Rise and Shine NEW YORK — Sleek, Sexy and Full of Shine, Patent Leather Is the Material of Choice for Accessories Designers This Fall
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Volume 2, Issue 3, Autumn 2018
The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit. -
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. -
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. -
The Nineteenth Century (History of Costume and Fashion Volume 7)
A History of Fashion and Costume The Nineteenth Century Philip Steele The Nineteenth Century Library of Congress Cataloging-in-Publication Data Copyright © 2005 Bailey Publishing Associates Ltd Steele, Philip, 1948– Produced for Facts On File by A history of fashion and costume. Bailey Publishing Associates Ltd The Nineteenth Century/Philip Steele 11a Woodlands p. cm. Hove BN3 6TJ Includes bibliographical references and index. Project Manager: Roberta Bailey ISBN 0-8160-5950-0 Editor:Alex Woolf 1. Clothing and dress—History— Text Designer: Simon Borrough 19th century. 2. Fashion—History— Artwork: Dave Burroughs, Peter Dennis, 19th century. Tony Morris GT595.S74 2005 Picture Research: Glass Onion Pictures 391/.009/034—dc 22 Consultant:Tara Maginnis, Ph.D. 2005049453 Associate Professor of the University of Alaska, Fairbanks, and creator of the website,The The publishers would like to thank Costumer's Manifesto (http://costumes.org/). the following for permission to use their pictures: Printed and bound in Hong Kong. Art Archive: 17 (bottom), 19, 21 (top), All rights reserved. No part of this book may 22, 23 (left), 24 (both), 27 (top), 28 be reproduced or utilized in any form or by (top), 35, 38, 39 (both), 40, 41 (both), any means, electronic or mechanical, including 43, 44, 47, 56 (bottom), 57. photocopying, recording, or by any information Bridgeman Art Library: 6 (left), 7, 9, 12, storage or retrieval systems, without permission 13, 16, 21 (bottom), 26 (top), 29, 30, 36, in writing from the publisher. For information 37, 42, 50, 52, 53, 55, 56 (top), 58. contact: Mary Evans Picture Library: 10, 32, 45. -
American Broadcasting Company from Wikipedia, the Free Encyclopedia Jump To: Navigation, Search for the Australian TV Network, See Australian Broadcasting Corporation
Scholarship applications are invited for Wiki Conference India being held from 18- <="" 20 November, 2011 in Mumbai. Apply here. Last date for application is August 15, > 2011. American Broadcasting Company From Wikipedia, the free encyclopedia Jump to: navigation, search For the Australian TV network, see Australian Broadcasting Corporation. For the Philippine TV network, see Associated Broadcasting Company. For the former British ITV contractor, see Associated British Corporation. American Broadcasting Company (ABC) Radio Network Type Television Network "America's Branding Broadcasting Company" Country United States Availability National Slogan Start Here Owner Independent (divested from NBC, 1943–1953) United Paramount Theatres (1953– 1965) Independent (1965–1985) Capital Cities Communications (1985–1996) The Walt Disney Company (1997– present) Edward Noble Robert Iger Anne Sweeney Key people David Westin Paul Lee George Bodenheimer October 12, 1943 (Radio) Launch date April 19, 1948 (Television) Former NBC Blue names Network Picture 480i (16:9 SDTV) format 720p (HDTV) Official abc.go.com Website The American Broadcasting Company (ABC) is an American commercial broadcasting television network. Created in 1943 from the former NBC Blue radio network, ABC is owned by The Walt Disney Company and is part of Disney-ABC Television Group. Its first broadcast on television was in 1948. As one of the Big Three television networks, its programming has contributed to American popular culture. Corporate headquarters is in the Upper West Side of Manhattan in New York City,[1] while programming offices are in Burbank, California adjacent to the Walt Disney Studios and the corporate headquarters of The Walt Disney Company. The formal name of the operation is American Broadcasting Companies, Inc., and that name appears on copyright notices for its in-house network productions and on all official documents of the company, including paychecks and contracts. -
Everything You Need to Know
