Log in

Relevant bibliographies by topics / Dressmaker / Journal articles

Journal articles on the topic 'Dressmaker'

To see the other types of publications on this topic, follow the link: Dressmaker.

Author: Grafiati

Published: 4 June 2021

Last updated: 25 May 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Dressmaker.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Odnoroh, Halyna. "KEY COMPETENCES OF FUTURE GARMENT WORKERS: THE OFFER AND DEMAND IN THE LABOUR MARKET." Науковий вісник Інституту професійно-технічної освіти НАПН України Професійна педагогіка, no. 2(19) (November 25, 2019): 31–42. http://dx.doi.org/10.32835/2223-5752.2019.19.31-42.

Full text

Abstract:

Relevance: State standards for professional (vocational) education of such professions as "seamstress", "dressmaker", "cutter" reveal the content of essential professional competences of these professions, as well as list general (key) competences common to all three professions. They have led to the need to identify a separate list of key competences required by employers of garment enterprises for each profession. Aim: analysis, comparison and generalization of the offer and demand for key competences of garment workers in the Ukrainian labour market; determination of personal qualities, demanded by modern employers of Ukrainian garment enterprises for such professions as "seamstress", "dressmaker", "cutter". Methods: the paper has analyzed, compared and summarized 270 vacancies and 344 curricula vitae available on Ukrainian and international job search websites to determine the level of needs of Ukrainian employers in the garment industry for garment workers with key competences (www.work.ua, www.hh.ua, www.rabota.ua). Results. The paper clarifies the statistical needs of employers of Ukrainian garment enterprises for seamstresses, dressmakers and cutters with key competences. It compares the offer and demand for garment workers and proves that they cannot adequately meet the needs of modern employers due to insufficient levels of their key competences. It highlights that dressmakers and cutters are the more in-demand workers with key competences and should work in the field of public services or a single production... Conclusions: the paper proves the interdependence between the need for well-developed personal qualities of skilled workers and types of profession and production. It reveals the role of garment workers' key competences in developing personal qualities required by Ukrainian garment enterprises for such professions as "seamstress", "dressmaker" and "cutter", as well as the connection between key and professional competences.

APA, Harvard, Vancouver, ISO, and other styles

2

Chouliaras, Yiorgos, and David Mason. "Unmarried Dressmaker." World Literature Today 71, no. 3 (1997): 521. http://dx.doi.org/10.2307/40152817.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Stewart, Ian. "The Topological Dressmaker." Scientific American 269, no. 1 (July 1993): 110–12. http://dx.doi.org/10.1038/scientificamerican0793-110.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Reid, Ellie. "Dressing the Pageanteers: The Local People and Theatre Professionals who Costumed Edwardian Historical Pageants." Costume 58, no. 1 (March 2024): 21–47. http://dx.doi.org/10.3366/cost.2024.0285.

Full text

Abstract:

The craze for historical pageants staged in Britain by local communities at the beginning of the twentieth century stimulated a widespread public engagement with historical costume. As well as thousands of performers, and tens of thousands of spectators, pageants involved hundreds of local people in sewing parties who spent months making the costumes required for these outdoor re-enactments of episodes of local history. This article investigates how pageant costumes were designed, made or sourced, on the large scale required, and the cost implications this involved. Whilst costume designers were acknowledged, the employment of professional dressmakers and milliners often necessary to complete the work received less recognition. Florence Edwards, a professional theatrical dressmaker, is one of the few who can be identified. The role of the London theatrical costumier Willie Clarkson, a supplier to many pageants, is also examined. During pageant preparations, local people actively researched dress history, and in the case of Emily Ashdown her interest led to a lifelong career as a dress historian.

APA, Harvard, Vancouver, ISO, and other styles

5

Hussein, Rafal Naser. "Female Evil in Rosalie Ham's Novel the Dressmaker (2000)." World Journal of English Language 13, no. 2 (March 21, 2023): 515. http://dx.doi.org/10.5430/wjel.v13n2p515.

Full text

Abstract:

This research highlights the theme of female evil in Rosalie Ham's novel The Dressmaker. It mainly seeks to examine the evil aspect of female as it is portrayed in the selected novel. The qualitative method is used to study the evil side of the main character. The focus is made on the psychological aspect of female evilness. Therefore, this research is psychoanalytical, and it is based on Heinz Kohut’s theory of self-psychology. Much specifically, Kohut's theory of self-psychology forms the basis of analyzing the heroine's psychological structure and her motives behind burning the city. The findings reflect that Rosalie Ham's The Dressmaker embodies representations of the female evil. Moreover, this female evil is a reaction, or in a sense an act of revenge, to bullying, abuse and rejection faced by the main character in the selected novel.

APA, Harvard, Vancouver, ISO, and other styles

6

Bush, Elizabeth. "The Prince and the Dressmaker by Jen Wang." Bulletin of the Center for Children's Books 71, no. 6 (2018): 235–36. http://dx.doi.org/10.1353/bcc.2018.0067.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Kakushkin, N. "A. A. Muratov. - To the question of sarcoma transplantation to the healthy part of the body in the same patient. (Yezhenedelnik, 1895, No. 15)." Journal of obstetrics and women's diseases 9, no. 7-8 (October 22, 2020): 659. http://dx.doi.org/10.17816/jowd97-8659.

Full text

Abstract:

Cases of self-infection with cancer are described by Sippel. The author describes a case of self-infection with sarcoma. Dressmaker, 14 years old; complaints of severe constant pain in the lower abdomen. Recognized the neoplasm of common Fallopian tubes, or ovaries, probably of a sarcomatous nature. Gluttony showed that the tumor, extensively fused with the surrounding organs, belongs to the right appendage. When it was separated, part of its clumpy-purulent contents poured out into the abdominal cavity. The entire tumor was removed and, carefully examined, turned out to be a round-large-cell sarcoma, containing parts of fusiform cells in places.

