Century 15 Nineteenth Century • 17 IV.
[Show full text]