THE GUIDEEVERYTHING YOU NEED TO KNOW. WHO’S SHOWING? FASHION WEEK FASHION WEEKEND #BotchedbyBeth Augustine Aurai Swimwear Caitlin Crisp FQ & Miss FQ Present: The Edit with: Juliette Hogan, Campbell Luke Kate Sylvester, Ruby, Lonely, Stolen Cecilia Kang Couture Girlfriends Club, Moochi Courtney Pellow Good Magazine Presents: Dennis Raymond Aurai Swimwear, Grumpysuns, Edmund Hillary Collection Mane Project, Outliv, Ovna Ovich, Georgia Alice Papinelle, Tonic & Cloth, WE-AR Hailwood HITO Seminar MAYORAL MESSAGE Harris Tapper Havilah iD Dunedin Welcome to Auckland and the region’s most stylish event, teams, hair and make-up crews, models, volunteers, lighting and Hayley Smith Little Treasures Presents Kids Show: New Zealand Fashion Week. Auckland Council has had a long sound technicians, support and catering staff. Heaven Swimwear Belly Bandit, Breastmates, Egg, Rock association with NZFW, an important part of Auckland’s Your Bump, Whitegold Local companies provide event infrastructure and services, hej-hej creative landscape. and beyond the event, it brings visitors to our restaurants, shops Huffer Mercy Hospice Having a thriving creative scene is vital to a world-class city, and hotels, with precincts like North Wharf, the Viaduct and Jarrad Godman energising its heart and soul, its quality of life and its economy. Britomart just moments away from the catwalk. JIMI PIA Auckland’s creative professionals are recognised around the Jockey A warm welcome to our domestic and international visitors Ponsonby Presents: world for their skill and innovation, making this region the Yvonne Benetti, Storm, here for the week and for all participants and attendees. I hope Judy Gao Couture leading location for New Zealand’s creative industries. -
The Walt Disney Company: a Corporate Strategy Analysis
The Walt Disney Company: A Corporate Strategy Analysis November 2012 Written by Carlos Carillo, Jeremy Crumley, Kendree Thieringer and Jeffrey S. Harrison at the Robins School of Business, University of Richmond. Copyright © Jeffrey S. Harrison. This case was written for the purpose of classroom discussion. It is not to be duplicated or cited in any form without the copyright holder’s express permission. For permission to reproduce or cite this case, contact Jeff Harrison at [email protected]. In your message, state your name, affiliation and the intended use of the case. Permission for classroom use will be granted free of charge. Other cases are available at: http://robins.richmond.edu/centers/case-network.html "Walt was never afraid to dream. That song from Pinocchio, 'When You Wish Upon a Star,' is the perfect summary of Walt's approach to life: dream big dreams, even hopelessly impossible dreams, because they really can come true. Sure, it takes work, focus and perseverance. But anything is possible. Walt proved it with the impossible things he accomplished."1 It is well documented that Walt Disney had big dreams and made several large gambles to propel his visions. From the creation of Steamboat Willie in 1928 to the first color feature film, “Snow White and the Seven Dwarves” in 1937, and the creation of Disneyland in Anaheim, CA during the 1950’s, Disney risked his personal assets as well as his studio to build a reality from his dreams. While Walt Disney passed away in the mid 1960’s, his quote, “If you can dream it, you can do it,”2 still resonates in the corporate world and operations of The Walt Disney Company. -
Nielsen N.V. (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K (Mark One) ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2014 OR TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission file number 001-35042 Nielsen N.V. (Exact name of registrant as specified in its charter) The Netherlands 98-0662038 (State of incorporation) (I.R.S. Employer Identification No.) 85 Broad Street Diemerhof 2 New York, New York 10004 1112 XL Diemen (646) 654-5000 The Netherlands +31 (0) 20 398 87 77 (Address, including zip code, and telephone number, including area code, of the registrant’s principal executive offices) Securities registered pursuant to Section 12(b) of the Act: Title of each class Name of each exchange on which registered Common stock, par value €0.07 per share New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
Applied Corporate Finance- 3Rd Edition
Preface Let me begin this preface with a confession of a few of my own biases. First, I believe that theory and the models that flow from it should provide the tools to understand, analyze, and solve problems. The test of a model or theory then should not be based on its elegance but on its usefulness in problem solving. Second, there is little in corporate financial theory that is new and revolutionary. The core principles of corporate finance are common sense and have changed little over time. That should not be surprising. Corporate finance is only a few decades old, and people have been running businesses for thousands of years; it would be exceedingly presumptuous of us to believe that they were in the dark until corporate finance theorists came along and told them what to do. To be fair, it is true that corporate financial theory has made advances in taking commonsense principles and providing structure, but these advances have been primarily on the details. The story line in corporate finance has remained remarkably consistent over time. Talking about story lines allows me to set the first theme of this book. This book tells a story, which essentially summarizes the corporate finance view of the world. It classifies all decisions made by any business into three groups—decisions on where to invest the resources or funds that the business has raised, either internally or externally (the investment decision), decisions on where and how to raise funds to finance these investments (the financing decision), and decisions on how much and in what form to return funds back to the owners (the dividend decision). -
