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Royalty portal (/wiki/Portal:Royalty) Clothing portal (/wiki/Portal:Clothing) Fashion portal (/wiki/Portal:Fashion) The main article for this category (/wiki/Help:Categories) is Royal attire (/w/index.php?title=Royal_attire&action=edit&redlink=1) . NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐8rb5q Cached time: 20240714140841 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.061 seconds Real time usage: 0.089 seconds Preprocessor visited node count: 29/1000000 Post‐expand include size: 1880/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 3/100 Expensive parser function count: 3/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 1367/5000000 bytes Lua time usage: 0.035/10.000 seconds Lua memory usage: 931847/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 73.322 1 -total 70.58% 51.753 1 Template:Portal 29.05% 21.303 1 Template:Cat_main Saved in parser cache with key enwiki:pcache:idhash:31637263-0!canonical and timestamp 20240714140841 and revision id 1128395009. Rendering was triggered because: page-view Subcategories This category has the following 3 subcategories, out of 3 total. B British royal attire (/wiki/Category:British_royal_attire) (1 C, 40 P) C Court uniforms and dress (/wiki/Category:Court_uniforms_and_dress) (1 C, 19 P) R Royal dresses (/wiki/Category:Royal_dresses) (3 C, 7 P) Pages in category "Royal attire" The following 4 pages are in this category, out of 4 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . C Crown of Bahadur Shah II (/wiki/Crown_of_Bahadur_Shah_II) J Jewels of the Swedish royal family (/wiki/Jewels_of_the_Swedish_royal_family) Joyas de pasar (/wiki/Joyas_de_pasar) K Koningsmantel (Netherlands) (/wiki/Koningsmantel_(Netherlands)) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Royal_attire&oldid=1128395009 (https://en.wikipedia.org/w/index.php?title=Category:Royal_attire&oldid=1128395009) " Categories (/wiki/Help:Category) : Clothing by type (/wiki/Category:Clothing_by_type) Royalty (/wiki/Category:Royalty) |
(Redirected from Aviator hat (/w/index.php?title=Aviator_hat&redirect=no) ) Pilot's headgear Helen Kerly (/wiki/Helen_Kerly) 's helmet from World War II (/wiki/World_War_II) . Roald Dahl (/wiki/Roald_Dahl) 's RAF (/wiki/RAF) flying helmet from World War II (/wiki/World_War_II) , fitted with oxygen mask and communications equipment A leather flying helmet , also known as an aviator hat or bomber hat , is a usually leather cap with large earflaps, a chin strap, and often a short bill that is commonly turned up at the front to show the lining (often fleece (/wiki/Wool) or fur (/wiki/Fur) ). It is often worn with goggles (/wiki/Goggles) . It may be made of other materials, such as felt. [1] (#cite_note-1) With the rise of motor sport and aviation at the start of the 1900s, leather was becoming a popular choice for protective gear from the cold and the engine noise. [2] (#cite_note-auto-2) It has many advantages that made it the ideal material for flying helmets: It is warm, durable, impermeable to liquids including water, flexible, and can be cut to curve around the head. It is wind proof and has the great advantage of not accumulating dust. It was also found that leather helmets offered some protection against fire. [2] (#cite_note-auto-2) Manufacturers of early flying helmets were Alfred Dunhill Ltd. (/wiki/Alfred_Dunhill_Ltd.) and Gamages (/wiki/Gamages) of London, England, and Roold in Paris. [2] (#cite_note-auto-2) Female pilots in the early part of the 1900s were able to wear the same design of protective clothing, including helmets, as their male counterparts. [2] (#cite_note-auto-2) British engineers led by Charles Edmond Prince added throat microphones (/wiki/Throat_microphone) and earphones (/wiki/Earphones) into these helmets during World War I (/wiki/World_War_I) for hands-free communications in the noisy and windy environment of aircraft cockpits (/wiki/Cockpit) . [3] (#cite_note-archives-3) [4] (#cite_note-marsh-4) With the advent of closed-cockpit airplanes, head protection became less necessary ( Charles Lindbergh (/wiki/Charles_Lindbergh) still wore a leather helmet when he crossed the Atlantic in 1927, though his Spirit of St. Louis (/wiki/Spirit_of_St._Louis) monoplane (/wiki/Monoplane) had a closed cockpit). In air forces (/wiki/Air_force) , leather helmets were continuously used and developed. A well-known early leather flying helmet was the British Type B helmet, designed to accommodate earphones in pockets in the ear-flaps and easy to wear with oxygen masks (/wiki/Oxygen_mask) and goggles (/wiki/Goggles) . [2] (#cite_note-auto-2) The Imperial War Museum (/wiki/Imperial_War_Museum) has several examples used in both World Wars, with detailed descriptions. [5] (#cite_note-5) [6] (#cite_note-6) See illustration above of a Type B flying helmet that belonged to Spitfire (/wiki/Spitfire) delivery pilot Helen Kerly (/wiki/Helen_Kerly) , now in the Thinktank, Birmingham Science Museum (/wiki/Thinktank,_Birmingham_Science_Museum) . With the advent of jet fighters (/wiki/Jet_fighter) after the Second World War, solid plastic (/wiki/Plastic) and, later, carbon fiber (/wiki/Carbon_fiber) flight helmets (/wiki/Flight_helmet) replaced leather helmets in the cockpits of aircraft. Aviator's hats continue in popularity as a fashion accessory and winter headwear. See also [ edit ] Aviation portal (/wiki/Portal:Aviation) References [ edit ] ^ (#cite_ref-1) Text from the Amelia Earhart Museum (https://www.ameliaearhartmuseum.org/single-post/2020/10/26/coming-soon) ^ a b c d e Rood, Graham (2014). "A brief History of Flying Clothing" (https://web.archive.org/web/20150319070639/http://aerosociety.com/Assets/Docs/Publications/The%20Journal%20of%20Aeronautical%20History/2014-01_Rood_Aircrew_clothing.pdf) (PDF) . Journal of Aeronautical History . 2014 (1): 3–54. Archived from the original (http://aerosociety.com/Assets/Docs/Publications/The%20Journal%20of%20Aeronautical%20History/2014-01_Rood_Aircrew_clothing.pdf) (PDF) on 19 March 2015 . Retrieved 7 March 2015 . ^ (#cite_ref-archives_3-0) The National Archives, Fighting talk: First World War telecommunications (https://www.nationalarchives.gov.uk/first-world-war/telecommunications-in-war/) ^ (#cite_ref-marsh_4-0) IEEE Spectrum, In World War I, British Biplanes Had Wireless Phones in the Cockpit (https://spectrum.ieee.org/tech-history/dawn-of-electronics/in-world-war-i-british-biplanes-had-wireless-phones-in-cockpit) ^ (#cite_ref-5) "Flying Helmet, Leather, Type B: Royal Air Force (1917)" (https://www.iwm.org.uk/collections/item/object/30015877) . Imperial War Museums . EQU 3845 . Retrieved 24 May 2023 . ^ (#cite_ref-6) "Flying Helmet, B Type: Royal Air Force (1941)" (https://www.iwm.org.uk/collections/item/object/30015973) . Imperial War Museums . EQU 3932 . Retrieved 24 May 2023 . Detailed entry describing one of several IWM exhibits. 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German fashion designer This article contains content that is written like an advertisement (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_soapbox_or_means_of_promotion) . Please help improve it (https://en.wikipedia.org/w/index.php?title=Markus_Lupfer&action=edit) by removing promotional content (/wiki/Wikipedia:Spam) and inappropriate external links (/wiki/Wikipedia:External_links#Advertising_and_conflicts_of_interest) , and by adding encyclopedic content written from a neutral point of view (/wiki/Wikipedia:Neutral_point_of_view) . ( September 2018 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Markus Lupfer is a German fashion designer and founder of the eponymous company, based in London, United Kingdom. [1] (#cite_note-auto3-1) [2] (#cite_note-auto32-2) Life and career [ edit ] Lupfer was born in Kisslegg (/wiki/Ki%C3%9Flegg) , a small town in Southern Germany. After attending the University of Trier (/wiki/University_of_Trier) [3] (#cite_note-auto-3) he moved to the UK to study fashion design (/wiki/Fashion_design) at London's University of Westminster (/wiki/University_of_Westminster) . [4] (#cite_note-auto1-4) Notable alumni include well-known designers such as Vivienne Westwood and Burberry's former chief executive officer Christopher Bailey. [5] (#cite_note-5) After graduating from Westminster in 1997 with a first-class honors degree, his final year collection was bought by Koh Samui, a London-based boutique, and sold out within two weeks. In 1999, Lupfer made his prêt-à-porter debut at the London Fashion Week (/wiki/London_Fashion_Week) . [3] (#cite_note-auto-3) Lupfer is known for his unique statement knitwear designs and sequined lip-motif appliqués. Vogue.com's Chief Fashion Critic Sarah Mower describes his approach to sequined embroidery as “very clever in making his sequined sweaters an item with a bit of a cult following that draws followers from a surprisingly broad customer base. They strike such a great balance between easy and dressed-up and witty and smart – pieces to make people from teenagers to grown-ups smile and feel good in it almost anywhere“. [6] (#cite_note-6) Brand [ edit ] Lupfer is sold in many high-end retailers worldwide including Harrods, Selfridges, Harvey Nichols, Net-A-Porter, IT Hong Kong, Le Bon Marche Paris, Isetan, Hanwha Galleria, Shopbop, and Tsum. The brand launched an e-commerce store in 2014. Awards [ edit ] Lupfer won his first award in 2001, the British Fashion Council's (/wiki/British_Fashion_Council) New Generation Award, shortly after leaving university. In 2008, Lupfer received the Best Designer of the Year Award at the Prix de la Mode Awards in Spain [7] (#cite_note-auto2-7) and two years later, in June of 2010, became the International Designer of the Year at the Scottish Fashion Awards (/wiki/Scottish_Fashion_Awards) . [4] (#cite_note-auto1-4) Notable Clients [ edit ] Lupfer's designs have been worn by celebrities such as Rihanna, Madonna, Beyoncé, Miley Cyrus, Jennifer Lopez, Katy Perry, Olivia Palermo, Ellie Bamber, Maisie Williams, Cara Delevingne, Elle Macpherson, Salma Hayek and Claudia Schiffer. In addition, the Duchess of Cambridge has worn the brand during her Royal Tour to Germany in 2017. [8] (#cite_note-8) References [ edit ] ^ (#cite_ref-auto3_1-0) Schipp, Anke. "Statement Sweater: Vom Langweiler zum Bestseller" (https://www.faz.net/1.2711548) . Faz.net . Retrieved 14 September 2018 . ^ (#cite_ref-auto32_2-0) Schipp, Anke. "Statement Sweater: Vom Langweiler zum Bestseller" (https://www.faz.net/1.2711548) . Faz.net . Retrieved 14 September 2018 . ^ Jump up to: a b Roth, Anna-Lena (15 September 2014). "Deutscher Designer in London: "Warum werden Sie so gern kopiert, Herr Lupfer?" (http://www.spiegel.de/panorama/leute/fashion-week-london-modedesigner-markus-lupfer-ueber-plagiate-a-991351.html) " (http://www.spiegel.de/panorama/leute/fashion-week-london-modedesigner-markus-lupfer-ueber-plagiate-a-991351.html) . Spiegel.de . Retrieved 14 September 2018 . ^ Jump up to: a b Swash, Rosie (4 July 2011). "Q&A: Markus Lupfer discusses his fashion mockumentary" (https://www.theguardian.com/lifeandstyle/2011/jul/04/fashion-fashion-designers1) . The Guardian (/wiki/The_Guardian) . Retrieved 14 September 2018 . ^ (#cite_ref-5) "Westminster BA Fashion students show at London Fashion Week" (https://www.westminster.ac.uk/news-and-events/news/2018/westminster-ba-fashion-students-show-at-london-fashion-week) . Westminster.ac.uk . Retrieved 14 September 2018 . ^ (#cite_ref-6) "Markus Lupfer CHAMPAGNE GIRL SEQUIN KATE TEE" (https://www.padlifestyle.com/products/markus-lupfer-champagne-girl-sequin-kate-tee) . Pad Lifestyle . Retrieved 2022-09-16 . ^ (#cite_ref-auto2_7-0) Shurvell, Joanne. "Six Highlights From London Fashion Week Spring Summer 2018" (https://www.forbes.com/sites/joanneshurvell/2017/09/30/six-highlights-from-london-fashion-week-spring-summer-2018/#14089138283e) . Forbes.com . Retrieved 14 September 2018 . ^ (#cite_ref-8) Holt, Bethan (July 20, 2017). "The Duchess of Cambridge masters cocktail glamour on her final night in Germany" (https://www.telegraph.co.uk/fashion/people/duchess-cambridge-does-fashion-diplomacy-markus-lupfer-germany/) – via www.telegraph.co.uk. 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(Redirected from Draft:Trayce Gigi Field (/w/index.php?title=Draft:Trayce_Gigi_Field&redirect=no) ) American costume designer This biographical article is written like a résumé (/wiki/Wikipedia:NOTRESUME) . Please help improve it (https://en.wikipedia.org/w/index.php?title=Trayce_Field&action=edit) by revising it to be neutral (/wiki/Wikipedia:NPOV) and encyclopedic (/wiki/Wikipedia:MOSBIO) . ( April 2023 ) Trayce Gigi Field Born U.S. Alma mater Fashion Institute of Design & Merchandising (/wiki/Fashion_Institute_of_Design_%26_Merchandising) Occupation(s) Costume designer, stylist Years active 1999–present Trayce Gigi Field is an American costume designer (/wiki/Costume_designer) and stylist (/wiki/Wardrobe_stylist) , based in Los Angeles (/wiki/Los_Angeles) . [1] (#cite_note-1) Career [ edit ] Field graduated from the Fashion Institute of Design & Merchandising (/wiki/Fashion_Institute_of_Design_%26_Merchandising) . She is a member of the Costume Designers Guild (/wiki/Costume_Designers_Guild) . [2] (#cite_note-2) She also hosted the podcast Hustle & Know , produced by Warner Bros (/wiki/Warner_Bros.) . [3] (#cite_note-3) Field is best known for her work in the television series Dead to Me (/wiki/Dead_to_Me_(TV_series)) , [4] (#cite_note-4) [5] (#cite_note-5) A League of Their Own (/wiki/A_League_of_Their_Own_(2022_TV_series)) , [6] (#cite_note-6) 2 Broke Girls (/wiki/2_Broke_Girls) , [7] (#cite_note-7) Poker Face (/wiki/Poker_Face_(TV_series)) [8] (#cite_note-8) [9] (#cite_note-9) [10] (#cite_note-10) and the films Barb and Star Go to Vista Del Mar (/wiki/Barb_and_Star_Go_to_Vista_Del_Mar) , [11] (#cite_note-11) and Precious (/wiki/Precious_(film)) . [12] (#cite_note-12) Filmography [ edit ] Television [ edit ] 2022 – Poker Face (/wiki/Poker_Face_(TV_series)) 2022 – A League of Their Own (/wiki/A_League_of_Their_Own_(2022_TV_series)) 2022 – The Afterparty (/wiki/The_Afterparty_(TV_series)) 2019-2022 – Dead to Me (/wiki/Dead_to_Me_(TV_series)) 2021 – Kids Say the Darndest Things (/wiki/Kids_Say_the_Darndest_Things) 2020 – Sarah Cooper: Everything's Fine (/wiki/Sarah_Cooper:_Everything%27s_Fine) 2020 – AJ and the Queen (/wiki/AJ_and_the_Queen) 2019 – Now Apocalypse (/wiki/Now_Apocalypse) 2018 – 25 2018 – Juicy Stories 2018 – The Royal Wedding Live with Cord and Tish! 2018 – Corporate (/wiki/Corporate_(TV_series)) 2018 – The 2018 Rose Parade Hosted by Cord & Tish 2017 – Real Life 2017 – Love You More 2011-2017 – 2 Broke Girls (/wiki/2_Broke_Girls) 2015 – The Spoils Before Dying (/wiki/The_Spoils_Before_Dying) 2015 – One Big Happy (/wiki/One_Big_Happy_(TV_series)) 2014 – The Comeback (/wiki/The_Comeback_(TV_series)) 2014 – The Spoils of Babylon (/wiki/The_Spoils_of_Babylon) 2010-2011 – Funny or Die Presents (/wiki/Funny_or_Die_Presents) 2009 – Evan and Gareth Are Trying to Get Laid Film [ edit ] 2021 – Barb and Star Go to Vista Del Mar (/wiki/Barb_and_Star_Go_to_Vista_Del_Mar) 2019 – What's My Name: Muhammad Ali (/wiki/What%27s_My_Name:_Muhammad_Ali) 2013 – The To Do List (/wiki/The_To_Do_List) 2012 – Casa de mi padre (/wiki/Casa_de_mi_padre) 2011 – 10 Years (/wiki/10_Years_(2011_film)) 2011 – Take Me Home (/wiki/Take_Me_Home_(2011_film)) 2011 – Fly Away (/wiki/Fly_Away_(film)) 2011 – Little Birds (/wiki/Little_Birds_(film)) 2010 – Kaboom (/wiki/Kaboom_(film)) 2008 – Adventures of Power (/wiki/Adventures_of_Power) 2006 – Hide & Seek 2004 – Within the Wall Awards and nominations [ edit ] Year Result Award Category Work Ref. 2022 Nominated NAACP Image Awards (/wiki/54th_NAACP_Image_Awards) Outstanding Costume Design A League of Their Own (/wiki/A_League_of_Their_Own_(2022_TV_series)) [13] (#cite_note-13) 2020 Nominated Costume Designers Guild (/wiki/Costume_Designers_Guild) Excellence in Contemporary Film (/wiki/Costume_Designers_Guild_Award_for_Excellence_in_Contemporary_Film) Barb and Star Go to Vista Del Mar (/wiki/Barb_and_Star_Go_to_Vista_Del_Mar) [14] (#cite_note-14) References [ edit ] ^ (#cite_ref-1) "Behind the Scenes With 2 Broke Girls' Costume Designer, Trayce Field" (https://www.glamour.com/story/shop-like-max-and-caroline-fro) . Glamour Magazine . December 12, 2011 . Retrieved October 9, 2022 . ^ (#cite_ref-2) "Hustle & Know Trayce Gigi Field" (https://www.costumedesignersguild.com/press_news/hustle_and_know/) . Costume Designers Guild . Retrieved October 9, 2022 . ^ (#cite_ref-3) "DC FanDome Reveals Massive Full Schedule of Programming" (https://decider.com/2020/08/14/dc-fandome-full-schedule-panels-events/) . Decider.com . August 14, 2020 . Retrieved October 29, 2022 . ^ (#cite_ref-4) "Dead to Me: How Jen and Judy's Wardrobes Mirror Their Polar-Opposite Personalities" (https://www.popsugar.com/fashion/dead-to-me-season-2-style-47486309) . PopSugar . May 20, 2020 . Retrieved October 9, 2022 . ^ (#cite_ref-5) "Trayce Gigi Field Will Dress You For a Funeral or The End of the World" (https://www.awardsdaily.com/2019/06/14/trayce-gigi-field-interview/) . Awards Daily . June 14, 2019. ^ (#cite_ref-6) "THE COSTUMES IN 'A LEAGUE OF THEIR OWN' COVER ALL THE BASES" (https://fashionista.com/2022/08/amazon-a-league-of-their-own-2022-costumes) . Fashionista . August 12, 2022. ^ (#cite_ref-7) "Behind the Scenes With 2 Broke Girls' Costume Designer, Trayce Field" (https://www.glamour.com/story/shop-like-max-and-caroline-fro) . Glamour Magazine . December 12, 2011. ^ (#cite_ref-8) "For 'Poker Face,' Natasha Lyonne Embraced a Stevie Nicks-Inspired Wardrobe" (https://www.vogue.com/article/for-poker-face-natasha-lyonne-costume-designer-trayce-gigi-field) . Vogue . April 3, 2023. ^ (#cite_ref-9) "In 'Poker Face', Natasha Lyonne Is TV's Best-Dressed Drifter" (https://www.gq.com/story/poker-face-natasha-lyonne-best-dressed-on-tv) . GQ . March 10, 2023. ^ (#cite_ref-10) "Why 'Poker Face' Is the Most Stylish Show on Television Right Now" (https://www.wmagazine.com/culture/poker-face-show-cast-interview-costume-designer-season-finale-2023) . W Magazine . March 8, 2023. ^ (#cite_ref-11) Wasilak, Sarah (February 8, 2021). "Barb & Star: Beyond the Culottes and Into the Depths of Their Hilarious Vacation Style" (https://www.popsugar.com/fashion/barb-star-go-to-vista-del-mar-fashion-48154534) . POPSUGAR . ^ (#cite_ref-12) "How 'A League of Their Own' Costume Designer Created Wartime-Era Outfits for on and off Baseball Field" (https://variety.com/2022/artisans/news/league-of-their-own-costume-trayce-field-1235339332/) . Variety.com . August 12, 2022 . Retrieved October 9, 2022 . ^ (#cite_ref-13) " (https://www.ebony.com/black-panther-wakanda-forever-leads-naacp-image-award-nominations/) 'BLACK PANTHER: WAKANDA FOREVER' LEADS NAACP IMAGE AWARD NOMINATIONS" (https://www.ebony.com/black-panther-wakanda-forever-leads-naacp-image-award-nominations/) . Ebony Magazine . January 14, 2023 . Retrieved January 20, 2023 . ^ (#cite_ref-14) Tangcay, Jazz (March 4, 2021). " (https://variety.com/2021/artisans/news/2021-costume-designer-guild-nominations-1234921436/) 'One Night in Miami,' 'Mulan' and 'Mank' Among Costume Designers Guild Nominations" (https://variety.com/2021/artisans/news/2021-costume-designer-guild-nominations-1234921436/) . Variety . External links [ edit ] Trayce Gigi Field (https://www.imdb.com/name/nm1570912/) at IMDb (/wiki/IMDb_(identifier)) Authority control databases (/wiki/Help:Authority_control) : Artists Emmy Awards (https://www.emmys.com/bios/trayce-gigi-field) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐w9ljt Cached time: 20240713085550 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.442 seconds Real time usage: 0.745 seconds Preprocessor visited node count: 2379/1000000 Post‐expand include size: 30708/2097152 bytes Template argument size: 1197/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 59544/5000000 bytes Lua time usage: 0.280/10.000 seconds Lua memory usage: 7030152/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 538.921 1 -total 27.98% 150.766 1 Template:Reflist 24.55% 132.325 14 Template:Cite_web 21.61% 116.454 1 Template:Infobox_person 15.43% 83.151 1 Template:Authority_control 14.51% 78.195 1 Template:Short_description 10.40% 56.025 1 Template:Like_resume 9.22% 49.712 1 Template:Ambox 8.67% 46.715 2 Template:Pagetype 6.33% 34.129 18 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:73641666-0!canonical and timestamp 20240713085550 and revision id 1217655938. 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Savoir Flair Editor Haleh Nia Frequency Daily Founder Haleh Nia Founded 2009 Country United Arab Emirates Language Arabic, English Website https://www.savoirflair.com/ (https://www.savoirflair.com/) Savoir Flair is a digital women’s fashion, beauty, and culture magazine based in Dubai (/wiki/Dubai) , UAE (/wiki/United_Arab_Emirates) , founded in June 2009 by Haleh Nia, who is the magazine’s current publisher and editor-in-chief (/wiki/Editor-in-chief) . [1] (#cite_note-1) Savoir Flair focuses on fashion in The Middle East. History [ edit ] When Haleh Nia launched Savoir Flair at the age of 24, she was, at the time, the youngest publisher and editor-in-chief in the Middle East. [2] (#cite_note-2) Savoir Flair launched a new version of its website in October 2015. In May 2016, Savoir Flair launched an Arabic-language (/wiki/Arabic) sister website, Savoir Flair Al Arabiya , [3] (#cite_note-3) with a photo-shoot and interview with Arab singing sensation Nancy Ajram (/wiki/Nancy_Ajram) . In early 2017, Savoir Flair and Savoir Flair Al Arabiya were incorporated under the publishing media company and creative agency Halo Media umbrella. In June 2019, the magazine announced the launch of a coffee-table book in celebration of its tenth anniversary. The book, titled SFX, will be published by Assouline and released globally in late 2020. Publications [ edit ] Savoir Flair - SFX: The little magazine that could (and did) , ed. Assouline. December 2020. References [ edit ] ^ (#cite_ref-1) "MDLM INTERVIEWS | HALEH NIA" (http://www.modadelamode.co.uk/2012/02/moda-de-la-mode-interviews-haleh-nia.html) . Moda de la Mode . Retrieved 2017-05-11 . ^ (#cite_ref-2) "SAVOIR FLAIR: Exclusive Interview with Editor Haleh Nia - Khaleejesque" (http://www.khaleejesque.com/2011/04/lifestyle/savoir-flair-exclusive-interview-with-editor-haleh-nia/) . www.khaleejesque.com . Retrieved 2017-05-11 . ^ (#cite_ref-3) "MediaSource" (http://www.mediasource.me/index.php?file=story/story&story_id=490) . www.mediasource.me . Retrieved 2017-05-11 . NewPP limit report Parsed by mw‐web.codfw.main‐6457fbf49b‐mh6hq Cached time: 20240706162426 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.128 seconds Real time usage: 0.161 seconds Preprocessor visited node count: 432/1000000 Post‐expand include size: 7159/2097152 bytes Template argument size: 202/2097152 bytes Highest expansion depth: 8/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 12083/5000000 bytes Lua time usage: 0.088/10.000 seconds Lua memory usage: 2949820/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 145.569 1 -total 49.83% 72.534 1 Template:Cite_news 43.09% 62.729 1 Template:Infobox_magazine 38.03% 55.367 1 Template:Infobox 5.36% 7.798 2 Template:Cite_web 4.35% 6.333 1 Template:If_empty 1.25% 1.825 1 Template:Template_other 0.94% 1.367 1 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:54016826-0!canonical and timestamp 20240706162426 and revision id 1213858939. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Savoir_Flair&oldid=1213858939 (https://en.wikipedia.org/w/index.php?title=Savoir_Flair&oldid=1213858939) " Category (/wiki/Help:Category) : Fashion magazines (/wiki/Category:Fashion_magazines) |
