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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 -
A Brief History of the Evolution of Operating Room Attire
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 1 From formalwear and frocks to scrubs and gowns: A brief history of the evolution of operating room attire AUTHORS Jessica L. Buicko, MD1 Michael A. Lopez, DO1 Miguel A. Lopez-Viego, MD, FACS1 1Department of Surgery, University of Miami-JFK Medical Center, Atlantis, FL CORRESPONDING AUTHOR Jessica L. Buicko 225 NE 1st St #209 Delray Beach, FL 33444 518-229-7711 [email protected] ©2016 by the American College of Surgeons. All rights reserved. CC2016 Poster Competition • From formal wear and frocks to scrubs and gowns • 6 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Most of the knowledge of the history of surgical Introduction attire is derived from drawings, paintings and Stroll into any operating room and you will find surgeons anecdotal reports. Although conventional adorned in various shades of blues and greens along with their today, “scrubs” were not routinely worn until masks, scrub hats, and surgical gowns. The surgical attire that has become commonplace throughout operating rooms around the mid-20th century. In the 19th century, it the world, has only been around for less than a century. would be commonplace for a surgeon to shrug off his suit jacket, roll up his sleeves, throw on A brief surgical timeline a frock or apron, and begin operating. Over the Prior to 19th century - Surgeons performed operations in their years, surgical garb continues to evolve to make street clothes with the only concessions being the removal of procedures safer for both the patient and the coats and rolling-up of shirt-sleeves during bloody procedures. -
Attire Tailoring Fine Formal Hire
Attire Tailoring fine formal hire www.attiretailoring.co.uk Here at Attire Tailoring we know more than anybody that it is so imperative to look and feel your outright best on this huge day. Getting everybody in co-ordinating outfits is simple with our broad hirewear assortment, accessible in pretty much every size. With top of the line formal outfits and coordinating accessories, you’ll discover all that you need to put your best self forward, with costs from just £35 per outfit. View our wide scope of styles and shading palettes on the web and build your look using our intelligent Outfit Builder. With our totally online service you can arrange everthing without the need to visit a store . With our online service, we’ll send you the style of your choice for a two day trial in your own home, months before the wedding. Plan your wedding rapidly and where needed with our online assistance. With over 20 years of hirewear experience everything you need is taken care of. The choice is yours... Hire is the flexible choice. It doesn’t matter if it’s 1 or 100 guests, we have the sizes to fit the whole party - even the little ones! Hire is the convenient choice. Your wedding party can be located any- where in the UK and we’ll make sure all outfits are delivered up to a full week before the function date. Travelling to the UK from abroad? We deliver to hotels too! Hire is the sustainable/ethical choice. Renting is recylcing. Go on! book your fitting atwww.attire-tailoring.co.uk *The Try On service is only available on selected months. -
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. -
Price List MORNINGWEAR LOUNGE SUITS
ADDITIONAL ITEMS Item Details Price CUFFLINKS / CRAVAT PIN (With packages) £6 / €8 Add a taller top hat to any Morning Suit Package £30 / €42 TOP HATS Add a grey or black top hat to any Morning Suit Package £20 / €28 SHOES Formal shoes in adult sizes 6-13 to hire with any outfit £20 / €28 ACCESSORIES PACK Waistcoat, shirt and cravat or tie (1 week’s hire) £40 / €56 JUNIOR ACCESSORIES PACK Waistcoat, shirt and cravat or tie (1 week’s hire) £35 / €49 STUDENT DISCOUNT Student discounts are available for graduation balls and schools proms. Please speak to a member of staff for more details. EXTENDED HIRE If you are getting married abroad we can arrange extended hire or you can collect your suit from us a week early. Ask in store for details on our extended hire options and prices. INSTANT HIRE Many of our stores hold a range of eveningwear available for instant hire. Where instant hire is not possible we will always endeavour to meet your requirements, however a carriage charge may be required. ADDITIONAL INFORMATION MOSS BESPOKE All prices relate to weekend hire. Prices and package contents are Moss Bespoke offers a bold new approach to men’s tailoring – correct at the time of going to print although may be subject to crafted by you, to suit your style and personality. subsequent change. At the heart of Moss Bespoke is customisation; as simple as 1-2-3. Obtaining Peace Of Mind Assurance at an additional cost of £9.00 / €12 will exclude the customer’s accidental damage liability Select your cut, choose the fabric that fits the occasion for the maximum value of the goods hired (excluding tops hats). -
