St. Andrew's Noble Order of Royal Scots Costume Guidelines
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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. -
Diana's Favorite Things
Diana’s Favorite Things By Trail End State Historic Site Curator Dana Prater; from Trail End Notes, March 2000 “Girls in white dresses with blue satin sashes ... “ Although we didn’t find a blue satin sash, we recently discovered something even better. While cataloging items from the Manville Kendrick Estate collection, we had the pleasure of examining some fantastic dresses that belonged to Manville’s wife, Diana Cumming Kendrick. Fortunately for us, Diana saved many of her favorite things, and these dresses span almost sixty years of fashion history. Diana Cumming (far right) and friends, c1913 (Kendrick Collection, TESHS) Few things reveal as much about our personalities and lifestyles as our clothing, and Diana Kendrick’s clothes are no exception. There are two silk taffeta party dresses dating from around 1914-1916 and worn when Diana was a young teenager. The pink one is completely hand sewn and the rounded neckline and puffy sleeves are trimmed with beaded flowers on a net background. Pinked and ruched fabric ribbons loop completely around the very full skirt, which probably rustled delightfully when she danced. The pale green gown consists of an overdress with a shorter skirt and an underdress - almost like a slip. The skirt of the slip has the same pale green fabric and extends out from under the overskirt. Both skirt layers have a scalloped hem. A short bertha (like a stole) is attached at the back of the rounded neckline and wraps around the shoulders, repeating the scalloped motif and fastening at the front. This dress even includes a mini-bustle of stiff buckram to add fullness in the back. -
The French New Wave and the New Hollywood: Le Samourai and Its American Legacy
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 3 (2010) 109–120 The French New Wave and the New Hollywood: Le Samourai and its American legacy Jacqui Miller Liverpool Hope University (United Kingdom) E-mail: [email protected] Abstract. The French New Wave was an essentially pan-continental cinema. It was influenced both by American gangster films and French noirs, and in turn was one of the principal influences on the New Hollywood, or Hollywood renaissance, the uniquely creative period of American filmmaking running approximately from 1967–1980. This article will examine this cultural exchange and enduring cinematic legacy taking as its central intertext Jean-Pierre Melville’s Le Samourai (1967). Some consideration will be made of its precursors such as This Gun for Hire (Frank Tuttle, 1942) and Pickpocket (Robert Bresson, 1959) but the main emphasis will be the references made to Le Samourai throughout the New Hollywood in films such as The French Connection (William Friedkin, 1971), The Conversation (Francis Ford Coppola, 1974) and American Gigolo (Paul Schrader, 1980). The article will suggest that these films should not be analyzed as isolated texts but rather as composite elements within a super-text and that cross-referential study reveals the incremental layers of resonance each film’s reciprocity brings. This thesis will be explored through recurring themes such as surveillance and alienation expressed in parallel scenes, for example the subway chases in Le Samourai and The French Connection, and the protagonist’s apartment in Le Samourai, The Conversation and American Gigolo. A recent review of a Michael Moorcock novel described his work as “so rich, each work he produces forms part of a complex echo chamber, singing beautifully into both the past and future of his own mythologies” (Warner 2009). -
"Flemish" Hats Or, Why Are You Wearing a Lampshade? by BRIDGET WALKER
Intro to Late Period "Flemish" Hats Or, Why Are You Wearing a Lampshade? BY BRIDGET WALKER An Allegory of Autumn by Lucas Van Valkenborch Grietje Pietersdr Codde by Adriaen (1535-1597) Thomasz. Key, 1586 Where Are We Again? This is the coast of modern day Belgium and The Netherlands, with the east coast of England included for scale. According to Fynes Moryson, an Englishman traveling through the area in the 1590s, the cities of Bruges and Ghent are in Flanders, the city of Antwerp belongs to the Dutchy of the Brabant, and the city of Amsterdam is in South Holland. However, he explains, Ghent and Bruges were the major trading centers in the early 1500s. Consequently, foreigners often refer to the entire area as "Flemish". Antwerp is approximately fifty miles from Bruges and a hundred miles from Amsterdam. Hairstyles The Cook by PieterAertsen, 1559 Market Scene by Pieter Aertsen Upper class women rarely have their portraits painted without their headdresses. Luckily, Antwerp's many genre paintings can give us a clue. The hair is put up in what is most likely a form of hair taping. In the example on the left, the braids might be simply wrapped around the head. However, the woman on the right has her braids too far back for that. They must be sewn or pinned on. The hair at the front is occasionally padded in rolls out over the temples, but is much more likely to remain close to the head. At the end of the 1600s, when the French and English often dressed the hair over the forehead, the ladies of the Netherlands continued to pull their hair back smoothly. -
Mantilla Veil NHV Winners and More