APA, Harvard, Vancouver, ISO, and other styles

8

Walsh, Kristin Harris. "“You just nod and pin and sew and let them do their thing”." Ethnologies 27, no. 2 (February 23, 2007): 239–59. http://dx.doi.org/10.7202/014048ar.

Full text

Abstract:

The bridal gown is perhaps one of the most highly symbolic objects in the contemporary wedding ceremony. Fraught with images of sexuality and femininity, the bride conveys multiple messages with her choice of dress colour, style and adornment. As such, the dress communicates and performs as a significant material culture object within the custom of the wedding. This article examines the wedding dress within the North American context through the experiences of Nancy Harris, a dressmaker. The author discusses the struggles of the bride as she negotiates with family, friends and societal conventions while expressing herself through her choice of dress.

APA, Harvard, Vancouver, ISO, and other styles

9

Swanstrom, Lisa. "“My Compliments to your Dressmaker”: The Past and Future of Wearable Tech." Science Fiction Studies 48, no. 2 (2021): 389–94. http://dx.doi.org/10.1353/sfs.2021.0049.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Niiranen, Anna. "Diplomatic Wives, Cultures of Dress and Brita Kekkonen." Ethnologia Fennica 48, no. 2 (December 22, 2021): 96–106. http://dx.doi.org/10.23991/ef.v48i2.112655.

Full text

Abstract:

In this article, I discuss the private dress collection of Brita Kekkonen (1927–2013), a diplomatic wife, who was a very well-known figure in Finland during the period of the Cold War. Brita Kekkonen was also a very talented dressmaker and a very fashionable figure in diplomatic circles. Some eighty outfits made by Brita Kekkonen have survived to this day, in addition to her voluminous pattern collection, containing more than 1,000 patterns from several decades. The aim of my new postdoctoral research project is to identify Brita Kekkonen’s dresses and examine their use, politico-cultural meanings and design in the context of the Cold War, diplomatic etiquette and Kekkonen’s own personal history.

APA, Harvard, Vancouver, ISO, and other styles

11

Stein, Julia Lipkins. "Exploring fashion and modernity in the invoices of Edward Livingston, 1891–1917." Art Libraries Journal 42, no. 1 (December 15, 2016): 13–18. http://dx.doi.org/10.1017/alj.2016.44.

Full text

Abstract:

On January 5th, 1903, Mrs. A.M. Dunstan, a designer and dressmaker with an eponymous store on 34th Street, sold a $370 green velvet coat with matching bodice to Clarisse Livingston, a New York socialite. This information, captured from a household invoice within the Edward Livingston papers at the New York Public Library, reveals more than pecuniary data about the sale of clothing at the turn of the century; rather, the invoice contains complex metadata about the relationships between modernity, fashion, and group identity. This paper describes the processes and results of a preliminary study of fashion-related invoices from the Livingston papers and seeks to demonstrate that invoices are a rich, yet often overlooked source of cultural data.

APA, Harvard, Vancouver, ISO, and other styles

12

Moore, Ben. "THE DOLLS’ DRESSMAKER RE(AD)DRESSED: JENNY WREN'S CRITIQUE OF CHILDHOOD, FEMININITY, AND APPEARANCE." Victorian Literature and Culture 44, no. 3 (August 30, 2016): 473–90. http://dx.doi.org/10.1017/s1060150316000103.

Full text

Abstract:

Of all Dickens's eccentric children – whose numbers include the Artful Dodger, Paul Dombey, Little Nell, and Smike – none, perhaps, is more peculiarly “old-fashioned” than Jenny Wren in Our Mutual Friend (1864-65). From her first appearance, Jenny exhibits a strange indeterminacy: A parlour door within a small entry stood open, and disclosed a child – a dwarf – a girl – a something – sitting on a little low old-fashioned arm-chair, which had a kind of little working bench before it.“I can't get up,” said the child, “because my back's bad, and my legs are queer. But I'm the person of the house.” (222; bk. 2, ch.1) This description of Jenny cannot settle. The initial assumption that she is a child is placed in doubt as she becomes, in quick succession, a “dwarf,” a “girl,” a “something.” It is left to her to define how she should be perceived, but the phrase she chooses – “the person of the house” – only compounds the confusion. Throughout this article I follow the spirit of this passage. Rather than pursuing a “true” description of Jenny Wren, I offer a reading that puts her indeterminacy centre-stage, along with her job as a “dolls’ dressmaker” for wealthy women. In her appearance, her work, and her language, I argue, Jenny calls into question how gender and child/adult identities are constructed in nineteenth-century society, both in her own working-class milieu, where she is taunted by local children (224; bk. 2, ch. 1), and in the fashionable upper- and middle-class world to whose whims she caters. In addition, I draw upon Thomas Carlyle's novel Sartor Resartus (1833-34) and the work of Walter Benjamin to suggest that Jenny's satirical and playful use of words constitutes a philosophical critique of the mutability of appearance in mid-nineteenth-century modernity.

APA, Harvard, Vancouver, ISO, and other styles

13

Tuvshinbayar, Khorolsuren, and Andrea Ehrmann. "Acoustic Investigation of Textile Fabrics." TEKSTILEC 63, no. 4 (November 20, 2020): 287–93. http://dx.doi.org/10.14502/tekstilec2020.64.287-293.

Full text

Abstract:

Why is it possible to distinguish between different textile fabrics by just touching them and moving your hand over them and listening to the sound? Particularly for high-quality woven fabrics, e.g. used for tailor-made suits, it is quite common that the dressmaker listens to the sound as their hand rubs the fabric. Can this approach be translated into a technical measurement? What could a sound analysis tell us about the fabric properties? As a first simple approach, we used a record player to rotate different cotton fabrics, and tested fine tips from diverse materials, such as plastic pipettes, pens, glass tips, etc. Our results show clear differences between the textile fabrics, which can be attributed to different yarn, knitted or woven structures. While the rotational mode of investigation impedes fully automated fast Fourier transform (FFT) evaluations, our first results suggest de¬veloping this promising method further.

