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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 -
Kilts & Tartan
Kilts & Tartan Made Easy An expert insider’s frank views and simple tips Dr Nicholas J. Fiddes Founder, Scotweb Governor, Why YOU should wear a kilt, & what kind of kilt to get How to source true quality & avoid the swindlers Find your own tartans & get the best materials Know the outfit for any event & understand accessories This e-book is my gift to you. Please copy & send it to friends! But it was a lot of work, so no plagiarism please. Note my copyright terms below. Version 2.1 – 7 November 2006 This document is copyright Dr Nicholas J. Fiddes (c) 2006. It may be freely copied and circulated only in its entirety and in its original digital format. Individual copies may be printed for personal use only. Internet links should reference the original hosting address, and not host it locally - see back page. It may not otherwise be shared, quoted or reproduced without written permission of the author. Use of any part in any other format without written permission will constitute acceptance of a legal contract for paid licensing of the entire document, at a charge of £20 UK per copy in resultant circulation, including all consequent third party copies. This will be governed by the laws of Scotland. Kilts & Tartan - Made Easy www.clan.com/kiltsandtartan (c) See copyright notice at front Page 1 Why Wear a Kilt? 4 Celebrating Celtic Heritage.................................................................................................. 4 Dressing for Special Occasions.......................................................................................... -
The Denim Report
118 Fashion Forward Trends spring/summer 2016 | fabrics & more | FFT magazine 119 THE DENIM REPORT n this season, the denim offering is wide and qualitative: selvedge denim for purists, power stretch for trendsetters, washed-out effect for the 70s wind blowing around Ithe fashion world, and eco-friendly for green and ethical brands. Little did one know that the fabric would ingratiate itself in the mainstream so decidedly as to become the uniform of generations post the 80s. Irrespective of whether you belong in the 1% or the 99, your age bracket or your cultivated tastes, denim has been part of everyone’s wardrobe. It’s a 60 billion dollar market for retailers alone and designers are keen to partake a piece of this massive pie. It helps that the fabric is the ‘people pleaser’ – it will readily turn into anything one likes. Numerous innovations and fabric infusions such as khadi-denim, silk- denim, 3D textures and laser and ozone finishes change its face beyond comprehension, and this, once street-style, turns sophisticated enough to form a cocktail dress. INDUSTRY TRENDS Sustainability has been a long-standing buzzword but there is ever-newer growth in this direction. As the trend for distressed jeans diminishes, the dyeing process becomes less dependent on chemical sprays and resins. Multiple brands are opting to use 100% organic cotton and natural dye. Artisanal products go for untreated metal zippers and rivets, making it non-toxic. Chemical companies’ enthusiasm for change is making them to associate with leading jeans manufacturers to bring about major savings in key materials, energy, water usage, waste and emission reductions, and ensuring your right to operate in communities around the world. -
Tartans: Scotland’S National Emblem
ESTABLISHED IN 1863 Volume 149, No. 3 November 2011 TARTANS: SCOTLAND’S NATIONAL EMBLEM Tartan has without doubt become one of the most important sym- Inside this Issue bols of Scotland and Scottish Heritage and with the Scots National Feature Article…….….....1 identity probably greater than at any time in recent centuries, the po- Message from our tency of Tartan as a symbol cannot be understated. However, it has President….......................2 also created a great deal of romantic fabrication, controversy and Upcoming Events…….....3 speculation into its origins! name, history and usage as a Clan or Family form of identification. The Chicago Fire and The Celebration of St. An‐ drewʹs Day .……….……4 Gifts to the Society……...8 Flowers of the For‐ est……………..…..…….9 BBC Alba Scottish Tradi‐ tional Music Awards…..10 Banquet & Ball….….12‐15 Tartan is a woven material, generally of wool, having stripes of different colors and varying in breadth. The arrangement of colors is alike in warp and weft ‐ that is, in length and width ‐ and when woven, has the appearance of being a number of squares intersected by stripes which cross each other; this is called a ‘sett’. By changing the colors; varying the width; depth; number of stripes, differenc‐ (Continued on page 4) November 2011 www.saintandrewssociety‐sf.org Page 1 A Message from Our President The Saint Andrew's Dear Members and Society Society of San Francisco Friends: 1088 Green Street San Francisco, CA The nominating committee met to 94133‐3604 (415) 885‐6644 select Society Officers to serve for Editor: William Jaggers 2012. -
