The meticulously researched text is enhanced by more than 270 of the author's own illustrations, including 8 in full color, adapted from originals but specially redrawn to accentuate essential features of the garments. The vestments are treated in the approximate order of their appearance in liturgical ritual, beginning with the simple alb and including the pallium, chasuble, cassock, surplice, mitre, and many other items. Footwear, crosses, headgear, rings, gloves, and other accessories are also depicted and described in detail. Replete with fascinating historical facts and lore, this volume is an indispensable reference for students, scholars, and anyone interested in the history of ecclesiastical attire.
Underwear — practical garments with a utilitarian function or body coverings that serve an erotic purpose? As this fascinating and intelligently written study shows, the role played by underclothing over the last several centuries has been a varied one.
In a well-documented, profusely illustrated volume combining impressive scholarship with an entertaining, often humorous style, two distinguished clothing historians consider undergarments worn by the English over the past 600 years. Beginning with the Middle Ages, the authors cover centuries of clothing history, including the Tudor period, the Restoration, the Victorian and Edwardian eras, and the twentieth century up to the eve of World War II. Drawing on extensive, research, the Cunningtons illuminate the role and function of underwear: it protected the wearer against the elements, supported costume shapes, served as an erotic stimulus, symbolized class distinctions, and fulfilled other social, sanitary, and economic functions.
Enhancing the detailed, comprehensive text are more than 100 period illustrations and photographs depicting a laced-up bodice of the twelfth century, embroidered linen drawers of the sixteenth century, a hooped petticoat support in bentwood (c. 1750), footed long drawers (1795), nineteenth-century bustles, early nineteenth-century corsets for men, "Frillies for the Tiny Lady" (1939), and much more. A bibliography, appendix, and index complete a valuable reference work that will appeal to costume historians, sociologists, and other readers.
In this book, Dugan focuses on six important scents—incense, rose, sassafras, rosemary, ambergris, and jasmine. She links these smells to the unique spaces they inhabited—churches, courts, contact zones, plague-ridden households, luxury markets, and pleasure gardens—and the objects used to dispense them. This original approach provides a rare opportunity to study how early modern men and women negotiated the environment in their everyday lives and the importance of smell to their daily actions.
Dugan defines perfume broadly to include spices, flowers, herbs, animal parts, trees, resins, and other ingredients used to produce artificial scents, smokes, fumes, airs, balms, powders, and liquids. In researching these Renaissance aromas, Dugan uncovers the extraordinary ways, now largely lost, that people at the time spoke and wrote about smell: objects "ambered, civited, expired, fetored, halited, resented, and smeeked" or were described as "breathful, embathed, endulced, gracious, halited, incensial, odorant, pulvil, redolent, and suffite."
A unique contribution to early modern studies, The Ephemeral History of Perfume is an unparalleled study of olfaction in the Renaissance, a period in which new scents and important cultural theories about smell were developed. Dugan’s inspired analysis of a wide range of underexplored sources makes available to scholars a remarkable wealth of information on the topic.
The invention of photography preceded that of the crinoline by about a decade. Pre-crinoline bonnets, stovepipe hats, and deep décolletage are featured in the first of these 235 illustrations — including a beautiful 1840 daguerreotype portrait of a lady that is the earliest study of its kind extant. From 1855 to the 1870s the crinoline gave shape (whether barrel, bell, teapot, or otherwise) to English women, and their shapes fill many of these full and half-page photos. English men went beardless in top hats and frock coats; as in other eras, the sporting wear of the previous generation became acceptable morning and evening town attire. Styles and accoutrements came and went — moustaches, straw hats, bustles and bodice line, petticoats, corsets, shawls and falsies, flounces, ruffles, lace, and materials — satin, silk, velvet, woolen underwear, full-length sable, and osprey feathers. Many of the models for these fashions were already fashionable enough — Oscar Wilde, Aubrey Beardsley, Lillie Langtry, Winston Churchill, many archdukes, duchesses, counts, princes, and Queen Victoria herself. Photographers are identified where possible, and include Nadar, Lewis Carroll, and the Downeys. Every photograph is captioned and annotated.
