Fashion Design Studio
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Charitably Chic Lynn Willis
Philadelphia University Spring 2007 development of (PRODUCT) RED, a campaign significantly embraced by the fashion community. Companies working with Focus on . Alumni Focus on . Industry News (PRODUCT) RED donate a large percentage of their profits to the Global Fund to fight Lynn Willis Charitably Chic AIDS. For example, Emporio Armani’s line donates 40 percent of the gross profit By Sara Wetterlin and Chaisley Lussier By Kelsey Rose, Erin Satchell and Holly Ronan margin from its sales and the GAP donates Lynn Willis 50 percent. Additionally, American Express, Trends in fashion come and go, but graduated perhaps the first large company to join the fashions that promote important social from campaign, offers customers its RED card, causes are today’s “it” items. By working where one percent of a user’s purchases Philadelphia with charitable organizations, designers, University in goes toward funding AIDS research and companies and celebrities alike are jumping treatment. Motorola and Apple have also 1994 with on the bandwagon to help promote AIDS a Bachelor created red versions of their electronics and cancer awareness. that benefit the cause. The results from of Science In previous years, Ralph Lauren has the (PRODUCT) RED campaign have been in Fashion offered his time and millions of dollars to significant, with contributions totaling over Design. Willis breast cancer research and treatment, which $1.25 million in May 2006. is senior includes the establishment of health centers Despite the fashion industry’s focus on director for the disease. Now, Lauren has taken image, think about what you can do for of public his philanthropy further by lending his someone else when purchasing clothes relations Polo logo to the breast cancer cause with and other items. -
Taste in Appearance: Self, Cultivated Dispositions, and Cultural Capital Yoo Jin Kwon Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2007 Taste in appearance: self, cultivated dispositions, and cultural capital Yoo Jin Kwon Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Marketing Commons, Social Psychology Commons, and the Social Psychology and Interaction Commons Recommended Citation Kwon, Yoo Jin, "Taste in appearance: self, cultivated dispositions, and cultural capital" (2007). Retrospective Theses and Dissertations. 15977. https://lib.dr.iastate.edu/rtd/15977 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Taste in appearance: Self, cultivated dispositions, and cultural capital by Yoo Jin Kwon A dissertation submitted to the graduate faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Major: Textiles and Clothing Program of Study Committee: Mary Lynn Damhorst, Major Professor Lulu Rodriguez Joseph Kupfer Jean Parsons Susan Torntore Iowa State University Ames, Iowa 2007 Copyright © Yoo Jin Kwon, 2007. All rights reserved. UMI Number: 3259501 Copyright 2007 by Kwon, Yoo Jin All rights reserved. UMI Microform 3259501 Copyright 2007 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, MI 48106-1346 ii TABLE OF CONTENTS ABSTRACT............................................................................................................................. -
Techniques of Fashion Earrings Pdf, Epub, Ebook
TECHNIQUES OF FASHION EARRINGS PDF, EPUB, EBOOK Deon Delange | 72 pages | 01 Sep 1995 | Eagles View Publishing | 9780943604442 | English | Liberty, Utah, United States Techniques of Fashion Earrings PDF Book These stunning geometric earrings are perfect for a night out on the town or a shopping trip with the girls. And even if you don't go straight over your pencil lines, just kind of go with the flow; let your body feel it as you go. Trends influence what all of us wear to some extent, which is fine. Brendan How to draw human body for fashion design? Do share with us your creations! Two completely different looks, one set of clothe. Spice up some simple silver hoops with this awesome video tutorial for how to make bead earrings. You'll end up losing yourself. My advice? Make a note of the combinations you like if that helps to trigger your memory later. Stringing beads on multiple wires. The days of only wearing one tone of metal is over. When it comes to DIY jewelry, beaded earrings are some of the prettiest patterns out there. As an illustration, one pair of earring contains three hanging flowers: gentle pink, pale purple, and deep purple. Your email address will not be published. Tutorial Features: This beaded Christmas tree pattern will teach you how to make peyote stitch earrings and a peyote stitch necklace. All these bangle styles may be worn in one or each arms relying in your outfit, model and occasion. Eco-friendly jewellery. Try some dangling pearl earrings with a summer print for a fun and flirty look. -
