Patterns of Fashion 4: The cut and construction of linen shirts, smocks, neckwear, headwear and accessories for men and women c. 1540 - 1660

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The grainline of pattern pieces are decided upon by the designer to make sure the fabric has the correct drape. The drape of a garment is the way the fabric looks when it is hanging on a person or mannequin. For example, if a piece of cotton fabric is ‘cut on the grain’ (= in the same direction as the grainline) it won’t have any stretch as it has been cut in the direction that the threads have been weaved to make the fabric (warp threads – lengthwise grain, weft threads – crosswise grain). This would be typical of bodice or dress pieces for a shift style dress (where the straight grain runs in the same direction as the centre front). If a piece of cotton fabric is ‘cut on the bias’ it will have stretch as it is cut at a 45 degree angle to the direction of the threads (and grainline). This would be typical of a collar or facing.

With increasing environmental awareness, the economic imperative to "Spend now, think later" is increasingly scrutinized. [67] Today's consumer tends to be more mindful about consumption, looking for just enough and better, more durable options. People have also become more conscious of the impact their everyday consumption exerts upon the environment and on society, and these initiatives are often described as a move towards sustainable fashion, yet some argue that a circular economy based on growth is an oxymoron, or an increasing spiral of consumption, rather than a utopian cradle-to-cradle circular solution. McDermott, Kathleen, Style for all: why fashion, invented by kings, now belongs to all of us (An illustrated history), 2010, ISBN 978-0-557-51917-0 – Many hand-drawn color illustrations, extensive annotated bibliography and reading guideConcern and protest over U.S. involvement in the failing Vietnam War also influenced fashion. Camouflage patterns in military clothing, developed to help military personnel be less visible to enemy forces, seeped into streetwear designs in the 1960s. Camouflage trends have disappeared and resurfaced several times since then, appearing in high fashion iterations in the 1990s. [75] Designers such as Valentino, Dior, and Dolce & Gabbana combined camouflage into their runway and ready-to-wear collections. Today, variations of camouflage, including pastel shades, in every article of clothing or accessory, continue to enjoy popularity. Parametric pattern drafting implies using a program algorithm to draft pattern for every individual size from scratch, using size measurements, variables and geometric objects. Fashion leaders are also watching global headlines closely in the year ahead, as macroeconomic and political uncertainties continue to obstruct business operations and escalate reputational risk. The war in Ukraine is of high concern to the industry, having already disrupted trade routes and triggered an energy crisis that will continue to have impact. In China, further COVID-19 outbreaks and the real estate crisis have undermined the region’s growth trajectory, as well as disrupted supply chains. Meanwhile, extreme weather is negatively affecting supply chains and raw materials across Asia.

Less than one percent of clothing is recycled to make new clothes. [82] The industry produces an estimated 10% of all greenhouse gas emissions. [83] The production and distribution of the crops, fibers, and garments used in fashion all contribute to differing forms of environmental pollution, including water, air, and soil degradation. [ citation needed] The textile industry is the second greatest polluter of local freshwater in the world, [84] and is culpable for roughly one-fifth of all industrial water pollution. [85] Some of the main factors that contribute to this industrial caused pollution are the vast overproduction of fashion items, [86] the use of synthetic fibers, the agriculture pollution of fashion crops, [87] and the proliferation of microfibers across global water sources. [82] The grainline is the line on your pattern piece which tells you how to place it on the fabric, as it must always be parallel to the selvedge. Pattern matching Fashion may be used to promote a cause, such as to promote healthy behavior, [118] to raise money for a cancer cure, [119] or to raise money for local charities [120] such as the Juvenile Protective Association [121] or a children's hospice. [122] a b Liu, Jianli; Liang, Jianyao; Ding, Jiannan; Zhang, Guangming; Zeng, Xianyi; Yang, Qingbo; Zhu, Bo; Gao, Weidong (August 2021). "Microfiber pollution: an ongoing major environmental issue related to the sustainable development of textile and clothing industry". Environment, Development and Sustainability. 23 (8): 11240–11256. doi: 10.1007/s10668-020-01173-3. S2CID 230284901. In the 1980s, Arnold was nominated first as honorary research associate and then honorary research fellow at Royal Holloway College. In 1981, she became a fellow of the Society of Antiquaries of London. She was presented the inaugural Sam Wanamaker Award in July 1998 with Mark Rylance. [3] Arnold died of lymphoma at her home in London on 2 November 1998; she had been working on costumes for Theatre Royal, Bristol and Mermaid Theatre just two days earlier. [1]

Sewing Patterns for Clothing, Crafts & Accessories

Fashion scholar Susan B. Kaiser states that everyone is "forced to appear", unmediated before others. [4] Everyone is evaluated by their attire, and evaluation includes the consideration of colors, materials, silhouette, and how garments appear on the body. Garments identical in style and material also appear different depending on the wearer's body shape, or whether the garment has been washed, folded, mended, or is new.

Chaudhuri, K. N. (1990). Asia before Europe: economy and civilisation of the Indian Ocean from the rise of Islam to 1750. Cambridge [England]: Cambridge University Press. ISBN 0-521-30400-8. OCLC 20014228. For example, if a piece of cotton fabric is ‘cut on the grain’ it won’t have any stretch as it has been cut in the direction that the threads have been weaved to make the fabric (warp threads – lengthwise grain, weft threads – crosswise grain. This would be typical of bodice or dress pieces for a shift style dress. If a piece of cotton fabric is ‘cut on the bias’ it will have stretch as it is cut at a 45 degree angle to the direction of the threads. This would be typical of a collar, facing or cutting your own bias strips. Cut 2 or Cut x1 pair Template from which the parts of a garment are traced onto fabric before being cut out Three patterns for pants (2022) Pattern making is taught on a scale of 1:4, otherwise the paper consumption would be far too large. Storage of patterns Fitting a nettle/canvas-fabric on a dress form a b Mosmann, Petra (2016). "A feminist fashion icon: Germaine Greer's paisley coat". Australian Feminist Studies. 31 (87): 88. doi: 10.1080/08164649.2016.1174928. S2CID 148120100.To become a pattern cutter you do not necessarily need to be degree educated. There are a number of college and diploma courses that can prepare you for a career in pattern making. Completing a related qualification is recommended as it can help you to build the fundamental skills and theory required for the role, giving you a solid foundation when entering the working world. Patterns of Fashion: the cut and construction of clothes for men and women 1560–1620, Macmillan 1985. Revised edition 1986. ISBN 0-89676-083-9 Josef W. Meri & Jere L. Bacharach (2006). Medieval Islamic Civilization: A–K. Taylor & Francis. p.162. ISBN 978-0415966917.

Anti-fashion is concerned with maintaining the status quo, while fashion is concerned with social mobility. Time is expressed in terms of continuity in anti-fashion, and in terms of change in fashion; fashion has changing modes of adornment, while anti-fashion has fixed modes of adornment. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sourcesin this section. Unsourced material may be challenged and removed. ( August 2021) ( Learn how and when to remove this template message)Hollander, Anne, Seeing through clothes, Berkeley: University of California Press, 1993, ISBN 978-0-520-08231-1 a b c d e f Braudel, Fernand Civilization and Capitalism, 15th–18th Centuries, Vol 1: The Structures of Everyday Life, William Collins & Sons, London 1981 ISBN 0-520-08114-5