APA, Harvard, Vancouver, ISO, and other styles

14

Casal-Valls, Laura. "Fashioning Modernity: Elite Dressmaking in Barcelona c. 1870–1919." Costume 50, no. 2 (July 1, 2016): 220–43. http://dx.doi.org/10.1080/05908876.2016.1175211.

Full text

Abstract:

Late nineteenth-century fashion in Barcelona is examined through the development of the dressmaker’s craft, taking account of the historical context and changes in society at the turn of the century. Analysis of the production process, surviving garments and archival evidence demonstrates that a substantial change took place in the organization of the dressmaking industry in Barcelona in the late nineteenth century. This included the insertion of dressmakers’ labels in the most technically and stylistically sophisticated garments, signalling an increasing recognition of leading dressmakers — a process similar to that found in French couture. Juana Valls has been identified as a key designer who, although almost unknown today, was highly successful and prominent at the turn of the twentieth century; a brief biography of Valls is developed. Finally, following this evolutionary period, the year 1919 is proposed as a turning point for Catalan and Spanish couture.

APA, Harvard, Vancouver, ISO, and other styles

15

Bush, Elizabeth. "Mrs. Lincoln's Dressmaker: The Unlikely Friendship of Elizabeth Keckley & Mary Todd Lincoln (review)." Bulletin of the Center for Children's Books 62, no. 5 (2009): 204–5. http://dx.doi.org/10.1353/bcc.0.0651.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Neves, Rosiane. "Novas perspetivas: Moda & envelhecimento." Todas as Artes Revista Luso-Brasileira de Artes e Cultura 3, no. 2 (2020): 99–112. http://dx.doi.org/10.21747/21843805/tav3n2a7.

Full text

Abstract:

: The present essay intends to make known the social representations of women in old age in the fashion world, with the purpose of understanding this social phenomenon little investigated and of great social relevance. For this study we used a qualitative approach, with sampling of multiple cases, in the Porto Metropolitan Area and of interviewees in Lisbon - Portugal, with the participation of 14 women: elderly women over 65 (consumers) and fashion professionals (fashion design, shopkeeper, dressmaker, social events company) of notorious social recognition. The interviews were conducted based on a semi-structured script, in order to capture the social representations of elderly women and the contribution of fashion professionals in the face of the phenomenon studied. The work includes the following approaches: socio-historical aspects about fashion; the space of women in old age in the fashion world; theoretical assumptions about aging and fashion; methodology used; and, finally, the narratives of women in old age in the Portuguese context. Although elderly women do not understand the phenomenon of fashion in aging, they point out their social representations about fashion in this age group.

APA, Harvard, Vancouver, ISO, and other styles

17

Krick-Aigner, Kirsten. "“It is not to think that real strangers, as you are, give us so much love”: An Austrian Pen Pal's Journey to a Safe Haven in the United States." Journal of Austrian-American History 4, no. 1 (December 1, 2020): 96–110. http://dx.doi.org/10.5325/jaustamerhist.4.1.0096.

Full text

Abstract:

Abstract This article traces Marianne Winter's unique immigration journey as an eighteen-year-old Jewish Austrian refugee. Pivotal to the family's escape was the epistolary friendship that developed in early 1935 between Marianne and her American pen pal Jane Bomberger. When Jane's father Max learned of the Winter family's persecution, he generously provided the required affidavit to ensure their safe passage to the United States. Six of the remaining letters from Marianne to Jane, additional family documents, and interviews with Marianne contextualize her upbringing in Vienna and her family's immigration story within a larger sociocultural and historical framework. The article examines how Marianne's youth, participation in competitive swimming at the Viennese sports club Hakoah, education at Eugenie Schwarzwald's Frauenoberschule, and apprenticeship as a dressmaker shaped her identity and enabled her to face the many challenges of forced immigration from her homeland. The article additionally explores how other members of the Winter family, especially her brother Stefan, experienced the Holocaust, immigration, and their new lives in the United States.

APA, Harvard, Vancouver, ISO, and other styles

18

McLay, Colin L. "Camouflage by the masking crab, Notomithrax ursus (Herbst, 1788) (Decapoda: Brachyura: Majidae): is it a decorator or a dressmaker?" Journal of Crustacean Biology 40, no. 6 (October 10, 2020): 673–83. http://dx.doi.org/10.1093/jcbiol/ruaa076.

Full text

Abstract:

Abstract Many spider crabs attach various kinds of living material to camouflage themselves and thereby escape detection by predators. This strategy uses a suite of co-evolved characters including a pyriform carapace shape, long agile chelipeds, hooked setae and a stereotyped behaviour pattern which is used to gather and plant pieces of other organisms amongst hooked setae on their body. Notomithrax ursus (Herbst, 1788) is a New Zealand majid crab that lives amongst seaweeds and mainly masks itself with the same. In doing so, it uses all the skills that we expect of a dressmaker. Denuded of its mask, the crab chooses algae it can manipulate, measures and cuts each piece, passes them to its mouth, and then plants them on its body in a roughly regular order, such that the severed ends are inserted into the hooked setae with only intact end visible. Longer pieces are planted on the body and smaller pieces on its walking legs to make a profile resembling a clump of seaweed. Distribution of the seaweed follows the distribution of the hooked setae on the crab. The number of pieces attached is independent of crab size and, as carapace width increases, the crabs compensate by cutting out longer pieces of seaweed. Cheliped allometry explains scaling of the mask. Total length of seaweed used can range 0.6–2.6 m (mean 1.36 m). Increasing mask load is accompanied by increases in the number and size of hooked setae thereby strengthening attachment. The behaviour of N. ursus should be called “dressmaking” not “decorating.” It uses a stereotyped behaviour pattern to follow a design, dictated by the distribution of hooked setae, and produce a customized garment concealing it from predators. A hypothesis on the evolution of masking, from passive to active camouflage is proposed, based on the original ideas of C.W.S. Aurivillius.

APA, Harvard, Vancouver, ISO, and other styles

19

B. Gergely, Piroska. "Mesterségűző „asszonyemberek” megnevezései Erdélyben a 16–19. században." Névtani Értesítő 34 (December 30, 2012): 9–16. http://dx.doi.org/10.29178/nevtert.2012.1.