Costume Design for You Never Can Tell
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research and Creative Activity in Theatre and Film Theatre and Film, Johnny Carson School of 5-2010 Costume Design for You Never Can Tell Emily S. Parker University of Nebraska at Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/theaterstudent Part of the Other Theatre and Performance Studies Commons Parker, Emily S., "Costume Design for You Never Can Tell" (2010). Student Research and Creative Activity in Theatre and Film. 11. https://digitalcommons.unl.edu/theaterstudent/11 This Article is brought to you for free and open access by the Theatre and Film, Johnny Carson School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research and Creative Activity in Theatre and Film by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. COSTUME DESIGN FOR YOU NEVER CAN TELL by Emily Parker A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Fine Arts Major: Theatre Arts Under the Supervision of Professor Janice Stauffer Lincoln, Nebraska May, 2010 COSTUME DESIGN FOR YOU NEVER CAN TELL Emily Parker, M.F.A. University of Nebraska, 2010 Advisor: Janice Stauffer This thesis will expound upon the costume design process for The Johnny Carson School of Theatre and Film’s 2009 production of You Never Can Tell, performed in the Howell Theatre at the University of Nebraska – Lincoln. Directed by Dr. Tice Miller, and Mijou Sahiouni, Assistant Director, the production team included Emily Parker as the Costume Designer, Ahna Packard as the Set Designer, and Harrison Hohnholt as the Lighting Designer. -
Dressage Attire & Equipment
Dressage Attire & Equipment updated 4/1/16 ACKNOWLEDGEMENTS The USEF Licensed Officials/Continuing Education Department would like to thank the following for their contributions to this booklet. United States Equestrian Federation, Inc. Dressage Committee Janine Malone – Dressage Technical Delegate, Editor Lisa Gorretta – Dressage Technical Delegate, Assistant Editor Jean Kraus – Dressage Technical Delegate, Assistant Editor Copyright © 2013 Do not reproduce without permission of: United States Equestrian Federation, Inc. 4047 Iron Works Parkway Lexington, KY 40511 www.usef.org 2 Dressage Equipment Booklet Updated 4/1/16 Introduction The purpose of this pamphlet is to assist USEF Dressage Technical Delegates, Dressage Judges and Stewards who officiate Dressage classes at any Federation licensed competition. Officials must be familiar with DR120 and DR121 in the current USEF Rule Book, plus the accompanying photos and drawings. Illustration through photos and drawings have been used to indicate what makes a particular piece of equipment or attire legal or illegal for use at Federation licensed competitions offering Dressage classes. In no way does this booklet supercede the most current USEF Rule Book. *Bits/equipment will be on the website as new items are reviewed plus some additional information on the rules. Updated 4/1/16 Dressage Equipment Booklet 3 Part One - Dress DR120 Dress 1. The dress code for all Dressage tests and classes through Fourth Level (see .5 below) is a short riding coat of conservative color, with tie, choker, stock tie or integrated stand-up collar, white or light-colored breeches or jodhpurs, boots or jodhpur boots, and protective headgear as defined in DR120.6 and in compliance with GR801. -
Dress Code Table
DRESS CODE FOR CONFERMENT CEREMONIES Wreathbinding Conferment Ceremony and Church Conferment and service or Secular Service Dinner and swordwhetting Ball day Masters, evening tail evening tail coat 1), black waistcoat, white evening tail gentlemen coat 1), white gloves, wreath and ring coat 1), white waistcoat waistcoat, white gloves, wreath and ring Masters, colourful, white, fulllength gown that is not white, ladies fulllength décolleté, white gloves and shoes, fulllength evening gown 2) wreath and ring 3) gown, white gloves and shoes, wreath and ring 5) Wreath evening tail evening tail coat 1), black waistcoat, white evening tail binders coat 1), white gloves coat 1), white waistcoat waistcoat, white gloves Wreath colourful, white, fulllength gown that is not White fulllength binderesses fulllength décolleté, white gloves and shoes 3) gown, white evening gown 2) gloves and shoes 5) Jubilee evening tail evening tail coat 1), black waistcoat, white evening tail masters, coat 1), white gloves, wreath and ring coat 1), white gentlemen waistcoat waistcoat, white gloves, wreath and ring Jubilee colourful, black, fulllength gown that is not black, masters, fulllength décolleté, black gloves and shoes, fulllength ladies evening gown 2) wreath and ring 4) gown, black gloves and shoes, wreath and ring 5) Jubilee evening tail evening tail coat 1), black waistcoat, white evening tail masters' coat 1), white gloves coat 1), white wreath waistcoat waistcoat, white binders gloves Jubilee colourful, black, fulllength gown that is not -
Clothing Terms from Around the World
Clothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat. -