Issue 113 - August 2015 This month... Next Issue: August 19th, 2015 Marketing Hats Caren Lee Make a Mantilla Veil NHV Winners And More... the e-magazine for those who make hats Issue 113 August 2015 Contents: The Hatwalk 2 SJ Brown’s advice for marketing millinery on fashion weeks’ runways. Hat of the Month 6 A Melbourne Cup piece by Caren Lee. Make a Shoulder Length Mantilla Veil 8 A tutorial by Denise Innes-Spencer of The British School of Millinery. The NHV Hat Contest 19 The Dutch Hat Association’s 2015 competition winners. Letter to the Editor 24 Advice on applying stiffener. The Back Page 25 Royal Ascot 2015, HATalk Give Away and how to contact us. Cover/Back Pages: 1 www.hatalk.com Head wear by Denise Innes The Hatwalk: Marketing millinery on fashion weeks’ runways Not every country can boast a ‘Hat handing out thousands of business Week’ like England. As a milliner in cards. Still, I was getting nowhere. the United States, I wish there was a So, how does a milliner sell hats New York Hat Week or Chicago Hat in a country where hats are not so Week, but no such luck. Until those commonplace? As with any good cities take the cue from London and marketing plan, you have to know create their own Hat Weeks, I will be your audience. perfectly content just crashing the party on my local runway. After trying all the normal marketing ploys, I realized the normal American Why am I crashing the ‘fashion week’ woman is not my target audience. -
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. -
What's Inside: Northern Oaken War Maneuvers Completed Heroically
The newsletter of the Cleftlands, Vol. 4: Issue 16, June, 2001 HOW TO SUBMIT NAMES AND Northern Oaken War Maneuvers DEVICES Completed Heroically By Paul Wickenden of Thanet, Escutcheon Herald, reprinted with per- The day dawned clear, bright, and everyone who helped set up and man mission from his web site warm. Despite a week of unseasonably the field. In addition to the war low temperatures, the tradition of a practice shoots, there was a competition There seems to be a lot of confu- hot NOWM held out. Driving in to for North Oaken archery champion, sion on this matter, so I figure that the Ukrainian Youth camp has become which was won by our own Gladius the I had better explain how things almost as familiar an experience as Alchemist. work. The submission process is driving into Cooper’s Lake. After really quite simple. parking in the carefully cordoned-off On the fencing lists (conveniently parking area, one came upon a large and located near the merchants), novice and A complete name submission well-organized Troll tent. Lady Rosa melee tournaments were held. Giles (whether for your persona, alter- would like to thank Guenhwyfar and FitzAlbert won the Fellowship of the nate name, or household name) Celeste for their assistance taking pre- Oaken Blade raffle and the novice should include the following: regs. There were over 475 gentles in tourney. Two prizes were purchased for attendance, though with the ample the novice tourney accidentally, • Two copies of the Name space of the event site, which was and the second prize when to the Submission form (one for Dragon, better used, in my opinion, this year runner-up: Stephan Von Lubeck. -
The Shape of Women: Corsets, Crinolines & Bustles
The Shape of Women: Corsets, Crinolines & Bustles – c. 1790-1900 1790-1809 – Neoclassicism In the late 18th century, the latest fashions were influenced by the Rococo and Neo-classical tastes of the French royal courts. Elaborate striped silk gowns gave way to plain white ones made from printed cotton, calico or muslin. The dresses were typically high-waisted (empire line) narrow tubular shifts, unboned and unfitted, but their minimalist style and tight silhouette would have made them extremely unforgiving! Underneath these dresses, the wearer would have worn a cotton shift, under-slip and half-stays (similar to a corset) stiffened with strips of whalebone to support the bust, but it would have been impossible for them to have worn the multiple layers of foundation garments that they had done previously. (Left) Fashion plate showing the neoclassical style of dresses popular in the late 18th century (Right) a similar style ball- gown in the museum’s collections, reputedly worn at the Duchess of Richmond’s ball (1815) There was public outcry about these “naked fashions,” but by modern standards, the quantity of underclothes worn was far from alarming. What was so shocking to the Regency sense of prudery was the novelty of a dress made of such transparent material as to allow a “liberal revelation of the human shape” compared to what had gone before, when the aim had been to conceal the figure. Women adopted split-leg drawers, which had previously been the preserve of men, and subsequently pantalettes (pantaloons), where the lower section of the leg was intended to be seen, which was deemed even more shocking! On a practical note, wearing a short sleeved thin muslin shift dress in the cold British climate would have been far from ideal, which gave way to a growing trend for wearing stoles, capes and pelisses to provide additional warmth. -
Clothing Docum.Indd