In this classic book, Norah Waugh explores the changing shapes of women’s dress from the 1500s to the 1920s. Simple laced bodices became corsets of cane, whalebone and steel, while padding at shoulders and hips gave way to the structures of farthingales, hoops and bustles.
Corsets and Crinolinesexplains the cyclical nature of these fashions, and how waists and skirts changed shape and size through three distinct eras: The 1500s to 1670—farthingales and whaleboned bodies.
1670 to 1800—Stays and hooped petticoats.
1800 to 1925—corsets, crinolines and bustles.
Each section describes how these garments originated, how they became popular and how they emerged as central to the fashions of the time. Extracts from diaries, journals, poems and newspapers, as well as over 100 illustrations, demonstrate the variety of these ubiquitous items of clothing throughout modern history.
Corsets and Crinolinesalso contains a wealth of practical notes and resources for today’s costume makers and designers, including: Scaleable patterns for the construction of 25 different bustles, crinolines, corsets, corselets, stays, pocket hoops, hooped petticoats and bodices.
Detailed appendices on the manufacture of corsets and crinolines, including farthingales, supports and hooped petticoats.
A list of further reading, including costume histories; textile and weaving histories; reconstruction of period clothing; contemporary application of foundational garments; and a list of museums and institutions with period clothing collections, for first-hand study.
A glossary of terms and materials.
While a number of economy-minded women did sew simple housedresses, and clothing for their children, many took favorite fashion plates to a dressmaker who would often consult patterns in a magazine such as The Voice of Fashion. This book, compiled by costume authority Kristina Harris, painstakingly reprints a rich selection of scaled dressmakers' patterns of the 1890s, taken from rare issues of that popular, late-19th century dressmaker's journal. Featuring such fashion elements as leg-o'-mutton sleeves, high-collared necklines, long skirts, and pinched waistlines, the collection includes nearly 500 patterns and illustrations detailing 50 garments for women. Every wardrobe necessity for the Victorian lady is covered — from nightgowns and wrappers for boudoir and breakfast, a riding habit and tennis outfit, to walking dresses for town and visiting, elegant dinner dresses, and elaborate evening gowns.
An introduction and brief instruction for using the patterns are also included in a volume that will not only find practical use among costume designers and students of fashion history, but will also delight browsers, Victorian enthusiasts, and anyone intrigued by the evolution of clothing styles. 498 illustrations.
From bateau necklines, bobs, and bustles to plackets, havelocks, and bavolets, terms are assembled alphabetically or in groups according to dress parts, fabrics, elements of design, and other style categories. In addition, over 950 clearly detailed illustrations depict stitches, weaves, laces, garments, collars, shoes, jewelry, hair styles, and other sartorial features.
This is the perfect reference for increasing fashion vocabularies, injecting a stimulating term or phrase in conversations about wearing apparel, or making articles written about clothing more understandable. Fashion writers, costume designers, manufacturers, buyers, sales people — anyone interested in the history of fashion — will welcome this thorough and comprehensive guidebook. "Unique in its field and containing material not easily accessible elsewhere, it definitely has a place in the general reference library for quick identification purposes and for anyone concerned with the fashion field." — Booklist
Selected by graphic artist Carol Belanger Grafton from such vintage sources as Harper's Bazar, La Mode Illustrée, Peterson's Magazine, Godey's Salon de la Mode and Frank Leslie's Ladies' Magazine, the cuts brim with clear detail and old-time flavor as they record a wealth of evolving styles ― from ornate gowns of the mid-1800s, widened by hoop skirts and elaborately enhanced with ribbons, ruffles, laces, and bows, to turn-of-the-century fashions that produced leg-o'-mutton sleeves, narrowed skirts, diminished bustles, and high-necked bodices (except for evening wear, which exhibited a more daring neckline).