Dress Like a Pilgrim a Procurement Guide by Mayflower Guard
DRESS LIKE A PILGRIM A Procurement Guide SEPTEMBER 29, 2018 THE MAYFLOWER GUARD General Society of Mayflower Descendants Dress Like a Pilgrim A Procurement Guide By Mayflower Guard As James Baker, noted Pilgrim historian, points out in his recent article in the Mayflower Journal 1 there is a major image problem associated with what clothing and apparel Pilgrims wore. The image of black clothing, buckles and blunderbusses persist in the public mind. To overcome this misperception and to assist in this effort to change public perceptions, the donning of appropriate garments representing what the Pilgrims actually wore should be a major objective for the commemoration of the 1 Baker, James W., Pilgrim Images III, Mayflower Journal Vol. 2, No. 1 [2017], pp 7-19 1 400th anniversary of the arrival of the Mayflower. We the Mayflower descendants need to Dress Like a Pilgrim and wear Pilgrim Appropriate Apparel (PAA). So, what did Pilgrim men and women wear? Fabrics In 17th Century England and in the Netherlands, there were two basic fabrics that were used for clothing, wool and linen. There was combination of wool and linen know has fustian corduroy that was also used, however finding this fabric today is almost impossible. Cotton while available was very rare and very expensive in the early 17th century. Colors We know that the Pilgrims wore a variety of colors in their clothing from probate records where the color of various clothing items were mentioned including the colors violet, blue, green.1,2 The color red was also listed. However, the reds that were used in the early 17th century were more of a brick red and a matter red which is a little more orange in nature than modern reds. -
The Common Civil War Soldier
The Common Civil War Soldier The American Battlefield Trust Traveling Trunk Program Lesson #1 Military Issued Military Issued Mississippi Hardee Hat Rifle & Bayonet Military Issued Frock Coat Military Issued Knapsack & Blanket Roll Military Issued Haversack Military Issued Canteen Military Issued Brogans/Booties Figure 1 Union Jacket-AKA Sack Coat Military issued jacket also commonly known as a sack coat. Worn by enlisted men and non-commissioned officers, the jacket is unlined and made of wool. The jacket is adorned with four brass buttons. Confederate Jacket Confederate jean wool jacket. This garment would be used by enlisted men and non-commissioned officers, the jacket is unlined, and is adorned with four brass buttons. Many times the buttons were Union buttons sewn onto the Confederate uniform. Jacket’s Continued Left- Right- A well worn and lined A Confederate style version of the sack coat. frock coat. This coat The soldier's coats would normally consisted of look this way after a year nine buttons and a split or two at war. tail like a tuxedo in the rear. This version is kid sized and not to scale. Union & Confederate Headgear Left: Union Forge Cap Right: Confederate Kepi The most common types of hats worn by Union and Designed by the French Confederate soldiers was Army, the kepi is a more either a kepi or forage cap. compact version of the The forage cap, also forge cap. While used known as a bummer, more by officers, the hat allowed soldiers to remove was used by enlisted men their hat and place eggs, in the North and South. -
1. Fabric Grain Follows Vertical Lines of Graph Paper. 2. Pattern Pieces Are
NOTES: 1. Fabric grain follows vertical lines of graph paper. 2. Pattern pieces are drawn without seam allowance. 3. The waistcoat is back-stitched; lining and pocket flaps are whip-stitched. 4. Center-front closure of twenty-two -inch-diameter self-covered buttons with fifteen 1 ¼-inch functional buttonholes reinforced with buttonhole stitch that extends ½ inch beyond the buttonhole opening; seven buttons are non-functional. 5. Six/8 -inch diameter self-covered non-functional Man’s Waistcoat, France, c. 1750, silk cut, uncut, and voided velvet (ciselé) on satin foundation, center-back length: 27 1/2 in. (69.85 cm), buttons are located below each pocket opening. purchased with funds provided by Suzanne A. Saperstein and Michael Finished pocket flaps conceal most of the buttons. and Ellen Michelson, with additional funding from the Costume Council, the Edgerton Foundation, Gail and Gerald Oppenheimer, Maureen H. 6. Side seams terminate at pocket. Shapiro, Grace Tsao, and Lenore and Richard Wayne, M.2007.211.812, photo © 2010 Museum Associates/LACMA 7. The back of the waistcoat is composed of linen plain weave. The collar line and the armscye are finished This handsewn sleeveless waistcoat is made of silk cut, on the inside with a 1-inch bias strip of the same linen. uncut, and voided velvet (ciselé). The meandering ribbon The center-back seam is only sewn 8 ½ inches from and acorn pattern was woven to follow the edges of the the top. Beneath this seam, eleven pairs of eyelets center-front and hem of the finished garment in a method (round holes reinforced with thread) line a 19 ½-inch known as à disposition.