NFHS Basketball Equipment/Apparel Specifications 2020-2021
NFHS Basketball Equipment/Apparel Specifications 2020-2021 IESA Sleeves/Tights/Compression Shorts 3-5-3: Arm sleeves, knee sleeves, lower leg sleeves, compression shorts and tights are permissible. • Anything worn on the arm and/or leg is a sleeve, except a knee brace, and must meet the color restrictions. • Sleeves/tights, compression shorts shall be black, white, beige or the predominant color of the jersey and the same color sleeves/tights must be worn by teammates. • All sleeves/tights, compression shorts must be the same solid color and must be the same color as any headband or wristband worn. • Sleeves/tights and compression shorts must meet the logo requirements. See NFHS Rule 3-6. • Note: A brace is defined as anything worn for a medical purpose to increase stability. In general, it is made of neoprene or elastic knit with an insert embedded to support the joint. It may or may not have a hinge and/or straps or an opening over the knee cap. Wristbands and Headwear 3-5-4: Wristbands and headwear must meet the following guidelines: • Headbands and wristbands may be white, black, beige or the predominant color of the jersey and must be the same color for each item and all participants. They must also be the same color as any sleeve/tights worn. • A headband is any item that goes around the entire head. It must be a circular design without extensions. If worn, only one headband is permitted, it must be worn on the forehead/crown. It must be nonabrasive and unadorned and may be a maximum of 3 inches wide. -
Put It in the Books
AMERICAN GROWN | SUPERIOR | RARE | AUTHENTIC NOVEMBER 2020 In This Edition PAGE 1-2 Put It In The Books Supima Harvest Symposium ---------------------------- PAGES 3-4 Supima Holiday Shopping Guide ---------------------------- PAGE 5 Memoriam: Supima Photographer William Helburn Market Update ---------------------------- PAGE 6 Put It In The Books Licensing Update STAY CONNECTED or the past 15 years, SUPIMA® has been inviting brands and retailers to the cotton fields for an experience like no other. With a worldwide pandemic and strict social distancing measures in place, this year’s harvest celebration looked a 66TH SUPIMA little different. ® ANNUAL MEETING FSUPIMA just wrapped up its first-ever virtual Supima Harvest Symposium. The three-day event was an immersive experience that saw over 150 viewers from Supima’s family of licensed Please join us for the 66th Supima Annual brands and retailers across the world participating in a comprehensive workshop chronicling the Meeting. Given the current challenges we all Supima growing and processing cycle from seed to bale. face with the pandemic and social distancing, With Supima’s President & CEO, Marc Lewkowitz opening the symposium with a keynote ad- Supima will be holding this year’s meeting via dress, the overriding themes of this year’s program were authenticity, partnership and change. Zoom on Tuesday, December 8 from 1 p.m. Lewkowitz recognized the challenges the industry faces and reinforced the company’s commit- to 3 p.m. PST. Members and all segments of ment to working with its partners across the supply chain to help drive the conversation to fair the industry will have the opportunity to learn about Supima’s current and future activities. -
Handcrafted in Australia. Since 1969
2019-2020 Handcrafted in Australia. Since 1969. From golden coastlines and endless JACARU HATS sun-baked horizons, dense tropical rainforests and rugged bushland, 4 Kangaroo red deserts and vast sweeping New Premium Range plains, Australia is a country of 8 Western unparalleled uniqueness Our two most iconic hats are now also available in a new premium version - a country like no other. 10 Exotic in addition to our standard models. Available in brown and black. Since its beginning in 1969, the Jacaru brand has reflected this 14 Breeze Australian landscape, its unique lifestyle and the spirit that is 16 Traditional Australia - wild, untameable, strong and courageous. 18 Australian Wool 50 years on, Jacaru has established Ladies itself as one of Australia’s finest 20 accessories brands, selling in over contents 50 countries worldwide. Today, 24 Kid’s we are prouder than ever to be Australian. 