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Tweed, Femininity, and Fashion, 1851–1918

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

Prior to the early 1850s, Scottish woolen manufacturers predominantly catered to the ladies’ trade through the weaving of shawls and fine, merino dress fabrics that were known as ““cloakings”cloakings,” as noted in Chapter 3. In 1863, Locke, JamesJames Locke described recent changes in the Scottish woolen industryScottish woolen industry, by stating: The Scotch tweed trade then may be divided into three distinct sections- viz. tweeds, shawlsshawls, and cloakings. The last of these came to their c

Suits You: Men and Tweed, 1919–1952

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

Following the First World War, as Jenkins, DavidJenkins clarifies, there was an immediate boom in the wool textiles trade, which for a brief period generated high profits and labor demand.DavidJenkins, “Wool Textiles in the Twentieth Century,” in DavidJenkins, The Cambridge History of Western Textiles, II (Cambridge: Cambridge University Press, 2003), p. 995. In the company history of Crombie, J. & J. (company)J. & J. Crombie of Aberdeen these developments are described as follows: there was a tr

Sportswear Chic: Tweed in Womenswear, 1919–1952

Fiona Anderson

Source: Tweed, 2018, Berg Fashion Library

Book chapter

Detailed statistics about the proportion of British tweeds, which were consumed by women, or made specifically for the female market between 1919 and 1952 are not available. However, estimates from key Scottish woolen industry bodies and a government study give a useful indication about the picture within Scotland up to 1946. The visit of the Scottish Woollen Trade Mark Association (SWTA)Scottish Woollen Trade Mark Association to the USA and Canada toward the end of 1921 prompted an article in Ga

Trousers

Pat Parish

Source: Pattern Cutting. The Architecture of Fashion, 2nd Edition, 2018, Fairchild Books Library

Book chapter

Collar Eton,fundamentals,The idea that women were once ‘not allowed’ to wear trousers seems ridiculous now. Although women began to wear trousers early on in the twentieth century, it was really Yves Saint Laurent who made trousers chic and highly fashionable, along with his reworking of ‘the smoking jacket’. Trousers were the domain of male attire as much as skirts were the domain of female attire. In particular, this gendering of clothing was somewhat erased when jeans were adopted by men and w

Tailoring Traditions

John Hopkins

Source: Menswear, 2nd Edition, 2017, Fairchild Books Library

Book chapter

If people turn to look at you on the street, you are not well dressed.

The Black Prince of Elegance

Valerie Steele

Source: Paris Fashion. A Cultural History, 3rd Edition, 2017, Berg Fashion Library

Book chapter

Eternelle superiorité du Dandy.

Knit Jumpsuits and One-Piece Garments

Paula J. Myers-McDevitt

Source: Complete Guide to Size Specification and Technical Design, 3rd Edition, 2016, Fairchild Books Library

Book chapter + STUDIO

Knit jumpsuit and one-piece garment specification sheets are common in the children’s wear industries, however this chapter is written for the misses market. Common one-piece garments include bodysuits, one-piece swimsuits, and rompers. Measuring a bodysuit or one-piece garment basically combines the measurement points of a knit top and a knit pant. Notice in the sketch (see Figure 8.1) that a one-piece swimsuit can be measured from point 151c, Front Torso Length, center front at neck to the crot

Woven Jumpsuits and One-Piece Garments

Paula J. Myers-McDevitt

Source: Complete Guide to Size Specification and Technical Design, 3rd Edition, 2016, Fairchild Books Library

Book chapter + STUDIO

The jumpsuit has made a comeback in women’s fashion, not only for eveningwear, but daytime and work wear as well. Measuring woven one-piece garments or jumpsuits basically combines the measurements of a woven top and a woven pant. Therefore, the rules you learned for each of those styles will be used here as well. You may want to look back over Chapters 9 and 11. Figure 13.1 shows that a jumpsuit can be measured from point 153, Front Torso Length, from the high point shoulder to the bottom of the

Maurizio Baldassari

Katy Conover

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Bella Freud

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Kansai Yamamoto

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Chanel Haute Couture, Karl Lagerfeld, Spring/Summer 1987