Retail Product Merchandising: Retail Buying-Selling Cycle
Retail Product Merchandising: Retail Buying-Selling Cycle SECTION 2: Establishing the Retail Merchandise Mix Part 1: The Basics of the Retail Merchandise Mix Part 1: 1-2 Industry Zones in the Apparel Industry Fashion products, especially in the women’s wear industry, are categorized by the industry zone in which they are produced and marketed. Industry has designated these zones as a) Haute Couture or couture, b) designer, c) bridge, d) contemporary, e) better, f) moderate, g) popular price/budget/mass, and g) discount/off price. Often the industry emphasizes the wholesale costs or price points of the merchandise in order to define the zone. However, price alone is not the major factor impacting the placement of the merchandise in the zone. Major factors impacting the zone classifications include the following criteria: . fashion level of the design (i.e., degree of design innovation inherent or intrinsic to the merchandise) . type and name of designer creating and developing the design concept . wholesale cost and retail price of product . types and quality of fibers and fineness of fabrications, trims, and findings . standards of construction quality or workmanship quality. In summary, the classification of a zone is based on the type of designer creating the product, design level of the product, type and quality of fabrications, standards of the workmanship, and the price range of the merchandise. Therefore, depending upon the lifestyle of the target consumer, the fashion taste level of that consumer (i.e., position of product on the fashion curve), and the current fashion trend direction in the market, the retailer, when procuring the merchandise mix, selects the industry zone(s) which offer(s) the product characteristics most desired by the target consumer. -
JEWELLERY TREND REPORT 3 2 NDCJEWELLERY TREND REPORT 2021 Natural Diamonds Are Everlasting
TREND REPORT ew l y 2021 STATEMENT J CUFFS SHOULDER DUSTERS GENDERFLUID JEWELLERY GEOMETRIC DESIGNS PRESENTED BY THE NEW HEIRLOOM CONTENTS 2 THE STYLE COLLECTIVE 4 INDUSTRY OVERVIEW 8 STATEMENT CUFFS IN AN UNPREDICTABLE YEAR, we all learnt to 12 LARGER THAN LIFE fi nd our peace. We seek happiness in the little By Anaita Shroff Adajania things, embark upon meaningful journeys, and hold hope for a sense of stability. This 16 SHOULDER DUSTERS is also why we gravitate towards natural diamonds–strong and enduring, they give us 20 THE STONE AGE reason to celebrate, and allow us to express our love and affection. Mostly, though, they By Sarah Royce-Greensill offer inspiration. 22 GENDERFLUID JEWELLERY Our fi rst-ever Trend Report showcases natural diamonds like you have never seen 26 HIS & HERS before. Yet, they continue to retain their inherent value and appeal, one that ensures By Bibhu Mohapatra they stay relevant for future generations. We put together a Style Collective and had 28 GEOMETRIC DESIGNS numerous conversations—with nuance and perspective, these freewheeling discussions with eight tastemakers made way for the defi nitive jewellery 32 SHAPESHIFTER trends for 2021. That they range from statement cuffs to geometric designs By Katerina Perez only illustrates the versatility of their central stone, the diamond. Natural diamonds have always been at the forefront of fashion, symbolic of 36 THE NEW HEIRLOOM timelessness and emotion. Whether worn as an accessory or an ally, diamonds not only impress but express how we feel and who we are. This report is a 41 THE PRIDE OF BARODA product of love and labour, and I hope it inspires you to wear your personality, By HH Maharani Radhikaraje and most importantly, have fun with jewellery. -
HISTORY and DEVELOPMENT of FASHION Phyllis G
HISTORY AND DEVELOPMENT OF FASHION Phyllis G. Tortora DOI: 10.2752/BEWDF/EDch10020a Abstract Although the nouns dress and fashion are often used interchangeably, scholars usually define them much more precisely. Based on the definition developed by researchers Joanne Eicher and Mary Ellen Roach Higgins, dress should encompass anything individuals do to modify, add to, enclose, or supplement the body. In some respects dress refers to material things or ways of treating material things, whereas fashion is a social phenomenon. This study, until the late twentieth century, has been undertaken in countries identified as “the West.” As early as the sixteenth century, publishers printed books depicting dress