Exhibition at the Metropolitan Museum of Art China: Through the Looking Glass at Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) with fashion inspired by Chinese opera China: Through the Looking Glass was a fashion and art exhibition held from May 7 through August 16, 2015, at the Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) focusing on the impact of Chinese design on Western fashion over the centuries. It was curated by Andrew Bolton (/wiki/Andrew_Bolton_(curator)) with support from Harold Koda (/wiki/Harold_Koda) ). Nathan Crowley was responsible for production design. [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-Givhan-3) [4] (#cite_note-Holpuch-4) Consisting of over 140 examples, each piece of this exhibit is said to embody "haute couture and avant-garde ready-to-wear alongside Chinese art." [5] (#cite_note-5) Alongside the exhibition, China was portrayed in cinematic forms to reveal how perceptions of the country are shaped by pop culture. The exhibit was extremely popular in New York City (/wiki/New_York_City) and resulted in record attendance for the museum, drawing more visitors than that of the previous record holder among popular Costume Institute (/wiki/Costume_Institute) exhibitions, Savage Beauty (/wiki/Savage_Beauty_(exhibition)) . [6] (#cite_note-GuardianBreaksRecord-6) Originally scheduled to run from 7 May to 16 August, it was extended through September 7 and stayed open through the night on its final weekend. [7] (#cite_note-BreaksRecord-7) The exhibition inverted Orientalism, choosing to focus on "the East as authentic"(Inverted Orientalism refers to the internalized stereotypes or exoticization of one's own culture by individuals within the culture, often perpetuated in reaction to Western Orientalist narratives.). [3] (#cite_note-Givhan-3) The show "aims to readdress Edward Said (/wiki/Edward_Said) 's notion of Orientalism (/wiki/Orientalism_(book)) —a criticism of the West's depictions of the East as patronising and inauthentic." [8] (#cite_note-Michalska-8) A documentary film about the exhibition, The First Monday in May (/wiki/The_First_Monday_in_May) , was released in 2016 and is available on Netflix (/wiki/Netflix) outside of the US. [9] (#cite_note-MurphyCostumeShow-9) [10] (#cite_note-CoxRelease-10) [11] (#cite_note-11) Gallery [ edit ] A dress by Alexander McQueen (/wiki/Alexander_McQueen) in the style of a traditional Chinese clothing (/wiki/Hanfu) ; the gown is exhibited alongside Han dynasty ceramic figures A Givenchy (/wiki/Givenchy) dragon gown "The Weight of the Millennium", a dress by Li Xiaofeng, made entirely of porcelain pieces A Balenciaga (/wiki/Balenciaga) dress with Chinese floral motif Evening dresses from Valentino (/wiki/Valentino_SpA) , with Chinese symbolism A gown infused with Eastern and Western aesthetics Detail on Guo Pei's silk dress A silk couture dress by Chinese designer Guo Pei (/wiki/Guo_Pei) became a center piece of the exhibition [12] (#cite_note-12) [13] (#cite_note-13) References [ edit ] ^ (#cite_ref-1) "From Chanel to Valentino, a First Look at the Dresses in the Met's "China: Through the Looking Glass" (https://www.vogue.com/article/china-through-the-looking-glass-met-gala-2015) " (https://www.vogue.com/article/china-through-the-looking-glass-met-gala-2015) . Vogue . 2015-04-23 . Retrieved 2022-04-12 . ^ (#cite_ref-2) "China: Through the Looking Glass - the Metropolitan Museum of Art" (http://www.metmuseum.org/press/exhibitions/2015/china-through-the-looking-glass) . ^ a b Givhan, Robin (5 May 2015). "The fantasy of China: Why the new Met exhibition is a big, beautiful lie" (https://www.washingtonpost.com/news/style-blog/wp/2015/05/05/the-fantasy-of-china-why-the-new-met-exhibition-is-a-big-beautiful-lie/) . Washington Post . Retrieved 13 August 2015 . ^ (#cite_ref-Holpuch_4-0) Holpuch, Amanda (4 May 2015). "Met's China: Through the Looking Glass show presents a fantasy of the far east" (https://www.theguardian.com/fashion/2015/may/04/met-china-fashion-art-exhibit-gala) . The Guardian . Retrieved 13 August 2015 . ^ (#cite_ref-5) "China: Through the Looking Glass - the Metropolitan Museum of Art" (https://www.metmuseum.org/press/exhibitions/2015/china-through-the-looking-glass) . www.metmuseum.org . Retrieved 2022-04-12 . ^ (#cite_ref-GuardianBreaksRecord_6-0) "China: Through the Looking Glass show breaks Metropolitan museum record" (https://www.theguardian.com/fashion/2015/aug/19/china-through-the-looking-glass-show-breaks-metropolitan-museum-record) . The Guardian . Agence France. 18 August 2015 . Retrieved 28 August 2015 . ^ (#cite_ref-BreaksRecord_7-0) Greenberger, Alex (27 August 2015). "Met To Remain Open Until Midnight for Final Weekend of 'China: Through the Looking Glass' (http://www.artnews.com/2015/08/27/met-to-remain-open-until-midnight-for-final-weekend-of-china-through-the-looking-glass/) " (http://www.artnews.com/2015/08/27/met-to-remain-open-until-midnight-for-final-weekend-of-china-through-the-looking-glass/) . ArtNews . Retrieved 28 August 2015 . ^ (#cite_ref-Michalska_8-0) Michalska, Julia (5 May 2015). "The Met launches China show, using a Western lens" (http://theartnewspaper.com/news/museums/154575/) . The Art Newspaper (/wiki/The_Art_Newspaper) . Retrieved 16 August 2015 . ^ (#cite_ref-MurphyCostumeShow_9-0) Murphy, Mekado (22 February 2016). "Tribeca Film Festival Opening With Look at Met's Costume Show" (https://www.nytimes.com/2016/02/23/movies/tribeca-film-festival-opening-with-look-at-mets-costume-show.html?emc=eta1) . New York Times . Retrieved 22 February 2016 . ^ (#cite_ref-CoxRelease_10-0) Cox, Gordon (22 February 2016). "Tribeca Film Festival to Open With Met Museum Documentary 'The First Monday in May' (https://variety.com/2016/film/news/tribeca-film-festival-opening-night-2016-first-monday-in-may-1201711507/) " (https://variety.com/2016/film/news/tribeca-film-festival-opening-night-2016-first-monday-in-may-1201711507/) . Variety . Retrieved 22 February 2016 . ^ (#cite_ref-11) "The First Monday in May | Netflix" (https://www.netflix.com/title/80100771) . www.netflix.com . Retrieved 2018-10-19 . ^ (#cite_ref-12) "China: Through the Looking Glass" (https://web.archive.org/web/20151220051025/http://www.latimes.com/travel/deals/la-trb-metropolitan-museum-fashion-exhibition--001-photo.html) . Los Angeles Times . Archived from the original (http://www.latimes.com/travel/deals/la-trb-metropolitan-museum-fashion-exhibition--001-photo.html) on 2015-12-20. ^ (#cite_ref-13) "China: Through the Looking Glass" (http://www.metmuseum.org/exhibitions/listings/2015/china-through-the-looking-glass) . The Metropolitan Museum of Art . v t e Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) Places The Met Fifth Avenue (/wiki/The_Met_Fifth_Avenue) Anna Wintour Costume Center (/wiki/Anna_Wintour_Costume_Center) Astor Court (/wiki/Astor_Court_(Metropolitan_Museum_of_Art)) Robert Goldwater Library (/wiki/Robert_Goldwater_Library) Temple of Dendur (/wiki/Temple_of_Dendur) Thomas J. 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Russian women who worked as fashion designers (/wiki/Fashion_designer) . Biography portal (/wiki/Portal:Biography) Fashion portal (/wiki/Portal:Fashion) Russia portal (/wiki/Portal:Russia) This is a non-diffusing subcategory (/wiki/Wikipedia:Categorization#Non-diffusing_subcategories) of Category:Russian fashion designers (/wiki/Category:Russian_fashion_designers) . It includes Russian fashion designers that can also be found in the parent category, or in diffusing subcategories of the parent. NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐sdkbw Cached time: 20240720103652 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.078 seconds Real time usage: 0.110 seconds Preprocessor visited node count: 137/1000000 Post‐expand include size: 3974/2097152 bytes Template argument size: 304/2097152 bytes Highest expansion depth: 11/100 Expensive parser function count: 4/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 3351/5000000 bytes Lua time usage: 0.045/10.000 seconds Lua memory usage: 935181/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 96.565 1 -total 48.57% 46.905 1 Template:Portal 38.13% 36.821 1 Template:Non-diffusing 30.98% 29.919 1 Template:Cmbox 13.11% 12.657 1 Template:CatAutoTOC 10.57% 10.202 2 Template:Category_other 8.23% 7.945 1 Template:Automatic_category_TOC/core 3.82% 3.691 1 Template:Single_namespace 1.69% 1.632 1 Template:Template_other 1.48% 1.429 1 Template:Clear Saved in parser cache with key enwiki:pcache:idhash:72292581-0!canonical and timestamp 20240720103652 and revision id 1177799007. Rendering was triggered because: page-view Pages in category "Russian women fashion designers" The following 17 pages are in this category, out of 17 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . F Oxana Fedorova (/wiki/Oxana_Fedorova) Irina Fedotova (model) (/wiki/Irina_Fedotova_(model)) Sultanna Frantsuzova (/wiki/Sultanna_Frantsuzova) G Irene Galitzine (/wiki/Irene_Galitzine) Natalia Goncharova (/wiki/Natalia_Goncharova) Victoria Gres (/wiki/Victoria_Gres) K Dolores Kondrashova (/wiki/Dolores_Kondrashova) L Katya Lee (/wiki/Katya_Lee) Alla Levashova (/wiki/Alla_Levashova) N Jana Nedzvetskaya (/wiki/Jana_Nedzvetskaya) P Kira Plastinina (/wiki/Kira_Plastinina) S Ulyana Sergeenko (/wiki/Ulyana_Sergeenko) V Natalia Valevskaya (fashion designer) (/wiki/Natalia_Valevskaya_(fashion_designer)) Lotta Volkova (/wiki/Lotta_Volkova) Y Yulia Yanina (/wiki/Yulia_Yanina) Helen Yarmak (/wiki/Helen_Yarmak) Z Dasha Zhukova (/wiki/Dasha_Zhukova) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Russian_women_fashion_designers&oldid=1177799007 (https://en.wikipedia.org/w/index.php?title=Category:Russian_women_fashion_designers&oldid=1177799007) " Categories (/wiki/Help:Category) : Russian fashion designers (/wiki/Category:Russian_fashion_designers) Russian women artists (/wiki/Category:Russian_women_artists) Women fashion designers by nationality (/wiki/Category:Women_fashion_designers_by_nationality) Hidden categories: Wikipedia non-diffusing subcategories (/wiki/Category:Wikipedia_non-diffusing_subcategories) Automatic category TOC generates no TOC (/wiki/Category:Automatic_category_TOC_generates_no_TOC) |
London fashion label Ghost London Company type Private Industry Clothing (/wiki/Clothing) Founded 1984 Founder Tanya Sarne (/wiki/Tanya_Sarne) and Katharine Hamnett (/wiki/Katharine_Hamnett) Headquarters London (/wiki/London) , NW8 (/wiki/NW_postcode_area) United Kingdom (/wiki/United_Kingdom) Products Ready to wear Collection, Occasionwear, Bridal Collection and Bridesmaids dresses, Homeware, Beachwear, Essentials Owner Touker Suleyman (/wiki/Touker_Suleyman) Website www (https://www.ghost.co.uk/) .ghost (https://www.ghost.co.uk/) .co (https://www.ghost.co.uk/) .uk (https://www.ghost.co.uk/) Ghost is a London fashion label (/wiki/Fashion_label) founded in 1984 by Tanya Sarne (/wiki/Tanya_Sarne) . [1] (#cite_note-kirby-1) It is known for classic vintage clothing (/wiki/Vintage_clothing) -influenced viscose (/wiki/Viscose) crêpe (/wiki/Crape) , satin and georgette (/wiki/Georgette_(fabric)) designs, which are modified slightly each season to keep them up to date, but do not follow trends. [2] (#cite_note-style-2) [3] (#cite_note-puff-3) The Design Museum (/wiki/Design_Museum) in London described the introduction of the Ghost dress as "one of those quiet revolutions" where the significance of an event in fashion history goes almost unnoticed at first. [4] (#cite_note-dm-4) History [ edit ] The Ghost label was founded by Tanya Sarne and the designer Katharine Hamnett (/wiki/Katharine_Hamnett) . [5] (#cite_note-5) They called the label "Ghost" after Sarne's business methodology, which was to employ a team of in-house designers who would create, or " ghostwrite (/wiki/Ghostwrite) " the collections that would be linked to her name, under her supervision. [1] (#cite_note-kirby-1) Among the designers who worked for Ghost were Andrea Sargeant who created the original look, [2] (#cite_note-style-2) Nicholas Knightly (/w/index.php?title=Nicholas_Knightly&action=edit&redlink=1) (who had worked with Stirling Cooper (/wiki/Stirling_Cooper) and later went on to design for Mulberry (/wiki/Mulberry_(company)) and Louis Vuitton (/wiki/Louis_Vuitton) ), [6] (#cite_note-6) [7] (#cite_note-The_Times_Webb_65185-7) Suzanne Deeken, who went on to design for Marc Jacobs (/wiki/Marc_Jacobs) , [8] (#cite_note-8) and Amy Roberts (a former Galliano (/wiki/John_Galliano) assistant) who introduced knitwear in 2001. [9] (#cite_note-9) In the early 1990s, Ossie Clark (/wiki/Ossie_Clark) , renowned for his fabric cutting skills, helped out at Ghost. [10] (#cite_note-10) Ghost became known for its strongly vintage-influenced designs, often distinctively using rayon (/wiki/Rayon) (viscose) fabrics, which if shrunk and dyed, developed a crinkled texture similar to vintage crepe., [4] (#cite_note-dm-4) [1] (#cite_note-kirby-1) Not only could the fabrics be made in various weights and sizes, the clinging garments made from them were easy to wear, easy to care for, and could be worn by women of all ages and shapes. [1] (#cite_note-kirby-1) By 2006 Ghost was a globally recognised brand name. [1] (#cite_note-kirby-1) In 1996, the department store Liberty (/wiki/Liberty_(department_store)) gave Ghost more floor space than any other designer due to the popularity and saleability of the clothes. [11] (#cite_note-picardie-11) The clothes were also praised by industry insiders such as Nicola Jeal from Elle (/wiki/Elle_(magazine)) , who described them as products akin to Levi's (/wiki/Levi_Strauss_%26_Co) jeans or Gap (/wiki/Gap_(clothing_retailer)) , and Grace Coddington (/wiki/Grace_Coddington) , who described them as "clothes that women like to wear." [11] (#cite_note-picardie-11) Ghost clothing was designed as a range of versatile and interchangeable separates which could be worn from one year to the next without looking out of date. [2] (#cite_note-style-2) Although seemingly delicate, Ghost clothes were hard wearing enough to survive being screwed up in a rucksack (/wiki/Backpack) without needing ironing, which made them very attractive to tourists and travellers. [4] (#cite_note-dm-4) In May 2006, following the sale in December 2005 of controlling interest (/wiki/Controlling_interest) to Kevin Stanford and the Icelandic investment group Arev, Sarne resigned from the company. [1] (#cite_note-kirby-1) The Independent (/wiki/The_Independent) suggested that Sarne's unorthodox behaviour and approaches did not work well with Stanford and Arev's business ethos. [1] (#cite_note-kirby-1) Two years after its founder resigned, Ghost went into administration in 2008 as a result of the Icelandic banking crisis (/wiki/2008%E2%80%932012_Icelandic_financial_crisis) . [12] (#cite_note-mason-12) In late 2008 it was bought out by Touker Suleyman (/wiki/Touker_Suleyman) of Hawes & Curtis (/wiki/Hawes_%26_Curtis) . References [ edit ] ^ a b c d e f g Kirby, Terry (25 May 2006). "Fashion Queen defrocked: Ghost story" (https://www.independent.co.uk/news/uk/this-britain/fashion-queen-defrocked-ghost-story-479632.html) . The Independent . Retrieved 17 January 2013 . ^ a b c Worsley-Taylor, Robert O'Byrne ; consultant, Annette (2009). Style city : how London became a fashion capital . London: Frances Lincoln. pp. 120–124. ISBN (/wiki/ISBN_(identifier)) 9780711228955 . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ (#cite_ref-puff_3-0) Rushton, Susie (20 September 2005). "Puff! Top UK designers retain fashion magic" (http://www.independent.ie/lifestyle/independent-woman/fashion/puff-top-uk-designers-retain-fashion-magic-241198.html) . The Independent . Retrieved 17 January 2013 . ^ a b c Design Museum (2009). Fifty Dresses That Changed the World . London: Hachette, UK. ISBN (/wiki/ISBN_(identifier)) 978-1840915877 . ^ (#cite_ref-5) Seipel, Tracy (1 December 1989). "Ghost on the rise in fashion Popular line's resort collection comes in loose, flattering shapes" (http://nl.newsbank.com/nl-search/we/Archives?p_product=DP&p_theme=dp&p_action=search&p_maxdocs=200&p_topdoc=1&p_text_direct-0=0EB1D9A4412CC286&p_field_direct-0=document_id&p_perpage=10&p_sort=YMD_date:D&s_trackval=GooglePM) . The Denver Post . Retrieved 18 January 2013 . (subscription required) ^ (#cite_ref-6) Tungate, Mark (2005). Fashion brands : branding style from Armani to Zara (3rd ed.). London: Kogan Page. p. 143. ISBN (/wiki/ISBN_(identifier)) 9780749464479 . ^ (#cite_ref-The_Times_Webb_65185_7-0) Webb, Iain R. (8 February 1995). "Designer lines on the high street". The Times . No. 65185. ^ (#cite_ref-8) Prosser, David (21 December 2005). " (https://www.independent.co.uk/news/business/news/ghost-founder-makes-1635m-as-chain-plans-expansion-520277.html) 'Ghost' founder makes £5m as chain plans expansion" (https://www.independent.co.uk/news/business/news/ghost-founder-makes-1635m-as-chain-plans-expansion-520277.html) . The Independent . Retrieved 18 January 2013 . ^ (#cite_ref-9) Robson, Julia; Molly Gunn (21 February 2001). "Prince crowns McQueen as British fashion king" (https://www.telegraph.co.uk/news/uknews/1323516/Prince-crowns-McQueen-as-British-fashion-king.html) . The Telegraph . Retrieved 18 January 2013 . ^ (#cite_ref-10) Blanchard, Tamsin (8 November 1998). "Dress sense" (https://www.independent.co.uk/arts-entertainment/dress-sense-1183694.html) . The Independent . Retrieved 7 August 2014 . ^ a b Picardie, Ruth (27 April 1996). "Ghost of a chance" (https://www.independent.co.uk/life-style/ghost-of-a-chance-1305253.html) . The Independent . Retrieved 18 January 2013 . ^ (#cite_ref-mason_12-0) Mason, Rowena (20 November 2010). "Fashion mogul Kevin Stanford is haunted by Ghost" (https://www.telegraph.co.uk/finance/newsbysector/retailandconsumer/8166081/Fashion-mogul-Kevin-Stanford-is-haunted-by-Ghost.html) . The Telegraph . Retrieved 17 January 2013 . 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This is the latest accepted revision (/wiki/Wikipedia:Pending_changes) , reviewed (https://en.wikipedia.org/w/index.php?title=Special:Log&type=review&page=Madhura_Naik) on 23 June 2024 . Indian model and actress (born 1987) Madhura Naik Naik in 2012 Born Madhura Hemant Naik ( 1984-07-19 ) July 19, 1984 (age 40) [1] (#cite_note-1) Indore (/wiki/Indore) , Madhya Pradesh (/wiki/Madhya_Pradesh) , India Occupation(s) Actress (/wiki/Actress) , fashion model (/wiki/Fashion_model) Years active 2007–present Madhura Hemant Naik is an Indian (/wiki/Indian_people) model (/wiki/Model_(person)) and actress (/wiki/Actor) who has appeared in television shows such as Kis Desh Mein Hai Meraa Dil (/wiki/Kis_Desh_Mein_Hai_Meraa_Dil) , Pyaar Kii Ye Ek Kahani (/wiki/Pyaar_Kii_Ye_Ek_Kahani) , Iss Pyaar Ko Kya Naam Doon (/wiki/Iss_Pyaar_Ko_Kya_Naam_Doon) , Hum Ne Li Hai- Shapath (/wiki/SuperCops_vs_Supervillains) and Tumhari Pakhi (/wiki/Tumhari_Pakhi) . Personal life [ edit ] She was born on 19 July 1984 to an Indian father and an Indian Israeli (/wiki/Indians_in_Israel) mother who is of Bene Israel (/wiki/Bene_Israel) origin and a part of the Jewish community in India (/wiki/Indian_Jews) . [2] (#cite_note-2) She was raised in Bahrain (/wiki/Bahrain) and had difficulty in Hindi (/wiki/Hindi) in earlier days of her career. [3] (#cite_note-3) Her cousin sister and brother-in-law were killed during the 2023 Israel–Hamas war (/wiki/2023_Israel%E2%80%93Hamas_war) . [4] (#cite_note-4) Career [ edit ] This biography of a living person (/wiki/Wikipedia:Biographies_of_living_persons) needs additional citations (/wiki/Wikipedia:Citing_sources) for verification (/wiki/Wikipedia:Verifiability) . Please help by adding reliable sources (/wiki/Wikipedia:Reliable_sources) . Contentious material (/wiki/Wikipedia:BLPREMOVE) about living persons that is unsourced or poorly sourced (/wiki/Wikipedia:QUESTIONABLE) must be removed immediately from the article and its talk page, especially if potentially libelous (/wiki/Wikipedia:Libel) . Find sources: "Madhura Naik" (https://www.google.com/search?as_eq=wikipedia&q=%22Madhura+Naik%22) – news (https://www.google.com/search?tbm=nws&q=%22Madhura+Naik%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Madhura+Naik%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Madhura+Naik%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Madhura+Naik%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Madhura+Naik%22&acc=on&wc=on) ( October 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Naik began her career as a model which led her to the music video "Umar Bhar" by Shael Oswal. She then worked in Bhaskar Bharti (/wiki/Bhaskar_Bharti) on Sony (/wiki/Sony_Entertainment_Television) and Ek Nanad Ki Khushiyon Ki Chaabi… Meri Bhabhi (/wiki/Ek_Nanad_Ki_Khushiyon_Ki_Chaabi%E2%80%A6_Meri_Bhabhi) . She played the lead in Hum Ne Li Hai- Shapath (/wiki/SuperCops_vs_Supervillains) on Life OK (/wiki/Life_OK) during which she appeared in many live performances and stage shows with Life OK and Star. She also played Sheetal Kapoor in the popular Star Plus (/wiki/Star_Plus) series Iss Pyaar Ko Kya Naam Doon (/wiki/Iss_Pyaar_Ko_Kya_Naam_Doon) . [5] (#cite_note-5) She was a co-host on UTV Bindass (/wiki/Bindass) ' show Superdude (/w/index.php?title=Superdude_(TV_show)&action=edit&redlink=1) . She appeared in a cameo role as a lawyer named Jaspreet, in Star Plus (/wiki/Star_Plus) 's daily soap Ek Nanad Ki Khushiyon Ki Chaabi… Meri Bhabhi (/wiki/Ek_Nanad_Ki_Khushiyon_Ki_Chaabi%E2%80%A6_Meri_Bhabhi) . She was seen as Tanya Rana, on Life OK (/wiki/Life_OK) 's Tumhari Pakhi (/wiki/Tumhari_Pakhi) . She played the grey role of Palomi, who loves lead actor in Tu Sooraj Main Saanjh, Piyaji (/wiki/Tu_Sooraj_Main_Saanjh,_Piyaji) . She portrayed a character in a same-sex (/wiki/Same-sex_relationship) relationship with the character played by Asma Badar (/wiki/Asma_Badar) in the television in the 2015 series MTV Big F (/wiki/MTV_Big_F) . [6] (#cite_note-6) Social and political causes [ edit ] Naik is an advocate for animal rights and volunteers for PETA (/wiki/People_for_the_Ethical_Treatment_of_Animals) in stop caging of birds. [7] (#cite_note-7) She integrated it as a promotional activity while shooting for Superdude . [8] (#cite_note-8) Filmography [ edit ] Films [ edit ] Year Title Role Notes 2007 Good Boy, Bad Boy (/wiki/Good_Boy,_Bad_Boy) Raju's Sister 2009 Anolkhi Hey Ghar Maze (/w/index.php?title=Anolkhi_Hey_Ghar_Maze&action=edit&redlink=1) Siddhart’s Girlfriend Marathi (/wiki/Marathi_language) Movie 2010 Pyaar Impossible (/wiki/Pyaar_Impossible) Alisha's Friend 2018 Looose Control Komal [9] (#cite_note-9) Marathi (/wiki/Marathi_language) movie Television [ edit ] Year Show Role 2007 Kahe Naa Kahe (/wiki/Kahe_Naa_Kahe) Neena Amber Dhara (/wiki/Amber_Dhara) Deema 2008 Sapna Babul Ka...Bidaai (/wiki/Sapna_Babul_Ka...Bidaai) Sonia Sangam (/wiki/Sangam_(TV_series)) Kaveri 2008–2010 Kis Desh Mein Hai Meraa Dil (/wiki/Kis_Desh_Mein_Hai_Meraa_Dil) Maya Harman Juneja 2009-2010 Bhaskar Bharti (/wiki/Bhaskar_Bharti) Aarti 2009 Shakuntala (/wiki/Shakuntala_(TV_series)) Rajkumari Gauri 2010 Dill Mill Gayye (/wiki/Dill_Mill_Gayye) Suvarna Modi Fear Factor: Khatron Ke Khiladi 3 (/wiki/Fear_Factor:_Khatron_Ke_Khiladi#Season_3) Contestant [10] (#cite_note-10) 2010-2011 Pyaar Kii Ye Ek Kahaani (/wiki/Pyaar_Kii_Ye_Ek_Kahaani) Tanushree Ambolkar [11] (#cite_note-11) 2012 Superdude Co-Host [12] (#cite_note-12) Hum Ne Li Hai... Shapath (/wiki/SuperCops_vs_Supervillains) Shikha [13] (#cite_note-13) Iss Pyaar Ko Kya Naam Doon? (/wiki/Iss_Pyaar_Ko_Kya_Naam_Doon%3F) Sheetal Kapoor 2013 Tumhari Paakhi (/wiki/Tumhari_Paakhi) Tanya Rana [14] (#cite_note-14) Ek Nanad Ki Khushiyon Ki Chaabi… Meri Bhabhi (/wiki/Ek_Nanad_Ki_Khushiyon_Ki_Chaabi%E2%80%A6_Meri_Bhabhi) Jaspreet/Jas Uttaran (/wiki/Uttaran) Nilofer [15] (#cite_note-15) 2014–2015 Comedy Classes (/wiki/Comedy_Classes) [16] (#cite_note-16) Shubhalaxmi Tum Aise Hi Rehna (/wiki/Tum_Aise_Hi_Rehna) Aanchal 2015 Akbar Birbal (/wiki/Akbar_Birbal) Qayamat Baano MTV Big F (/wiki/MTV_Big_F) Shreya 2016 Naagin (/wiki/Naagin_(2015_TV_series)) Mayuri 2017–2018 Tu Sooraj Main Saanjh, Piyaji (/wiki/Tu_Sooraj,_Main_Saanjh_Piyaji) Palomi 2018 Tenali Rama (/wiki/Tenali_Rama_(TV_series)) Queen Munmun Kaun Hai? (/wiki/Kaun_Hai%3F) Nandini Breathe (/wiki/Breathe_(TV_series)) Shaina 2018–2019 Kasautii Zindagii Kay (/wiki/Kasautii_Zindagii_Kay_(2018_TV_series)) Madhuri 2020 Alif Laila Dayan Hina [ citation needed ] Web series [ edit ] Year Series Role 2020 The Ghost Thesis [17] (#cite_note-17) Preksha See also [ edit ] India portal (/wiki/Portal:India) Bollywood portal (/wiki/Portal:Bollywood) Israelis in India (/wiki/Israelis_in_India) History of the Jews in India (/wiki/History_of_the_Jews_in_India) References [ edit ] ^ (#cite_ref-1) Wild child: Telly actress Madhura Naik's birthday bash (https://www.mid-day.com/lifestyle/infotainment/article/Wild-child--Telly-actress-Madhura-Naik-s-birthday-bash-15463183) . mid-day (/wiki/Mid-day) . ^ (#cite_ref-2) "Listen to actress Madhura Naik who lost her loved ones in Hamas attack" (https://zeenews.india.com/hindi/national/video/listen-to-actress-madhura-naik-who-lost-her-loved-ones-in-hamas-attack/1911483) . Zee News (/wiki/Zee_News) . 