Full text

Abstract:

This paper, building upon several preliminary studies, intends to give a comprehensive answer to the historical socio-onomastic question of how long self-employed women have been known by their own names rather than by the traditional name forms for married women derived from the husband’s name. The observed data were taken from the entries referring to crafts practised by women in the 13-volume “Erdélyi magyar szótörténeti tár [Historical Dictionary of Transylvanian Hungarian Words]”. Names of professional women (e.g. washerwoman, bakeress, dressmaker) as well as names of women doing casual work (e.g. fortune-teller, wet-nurse, sorceress) or serving as maids (e.g. baby-sitter, servant girl, help) were included in the investigation. Variants of name forms are presented separately in each group: terms for occupations appearing as substitutions for or accessories of names, name forms including the husband’s name, and name forms incorporating the woman’s own name are equally discussed. Conclusions: 1. Self-employed women were not predominantly known by their own names from the 16th to the 19th centuries. 2. In all three occupational groups, women were generally known by terms for their jobs. Profession was considered to be the most important feature of their personalities; thus, this trait was reflected in their names as well.

APA, Harvard, Vancouver, ISO, and other styles

20

Kilina, Liliia. "Feminitives with the suffix -ix(a) in Russian texts of the 18th–20th centuries: A corpus study." Voprosy Jazykoznanija, no. 1 (2022): 85. http://dx.doi.org/10.31857/0373-658x.2022.1.85-105.

Full text

Abstract:

The paper is devoted to Russian nouns with the feminizing suffix -ix(a) in historical perspective, starting with the first occurrences in texts and mentions in grammars (for example, in M. V. Lomonosov’s grammar) and ending with recent studies on feminitives. Historical data indicate that -ix(a) was originally a suffix of masculine nouns, and later acquired feminizing function through usage in female nicknames derived from masculine nouns, while retaining affective / evaluative flavor. The paper also presents the results of a corpus study of feminitives with the suffix -ix(a) in texts of the 18th–20th centuries. An analysis of the corpus data is given for each century separately, with stylistic restrictions and without them. Eight feminitives with -ix(a) were found in 18th-century texts, 20 in 19th-century texts, and 74 in 20th-century texts. For the most frequent lemmas (ščegolixa ‘female dandy’, kupčixa ‘merchant woman’, portnixa ‘female dressmaker’), we analyze both their use in the corpus and their presence / absence in explanatory dictionaries of the 18th–21st centuries. It is noteworthy that in explanatory dictionaries, feminitives are most often not given in an independent entry, but are explained through the masculine noun as “feminine from (masc.)”. In this regard, this paper also attempts to distinguish between the grammatical (derivational) meaning and the lexical meaning of the feminitives with -ix(a), which is not always carefully made in dictionaries.

APA, Harvard, Vancouver, ISO, and other styles

21

Stiebel, Lindy. "‘A quintessentially English designer’ from Durban: Victor Stiebel’s South African Childhood (1968)." Fashion, Style & Popular Culture 00, no. 00 (February 16, 2021): 1–17. http://dx.doi.org/10.1386/fspc_00061_1.

Full text

Abstract:

Victor Stiebel (1907–76), in his obituary in The Times, was described as a well known and highly esteemed British couturier. Yet, for the first eighteen years of his life, Stiebel lived unremarkably in Durban, South Africa, with his middle-class colonial family. In an article written by a fashion historian who appraised his importance within the British fashion industry, Stiebel is described as the quintessential English designer. How did this ‘Englishness’ develop and what evidence do we see of this quality in his autobiography South African Childhood (1968) that covers his childhood years? The leap from Durban to London and his subsequent career as a court dressmaker and couturier, plus designer for Hollywood stars including Vivien Leigh and Katherine Hepburn, is vast, but it is one that Stiebel eagerly made. The bridge, this article argues, is the very ‘Englishness’ that Stiebel encountered in his home and the colonial society of Durban in the Edwardian era in which he grew up. Life in the colonies concentrated this quality in its settlers probably because of their distance from the metropole rather than their proximity. This article sets out to examine what form this ‘Englishness’ took in Stiebel’s life and work, evident visually in his dress designs according to fashion historians, but also, from a literary historian’s point of view, in his autobiographical writing and written correspondence, particularly that with the actress Vivien Leigh.

APA, Harvard, Vancouver, ISO, and other styles

22

Paramartha, I. Made Krisna, and Putu Ayu Pramitha Purwanti. "ANALISIS FAKTOR YANG MEMPENGARUHI INTENSITAS JAM KERJA DAN PENDAPATAN BURUH PEREMPUAN DI PASAR KUMBASARI." E-Jurnal Ekonomi Pembangunan Universitas Udayana 11, no. 2 (February 27, 2022): 507. http://dx.doi.org/10.24843/eep.2022.v11.i02.p05.

Full text

Abstract:

An increasingly uncertain economy and increasing basic needs have resulted in the disruption of household economic stability, causing women to be active in the labor market. One of the female workers who work in the informal sector is a female dressmaker at Kumbasari Market. The aims of this study are (1) to analyze the effect of age, education, number of dependents on the intensity of working hours of female workers in Kumbasari Market, (2) analyze the effect of age, education, number of dependents, and intensity of working hours on the income of female workers in Kumbasari Market, and (3) to analyze the indirect effect of age, education, and number of dependents on the income of women workers through the intensity of working hours at Kumbasari Market. The sample in this study amounted to 50 female workers who were determined by the accidental sampling method. The analysis technique used is path analysis. The results showed that (1) age, education and number of dependents had a positive and significant effect on the intensity of working hours of female workers in Kumbasari Market (2) age, education, number of dependents, and intensity of working hours had a positive and significant effect on the income of female workers in the market. Kumbasari (3) the intensity of working hours does not mediate the effect of age on the income of female workers, while the intensity of working hours mediates the effect of education and number of dependents on the income of female workers in Kumbasari Market. Keywords: Age, Education, Number of Dependents, Intensity of Hours Worked, Income

APA, Harvard, Vancouver, ISO, and other styles

23

Jang, Hee Kwon. "‘Gullen’ und ‘Dungatar’ liegen viel naher als man denkt - Zur motivischen und strukturellen Verwandtschaft zwischen F. Durrenmatts Besuch der alten Dame und R. Hams The Dressmaker." Journal of Korean Büchner Society 52 (May 30, 2019): 217–42. http://dx.doi.org/10.24829/jkbs.2019.52.09.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Romashchuk, Inna M. "DANCE IN THE OPERAS OF M. M. IPPOLITOV-IVANOV: THE TEXT AND ITS INTERPRETATION." Arts education and science 1, no. 34 (2023): 89–95. http://dx.doi.org/10.36871/hon.202301089.

