Historic Costumes and How to Make Them (Dover Fashion and Costumes) [Fernald, Mary, Shenton, Eileen] on Amazon.com. *FREE* shipping on qualifying offers. Historic Costumes and How to Make Them (Dover Fashion and Costumes)

Assyrian and Babylonian culture. Mesopotamia. Costume History. The national dress both in Assyria and in Babylonia. The Babylonian Empire.

viii, [9]-93 p. 31 cm

Clothes define people. A person's attire, whether it's a sari, kimono, or business suit, is an essential code to his or her culture, class, personality, even faith. Founded in 1978, the Kyoto Costume Institute recognizes the importance of understanding clothes from sociological, historical, and artistic perspectives. With one of the world's most extensive clothing collections, the KCI has amassed a wide range of historical garments, underwear, shoes, and fashion accessories dating from the 18th century to the present day. Showcasing the Institute's vast collection, Fashion History is a fascinating excursion through the last three centuries of clothing trends. Featuring impeccable photography of clothing expertly displayed and arranged on custom-made mannequins, it is a testimony to attire as "an essential manifestation of our very being" and to the Institute's passion for fashion as a complex and intricate art form. The book's authors include some of the smartest minds and sharpest eyes in fashion studies: Akiko Fukai (Chief Curator of The Kyoto Costume Institute), Tamami Suoh (Curator of The Kyoto Costume Institute), Miki Iwagami (Lecturer of fashion history at Sugino Fashion College (Tokyo)), Reiko Koga (Professor of fashion history at Bunka Women's University), and Rie Nii (Associate Curator of The Kyoto Costume Institute). About the seriesBibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!; 648 pages; Published: 24/08/2022

The cutters' practical guide to the cutting of ladies' garments.. (1890) Ladies' Dress Bodice (1890)

Peterson's Magazine 1865 - Victorian fashion, crafts, recipes and poetry, including full-color fashion prints

Cross-posted to own journal The shirt is nearing its completion, the only thing left are the cuffs. The sleeves are very wide with only a portion of that gathered at the top of the shoulder. As with the collar, the body of the shirt is top-stitched to the sleeves. The seam allowance…

Publications by The School of Historical Dress, including the series Patterns of Fashion originally produced by Janet Arnold

Clothes define people. A person’s attire, whether it’s a sari, kimono, or business suit, is an essential code to his or her culture, class, personality, even faith. Founded in 1978, the Kyoto Costume Institute recognizes the importance of understanding clothes from sociological, historical, and artistic perspectives. With one of the world’s most extensive clothing collections, the KCI has amassed a wide range of historical garments, underwear, shoes, and fashion accessories dating from the 18th century to the present day. Showcasing the Institute’s vast collection, Fashion History is a fascinating excursion through the last three centuries of clothing trends. Featuring impeccable photography of clothing expertly displayed and arranged on custom-made mannequins, it is a testimony to attire as “an essential manifestation of our very being” and to the Institute's passion for fashion as a complex and intricate art form. The book's authors include some of the smartest minds and sharpest eyes in fashion studies: Akiko Fukai (Chief Curator of The Kyoto Costume Institute), Tamami Suoh (Curator of The Kyoto Costume Institute), Miki Iwagami (Lecturer of fashion history at Sugino Fashion College (Tokyo)), Reiko Koga (Professor of fashion history at Bunka Women’s University), and Rie Nii (Associate Curator of The Kyoto Costume Institute). About the series Bibliotheca Universalis — Compact cultural companions celebrating the eclectic TASCHEN Informações técnicasEditoraTaschenTítuloFashion: A History from the 18th to the 20th Century: The Collection of the Kyoto Costume InstituteAutorCostume Institute, KyotoFicha técnicaNúmero de páginas648Edição1Data de publicação2015IdiomaInglêsCódigo do produtoISBN-10 - 3836557193 GTIN-13 - 9783836557191 ISBN-13 - 9783836557191Peso aproximadoPeso do produto980.0 gramas.Dimensões do produtoProduto(L x A x P): 14.0 x 19.5 x 17.3 cm.Informações complementaresGêneroHistóriaISBN-103836557193ISBN-139783836557191

48 p. 28 cm

Make perfect 1770s Era Waistcoat! A proper waistcoat is absolutely necessary for proper American War of Independence (AWI or Revolutionary War) - era attire. The long, shapeless waistcoats of earlier years were gone for good. Our Men's Waistcoat for the 1770s accomplishes that task easily. Based on extant garments and the pictorial record.  Fits chests 34" to 54". All sizes in one envelope.  Also included are assembly instructions, embellishment suggestions, and the extensive historical notes you've come to expect from Reconstructing History. Suggested Fabrics: wool, heavyweight silk; lightweight silk or linen for lining; heavy linen or canvas for interlining Notions: thread; up to 20 buttons for front closure; buttonhole floss Yardage Requirements: 2 yds at least 45" wide (1 yard if making plain linen back)