11 October 2023 . Retrieved 11 October 2023 . ^ (#cite_ref-3) "Lucknow is a city of love: Madhura Naik" (https://timesofindia.indiatimes.com/entertainment/events/lucknow/lucknow-is-a-city-of-love-madhura-naik/articleshow/62402350.cms) . Times of India (/wiki/Times_of_India) . 8 January 2018. Archived (https://web.archive.org/web/20201012050010/https://timesofindia.indiatimes.com/entertainment/events/lucknow/lucknow-is-a-city-of-love-madhura-naik/articleshow/62402350.cms) from the original on 12 October 2020 . Retrieved 21 August 2020 . ^ (#cite_ref-4) "Naagin actor Madhura Naik says her sister, brother-in-law were 'murdered in cold blood' in Israel by Hamas" (https://www.hindustantimes.com/entertainment/tv/naagin-actor-madhura-naik-sister-brother-in-law-killed-israel-war-hamas-101696993237993.html) . Hindustan Times (/wiki/Hindustan_Times) . 11 October 2023 . Retrieved 11 October 2023 . ^ (#cite_ref-5) Nivedita, K (18 September 2010). "I love doing stunts: Madhura Naik" (https://archive.today/20130103120833/http://articles.timesofindia.indiatimes.com/2010-09-18/tv/28218827_1_stunts-madhura-naik-action-reality-show) . The Times of India (/wiki/The_Times_of_India) . Archived from the original (http://articles.timesofindia.indiatimes.com/2010-09-18/tv/28218827_1_stunts-madhura-naik-action-reality-show) on 3 January 2013 . Retrieved 6 February 2012 . ^ (#cite_ref-6) "Madhura Naik opens up about locking lips with female co-star Aasma Badar on MTV's Big F" (https://www.bollywoodlife.com/news-gossip/madhura-naik-opens-up-about-locking-lips-with-female-co-star-aasma-badar-on-mtvs-big-f-626176/) . Bollywood Life (/wiki/Bollywood_Life) . 15 November 2015 . Retrieved 12 October 2023 . ^ (#cite_ref-7) "Ashmit Patel Madhura Naik for PETA" (http://ww.itimes.com/photo/ashmit-patel-madhura-naik-for-peta) . www.itimes.com . iTimes. Archived (https://web.archive.org/web/20141220220359/http://ww.itimes.com/photo/ashmit-patel-madhura-naik-for-peta) from the original on 20 December 2014 . Retrieved 18 January 2015 . ^ (#cite_ref-8) "Ashmit Patel and Madhura Naik support PETA's new campaign" (http://indiatoday.intoday.in/story/ashmit-patel-peta-new-campaign/1/225858.html) . India Today (/wiki/India_Today) . 23 October 2012. Archived (https://web.archive.org/web/20160531060911/http://indiatoday.intoday.in/story/ashmit-patel-peta-new-campaign/1/225858.html) from the original on 31 May 2016 . Retrieved 5 July 2016 . ^ (#cite_ref-9) Ganesh Matkari (24 February 2018). "Looose Control: Review" (https://punemirror.indiatimes.com/entertainment/marathi-reviews/film-looose-control/articleshow/63047774.cms) . Pune Mirror. Archived (https://web.archive.org/web/20180224080919/http://punemirror.indiatimes.com/entertainment/marathi-reviews/film-looose-control/articleshow/63047774.cms) from the original on 24 February 2018 . Retrieved 7 September 2020 . ^ (#cite_ref-10) "I love doing stunts: Madhura Naik" (https://timesofindia.indiatimes.com/tv/news/hindi/i-love-doing-stunts-madhura-naik/articleshow/6571020.cms) . The Times of India . 18 September 2010. ^ (#cite_ref-11) "THE GHOST'S CHARACTER ATTRACTED ME TO TAKE UPTUM AISE HI REHNA : MADHURA NAIK" (http://www.setindia.com/news/ghosts-character-attracted-me-take-uptum-aise-hi-rehna-madhura-naik) . setindia.com . SET India. Archived (https://web.archive.org/web/20150121005948/http://www.setindia.com/news/ghosts-character-attracted-me-take-uptum-aise-hi-rehna-madhura-naik) from the original on 21 January 2015 . Retrieved 18 January 2015 . ^ (#cite_ref-12) "Madhura Naik gets an engagement ring!" (http://timesofindia.indiatimes.com/tv/news/hindi/Madhura-Naik-gets-an-engagement-ring/articleshow/16768526.cms) . The Times of India . 11 October 2012. Archived (https://web.archive.org/web/20150121060738/http://timesofindia.indiatimes.com/tv/news/hindi/Madhura-Naik-gets-an-engagement-ring/articleshow/16768526.cms) from the original on 21 January 2015 . Retrieved 11 October 2012 . ^ (#cite_ref-13) "Dejected Madhura quits the show" (http://timesofindia.indiatimes.com/tv/news/hindi/Dejected-Madhura-quits-the-show/articleshow/12579598.cms) . The Times of India . 9 April 2012. Archived (https://web.archive.org/web/20150121071041/http://timesofindia.indiatimes.com/tv/news/hindi/Dejected-Madhura-quits-the-show/articleshow/12579598.cms) from the original on 21 January 2015 . Retrieved 9 April 2012 . ^ (#cite_ref-14) "Madhura Naik roped in to play Iqbal's love interest in Tumhari Paakhi?" (https://web.archive.org/web/20160305074942/https://in.lifestyle.yahoo.com/madhura-naik-roped-in-to-play-iqbal-s-love-interest-in-tumhari-paakhi-075216001.html) . in.lifestyle.yahoo.com . Yahoo Lifestyle India. Archived from the original (https://in.lifestyle.yahoo.com/madhura-naik-roped-in-to-play-iqbal-s-love-interest-in-tumhari-paakhi-075216001.html) on 5 March 2016 . Retrieved 18 January 2015 . ^ (#cite_ref-15) "Madhura Naik to be a wild card entry on Bigg Boss?" (http://timesofindia.indiatimes.com/tv/news/hindi/Madhura-Naik-to-be-a-wild-card-entry-on-Bigg-Boss/articleshow/40791805.cms) . The Times of India . Times of India. 23 August 2014. Archived (https://web.archive.org/web/20150121072113/http://timesofindia.indiatimes.com/tv/news/hindi/Madhura-Naik-to-be-a-wild-card-entry-on-Bigg-Boss/articleshow/40791805.cms) from the original on 21 January 2015 . Retrieved 8 January 2015 . ^ (#cite_ref-16) "The Students Of Comedy Classes Bruna Abdullah,Madhura Naik Life Ok" (https://web.archive.org/web/20150121074429/http://ishare.rediff.com/video/entertainment/meet-the-students-of-comedy-classes-bruna-abdullah-madhura-naik-life-ok/9841350) . Rediff . Archived from the original (http://ishare.rediff.com/video/entertainment/meet-the-students-of-comedy-classes-bruna-abdullah-madhura-naik-life-ok/9841350) on 21 January 2015 . Retrieved 18 January 2015 . ^ (#cite_ref-17) "Rajniesh Duggall to make web debut in Gemplex Original Series 'The Ghost Thesis' (https://www.bizasialive.com/rajniesh-duggall-to-make-web-debut-in-gemplex-original-series-the-ghost-thesis/) " (https://www.bizasialive.com/rajniesh-duggall-to-make-web-debut-in-gemplex-original-series-the-ghost-thesis/) . Biz Asia. 21 December 2019. Archived (https://web.archive.org/web/20201012050008/https://www.bizasialive.com/rajniesh-duggall-to-make-web-debut-in-gemplex-original-series-the-ghost-thesis/) from the original on 12 October 2020 . Retrieved 21 August 2020 . External links [ edit ] Wikimedia Commons has media related to Madhura Naik (https://commons.wikimedia.org/wiki/Category:Madhura_Naik) . 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Find sources: "Angelica Gray" (https://www.google.com/search?as_eq=wikipedia&q=%22Angelica+Gray%22) – news (https://www.google.com/search?tbm=nws&q=%22Angelica+Gray%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Angelica+Gray%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Angelica+Gray%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Angelica+Gray%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Angelica+Gray%22&acc=on&wc=on) ( November 2010 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Angelica Gray Born ( 1990-06-28 ) 28 June 1990 (age 34) Glasgow (/wiki/Glasgow) , Scotland (/wiki/Scotland) Occupation Fashion model (/wiki/Fashion_model) Modeling information Height 1.755 m (5 ft 9 in) [1] (#cite_note-hughes-1) Hair color Blonde Eye color Blue Agency Hughes Models (http://www.hughesmodels.co.uk) Angelica Gray (born 28 June 1990 in Glasgow, Scotland) is a Scottish plus-size model (/wiki/Plus-size_model) , actress (/wiki/Actress) and spokeswoman for the promotion of a healthier and more diverse selection of women within the fashion industry. Gray's grandmother Barbara Sinclair Thomson was a model for French fashion house Dior (/wiki/Dior) in the 1940s and 1950s. [2] (#cite_note-HeraldScotland-2) [3] (#cite_note-MPModelSpotlight-3) [4] (#cite_note-Scotsman-4) Gray has modelled for Vogue Italia (/wiki/Vogue_Italia) , Elena Miro (/wiki/Miroglio) and Marina Rinaldi (/wiki/Marina_Rinaldi) . [2] (#cite_note-HeraldScotland-2) [3] (#cite_note-MPModelSpotlight-3) She has appeared on BBC Radio (/wiki/BBC_Radio) and in many national and international editorial publications. [4] (#cite_note-Scotsman-4) [5] (#cite_note-5) References [ edit ] ^ (#cite_ref-hughes_1-0) "Angelica Gray" (http://www.hughesmodels.co.uk/14PLUSDIVISION/AngelicaGray.html) . Hughes Models . Retrieved 30 January 2012 . [ permanent dead link ] ^ a b McDonald, Barry (26 April 2010). "Great debate over Ms Gray's anatomy" (http://www.heraldscotland.com/news/home-news/great-debate-over-ms-gray-s-anatomy-1.1022927) . The Herald . Glasgow . Retrieved 29 December 2013 . ^ a b "MP Model Spotlight: Angelica Gray" (https://web.archive.org/web/20130202182051/http://madisonplus.com/mp-insider/mp-model-spotlight-angelica-gray/) . madisonplus.com . Madison Plus. 3 May 2010. Archived from the original (http://madisonplus.com/mp-insider/mp-model-spotlight-angelica-gray/) on 2 February 2013 . Retrieved 29 December 2013 . ^ a b " (http://news.scotsman.com/news/39Plus-size39-Scots-Angelica-Gray.6251805.jp) 'Plus size' Scots Angelica Gray model poised to be fashion's next big thing" (http://news.scotsman.com/news/39Plus-size39-Scots-Angelica-Gray.6251805.jp) . Scotsman Newspaper . Edinburgh. 25 April 2010 . Retrieved 30 January 2013 . ^ (#cite_ref-5) "Andrea, Hayley, Angelica in Glass Magazine!" (https://web.archive.org/web/20120819075759/http://madisonplus.com/mp-daily/andrea-hayley-angelica-in-glass-magazine/) . madisonplus.com . 4 June 2010. Archived from the original (http://madisonplus.com/mp-daily/andrea-hayley-angelica-in-glass-magazine/) on 19 August 2012 . Retrieved 30 January 2013 . External links [ edit ] Article from the Scotsman (http://news.scotsman.com/news/39Plus-size39-Scots-Angelica-Gray.6251805.jp) Vogue Italia V Curvy Interview (http://www.vogue.it/en/vogue-curvy/how-to/2010/03/angelica-gray) Archived (https://web.archive.org/web/20160304055519/http://www.vogue.it/en/vogue-curvy/how-to/2010/03/angelica-gray) 4 March 2016 at the Wayback Machine (/wiki/Wayback_Machine) This Scottish biographical article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Angelica_Gray&action=edit) . v t e This fashion (/wiki/Fashion) -related article is a stub (/wiki/Wikipedia:Stub) . 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Japanese model Hiroko Matsumoto 松本弘子 Hiroko Matsumoto modelling for Pierre Cardin, Jerusalem, 1966 Born 11 August 1936 Tokyo, Japan Died 21 June 2003 (2003-06-21) (aged 66) Paris, France Nationality Japanese Other names Hiroko Berghauer, Hiroko Cathalan Occupation fashion model Years active 1960–1967 Known for Pierre Cardin (/wiki/Pierre_Cardin) , Hanae Mori Fashion House Spouses Henry Berghauer ( m. 1967) Jean-Claude Cathalan ( m. 1970) (1970s, uncertain) Children 1 Modeling information Height 1.74 m (5 ft 9 in) Hiroko Matsumoto ( 松本 弘子 , Matsumoto Hiroko , 11 August 1936 – 21 June 2003) was a Japanese model who worked in Paris during the 1960s. She is considered to be one of the first Japanese supermodels. Biography [ edit ] Pierre Cardin (/wiki/Pierre_Cardin) met and fell in love with Matsumoto in 1960 during a trip to Japan. She would eventually follow him to Paris where she was Cardin's top model. [1] (#cite_note-1) [2] (#cite_note-2) Known as Miss Hiroko, she was the first ever Japanese model for a French clothing collection. [3] (#cite_note-3) [4] (#cite_note-4) Matsumoto ended her modeling career in 1967 and married Henry Berghauer, a manager at groupe Pierre Cardin (/wiki/Pierre_Cardin) . Berghauer went on to become a manager at Hanae Mori (/wiki/Hanae_Mori) , and later of fashion company Hervé Léger. [5] (#cite_note-5) [6] (#cite_note-6) In 1970, Matsumoto played the prominent part of Kyoko, the Japanese lover, in French director François Truffaut (/wiki/Fran%C3%A7ois_Truffaut) 's movie Bed and Board (/wiki/Bed_and_Board_(1970_film)) . Many of the dresses worn in the movie were designed by the Hanae Mori fashion company. [7] (#cite_note-7) A few years later, Hiroko Matsumoto married Jean-Claude Cathalan, who, at the time, was a manager at Roussel Uclaf (/wiki/Roussel_Uclaf) [8] (#cite_note-who-8) [9] (#cite_note-9) He later became the president of Revillon (/wiki/Revillon_Fr%C3%A8res) , Parfums Caron (/wiki/Parfums_Caron) , Jean-Louis Scherrer (/wiki/Jean-Louis_Scherrer) [10] (#cite_note-10) and is the current president of Comité Montaigne (/wiki/Avenue_Montaigne) . [8] (#cite_note-who-8) [11] (#cite_note-11) Their daughter, Maxime Cathalan, was kidnapped in Neuilly-sur-Seine at the age of 20 months in front of her nurse. The child was returned on 23 June 1975 for a ransom of 1.5 million Franc. [12] (#cite_note-12) In 2003, Hiroko Cathalan died in Paris at the age of 67 after a long period in the hospital. The cause of her death remains uncertain. [13] (#cite_note-13) Filmography [ edit ] Year Title Role Notes 1970 Bed and Board (/wiki/Bed_and_Board_(1970_film)) Kyoko References [ edit ] ^ (#cite_ref-1) Matthias Gurtler, Pierre Cardin (http://www.vsd.fr/contenu-editorial/en-coulisses/cv-de-stars/1318-pierre-cardin) Archived (https://web.archive.org/web/20110711060347/http://www.vsd.fr/contenu-editorial/en-coulisses/cv-de-stars/1318-pierre-cardin) 11 July 2011 at the Wayback Machine (/wiki/Wayback_Machine) , VSD, 19 July 2006 ^ (#cite_ref-2) Jean-Noël Liaut, Cover Girls and Supermodels 1945-1965 ^ (#cite_ref-3) Lorenz, Sylvana (2006). Pierre Cardin, son fabuleux destin . ISBN (/wiki/ISBN_(identifier)) 978-2846121910 . ^ (#cite_ref-4) Briward, Christopher; Gilbert, David (2006). Fashion's World Cities . ISBN (/wiki/ISBN_(identifier)) 978-1845204136 . ^ (#cite_ref-5) L'Officiel de la mode n° 729, 1987, pp. 30–31 (http://patrimoine.jalougallery.com/lofficiel-de-la-mode-numero_729-page_30-detailp-13-748-30.html) , Jalou Gallery ^ (#cite_ref-6) Sommaire de la lettre Executives n°351 (http://www.executives.com.fr/direct/executives_cv_et_bio_paiement01gg.asp?lettre=351) Archived (https://web.archive.org/web/20111008063547/http://www.executives.com.fr/direct/executives_cv_et_bio_paiement01gg.asp?lettre=351) 8 October 2011 at the Wayback Machine (/wiki/Wayback_Machine) , le 7 février 1997 ^ (#cite_ref-7) Filmotruffaut (http://filmotruffaut.chez.com/index.htm) ^ a b Who's Who in France (/wiki/Who%27s_Who_in_France) ^ (#cite_ref-9) 01.12.2010 – Comité Montaigne: "La Saga des Industries du Luxe: Un atout pour la France" (http://www.club-des-affaires-nrw.org/index.php?view=article&catid=56%3A2010&id=162%3A01122010-la-saga-des-industries-du-luxe-un-atout-pour-la-france&option=com_content&Itemid=105&lang=fr) , Club des Affaires en Rhénanie du Nord-Westphalie ^ (#cite_ref-10) Jean-Claude Cathalan: "Une démarche très systématique", in L'Anti-Crise (https://fr.wikipedia.org/wiki/L%27Anti-Crise) , Jean-Pierre Thiollet (/wiki/Jean-Pierre_Thiollet) and M-F Guignard, Dunod, Paris, 1994, pp. 26–28 ^ (#cite_ref-11) L'Officiel de la mode n 800, 1995, pages 78, 79 (http://patrimoine.jalougallery.com/lofficiel-de-la-mode-numero_800-page_78-detailp-13-819-78.html) , Jalou Gallery ^ (#cite_ref-12) La Nouvelle République of 23 June 1975: "Maxime Cathalan libérée par ses ravisseurs" ^ (#cite_ref-13) Obituary: Hiroko Matsumoto (https://beta.japantimes.co.jp/news/2003/06/23/national/obituary-hiroko-matsumoto/) , The Japan Times , 23 June 2003 External links [ edit ] Fashion portal (/wiki/Portal:Fashion) Japan portal (/wiki/Portal:Japan) Hiroko Matsumoto (https://www.imdb.com/name/nm0074575/) at IMDb (/wiki/IMDb_(identifier)) Authority control databases (/wiki/Help:Authority_control) International VIAF (https://viaf.org/viaf/126259906) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJkxG6vfrd4DJkG446KPQq) National France (https://catalogue.bnf.fr/ark:/12148/cb141551294) BnF data (https://data.bnf.fr/ark:/12148/cb141551294) Germany (https://d-nb.info/gnd/142047570) Israel (http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007322528905171) United States (https://id.loc.gov/authorities/no2001092548) Japan (https://id.ndl.go.jp/auth/ndlna/00809405) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐jzqbr Cached time: 20240719224355 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.537 seconds Real time usage: 0.715 seconds Preprocessor visited node count: 3062/1000000 Post‐expand include size: 28771/2097152 bytes Template argument size: 6786/2097152 bytes Highest expansion depth: 21/100 Expensive parser function count: 14/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 22568/5000000 bytes Lua time usage: 0.401/10.000 seconds Lua memory usage: 22068356/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 682.160 1 -total 35.63% 243.021 1 Template:Infobox_model 16.65% 113.593 1 Template:Reflist 15.17% 103.472 1 Template:Nihongo 13.68% 93.322 1 Template:Authority_control 12.69% 86.599 2 Template:Cite_book 11.46% 78.208 1 Template:Infobox 9.94% 67.810 1 Template:Short_description 9.56% 65.191 1 Template:Plainlist 8.77% 59.800 2 Template:Marriage Saved in parser cache with key enwiki:pcache:idhash:32114022-0!canonical and timestamp 20240719224355 and revision id 1218916838. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Hiroko_Matsumoto&oldid=1218916838 (https://en.wikipedia.org/w/index.php?title=Hiroko_Matsumoto&oldid=1218916838) " Categories (/wiki/Help:Category) : Japanese female models (/wiki/Category:Japanese_female_models) Models from Tokyo (/wiki/Category:Models_from_Tokyo) 1936 births (/wiki/Category:1936_births) 2003 deaths (/wiki/Category:2003_deaths) Hidden categories: Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Use dmy dates from August 2020 (/wiki/Category:Use_dmy_dates_from_August_2020) Articles with hCards (/wiki/Category:Articles_with_hCards) Articles containing Japanese-language text (/wiki/Category:Articles_containing_Japanese-language_text) Articles with VIAF identifiers (/wiki/Category:Articles_with_VIAF_identifiers) Articles with WorldCat Entities identifiers (/wiki/Category:Articles_with_WorldCat_Entities_identifiers) Articles with BNF identifiers (/wiki/Category:Articles_with_BNF_identifiers) Articles with BNFdata identifiers (/wiki/Category:Articles_with_BNFdata_identifiers) Articles with GND identifiers (/wiki/Category:Articles_with_GND_identifiers) Articles with J9U identifiers (/wiki/Category:Articles_with_J9U_identifiers) Articles with LCCN identifiers (/wiki/Category:Articles_with_LCCN_identifiers) Articles with NDL identifiers (/wiki/Category:Articles_with_NDL_identifiers) |
This template was considered for deletion (/wiki/Wikipedia:Deletion_policy) on 2018 May 14 . The result of the discussion (/wiki/Wikipedia:Templates_for_discussion/Log/2018_May_14#Sports_Illustrated_Swimsuit_navboxes) was " no consensus ". Fashion (/wiki/Wikipedia:WikiProject_Fashion) Template‑class Fashion portal (/wiki/Portal:Fashion) This template is within the scope of WikiProject Fashion (/wiki/Wikipedia:WikiProject_Fashion) , a collaborative effort to improve the coverage of Fashion (/wiki/Fashion) on Wikipedia. If you would like to participate, please visit the project page, where you can join the discussion (/wiki/Wikipedia_talk:WikiProject_Fashion) and see a list of open tasks. Fashion Wikipedia:WikiProject Fashion Template:WikiProject Fashion fashion articles Template (/wiki/Category:Template-Class_fashion_articles) This template does not require a rating on Wikipedia's content assessment (/wiki/Wikipedia:Content_assessment) scale. While editing Pavlína_Pořízková (/wiki/Pavl%C3%ADna_Po%C5%99%C3%ADzkov%C3%A1) I found this template and wrote a critical text about it on the discussion page of that article. Here is a copy of that text: __DTSUBSCRIBEBUTTONDESKTOP__{"headingLevel":2,"name":"h-Roger491127-2010-09-05T14:28:00.000Z","type":"heading","level":0,"id":"h-The_v.d.e_template_section-2010-09-05T14:28:00.000Z","replies":["c-Roger491127-2010-09-05T14:28:00.000Z-The_v.d.e_template_section"],"text":"The v.d.e template section","linkableTitle":"The v.d.e template section"} The v.d.e template section [ edit ] __DTELLIPSISBUTTON__{"threadItem":{"headingLevel":2,"name":"h-Roger491127-2010-09-05T14:28:00.000Z","type":"heading","level":0,"id":"h-The_v.d.e_template_section-2010-09-05T14:28:00.000Z","replies":["c-Roger491127-2010-09-05T14:28:00.000Z-The_v.d.e_template_section"]}} __DTLATESTCOMMENTTHREAD__{"id":"c-Roger491127-2010-09-05T14:28:00.000Z-The_v.d.e_template_section","timestamp":"2010-09-05T14:28:00.000Z"}__ __DTCOMMENTCOUNT__1__ __DTAUTHORCOUNT__1__ __DTSUBSCRIBEBUTTONMOBILE__{"headingLevel":2,"name":"h-Roger491127-2010-09-05T14:28:00.000Z","type":"heading","level":0,"id":"h-The_v.d.e_template_section-2010-09-05T14:28:00.000Z","replies":["c-Roger491127-2010-09-05T14:28:00.000Z-The_v.d.e_template_section"],"text":"The v.d.e template section","linkableTitle":"The v.d.e template section"} The v.d.e template section near the end is very confusing to the reader. If the reader clicks on v d or e he comes to discussions about this template. If the reader clicks on different parts of the title in the first line he comes to different places. Only if the reader happens to click on the two last words in the first title "cover models" he will come to a page where Paulina Porizkova is mentioned. If the reader clicks on the word "show" he returns to the page he is already reading. If the reader clicks on any of the 3 following lines titles he comes to the same place, which does not mention Paulina Porizkova. If he clicks on the last line title he will actually find a page where Paulina Porizkova is mentioned. So, of all the 25 or more elements in this template only 2 elements lead to other places where Paulina Porizkova is mentioned. This leads me to seriously question why this template should be used at all, and especially why it should be used in this article. I suggest that it should be removed as it is only very confusing to the reader. Roger491127 (/wiki/User:Roger491127) ( talk (/wiki/User_talk:Roger491127) ) 14:28, 5 September 2010 (UTC) (https://en.wikipedia.org/wiki/Template_talk:SI_Swimsuit_Cover_Models#c-Roger491127-2010-09-05T14:28:00.000Z-The_v.d.e_template_section) [ reply ] __DTELLIPSISBUTTON__{"threadItem":{"timestamp":"2010-09-05T14:28:00.000Z","author":"Roger491127","type":"comment","level":1,"id":"c-Roger491127-2010-09-05T14:28:00.000Z-The_v.d.e_template_section","replies":[]}} NewPP limit report Parsed by mw‐web.eqiad.main‐55cdc77579‐6pz7k Cached time: 20240722040537 Cache expiry: 864000 Reduced expiry: true Complications: [vary‐revision‐sha1] DiscussionTools time usage: 0.012 seconds CPU time usage: 0.230 seconds Real time usage: 0.310 seconds Preprocessor visited node count: 290/1000000 Post‐expand include size: 8230/2097152 bytes Template argument size: 225/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 7/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 6499/5000000 bytes Lua time usage: 0.159/10.000 seconds Lua memory usage: 1637121/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 231.817 1 -total 62.83% 145.648 1 Template:WikiProject_Fashion 37.11% 86.018 1 Template:Oldtfdfull 25.72% 59.627 1 Template:Tmbox 2.32% 5.387 2 Template:Date 1.77% 4.111 1 Template:Pagetype Saved in parser cache with key enwiki:pcache:idhash:23234003-0!dateformat=default and timestamp 20240722040537 and revision id 842609074. 