Machine Learning (Ml) for Tracking the Geo-Temporality of a Trend: Documenting the Frequency of the Baseball-Trucker Hat on Social Media and the Runway
MACHINE LEARNING (ML) FOR TRACKING THE GEO-TEMPORALITY OF A TREND: DOCUMENTING THE FREQUENCY OF THE BASEBALL-TRUCKER HAT ON SOCIAL MEDIA AND THE RUNWAY A Thesis Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Master of Arts by Rachel Rose Getman May 2019 © 2019 Rachel Rose Getman ABSTRACT This study applied fine-grained Machine Learning (ML) to document the frequency of baseball-trucker hats on social media with images populated from the Matzen et al. (2017) StreetStyle-27k Instagram dataset (2013-2016) and as produced in runway shows for the luxury market with images populated from the Vogue Runway database (2000-2018). The results show a low frequency of baseball-trucker hats on social media from 2013-2016 with little annual fluctuation. The Vogue Runway plots showed that baseball-hats appeared on the runway before 2008 with a slow but steady annual increase from 2008 through 2018 with a spike in 2016 to 2017. The trend is discussed within the context of social, cultural, and economic factors. Although ML requires refinement, its use as a tool to document and analyze increasingly complex trends is promising for scholars. The study shows one implementation of high-level concept recognition to map the geo-temporality of a fashion trend. BIOGRAPHICAL SKETCH Rachel R. Getman holds a bachelor’s degree in Anthropology from the University of California at Los Angeles (UCLA). Her interests lie in the intersection of arts and sciences through interdisciplinary collaboration. The diversification of her professional experience from the service industry, education, wardrobe styling, apparel production, commercial vocals, and organic agriculture influence her advocacy for holistic thinking and non-linear problem solving. -
Nielsen Holdings Plc (Exact Name of Registrant As Specified in Its Charter)
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 Form 10-K (Mark One) þ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2015 OR ¨ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission file number 001-35042 Nielsen Holdings plc (Exact name of registrant as specified in its charter) England and Wales 98-1225347 (State of incorporation) (I.R.S. Employer Identification No.) 85 Broad Street A C Nielsen House New York, New York 10004 London Road (646) 654-5000 Oxford Oxfordshire, OX3 9RX United Kingdom +1 (646) 654-5000 ( Address, including zip code, and telephone number, including area code, of the registrant’s principal executive offices) Securities registered pursuant to Section 12(b) of the Act: Title of each class Name of each exchange on which registered Ordinary shares, par value €0.07 per share New York Stock Exchange Securities registered pursuant to Section 12(g) of the Act: None Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes þ No ¨ Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes ¨ No þ Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. -
The Walt Disney Company: a Corporate Strategy Analysis
University of Richmond UR Scholarship Repository Robins Case Network Robins School of Business 11-2012 The altW Disney Company: A Corporate Strategy Analysis Carlos Carillo Jeremy Crumley Kendree Thieringer Jeffrey S. Harrison University of Richmond Follow this and additional works at: http://scholarship.richmond.edu/robins-case-network Part of the Business Administration, Management, and Operations Commons, International Business Commons, and the Marketing Commons Recommended Citation Carillo, Carlos, Jeremy Crumley, Kendree Thieringer, and Jeffrey S. Harrison. The Walt Disney Company: A Corporate Strategy Analysis. Case Study. University of Richmond: Robins School of Business, 2012. This Case Study is brought to you for free and open access by the Robins School of Business at UR Scholarship Repository. It has been accepted for inclusion in Robins Case Network by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. The Walt Disney Company: A Corporate Strategy Analysis November 2012 Written by Carlos Carillo, Jeremy Crumley, Kendree Thieringer and Jeffrey S. Harrison at the Robins School of Business, University of Richmond. Copyright © Jeffrey S. Harrison. This case was written for the purpose of classroom discussion. It is not to be duplicated or cited in any form without the copyright holder’s express permission. For permission to reproduce or cite this case, contact Jeff Harrison at [email protected]. In your message, state your name, affiliation and the intended use of the case. Permission for classroom use will be granted free of charge. Other cases are available at: http://robins.richmond.edu/centers/case-network.html "Walt was never afraid to dream.