Full text

Abstract:

The phenomenon of the "lifeworld" (E. Husserl) in its national branches and cultural realities is revealed in the operas of M. M. Ippolitov-Ivanov largely due to the extended mass scenes. A special place here is occupied by dance episodes and scenes in which characteristic elements of different folk traditions, both those previously experienced in Russian music (oriental, Spanish themes) and those introduced by Ippolitov-Ivanov in accordance with the conditions of plot realities (Norwegian theme), are presented in a sharp and expressive way. It has always been important for the composer to emphasize in operas the authentic, the present, which has a timeless value, focusing on the forms of musical folklore. Folk dances, which are represented in many mass scenes of the composer's operas, provided him such an opportunity, as did extended ballet scenes (for example, in the opera "The Last Barricade"). With an obvious aspiration to the ballet genre, the score of "Nestan Darejan" based on Shota Rustaveli's poem "The Knight in the Tiger Skin" was created: the composer called this composition a ballet, then an opera-ballet. The archive of Ippolitov-Ivanov holds the libretto of the ballet "The Scythians", which could probably have interested the composer because of his special attitude to the ballet genre. There are dance scenes in all of the composer's operas, including "Ruth", based on a Biblical plot. There are also dance scenes in the libretti of operas he conceived, but did not realize ("Chrysanthemum", "Miriam", "The Dressmaker"). Dance scenes emphasize the national flavor, create the realities of everyday scenes ("Azra", "Treason"), enhance the contrast between the external and deeply psychological internal action ("Ole from Nordland"), characterize the characters and determine the main figurative and semantic "tonality" of the work ("Asya"). Thanks to the dance, "windows" are opened into another world of culture and folklore traditions, an interest in which the composer has preserved throughout his life.

APA, Harvard, Vancouver, ISO, and other styles

25

Msafiri. "In praise of dressmakers." Information Development 28, no. 3 (August 2012): 248. http://dx.doi.org/10.1177/0266666912452226.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Wise, Ann. "Dressmakers in Worthing, 1920–1950." Costume 32, no. 1 (January 1, 1998): 82–86. http://dx.doi.org/10.1179/cos.1998.32.1.82.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

McLauchlan, K. A. "Herbert Marcus Powell. 7 August 1906 – 10 March 1991." Biographical Memoirs of Fellows of the Royal Society 46 (January 2000): 425–42. http://dx.doi.org/10.1098/rsbm.1999.0094.

Full text

Abstract:

Marcus Powell was a secretive man blessed with genuine curiosity. Myths abound concerning him, many of which cannot be verified given the long interval since his death, and a problem for his biographer is to separate myth from reality. Maybe it is a mistake to try because its mere existence provides insight into the person he was. He was an observer of life and a sympathetic and amusing commentator on it, and he wrote unusually well. What of his personal writing remains reflects his sense of humour and his humanity, and quotations from it are provided without further attribution throughout this memoir. He was not a tall man (5 ft 2 in; 1.57 m) and ‘when he went to Oxford he was unimaginatively called Tiny. This stuck and was used within the University and in the scientific world. Marcus, the name he liked, was kept for the few.’ Where any confusion might arise we shall presume to use this name. Those who knew him outside his laboratory have only the fondest memories of him, but some academic colleagues occasionally found him difficult.He was born in Coventry, the youngest child of Henrietta and William Herbert Powell, to whom a daughter, Christina, had been born two years earlier. William was born in Kidderminster. His profession was given on Marcus's birth certificate as a bicycle machinist. It was printed by use of a rubber stamp, which reflected the prevalence of the industry in Coventry at that time, bicycle manufacture having superseded the sewing machine industry to the extent that in 1906 a single company produced 75 000 bicycles.William and Henrietta had married in Calne, Wiltshire, in August 1902. William was the sixth of eight children born to Charles and Eliza Powell, who registered a cross on the birth certificate. Charles was variously described as a gamekeeper and a farm labourer, and he died at the age of forty–seven, leaving his wife to bring up the seven children still at home, ranging in age from two months to twenty–one years. Eliza became a dressmaker, and the two elder remaining children a laundress and a housemaid. The eldest daughter, Annie, had left home by this time and had married at some time; she attended his deathbed as Annie Shill, and possibly the wedding of William and Henrietta twenty-two years later as Annie Blackman.

APA, Harvard, Vancouver, ISO, and other styles

28

Nord, Deborah Epstein. "DICKENS'S “JEWISH QUESTION”: PARIAH CAPITALISM AND THE WAY OUT." Victorian Literature and Culture 39, no. 1 (December 6, 2010): 27–45. http://dx.doi.org/10.1017/s1060150310000252.