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Icelandic fashion designer Steinunn Sigurðardóttir Born Reykavík, Iceland Nationality Icelandic Education Fashion design Alma mater Parsons School of Design (/wiki/Parsons_School_of_Design) Known for Fashion design, knitwear, installation Notable work STEiNUNN, Rhythm Knitting, Spaces in-between Spouse Páll Hjaltason Steinunn Sigurðardóttir is an Icelandic (/wiki/Icelandic_people) fashion designer (/wiki/Fashion_designer) . She is the founder and creative director of the label STEiNUNN, founded in 2000. [1] (#cite_note-auto-1) Early life [ edit ] Steinunn was born in Reykjavík (/wiki/Reykjav%C3%ADk) , Iceland. In a 2006 interview at Sjónþingi Gerðubergs, Steinunn talks about the influence her mother and grandmother had on her early life and how it shaped her professional career. Steinunn's grandmother worked as a seamstress and frequently made clothes for Steinunn. She taught Steinunn how to knit at the age of 9 [2] (#cite_note-auto1-2) but knitwear design has been very predominant in Steinunn's collections. Steinunn also credits her mother's great sense of style. She recalls a particular dress her mother used to wear which Steinunn eventually inherited. The dress became an iconic part of Steinunn's wardrobe and later in her career inspired a design for a Calvin Klein dress, which walked the runway in 1992. [2] (#cite_note-auto1-2) After finishing her studies in Reykjavík, Steinunn moved to New York City to attend Parsons School of Design (/wiki/Parsons_School_of_Design) . Steinunn was the first Icelandic person to attend Parsons School of Design. [2] (#cite_note-auto1-2) When she arrived in New York she recalls having to grow up very fast in such a fast-paced city. Her knitting skills came of good use; within a month and a half she had gotten a job as a pattern sample knitter which allowed her to earn extra money to cover the expense of living in New York City. [2] (#cite_note-auto1-2) Despite having been told she would never get into a design school by her teachers back home in Iceland, [2] (#cite_note-auto1-2) Steinunn graduated in 1986 from Parsons with a Bachelor in Fashion Design (BFA), with honours. [3] (#cite_note-auto2-3) Career [ edit ] Upon her graduation in 1986, Steinunn spent a brief year working with Carmelo Pomodoro as an assistant designer. [3] (#cite_note-auto2-3) The two had met during her studies at Parsons. In 1987 to 1989 she worked as a designer for Polo/Ralph Lauren Collection. [3] (#cite_note-auto2-3) In 1989 she got the opportunity to design for Calvin Klein (/wiki/Calvin_Klein) . The two began a close relationship and Steinunn quickly moved on to become the Director and Senior Knitwear Designer for Calvin Klein Inc., Collection, CK Sport, and Jeans Division. [2] (#cite_note-auto1-2) At Calvin Klein she continued experimenting with knitwear. Her signature design became cable knit, which gave her the nickname "The Cable Queen" at the Calving Klein house. Later on during her work at Calvin Klein she began experimenting with knit as fabric. She manipulated the material and discovered new techniques to create a different feel and texture. [2] (#cite_note-auto1-2) In one year Steinunn recalls designing twelve clothing lines, worked on six different fashion shows, travelled three times to Hong Kong, twice to San Francisco, twice to Italy, and three times to Iceland. It was the year she truly got to know the insanity behind the fashion industry. [2] (#cite_note-auto1-2) Steinunn left Calvin Klein Inc. in 1995 and began working as the Director and Senior Designer for Gucci Group (/wiki/Gucci_Group) . She was with Gucci Group until the year 2000. In 2000, Steinunn became the Creative Director of La Perla (/wiki/La_Perla_(clothing)) Ready to Wear. Steinunn sought a lot of her inspiration from her native country Iceland, and its nature. She began experimenting with sheer fabrics and silk to bring out texture that reminded her of freshly fallen snow. Steinunn also started playing with fish skin in her designs which at the time was unheard of. [2] (#cite_note-auto1-2) Steinunn was the main advocate for starting a swimsuit line for La Perla. She recalls having to fight for her vision, but once she got what she wanted La Perla gained a lot of attention for its swimwear. [2] (#cite_note-auto1-2) STEiNUNN [ edit ] The same year that she started her work as Creative Director at La Perla Steinunn withdrew $10,000 from her savings account and started her own fashion label STEiNUNN back in Iceland. [4] (#cite_note-4) She left her position at La Perla in 2003 to focus solely on her own brand and other personal projects. After a hugely successful and challenging career abroad Steinunn felt it the biggest challenge yet was to become and independent designer and create something that reflects purely her personal vision. In an interview she said the goal as a designer is to constantly push her creative practice further and bring it to the next level. [2] (#cite_note-auto1-2) In November 2011 Steinunn relocated her store to 17 Grandagardur, located in the fish-packing district of Reykjavík. Steinunn re-designed a building which used to be a small repair workshop for fishnets, but kept the authentic rustic charm. The original floors, left untouched, tell the story of the space. [5] (#cite_note-5) Awards and honours [ edit ] Steinunn received the prestigious Söderberg Prize from the Rhösska museum in 2008 [6] (#cite_note-auto3-6) Other awards and honours: [1] (#cite_note-auto-1) [6] (#cite_note-auto3-6) 2011 "Indriði Award" Icelandic Fashion Council, first time recipient 2009 Reykjavík City Artist 2009, Reykjavík City, Iceland, first time designer recipient 2008 Söderberg Prize, Winner of the Torsten and Wanja Söderberg Prize, Gothenburg, Sweden, first time fashion design recipient 2008 Myndstef Award, Nomination, Reykjavík, Iceland 2008 FKA – The Icelandic Association of Women Entrepreneurs Award, Reykjavík, Iceland 2007 Winner of "Ginen 2007", Nordic fashion awards. 2007 Awarded by the President of Iceland the "Knight´s Cross" of "The Order of the Falcon" first time designer recipient 2006 Icelandic Visual Art Award, Nomination 2006 Saga Fur Workshop, Copenhagen 2003 "Designer of the Year" award in Iceland, "Menningarverðlaun" 2000 Finalist in Enkamania Design Talent 1986 Adri Gold Thimble Award 1986 Norman Norell Scholarship 1985 Norman Norell Scholarship 1985 Carmelo Pomodoro Silver Thimble Award 1985 Designer of the Future, Knitted Textiles Association Exhibitions [ edit ] Steinunn has held numerous lectures, set on solo and group exhibitions as well as curated exhibitions in Iceland and abroad. She has served on boards of numerous companies and organisations, and frequently teaches as a guest teacher in design schools around the world. [ citation needed ] Her works have been acquired by museums in Iceland, Sweden, and Norway. [ citation needed ] In 2013 Steinunn introduced Rhythm Knitting as a part of the Nordic Cool 2013 festival organised by the Kennedy Centre (/wiki/Kennedy_Centre) . "Steinunn Sigurd presented a hands-on workshop celebrating the cultural and artistic value of knitting. From novice to expert, participants of all skill levels were introduced to new possibilities in knitting, using music and creative techniques without needles that found the participants using only their fingers." [7] (#cite_note-7) Selected exhibitions [ edit ] Selected solo exhibitions [8] (#cite_note-auto4-8) 2016 Rhythm Knitting light Installation, Harpa Music Hall, Reykjavík, Iceland 2014 Rhythm Knitting light Installation, L8ight Festival, Aberdeen, Scotland 2011 "Upbeat" Gallery 751D Beijing, China 2010 "Nordic Light House, World Expo, Shanghai, China 2009 "Steinunn" Kjarvalstaðir, Reykjavík Art Museum, Iceland 2008 "STEiNUNN" Rhösska Design Museum, Söderberg, Gothenburg 2006 "Fortíð – Nútíð" Textil Museum, Blöndós, Iceland 2006 "Retrospective", Nordatlantesbrygge Copenhagen 2006 "Sjónþing - a retrospective", Gallery Gerðuberg, Reykjavík Selected group exhibitions 2016 "Weather Diaries" Nordic Fashion Biennale Royal, Nordic House, Rvk, Iceland 2015 "Weather Diaries" Nordic Fashion Biennale Royal, Coda Museum Holland 2015 "Weather Diaries" Nordic Fashion Biennale Royal, Nordic House, Faroe Islands 2014 "Weather Diaries" Nordic Fashion Biennale Royal Library, Copenhagen, Denmark 2014 "Weather Diaries" Nordic Fashion Biennale Royal, Frankfurt Design Museum 2013 "Nordic Design" Design Museum Iceland. 2013 "Nordic Cool" Kennedy Art Center for Performing Arts, Washington D.C., USA 2012 "Nordic Design" Vandalorum Design Museum, Sweden 2011 "Looking Back", Nordic Fashion Biennale, Nordic Museum, Seattle 2011 "On the Cutting Edge" Museum for Applied Art, Frankfurt 2010 "STEiNUNN" Upbeat, Gallery 751D Beijing, China 2010 "STEiNUNN" Nordic Light House, World Expo, Shanghai 2009 "Code" Belle Center Copenhagen, Denmark 2009 "Nordic Fashion Biennale" Nordic House, Reykjavík, Iceland 2007 "Iceland Cometh", Meatpacking District, ICFF, Gallery, New York 2007 "Icelandic Fashion & Design", Nordic Embassies, Berlin 2006 "Icelandic Fashion", National Centre for Cultural Heritage, Reykjavík 2006 "Mode and Design Aus Islande" National Centre for Cultural Heritage, RVK 2006 "Retrospective", Nordatlantesbrygge Copenhagen 2006 "Sjónþing - a retrospective", Gallery Gerðuberg, Reykjavík 2006 "Fashion & Design", The Museum of Applied Art, Cologne 2005 "Icelandic culture", Stockholm's Auktionsverk 2005 "World Expo 2005" World Fair Tokyo, Japan 2004 "Nordic cool", National Museum of Women in the Arts, Washington, USA 2002 Museum of Modern Art, Barcelona 2002 "5 X 5 Nordic Design", Stockholm Design show Curator 2013 "Silver" National Museum of Iceland w/Páll Hjaltason 2012 "Fingramál", Icelandic Design Museum 2012 "Tízka" / "Fashion", National Museum of Iceland 2010 "World Expo 2010 " Iceland Pavilion Shanghai, curated w/Páll Hjaltason, Finnbogi Péturs, Ámundi Sigurðs, Saga Film 2005 "Ómur, National Museum of Iceland, curated w/Páll Hjaltason 2004 "Transforme", Gallery Marel, Reykjavík, curated w/Páll Hjaltason 2004 "Transforme" VIA Gallery, Paris, curated w/Páll Hjaltason Works in public collections [ edit ] 2009 Hönnunarsafn Íslands, Design Museum of Iceland. [8] (#cite_note-auto4-8) 2009 Rhösska Design Museum, Söderberg Priz, Gothenburg 2009 Museum of Decorative Arts and Design, Oslo, Norway Lectures [ edit ] 2016 "Rhythm Knitting" Nordic House, Reykjavík, Iceland [8] (#cite_note-auto4-8) 2014 "Rhythm Knitting" Aberdeen, Scotland 2014 "Rhythm Knitting" Royal Library Copenhagen, Denmark 2014 "Rhythm Knitting" Boras School of Textiles, Sweden 2014 STEiNUNN, Boras School of Textiles, Sweden 2014 "Rhythm Knitting" Nordic House, Faroe Islands 2014 "Rhythm Knitting" Frankfurt Design Museum, Germany 2014 Women in Parliament, Harpa Music Hall, Reykjavík, Iceland 2014 STEiNUNN, Alaska Art Museum, Anchorage, Alaska 2014 "Rhythm Knitting" National Gallery, Anchorage, Alaska 2014 STEiNUNN, Juneau City Hall, Alaska 2014 STEiNUNN, Fairbanks Museum, Alaska 2013 University of Reykjavík, MBA Business program, Reykjavík Iceland 2013 HDK Gothenburg Design School, Sweden 2013 Private Design School, Gothenburg, Sweden 2013 FISOS, Association of Icelandic Museums, National Heritage Museum 2013 "Rhythm Knitting " Nordic House Nuuk, Greenland 2013 "Rhythm Knitting " Kennedy Art Center for Performing Arts, Washington, D.C., USA 2012 Fashion gowns and corsilet, National Museum of Iceland 2011 Íslandsstofa, Icelandic Trade Council 2011 "Looking Back to find our Future", Nordic Fashion Biennale, Nordic Museum, Seattle, USA 2011 "Thinking Hands" National Museum of Iceland, Reykjavík Art School 2010 Beijing Fashion Institute of Technology, Beijing China 2009 University of Iceland, Reykjavík Iceland 2009 Nordic Council of Ministers, Kultur Forum, Felleshus - Nordic Embassies, Berlin, Germany 2009 CCP, Reykjavík Art Museum 2009 Lava 2009, Seminar, Iðnó, Reykjavík, Iceland 2009 Confederation of the Icelandic Employment (Santök Atvinnulífsins), Reykjavík, Iceland 2009 Innovation Conference, Nýsköpunarþing, Reykjavík, Iceland 2009 Verkmenntaskólinn á Akureyri, Island 2009 "Nordic Fashion Biennale" Nordic House, Reykjavík, Iceland 2009 Iðnskólinn í Hafnarfirði, Island 2009 Art teachers in Iceland, Listmenntakennarar á Íslandi 2008 Rhösska Design Museum Gothenborg, Söderberg Priz, Gothenburg, Sweden 2008 National Museum of Iceland, Norrænir safnverðir, Reykjavík 2008 FIT, New York Panel Discussion, New York, USA 2008 FIT, New York Fashion Design Students, New York, USA 2007 Skt. Petersburg Fashion Students, Nordic House, Iceland 2007 FIT, New York, Fashion Design Gallery, New York, USA 2007 Design Center, Klaus K., Helsinki Finland 2007 "Icelandic Fashion & Design", Nordic Embassies, Berlin, Germany 2006 Design students, Reykjavík Art School, Reykjavík, Iceland 2006 "Scandinavian House" Aalands Island, Finland 2006 "Retrospective", Nordatlantesbrygge Copenhagen 2006 "Fortíð – Nútíð" Textile Museum, Blöndósi 2006 "Sjónþing - a retrospective", Gallery Gerðuberg, Reykjavík 2005 Fashion Students, LHI, Icelandic Academy of art, Reykjavík, Iceland 2004 "Nordic cool", National Museum of Women in the Arts, Washington, USA 2004 WorkshopmNational Museum of Women in the Arts, Washington, USA 2004 "Nordic design" The Scandinavian House, Reykjavík, Iceland References [ edit ] ^ Jump up to: a b STEiNUNN. N.d. Web. 28 Apr. 2015. < http://steinunn.com/About/Bio/ (http://steinunn.com/About/Bio/) >. ^ Jump up to: a b c d e f g h i j k Sigurðardóttir, Steinunn. "Steinunn Sigurðardóttir." Interview by Sigríður Sigurðardóttir, Gunnar Hilmarsson, and Páll Hjaltason. Sjónþing Gerðubergs 18 Mar. 2006: n. pag. Print. ^ Jump up to: a b c Kay, Ernest. "SIGURD Steinunn." International Who's Who of Professional and Business Women. 2nd ed. Cambridge, England: International Biographic Center, 1992. 584. Print. ^ (#cite_ref-4) Giacobbe, Alyssa. "Bringing Icelandic Fashion to the U.S." CNNMoney. Cable News Network, 14 Sept. 2009. Web. 28 Apr. 2015. < http://money.cnn.com/2009/09/14/smallbusiness/icelandic_fashion_business_makeover.fsb/index.htm?iid=SF_SB_LN (http://money.cnn.com/2009/09/14/smallbusiness/icelandic_fashion_business_makeover.fsb/index.htm?iid=SF_SB_LN) >. ^ (#cite_ref-5) Hallgrímsdóttir, Hallgerður. "STEiNUNN OPNAR í Gamalli Netsmiðju." Hús og Híbýli 2012: n. pag. Print. ^ Jump up to: a b Dahlman, Helen. Steinunn Sigurðardóttir: Torsten Och Wanja Söderbergs Pris 2008. Göteborg: Röhsska Museet, 2008. Print. ^ (#cite_ref-7) Carlson Nelson, Marliyn, and Barbro Osher. "Education." Comp. Bonnie McElveen-Hunter. Nordic Cool 2013. N.p.: Kennedy Center, 2013. 240. Print. ^ Jump up to: a b c ATOMSTODIN.IS, DISILL CMS /. "STEiNUNN - Bio -" (http://www.steinunn.com/About/Bio/) . www.steinunn.com . Retrieved 7 May 2018 . 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Annual fashion show of an US brand Victoria's Secret Fashion Show 2018 Status Active Genre Fashion show Date(s) November 8, 2018 ( 2018-11-08 ) Frequency Annually Venue Pier 94 Location(s) New York City (/wiki/New_York_City) Years active 28 Inaugurated August 1, 1995 ( 1995-08-01 ) Most recent 2018 Previous event 2017 (/wiki/Victoria%27s_Secret_Fashion_Show_2017) Next event 2024 (/w/index.php?title=Victoria%27s_Secret_Fashion_Show_2024&action=edit&redlink=1) Member Victoria's Secret (/wiki/Victoria%27s_Secret) Website Victoria's Secret Fashion Show (https://www.victoriassecret.com/fashion-show) The Victoria's Secret Fashion Show (/wiki/Victoria%27s_Secret_Fashion_Show) is an annual fashion show sponsored by Victoria's Secret (/wiki/Victoria%27s_Secret) , an American brand of lingerie and sleepwear. Victoria's Secret uses the show to promote and market its goods in high-profile settings. The show featured some of the world's leading fashion models, such as Victoria's Secret Angels (/wiki/List_of_Victoria%27s_Secret_models) , Lais Ribeiro (/wiki/Lais_Ribeiro) , Elsa Hosk (/wiki/Elsa_Hosk) , Jasmine Tookes (/wiki/Jasmine_Tookes) , Martha Hunt (/wiki/Martha_Hunt) , Sara Sampaio (/wiki/Sara_Sampaio) , Romee Strijd (/wiki/Romee_Strijd) , Stella Maxwell (/wiki/Stella_Maxwell) , Taylor Hill (/wiki/Taylor_Hill_(model)) , Josephine Skriver (/wiki/Josephine_Skriver) , also with head angels Adriana Lima (/wiki/Adriana_Lima) , Candice Swanepoel (/wiki/Candice_Swanepoel) and Behati Prinsloo (/wiki/Behati_Prinsloo) making her comeback in two years. The show also featured PINK spokesmodels, Grace Elizabeth (/wiki/Grace_Elizabeth) and Zuri Tibby (/wiki/Zuri_Tibby) , also with Chinese models, Sui He (/wiki/Sui_He) and Ming Xi (/wiki/Ming_Xi) . Lily Aldridge (/wiki/Lily_Aldridge) was also absent due to her pregnancy. The 2018 Victoria's Secret Fashion Show was recorded in New York City (/wiki/New_York_City) at the Pier 94, on November 8. The show featured musical performances by Shawn Mendes (/wiki/Shawn_Mendes) , Rita Ora (/wiki/Rita_Ora) , The Chainsmokers (/wiki/The_Chainsmokers) , Bebe Rexha (/wiki/Bebe_Rexha) , Halsey (/wiki/Halsey_(singer)) , Leela James (/wiki/Leela_James) , Kelsea Ballerini (/wiki/Kelsea_Ballerini) , and The Struts (/wiki/The_Struts) . [1] (#cite_note-1) The show featured seven main segments, along with a segment paying tribute to Adriana Lima, marking her retirement from modeling for Victoria's Secret. [2] (#cite_note-2) This was the last annual Victoria's Secret Fashion Show. ABC (/wiki/American_Broadcasting_Company) aired the show's television special, The Victoria’s Secret Fashion Show Holiday Special , on December 2, 2018. [3] (#cite_note-3) Dates Locations Broadcaster Viewers (millions) Performers November 8, 2018 (recorded); December 2, 2018 (aired) New York City (/wiki/New_York_City) ABC 3.27 Shawn Mendes (/wiki/Shawn_Mendes) , Rita Ora (/wiki/Rita_Ora) , The Chainsmokers (/wiki/The_Chainsmokers) , Bebe Rexha (/wiki/Bebe_Rexha) , Halsey (/wiki/Halsey_(singer)) , Leela James (/wiki/Leela_James) , Kelsea Ballerini (/wiki/Kelsea_Ballerini) , and The Struts (/wiki/The_Struts) Fashion show segments [ edit ] Segment 1: Glam Royale [ edit ] Performer Song Status Leela James (/wiki/Leela_James) " This is Me (/wiki/This_Is_Me_(Keala_Settle_song)) " Cover Live Performance Nationality Model(s) Wings Runway Shows Notes American (/wiki/Americans) Taylor Hill (/wiki/Taylor_Hill_(model)) ✓ 2014–18 VS 5 Angel (2015–21) British (/wiki/British_people) Alexina Graham (/wiki/Alexina_Graham) 2017–18 Danish (/wiki/Danes) Josephine Skriver (/wiki/Josephine_Skriver) ✓ 2013–18 VS 5 Angel (2016–21) American (/wiki/American_people) Gigi Hadid (/wiki/Gigi_Hadid) 2015–16 • 2018 C Portuguese (/wiki/Portuguese_people) Sara Sampaio (/wiki/Sara_Sampaio) ✓ 2013–18 VS 5 Angel (2015–21) British (/wiki/British_people) Aiden Curtiss 2017–18 F Brazilian (/wiki/Brazilians) Lais Ribeiro (/wiki/Lais_Ribeiro) ✓ 2010–11 • 2013–18 VS 5 Angel (2015–21) Chinese (/wiki/Chinese_people) Liu Wen (/wiki/Liu_Wen_(model)) ✓ 2009–12 • 2016–18 Americans (/wiki/Americans) Lameka Fox (/wiki/Lameka_Fox) 2016–18 Kendall Jenner (/wiki/Kendall_Jenner) 2015–16 • 2018 C French (/wiki/French_people) Cindy Bruna ✓ 2013–18 F Dutch (/wiki/Dutch_people) Yasmin Wijnaldum (/wiki/Yasmin_Wijnaldum) 2018 D Namibian (/wiki/Demographics_of_Namibia) Behati Prinsloo (/wiki/Behati_Prinsloo) ✓ 2007–15 • 2018 VS 3 Angel (2009–21) • C Segment 2: Golden Angels [ edit ] Performer(s) Song Status The Chainsmokers (/wiki/The_Chainsmokers) " This Feeling (/wiki/This_Feeling_(The_Chainsmokers_song)) " Live Performance Kelsea Ballerini (/wiki/Kelsea_Ballerini) Nationality Model Wings Runway Shows Notes South African (/wiki/Demographics_of_South_Africa) Candice Swanepoel (/wiki/Candice_Swanepoel) ✓ 2007–15 • 2017–18 VS 4 Angel (2010–21) Australian (/wiki/Australians) Shanina Shaik (/wiki/Shanina_Shaik) 2011–12 • 2014–15 • 2018 C Americans (/wiki/Americans) Jasmine Tookes (/wiki/Jasmine_Tookes) ✓ 2012–18 VS 5 Angel (2015–21) Jourdana Phillips (/wiki/Jourdana_Phillips) 2016–18 Grace Elizabeth (/wiki/Grace_Elizabeth) PINK Angel (2016–19) Brazilian (/wiki/Brazilians) Barbara Fialho 2012–18 F American (/wiki/Americans) Sofie Rovenstine 2018 D New Zealander (/wiki/New_Zealanders) Stella Maxwell (/wiki/Stella_Maxwell) ✓ 2014–18 VS 5 Angel (2015–21) Hungarian (/wiki/Hungarians) Barbara Palvin (/wiki/Barbara_Palvin) 2012 • 2018 C Chinese (/wiki/Chinese_people) Ming Xi (/wiki/Ming_Xi) ✓ 2013–18 VS C Angel (2018–21) German (/wiki/Germans) Lorena Rae 2018 D Tanzanian (/wiki/Demographics_of_Tanzania) Herieth Paul (/wiki/Herieth_Paul) 2016–18 Dutch (/wiki/Dutch_people) Romee Strijd (/wiki/Romee_Strijd) ✓ 2014–18 VS 5 Angel (2015–21) Special Segment: Thank You Adriana [ edit ] Performer Song Status Hannah Grace (/wiki/Hannah_Grace) " Praise You (/wiki/Praise_You) " Recording Nationality Model Wings Runway Show Notes Brazilian (/wiki/Brazilians) Adriana Lima (/wiki/Adriana_Lima) ✓ 1999–2003 • 2005–08 • 2010–18 VS 2 Angel (2000–18) Segment 3: Flights of Fancy [ edit ] Performer Song Status Halsey (/wiki/Halsey_(singer)) " Without Me (/wiki/Without_Me_(Halsey_song)) " Live Performance Nationality Model Wings Runway Show Status American (/wiki/Americans) Martha Hunt (/wiki/Martha_Hunt) ✓ 2013–18 VS 5 Angel (2015–21) Norwegian (/wiki/Norwegians) Frida Aasen (/wiki/Frida_Aasen) 2017–18 Swedish (/wiki/Swedes) Kelly Gale (/wiki/Kelly_Gale) ✓ 2013–14 • 2016–18 Canadian (/wiki/Canadians) Winnie Harlow (/wiki/Winnie_Harlow) 2018 D German (/wiki/Germans) Toni Garrn (/wiki/Toni_Garrn) ✓ 2011–13 • 2018 C British (/wiki/British_people) Megan Williams (/wiki/List_of_Victoria%27s_Secret_models) 2016–18 American (/wiki/Americans) Alanna Arrington (/wiki/Alanna_Arrington) ✓ Devon Windsor (/wiki/Devon_Windsor) ✓ 2013–18 F Bella Hadid (/wiki/Bella_Hadid) ✓ 2016–18 Brazilian (/wiki/Brazilians) Gizele Oliveira (/wiki/Gizele_Oliveira) ✓ 2017–18 Swedish (/wiki/Swedes) Elsa Hosk (/wiki/Elsa_Hosk) ✓ 2011–18 VS 5 Angel (2015–21) FB "Dream Angels" ( $1M ) Segment 4: PINK [ edit ] Performer Song Status Bebe Rexha (/wiki/Bebe_Rexha) " I'm a Mess (/wiki/I%27m_a_Mess_(Bebe_Rexha_song)) " Live Performance Nationality(s) Model Runway Show Notes Americans (/wiki/Americans) Grace Elizabeth (/wiki/Grace_Elizabeth) 2016–18 PINK Angel (2016–19) Josie Canseco 2018 D New Zealander (/wiki/New_Zealanders) Maia Cotton Filipino (/wiki/Filipinos) Kelsey Merritt (/wiki/Kelsey_Merritt) American (/wiki/Americans) Iesha Hodges Ivorian (/wiki/Demographics_of_Ivory_Coast) Melie Tiacoh Portuguese (/wiki/Portuguese_people) Isilda Moreira Australian (/wiki/Australians) Alannah Walton French (/wiki/French_people) Estelle Chen (/wiki/Estelle_Chen) 2017–18 Americans (/wiki/Americans) Zuri Tibby (/wiki/Zuri_Tibby) 2016–18 PINK Angel (2016–19) Willow Hand (/wiki/Willow_Hand) 2018 D Dutch (/wiki/Dutch_people) Myrthe Bolt (/wiki/Myrthe_Bolt) American (/wiki/Americans) Maggie Laine (/wiki/Maggie_Laine) 2016–18 Segment 5: Floral Fantasy [ edit ] Performer Song Status Shawn Mendes (/wiki/Shawn_Mendes) " Lost in Japan (/wiki/Lost_in_Japan) " Live Performance Nationality Model(s) Wings Runway Shows Notes Americans (/wiki/Americans) Jasmine Tookes (/wiki/Jasmine_Tookes) ✓ 2012–18 VS 5 Angel (2015–21) Devon Windsor 2013–18 F Dutch (/wiki/Dutch_people) Yasmin Wijnaldum (/wiki/Yasmin_Wijnaldum) 2018 D American (/wiki/Americans) Gigi Hadid (/wiki/Gigi_Hadid) ✓ 2015–16 • 2018 C Austrian (/wiki/Austrians) Nadine Leopold (/wiki/Nadine_Leopold) 2017–18 American (/wiki/Americans) Sofie Rovenstine 2018 D Canadian (/wiki/Canadians) Winnie Harlow (/wiki/Winnie_Harlow) British (/wiki/British_people) Aiden Curtiss 2017–18 F Nigerian (/wiki/Nigerians) Mayowa Nicholas (/wiki/Mayowa_Nicholas) 2018 D British (/wiki/British_people) Alexina Graham (/wiki/Alexina_Graham) ✓ 2017–18 Chinese (/wiki/Chinese_people) Liu Wen (/wiki/Liu_Wen_(model)) 2009–12 • 2016–18 Australian (/wiki/Australians) Duckie Thot (/wiki/Duckie_Thot) 2018 D Chinese (/wiki/Chinese_people) Sui He (/wiki/Sui_He) 2011–18 VS C Angel (2018–21) British (/wiki/British_people) Leomie Anderson 2015–18 F Danish (/wiki/Danes) Josephine Skriver (/wiki/Josephine_Skriver) ✓ 2013–18 VS 5 Angels (2016–21) Segment 6: Downtown Angel [ edit ] Performer Song Status Rita Ora (/wiki/Rita_Ora) " Let You Love Me (/wiki/Let_You_Love_Me) " Live Performance Nationality Model(s) Wings Runway Shows Notes New Zealander (/wiki/New_Zealanders) Stella Maxwell (/wiki/Stella_Maxwell) 2014–18 VS 5 Angel (2015–21) Namibian (/wiki/Demographics_of_Namibia) Behati Prinsloo (/wiki/Behati_Prinsloo) 2007–15 • 2018 VS 3 Angel (2009–21) • C New Zealander (/wiki/New_Zealanders) Georgia Fowler (/wiki/Georgia_Fowler) 2016–18 American (/wiki/Americans) Lameka Fox (/wiki/Lameka_Fox) South Sudanese (/wiki/Demographics_of_South_Sudan) Subah Koj (/wiki/Subah_Koj) 2018 D British (/wiki/British_people) Cheyenne Carty Chinese (/wiki/Chinese_people) Ming Xi (/wiki/Ming_Xi) 2013–18 VS C Angel (2018–21) American (/wiki/Americans) Bella Hadid (/wiki/Bella_Hadid) 2016–18 Swedish (/wiki/Swedes) Kelly Gale (/wiki/Kelly_Gale) 2013–14 • 2016–18 Hungarian (/wiki/Hungarians) Barbara Palvin (/wiki/Barbara_Palvin) 2012 • 2018 C British (/wiki/British_people) Sadie Newman 2018 D American (/wiki/Americans) Martha Hunt (/wiki/Martha_Hunt) ✓ 2013–18 VS 5 Angel (2015–21) Segment 7: Celestial Angel [ edit ] Performer Song Status The Struts (/wiki/The_Struts) " Body Talks (/wiki/Body_Talks_(song)) " Live Performance Nationality Model(s) Wings Runway Shows Notes Brazilian (/wiki/Brazilians) Lais Ribeiro (/wiki/Lais_Ribeiro) ✓ 2010–11 • 2013–18 VS 5 Angel (2015–21) South African (/wiki/Demographics_of_South_Africa) Candice Swanepoel (/wiki/Candice_Swanepoel) ✓ 2007–15 • 2017–18 VS 4 Angel (2010–21) American (/wiki/Americans) Taylor Hill (/wiki/Taylor_Hill_(model)) 2014–18 VS 5 Angel (2015–21) Dutch (/wiki/Dutch_people) Romee Strijd (/wiki/Romee_Strijd) S VS 5 Angel (2015–21) S "Shooting Star" Swedish (/wiki/Swedes) Elsa Hosk (/wiki/Elsa_Hosk) ✓ 2011–18 VS 5 Angel (2015–21) Brazilian (/wiki/Brazilians) Barbara Fialho ✓ 2012–18 F Americans (/wiki/Americans) Jourdana Phillips (/wiki/Jourdana_Phillips) 2016–18 Kendall Jenner (/wiki/Kendall_Jenner) ✓ 2015–16 • 2018 C South Sudanese (/wiki/Demographics_of_South_Sudan) Grace Bol (/wiki/Grace_Bol) ✓ 2017–18 Portuguese (/wiki/Portuguese_people) Sara Sampaio (/wiki/Sara_Sampaio) ✓ 2013–18 VS 5 Angel (2015–21) French (/wiki/French_people) Cindy Bruna ✓ F Chinese (/wiki/Chinese_people) Sui He (/wiki/Sui_He) ✓ 2011–18 VS C Angel (2018–21) Brazilian (/wiki/Brazilians) Adriana Lima (/wiki/Adriana_Lima) S 1999–2003 • 2005–08 • 2010–18 VS 2 Angel (2000–18) Finale [ edit ] Performer Song Status The Struts (/wiki/The_Struts) " In Love with a Camera (/wiki/Young_%26_Dangerous_(album)) " Live Performance Taylor Hill (/wiki/Taylor_Hill_(model)) , Jasmine Tookes (/wiki/Jasmine_Tookes) , Elsa Hosk (/wiki/Elsa_Hosk) , Adriana Lima (/wiki/Adriana_Lima) , Behati Prinsloo (/wiki/Behati_Prinsloo) & Candice Swanepoel (/wiki/Candice_Swanepoel) closed the finale Name Runway shows Notes Name Runway shows Notes Taylor Hill (/wiki/Taylor_Hill_(model)) 2014–18 VS 5 Angels (2015–21) Adriana Lima (/wiki/Adriana_Lima) 1999–2003 • 2005–08 • 2010–18 VS 2 Angel (2000–18) Jasmine Tookes (/wiki/Jasmine_Tookes) 2012–18 Behati Prinsloo (/wiki/Behati_Prinsloo) 2007–15 • 2018 VS 3 Angel (2009–21) • C Elsa Hosk (/wiki/Elsa_Hosk) 2011–18 Candice Swanepoel (/wiki/Candice_Swanepoel) 2007–15 • 2017–18 VS 4 Angel (2010–21) Martha Hunt (/wiki/Martha_Hunt) 2013–18 Sara Sampaio (/wiki/Sara_Sampaio) 2013–18 VS 5 Angels (2015–21) Lais Ribeiro (/wiki/Lais_Ribeiro) 2010–11 • 2013–18 Stella Maxwell (/wiki/Stella_Maxwell) 2014–18 Josephine Skriver (/wiki/Josephine_Skriver) 2013–18 VS 5 Angels (2016–21) Romee Strijd (/wiki/Romee_Strijd) Ming Xi (/wiki/Ming_Xi) VS C Angel (2018–21) Gigi Hadid (/wiki/Gigi_Hadid) 2015–2016 • 2018 C Grace Elizabeth (/wiki/Grace_Elizabeth) 2016–2018 PINK Angel (2016–19) Kendall Jenner (/wiki/Kendall_Jenner) Cindy Bruna (/wiki/Cindy_Bruna) 2013–2018 F Alexina Graham (/wiki/Alexina_Graham) 2017–2018 Yasmin Wijnaldum (/wiki/Yasmin_Wijnaldum) 2018 D Sui He (/wiki/Sui_He) 2011–2018 VS C Angel (2018–21) Barbara Palvin (/wiki/Barbara_Palvin) 2012 • 2018 C Bella Hadid (/wiki/Bella_Hadid) 2016–2018 Winnie Harlow (/wiki/Winnie_Harlow) 2018 D Lameka Fox (/wiki/Lameka_Fox) Jourdana Phillips (/wiki/Jourdana_Phillips) 2016–2018 Devon Windsor (/wiki/Devon_Windsor) 2013–2018 F Megan Williams (/wiki/List_of_Victoria%27s_Secret_models) Liu Wen (/wiki/Liu_Wen_(model)) 2009–2012 • 2016–2018 Grace Bol (/wiki/Grace_Bol) 2017–2018 Gizele Oliveira (/wiki/Gizele_Oliveira) 2017–2018 Nadine Leopold (/wiki/Nadine_Leopold) 2017–2018 Barbara Fialho 2012–2018 F Shanina Shaik (/wiki/Shanina_Shaik) 2011–2012 • 2014–2015 • 2018 C Toni Garrn (/wiki/Toni_Garrn) 2011–2013 • 2018 C Herieth Paul (/wiki/Herieth_Paul) 2016–2018 Aiden Curtiss (/wiki/Aiden_Curtiss) 2017–2018 F Lorena Rae 2018 D Leomie Anderson (/wiki/Leomie_Anderson) 2015–2018 Duckie Thot (/wiki/Duckie_Thot) Alanna Arrington (/wiki/Alanna_Arrington) 2016–2018 Frida Aasen (/wiki/Frida_Aasen) 2017–2018 Kelly Gale (/wiki/Kelly_Gale) 2013–2014 • 2016–2018 Cheyenne Carty (/wiki/List_of_Victoria%27s_Secret_models) 2018 D Subah Koj (/wiki/Subah_Koj) 2018 D Sofie Rovenstine Georgia Fowler (/wiki/Georgia_Fowler) 2016–2018 Sadie Newman Mayowa Nicholas (/wiki/Mayowa_Nicholas) 2018 D Maggie Laine (/wiki/List_of_Victoria%27s_Secret_models) 2016–2018 Alannah Walton (/wiki/List_of_Victoria%27s_Secret_models) Zuri Tibby (/wiki/Zuri_Tibby) PINK Angel (2016–19) Estelle Chen (/wiki/Estelle_Chen) 2017–2018 Josie Canseco (/wiki/List_of_Victoria%27s_Secret_models) 2018 D Isilda Moreira 2018 D Kelsey Merritt (/wiki/Kelsey_Merritt) Iesha Hodges (/wiki/List_of_Victoria%27s_Secret_models) Maia Cotton (/wiki/List_of_Victoria%27s_Secret_models) Myrthe Bolt (/wiki/Myrthe_Bolt) Willow Hand (/wiki/List_of_Victoria%27s_Secret_models) Melie Tiacoh (/wiki/List_of_Victoria%27s_Secret_models) Index [ edit ] Symbol Meaning VS 2 2nd Generation Angels VS 3 3rd Generation Angels VS 4 4th Generation Angels VS 5 5th Generation Angels VS C Chinese Angels PINK PINK Angels D Debut Models C Comeback Models F Fitting Models FB Fantasy Bra S Swarovski $ Value Price References [ edit ] ^ (#cite_ref-1) "Victoria's Secret Fashion Show Performers Announced: Shawn Mendes, Halsey, The Chainsmokers & More" (https://www.billboard.com/articles/news/8482734/victorias-secret-fashion-show-2018-performers) . Billboard. 1 November 2018. ^ (#cite_ref-2) "Adriana Lima at Victoria's Secret Show 2018: Longest serving 'Angel' tearful as she hits catwalk for very last time" (https://www.standard.co.uk/fashion/victorias-secret-fashion-show-2018-veteran-supermodel-adriana-lima-tearful-as-she-hits-the-runway-a3985276.html) . Evening Standard. 8 November 2018. ^ (#cite_ref-3) Yang, Rachel (2018-11-01). "Shawn Mendes, Bebe Rexha, Chainsmokers to Perform at Victoria's Secret Fashion Show" (https://variety.com/2018/music/news/shawn-mendes-bebe-rexha-chainsmokers-victorias-secret-fashion-show-1203017647/) . Variety . 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Fashion and design museum in Los Angeles, California Fashion Institute of Design & Merchandising Museum Established 1978 [1] (#cite_note-FOOTNOTEfidmmuseum.org-1) Location Los Angeles, California (/wiki/Los_Angeles,_California) Website www (https://www.fidmmuseum.org) .fidmmuseum (https://www.fidmmuseum.org) .org (https://www.fidmmuseum.org) The FIDM Museum & Library, Inc. was founded in 1978 to serve the Fashion Institute of Design & Merchandising (/wiki/Fashion_Institute_of_Design_%26_Merchandising) (FIDM) and the community. Since January 1999, the museum's operations have been separate from the Library in order to offer more specialized care and attention to the specific needs of a costume collection, and museum-trained personnel have been added to the staff. Admission to the museum is free and is frequented by fashion design students or those who enjoy textile art. Contents [ edit ] The museum is located on the ground floor of the Los Angeles (/wiki/Los_Angeles,_California) campus of the Fashion Institute of Design and Merchandising, and houses a collection of over 12,000 costumes, accessories and textiles from the 18th century through the present day, including film and theater costume. The FIDM Museum also houses the early Hollywood Costume Collection on loan from the City of Los Angeles (/wiki/Los_Angeles) , Department of Parks and Recreation (/wiki/California_Department_of_Parks_and_Recreation) . It presents the annual Motion Picture Costume Design exhibition at the galleries. The Annette Green (/w/index.php?title=Annette_Green&action=edit&redlink=1) Perfume Museum is in permanent residence at the FIDM Museum & Galleries, located on the 2nd floor. As of April 2023, The FIDM museum is now known as the ASU FIDM Museum. This is due to the expansion of ASU (/wiki/Arizona_State_University) 's Fashion program into FIDM. References [ edit ] ^ (#cite_ref-FOOTNOTEfidmmuseum.org_1-0) fidmmuseum.org (#CITEREFfidmmuseum.org) . Sources fidmmuseum.org. "Mission Statement & History" (https://www.fidmmuseum.org/about/mission-statement-and-history/) . ASU FIDM Museum. "Museum" (https://asufidm.asu.edu/museum) . External links Fidm site map (https://web.archive.org/web/20071120044021/http://www.fidm.edu/resources/museum+galleries/index.html) . fidm.edu. v t e Textile museums North America American Textile History Museum (/wiki/American_Textile_History_Museum) Antique Gas and Steam Engine Museum (/wiki/Antique_Gas_and_Steam_Engine_Museum) Augusta Canal Discovery Center at Enterprise Mill (/wiki/Augusta_Canal) Belknap Mill Museum (/wiki/Belknap-Sulloway_Mill) Boott Mills (/wiki/Boott_Mills) Brigham City Museum-Gallery (/wiki/Brigham_City_Museum-Gallery) Cooper-Hewitt (/wiki/Cooper_Hewitt,_Smithsonian_Design_Museum) Costume Museum of Canada (/wiki/Costume_Museum_of_Canada) Cotton Museum (/wiki/The_Cotton_Museum) Embroidery Museum and Resource Center (/wiki/Embroidery_Museum_and_Resource_Center) The Fabric Workshop and Museum (/wiki/The_Fabric_Workshop_and_Museum) Fashion Institute of Design & Merchandising Museum Hat and Fragrance Textile Gallery (/wiki/Hat_and_Fragrance_Textile_Gallery) International Quilt Museum (/wiki/International_Quilt_Museum) Kansas City Garment District Museum (/wiki/Kansas_City_Garment_District_Museum) Lowell National Historical Park (/wiki/Lowell_National_Historical_Park) Marie Webster House (/wiki/Marie_Webster_House) Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) Mission Mill Museum (/wiki/Mission_Mill_Museum) The Museum at FIT (/wiki/The_Museum_at_FIT) Museum L-A (/wiki/Museum_L-A) Museum of Work and Culture (/wiki/Museum_of_Work_and_Culture) National Quilt Museum (/wiki/National_Quilt_Museum) Rocky Mountain Quilt Museum (/wiki/Rocky_Mountain_Quilt_Museum) Ruth Funk Center for Textile Arts (/wiki/Ruth_Funk_Center_for_Textile_Arts) San Jose Museum of Quilts & Textiles (/wiki/San_Jose_Museum_of_Quilts_%26_Textiles) Slater Mill Historic Site (/wiki/Slater_Mill_Historic_Site) Stillwater Mill (/wiki/Stillwater_Mill) Southeastern Quilt & Textile Museum (/wiki/Southeastern_Quilt_%26_Textile_Museum) Textile Museum (Washington, D.C.) (/wiki/Textile_Museum_(George_Washington_University)) Textile Museum of Canada (/wiki/Textile_Museum_of_Canada) Watkins Woolen Mill State Park and State Historic Site (/wiki/Watkins_Woolen_Mill_State_Park_and_State_Historic_Site) Western Reserve Historical Society (/wiki/Western_Reserve_Historical_Society) Wile Carding Mill (/wiki/Wile_Carding_Mill) Willamette Heritage Center (/wiki/Willamette_Heritage_Center) Windham Textile and History Museum (/wiki/Windham_Textile_and_History_Museum) Central America Ixchel Museum of Indigenous Textiles and Clothing (/wiki/Ixchel_Museum_of_Indigenous_Textiles_and_Clothing) Europe Bielsko-Biała Museum (/wiki/Bielsko-Bia%C5%82a_Museum) Blackburn Museum and Art Gallery (/wiki/Blackburn_Museum_and_Art_Gallery) Bocholt textile museum (/wiki/Bocholt_textile_museum) Central Museum of Textiles, Łódź (/wiki/Central_Museum_of_Textiles,_%C5%81%C3%B3d%C5%BA) Centre National du Costume de Scene (/wiki/National_Center_of_Stage_Costume) Costume Museum (Kastoria) (/wiki/Costume_Museum_(Kastoria)) Devonshire Collection of Period Costume (/wiki/Devonshire_Collection_of_Period_Costume) Ethnographic Museum (Belgrade) (/wiki/Ethnographic_Museum_(Belgrade)) Fashion and Textile Museum (/wiki/Fashion_and_Textile_Museum) Fashion Museum, Bath (/wiki/Fashion_Museum,_Bath) Galleria del Costume (/wiki/Galleria_del_Costume) Helmshore Mills Textile Museum (/wiki/Helmshore_Mills_Textile_Museum) Killerton (/wiki/Killerton) Kunstgewerbemuseum Berlin (/wiki/Kunstgewerbemuseum_Berlin) Museum of Ayrshire Country Life and Costume (/wiki/Dalgarven_Mill_%E2%80%93_Museum_of_Ayrshire_Country_Life_and_Costume) Musée des Tissus et des Arts décoratifs de Lyon (/wiki/Mus%C3%A9e_des_Tissus_et_des_Arts_d%C3%A9coratifs) Museum of Domestic Design and Architecture (/wiki/Museum_of_Domestic_Design_and_Architecture) Museum of Jewellery in the Silver Way (/wiki/Museum_of_Jewellery_in_the_Silver_Way) Museum of the History of the Greek Costume (/wiki/Museum_of_the_History_of_the_Greek_Costume) Museum of the Romanian Peasant (/wiki/Museum_of_the_Romanian_Peasant) Museo del Traje (/wiki/Museo_del_Traje) National Museum of Costume (/wiki/National_Museum_of_Costume) National Museum of Costume and Fashion (/wiki/National_Museum_of_Costume_and_Fashion) Nordwolle Factory Museum (/wiki/Nordwolle) Nottingham Industrial Museum (/wiki/Nottingham_Industrial_Museum) Prato textile museum (/wiki/Prato_textile_museum) Quarry Bank Mill (/wiki/Quarry_Bank_Mill) Queen Street Textile Museum (/wiki/Queen_Street_Mill) Textilfabrik Cromford (/wiki/Textilfabrik_Cromford) Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) Wigan Pier (/wiki/Wigan_Pier) Asia Azerbaijan Carpet Museum (/wiki/Azerbaijan_Carpet_Museum) Bhutan Textile Museum (/wiki/Bhutan_Textile_Museum) Bsous Silk Museum (/wiki/Bsous_Silk_Museum) Calico Museum of Textiles (/wiki/Calico_Museum_of_Textiles) Carpet Museum of Iran (/wiki/Carpet_Museum_of_Iran) Chojun Textile & Quilt Art Museum (/wiki/Chojun_Textile_%26_Quilt_Art_Museum) Kurdish Textile Museum (/wiki/Kurdish_Textile_Museum) Lok Virsa Museum (/wiki/Lok_Virsa_Museum) Islamabad (/wiki/Islamabad) , Pakistan (/wiki/Pakistan) National Handicrafts and Handlooms Museum (/wiki/National_Handicrafts_and_Handlooms_Museum) National Textile Museum (/wiki/National_Textile_Museum) Queen Sirikit Museum of Textiles (/wiki/Queen_Sirikit_Museum_of_Textiles) Sanskriti Textile Museum (/wiki/Sanskriti_Museums) Textile Museum (Jakarta) (/wiki/Textile_Museum_(Jakarta)) Yokohama Silk Museum (/wiki/Yokohama_Silk_Museum) Related topics Textile museum (/wiki/Textile_museum) Design museum (/wiki/Design_museum) WikiMiniAtlas 34°02′39″N 118°15′36″W / 34.04427°N 118.25996°W / 34.04427; -118.25996 NewPP limit report Parsed by mw‐api‐ext.codfw.main‐86bf7f8564‐bw6q4 Cached time: 20240722163555 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.298 seconds Real time usage: 0.406 seconds Preprocessor visited node count: 984/1000000 Post‐expand include size: 25765/2097152 bytes Template argument size: 1338/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 0/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 18474/5000000 bytes Lua time usage: 0.201/10.000 seconds Lua memory usage: 4948480/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 356.043 1 -total 27.82% 99.049 1 Template:Infobox_museum 24.56% 87.429 1 Template:Infobox 21.65% 77.066 1 Template:Textile_museums 21.59% 76.869 2 Template:Cite_web 21.12% 75.194 1 Template:Navbox 18.81% 66.975 1 Template:Short_description 11.34% 40.391 2 Template:Pagetype 7.27% 25.890 1 Template:Sfn 6.38% 22.710 7 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:14099476-0!canonical and timestamp 20240722163555 and revision id 1217314923. 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French men's fashion and lifestyle magazine L'Officiel Hommes Cover of L'Officiel Hommes, winter 2011, by André Saraiva (EIC) with the new logo Editor-in-Chief Baptiste Piégay (2012-present) Former editors André Saraiva (/wiki/Andr%C3%A9_Saraiva) (2011-2015) Milan Vukmirovic (/wiki/Milan_Vukmirovic) (2005-2011) Categories Fashion (/wiki/Fashion) Frequency Biannual First issue 2005 Company Éditions Jalou (/w/index.php?title=%C3%89ditions_Jalou&action=edit&redlink=1) [ fr (https://fr.wikipedia.org/wiki/%C3%89ditions_Jalou) ] (2005-2021) AMTD International (2022–present) [1] (#cite_note-AMTD-1) Country France Based in Paris (/wiki/Paris) Language French (/wiki/French_language) Website lofficiel (http://lofficiel.com/categories/hommes) .com (http://lofficiel.com/categories/hommes) /categories (http://lofficiel.com/categories/hommes) /hommes (http://lofficiel.com/categories/hommes) ISSN (/wiki/ISSN_(identifier)) 1777-9375 (https://www.worldcat.org/search?fq=x0:jrnl&q=n2:1777-9375) L'Officiel Hommes is a French luxury fashion (/wiki/Fashion) and lifestyle magazine for men, adapted from L'Officiel (/wiki/L%27Officiel) , owned by a Hong Kong company AMTD Idea (/wiki/AMTD_Digital) . It has been published in Paris (/wiki/Paris) since 2005 and targets men interested in fashion. History [ edit ] L'Officiel Hommes, spring 2011, under Milan Vukmirovic (Editor-in-Chief) with the original logo L'Officiel Hommes was originally launched in 1976 but in 1998 was rebranded to L'Optimum after a dispute over publishing rights. Then in 2005 L'Officiel Hommes returned to publication. [2] (#cite_note-lej-2) after the great success of L'Officiel , first published in 1921. Les Editions Jalou has many international versions of L'Officiel and L'Officiel Hommes . [2] (#cite_note-lej-2) L'Officiel Hommes is published in several countries, including Belgium (/wiki/Belgium) , Brazil (/wiki/Brazil) , China (/wiki/China) , Italy (/wiki/Italy) , Morocco (/wiki/Morocco) , Singapore (/wiki/Singapore) , Thailand (/wiki/Thailand) , Turkey (/wiki/Turkey) , South Korea (/wiki/South_Korea) , the United States (/wiki/United_States) . The magazine was also previously published in Germany (/wiki/Germany) , [3] (#cite_note-international-3) Lebanon (/wiki/Lebanon) , Poland (/wiki/Poland) , The Netherlands (/wiki/Netherlands) and Spain (/wiki/Spain) . In January 2005, Editions Jalou launched L'Officiel Hommes , the first magazine to be created by a stylist and not by a journalist. Marie-José Susskind-Jalou asked one of the founders of the Colette (/wiki/Colette_(boutique)) boutique in Paris, Milan Vukmirovic, to make a bi-annual magazine dedicated 100% to fashion that treats the trends of the season and presents a luxurious showcase for men's fashion. Milan Vukmirovic, who helped launch the mother of all concept stores, Colette, in 1997 and took the reins from Jil Sander when she left her label in the early 2000s also the creative director of Trussardi (/wiki/Nicola_Trussardi) , has added another dimension to fashion. [4] (#cite_note-L'Officiel_Hommes-4) [5] (#cite_note-Style.com-5) On 12 May 2011 in Paris, L’Officiel Hommes , the quarterly French men’s fashion magazine, named André (/wiki/Andr%C3%A9_(artist)) Saraiva, the graffiti artist and nightclub entrepreneur, as its new creative director. André (/wiki/Andr%C3%A9_(artist)) Saraiva succeeds [6] (#cite_note-GQ.com-6) Milan Vukmirovic, designer and photographer, who had led the title for the past five years. [7] (#cite_note-FWD-7) In 2015, L’Officiel Hommes introduced Pablo Arroyo, a photographer, as the new creative director for the magazine. The role of the Editor-in-Chief was given to Baptiste Piégay. In September 2015, Arroyo introduced a new logo, layout, tone, and website for the title. [8] (#cite_note-8) L'Optimum shut down in 2017 and all staff of L'Optimum were transferred to L'Officiel Hommes. [9] (#cite_note-9) Because of the Covid-19 Pandemic (/wiki/COVID-19_pandemic) in 2020 the magazine reduced its print publications from four issues a year to only two issues per year. [10] (#cite_note-10) Famous supermodels like Andres Velencoso Segura (/wiki/Andres_Velencoso_Segura) , Baptiste Giabiconi (/wiki/Baptiste_Giabiconi) and Jesus Luz (/wiki/Jesus_Luz) have graced the covers of the magazine. Controversy [ edit ] Editor Andre Saraiva tagged and defaced National Park property in 2015: [11] (#cite_note-11) "As the best-known artist who has tagged in a national park, Saraiva has become a favorite target ever since his signature "OX" mark, revered when it adorns man-made structures, popped up on a boulder the size of a large dog kennel at Joshua Tree. He cofounded his error by denying that the boulder was in the park. Answering critics, he posted on Instagram saying his work was "made with love at friends privet back yard and not your national park! [sic]." Readers then used Google satellite maps, latitude and longitude coordinates and their own field notes to pinpoint the boulder's exact location — inside the park. Facing a torrent of criticism, Saraiva had scrawled, his lawyer acknowledged, what he described as an "insignificant" artistic expression on the rock, using water-based paint that was erased a few days later. The attorney also demanded that Modern Hiker (/wiki/Modern_Hiker) take down its article, saying it made Saraiva the target of "oppressive and unjustified messages that seriously harm his professional and private life." Modern Hiker's lawyers replied that defacing a national park is prohibited under federal law and may be punishable by a fine and imprisonment. The article remained on the website. On 1 April, Saraiva paid a fine of $275 to the U.S. District Court in Los Angeles, officials said. He could not be reached for comment." Under the direction of André Saraiva, in winter 2012, Benicio del Toro (/wiki/Benicio_del_Toro) appears on the winter cover of L'Officiel Hommes , looking dapper in his trademark suit and smoldering stare while carrying the stark naked and unconscious woman. The André Saraiva-shot cover is unarguably a bit disturbing. As Styleite notes, "What exactly is supposed to have happened right before the shot was taken? Is she a damsel in distress that was just saved by del Toro (because that would have some pretty sexist undertones), or is it something more sinister?" [12] (#cite_note-Huffington_Post-12) [13] (#cite_note-Styleite-13) Again in summer 2013, Kanye West (/wiki/Kanye_West) and Kim Kardashian (/wiki/Kim_Kardashian) appears nude on the summer cover. L'Officiel Hommes commissioned Nick Knight (/wiki/Nick_Knight_(photographer)) from SHOWstudio (/wiki/SHOWstudio) to shoot a classic story of the duo for their launch during Paris Fashion Week (/wiki/Paris_Fashion_Week) . [14] (#cite_note-Highsnobiety-14) [15] (#cite_note-SHOWstudio-15) References [ edit ] ^ (#cite_ref-AMTD_1-0) "L'Officiel Sold to Hong Kong-Based AMTD International" (https://wwd.com/business-news/media/lofficiel-sold-to-hong-kong-based-amtd-international-1235043001/?sub_action=logged_in) . WWD (/wiki/Women%27s_Wear_Daily) . 2022-01-20. ^ a b "French titles and international editions" (https://web.archive.org/web/20150402184631/http://jaloumediagroup.com/wp-content/uploads/2012/06/2013_MK-international_LR7.pdf) (PDF) . Les Editions Jalou. Archived from the original (http://jaloumediagroup.com/wp-content/uploads/2012/06/2013_MK-international_LR7.pdf) (PDF) on 2 April 2015 . Retrieved 3 March 2015 . ^ (#cite_ref-international_3-0) > "Upscale men's fashion magazine "L'Officiel Hommes" comes to Germany" (https://mags360.wordpress.com/2010/03/09/upscale-mens-fashion-magazine-lofficiel-hommes-comes-to-germany/) . MAGS 360 . 9 March 2010 . Retrieved 7 June 2016 . ^ (#cite_ref-L'Officiel_Hommes_4-0) "L'Officiel Hommes" (https://web.archive.org/web/20150923233623/http://www.editionsjalou.com/en/brands-advertising/lofficiel-hommes/) . Editions Jalou. Archived from the original (http://www.editionsjalou.com/en/brands-advertising/lofficiel-hommes/) on 2015-09-23 . Retrieved 2013-10-22 . ^ (#cite_ref-Style.com_5-0) Nicole Phelps (6 August 2012). "As Much as He Can Chew" (http://www.style.com/trendsshopping/stylenotes/080712_Milan_Vukmirovic/) . Style.com . ^ (#cite_ref-GQ.com_6-0) "GQ 10 Essential" (https://www.gq.com/style/ten-essentials/201108/andre-saraiva#slide=1) . 