This is my original Regency gown pattern, modeled after the styles of the middle Regency and particularly appropriate for 1810s impressions. If you're new to this time period, this is the pattern I recommend starting with, as it goes together very easily. (Looking for the paper version rather th

32 p. 23 cm

[40] p. 32 x 26 cm

UPDATE: 13 JUNE 2023. The old four-block system for downloading the original Ensamplario Atlantio, an artifact of bandwidth limitations common in 2011 is no longer needed. I’ve taken a moment…

Utilizing her talents as a former designer for fashion, film, and opera productions, Bavarian-born Annina Pfuel married her love for traditional Alpine clothes with her expertise in historical costumes. Annina Dirndl features silhouettes that pay homage to a bygone era with modern-day sensibility. Suitable for a range of dress codes, each handmade garment is a unique wardrobe investment. The Isabel is crafted from traditional Austrian OEKO-Tex Certified printed cotton fabric and finished with a matching sugary pink printed apron.

Known for her interpretations of 18th century gowns, Lauren Rossi offers steps for creating hand-sewn eyelets - known for their outstanding strength - on both historic and modern garments.

56 p. 28 cm

p. cm

Below are 1900-1919 Edwardian era sewing patterns for Gibson Girl, Beatrix Potter, Downton Abbey, Titanic, Mary Poppins and Suffragette costumes as well as men's Edwardian suits, trousers, coats, and shirts. Simple Edwardian skirts and blouses created most of the turn of the century looks. A step up would be a traveling suit with a coordinating

Cotte simple with binding in front of the dress - main dress worn under outer garments. It has short, tight fitted sleeves. The upper part of Cotte is tailored to the figure by binding in front of the dress (with braided strings) - according to the requirements of the medieval fashion. The bottom of the dress is very wide - is about 3.5 meters. The dress will emphasize your femininity at any time of the year. The dress can be in the colors from brightest to darkest. Use the dress the way you want it: for everyday life, photo shoots, work. ----------------------------------------------------------- FABRIC The materials are resistant to washing and the quality of the seams ensures that the dress will last you for many years. The dress was made of 100% pure linen, has medium weight 185g/m2. It's pre-washed - so won't shrink and it's soft and nice to wear. High quality with Ecotex-100 certificate. Linen is produced in Belarus from local crops. ----------------------------------------------------------- SIZE AND COLOR You can customize your dress and choose the color and size that suits you. Size and color charts are available in the last pictures. If you are not sure about your size or your measurements differ from the table, please contact me. Note that colors may look different on your monitor depending on their settings and technical characteristics. Total height is needed to adjust the length of the dress. The model is 5ft 6 inches tall and she's wearing size S. ----------------------------------------------------------- WASHING & CARE INSTRUCTION • washing in temperature 40C - colored clothes; 60C – white or natural colored clothes • wash in the washing machine using „hand wash” program • do not use bleach or stain removers • no fast-spinning (it is damaging for seams and fibers) • hang in the vertical position to dry • to keep the look, best ironed clothes with wetting water, inside out, up to 150C (two dots) ----------------------------------------------------------- Follow me on Facebook: HTTPS://WWW.FACEBOOK.COM/SLAVMEDIEVALSHOP

Dimensions (Overall): 8.46 Inches (H) x 5.46 Inches (W) x .48 Inches (D)Weight: .57 PoundsSuggested Age: 22 Years and UpNumber of Pages: 176Genre: Crafts + HobbiesSub-Genre: FashionSeries Title: Dover Fashion and CostumesPublisher: Dover PublicationsFormat: PaperbackAuthor: Mary Fernald & Eileen ShentonLanguage: EnglishStreet Date: June 23, 2006TCIN: 77732705UPC: 9780486449067Item Number (DPCI): 247-61-1488Origin: Made in the USA or Imported

Misses XS-3XL (updated sizing). The sewing pattern for our Vintage Bathing Costume dates from around 1890, and features a flattering gored skirt with deep pleats in the back. The skirt buttons at the waistband over a knee-length romper. The bodice featured short puffed sleeves, whimsical sailor collar and tie, with an optional inset "modesty" bib. Top it off with a jaunty Bathing Cap for an authentic look.  The Vintage Bathing Costume is great for a fun summer outfit. Make it in bright floral or striped cotton, or traditional in navy blue medium-to-heavyweight cotton or lightweight wool with white trim. Wear it without the skirt and omit the "modesty" bib for a casual playsuit. This pattern is available as a Paper pattern and PDF pattern.  Choose the pattern format you want in the drop down menu.  The PDF pattern has instructions and files for copy shop (36” and A0), print at home (A4 and 8.5”x11”). Suggested fabrics: Medium-weight cottons, linens, blends. Original garments were made in light to medium-weight wools. Yardage chart (.pdf)