in different parts of the world. Books on historic European and folk dress appeared in the late eighteenth and nineteenth centuries. By the twentieth century the disciplines of psychology, sociology, anthropology, and some branches of art history began examining dress from their perspectives. The earliest writings about fashion consumption propose the “ trickle-down” theory, taken to explain why fashions change and how markets are created. Fashions, in this view, begin with an elite class adopting styles that are emulated by the less affluent. Western styles from the early Middle Ages seem to support this. Exceptions include Marie Antoinette’s romanticized shepherdess costumes. But any review of popular late-twentieth-century styles also find examples of the “bubbling up” process, such as inner-city African American youth styles. Today, despite the globalization of fashion, Western and non-Western fashion designers incorporate elements of the dress of other cultures into their work. An essential first step in undertaking to trace the history and development of fashion is the clarification and differentiation of terms. -
Dress Code 2021-22
Dress Code 2021-22 Pre-K 3 and Pre-K 4 Dress Code Guidelines *General Guidelines: -loose fitting clothes/easy to button and unbutton -shoes with closed toe and a back/no light up shoes/no boots -hair is neat, clean & well groomed/only a natural color/no colored hair extensions, feathers, etc. -Distracting haircuts will not be permitted -make-up, lipstick not allowed *Off Campus Attire: -red shirt -blue jeans, khaki or black pants or capri pants -blue jean, khaki or black skirt (skirts must be knee length) -blue jean, khaki or black shorts (shorts must be knee length) *Mass Attire: -red shirt -khaki or black pants (jeans are not allowed on Mass days) -khaki or black skirt (skirts must be knee length) -students are not to wear shorts to Mass -students are not to change clothes after Mass Dress Code 2021-22 Kindergarten-4th Grade Dress Code Guidelines *General Guidelines -polo shirts: collared/logo-free (unless approved red standard Mass shirt)/2 or 3 buttons/no tight fitting shirts/shirt must cover waistband when arms are raised and when students are seated/shirts must have sleeves and modest necklines/ shirts must not be transparent: red, white, black or gray only -school approved spirit shirts may be worn on Tuesdays and Thursdays only: red, white, black or gray only/If Mass falls on Tuesday or Thursday, Mass attire is to be worn -pants, capri pants, shorts and skirts are to be jean material, black, or khaki in color/Skirts and shorts are to be knee length/Athletic shorts or pants are not allowed/Hip huggers are not allowed/No skin or undergarment may show when seated or standing/Garments with holes are not permitted -visible undergarments (undershirts, leggings, etc.) are to be red, white, black or gray in color -socks may be any color. -
The Mini Skirt Danielle Hueston New York City College of Technology Textiles
The Mini Skirt Danielle Hueston New York City College of Technology Textiles When I was six my mother and I took one of our weekly day shopping trips to the mall. On our way back we stopped at this local thrift store. This being one of the first times I had ever experienced one, everything seemed so different and weird, in a good way. I wasn’t used to there only being one of everything, or one store that sold clothes, books, toys, home decor and shoes.Walking down the ‘bottoms aisle’ is where I first came across it. It was black and flowy, probably a cotton material, with a black elastic band around the waist. I wanted it, I needed it. It was the perfect mini skirt. It reminded me of the one I saw Regina George wear in the Hallway Scene in the movie ‘Mean Girls’ a few months prior and had to get it, even though it was a “little” big. There was only one, I was going to make it work. When Monday came I wasted no time showing off my new skirt at school. It made me feel like a whole new person. At some point of the day however my teacher had stepped out of the room to talk to another teacher, in conjunction one of my classmates playfully grabbed my pencil out of my hand, to which I decided to chase him around the room to retrieve it back. I tripped and my skirt fell right to my ankles, in front of the entire class. -
Dress Policy