10 August 2011. ^ (#cite_ref-FWD_7-0) Godfrey Deeny (12 May 2011). "L'Officiel Hommes Names Andre Saraiva Creative Director" (http://www.fashionwiredaily.com/first_word/news/article.weml?id=3572) . Fashion Wire Daily . ^ (#cite_ref-8) Guilbault, Laure (2015-06-27). "André Saraiva Exits L'Officiel Hommes" (https://wwd.com/business-news/media/lofficiel-hommes-andre-saraiva-10171060/) . WWD . Retrieved 2018-11-27 . ^ (#cite_ref-9) FR, FashionNetwork com. "Jalou Media Group : L'Optimum s'arrête pour renforcer L'Officiel Hommes" (https://fr.fashionnetwork.com/news/Jalou-media-group-l-optimum-s-arrete-pour-renforcer-l-officiel-hommes,829064.html) . FashionNetwork.com (in French) . Retrieved 2023-09-18 . ^ (#cite_ref-10) Hays, Kali (2020-05-12). "L'Officiel Reducing Print as Freelancers Demand Long Overdue Payments" (https://wwd.com/feature/lofficiel-cuts-print-freelancers-not-being-paid-before-coronoavirus-1203631684/) . WWD . Retrieved 2023-07-10 . ^ (#cite_ref-11) Graffiti artists' move to national parks shocks nature community (http://www.latimes.com/local/california/la-me-graffiti-20150427-story.html#page=1) Los Angeles Times. 25 April 2015. Retrieved 7 June 2016. ^ (#cite_ref-Huffington_Post_12-0) "Benicio Del Toro Holds Naked Woman on L'Officiel Hommes Cover (NSFW PHOTO)" (http://www.huffingtonpost.com/2012/12/10/benicio-del-toro-naked-woman-lofficiel-hommes-cover_n_2270213.html) . Huffington Post . 12 September 2012. ^ (#cite_ref-Styleite_13-0) Samantha Randazzo (9 December 2012). "Benicio Del Toro's Controversial Cover For L'Officiel Hommes (NSFW)" (http://www.styleite.com/media/benicio-del-toro-lofficiel-hommes/) . Styleite . ^ (#cite_ref-Highsnobiety_14-0) David Fischer (25 February 2013). "Kim Kardashian and Kanye West Pose Nude for L'Officiel Hommes" (http://www.highsnobiety.com/2013/02/25/kim-kardashian-and-kanye-west-pose-nude-for-lofficiel-hommes/) . Highsnobiety . ^ (#cite_ref-SHOWstudio_15-0) "EXCLUSIVE PORTRAITS OF KANYE AND KIM ON SHOWSTUDIO'S PINTEREST NICK KNIGHT FOR L'OFFICIEL HOMME" (http://showstudio.com/blog/post/exclusive_portraits_of_kanye_and_kim_on_showstudios_pinterest) . SHOWstudio . 2 March 2013. https://lofficielpolska.bigcartel.com/product/l-officiel-hommes-polska-nr-10-2020-2021 (https://lofficielpolska.bigcartel.com/product/l-officiel-hommes-polska-nr-10-2020-2021) Model Josh McGregor stars on the cover of L'Officiel Hommes Poland December issue External links [ edit ] Archive of the magazine (in French) (https://web.archive.org/web/20180108143816/http://patrimoine.editionsjalou.com/lofficiel-homme-2-sommairepatrimoine-23.html) Media related to L'Officiel Hommes (https://commons.wikimedia.org/wiki/Special:Search/L%27Officiel_Hommes) at Wikimedia Commons NewPP limit report Parsed by mw‐web.codfw.main‐ff98d5cb5‐vmddt Cached time: 20240722170405 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.295 seconds Real time usage: 0.381 seconds Preprocessor visited node count: 1378/1000000 Post‐expand include size: 33525/2097152 bytes Template argument size: 1863/2097152 bytes Highest expansion depth: 16/100 Expensive parser function count: 2/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 53954/5000000 bytes Lua time usage: 0.187/10.000 seconds Lua memory usage: 5749344/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 349.378 1 -total 45.59% 159.266 1 Template:Reflist 31.20% 109.020 6 Template:Cite_web 25.12% 87.768 1 Template:Infobox_magazine 24.17% 84.444 1 Template:Infobox 17.84% 62.332 1 Template:Short_description 10.23% 35.743 2 Template:Pagetype 8.63% 30.142 8 Template:Cite_news 6.86% 23.970 1 Template:Ubl 5.09% 17.800 1 Template:Commons-inline Saved in parser cache with key enwiki:pcache:idhash:21922564-0!canonical and timestamp 20240722170405 and revision id 1191647352. 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Austro-Hungarian writer, poet, translator, educator and fashion designer Sidonie Grünwald-Zerkowitz Born Sidonie Josepha Zerkowitz ( 1852-02-17 ) 17 February 1852 Tobitschau (/wiki/Tova%C4%8Dov) , Moravia (/wiki/Moravia) Died 12 June 1907 (1907-06-12) (aged 55) Karlsbad (/wiki/Karlovy_Vary) , Bohemia (/wiki/Bohemia) Resting place Vienna Central Cemetery (/wiki/Vienna_Central_Cemetery) (Jewish section) Pen name VDG Spouse Prince Theodore Kolokotronis ( m. 1874 ; div. 1876) Leopold Grünwald ( m. 1877 ; died 1890) Ferdinand Hromatka ( m. 1900) Sidonie Josepha Grünwald-Zerkowitz (17 February 1852 – 12 June 1907) was an Austro-Hungarian (/wiki/Austria-Hungary) writer, poet, translator, educator, and fashion designer (/wiki/Fashion_design) . Biography [ edit ] Sidonie Zerkowitz was born into a Jewish (/wiki/Jews) family in Tobitschau (/wiki/Tova%C4%8Dov) , Moravia (/wiki/Moravia) (now in the Czech Republic (/wiki/Czech_Republic) ), the daughter of Jeanette ( née (/wiki/Birth_name#Maiden_and_married_names) Knopfelmacher ) and Gerson Zerkowitz. [1] (#cite_note-nigg-1) An ancestor on her father's side was a banker to Emperor Rudolf II (/wiki/Rudolf_II,_Holy_Roman_Emperor) in Prague (/wiki/Prague) . [2] (#cite_note-blko-2) She received her early education from her father, a physician, [3] (#cite_note-obl-3) becoming well-versed in German (/wiki/German_language) , French (/wiki/French_language) , Italian (/wiki/Italian_language) , Hungarian (/wiki/Hungarian_language) , Czech (/wiki/Czech_language) , and English (/wiki/English_language) . [4] (#cite_note-kosel-4) With her parents she moved to Holleschau (/wiki/Hole%C5%A1ov) , where she studied at a normal school (/wiki/Normal_school) . [5] (#cite_note-brummer-5) She later briefly attended boarding school (/wiki/Boarding_school) in Vienna (/wiki/Vienna) . Zerkowitz thereupon came to Budapest, [6] (#cite_note-eisenberg-6) and before long passed the final state examination to teach Hungarian history (/wiki/History_of_Hungary) and language (/wiki/Hungarian_language) . [7] (#cite_note-pataky-7) Zerkowitz wrote lyrical poems (/wiki/Lyric_poetry) , essays and pedagogical (/wiki/Pedagogy) articles in Hungarian for the daily and belletristic (/wiki/Belles-lettres) papers in Budapest, becoming well known in literary circles. Her pedagogical articles, which attracted the attention of Minister of Education (/wiki/Education_minister) Ágoston Trefort (/wiki/%C3%81goston_Trefort) , advocated for reforms of the higher state institutions for girls in Hungary. [7] (#cite_note-pataky-7) In November 1874, after teaching at a municipal school for a few years, she received from Ludwig II of Bavaria (/wiki/Ludwig_II_of_Bavaria) a free scholarship at his theatrical school in Munich (/wiki/Munich) . Her studies were interrupted the following month by her marriage to Prince Theodore Kolokotronis of Greece, grandson of Theodoros Kolokotronis (/wiki/Theodoros_Kolokotronis) and great-grandson of Prince (/wiki/List_of_rulers_of_Wallachia) John Caradja (/wiki/John_Caradja) . [2] (#cite_note-blko-2) (She had previously turned down a marriage proposal (/wiki/Marriage_proposal) from the poet Kálmán Tóth (/wiki/K%C3%A1lm%C3%A1n_T%C3%B3th_(poet)) .) [8] (#cite_note-derstandard-8) Joining the Greek Byzantine Catholic Church (/wiki/Greek_Byzantine_Catholic_Church) , she accompanied her husband to Athens (/wiki/Athens) , where both she and her husband were disowned by the latter's family. The marriage was an unhappy one, [9] (#cite_note-deutschlands-9) and she soon fled Greece to her parents in Holleschau. [8] (#cite_note-derstandard-8) In order to earn a living, she gave up her plan to become an actress, left her newborn child in the care of her parents and took a job as a teacher in the village of Winau (/wiki/%C3%9Ananov) . In 1877, after securing a divorce, she re-converted to Judaism (/wiki/Conversion_to_Judaism) and married the wealthy Vienna merchant and widower Leopold Grünwald, with whom she bore five more children. [10] (#cite_note-reconversion-10) [11] (#cite_note-blumesberger-11) In Vienna, she became a fashion designer (/wiki/Fashion_designer) and edited the French and German fashion magazine (/wiki/Fashion_magazine) La Mode . She lectured extensively on women's fashion (/wiki/Fashion) in Vienna and Constantinople (/wiki/Constantinople) , [5] (#cite_note-brummer-5) and, after her husband's death in 1890, she took over the management of a Viennese language school (/wiki/Language_school) . [11] (#cite_note-blumesberger-11) Work [ edit ] When only thirteen years of age she published her first essays on literature, in German and Hungarian, in the newspapers of Budapest. [12] (#cite_note-JE-12) In 1887 she anonymously published Die Lieder der Mormonin ('Songs of a Mormoness'), a verse novel (/wiki/Verse_novel) printed in the format of a 4-metre-long Torah scroll (/wiki/Sefer_Torah) . [1] (#cite_note-nigg-1) The work follows the sexual awakening of the protagonist as she enters a Mormon (/wiki/Mormonism) plural marriage (/wiki/Mormonism_and_polygamy) . [13] (#cite_note-sophie-13) Though the book was banned (/wiki/Book_censorship) in Austria as pornographic (/wiki/Pornography) , by 1900, at least seven editions had appeared in print. [13] (#cite_note-sophie-13) Das Gretchen von Heute , a volume of erotic poetry, was subject to an obscenity (/wiki/Obscenity) trial soon after its release, and subsequently banned (/wiki/Book_censorship) across the Austrian Empire (/wiki/Austria-Hungary) . [14] (#cite_note-eveningstar-14) In other publications, she took a stand against anti-Semitism (/wiki/Anti-Semitism) , and promoted women's education (/wiki/Female_education) and independence. [15] (#cite_note-brahms-15) [12] (#cite_note-JE-12) Her Wie verheiratet man mitgiftlose Mädchen? (1905), for instance, argued for the creation of ' dowry (/wiki/Dowry) funds' akin to pension (/wiki/Pension_fund) and sick funds (/wiki/Universal_health_care#History) . [16] (#cite_note-lanzingeretal-16) Other works by Grünwald-Zerkowitz included Zwanzig Gedichte von Koloman Tóth (Vienna, 1874), translated from Hungarian; Die Mode in der Frauenkleidung (Vienna, 1889); Das Gretchen von Heute (Zurich, 1890); Achmed's Ehe (1900); Doppel-Ehen (1900); Poetischer Hirt (1901); and Schattenseiten des Frauenstudiums (1901). She contributed many articles to newspapers; among those contributed to the Berlin Bühne und Welt included "Toilettenkünstlerinnen auf der Bühne", and critical essays on Sarah Bernhardt (/wiki/Sarah_Bernhardt) , Wolter (/wiki/Charlotte_Wolter) , Dusé (/wiki/Eleonora_Duse) , Réjane (/wiki/Gabrielle_R%C3%A9jane) , and Jane Hading (/wiki/Jane_Hading) , among others. [12] (#cite_note-JE-12) Partial bibliography [ edit ] Zwanzig Gedichte von Koloman Tóth (Tóth Kálmán) [ Twenty Poems by Kálmán Tóth ] (in German). Vienna: Verlag von L. Rosner. 1874. Die Lieder der Mormonin [ Songs of a Mormoness ] (PDF) (in German). Leipzig: Verlag von Hermann Dürfelen. 1888. Die Mode in der Frauenkleidung [ Fashion in Women's Clothing ] (in German). Vienna: Verlag von Georg Szelinski. 1889. Achmeds Ehe. Aus dem Harem. Erzählungen [ Ahmed's Marriage / From the Harem ] (in German). Dresden: E. Pierson's Verlag. 1899. Doppelehen! [ Bigamy! ] (in German). Zürich: Verlag von Caesar Schmidt. 1900. Das Gretchen von heute [ The Gretchen of Today ] (PDF) (in German). Zürich: Verlag von Caesar Schmidt. 1900. Die Schattenseiten des Frauenstudiums: Vortrag [ The Downsides of Women's Studies ] (in German). Zurich: Schmidt. 1902. "Möcht' dir gefallen" (https://en.wikisource.org/wiki/de:M%C3%B6cht%27_dir_gefallen) . Die zehnte Muse (in German). Berlin: Otto Eisner: 87. 1904 – via Wikisource (/wiki/Wikisource) . Set to music (https://ccdl.claremont.edu/digital/collection/p15831coll6/id/7312) by Otto Wick. Wie verheiratet man mitgiftlose Mädchen? [ How to Marry Dowryless Girls ] (PDF) (in German). Vienna: K. k. Universitäts-Buchhandlung Georg Szelinski. 1905. Eheweh. Eine häßliche Geschichte von Alletag (in German). Vienna: Verlag von Georg Szelinski. 1906. References [ edit ] This article incorporates text from a publication now in the public domain (/wiki/Public_domain) : Singer, Isidore (/wiki/Isidore_Singer) ; Haneman, Frederick T. (/wiki/Frederick_T._Haneman) (1904). "Grünwald-Zerkowitz, Sidonie" (http://www.jewishencyclopedia.com/articles/6913-grunwald-zerkowitz-sidonie) . In Singer, Isidore (/wiki/Isidore_Singer) ; et al. (eds.). The Jewish Encyclopedia (/wiki/The_Jewish_Encyclopedia) . Vol. 6. New York: Funk & Wagnalls. p. 101. ^ a b Nigg, Marianne (1893). Biographien der österreichischen Dichterinnen und Schriftstellerinnen. Ein Beitrag zur deutschen Literatur in Österreich (in German). Verlag von Julius Kühkopf's Buchhandlung. p. 26. ^ a b Wurzbach, Constantin von (/wiki/Constantin_von_Wurzbach) , ed. (1890). "Zerkowitz, Sidonie" (https://en.wikisource.org/wiki/de:BLK%C3%96:Zerkowitz,_Sidonie) . Biographisches Lexikon des Kaiserthums Oesterreich (/wiki/Biographisches_Lexikon_des_Kaiserthums_Oesterreich) [ Biographical Encyclopedia of the Austrian Empire ] (in German). Vol. 59. p. 340 – via Wikisource (/wiki/Wikisource) . ^ (#cite_ref-obl_3-0) " Grünwald-Zerkovitz, Sidonie (http://www.biographien.ac.at/oebl_2/92.pdf) ". In: Österreichisches Biographisches Lexikon 1815–1950 (/wiki/%C3%96sterreichisches_Biographisches_Lexikon_1815%E2%80%931950) (ÖBL). Vol. 2, Austrian Academy of Sciences (/wiki/Austrian_Academy_of_Sciences) , Vienna 1959, p. 92 f. (Direct links to " p. 92 (http://www.biographien.ac.at/oebl_2/92.pdf) ", " p. 93 (http://www.biographien.ac.at/oebl_2/93.pdf) ") ^ (#cite_ref-kosel_4-0) Kosel, Hermann Clemens (1902). Deutsch-österreichisches Künstler- und Schriftsteller-Lexikon . Vol. 1. Vienna: Verlag der Gesellschaft für Graphische Industrie. ^ a b Brümmer, Franz (/wiki/Franz_Br%C3%BCmmer) (1913). "Grünwald-Zerkowitz, Sidonie" (https://archive.org/stream/lexikonderdeutsc02bruoft#page/477/mode/2up) . Lexikon der deutschen Dichter und Prosaisten vom Beginn des 19. Jahrhunderts bis zur Gegenwart (in German). Vol. 2. Leipzig: Philipp Reclam. pp. 477–478. ^ (#cite_ref-eisenberg_6-0) Eisenberg, Ludwig (/wiki/Ludwig_Eisenberg_(writer)) (1889–1893). Das geistige Wien: Künstler- und Schriftsteller-Lexikon . Vienna: Hrsg. von Ludwig Eisenberg und Richard Groner (/wiki/Richard_Groner) . ^ a b Pataky, Sophie (1898). "Grünwald-Zerkowitz, Frau Sidonie" (https://archive.org/details/bub_gb_zW1kAAAAMAAJ/page/n307/mode/2up/) . Lexikon deutscher Frauen der Feder. Eine Zusammenstellung der seit dem Jahre 1840 erschienenen Werke weiblicher Autoren, nebst Biographieen der lebenden und einem Verzeichnis der Pseudonyme (in German). Berlin: Verlagsbuchhandlung von Carl Pataky. pp. 290–292. ^ a b Paar, Tanja (8 June 2015). "Sidonie Grünwald-Zerkowitz: Ausnahmetalent und Individualistin" (https://www.derstandard.at/story/2000017092938/sidonie-gruenwald-zerkowitz-ausnahmetalent-und-individualistin) . Der Standard (/wiki/Der_Standard) (in German). Vienna . Retrieved 28 November 2020 . ^ (#cite_ref-deutschlands_9-0) "Grünwald-Zerkowitz, Sidonie" (https://archive.org/details/deutschlandsste00unkngoog/page/n193/mode/2up) . Deutschlands, Osterreich-Ungarns und der Schweiz Gelehrte, Künstler und Schriftsteller in Wort und Bild . Hannover: B. Volge. 1908. pp. 168–169. ^ (#cite_ref-reconversion_10-0) "Vienna Converts to Judaism" (https://www.jewishgen.org/databases/AustriaCzech/ConvertstoJudaism1868-1945.html) (Index). 1868–1945 . Retrieved 2 May 2021 – via JewishGen (/wiki/JewishGen) . ^ a b Blumesberger, Susanne; Walzel, Karin. "Grünwald Sidonie, geb. Zerkovitz, Zerkowitz, verh. Koloktroni (Kolokotronis), Grünwald-Zerkowitz" (https://www.univie.ac.at/biografiA/daten/text/bio/gruenwald_s.htm) . biografiA: Biografische Datenbank und Lexikon österreichischer Frauen . University of Vienna . Retrieved 28 November 2020 . ^ a b c Singer, Isidore (/wiki/Isidore_Singer) ; Haneman, Frederick T. (/wiki/Frederick_T._Haneman) (1904). "Grünwald-Zerkowitz, Sidonie" (http://www.jewishencyclopedia.com/articles/6913-grunwald-zerkowitz-sidonie) . In Singer, Isidore (/wiki/Isidore_Singer) ; et al. (eds.). The Jewish Encyclopedia (/wiki/The_Jewish_Encyclopedia) . Vol. 6. New York: Funk & Wagnalls. p. 101. ^ a b Reed, Sarah C. (2014). " (https://books.google.com/books?id=G_ezAwAAQBAJ&pg=PA92) 'Ich bin ein Pioneer': Sidonie Grünwald-Zerkowitz's (https://books.google.com/books?id=G_ezAwAAQBAJ&pg=PA92) Die Lieder der Mormonin (1887) and the Erotic Exploration of Exotic America" (https://books.google.com/books?id=G_ezAwAAQBAJ&pg=PA92) . In McFarland, Rob; James, Michelle Stott (eds.). Sophie Discovers Amerika: German-Speaking Women Write the New World . Rochester: Camden House. pp. 92–101. ISBN (/wiki/ISBN_(identifier)) 978-1-57113-586-5 . JSTOR (/wiki/JSTOR_(identifier)) 10.7722/j.ctt5vj78r (https://www.jstor.org/stable/10.7722/j.ctt5vj78r) . ^ (#cite_ref-eveningstar_14-0) "Verses Too Bad for Vienna: An Austrian Female Poet of Passion Squelched by the Law" (https://chroniclingamerica.loc.gov/lccn/sn83045462/1890-09-04/ed-1/seq-6/) . The Evening Star (/wiki/The_Washington_Star) . Washington, D.C. 4 September 1890. p. 6. ^ (#cite_ref-brahms_15-0) Avins, Styra (2009). "Brahms the Godfather" (https://books.google.com/books?id=pyHu9R_sSNsC&pg=PA55) . In Frisch, Walter; Karnes, Kevin C. (eds.). Brahms and His World (revised ed.). Princeton: Princeton University Press. p. 55. ISBN (/wiki/ISBN_(identifier)) 978-1-4008-3362-7 . ^ (#cite_ref-lanzingeretal_16-0) Lanzinger, Margareth; Barth-Scalmani, Gunda; Forster, Ellinor; Langer-Ostrawsky, Gertrude (2010). Aushandeln von Ehe: Heiratsverträge der Neuzeit im europäischen Vergleich (in German). Cologne: Böhlau Verlag. p. 478. ISBN (/wiki/ISBN_(identifier)) 978-3-412-20218-7 . OCLC (/wiki/OCLC_(identifier)) 900456584 (https://www.worldcat.org/oclc/900456584) . External links [ edit ] German Wikisource (/wiki/Wikisource) has original text related to this article: Sidonie Grünwald-Zerkowitz (https://en.wikisource.org/wiki/de:Sidonie_Gr%C3%BCnwald-Zerkowitz) " Sidonie Grünwald-Zerkowitz (https://fraueninbewegung.onb.ac.at/node/3007) " (2019). Frauen in Bewegung, 1848–1938 (https://fraueninbewegung.onb.ac.at/) . Vienna: Österreichische Nationalbibliothek (/wiki/Austrian_National_Library) . Authority control databases (/wiki/Help:Authority_control) International ISNI (https://isni.org/isni/0000000010261109) VIAF (https://viaf.org/viaf/54911963) WorldCat (https://id.oclc.org/worldcat/entity/E39PBJkdqwJgMkFfdTGwTGJdQq) National Germany (https://d-nb.info/gnd/116893281) United States (https://id.loc.gov/authorities/no2016128428) People Deutsche Biographie (https://www.deutsche-biographie.de/pnd116893281.html?language=en) NewPP limit report Parsed by mw‐web.codfw.main‐ff98d5cb5‐4jt5w Cached time: 20240722170408 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.700 seconds Real time usage: 0.865 seconds Preprocessor visited node count: 10039/1000000 Post‐expand include size: 91569/2097152 bytes Template argument size: 7607/2097152 bytes Highest expansion depth: 21/100 Expensive parser function count: 11/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 99698/5000000 bytes Lua time usage: 0.422/10.000 seconds Lua memory usage: 8914439/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 808.201 1 -total 27.52% 222.387 1 Template:Infobox_writer 26.93% 217.624 1 Template:Infobox 17.51% 141.500 15 Template:Cite_book 14.95% 120.826 1 Template:Reflist 14.35% 116.015 3 Template:Marriage 11.20% 90.535 1 Template:Authority_control 11.07% 89.485 25 Template:R 9.88% 79.890 25 Template:R/ref 9.30% 75.128 1 Template:Short_description Saved in parser cache with key enwiki:pcache:idhash:67557941-0!canonical and timestamp 20240722170408 and revision id 1199718076. 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Painting process used on human skin Body marbling on hand Body marbling is a painting process similar to paper marbling (/wiki/Paper_marbling) , in which paint is floated on water and transferred to a person's skin. Unlike the traditional oil-based technique for paper, neon or ultraviolet reactive colours are typically used, and the paint is water-based and non-toxic. [1] (#cite_note-1) The term "body marbling" was coined in 2011 by Brad Lawrence (/wiki/Brad_Lawrence) of Black Light Visuals. [2] (#cite_note-2) [a] (#cite_note-4) Body marbling has become popular at festivals. [4] (#cite_note-5) Painting process [ edit ] BLVisuals face painting. Taken October 2013 The skin is bathed in a salt water solution which allows the paint to adhere. The desired pattern is created by adding drops of paint to the water surface, and transferred to the skin by dipping. [5] (#cite_note-6) The water for painting is mixed with a thickening agent such as guar gum (/wiki/Guar_gum) . [6] (#cite_note-7) The skin is then dipped in a rinse bath and allowed to dry. [7] (#cite_note-8) The painting is temporary and can be removed by washing. [8] (#cite_note-9) See also [ edit ] Body painting (/wiki/Body_painting) Notes [ edit ] ^ (#cite_ref-4) The phrase "Body Marbling" is a trade mark registered by BLVISUALS on 15 August 2017. [3] (#cite_note-3) References [ edit ] ^ (#cite_ref-1) Valenti, Lauren (9 September 2016). "The New "Body Marbling" Trend Is Must-See Stuff, People" (http://www.marieclaire.com/beauty/news/a22529/body-marbling-trend/) . Marie Claire. ^ (#cite_ref-2) Black Light Visuals (http://www.blacklightvisuals.com/#what) ^ (#cite_ref-3) "BODY MARBLING" (https://trademarks.justia.com/871/73/body-87173876.html) . Justia Trademarks . Retrieved 15 September 2017 . ^ (#cite_ref-5) Scott, Ellen (9 September 2016). "Body Marbling Is the New Festival Trend You're Going to Be Obsessed with" (http://metro.co.uk/2016/09/09/body-marbling-is-the-new-festival-trend-youre-going-to-be-obsessed-with-6119406/) . Metro . ^ (#cite_ref-6) Pound, Kaylin. "Festival-Goers Are Turning Their Bodies Into Trendy Pieces Of Marble Art" (http://elitedaily.com/entertainment/festival-goers-turning-bodies-trendy-pieces-marble-art/1599289/) . Elite Daily . Kaylin Pound . Retrieved 7 September 2016 . ^ (#cite_ref-7) Pantrey, Michael. "Body Marbling" (http://www.superpants.net/marbling.html) . Superpants . M. Pantrey . Retrieved 7 September 2016 . ^ (#cite_ref-8) Bakutyte, Justina. "It Looks Like This Woman's Arm Is Covered In Tattoos, But It's Actually Something Else" (http://aplus.com/a/black-light-visuals-fluorescent-body-painting) . A Plus . A Plus . Retrieved 7 September 2016 . ^ (#cite_ref-9) Rini, Jen. "Bright colors, body paint, top Firefly fashion" (http://www.delawareonline.com/story/entertainment/firefly/2016/06/19/bright-colors-body-paint-top-firefly-fashion/86111474/) . Delaware Online . The News Journal . Retrieved 7 September 2016 . NewPP limit report Parsed by mw‐api‐int.eqiad.main‐745bd885db‐ggzkb Cached time: 20240702230811 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.206 seconds Real time usage: 0.264 seconds Preprocessor visited node count: 637/1000000 Post‐expand include size: 12531/2097152 bytes Template argument size: 796/2097152 bytes Highest expansion depth: 9/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 27438/5000000 bytes Lua time usage: 0.123/10.000 seconds Lua memory usage: 3949035/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 232.614 1 -total 64.44% 149.900 2 Template:Reflist 51.34% 119.426 6 Template:Cite_web 31.07% 72.266 1 Template:Short_description 18.53% 43.097 2 Template:Pagetype 7.72% 17.952 5 Template:Main_other 7.60% 17.676 1 Template:Notelist 6.57% 15.281 1 Template:SDcat 3.28% 7.626 1 Template:Cite_news 1.19% 2.758 1 Template:Efn Saved in parser cache with key enwiki:pcache:idhash:51543709-0!canonical and timestamp 20240702230811 and revision id 1218121811. Rendering was triggered because: api-parse esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Body_marbling&oldid=1218121811 (https://en.wikipedia.org/w/index.php?title=Body_marbling&oldid=1218121811) " Category (/wiki/Help:Category) : Body art (/wiki/Category:Body_art) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) |