Here, for copyright-free use, are hundreds of elegant dresses accented with intricately embroidered designs, shirtwaists featuring lace inserts, and row upon row of tiny pleats, tightly laced undergarments, wide-brimmed hats topped with feathers, flowers, and ribbon; beaded handbags, magnificent parasols, fur-trimmed capes, and much, much more.
An invaluable reference to period clothing styles for designers, illustrators, and costume historians, this magnificent archive ― with its entertaining glimpse of the fashions of yesteryear ― will also delight casual browsers and lovers of Victoriana.
"A superb resource." — History in Review.
This book consists of the finest illustrations from Harper's Bazar between the years 1867 and 1898, the period of its peak importance. These illustrations not only show you what apparel appealed to our Victorian ancestors, but give you an idea of the evolutionary nature of fashion as well. You will see bustles come and go, natural forms become the vogue only to be superseded by the constricting hourglass figure. Each look is illustrated with a number of different garments. There are gowns for the morning hours, dinner dresses, sporting costumes, traveling clothes and apparel for special occasions: weddings, communions, funerals, etc. Since no costume was complete without accessories, a full line of hats, fans, parasols, muffs, gloves, handkerchiefs, jewelry, shoes and hair styles is shown as well. A selection of children's attire is also included. An introduction by Stella Blum covers the history of Harper's Bazar and examines the various phases fashion went through between 1867 and 1898
Now Stella Blum (Curator of the Costume Institute at the Metropolitan Museum of Art, New York) has distilled into this volume the essence of the fashion pages of the Sears, Roebuck and other mail-order catalogs of the Twenties. Her informative text and selection of over 150 representative catalog pages — comprising over 750 illustrations with original captions — gradually trace the evolution of dress modes from the vogue of stodgy postwar fashions to the impact on costume of the crash of '29. In a year-by-year survey, Mrs. Blum's introductory texts relate the trends in fashion to the social changes of the dynamic and restless era, assessing the influence of war and technological developments on the high hemlines, flattened busts and hips, geometric patterns and "bobbed" hairstyles of the boyish flapper look. And as she notes, it was through the Sears catalogs that Parisian designers like Coco Chanel, Jeanne Lanvin, and Madeleine Vionnet made their influence felt on Midwestern farms and in urban ghettos.
You'll find here a marvelous panorama of "smart," "modish," "chic," "stylish," and "ultra fashionable" apparel, as well as more traditional garments: for women and "misses" there are Middy blouses, Russian boots modeled by Gloria Swanson, "Bob" hats modeled by Clara Bow and Joan Crawford; coats, suits, dresses (including the first maternity dresses), sweaters, capes; silk and rayon stockings, corsets, chemises, camisoles, negligees; and accessories like necklaces, belts, combs, headbands, umbrellas, gloves, compacts, hand bags, wristwatches, and powderpuff cases. You'll see slower-to-change men's fashions — shirts, ties, suits, sweaters, and sports clothes — become trimmer, brighter, smarter. And you can follow the trends in children's fashions as well.
For historians of costume, nostalgia buffs, and casual browsers, these pages afford a rare picture — unspoiled by recent myths about the Roaring Twenties — of how average people really dressed in the jazz age.
The heart of the book is an illustrated listing, arranged alphabetically by designer, providing biographical and career data (screen credits, major awards and nominations) for every major American, British, and French designer who worked on American and British films between 1909 and 1987. Among the designers are such luminaries as Adrian, Travis Banton, Edith Head, Christian Dior, Orry-Kelly, Givenchy, Jean Louis, Howard Greer, Helen Rose, Norman Hartnell, Irene Sharaff, Walter Plunkett, Charles LeMaire, Tony Walton, and Ann Roth. Their creations are featured in over 170 photographs and design renderings reproduced on high-quality coated stock. Also included is an invaluable index containing titles of 6,000 films, cross-indexed by designer, along with over 400 new film credits covering the period 1976 – 1987. In addition, an Appendix lists Academy Award nominations from 1948 (when the design award was first established), as well as the names of those honored by the British Academy for Film and Television Arts.