1545 Italian Courtesan Clothing by Baroness Briana Etain MacKorkhill hen we think of Italy, we should remember that in the period we are discussing, it was divided into various duchies, princedoms, Papal Wstates and even a Republic. Such divisiveness contributed to the political intrigue and economic situations that kept such territories in a state of flux and contention with each other. Each state not only vied for economic advantages, but also scrambled for Papal sponsorship and favor. A new role for women gainst this tumultuous background, there arose a new role a woman could Aassume, that of the “honest” courtesan. Giovanni Burchard, the chronicler of Alexander VI (Borgia) was perhaps the first to use the phrase “courtesanae honestae” making explicit its derivation from the papal curia. He differentiated between them and common prostitutes, offering some piquant accounts of some of the games played at social affairs. And in Rome, according to a document in the Archivo di Stato Florentino the “honest courtesan” held the first of 3 classes of prostitutes. They were the “regents and goddesses” from nearly the beginning. An honest courtesan was independent, strong-willed, well-educated, liberated and often elevated to be an aristocratic companion. She was frequently fluent in several languages, achieved prominence in the arts – as poets, musicians, etc. – and would use her knowledge of classical literature to enhance her image. She was at once, companion, lover, confidant, and even advisor in matters both political and economic. “Continual dualism of free and yet bound”, best describes the balancing of a courtesan’s life. This all in a time when women had very little freedom otherwise. -
Get a Taste of Theatre Design with Our Newest Series: the Old Globe Coloring Book! Every Thursday, We'll Post a New Page Featu
Get a taste of theatre design with our newest series: The Old Globe Coloring Book! Every Thursday, we’ll post a new page featuring an original design for costumes, sets, or props from past Globe shows. Along the way, you’ll be treated to design insight from artisans who brought these ideas to life. Color them in however you want (creativity welcome!), and post on your social media and tag @theoldglobe and #globecoloringbook. The following Tuesday, we’ll post some of our favorites, along with the designer’s original rendering and a photo of the final design onstage. It’s time for your vision to take the spotlight! Hamlet: Laertes, a young lord Dashing in a velvet cloak and cap, a richly textured houndstooth doublet (jacket) and breeches (calf length trousers). Cap is decorated with ostrich plumes, often placed on the left side of the cap leaving the right sword arm free to fight. A sword was an essential part of a gentlemen’s dress in the 17th century. Hamlet: In this 2007 production of Hamlet, the costumes were made from silk and wool fabrics in the shades of pale grey. In contrast, the main character, Hamlet, wore both a black and a scarlet suede doublet and breeches. The ladies were dressed in long sumptous gowns with corsets and padded petticoats. Sword fighting and scheming was afoot under the stars on the magical outdoor Lowell Davies Festival Stage. Familiar: Anne, eccentric aunt from Zimbabwe Costumed in grand style in a long colorful floral cotton skirt, blouse with large sleeve ruffles, and matching headdress. -
The Evolution of Fashion
^ jmnJinnjiTLrifiriniin/uuinjirirLnnnjmA^^ iJTJinjinnjiruxnjiJTJTJifij^^ LIBRARY THE UNIVERSITY OF CALIFORNIA SANTA BARBARA FROM THE LIBRARY OF F. VON BOSCHAN X-K^IC^I Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/evolutionoffashiOOgardiala I Hhe Sbolution of ifashion BY FLORENCE MARY GARDINER Author of ^'Furnishings and Fittings for Every Home" ^^ About Gipsies," SIR ROBERT BRUCE COTTON. THE COTTON PRESS, Granvii^le House, Arundel Street, VV-C- TO FRANCES EVELYN, Countess of Warwick, whose enthusiastic and kindly interest in all movements calculated to benefit women is unsurpassed, This Volume, by special permission, is respectfully dedicated, BY THE AUTHOR. in the year of Her Majesty Queen Victoria's Diamond Jubilee, 1897. I I I PREFACE. T N compiling this volume on Costume (portions of which originally appeared in the Lndgate Ilhistrated Magazine, under the editorship of Mr. A. J. Bowden), I desire to acknowledge the valuable assistance I have received from sources not usually available to the public ; also my indebtedness to the following authors, from whose works I have quoted : —Mr. Beck, Mr. R. Davey, Mr. E. Rimmel, Mr. Knight, and the late Mr. J. R. Planchd. I also take this opportunity of thanking Messrs, Liberty and Co., Messrs. Jay, Messrs. E. R, Garrould, Messrs. Walery, Mr. Box, and others, who have offered me special facilities for consulting drawings, engravings, &c., in their possession, many of which they have courteously allowed me to reproduce, by the aid of Miss Juh'et Hensman, and other artists. The book lays no claim to being a technical treatise on a subject which is practically inexhaustible, but has been written with the intention of bringing before the general public in a popular manner circumstances which have influenced in a marked degree the wearing apparel of the British Nation. -
Costume Crafts an Exploration Through Production Experience Michelle L
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 Costume crafts an exploration through production experience Michelle L. Hathaway Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Hathaway, Michelle L., "Costume crafts na exploration through production experience" (2010). LSU Master's Theses. 2152. https://digitalcommons.lsu.edu/gradschool_theses/2152 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. COSTUME CRAFTS AN EXPLORATION THROUGH PRODUCTION EXPERIENCE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Arts in The Department of Theatre by Michelle L. Hathaway B.A., University of Colorado at Denver, 1993 May 2010 Acknowledgments First, I would like to thank my family for their constant unfailing support. In particular Brinna and Audrey, girls you inspire me to greatness everyday. Great thanks to my sister Audrey Hathaway-Czapp for her personal sacrifice in both time and energy to not only help me get through the MFA program but also for her fabulous photographic skills, which are included in this thesis. I offer a huge thank you to my Mom for her support and love.