Revised July 12, 2021 Effective 2021-2022 SY K-8th GRADES SCHOOL SHIRT COLORS SCHOOL SHIRT SHIRT SHIRT SHIRT SHIRT SHIRT COLOR COLOR COLOR COLOR COLOR COLOR Acme Delco Elementary Red Grey Navy White Cerro Gordo Elementary Royal Blue Gold White Chadbourn Elementary Royal Blue Gold White East Columbus Junior High Red Black White Evergreen Elementary Black Hunter Navy Grey White Red Green Hallsboro/Artesia Elementary Burgundy Hunter White Green Nakina Middle Black Gold White Old Dock Elementary Gold Hunter White Green Tabor City Elementary Royal Blue Red White Tabor City Middle Royal Blue Black White Williams Township Gold Burgundy White SCHOOL PANTS/CAPRIS COLORS Solid Khaki Solid Navy Solid Black Blue Jeans 9-12 GRADES SCHOOL SHIRT COLORS SCHOOL SHIRT COLOR SHIRT COLOR SHIRT SHIRT COLOR School Spirit Columbus Career and College Academy Burgundy Black White School Spirit East Columbus High Orange Hunter Green White School Spirit South Columbus High Black Grey White School Spirit West Columbus High Columbia Blue Navy White SCHOOL PANTS/CAPRIS COLORS Solid Khaki Solid Navy Solid Black Blue Jeans Revised July 12, 2021 Effective 2021-2022 SY UNIFORM DESCRIPTION Grades K – 12 1. Shirts: Colors: White, the two other colors, school spirit shirts, and college and career ready designated for the particular school by the School Uniform Committee • Shirts must have buttons only. • Shirts must be collared (turtlenecks are permitted). • Shirts must be of a solid color. • Shirts must have sleeves – they may be long-sleeved, short-sleeved or ¾ sleeved. • Shirts must be free of labels, graphics or insignias of any kind except for the school insignia. -
MELT © Heidi Wicks (Thesis)
MELT © Heidi Wicks (Thesis) submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Master of Arts (Creative Writing) Faculty of Humanities and Social Sciences Memorial University of Newfoundland May 2019 St. John’s Newfoundland and Labrador MELT A novel by Heidi Wicks 1 Melt shifts between two girls who come of age together during two economically turbulent times - the late ‘90s and present-day - in St. John's, Newfoundland. The women navigate break-ups, tanning beds, spray tans, drifting desires, at least one kid with a raisin up his nose, drunken dancing, infidelity, death, sex in Middle Cove, job loss at the CBC and love loss at the Avalon Mall. Through the pockets of their maddening but beloved city, their friendships and relationships are tested, but their brazen humour and deep- rooted friendship helps them ice-pick through the winter sludge and spring muck and get them through until it’s summer once more. 2 Chapter One “About here?” Cait slices her index finger across the middle of her right thigh, softly. A knife etching a line in butter. “Your father’s not lettin’ you get away with a slit that high.” Tilley Brophy plucks the cigarette from her lips and releases a poof of smoke that curls into the shape of an anchor. She jabs the butt into a heavy crystal ashtray and coughs like her freakin’ lungs are about to vault from her body and splat against her half-brown-carpet, half-brown- wood-panel wall in her house by the Village Mall. -
Yves Saint Laurent: the Perfection of Style: Educator Resource Guide
EDUCATOR RESOURCE GUIDE OVERVIEW ABOUT THE EXHIBITION Organized by the Seattle Art Museum in partnership with the Fondation Pierre Bergé – Yves Saint Laurent, Yves Saint Laurent: The Perfection of Style highlights the legendary fashion designer’s 44-year career. Known for his haute couture designs, Yves Saint Laurent’s creative process included directing a team of designers working to create his vision of each garment. He would often begin by sketching the clothing he imagined, then a team would work to sew and create his designs. After the first version of the garment was created with simple fabric called muslin, Saint Laurent would select the final fabric for the garment. Under Saint Laurent’s direction, his team would piece the garment together—first on amannequin , next on a model. Working collaboratively, the team made changes according to Saint Laurent’s decisions, sewing new parts before the final garment was finished. Taking inspiration from changes in society around him, Saint Laurent adapted his designs over the years. Starting his career designing custom-made clothing worn by upper-class women, he shifted his focus to create clothing that more people would want to wear and could afford. He responded to contemporary changes of the time and pushed gender, class, and expressive boundaries of fashion. He created innovative, glamorous pantsuits for women, ready-to-wear clothing for the wider population, and high fashion inspired by what he saw young people wearing on the street. In 1971 Yves Saint Laurent summed this up with one sentence, “What I want to do is shock people, force them to think.” The exhibition features over 100 haute couture and ready-to-wear garments. -
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.