Essential reading for fashion and costume industry professionals, historians, and students, this superb sourcebook will be valued by countless moviegoers and the legions of film aficionados studying and working in motion pictures.
"The author's stills are excellent, clearly identified, and often very enlightening." — Polly Platt, American Film
These immediately useable illustrations have a host of applications for fashion and costume designers, fashion historians, and anyone looking for fashion images to use in art and craft projects. Informative notes on the costumes complete an outstanding collection documenting nearly 100 years of costume history.
A rare source of authentic period styles, this volume will prove an excellent guide for designers, costume historians, and collectors of vintage apparel. Color images of Jazz Age fashions are few and far between, and these full-page illustrations offer clear views of trimmings, seaming, and other details. Notes on each model include information about the costume's intended season and occasion, fabrics, and accessories.
Included are elaborate examples of Aegean costume, Doric and Ionic styles of dress for women, Greek and Roman armor, graceful and intricately arranged Roman togas, the tunica — roomy, wide-sleeved apparel; and the pallium, a cloak-like garment. Ornate vestments of the Eastern Orthodox Church and Byzantine costumes are carefully described and portrayed, as are styles of hairdressing, jewelry, and other decorative elements.
An excellent reference for the history classroom, the volume also includes instructions and flat patterns showing the cut of sample garments, making it easy for costume designers to reproduce period apparel. This book will be valuable as well to costume historians and art students interested in the development of representative art.
The magnificent array of ladies' fashions that characterized the century are on display in this remarkably complete decade-by-decade overview. Drawing almost exclusively on contemporary sources — fashion magazines, newspapers, rare period photographs, memoirs, Victorian novels, periodicals, and other publications, as well as firsthand observation of actual garments — the author describes and explains the couture that evolved in response to changing social conditions, technological innovations, and cultural developments.
Over 1,100 line and tone drawings and photographs depict hundreds of outfits ranging from lovely morning dresses and starkly attractive riding outfits to elegant carriage costumes, opulent evening dresses, and exquisite bridal gowns. Full-page plates also depict period millinery, footwear, underclothing, and other apparel, while three useful glossaries provide descriptions of materials, definitions of technical terms, and more.
Museum curators, vintage clothes collectors, and fashion historians will find this carefully researched and well-written book an indispensable tool for dating, identifying, and authenticating vintage clothing. Not only are styles described and illustrated in detail for each year; all the small details of construction by which specimens can be dated are given wherever possible. Moreover, designers, illustrators, and fashion enthusiasts will be delighted by the superbly detailed illustrations, which painstakingly document the fashionable finery of the Victorian era.
This book presents a fashion parade of authentic ladies' and childrens' styles from the most influential women's magazine of the period — Godey's Lady's Book — which presented both original fashions and adaptations from European publications.
Over 400 striking designs, including 42 figures in full color, were chosen for this volume from a selection of rare issues (1837–1869) of Godey's by Stella Blum, director of Kent State University Museum and former curator of the Costume Institute at New York's Metropolitan Museum of Art.
Among the many beautiful illustrations reproduced here are morning dresses, walking suits, riding outfits, ball gowns, capes, children's costumes, plus hairstyles and a full array of accessories — shoes, bonnets, gloves, muffs, fans, walking sticks, and more. Captions detail the rich fabrics, color schemes, and decorative trims of this gallery of vintage attire.
The illustrations offer a panoramic view of evolving styles from Victorian 1940s outfits with severe high necklines, elongated bodices, and bonnets designed to keep the wearer's eyes looking chastely ahead; to 1950's adaptations of French haute couture featuring ornate gowns widened with hoopskirts and elaborately trimmed with lace, ribbons, fringes, and feathers; to 1860's garb in which skirts narrowed and graceful trains replaced the hoopskirt.