The past few days saw me camped out on the den floor, stretching and leaning and murmuring "ooph, ow!" as I drafted the Illustrierte Frauen-Zeitung Roehrenfalten-Rock (a four yard godet skirt) pattern to full size. In case you want to use it, let me guide you through drafting it, for there are some spots that confused me and a pitfall that it's really, really easy to fall into. In case you missed any posts in this petticoat series, you can find them on the 1890s: Costumes, Research, and Documentation page. Understanding the Draft If you look at the original draft above, from left to right the skirt pattern includes four pieces: "a", the front piece; "b", the side-front piece; "c", the side-back piece; "d", the back piece. I don't think the draft includes seam allowances, although I could be wrong. The grainline is vertical, but none of edges of any gore fall on the straight of grain, so that "c" in particular, appears tipped. Cut them exactly as shown or the skirt will not work out as it's supposed to. Many 1890s skirt patterns tend to be cut such that one edge of a gore is on the straight of grain while the other is on the bias; this makes for a seam that's less likely to stretch or bag. This skirt is pretty much all bias seams.: I am a little worried about it but authors of the period say that keeping the fabric on a flat surface as much as possible while cutting and sewing it, and binding each seam with seam tape, are two ways to prevent problems. The pattern pieces are marked in centimeters, and each number marks an important spot in the pattern. To draft up the pattern, you replicate the drawing, measuring out with a rule marked in centimeters. I found out what the measurements work out to in American/Imperial inches. The skirt front measures about 40", while the back measures 44". This back length is NOT a train; the length is needed to create those wonderful godets that stand out at the back and brush the floor at the same level as the rest of the skirt. The skirt measures 145" around, or about 4 yards. There some room in the waistline; before darts and the essential godet pleats in the back are taken, we have a total of 44" to work with. It's easy to simply draft up the pattern in centimeters, rather than fuss with converting the measures. This is especially so because some of the measurements are of less than an inch, and it would be a royal pain to squint at the 16th marks on your rule when you can simply use nice round centimeters. Note: if you should need to resize the pattern, see the Sense and Sensibility site's page called How to Resize a Pattern. She covers resizing a gored skirt, or you could use the slash and spread method. Just know that you will affect the circumference of the lower edge of the skirt. Let's Start Drafting Here below is the first piece (a), the front of the skirt. It's cut on the fold, hence the dotted line on the left side of the pattern piece. Let's assume that you have a yard stick or meter stick and large sheets of paper ready to draw on, and a pencil with a good eraser. Also, a T-square or L-shaped ruler marked in cm is a great help, because it's nice to be able to lay one arm along a measured line and then measure up or down the vertical arm. Before you start measuring, watch out! Each vertical or horizontal line starts at the 1 cm mark, NOT at the 0 cm mark. Don't do as I did and merrily slide your ruler to its beginning point, which is usually zero, as you would with many American drafts. Instead, draw on your ruler at the 1 cm point with pencil so you will remember to start from there. If you measure at 0, you will add a cm to each part of your draft and it will be off, off, off. You can see the one I use in the photo of the first piece below; it's black with white marks. I don't know why the patterns start at 1 cm rather than 0. Perhaps it's because wooden or tape rulers easily wear at their ends and the markings get a little off. Perhaps it's convention. If anyone wants to enlighten me, that would be so nice. Here's how I drafted the first piece, so you get the idea. Again, you're just replicating the original draft in the magazine, but at full size. Each pattern piece is set inside a rectangle. Draw that out first: starting from the top left, at the 1cm mark on your rule, draw a line out to the right to 26cm. starting again from the top left, at the 1cm mark on your rule, draw a line down to 103cm. starting at the top right, at the 26cm mark, drawn a line down to 103cm. starting at the bottom right, draw a line to the left from 26cm to the 1cm mark. Now you can draw in the pattern piece itself. Here's how I did it; I labeled each step from A to I: A to B: From the 1cm point on the left side of your pencilled rectangle, measure down to the 2cm point and draw a point. This is where the center of the front waistline is. B to C: draw down the left side of the pencilled rectangle from 2 cm to 103 cm. This forms the center front of the skirt. Mark it darkly in a dotted line so that you remember to cut your fabric, which you have folded in half lengthwise, on the fold. D to E: draw a straight line at the bottom of your pencilled box outwards from the 1cm mark to 9cm. E to F: at the bottom right of your pencilled rectangle, measure up the right side from 103cm to 