Full text

Abstract:

The story – we might almost saylegend – of how Dickens came to make the character of Riah inOur Mutual Frienda benign figure and a deliberate revision of Fagin, underworld denizen ofOliver Twist, is well known. In 1860, an Anglo-Jewish couple, J. P. and Eliza Davis, bought Charles Dickens's London home, Tavistock House. Dickens remarked to his personal secretary, William Wills, that he could not recall any “money-making dealings . . . that have been so satisfactory, considerate, and trusting” (Johnson 487). This expression of relief and slight surprise that the sale of his property to a Jewish family was without complication followed on Dickens's suspicion, crudely expressed earlier in the negotiations, that the “Jew Money-Lender” (as he referred to J. P. Davis) would not come through on the deal (Stone 243). But, though the Davises proved surprisingly cooperative in this phase of the transaction as far as Dickens was concerned, Mrs. Davis did ultimately have a complaint to register with the great writer and delivered it politely in a letter three years later. It was not about the house or the terms of purchase but rather about the character of Fagin, created by Dickens in 1837, some twenty-six years earlier. English Jews, she told him, had taken offense at this portrayal of one of their people and believed Dickens had done them a “great wrong” by offering the greedy, thieving, child-corrupting, sausage-eating criminal as representative of their “scattered nation” (Lane 98). Still, she added, while the author lived he might conceivably “justify himself or atone” for this deed. Apparently contrite and unaware of feeling any of the prejudices his portrait of the London fence might convey, Dickens declared in a letter back to Mrs. Davis that he had only “friendly feelings” for the Jews. His contrition did not end there. For the novel he was then beginning to write, Dickens would create a beneficent Jewish character, Riah, friend to the river dredger's daughter, Lizzie Hexam, and her misshapen companion, the dolls’ dressmaker, Jenny Wren. As the late-nineteenth century Anglo-Jewish poet and novelist Amy Levy put it, Dickens “trie[d] to compensate for his having affixed the label ‘Jew’ to one of his bad fairies by creating the good fairy Riah” (Levy 176).

APA, Harvard, Vancouver, ISO, and other styles

29

Finn, Angela. "The dressmaker’s mark." Clothing Cultures 1, no. 3 (October 1, 2014): 321–24. http://dx.doi.org/10.1386/cc.1.3.321_7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

McKnight, Alanna. "Dressmakers and Seamstresses in Toronto, 1834–1861." Costume 52, no. 1 (March 2018): 48–73. http://dx.doi.org/10.3366/cost.2018.0047.

Full text

Abstract:

The young colonial city of Toronto was a landing place for many newcomers to Canada, and was a city of opportunity. The steady growth in population between 1834 and 1861 afforded women employment outside of the home, notably in the needle-trades (i.e. the roles involved in the manufacture of clothing). This article argues that the needle-trades were a significant source of employment for women in pre-industrial period Toronto and explores the social and professional distinctions between ‘dressmakers’ and ‘seamstresses’, by enumerating and aggregating women from the City Directories and 1861 census. Several biographical case studies are included to demonstrate the variety of women employed in the needle-trades, based on information from the primary source data.

APA, Harvard, Vancouver, ISO, and other styles

31

Bakker-Edoh, Dymphna, Dr Bosibori Oigo, and Prof Keren G. Mburugu. "MANAGERIAL PERCEPTIONS ON APPAREL FIT MADE WITH PATTERN DRAFTING AND FREE HAND CUTTING TECHNIQUES." International Journal of Marketing Strategies 3, no. 1 (November 2, 2018): 12–21. http://dx.doi.org/10.47672/ijms.362.

Full text

Abstract:

Purpose: To assess the management perceptions on apparel fit made with pattern drafting and free-hand cutting techniques.Methodology: The study employed a cross-sectional descriptive survey was considered adequate for this study as it has the advantage of soliciting respondent’s views on the nature of the situation as it existed at the time of a study (Creswell, 2012; Mugenda, 2008). The design is an efficient way of collecting information of a large group of people within a short time using questionnaires. The survey design was deemed appropriate for this study as it has the advantage of seeking the views of informal dressmakers and tailors on the use of pattern drafting and free-hand cutting in apparel construction. It allowed for the use of both quantitative and qualitative techniques in the study. This paved way for better understanding of a phenomenon under study. The use of these methods offered the opportunity to have in-depth information and also the weakness in one method is compensated for by the strength in another method (Creswell, 2012).Results: The results revealed that dressmakers and tailors’ preference to free-hand cutting was influenced by the method they were trained with. Additionally, standardization of apparel production among the members can best be achieved by intensifying the use of pattern drafting as part of apprenticeship training to ensure accuracy in fit among informal dressmakers and tailors locally. The respondents were asked to state their views on whether educational level hinders the progress of their training.Unique Contribution to theory, practice and policy: Reason why informal dressmakers and tailors were not using pattern drafting in apprenticeship training might be related to the fact that pattern skills seemed too difficult to understand and the period of training might be short to grasp the details of the method. Taking their educational level and period of training into consideration, it would be very difficult for the apprentices to cope with the contents that come with patterns. This implies that, there is the need to inculcate the use of pattern drafting as part of training curriculum of apprentices and also increase the period of training to allow both masters and apprentices gain better grasp of the pattern drafting skills. When trainees are given adequate training skills on the use of pattern drafting, they would improve and this would in effect manifest in the high standard on fit of apparel among the dressmakers and tailors in the informal setting in the near future. The study recommended future studies to focus on the factors influencing training and acquisition of both skills of apparel constructions. This will help the policy makers rectify the structure of education accordingly to improve the way skills are disseminated and executed.

APA, Harvard, Vancouver, ISO, and other styles

32

Kuma-Kpobee, Mercy Afi. "The Evolution and Current Manufacturing Practice Applied to the traditional Dress of Women in Ghana." International Journal of Technology and Management Research 1, no. 2 (March 12, 2020): 56–66. http://dx.doi.org/10.47127/ijtmr.v1i2.24.

Full text

Abstract:

Traditional dress for women in Ghana, known as “slit and kaba”, previously required no standardised sizing and fit, but as this dress has undergone an evolution and taken on more western features, the fit and manufacturing quality have become increasingly important. This paper evaluates the effect of the evolution of the slit and kaba on the current manufacturing processes adopted by the micro and small scale enterprises in Ghana. A qualitative approach was adopted to collect data in three metropolitan centres in Ghana from dressmakers of the traditional dress. An inductive approach through the grounded theory technique was utilised to analyse the data and the findings revealed that the traditional dress has undergone a considerable change in fit and form. The over reliance on trainee apprentices as workers has affected the quality of garments produced in relation to standardisation. It is also evident that most of the dressmakers rely on domestic equipment which is rudimentary in terms of technological development. This paper highlights the importance of skills and adequate equipment in the achievement of fit and quality in the area of garment manufacture in Ghana. Keywords: Garmentmanufacture;Qualitystandards;Fit;Traditionaldress;Evolution.