26 Summer Lovin’ We believe in Australian made 34 Safety and Workwear products, handcrafted from the finest Australian materials. 37 Wallets & Purses We are proud that our products are 38 Leather Belts designed and made with dedication in the hands of our craftspeople located in Burleigh on the iconic 40 Fur Accessories Gold Coast of Queensland, Australia. 41 Keyrings We are proud of our heritage and 42 Oilskin Waxed Products will continue to work passionately to bring you quality products that 44 Hat Accessories are quintessentially Australian. 45 Scarves Established in 1969, the Jacaru brand reflects the spirit that is 46 Product Care Australia - wild, untameable, strong and courageous. 47 Size Chart Jacaru - Handcrafted in Australia. -
Judging Wool and Mohair
AS3‐4.058 Judging Wool and Mohair Contents WOOL ........................................................................................ 3 Shrinkage and Yield .................................................................... 4 Scoring ........................................................................................ 4 Bulkiness ............................................................................ 5 Length ................................................................................ 5 Soundness and Purity ......................................................... 5 Quality ................................................................................ 7 Character ............................................................................ 7 Color ................................................................................... 7 MOHAIR .................................................................................... 7 Grading ....................................................................................... 7 Scoring ........................................................................................ 7 Fineness and Uniformity .................................................... 7 Staple Length.................................................................... 10 Character .......................................................................... 10 Softness ............................................................................ 10 Luster .............................................................................. -
Advanced Silk Shading
ROYAL SCHOOL OF NEEDLEWORK 2019-2020 ACADEMIC YEAR DIPLOMA ADVANCED SILK SHADING Traditionally worked with silk thread on silk or linen fabric, but now more usually worked in stranded cotton thread. Silk is still the most usual background fabric but a variety of other fabrics may be used. For Advanced Silk Shading you may work EITHER an animal, bird, fish or reptile; OR a tapestry shaded human figure. SILK SHADED ANIMAL OR BIRD AIM – To demonstrate an advanced level of technical skill by working a realistic and naturally shaded embroidery of an animal, fish, reptile or bird using Long and Short Stitch with one strand of stranded cotton (or fine silk thread). To utilise shading and stitch direction to accurately depict musculature, fur, scales and clearly defined feathers as appropriate. Please note: All preparatory work (e.g. outlines, drawings, stitch plans, original source material) MUST be handed in for assessment or the work will not be marked. DESIGN Try to come with some ideas for a design and bring along some photographs. The photograph must be printed a similar size to the embroidery size otherwise it is very difficult to work. It is essential to work from a crisp, clear, well-focused photograph where you can see the individual colours and changes from dark to light. Illustrations can sometimes be harder to follow, and you should be wary of images from the Internet, which are often poor quality and may not print sufficiently well. However there are many places online from which you can purchase high quality images. The tutor will be able to make suggestions and help you bring your ideas together. -
A Short History of the Wearing of Clerical Collars in the Presbyterian Tradition
