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 fashion industry, particularly manufacture and use of apparel and footwear, is a significant driver of greenhouse gas emissions and plastic pollution. [80] The rapid growth of fast fashion has led to around 80 billion items of clothing being consumed annually, with about 85% of clothes consumed in United States being sent to landfill. [81] Perukes and Periwigs, Her Majesty's Stationery Office, 1970. A booklet on the development of wig styles in paintings at the National Portrait Gallery, London. Tax, Genevieve. (2010-02-24) Fashion's Own Sense of Season. The New Islander. Retrieved on 2011-06-29". The Patterns of Fashion Award honours the work of the dress historian Janet Arnold (1932-1998), a founder member of the Society. 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

While some exclusive brands may claim the label haute couture, the term is technically limited to members of the Chambre Syndicale de la Haute Couture [8] in Paris. [5] Haute couture is more aspirational; inspired by art and culture, and in most cases, reserved for the economic elite. Steele, Valerie, Fifty years of fashion: new look to now, New Haven: Yale University Press, 2000, ISBN 978-0-300-08738-3 The big GQ guide to Spring/Summer 2023 menswear trends". British GQ. 2022-07-28 . Retrieved 2023-08-25.

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Arnold's best known work was writing the series of books, including Patterns of Fashion, vol. 1: 1660–1860 and Patterns of Fashion, vol. 2: 1860–1940. The volumes include a large number of sewing patterns showing the change in fashion across the period, with crucial details of the construction, accurately drawn to scale. These books are regarded highly by museums, theatres, reenactment groups and students. She went on to write A Handbook of Costume in 1973, a comprehensive guide to research sources in the topic of costume study. [1] Patterns of Fashion 2: Englishwomen's dresses and their construction c. 1860–1940, Wace 1966, Macmillan 1972. Revised metric edition, Drama Books 1977. ISBN 0-89676-027-8

Some dress forms are adjustable to match the wearer's unique measurements, and the muslin is fit around the form accordingly. By taking it in or letting it out, a smaller or larger fit can be made from the original pattern Fashion for a cause". Chatham Daily News. 2013-02-07. Archived from the original on 2013-05-27 . Retrieved 2013-02-15. The pace of change accelerated considerably in the following century, and women's and men's fashion, especially in the dressing and adorning of the hair, became equally complex. Art historians are, therefore, able to use fashion with confidence and precision to date images, often to within five years, particularly in the case of images from the 15th century. Initially, changes in fashion led to a fragmentation across the upper classes of Europe of what had previously been a very similar style of dressing and the subsequent development of distinctive national styles. These national styles remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, mostly originating from Ancien Régime France. [17] :317–324 Though the rich usually led fashion, the increasing affluence of early modern Europe led to the bourgeoisie and even peasants following trends at a distance, but still uncomfortably close for the elites – a factor that Fernand Braudel regards as one of the main motors of changing fashion. [17] :313–315 Albrecht Dürer's drawing contrasts a well-turned out bourgeoise from Nuremberg (left) with her counterpart from Venice. The Venetian lady's high chopines make her look taller. These books are a gift to costume designers and costume makers. Fashion designers, like the late, great Vivienne Westwood, might also find them inspiring. They have a natural home on the bookshelves of costume curators and dress historians. In terms of value for money, these books are astonishing – they will last you a lifetime and you will always be learning from them” DAVID WILCOX Global fragility. Amid the highest inflation in a generation, rising geopolitical tensions, climate crises, and sinking consumer confidence in anticipation of an economic downturn, the global economy is in a volatile state. Fashion brands will need careful planning to navigate the many uncertainties and recessionary risks that lie ahead in 2023.

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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. In the Victorian era, most women did not wear blouses under their saris, which did not suit the Victorian society; however, British and Indian fashion would be influenced by each other in following decades. In the 1920s, the nationalists adopted Khadi cloth as a symbol of resistance; here, Gandhi became the face of the resistance which made people spin, weave, and wear their Khadi. Today, the salwaar-kameez is recognized as the national dress of India. 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.