APA, Harvard, Vancouver, ISO, and other styles

33

Kaplan, Joal. "Bad Dressmakers and Well-Arranged Worlds: Fashion and Society Comedy." Modern Drama 34, no. 3 (March 1991): 327–39. http://dx.doi.org/10.3138/md.34.3.327.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Gamber, Wendy. "A Precarious Independence: Milliners and Dressmakers in Boston, 1860-1890." Journal of Women's History 4, no. 1 (1992): 60–88. http://dx.doi.org/10.1353/jowh.2010.0085.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Seligman, Kevin L. "Dressmakers' Patterns: The English Commercial Paper Pattern Industry, 1878–1950." Costume 37, no. 1 (January 1, 2003): 95–113. http://dx.doi.org/10.1179/cos.2003.37.1.95.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Dowdell, Carolyn. "‘No Small Share of Ingenuity’: An Object-Oriented Analysis of Eighteenth-Century English Dressmaking." Costume 55, no. 2 (September 2021): 186–211. http://dx.doi.org/10.3366/cost.2021.0199.

Full text

Abstract:

This article details eighteenth-century English dressmaking through an in-depth, object-oriented exploration of garment construction practices and techniques from a maker's perspective. Building upon prior scholarship of women's work and aspects of pre-industrial English garment trades, this article employs primary and secondary source materials in conjunction with extensive object-based research of extant garments. The research findings outline exactly how pre-industrial English dressmakers’ skills were nuanced, sophisticated and adaptive to making and remaking, as well as the personal, haptic connections they cultivated with their work.

APA, Harvard, Vancouver, ISO, and other styles

37

Barragán, Maite. "The Fabric of the City: Magazines, Dressmakers, and Madrid's Gran Vía." Modernism/modernity 28, no. 1 (2021): 1–24. http://dx.doi.org/10.1353/mod.2021.0014.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Kakushkin, N. "V.A.Petrov. - Medical report on the Saratov city maternity hospital, located in the department of the Physics and Medical Society, for 1892. (from "Saratovsk. Sanit. Obzor", 1893, No. 5-6)." Journal of obstetrics and women's diseases 9, no. 7-8 (October 22, 2020): 662. http://dx.doi.org/10.17816/jowd97-8662.

Full text

Abstract:

The maternity hospital has six regular beds, but it provides assistance to a greater number of women than the number corresponding to the provision. The house has a midwife school. In 1892, 366 women were assisted, of whom each spent an average of 6, 3 days in the house. Most often there were peasant women, burghers, soldier women, servants and dressmakers. The number of married women was 71.6%; unmarried 28.4%. Primordial women accounted for 31.6%. There were 307 urgent births. Twins 4. The ratio of the number of boys to the number of girls = 1.1: 1. Stillborns accounted for 5.3%.

APA, Harvard, Vancouver, ISO, and other styles

39

Noritake, Ayami. "Gender, ageing and agency: street entrepreneurs and dressmakers in a Korean marketplace." Gender & Development 17, no. 3 (October 22, 2009): 403–15. http://dx.doi.org/10.1080/13552070903298402.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Tisdale, Rainey. "From Paris to Providence: Fashion, Art, and the Tirocchi Dressmakers' Shop, 1915-1947." Journal of American History 88, no. 3 (December 2001): 1020. http://dx.doi.org/10.2307/2700399.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Steedman, Mercedes. "The Promise: Communist Organizing in the Needle Trades, the Dressmakers' Campaign, 1928-1937." Labour / Le Travail 34 (1994): 37. http://dx.doi.org/10.2307/25143845.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Potter, Jenny-Lynn, and Kerreen Reiger. "Suits and Frocks: Dressmakers and the Making of Feminine Identity in Postwar Australian Society." Journal of Australian Studies 41, no. 1 (January 2, 2017): 113–30. http://dx.doi.org/10.1080/14443058.2016.1275746.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Ford, Melissa. "Suppose They Are Communists! The Unemployed Councils and the 1933 Chicago Sopkin Dressmakers’ Strike." American Communist History 16, no. 1-2 (April 3, 2017): 46–64. http://dx.doi.org/10.1080/14743892.2017.1331678.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Green, Nancy L. "Women and Immigrants in the Sweatshop: Categories of Labor Segmentation Revisited." Comparative Studies in Society and History 38, no. 3 (July 1996): 411–33. http://dx.doi.org/10.1017/s0010417500020004.

Full text

Abstract:

The garment industry is a good example of the relative autonomy of academic fields. Two histories of the industry are being written simultaneously but separately. One is a history of women; the other, a history of immigrants. Two types of workers have indeed come to the sweatshops, and each have had distinct reasons for doing so. The nineteenth century saw the shift from tailormade to ready-made garments, from the (hand-held) needle to the sewing machine, from tailors and dressmakers to garment workers, and from more to less skill in the making of clothing. The ready-to-wear revolution was also accompanied by a global shift in the sewing labor force, from men to women and from natives to immigrants. The story is a complicated one, yet one which has most often been told in parallel fashion.

APA, Harvard, Vancouver, ISO, and other styles

45

Potter, Jenny-Lynn L. "‘Ease to fit’: managing the intersection of ‘public’ and ‘private’ in dressmakers lives in Australia." Gender, Place & Culture 27, no. 10 (December 17, 2019): 1481–500. http://dx.doi.org/10.1080/0966369x.2019.1693348.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Antúnez López, Sandra. "Made in France. La identidad textil de María Luisa de Parma, la última reina del Antiguo Régimen (1789-1808)." ACCADERE. Revista de Historia del Arte, no. 05 (2023): 63–84. http://dx.doi.org/10.25145/j.histarte.2023.05.04.

