Academic literature on the topic 'Clothing manufacture. Dressmaking. Tailoring'

In the process of historical, cultural development in Ukraine, in each region there were characteristic traditions of making women's clothes, kind, cut, ornamental motive, composition, color scale, specific technique of execution. Traditional costume has always been a vivid, visually fixed manifestation of nationality, identity of folk culture and is one of the most significant contributions to the study of everyday life. Over the years, he has changed, perceived the external influence, but despite all the accumulated significant ethno-cultural information, which testifies to the experience of the Ukrainian people, the idea of ​​the world, criteria of behavior, aesthetic tastes, regional features and cultural motives. The article is devoted to the study of the traditional system of Poltava, the manufacture and design of the main rural women's clothing of the Poltava province XIX - early XX century.

Since at least from the end of the first millenium AD, clothes have been decorated in Estonia with small studs cast from tin, more often known as tin plaques (tinulised). The plaques were sewn onto the fabric through hooks found on their reverse sides. The use of round plaques is traceable up until the end of the Livonian War, the rectangular plaques remained essentially unchanged until the nineteenth century. A separate group was formed by the stick- or rosetteshaped plaques which were used on Latgallian-type shawls and headbands in Siksälä. Different forms of tin plaques were found in Jõuga and Makita Votic graves. The moulds and methods of casting have remained quite unchanged through the centuries. Moulds were usually crafted from imported limestone, but there are also examples of moulds made from local materials. Moulds that were used to cast Estonian tin plaques consist of two halves, although usually only one half has survived. The casting process was fairly simple. Molten tin was poured into a preheated mould using a ladle made of metal or clay. The plaques were usually made from a varying mixture of tin and lead. Most probably, scrap metal was also used. The archaeological plaque material best allows us to describe their usage in southern and southeastern Estonia. Different theories have been put forward as to the origins of the custom of decorating clothes with plaques. However they have been widely used in the Baltic states and in areas east and northeast of Lake Peipsi by Finno-Ugric peoples. Plaques were most often used to adorn shawls, headbands, and the edges of tunics. Due to the fact that tin does not survive well in Estonian soil, very few finds have been discovered that could allow to make a complete reconstruction of the placement of plaques on clothing. The last records about the usage of plaques date from the first half of the nineteenth century: in southern Estonia skirts with archaic tailoring – sõukesed – were decorated in this manner. During the Iron Age plaques might have been made both for the local elite and for sale by the craftsmen dwelling in hillforts. Most probably, many craftsmen who made the plaques lived also in the villages on the countryside. It has been presumed that the making of moulds and casting tin might have been a female occupation. The assumption is based on the many female burials in the Baltics and near river Volga that contain ladles and moulds. Although much cheaper than silver and bronze, and easier to produce, it still cannot be said that plaques were used by the poor. Many have been found in rich graves with beautifully adorned clothing and valuable jewellery. Freshly cast tin bears a resemblance to silver, thus it might be assumed that it was believed that tin adornments had similar protective-magical properties as silver jewellery. Keywords: tin plaques, ornaments for clothing, tin casting, stone moulds, historical handicraft techniques

Since at least from the end of the first millenium AD, clothes have been decorated in Estonia with small studs cast from tin, more often known as tin plaques (tinulised). The plaques were sewn onto the fabric through hooks found on their reverse sides. The use of round plaques is traceable up until the end of the Livonian War, the rectangular plaques remained essentially unchanged until the nineteenth century. A separate group was formed by the stick- or rosetteshaped plaques which were used on Latgallian-type shawls and headbands in Siksälä. Different forms of tin plaques were found in Jõuga and Makita Votic graves. The moulds and methods of casting have remained quite unchanged through the centuries. Moulds were usually crafted from imported limestone, but there are also examples of moulds made from local materials. Moulds that were used to cast Estonian tin plaques consist of two halves, although usually only one half has survived. The casting process was fairly simple. Molten tin was poured into a preheated mould using a ladle made of metal or clay. The plaques were usually made from a varying mixture of tin and lead. Most probably, scrap metal was also used. The archaeological plaque material best allows us to describe their usage in southern and southeastern Estonia. Different theories have been put forward as to the origins of the custom of decorating clothes with plaques. However they have been widely used in the Baltic states and in areas east and northeast of Lake Peipsi by Finno-Ugric peoples. Plaques were most often used to adorn shawls, headbands, and the edges of tunics. Due to the fact that tin does not survive well in Estonian soil, very few finds have been discovered that could allow to make a complete reconstruction of the placement of plaques on clothing. The last records about the usage of plaques date from the first half of the nineteenth century: in southern Estonia skirts with archaic tailoring – sõukesed – were decorated in this manner. During the Iron Age plaques might have been made both for the local elite and for sale by the craftsmen dwelling in hillforts. Most probably, many craftsmen who made the plaques lived also in the villages on the countryside. It has been presumed that the making of moulds and casting tin might have been a female occupation. The assumption is based on the many female burials in the Baltics and near river Volga that contain ladles and moulds. Although much cheaper than silver and bronze, and easier to produce, it still cannot be said that plaques were used by the poor. Many have been found in rich graves with beautifully adorned clothing and valuable jewellery. Freshly cast tin bears a resemblance to silver, thus it might be assumed that it was believed that tin adornments had similar protective-magical properties as silver jewellery. Keywords: tin plaques, ornaments for clothing, tin casting, stone moulds, historical handicraft techniques