This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Plastic_clothing) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Plastic clothing" (https://www.google.com/search?as_eq=wikipedia&q=%22Plastic+clothing%22) – news (https://www.google.com/search?tbm=nws&q=%22Plastic+clothing%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Plastic+clothing%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Plastic+clothing%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Plastic+clothing%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Plastic+clothing%22&acc=on&wc=on) ( September 2020 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) PVC (/wiki/Polyvinyl_chloride) pants are an example of plastic clothing Plastic clothing is clothing made from flexible sheets of plastics (/wiki/Plastic) such as PVC (/wiki/PVC) , as distinct from clothing made from plastic-based synthetic fiber (/wiki/Synthetic_fiber) textiles such as polyester (/wiki/Polyester) . Plastic clothing has existed almost since the creation of flexible plastic, particularly rain-protection garments made from waterproof fabrics (/wiki/Waterproof_fabric) . Fashions during the 1960s (/wiki/1960s_in_fashion) included plastic clothing such as PVC miniskirts (/wiki/Miniskirt) and PVC raincoats (/wiki/Raincoat) . [1] (#cite_note-1) PVC raincoats were often brightly coloured, initially as a road safety feature for children, but later as a fashion item. [2] (#cite_note-2) They were far lighter and cheaper than rubberized mackintoshes (/wiki/Mackintosh) or woven gabardine (/wiki/Gabardine) raincoats, and could also be made transparent or translucent. There was great enthusiasm at the time for the use of plastic and paper garments as futuristic clothing (/wiki/Futuristic_clothing) . Modern clothing commonly uses flexible plastic materials, in the form of both flexible plastic sheeting (/w/index.php?title=Plastic_sheeting&action=edit&redlink=1) and plasticized fabric (/w/index.php?title=Plasticized_fabric&action=edit&redlink=1) . Rigid plastic components are also used to replace components which would have formerly been made of metal (/wiki/Metal) , bone (/wiki/Bone) , rubber (/wiki/Rubber) , or other materials, for example in the form of buttons (/wiki/Button) , collar stiffeners (/wiki/Collar_stiffener) and zip fasteners (/wiki/Zip_fastener) . Plastic components are used extensively in footwear (/wiki/Footwear) . Plastic materials are also commonly used in protective clothing (/wiki/Protective_clothing) . Plastic clothing is not very suitable for exercise in warm conditions. It produces high relative humidity (/wiki/Relative_humidity) close to the skin which retards vaporisation of moisture from the skin's surface, reducing or in some cases preventing evaporative cooling. [3] (#cite_note-3) As with other plastic items, plastic clothing is generally not biodegradable (/wiki/Biodegradable) and its disposal can lead to plastic pollution (/wiki/Plastic_pollution) . [4] (#cite_note-4) Many items of plastic clothing are produced for single use eg polythene rain coats, laboratory coats and some PPE items. Plastic clothing has also become the subject of fetishistic interest, in a similar way to rubber clothing (/wiki/Rubber_clothing) ; see PVC clothing (/wiki/PVC_clothing) and PVC and rubber fetishism (/wiki/PVC_and_rubber_fetishism) . There have also been fashion trends involving the wearing of plastic shopping and rubbish bags as clothing, [5] (#cite_note-5) clothing made from plastic bags is also an element of trashion (/wiki/Trashion) . See also [ edit ] Plastic pants (/wiki/Plastic_pants) References [ edit ] ^ (#cite_ref-1) Bleikorn, Samantha (2002). The Mini Mod Sixties Book . Last Gasp. ISBN (/wiki/ISBN_(identifier)) 9780867196429 . ^ (#cite_ref-2) "Country Life" (https://books.google.com/books?id=fWpBAQAAIAAJ) . Country Life . Vol. 144. 25 July 1968. p. 253. ^ (#cite_ref-3) McArdle, William D.; Katch, Frank I.; Katch, Victor L. (2010). Exercise Physiology: Nutrition, Energy, and Human Performance . Lippincott Williams & Wilkins. p. 622. ISBN (/wiki/ISBN_(identifier)) 9780781797818 . ^ (#cite_ref-4) Green, Harvey (2007). Wood: Craft, Culture, History . Penguin. ISBN (/wiki/ISBN_(identifier)) 9781101201855 . ^ (#cite_ref-5) "Seflies show off 'new trend' of young people wearing nothing but clothes made of plastic bags" (https://www.irishmirror.ie/news/weird-news/selfies-show-new-trend-young-6351541) . 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British fashion designer Christopher Nemeth Christopher Nemeth in 1985, photographed by Mark Lebon. Born ( 1959-04-20 ) 20 April 1959 Birmingham (/wiki/Birmingham) , England Died 22 September 2010 (2010-09-22) (aged 51) Nationality British (/wiki/England) Christopher Nemeth was a British fashion designer who became established in London in the 1980s, before relocating to Tokyo in 1986. He was particularly renowned for his wearable art (/wiki/Wearable_art) designs. Early life [ edit ] Born Christopher Louis Nemeth in Birmingham, Nemeth studied painting at the Camberwell College of Arts (/wiki/Camberwell_College_of_Arts) , London, between 1979 and 1982, when he graduated. [1] (#cite_note-prim-1) Among his paintings were works using glue, sand and printing on deconstructed old clothing used as a canvas. [1] (#cite_note-prim-1) He subsequently decided to start making clothing for himself, as he could not find garments to suit his tastes. [1] (#cite_note-prim-1) Fashion [ edit ] At first, Nemeth hand-sewed his designs from discarded materials, including his own paintings. [1] (#cite_note-prim-1) He was particularly known for his use of linen mail bags (/wiki/Mail_bag) found discarded on the streets of London, but also used rope and charity shop (/wiki/Charity_shop) clothing to assemble his pieces. [1] (#cite_note-prim-1) He then began selling his work through the Kensington Market, London (/wiki/Kensington_Market,_London) . [1] (#cite_note-prim-1) His clothing was mainly androgynous menswear, although he produced some designs specifically for women. [2] (#cite_note-kate-2) In 1985, Nemeth met the photographer Mark Lebon, who showcased his designs in a shoot for i-D (/wiki/I-D) magazine. [1] (#cite_note-prim-1) This led to Nemeth's designs being retailed in the Mayfair (/wiki/Mayfair) boutique Bazaar. [1] (#cite_note-prim-1) At the same time, Lebon introduced Nemeth to the jewellery and accessories designer and stylist Judy Blame (/wiki/Judy_Blame) , who had co-founded The House of Beauty and Culture with the shoe designer John Moore. [1] (#cite_note-prim-1) Soon afterwards, Nemeth met his future wife, Keiko, the first person to sell his work in Japan, at a John Galliano (/wiki/John_Galliano) fashion show. [2] (#cite_note-kate-2) In June 1986 he decided to relocate to Tokyo to be with Keiko, where he sold his clothing through the Sector boutique in Harajuku (/wiki/Harajuku) . [1] (#cite_note-prim-1) [2] (#cite_note-kate-2) Sector also retailed Blame's work and the early work of Galliano. [1] (#cite_note-prim-1) In 1993, Nemeth took over Sector, renaming it after himself, and opened branches in Osaka (/wiki/Osaka) , Fukuoka (/wiki/Fukuoka) and Nagoya (/wiki/Nagoya) . [1] (#cite_note-prim-1) He continued to use recycled fabrics, combining discarded offcuts and remnants from tailoring shops into patchwork yardage to use for his designs. [1] (#cite_note-prim-1) Although Nemeth achieved popularity and a cult following in Japan, as a result of his move, his reputation back in Britain has remained low-profile. [2] (#cite_note-kate-2) His name is better known among fashion insiders than among the general public, with his higher-profile admirers including designers Martin Margiela (/wiki/Martin_Margiela) and Rei Kawakubo (/wiki/Rei_Kawakubo) . [1] (#cite_note-prim-1) Kawakubo, who is said to have been inspired by Nemeth's deconstructive approach, [2] (#cite_note-kate-2) sold his work through her Dover Street Market (/wiki/Dover_Street_Market) in London. [1] (#cite_note-prim-1) In 2015, Kim Jones (/wiki/Kim_Jones_(designer)) presented a menswear collection for Louis Vuitton (/wiki/Louis_Vuitton) inspired by Nemeth, and celebrating his life and work. [3] (#cite_note-wwd-3) The collection incorporated Nemeth's own prints, and jewellery designed by Blame. [4] (#cite_note-4) Jones, who is a renowned collector of 1980s London clubwear design, [5] (#cite_note-5) described Nemeth as "the most important designer to come out of London alongside Vivienne Westwood (/wiki/Vivienne_Westwood) . He is Savile Row (/wiki/Savile_Row) , he is the street, he is the club." [3] (#cite_note-wwd-3) Death [ edit ] Nemeth died on 22 September 2010 from lung cancer. [6] (#cite_note-6) Nemeth's daughters, Lui and Riyo Nemeth, have launched a venue for young designers and artists in London called Primitive, designed to carry on their father's legacy. [2] (#cite_note-kate-2) References [ edit ] ^ Jump up to: a b c d e f g h i j k l m n o Hare, Mairi (23 January 2013). "Christopher Nemeth" (https://web.archive.org/web/20160127204043/http://www.primitivelondon.co.uk/christopher-nemeth/) . Primitive London . Archived from the original (http://www.primitivelondon.co.uk/christopher-nemeth/) on 27 January 2016 . Retrieved 19 January 2016 . ^ Jump up to: a b c d e f McAuley, Kate (31 December 2010). "Christopher Nemeth – Remembering the Artist, Designer, and Iconic Tokyo Tailor" (http://tokyofashion.com/christopher-nemeth-artist-designer-tokyo-tailor/) . Tokyo Fashion News . Retrieved 19 January 2016 . ^ Jump up to: a b Marfil, Lorelei (11 June 2015). "Louis Vuitton Celebrates Christopher Nemeth Collection" (http://wwd.com/eye/parties/louis-vuitton-christopher-nemeth-kim-jones-naomi-campbell-lindsay-lohan-judy-blame-10148309/) . Women's Wear Daily . Retrieved 19 January 2016 . ^ (#cite_ref-4) "News by Louis Vuitton: An Homage to Christopher Nemeth" (http://uk.louisvuitton.com/eng-gb/articles/an-homage-to-c-nemeth) . Louis Vuitton. June 2011 . Retrieved 19 January 2016 . ^ (#cite_ref-5) Stoppard, Lou (24 July 2015). "The Obsessive Archives of Kim Jones" (http://www.anothermag.com/fashion-beauty/7626/the-obsessive-archives-of-kim-jones) . AnOther . Retrieved 19 January 2016 . ^ (#cite_ref-6) Staff writer (27 September 2010). "Designer Christopher Nemeth Has Passed Away" (http://tokyofashion.com/designer-christopher-nemeth-has-passed-away/) . Tokyo Fashion News . Retrieved 19 January 2016 . 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The main article for this category (/wiki/Help:Categories) is Perry Ellis International (/wiki/Perry_Ellis_International) . NewPP limit report Parsed by mw‐web.eqiad.main‐7499cfcd57‐nwgpv Cached time: 20240626232722 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.031 seconds Real time usage: 0.059 seconds Preprocessor visited node count: 10/1000000 Post‐expand include size: 404/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 3/100 Expensive parser function count: 0/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 326/5000000 bytes Lua time usage: 0.016/10.000 seconds Lua memory usage: 627170/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 52.992 1 Template:Cat_main 100.00% 52.992 1 -total Saved in parser cache with key enwiki:pcache:idhash:12277142-0!canonical and timestamp 20240626232722 and revision id 418199108. Rendering was triggered because: page-view Pages in category "Perry Ellis International brands" The following 4 pages are in this category, out of 4 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . Perry Ellis International (/wiki/Perry_Ellis_International) J Jantzen (/wiki/Jantzen) O Original Penguin (/wiki/Original_Penguin) R Rafaella (/wiki/Rafaella) Media in category "Perry Ellis International brands" The following 2 files are in this category, out of 2 total. J File:Jantzen logo.png (/wiki/File:Jantzen_logo.png) O File:Original penguin.jpg (/wiki/File:Original_penguin.jpg) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Perry_Ellis_International_brands&oldid=418199108 (https://en.wikipedia.org/w/index.php?title=Category:Perry_Ellis_International_brands&oldid=418199108) " Categories (/wiki/Help:Category) : Clothing brands (/wiki/Category:Clothing_brands) Brands by company (/wiki/Category:Brands_by_company) |
American fashion personality Betty S. Halbreich ( IPA: [ˈhælbraɪç] (/wiki/Help:IPA) ; [1] (#cite_note-1) born November 17, 1927, née Stoll ) is an American personal shopper, stylist, and author known for her career at the New York luxury department store Bergdorf Goodman (/wiki/Bergdorf_Goodman) , where she serves as Director of Solutions. Her 2015 memoir, titled I'll Drink to That: A Life in Style, with a Twist , was featured on The New York Times Best Seller list (/wiki/The_New_York_Times_Best_Seller_list) . Biography [ edit ] Halbreich grew up in an affluent Jewish neighborhood in the South Side (/wiki/South_Side,_Chicago) of Chicago (/wiki/Chicago) . [2] (#cite_note-chicago-2) [3] (#cite_note-3) Her stepfather, Harry Stoll, was a businessman who ran department stores and her mother, Carol, owned a bookstore. [4] (#cite_note-auto-4) [5] (#cite_note-newyorker-5) Her family were secular German Jews (/wiki/German_Jews) who also celebrated Christmas (/wiki/Christmas) . Her parents employed many servants at their Chicago home, including European cooks and a nursemaid. [6] (#cite_note-wnyc-6) Originally she wanted to be a painter or cartoonist, and she enrolled at the Art Institute of Chicago (/wiki/Art_Institute_of_Chicago) . [5] (#cite_note-newyorker-5) While vacationing with her mother in Miami Beach (/wiki/Miami_Beach) , she met New York businessman Sonny Halbreich, the son of a wealthy hotel developer who owned Uwana Wash Frocks, a housecoat and bathrobe manufacturing company. In 1947 they married and she moved to Manhattan. [5] (#cite_note-newyorker-5) Halbreich lived the life of a Manhattan socialite. [7] (#cite_note-gloss-7) She and her husband have two children, Kathy Halbreich (/wiki/Kathy_Halbreich) and John Halbreich. [5] (#cite_note-newyorker-5) After her marriage deteriorated two decades later due to her husband's drinking and infidelity, [8] (#cite_note-8) Halbreich suffered a nervous breakdown. She made a suicide attempt and was admitted to a mental institution. [9] (#cite_note-9) [10] (#cite_note-10) She and her husband never divorced, but remained separated until his death. [6] (#cite_note-wnyc-6) Upon recovery, she began seeking employment, and worked in a series of designer showrooms on Seventh Avenue (/wiki/Seventh_Avenue_(Manhattan)) and later for Chester Weinberger (/w/index.php?title=Chester_Weinberger&action=edit&redlink=1) and Geoffrey Beene (/wiki/Geoffrey_Beene) before being hired at Bergdorf Goodman (/wiki/Bergdorf_Goodman) in 1976 as a sale associate. [7] (#cite_note-gloss-7) [4] (#cite_note-auto-4) On her suggestion, the store created a personal shopping office for Halbreich. Her first client was the socialite Babe Paley (/wiki/Babe_Paley) . In her capacity as the director of solutions at Bergdorf's, Halbreich has served celebrity clients including Hollywood personalities, socialites, and politicians including Al Gore (/wiki/Al_Gore) , Liza Minnelli (/wiki/Liza_Minnelli) , and Meryl Streep (/wiki/Meryl_Streep) . She assisted in the styling for the cast of Sex and the City (/wiki/Sex_and_the_City) and Gossip Girl (/wiki/Gossip_Girl_(TV_series)) , styled casts for Broadway (/wiki/Broadway_theatre) shows, has worked as a style consultant for Woody Allen (/wiki/Woody_Allen) films, collaborated with costume designers Santo Loquasto (/wiki/Santo_Loquasto) and Jeffrey Kurland (/wiki/Jeffrey_Kurland) , and worked with William Ivey Long (/wiki/William_Ivey_Long) , Ann Roth (/wiki/Ann_Roth) , and Jane Greenwood (/wiki/Jane_Greenwood) . [5] (#cite_note-newyorker-5) In 1997 she wrote the memoir Secrets of a Fashion Therapist . [5] (#cite_note-newyorker-5) In 2015 she published her second memoir, entitled I'll Drink to That: A Life in Style, with a Twist . In 2013 she was featured in the documentary Scatter My Ashes at Bergdorf's (/wiki/Scatter_My_Ashes_at_Bergdorf%27s) . She lives in an apartment on Park Avenue (/wiki/Park_Avenue) . [11] (#cite_note-11) References [ edit ] ^ (#cite_ref-1) "STILL ASKING BETTY HALBREICH" (https://www.newyorker.com/video/watch/still-asking-betty-halbreich) . Retrieved 4 June 2020 . ^ (#cite_ref-chicago_2-0) Donahue, Wendy. "Betty Halbreich: A life in style, with a few twists" (https://www.chicagotribune.com/lifestyles/sc-fash-1006-betty-halbreich-20141008-story.html) . chicagotribune.com . ^ (#cite_ref-3) "Betty Halbreich" (https://web.archive.org/web/20200417175707/https://www.harpercollins.com/author/) . HarperCollins Publishers: World-Leading Book Publisher . Archived from the original (https://www.harpercollins.com/author/) on 2020-04-17 . Retrieved 2019-09-25 . ^ a b Shokrae, Annie Tomlin,Sunny. "Betty Halbreich – Bergdorf Goodman Personal Shopping" (https://www.refinery29.com/en-us/betty-halbreich) . www.refinery29.com . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ a b c d e f Thurman, Judith (November 12, 2012). "Ask Betty" (https://www.newyorker.com/magazine/2012/11/12/ask-betty) – via www.newyorker.com. ^ a b "People – Betty Halbreich | WNYC | New York Public Radio, Podcasts, Live Streaming Radio, News" (https://www.wnyc.org/people/betty-halbreich/) . WNYC . ^ a b "Bergdorf's Legend Betty Halbreich On Beauty And Aging" (https://intothegloss.com/2016/07/betty-halbreich-style) . Into The Gloss . July 18, 2016. ^ (#cite_ref-8) "Review: I'll Drink To That" (https://www.thejc.com/culture/books/review-i-ll-drink-to-that-1.61673) . www.thejc.com . Retrieved 2019-09-25 . ^ (#cite_ref-9) "Book review of I'll Drink to That by Betty Halbreich" (https://40plusstyle.com/a-life-in-fashion-with-betty-halbreich-a-book-review-of-ill-drink-to-that/) . 40+ Style . October 17, 2014. ^ (#cite_ref-10) "Betty Halbreich" (http://www.jeannebeker.com/all/interviews/betty-halbreich/) . February 10, 2015. ^ (#cite_ref-11) "Bergdorf Goodman's Betty Halbreich Wanted to Have Her Book Signing in the Produce Department of Costco" (https://www.vanityfair.com/culture/2014/09/betty-halbreich-bergdorf-goodman-I-ll-drink-to-that-interview) . Vanity Fair . 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(Redirected from Draft:DK Company (/w/index.php?title=Draft:DK_Company&redirect=no) ) Danish clothing company DK Company Company type Private (/wiki/Privately_held_company) Industry Fashion (/wiki/Fashion) Founded Ikast (/wiki/Ikast) , Denmark (/wiki/Denmark) , 2001 ( 2001 ) Headquarters Ikast , Denmark Number of locations 450 retail stores in 35 countries Products Clothing (/wiki/Clothing) Revenue 4.6 billion DKK [1] (#cite_note-1) Number of employees 2,400 Website http://www.dkcompany.dk (http://www.dkcompany.dk) DK Company is a clothing company based in Ikast (/wiki/Ikast) , Denmark, with two additional divisions in Vejle (/wiki/Vejle) and Copenhagen (/wiki/Copenhagen) . Founded in 2001, DK Company has, with 2,400 employees and 450 retail stores, grown to become one of Europe's leading suppliers of fashion. [2] (#cite_note-2) History [ edit ] DK Company was established in 2001 by Jens Poulsen. It maintains its own brand, Jasmin, and private label production for external fashion labels. [3] (#cite_note-3) In 2012, DK Company acquired three divisions from BTX Group: the Young division (Blend, FQ1924, ICHI, Gestuz, and Blend She), the Modern division (Fransa, b.young, Dranella, and Veto), and the Modern division (Modern). In 2014, DK Company acquired four brands from IC Group (/wiki/IC_Group) : InWear, Matinique, Part Two, and Soaked in Luxury. [4] (#cite_note-4) [5] (#cite_note-5) In 2019, DK Company acquired the brands Saint Tropez (/wiki/Saint_Tropez_(brand)) , Solid and Tailored & Originals. Saint Tropez was integrated into the Copenhagen office, while Solid and Tailored & Originals were integrated into Vejle. [6] (#cite_note-6) Brands [ edit ] DK Company covers 26 brands [7] (#cite_note-7) [8] (#cite_note-8) Atelier Rêve Blend BON'A PARTE b.young Casual Friday Cream Culture Fransa, and Fransa Plus Size FQ 1924 Gestuz ICHI InWear KAFFE, and KAFFE curve Karen by Simonsen Lounge Nine Matinique My Essential Wardrobe Part Two Pulz Jeans Saint Tropez (/wiki/Saint_Tropez_(brand)) Soaked in Luxury Solid Sorbet Tailored Originals The Jogg Concept References [ edit ] ^ (#cite_ref-1) "DK Companys vd: "2023 blir ett konsolideringsår" (https://www.habit.se/article/view/895339/dk_companys_vd_2023_blir_ett_konsolideringsar) " (https://www.habit.se/article/view/895339/dk_companys_vd_2023_blir_ett_konsolideringsar) . February 2023 . Retrieved 2023-02-28 . ^ (#cite_ref-2) "About-us" (https://www.dkcompany.com/en-en/about-us) . www.dkcompany.com . Retrieved 2023-06-13 . ^ (#cite_ref-3) "Our story" (https://www.dkcompany.com/en-en/about-us/our-story) . www.dkcompany.com . Retrieved 2023-06-13 . ^ (#cite_ref-4) "IC Companys sælger fire kendte tøjmærker" (http://politiken.dk/oekonomi/virksomheder/ECE2246669/ic-companys-saelger-fire-kendte-toejmaerker/) . Politiken. 27 March 2014 . Retrieved 3 February 2015 . ^ (#cite_ref-5) "Ukendt jysk købmand bag nyt kæmpe modehus" (https://www.berlingske.dk/virksomheder/ukendt-jysk-koebmand-bag-nyt-kaempe-modehus) . Berlingske. 13 September 2014 . Retrieved 28 February 2023 . ^ (#cite_ref-6) "Our story" (https://www.dkcompany.com/en-en/about-us/our-story) . www.dkcompany.com . Retrieved 2023-06-13 . ^ (#cite_ref-7) "Brands on official webpage" (https://www.dkcompany.com/en-en/brands) . Retrieved 2023-02-01 . [ non-primary source needed ] ^ (#cite_ref-8) "Koncernchef i DK Company: Jeg vil helst ikke tage del i sortsynet" (https://finans.dk/erhverv/ECE14922803/koncernchef-i-dk-company-jeg-vil-helst-ikke-tage-del-i-sortsynet/) . 31 January 2023 . Retrieved 2023-02-28 . 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Global Online Marketplace Wolf & Badger Company type Private Industry Retail Genre Concept Store (/wiki/Concept_Store) Founded February 2010 ; 14 years ago ( 2010-02 ) Founders Henry Graham George Graham Headquarters London (/wiki/London) , England Products Fashion, Jewellery, Accessories Revenue 29,405,274 Euro (2021) Number of employees 126 (2021) Website http://www.wolfandbadger.com/ (http://www.wolfandbadger.com/) Wolf & Badger, West Hollywood Wolf & Badger is a global online marketplace (/wiki/Online_marketplace) for independent fashion, beauty and homeware brands, with storefronts in London (/wiki/London) , New York City (/wiki/New_York_City) and Los Angeles (/wiki/Los_Angeles) . [1] (#cite_note-1) History [ edit ] Wolf & Badger launched in February 2010 [2] (#cite_note-2) and was named one of Britain's Best Boutiques in the April 2010 edition of British Vogue (/wiki/British_Vogue) . It was picked by Time Out as the sixth Best Shop in London. [3] (#cite_note-3) The business was selected as one of the Walpole Brands of Tomorrow 2010 [4] (#cite_note-4) and its Co-Founder - George Graham - was named the Confederation of British Industry (/wiki/Confederation_of_British_Industry) Young Entrepreneur of the Year in 2011 for his work in setting up the concept. [5] (#cite_note-5) Wolf & Badger continued to grow and in August 2010 opened a pop up store (/wiki/Pop_up_store) in Selfridges (/wiki/Selfridges) department store (/wiki/Department_store) on Oxford Street (/wiki/Oxford_Street) . [6] (#cite_note-6) In 2011, it opened a summer store in Porto Montenegro. In 2012 the brand expanded further with the launch of a store on Dover Street (/wiki/Dover_Street) in Mayfair (/wiki/Mayfair) . [7] (#cite_note-7) In 2014, Wolf & Badger extended its flagship store to include new juice bar Raw Press. [8] (#cite_note-8) In 2014 the new Wolf & Badger website was named Rakuten (/wiki/Rakuten) Retail Website of the Year in the Good Web Guide Website of the Year Awards [9] (#cite_note-9) and in 2015 the business acquired Boticca (/wiki/Boticca) to widen its reach and create a global omni-channel retail store for independent brands. [10] (#cite_note-10) Later that year, Wolf & Badger was named by Drapers (/wiki/Drapers_(magazine)) as Best Multi-Channel Retailer Under £25m. [11] (#cite_note-11) Since 2017 there has been a Wolf & Badger store in the SoHo district of New York [12] (#cite_note-12) and in 2018 Wolf & Badger announced its further expansion into a new 12,000 sqft flagship store in Kings Cross, London. [13] (#cite_note-13) Wolf & Badger was named Sustainable Retailer Of The Year 2020 by Drapers [14] (#cite_note-14) and soon later became a Certified B Corporation. [15] (#cite_note-15) In 2022, the business launched its first West Coast USA store on Melrose Avenue in West Hollywood, Los Angeles. [16] (#cite_note-16) [17] (#cite_note-17) In early 2024, the London store relocated to a new location in the West End. [18] (#cite_note-18) Operations [ edit ] The company is a "serviced retail" business. [19] (#cite_note-19) Spaces within its stores and online are provided to independent fashion, jewellery, beauty and homeware brands, who act as their own retailers and keep the bulk of sales revenue, as well as gain exposure to press, industry and trade buyers. [20] (#cite_note-20) References [ edit ] ^ (#cite_ref-1) "Wolf & Badger, a London storefront for emerging designers, is coming to New York" (http://fashionista.com/2015/01/wolf-badger-new-york) . Fashionista.com. 8 January 2015 . Retrieved 24 January 2015 . ^ (#cite_ref-2) "Wolf & Badger - The new rent-a-box concept store launched last week in Notting Hill" (https://www.dazeddigital.com/fashion/article/6111/1/wolf-badger) . Dazed Digital. 