Costume and culture historians, clothing designers and illustrators will find the work a valuable reference to clothing designs of the period and a fascinating look back at mid-Victorian couture.
Organized according to motifs traditionally associated with each season of the year, Kimono Design interprets the kimono's special language as expressed in depictions of: Flowers and grasses Birds and other animals Symbols of power, luck and prestige Land-and-seascapes scenes from literature, history and daily life scenes of travel and the Japanese concept of other lands and many others…
Extensive notes on all the motifs demonstrate how the kimono reflects changing times and a sense of the timeless. Information on jewelry, hairpins and other accessories is scattered throughout to give a fuller sense of the Japanese art of dress. This is a volume that Japanophiles, historians, artists and designers will all cherish.
For this historically accurate sampling of authentic 1930s fashion, Stella Blum, former Curator of the Costume Institute at the Metropolitan Museum of Art in New York, selected for reproduction 133 representative pages from rare Sears catalogs of the period (fall and spring catalog for each year from 1930 to 1939). Hundreds of illustrations record what men, women, and children were actually wearing in the 1930s when, as a copyline from the Fall 1930 catalog proclaimed: "Thrift is the spirit of the day. Reckless spending is a thing of the past."
You'll see here how simpler women's fashion designs — of more traditional, affordable material — recaptured the feminine form with a more natural waistline and lower hemlines than seen in the twenties. For evening wear, longer dresses replaced flamboyant beaded short gowns while cloche hats, another twenties trademark, were replaced by berets, pillboxes, and turbans. The seriousness of the accessories and dresses endorsed by such Hollywood legends as Loretta Young, Claudette Colbert, and Fay Wray.
For historians of costume, nostalgia buffs and casual browsers, these pages afford a rare picture of how the average American really dressed during the thirties. It is an essential resource for study of the clothing of an important era which designers cannot afford to be without.
Carefully gathered from a rare portfolio originally published in 1906, over one thousand detailed engravings are presented here in a continuous chronological format. An unparalleled history of costume design, this collection includes the garb of kings and laborers ... ladies and warriors ... peasants and priests. Scores of accessories are also illustrated, including shoes, jewelry, wigs, and hair ornaments, along with furniture, musical instruments, and weaponry from a fascinating array of time periods. Exquisitely rendered and magnificent in scope, the Pictorial Encyclopedia of Historic Costume is a visual delight for designers, artists, historians, and everyone captivated by fashion's timeless allure.
A profusion of apparel and weaponry are depicted, ranging from the simple tunics and robes of peasants, blacksmiths, gardeners, shoemakers, fishermen, and other common laborers to the fur-lined cloaks and brocaded garments of the aristocracy. Tools and utensils used by peasants as well as the battle equipment and armor of warriors are also pictured and described, with special emphasis on how these weapons were handled, carried, and used in combat.
Accompanied by a scrupulously researched and well-documented text, these royalty-free illustrations not only offer general readers an intriguing and authentic insight into a past age but also provide artists, historians, students of weaponry, and theater and film professionals with a highly accurate source of reference material.
For the ladies, the catalog abounds in "rage of Paris" chemise dresses, feather-trimmed cloche hats, and casual wear. Gentlemen's suits appear here as well, along with attire for work and leisure and children's clothes for school, play, and special occasions. Sixteen pages of color illustrations offer vivid portraits of '20s styles, and an informative Introduction by fashion historian JoAnne Olian explains the period's trends. Collectors, designers, and fashion mavens will prize this charming style archive.
This Butterick manual provides clear and concise instructions for altering patterns, hand-sewing stitches, and creating shirt-blouses, skirts, wedding and evening gowns, coats, jackets, maternity wear, undergarments, bathrobes, children's clothing, and many other articles of apparel. Today's costume historians and sewing enthusiasts will find fascinating instruction in such long-lost arts as boning a bodice perfectly, creating skirt sweepers and bust enhancers, concealing hooks and eyes, and other vintage dressmaking techniques.