British fashion is poised amidst a clutch of conflicting narratives, representations and ideologies. Through an examination of these rival encounters and the events that have gone to generate them, this thesis gives an insight into the culture of contemporary fashion, its dilemmas and the industry it supports. In particular, my discussion looks at the relationship between fashion and national identity. It posits fashion as a site central both to the re-branding of Britain and also to contestations over British identity itself, including the gendering of Britishness and its class relations. Using the cases of two iconic British fashion companies, Paul Smith Ltd and Mulberry Plc, I explore how the apparently straightforward and economically driven process of the globalisation of British fashion is, in fact, a far more culturally nuanced and locally embedded encounter than has previously been suggested. I unpack the different ways in which Paul Smith and Mulberry go about negotiating and sometimes even shaping and mobilising a sense of nationness in what is a rapidly globalising commercial marketplace. For in spite of their shared iconic national status both companies go about generating and deploying their self-confessed British character in exceedingly different ways. It is through an exploration of Paul Smith and Mulberry's contrasting corporate strategies, symbolic production techniques and product profiles that I investigate the different meanings afforded by the term Britishness. Indeed the thesis contends that, in the arena of fashion, Britishness is characterised less through some distinct essence or by a particular 'look' and more through its 'narratives of ambiguity'. In turn, it suggests that an understanding of these narratives goes some way in problematising and disrupting commonly imagined notions of Britishness borne out of Anglo-centric, androcentric and bourgeois tradition and, still further, it looks at how such notions might be re-worked in more multiple and complex ways.

Thesis (BTech (Fashion Design))--Cape Peninsula University of Technology, 2010
Petite women face many difficulties when purchasing clothing (Kam, 2006). This has been the common reaction expressed by a number of petite women all over the globe (Kam, 2006). Although there have been efforts made to accommodate petite women in South Africa( National Textiles Research brief, 2007) regarding clothing such as Edgars in particular there is still a large amount of petite women who feel dissatisfied. To test whether poorly fitted clothing does have a psychological effect on the petite women, interviews will be conducted with students attending CPUT and UCT. Research on theories revolving around the human mind and how the perception of other people influence our own perceptions of our self image were covered and the product of this research will be a new sizing system for petite women and a range of smart wear which allows women to express themselves age appropriately. The apparel industry has been growing and has worked side by side with technology to address many problems concerning fit and have succeeded in many departments. The fashion industry has in fact paid little attention to petite individuals not recognizing the psychological effect it has on the consumer and could largely benefit if the industry concentrates more on fit, aesthetic and design problems.

In the course of many seasons of research, as many as 192 fragments of textile products were recovered from 51 graves at the necropolis in Świbie, Gliwice District. Today they form the most numerous and diverse group of prehistoric textile objects from Poland. The assemblage includes not only woven fabrics, but also plaited materials, those made using the sprang technique, and threads. Most of the material survived on bone destructs, wooden elements of biers/coffins, and iron and bronze elements of grave furnishings, typically as fragments a few centimetres in length. This situation often made it impossible to carry out all analyses and measurements. Nevertheless, the results obtained should be considered highly important for the study of prehistoric textiles. Woven fabrics comprise the largest group in the assemblage (see catalogue). All of them were made in plain weave, either from animal or plant material, and they represent products of medium, good, and in a few cases even of very good quality. Some were made of dyed yarn and finished with tassels, and these should be considered the oldest evidence of the use of these techniques in the Vistula and Oder basins. Textiles typical of the Lusatian culture population make up the vast majority of the material. However, the very delicate, densely woven pieces undoubtedly go beyond this framework and are closer to the products known from the circle of the Hallstatt culture. Apart from woven fabrics, the cemetery also produced examples of sprang, which belong to the group of delicate products. Products of this type were recorded in three graves, and they were made from woollen yarn (see catalogue). In addition, 38 plaited fragments were found (see catalogue), preserved next to bronze ornaments, with which they originally formed decorative elements of costume. As they were made using the simplest plaiting technique, it can be assumed that they are examples of local manufacture. Less spectacular, although indicative of the development of tailoring, were the finds of threads. Twenty-one fragments of these were found, which were made from plant material, with doubled yarn (see catalogue). They were mainly used for sewing bronze buttons to headbands, as evidenced by their presence in the eyes of bronze appliqués and in the places where fabrics were joined to leather straps. With regard to the function of the materials in question, they should be considered remains of ceremonial costume associated with funeral ceremony. It included elements of clothing, as well as accessories complementing the whole, such as necklaces, hairnets or headbands (diadems). It can be presumed that the deceased may have been dressed in tunics, coats, trousers, skirts, or dresses. It seems that they had more than one item of clothing. However, the possibility of using shrouds, which we cannot distinguish from pieces of clothing, cannot be ruled out. Although the textile material recovered at Świbie is very rich and varied, it should be remembered that these products were elements of funerary costume. Thus, they are not a fully authoritative source of information about the level of Early Iron Age textile making. It can nevertheless be concluded that there was a clear, albeit slow, increase in the quality of textiles manufactured in the region during the Hallstatt period. While the population of the Lusatian culture still did not weave their cloth in more complex twill weaves, the quality of yarn and linen fabrics was very good. However, the influence and transfer of knowledge from the Alpine zone and southern Europe to southern Poland is evident.