Full text

Abstract:

The present investigation studies the main dresses of the queen, Marie Louise of Parma, valuing the evolution of the female costume. The main tailors and dressmakers of the sovereign will be studied, who not only made dresses, but were also in charge of creating the textile image of the queen. Along with the national fashion creators, there are foreigners, chosen for the exclusivity of their merchandise or for being the most outstanding professionals on an international scale. The Royal Wardrobe is the main stage, where the wife of Charles IV receives her orders of fabrics brought from different foreign countries, such as Paris and Buenos Aires. Through the inventories and invoices preserved in the Palacio General Archive in Madrid, we know that the work and creations of this series of artisans are no longer carried out in anonymity, but that their work begins to be valued as a creation that reveals a great inventiveness and knowledge of geometry, cutting and sewing.

APA, Harvard, Vancouver, ISO, and other styles

47

Sibarani, Magdalena, and Elita Dewi. "Independence of women through sewing skills." ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 4, no. 2 (December 12, 2019): 360–65. http://dx.doi.org/10.32734/abdimastalenta.v4i2.4094.

Full text

Abstract:

Facing an era of increasingly fierce competition, a person is required to have a high entrepreneurial spirit so that he can run a business that he lives well. Thus we must be able to see market opportunities and desires in terms of needs and selling points that we will offer to consumers. Entrepreneurs in sewing services are still promising. Even though now there are a lot of apparel production, stitching services are still needed by consumers. Because there are some risks in purchasing apparel that are usually accepted by buyers. Not all clothes fit to be worn by consumers. Especially for people who have different body postures from the standards of people in general, such as too small or too fat. Besides that, there are certain clothes models and materials that are more comfortable when used from ordinary stitches, rather than in the form of apparel manufactured by the factory. For example, traditional clothing, brocade fabrics, suits, kebaya, woven fabrics and others. In connection with this, it is felt necessary to provide training to improve the skills of clothing tailors to be able to produce clothes that are in accordance with market desires efficiently and effectively. Besides improving skills in spraying and embroidering in order to have the ability to compete in terms of quality, models, variations in motifs and the color combination of clothing produced, so as to create and have a lot of marketing networks. The need for training that enables tailor clothing to calculate total sales revenue and total costs so that they are able to know how much profit is obtained per piece of clothing. It is hoped that after the mentoring, the partners will be more knowledgeable, able to apply this knowledge in their daily work and transmit this knowledge to other dressmakers. Thus, all dressmakers will develop more, become more economically independent, increase in income, tailor clothes become more productive and be more optimistic in entrepreneurship.Write abstracts in English only if the contents are in English or English and Indonesian also fill in Indonesian with a maximum of 200 words. The contents of the background abstract, the method of resolution, the results of the community service/research, discussion of the results achieved and plans for future achievements. TNR typewriting with a size of 10.

APA, Harvard, Vancouver, ISO, and other styles

48

Tsyewu, Olive Asiwome, and Patience Danquah Monnie. "Factors Influencing the Discard of Custom-made Garments among Female Students of University of Cape Coast, Cape Coast, Ghana." International Journal of Technology and Management Research 4, no. 1 (March 12, 2020): 65–76. http://dx.doi.org/10.47127/ijtmr.v4i1.75.

Full text

Abstract:

This paper examined the factors that are likely to cause the discard of custom-made garments among female students of the University of Cape Coast. The descriptive survey design was used for the study and the total number of participants was 246. The Predictive Analytical Software was employed for data analyses. The data gathered were analysed using inferential statistics and descriptive statistics such as frequencies and percentages. The study revealed that constructional factors form a higher percentage of the factors that lead respondents to discard their custom-made garments. The major factors that resulted in the discard of custom-made garments among the respondents were poorly stitched garments, poor fit, uncomfortable lining issues, and poor conditions of notions. Slit and Kaba (traditional dress for women in Ghana, the slit is an ankle length skirt and the kaba is a blouse) was the most frequently discarded custom-made garments among the respondents. It was recommended that in decreasing the rate of discard of custom-made garments, dressmakers should select appropriate stitches and notions for garment construction. They should ensure quality in the products they produce and check the fit of the garments properly before handing them over to clients to meet their expectations.

APA, Harvard, Vancouver, ISO, and other styles

49

Hackett, Lisa J. "Sewing history: Consuming culture." Clothing Cultures 8, no. 1 (March 1, 2021): 27–48. http://dx.doi.org/10.1386/cc_00043_1.

Full text

Abstract:

The resurgence of home-sewing has led to renewed academic interest in the area. Current research has found that home-sewing is a substitute for purchasing ill-fitting, poor-quality and unsustainable fast fashion. Home-sewers report that they find the practice a creative leisure activity and that home-sewing is an empowering activity. What has been less examined are reasons why sewers make historical clothing, as opposed to making modern designs. This article examines home-sewing via the lens of historical material culture. That is, is seeks to understand the reasons why people sew and wear anachronistic clothing. It does so via an international survey of over 200 participants. A range of complex social and historical factors emerge in this research, which posit that there exist broad cultural phenomena to explain this contemporary trend. Of the recent research conducted into the reasons and motivations of home-sewers, the focus is on the sewing of contemporary clothing. Conversely, this research examines the motivations for sewing and wearing anachronistic clothing. Leading home dressmaking pattern company Simplicity claims that for many home-sewers it is vintage patterns that lead them to undertake home-sewing. This suggests that there are different types of home dressmakers who are motivated by considerations beyond that uncovered by previous research.

APA, Harvard, Vancouver, ISO, and other styles

50

Shoaib, El-Sayed A. "The Significance of Flat Pattern Making In Fashion Designing: A Case Study of Dressmakers in the Ho Municipality Of Ghana." International Journal of Innovative Research in Science, Engineering and Technology 04, no. 04 (April 15, 2015): 1850–57. http://dx.doi.org/10.15680/ijirset.2015.0404006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!