An indispensable archive of information on late-Victorian and turn-of-the-century clothing, this volume will be of immense interest to anyone fascinated by the fashion and costume of the period. It will also be of value to needleworkers wanting to create accurate reproductions of Victorian-era costume, or to anyone interested in applying time-honored sewing techniques to a modern wardrobe.
Over 120 large-format pages have been carefully reprinted on high-quality glossy stock. They reveal in sharp detail the broad range of clothing fashions available during a period when wartime gasoline rationing made mail-order shopping reach new heights of popularity.
Hundreds of accurately detailed drawings depict articles of clothing and personal accessories, including hats, overcoats, shoes, dresses, sportswear, undergarments, neckties, and more. Styles for children range from play clothes to "Sunday best." Men's clothing reflects the conservativism in male fashions during the period. Women's wear ranges from slacks, newly popular with women in the workforce, to dresses with plenty of "Oomph."
Here is a richly revealing document that historians of costume and readers interested in fashion, social history, and Americana will find endlessly fascinating. JoAnne Olian, curator of the Costume Collection at the Museum of the City of New York, has written an introduction that appraises the fashions of the 1940s and the many ways in which they reflected the times.
Starting with the flamboyant headgear and voluminous robes of fifteenth-century royalty, the artfully rendered illustrations progress chronologically to the high-waisted Empire styles of the Napoleonic era. Members of the nobility and upper classes are well represented here. Portraits of lavishly garbed court ladies and gentlemen — many in fur-trimmed robes — appear next to dapper pages and handsome knights. Bourgeois fashions (including lace-trimmed garments for both sexes) are presented as well, along with the more modest attire of chambermaids, milkmaids, and shepherdesses. Images of such historic figures as King Henri VI, Madame de Pompadour, Madame du Barry, and Marie Antoinette complete a splendid collection.
A valuable reference for costume designers and fashion historians, this beautifully reproduced volume will also serve as a grand treat for fashion enthusiasts.
The showcase depicts an astonishing range of women's styles — Egyptian headdresses, Spanish mantillas, French straw sailor hats, buckle-trimmed tam-o-shanters, wedding veils, bonnets, snoods, and jeweled crowns. Men's headwear includes feather-trimmed turbans, soldiers' helmets, cowboy hats and top hats, derbies and boaters, berets, sombreros, and Homburgs. Hairstyles run the gamut as well: ringlets, topknots, and spit curls, ponytails, pageboys, and poodle cuts, as well as pompadours, mutton chops, and crew cuts. With delightful details on jewelry, cosmetics, and beauty treatments, this is a unique reference that fashion designers, stylists, and historians will treasure.
All levels of society are included in this thorough, panoramic display of past fashions — from peasants and the middle class to the nobility. Here is apparel that clothed inhabitants of Far East kingdoms, gladiators of the Roman Empire, Crusaders of the Middle Ages, Dutch citizens of the 1600s, and Parisian society in the late 1700s. More than 1,900 costumes are shown, including fashions from ancient Assyria, Babylonia, Persia, and Greece, as well as clothing from England, France, Germany, Turkey, Italy, and other European countries.
An essential reference for costume designers and students of fashion history, this detailed survey will particularly delight the armchair time traveler.
Japanese Costume invites the reader to explore the world of Japan’s textile arts and costume decoration—from its origins in legendary times, through its brilliant development in the intervening centuries, to its emergence into the modern era. The book which is the first in English to present the full sweep of Japanese achievement in the costume arts, is essential the story of the kimono and its evolution.
The text is accompanied by a generous selection of fine illustrations and photographs: 54 in full color, 119 in black and white, and 12 line drawings. They include not only pictures from contemporary sources—such as the picture scrolls and woodblock prints— but also photographs of kimono masterpieces and representative textiles.
Sheer, romantic, alluring, yet sedate, the designs of Nyonya kebaya crosses several generations and cultures.
This book showcases the collection of Datin Seri Endon Mahmood, wife of the Prime Minister of Malaysia.