Michelle Honig

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Chanel’s spring/summer 1987 haute couture collection was shown in the École Nationale Supérieure des Beaux-Arts in Paris, where a student demonstration outside the venue required there to be tight security. On the stage, a fake statue of the Winged Victory was clothed in Chanel and holding a quilted bag. Critics derided the bustle-inspired “parabola” line and peplum hems that “obscured the real fashion originality” and “made the models look a bit like roosters.” Despite the criticism, the empire

Guy Laroche

Matina Kousidi

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Tomasz Starzewski

Nanna Marie Lund

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Aesthetics of The Jazz Dandy

Alphonso D. McClendon

Source: Fashion and Jazz. Dress, identity and subcultural improvisation, 2015, Berg Fashion Library

Book chapter

Adding to his narrative, Michel Fontanes, a former executive, author and jazz musician, articulated the French impression of African American male instrumentalists that expatriated to the country. “They were considered in France as Gods. All black musicians not the white musicians.” Regarding his trip to Paris in 1949, Miles Davis offered consensus. “It was the freedom of being in France and being treated like a human being, like someone important. Even the band and the music we played sounded be

Jazz Style on the Catwalk, 1970s–2000s

Alphonso D. McClendon

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

From 1970 to 2000, the influence of jazz culture on the women’s catwalk is pinpointed by the confluence of masculine and feminine details. Designers, during the three decades, interpreted the tuxedo and double-breasted suit that were standardized uniforms of early jazz musicians. Particularly for African American performers, these formal garments bolstered access to mainstream culture, social and economic equality, celebrity, and musical distinction. These utilities are paramount to its exhibitio

Design Variations and Effects of Grading on Garment Style

Kathy K. Mullet

Source: Concepts of Pattern Grading. Techniques for Manual and Computer Grading, 3rd Edition, 2015, Fairchild Books Library

Book chapter + STUDIO

By this point the reader should be familiar with the grade rules necessary to grade basic garment designs and how a grade is distributed through a pattern. A solid foundation in patternmaking is essential for a pattern grader. It is possible: if a patternmaker can grade a basic sloper, then he or she would be able to develop a garment pattern of any size by using a sloper of the selected size. This is the basic principle by which a patternmaker can use a computer-assisted drawing (CAD) system to

Mark Eisen

Emily M. Orr

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Hanae Mori

Shari Sims

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Harriet Selling

Tory Turk

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Kenzo, Fall/Winter 1994

Nadya Wang

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

For his fall/winter 1994 collection, Japan-born Kenzo Takada was on the same wavelength as his contemporaries, providing comfortable clothes for men, while keeping to the signature Kenzo formula of providing whimsical options based on ideas from around the world for the creative individual.

Yohji Yamamoto, Spring/Summer 1992

Nadya Wang

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

For his spring/summer 1992 collection, Yohji Yamamoto continued to recruit models who were not runway professionals. In the previous season, he had worked primarily with musicians. This time round, he turned to sportsmen, including tennis player Yannick Noah and footballer José Touré. The show was an ambitious one, with close to a hundred looks. Many of them were in shades of gray and blue, with punches of color offered in the wide variety of outfits available. The collection followed the season’

Yohji Yamamoto, Spring/Summer 1993

Nadya Wang

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Yohji Yamamoto’s spring/summer 1993 collection was held at the construction site of the Marché des Blancs-Manteaux in Paris. As in previous seasons, Yamamoto engaged creative individuals who were not professional models to present his work. The collection was eclectic, with global inspirations, and had everything from motifs and graphic elements to checks and stripes.

Getting More for Your Money: Menswear Publicity and the 1970s Recession

Paul Jobling

Source: Advertising Menswear. Masculinity and Fashion in the British Media since 1945, 2014, Berg Fashion Library

Book chapter

Suit Jackets

Myoungok Kim and Injoo Kim

Source: Patternmaking for Menswear. Classic to Contemporary, 2014, Fairchild Books Library

Book chapter

The lining pattern for a suit jacket has added ease, because lining is often constructed out of a lightweight fabric and people need room for movement. On the other hand, the lining pattern must be shortened from the bottom, so that the lining will not be seen from the outside. The exact amount of ease that will be added varies depending on the thickness of fabric and the sewing methods as well as the cost of manufacturing. In general, the lining pattern has an added ½″–1″ in circumference and is

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