100cm. Now, from the 9cm mark on the bottom of your rectangle, draw a gentle curve up to that 100cm point. You've formed the bottom edge of the skirt piece. G to H: at the top of your pencilled rectangle, measure from the 1cm mark to 9cm and make a point there. Now draw a very gentle, almost imperceptible curve from the 2cm point on the left edge to the 9cm point you made along the top. This is your waistline curve. H to I: Draw an angled line from the 9cm mark on the top line down to the 100cm mark on the right edge. This is the outer edge of the front piece. Draw in the darts lightly in the approximate place the original draft has them; you will set the darts to best fit your body when fitting the skirt to you. Now you have your first pattern piece! The picture below my first pattern piece drawn on some newsprint my husband had stashed for some 30 years. It's getting age spots :} If you look carefully you can see that none of my pattern lines are closer to the edge of the paper than 2cm; I wanted room to mark everything carefully. If you really squint you can see that I drew a dotted line 2cm outside the waistline and the right edge of the front piece. These are seam allowances. I didn't drawn an extra seam allowance for the skirt bottom because we are going to shorten it to petticoat length later. I made sure to label the piece with the name of the skirt, which piece it is, and the grainline. As I drew my lines, I wrote down the cm measures just as they appear on the original draft. Obviously you don't have to do that, but I like knowing what everything measures. I drew out each skirt piece in the same way, and only found the markings on the "c", side-back piece to be confusing. Here is the original draft -- we're looking at the large pattern piece on the left side. Here are the three spots I was confused: Look at the little "6" and the "3" drawn inside the top left of the pattern. Well, the little "3", which sits on its side, reminds us that the waistline of the skirt starts vertically at the 3cm mark, where 1cm is the starting point. That part I understand. However, I cannot believe that the little "6" marks the spot where the top of the skirt gore begins horizontally. When I drew the line for the left side of the the skirt pattern piece from 6cm, boy! The angle sure didn't match that on the original drawing; it was too wide. So, I decided to start at 3cm. Then too, I don't know what the 9cm mark is along the top of the rectangle that outlines the skirt pattern piece. Surely it isn't the spot where the first "X" on the pattern is placed...when I set it there, it was far to the left of where the pattern has it. Finally, I don't know what the "90cm" mark is for that sits at the far right of the top. The bottom of the skirt flares out to 99cm wide, not 90cm. I can't help but think that's a typo. For those of you wondering what those star shapes are that appear on the side-back and back pieces? That's where you are going to attach the elastic band that holds the godet plaits into position. Once the skirt seams are sewn, you will see that the three star marks fall in a line. Be sure to include them on your pattern pieces! The "X" marks and dots on these two back pattern pieces, I believe, show you where to set the box pleats, I believe, but haven't verified it as yet. Here is the "c", the side-back piece, as I have drafted it. That ends drafting the skirt. The next step is to cut out the pieces and make sure they match up, and then compare them to my actual fashion skirt. I will want to copy the pieces and then trim the bottom parts a bit so that the petticoat doesn't show beneath the skirt. Two inches or 5cm should do it. May You Be as Snug as Nutmeg Kitty These are trying days, but they have their light moments. Nutmeg kitty has been very, very relaxed with the onset of cool weather. Look at those part-colored paws! Then, a few days ago I was folding laundry prior to drafting out the pattern. She decided to interrupt the folding so that I could focus on the drafting. Good kitty...she gave me almost 2 hours of free time :} I wish you the snuggy feeling she has been feeling: we sure need a bit of cozy time... Next time, we will look at the pattern all cut out and set onto the fashion skirt so that we can see how much should be trimmed off the bottom so that it's petticoat length what I might need to do to the fashion skirt (!), if anything, to deal with the fact the petticoat is cut for godets while the skirt is definitely not.* * Yes, I know cotton "wash" skirts like mine weren't supposed to have godets, only skirts made of thicker materials, according to Emma M. Hooper in the Ladies Home Journal, but that doesn't mean that the petticoat couldn't be of a godet cut to hold out the skirt some!

Utilizing her talents as a former designer for fashion, film, and opera productions, Bavarian-born Annina Pfuel married her love for traditional Alpine clothes with her expertise in historical costumes. Annina Dirndl features silhouettes that pay homage to a bygone era with modern-day sensibility. Suitable for various dress codes, each handmade garment is a unique wardrobe investment. Evoking sophisticated 18th-century style, the Antonia Blouse gathers closely along the shoulders for a romantic and classically inspired top.