Dress Design: Patterns of Various Reigns from Antique Costume
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Numar articol:187780274
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Anuntul a expirat la:22.12.2020, 14:07
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Specificatii
Dress Design Patterns of Various Reigns from Antique Costume From
Prehistoric to Nineteenth Century Victorian The subject of
Historical Costume covers such a multitude of detail that a volume
on each century could be written, with hundreds of illustrations.
Thus it is, most works on costume are expensive and bewildering;
but I hope this small practical handbook will be a useful addition
to the many beautifully illustrated works which already exist. I
have divided the matter into centuries and reigns, as far as
possible, in this small work, besides separating male and female
attire, thus simplifying reference. A special feature has also been
made, of supplying the maker or designer of dress with actual
proportions and patterns, gleaned from antique dresses, as far back
as they could be obtained; and I am much indebted to the
authorities at the Victoria and Albert Museum for the permission
given me to examine and measure their unique specimens. It has been
my endeavour to arrange a greater variety of the forms which make
up the characters of each period, and also to give a wider
knowledge into the footwear, or details of the footwear, than is
usual in most costume books. In a review of the styles I would not
press any choice for building new designs, as I believe in close
individual research and selection, which may utilise many
interesting features from costume settings even in periods which
are almost scorned. I believe the purest beauty is found in the
simple forms of dress and decoration settings from the 12th to the
15th centuries, schemed to the natural proportions of the figure.
The grace of line and movement is often aided by the short train,
which can be so happily caught up in many ways; the slight drag of
the train always keeps the front clear in outline, besides showing
the movement of the limbs. Length of fall in the material was
desired, the figure creating its own folds with every turn, but a
belt was often placed rather high under the breast. There 36] is
little reason with nature of fine form to make dress into sections
by a corset waist. A long, lithe, complete curve in outline-much
happier unbroken, except by the girdle-is certainly the most
artistically useful conception, not breaking the rhythm (as does
the harder belt), while it also induces much beauty in lifting and
arranging the drapery. The long falling sleeve also has the same
qualities, giving a greater fullness of shape, a variety of colour
(by a difference of lining), with a winglike motion, besides
softening the angle of the elbow.
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