The extraordinary textiles in this book are from the collections of Rudolf Smend and Donald Harper. Most date from the period 1880 to 1930 when the art of batik reached its apogee. Having collected historical batik for over thirty years and published two books on the subject, Rudolf Smend has invited his friend and fellow batik specialist Donald Harper to contribute his fine collection to this publication as well. None of the batik in this book have been published before. They represent an exquisite cross-section of the batik production of Java—the most important batik-producing region in the world.
The cloths are complemented by vintage photographs from the first quarter of the 20th century demonstrating how the batik were worn at court and at home. Three are from museums in Dresden and Cologne, while three are from the private collection of Leo Haks. The others have been collected over the past 30 years from private sources in Java. The captions are by Maria Wronska-Friend, an ethnologist and batik expert who frequently visits Indonesian batik centers and has worked for many years as an anthropologist in Papua New Guinea. Her contributions provide fundamental knowledge for lovers of this art form while at the same time providing new insights for experts.
Rudolf Smend has invited other batik aficionados of his generation to share their passion for batik in this book. Inger McCabe Elliott, author of the bestselling Batik: Fabled Cloth of Java has contributed her lifelong experience. Other authorities like Annegret Haake, Brigitte Khan Majlis and Jonathan Hope share their views and expertise in these pages. This book represents a labor of love and a lifetime of friendship for the two authors, who hope it will provide inspiration to a whole new generation of batik lovers.
Twenty color and 40 black-and-white illustrations enhance the alphabetical entries, which are mostly for women's costumes but include a section on children's dress. Costumes range from the peasant garb of Austria, Italy, and Ireland to the finery of the six wives of Henry VIII, Marie Antoinette, and other members of French and English royalty. Additional entries spotlight characters from Shakespeare and Dickens; traditional apparel of Egypt and ancient Greece and Rome; Cinderella, Maid Marian, and other folkloric figures; as well as outfits suggested by astronomy, the seasons, the animal kingdom, and other thematic subjects. Costume designers, reenactors, lovers of Victorian fashion, and Halloween enthusiasts will find this historic volume a tremendous source of inspiration.
In this book, author Chris Enss examines the fashion that shaped the frontier through short essays; brief clips from letters, magazines, and other period sources; and period illustrations demonstrating the sometimes bizarre, often beautiful, and frequently highly inventive ways of dressing oneself in the Old West.
This book illustrates how architects' often experimental, and highly individual, responses to the brief, site and environment of housing projects can be transcended by the manipulation of light. Just as light can increase worker productivity and satisfaction in an office, it can be shaped to fit a family's lifestyle and enhance its sense of well-being.
Each of the features architects demonstrates an impeccable ability to capture the evanescent world of light and shade, and to use it not just as an architectural building block, but as navigation, interior design and artwork. Their skills in shaping light are explored in the more than 60 residential projects examined in this book.
Here in this volume, the author has not only given a comprehensive and fascinating account of the origins and history of batik, with examples of techniques and design, but also includes a complete "How-To-Do-It" section on modern methods of creating batik.
The text is lucid and easy to follow, and the simple step-by-step format will enable the art enthusiast to investigate this rewarding and creative medium. Sample batiks by modern artists, show what can be done with craft, skill, and imagination.
The author takes the reader through all aspects of making a batik, from a simple dipping, or tie-dying, to sectional dyeing, and the more intricate five or six-color patterns. Basic materials, fabric mixtures, wax temperatures etc. are discussed fully, and more important, the practical problems often encountered by a beginner are thoughtfully explained. Here is a book of batik literally giving you the 'tricks of the trade'.
The Blend structure is explained and demonstrated in the many samples woven by the author. Colour photos of the 50 or more pieces will draw you in to weave Bateman today! Some are examples of the weaves for today's purposes. Some are original variations and extensions of the 8 shaft weaves of Dr. Bateman to 12 and more shafts. The book concludes with the story of Dr. Bateman's work, a Bibliography, and Index. (Readers are encouraged to use other resources such as "Learning to Weave" by Deborah Chandler, or "The Complete Book of Weaving" by Mary E. Black for basic weaving instruction.)