A Short History of the Wearing of Clerical Collars in the Presbyterian Tradition Introduction There does not seem to have been any distinctive everyday dress for Christian pastors up until the 6th century or so. Clergy simply wore what was common, yet muted, modest, and tasteful, in keeping with their office. In time, however, the dress of pastors remained rather conservative, as it is want to do, while the dress of lay people changed more rapidly. The result was that the dress of Christian pastors became distinct from the laity and thus that clothing began to be invested (no pun intended) with meaning. Skipping ahead, due to the increasing acceptance of lay scholars in the new universities, the Fourth Lateran council (1215) mandated a distinctive dress for clergy so that they could be distinguished when about town. This attire became known as the vestis talaris or the cassock. Lay academics would wear an open front robe with a lirripium or hood. It is interesting to note that both modern day academic and clerical garb stems from the same Medieval origin. Councils of the Roman Catholic church after the time of the Reformation stipulated that the common everyday attire for priests should be the cassock. Up until the middle of the 20th century, this was the common street clothes attire for Roman Catholic priests. The origin of the clerical collar does not stem from the attire of Roman priests. It’s genesis is of protestant origin. The Origin of Reformed Clerical Dress In the time of the Reformation, many of the Reformed wanted to distance themselves from what was perceived as Roman clerical attire. -
What They Wear the Observer | FEBRUARY 2020 | 1 in the Habit
SPECIAL SECTION FEBRUARY 2020 Inside Poor Clare Colettines ....... 2 Benedictines of Marmion Abbey What .............................. 4 Everyday Wear for Priests ......... 6 Priests’ Vestments ...... 8 Deacons’ Attire .......................... 10 Monsignors’ They Attire .............. 12 Bishops’ Attire ........................... 14 — Text and photos by Amanda Hudson, news editor; design by Sharon Boehlefeld, features editor Wear Learn the names of the everyday and liturgical attire worn by bishops, monsignors, priests, deacons and religious in the Rockford Diocese. And learn what each piece of clothing means in the lives of those who have given themselves to the service of God. What They Wear The Observer | FEBRUARY 2020 | 1 In the Habit Mother Habits Span Centuries Dominica Stein, PCC he wearing n The hood — of habits in humility; religious com- n The belt — purity; munities goes and Tback to the early 300s. n The scapular — The Armenian manual labor. monks founded by For women, a veil Eustatius in 318 was part of the habit, were the first to originating from the have their entire rite of consecrated community virgins as a bride of dress alike. Belt placement Christ. Using a veil was Having “the members an adaptation of the societal practice (dress) the same,” says where married women covered their Mother Dominica Stein, hair when in public. Poor Clare Colettines, “was a Putting on the habit was an symbol of unity. The wearing of outward sign of profession in a the habit was a symbol of leaving religious order. Early on, those the secular life to give oneself to joining an order were clothed in the God.” order’s habit almost immediately. -
A Typical Digger a Digger’S Belongings Newspapers, Magazines and Books Were Full of Advice About What Diggers Should Take to the Goldfields
A typical digger A digger’s belongings Newspapers, magazines and books were full of advice about what diggers should take to the goldfields. A typical digger was a man in his 20s, either unmarried Some even provided lists of supplies. Shops in London, or with a young family. Although doctors and lawyers Sydney and Melbourne offered special digger’s kits. came to the goldfields, most diggers were tradesmen such as blacksmiths, builders, butchers, carpenters and Recommended supplies shoemakers. They were well educated and most could James Bonwick published a guide to the Australian read and write. diggings in 1852. He advised diggers not to take too Some people came to the diggings from nearby much as transport was very expensive. As most would cities and towns by coach or on foot. Others came have to walk to the diggings, they should take only from all over Australia or from overseas. For those what they could carry. Bonwick recommended: seeking their fortune, no distance was too far and • hard-wearing clothes Celebrating success no cost too great. • strong boots Some diggers had jewellery Most of the diggers who came from overseas • waterproof coat and trousers of oilskin made to celebrate their were English, but there were also Welsh, Irish and A portrait to send home success. These brooches • a roll of canvas ‘for your future home’ include many of a diggers’ Scottish diggers. Europeans were also keen to make Diggers who had left their • good jacket for Sundays essential belongings: picks their fortune and came from Germany, Italy, Poland, families far behind were keen • pick, shovel and panning dish and shovels, panning dishes, Denmark, France, Spain and Portugal.