Enlivened by excerpts from authentic letters, magazine articles, and satiric poems, over fifty exquisite black-and-white engravings highlight the wardrobes — and what was worn underneath them — of a Persian dancing girl, an ancient Egyptian woman, a Roman lady of high rank, Queen Elizabeth, Marie de Medici, a woman of the French revolutionary period, and many more. Costume designers, artists, and anyone interested in the history of fashion will be captivated!
Whether you're a flea market veteran who savors the thrill of the hunt, a couture shopper with a Vogue budget, or are simply drawn to the de rigueur world of vintage, Alligators, Old Mink & New Money offers a shopping adventure—through auctions, estate sales, flea markets, and clothing racks all over the world—to be savored, and inspired by!
Taking a cue from the exotic encyclopedias of the sixteenth century, which brimmed with mysterious artifacts, Jessica Kerwin Jenkins’s Encyclopedia of the Exquisite focuses on the elegant, the rare, the commonplace, and the delightful. A compendium of style, it merges whimsy and practicality, traipsing through the fine arts and the worlds of fashion, food, travel, home, garden, and beauty.
Each entry features several engaging anecdotes, illuminating the curious past of each enduring source of beauty. Subjects covered include the explosive history of champagne; the art of lounging on a divan; the emergence of “frillies,” the first lacy, racy lingerie; the ancient uses of sweet-smelling saffron; the wild riot incited by the appearance of London’s first top hat; Julia Child’s tip for cooking the perfect omelet; the polarizing practice of wearing red lipstick during World War II; Louis XIV’s fondness for the luscious Bartlett pear; the Indian origin of badminton; Parliament’s 1650 attempt to suppress Europe’s beauty mark fad; the evolution of the Japanese kimono; the pilgrimage of Central Park’s Egyptian obelisk; and the fanciful thrill of dining alfresco.
Cleverly illustrated, Encyclopedia of the Exquisite is an ode to life’s plenty, from the extravagant to the eccentric. It is a celebration of luxury that doesn’t necessarily require money.
BONUS MATERIAL: This ebook edition includes an excerpt from Jessica Kerwin Jenkins's All the Time in the World.
The sources of these illustrations include major American, British, and European fashion periodicals of the time: Godey's Lady Book, Peterson's Magazine, Harper's Bazar, La Mode Illustrée, L'Art et la Mode, Der Bazar, The Delineator, and others, as well as such general interest periodicals as Frank Leslie's Illustrated Newspaper, Harper's Weekly, The Youth's Companion, and Life. Many illustrations come from trade catalogs of such merchants as Montgomery Ward, Sears, Roebuck & Co., Jordan Marsh & Co., N. B. Holden Artistic Footwear, and a score of others.
Arranged chronologically, the plates present an overview of 90 years of fashion evolution of footwear, millinery, and such accessories as gloves, scarves, purses, handkerchiefs, and more.
Absolutely authentic in their painstaking detail, the illustrations depict officers and enlisted men in minutely detailed regalia, complete with weapons, horses, and accoutrements. Beautifully reproduced to retain every nuance of color and form, 44 plates encompass brigadier generals, staff, and line officers, cavalry, infantry, and artillery troops — even musicians — awaiting orders, receiving reports at the edge of the battlefield, and in other martial settings. Individual plates include a Minute Man (1774-75), General Washington as Commander-in-Chief (1779-83), a West Point Cadet (1813-21), General-in-Chief Winfield Scott (1858-61), Lieutenant-General Grant and Major-General Meade (1861-66), and many more.
Readers will be dazzled by the extraordinary detail and beautiful color of these plates; military enthusiasts, hobbyists, students of dress and design, and lovers of fine lithography will consider this volume an essential addition to their collections.