8 February 2010. ^ (#cite_ref-3) "The 100 best shops in London – The top 10 - Time Out London" (http://www.timeout.com/london/feature/1708/the-100-best-shops-in-london-top-10-best-shops/5) . Timeout.com . Retrieved 24 July 2012 . ^ (#cite_ref-4) " (http://news.sky.com/skynews/Home/Business/Luxury-Goods-Sector-Could-Have-Worse-2010-Than-2009-As-Economic-Conditions-Deteriorate/Article/201006115642251) 'Brands Of Tomorrow' Fear Tough Year Ahead" (http://news.sky.com/skynews/Home/Business/Luxury-Goods-Sector-Could-Have-Worse-2010-Than-2009-As-Economic-Conditions-Deteriorate/Article/201006115642251) . News.sky.com . Retrieved 24 July 2012 . ^ (#cite_ref-5) "Growing Business Awards 2011: winners revealed" (http://realbusiness.co.uk/news/growing-business-awards-2011-winners-revealed) . Real Business. 15 November 2011 . Retrieved 24 July 2012 . ^ (#cite_ref-6) Ella Alexander (13 August 2010). "Wolf & Badger pop up store (Vogue.com UK)" (https://www.vogue.co.uk/news/daily/100813-wolf--badger-pop-up-store-.aspx) . Vogue.co.uk . Retrieved 24 July 2012 . ^ (#cite_ref-7) Laura Chesters (16 July 2012). "Growth Capital: Brothers who set up a launchpad for fashion world's emerging talent - Analysis & Features - Business - Evening Standard" (https://www.standard.co.uk/business/markets/growth-capital-brothers-who-set-up-a-launchpad-for-fashion-worlds-emerging-talent-7945922.html) . Standard.co.uk . Retrieved 24 July 2012 . ^ (#cite_ref-8) "Retail 'chameleons' take over the high street" (https://www.telegraph.co.uk/finance/festival-of-business/10974117/Retail-chameleons-take-over-the-high-street.html) . Telegraph.co.uk. 18 July 2014 . Retrieved 24 January 2015 . ^ (#cite_ref-9) "Website of the Year Awards - Winners 2014 - The Good Web Guide" (http://www.thegoodwebguide.co.uk/article/good-web-guide-awards-winners-2014/17373) . thegoodwebguide.co.uk . Retrieved 24 January 2015 . ^ (#cite_ref-10) "Wolf & Badger merges with Boticca to create global omni-channel powerhouse" (http://www.professionaljeweller.com/wolf-badger-merges-with-boticca-to-create-global-omni-channel-powerhouse/) . ProfessionalJeweller.com . Retrieved 6 August 2015 . ^ (#cite_ref-11) "The Drapers Interview: How new brands join the Wolf & Badger set" (https://www.drapersonline.com/people/the-drapers-interview/the-drapers-interview-how-new-brands-join-the-wolf-and-badger-set/7011582.article) . drapersonline.com . Retrieved 2 August 2018 . ^ (#cite_ref-12) "Wolf & Badger Sets Up Shop in SoHo" (https://www.forbes.com/sites/barrysamaha/2017/04/17/wolf-badger-sets-up-shop-in-soho-95-grand-street/#724a05d27408) . forbes.com . Retrieved 18 April 2018 . ^ (#cite_ref-13) Lizzie Edmonds (23 July 2018). "Wolf & Badger to open huge new flagship store in redeveloped Kings Cross" (https://web.archive.org/web/20180725023134/https://www.standard.co.uk/fashion/news/wolf-and-badger-kings-cross-flagship-store-a3894081.html) . Evening Standard. Archived from the original (https://www.standard.co.uk/fashion/news/wolf-and-badger-kings-cross-flagship-store-a3894081.html) on 25 July 2018. ^ (#cite_ref-14) Moran, Graeme (6 July 2020). "Drapers Sustainable Fashion Awards 2020 winners revealed" (https://www.drapersonline.com/news/drapers-sustainable-fashion-awards-2020-winners-revealed) . ^ (#cite_ref-15) Nazir, Sahar. "Wolf & Badger certifies as B Corp to build on transparency" (https://www.retailgazette.co.uk/blog/2021/05/wolf-badger-certifies-as-b-corp-to-build-on-transparency/) . Retail Gazette . Retrieved 14 June 2022 . ^ (#cite_ref-16) Belgum, Deborah. "Wolf & Badger Opens Its First West Coast Store" (https://wwd.com/business-news/retail/wolf-badger-west-coast-store-los-angeles856-1235194856/) . WWD. ^ (#cite_ref-17) Zwieglinska, Zofia. "Wolf & Badger Opens Its First West Coast Store" (https://www.glossy.co/fashion/how-wolf-badger-is-winning-the-sustainable-retailer-race/) . Glossy. ^ (#cite_ref-18) Wightman-Stone, Danielle (23 January 2024). "Wolf & Badger to relocate London flagship" (https://fashionunited.uk/news/retail/wolf-badger-to-relocate-london-flagship/2024012373722) . Fashion United . ^ (#cite_ref-19) "The Times | UK News, World News and Opinion" (http://women.timesonline.co.uk/tol/life_and_style/women/fashion/article7020970.ece) . Women.timesonline.co.uk. 13 March 2012 . Retrieved 24 July 2012 . ^ (#cite_ref-20) "Wolf & Badger Sets Up Shop in SoHo" (https://www.forbes.com/sites/barrysamaha/2017/04/17/wolf-badger-sets-up-shop-in-soho-95-grand-street/) . Forbes. 17 April 2017. External links [ edit ] Wolf & Badger (http://www.wolfandbadger.com/) Augustus Brown (http://www.augustusbrown.com/) WikiMiniAtlas 51°30′51.8″N 0°11′56″W / 51.514389°N 0.19889°W / 51.514389; -0.19889 NewPP limit report Parsed by mw‐web.codfw.main‐ff98d5cb5‐rvr54 Cached time: 20240722170418 Cache expiry: 802544 Reduced expiry: true Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.356 seconds Real time usage: 0.513 seconds Preprocessor visited node count: 2255/1000000 Post‐expand include size: 44941/2097152 bytes Template argument size: 1391/2097152 bytes Highest expansion depth: 19/100 Expensive parser function count: 3/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 74669/5000000 bytes Lua time usage: 0.222/10.000 seconds Lua memory usage: 7190969/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 471.814 1 -total 36.36% 171.532 1 Template:Reflist 35.15% 165.829 1 Template:Infobox_company 33.10% 156.174 1 Template:Infobox 28.38% 133.907 16 Template:Cite_web 18.36% 86.602 1 Template:Short_description 8.36% 39.440 7 Template:Main_other 7.90% 37.267 2 Template:Pagetype 7.75% 36.580 1 Template:SDcat 4.49% 21.200 1 Template:Coord Saved in parser cache with key enwiki:pcache:idhash:26516277-0!canonical and timestamp 20240722170418 and revision id 1230234513. 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2010 perfume endorsed by Jennifer Lopez Love and Glamour Fragrance (/wiki/Perfume) by Jennifer Lopez (/wiki/Jennifer_Lopez) Top notes (/wiki/Note_(perfumery)) Italian mandarin (/wiki/Mandarin_orange) guava (/wiki/Guava) peach flesh (/wiki/Peach) Heart notes (/wiki/Note_(perfumery)) Coconut (/wiki/Coconut) orange blossom (/wiki/Orange_blossom) jasmine petals (/wiki/Jasmine) Base notes (/wiki/Note_(perfumery)) Sandalwood (/wiki/Sandalwood) musk (/wiki/Musk) amber (/wiki/Amber) Released September 2010 Label Coty, Inc. (/wiki/Coty,_Inc.) Tagline (/wiki/Tagline) Lights * Camera * Passion Flanker(s) (/wiki/Flanker_(perfume)) Love and Light Love and Glamour is a women's eau de toilette (/wiki/Eau_de_toilette) fragrance endorsed by American entertainer Jennifer Lopez (/wiki/Jennifer_Lopez) . Background and conception [ edit ] Lopez released her first signature perfume, Glow by JLo (/wiki/Glow_by_JLo) , in 2002; it went on to become the second-highest-selling fragrance in the United States. [1] (#cite_note-HS-1) With this, she became a pioneer for the celebrity endorsement (/wiki/Celebrity_endorsement) of perfume, and influenced various other celebrities to follow the trend. By the time of Love and Glamour's release in October 2010, Lopez's fragrances had taken in over $1 billion worldwide. [2] (#cite_note-2) In an interview with Women's Wear Daily (/wiki/Women%27s_Wear_Daily) , Lopez explained the inspiration behind the perfume: What I always like to do is look at where I am in my life at the moment. [Here] it was right after the babies and was when I was getting back to work and getting back to what I do again. It just felt like a time of a lot of love and that seemed very romantic to me — I said it seems like love and glamour. [3] (#cite_note-peoplestylewatch-3) Development [ edit ] Lopez worked side by side with Coty, Inc. (/wiki/Coty,_Inc.) to create the signature fragrance blend of Love and Glamour, [4] (#cite_note-racked.com-4) and was heavily involved in the creation process. [5] (#cite_note-DailyFill-5) I drive [Coty] a little bit crazy, because it's always not signature enough. I go back and say things like, 'Can we push the sandalwood a little bit more, can we make a tiny bit more sexy?' To translate that into actual chemistry is a difficult thing. Then they go back and say, 'What does she mean by sexy?' And I'm like, 'You know if you [take] that little piece that smells a little bit like wood but has a little bit of musk? But I just want you to add a little bit of sweetness. Can you do that for me?' And then I think we are in the right direction. And then they come with one or two variations and I say, 'No, that's not it.' It's a long process. [6] (#cite_note-6) According to Lopez, creating the scent was the most difficult part of the process, as compared to putting together the packaging and the marketing campaign. [7] (#cite_note-India-7) Scent and bottle [ edit ] Love and Glamour has top notes of Italian mandarin (/wiki/Mandarin_orange) , guava (/wiki/Guava) and peach flesh (/wiki/Peach) ; heart notes of coconut (/wiki/Coconut) , orange blossom (/wiki/Orange_blossom) and jasmine petals (/wiki/Jasmine) ; and base notes of sandalwood (/wiki/Sandalwood) , musk (/wiki/Musk) and amber (/wiki/Amber) . [8] (#cite_note-Vogue-8) Lopez hoped to create "a combination that people have never smelled before". [7] (#cite_note-India-7) Love and Glamour's bottle was designed by Lopez with the aid of designer Jon DiNapoli. [9] (#cite_note-Terra-9) It is shaped to resemble "a woman wearing an elegant gown", [8] (#cite_note-Vogue-8) and was described by Alessandra Greco of Vogue (/wiki/Vogue_(magazine)) as curvy, sexy and seductive. [8] (#cite_note-Vogue-8) Marketing and reception [ edit ] Love and Glamour made its debut at a Macy's (/wiki/Macy%27s) department store in New York City (/wiki/New_York_City) on September 11, 2010. [10] (#cite_note-10) A promotional website was launched that allowed online viewers to unlock an exclusive behind-the-scenes film noir (/wiki/Film_noir) style video clip of Lopez. [11] (#cite_note-Real_Beauty-11) The campaign for the scent was shot by photographer Craig McDean (/wiki/Craig_McDean) on a movie set, with Lopez's hair and make up styled to match a classic film star. [3] (#cite_note-peoplestylewatch-3) [11] (#cite_note-Real_Beauty-11) Seventeen (/wiki/Seventeen_(American_magazine)) magazine was positive about Love and Glamour, writing: "it's definitely a scent that's going to have everyone asking what you're wearing". [12] (#cite_note-Seventeen-12) Products [ edit ] List of Love and Glamour products: [9] (#cite_note-Terra-9) 50ml Eau de Parfum 75ml Eau de Parfum 200ml body care lotion Love and Glamour was also made available in a gift set that included a body lotion and shower gel. [13] (#cite_note-13) See also [ edit ] List of celebrity-branded fragrances (/wiki/List_of_celebrity-branded_fragrances) References [ edit ] ^ (#cite_ref-HS_1-0) Jones, Geoffrey (2010). Beauty Imagined:A History of the Global Beauty Industry . Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 9780191609619 . ^ (#cite_ref-2) "Jennifer Lopez to Launch New Fragrance, Love and Glamour" (http://www.totalbeauty.com/news/perfume/womens-perfume/jennifer-lopez-launch-new-fragrance-love-glamour) . Total Beauty . Total Beauty Media (/wiki/Total_Beauty_Media) . June 4, 2010 . Retrieved July 30, 2013 . ^ a b "New Fragrance Alert: Jennifer Lopez to Launch Love and Glamour" (http://stylenews.peoplestylewatch.com/2010/06/04/new-fragrance-alert-jennifer-lopez-to-launch-love-and-glamour/) . People (/wiki/People_(magazine)) . June 4, 2010 . Retrieved July 29, 2013 . ^ (#cite_ref-racked.com_4-0) Soo Hoo, Fawnia (4 June 2010). "J. Lo to Launch Aptly Named Love and Glamour Fragrance This Fall" (http://ny.racked.com/archives/2010/06/04/j_lo_to_launch_aptly_named_love_and_glamour_fragrance_this_fall.php) . Racked NY . Retrieved July 29, 2013 . ^ (#cite_ref-DailyFill_5-0) "Jennifer Lopez Talks Fragrance Empire" (http://dailyfill.com/Jennifer-Lopez-Talks-Fragrance-Empire-60436) . DailyFill (/wiki/DailyFill) . June 4, 2010 . Retrieved July 30, 2013 . ^ (#cite_ref-6) "Jennifer and Halle Announce Yet More Fragrances" (http://www.bellasugar.com.au/Jennifer-Lopez-Halle-Berry-Have-New-Fragrances-8671474) . BellaSugar (/wiki/PopSugar) . Allure Media. June 5, 2010 . Retrieved July 28, 2013 . ^ a b "Jennifer Lopez wants her perfumes to be 'sexy' (http://indiatoday.intoday.in/story/jennifer-lopez-wants-her-perfumes-to-be-sexy-/1/100536.html) " (http://indiatoday.intoday.in/story/jennifer-lopez-wants-her-perfumes-to-be-sexy-/1/100536.html) . India Today (/wiki/India_Today) . Living Media (/wiki/Living_Media) . June 7, 2010 . Retrieved July 29, 2013 . ^ a b c "Love and Glamour by JLO" (http://www.vogue.it/en/beauty/beauty-news-and-blogs/2010/06/love-and-glamour-by-jlo) . Vogue (/wiki/Vogue_(magazine)) . Vogue Italia. June 16, 2010 . Retrieved July 29, 2013 . ^ a b "Un poco de 'Love and Glamour', el nuevo perfume de Jennifer Lopez" (http://www.terra.com/mujer/noticias/un_poco_de_love_and_glamour_el_nuevo_perfume_de_jennifer_lopez/hof181441) . Terra.com. June 8, 2010 . Retrieved July 29, 2013 . ^ (#cite_ref-10) Emmrich, Stuart (September 11, 2010). "On Fashion's Night Out, Normal Hits the Streets" (https://www.nytimes.com/2010/09/11/nyregion/11fashion.html?_r=1&) . The New York Times (/wiki/The_New_York_Times) . Retrieved July 29, 2013 . ^ a b Lavinthal, Andrea (September 9, 2010). "Jennifer Lopez Love and Glamour Fragrance (Plus, Exclusive Content and a Fab Contest!)" (http://www.realbeauty.com/products/hairstyles-makeup/love-and-glamour-perfume-review) . Real Beauty . Hearst Communications (/wiki/Hearst_Communications) . Retrieved July 28, 2013 . ^ (#cite_ref-Seventeen_12-0) "JLo releases new fragrance: Love & Glamour!" (http://www.seventeen.com/fashion/blog/love-and-glamour-jlo-fragrance) . Seventeen (/wiki/Seventeen_(American_magazine)) . September 29, 2010 . Retrieved July 28, 2013 . ^ (#cite_ref-13) Dee, Melanie (January 2, 2011). "Review of Love and Glamour Body Lotion, by Jennifer Lopez" (https://archive.today/20130731220148/http://voices.yahoo.com/review-love-glamour-body-lotion-jennifer-7484928.html?cat=69) . Yahoo! Inc. Archived from the original (http://voices.yahoo.com/review-love-glamour-body-lotion-jennifer-7484928.html?cat=69) on July 31, 2013 . Retrieved July 28, 2013 . v t e Jennifer Lopez (/wiki/Jennifer_Lopez) Accolades (/wiki/List_of_awards_and_nominations_received_by_Jennifer_Lopez) Discography (/wiki/Jennifer_Lopez_discography) Filmography (/wiki/Jennifer_Lopez_filmography) Songs (/wiki/List_of_songs_recorded_by_Jennifer_Lopez) Videography (/wiki/Jennifer_Lopez_videography) Performances (/wiki/List_of_Jennifer_Lopez_live_performances) Cultural impact (/wiki/Cultural_impact_of_Jennifer_Lopez) Studio albums On the 6 (/wiki/On_the_6) J.Lo (/wiki/J.Lo_(album)) This Is Me... Then (/wiki/This_Is_Me..._Then) Rebirth (/wiki/Rebirth_(Jennifer_Lopez_album)) Como Ama una Mujer (/wiki/Como_Ama_una_Mujer) Brave (/wiki/Brave_(Jennifer_Lopez_album)) Love? (/wiki/Love%3F) A.K.A. (/wiki/A.K.A._(album)) This Is Me... Now (/wiki/This_Is_Me..._Now) Soundtrack albums Marry Me (/wiki/Marry_Me_(soundtrack)) Compilation albums J to tha L–O! The Remixes (/wiki/J_to_tha_L%E2%80%93O!_The_Remixes) Dance Again... the Hits (/wiki/Dance_Again..._the_Hits) Extended plays The Reel Me (/wiki/The_Reel_Me) Video albums Feelin' So Good (/wiki/Jennifer_Lopez:_Feelin%27_So_Good) Let's Get Loud (/wiki/Jennifer_Lopez:_Let%27s_Get_Loud) The Reel Me (/wiki/The_Reel_Me) Concerts and tours Let's Get Loud (/wiki/Let%27s_Get_Loud_(concerts)) Jennifer Lopez & Marc Anthony en Concierto (/wiki/Jennifer_Lopez_%26_Marc_Anthony_en_Concierto) Dance Again World Tour (/wiki/Dance_Again_World_Tour) Enrique Iglesias & Jennifer Lopez Tour (/wiki/Enrique_Iglesias_%26_Jennifer_Lopez_Tour) ¡Q'Viva! The Chosen Live (/wiki/%C2%A1Q%27Viva!_The_Chosen_Live) Jennifer Lopez: All I Have (/wiki/Jennifer_Lopez:_All_I_Have) It's My Party (/wiki/It%27s_My_Party_(tour)) Super Bowl LIV halftime show (/wiki/Super_Bowl_LIV_halftime_show) This Is Me... Live (/wiki/This_Is_Me..._Live) (cancelled) Clothing brands J.Lo by Jennifer Lopez (/wiki/J.Lo_by_Jennifer_Lopez) Jennifer Lopez Collection (/wiki/Jennifer_Lopez_Collection) Teeology (/wiki/Teeology) Books True Love (/wiki/True_Love_(book)) Fragrances Glow by JLo (/wiki/Glow_by_JLo) Still Jennifer Lopez (/wiki/Still_Jennifer_Lopez) Love and Glamour Glowing by JLo (/wiki/Glowing_by_JLo) Companies Lopez Family Foundation (/wiki/Lopez_Family_Foundation) Nuyorican Productions (/wiki/Nuyorican_Productions) Viva Móvil (/wiki/Viva_M%C3%B3vil) Related topics Bennifer (/wiki/Bennifer) Green Versace dress (/wiki/Green_Versace_dress_of_Jennifer_Lopez) Jennifer Lopez: Halftime (/wiki/Jennifer_Lopez:_Halftime) Jennifer Lopez Presents: Como Ama una Mujer (/wiki/Jennifer_Lopez_Presents:_Como_Ama_una_Mujer) NuvoTV (/wiki/NuvoTV) Lynda Lopez (/wiki/Lynda_Lopez) " Fat Butt and Pancake Head (/wiki/Fat_Butt_and_Pancake_Head) " Category (/wiki/Category:Jennifer_Lopez) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐kq6cx Cached time: 20240719151249 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.303 seconds Real time usage: 0.378 seconds Preprocessor visited node count: 1495/1000000 Post‐expand include size: 48059/2097152 bytes Template argument size: 4746/2097152 bytes Highest expansion depth: 8/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 67029/5000000 bytes Lua time usage: 0.167/10.000 seconds Lua memory usage: 4836131/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 330.575 1 -total 39.82% 131.651 1 Template:Reflist 21.82% 72.142 1 Template:Cite_book 19.94% 65.914 1 Template:Infobox_fragrance 19.37% 64.017 1 Template:Infobox 17.75% 58.669 1 Template:Jennifer_Lopez 17.56% 58.056 1 Template:Short_description 17.11% 56.567 1 Template:Navbox_musical_artist 12.29% 40.617 12 Template:Cite_web 10.65% 35.212 2 Template:Pagetype Saved in parser cache with key enwiki:pcache:idhash:40083941-0!canonical and timestamp 20240719151249 and revision id 1149606863. 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The lipstick index is a term coined by Leonard Lauder (/wiki/Leonard_Lauder) , chairman of the board of Estee Lauder (/wiki/Est%C3%A9e_Lauder_Companies) , used to describe increased sales of cosmetics during the early 2000s recession (/wiki/Early_2000s_recession) . [1] (#cite_note-1) Lauder made the claim that lipstick sales could be an economic indicator (/wiki/Economic_indicator) , in that purchases of cosmetics – lipstick (/wiki/Lipstick) in particular – tend to be inversely correlated (/wiki/Correlation) to economic health. [2] (#cite_note-2) The speculation was that women substitute lipstick for more expensive purchases like dresses and shoes in times of economic distress. Lauder identified the Lipstick index as sales across the Estee Lauder family of brands. [3] (#cite_note-3) Subsequent recessions, including the late-2000s recession (/wiki/Late-2000s_recession) , provided controverting evidence to Lauder's claims, as sales have actually fallen with reduced economic activity. Conversely, lipstick sales have experienced growth during periods of increased economic activity. As a result, the lipstick index has been discredited as an economic indicator. The increased sales of cosmetics in 2001 has since been attributed to increased interest in celebrity-designed cosmetics brands. [4] (#cite_note-4) In the 2010s, many media outlets reported that with the rise of nail art (/wiki/Nail_art) as fad (/wiki/Fad) in the English-speaking countries and as far afield as Japan and the Philippines, nailpolish had replaced lipstick as the main affordable indulgence for women in place of bags and shoes during recession, leading to talk of a nail polish index . [5] (#cite_note-5) [6] (#cite_note-6) [7] (#cite_note-7) Similar sentiment was noted during the coronavirus pandemic (/wiki/COVID-19_pandemic) , when the mandated use of face masks to prevent the spread of the disease resulted in an increase of eye makeup purchases, suggesting a Mascara index. [8] (#cite_note-8) References [ edit ] ^ (#cite_ref-1) "Lip service: What lipstick sales tell you about the economy" (https://www.economist.com/unknown/2009/01/23/lip-service) . The Economist . 23 January 2009. ISSN (/wiki/ISSN_(identifier)) 0013-0613 (https://www.worldcat.org/issn/0013-0613) . Retrieved 2024-06-10 . ^ (#cite_ref-2) Maureen Dowd, "Oedipal Loop de Loop" (https://query.nytimes.com/gst/fullpage.html?res=9D00E2DD103DF931A35751C1A9679C8B63) , New York Times , December 2, 2001 ^ (#cite_ref-3) Nelson, Emily. "Rising Lipstick Sales May Mean Pouting Economy and Few Smiles" (https://www.wsj.com/articles/SB1006731471172641080) . The Wall Street Journal (/wiki/The_Wall_Street_Journal) . Retrieved 24 July 2023 . ^ (#cite_ref-4) Cheryl Lu-Lien Tan (/wiki/Cheryl_Lu-Lien_Tan) , "Lunchtime Snap: The Shaky Lipstick Index–Sales go Down, not Up, as Economy Falters" [1] (https://blogs.wsj.com/runway/2008/10/17/lunchtime-snap-the-shaky-lipstick-index-sales-go-down-not-up-as-economy-falters/) , The Wall Street Journal , October 17, 2008 ^ (#cite_ref-5) "Economy "Lipstick Index" Is Now A Nail Polish Index" (https://www.jezebel.com/economy-lipstick-index-is-now-a-nail-polish-index-5841575) . Jezebel.com. September 14, 2011 . Retrieved April 8, 2013 . ^ (#cite_ref-6) "Is There Really A Nail Polish Index?" (https://web.archive.org/web/20140729030419/http://www.metapolish.com/really-nail-polish-index/) . Metapolish.com. April 27, 2012. Archived from the original (http://www.metapolish.com/really-nail-polish-index/) on July 29, 2014 . Retrieved April 8, 2013 . ^ (#cite_ref-7) "Nail polish is the new lipstick | Inquirer Lifestyle" (http://lifestyle.inquirer.net/45243/nail-polish-is-the-new-lipstick) . Lifestyle.inquirer.net. April 27, 2012 . Retrieved April 8, 2013 . ^ (#cite_ref-8) Scott, Fiona Sinclair. "Our grooming habits are changing" (https://www.cnn.com/style/article/beauty-makeup-shopping-coronavirus/index.html) . CNN . Retrieved 2020-05-11 . This economics (/wiki/Economics) -related article is a stub (/wiki/Wikipedia:Stub) . 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Rendering was triggered because: page-view Subcategories This category has the following 7 subcategories, out of 7 total. C Colgate-Palmolive (/wiki/Category:Colgate-Palmolive) (1 C, 36 P) Coty Inc. (/wiki/Category:Coty_Inc.) (1 C, 13 P) E Estée Lauder Companies (/wiki/Category:Est%C3%A9e_Lauder_Companies) (2 C, 8 P) F Forever Living Products (/wiki/Category:Forever_Living_Products) (3 P) H Helen of Troy Limited (/wiki/Category:Helen_of_Troy_Limited) (9 P) I International Flavors and Fragrances (/wiki/Category:International_Flavors_and_Fragrances) (2 P) R Revlon (/wiki/Category:Revlon) (1 C, 9 P) Pages in category "Cosmetics companies of the United States" The following 91 pages are in this category, out of 91 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . A Alberto-Culver (/wiki/Alberto-Culver) American Yvette Company (/wiki/American_Yvette_Company) Anastasia Beverly Hills (/wiki/Anastasia_Beverly_Hills) Aveda (/wiki/Aveda) B Bell Flavors & Fragrances (/wiki/Bell_Flavors_%26_Fragrances) Ben Nye Makeup Company (/wiki/Ben_Nye_Makeup_Company) Benefit Cosmetics (/wiki/Benefit_Cosmetics) Bésame Cosmetics (/wiki/B%C3%A9same_Cosmetics) Birchbox (/wiki/Birchbox) Blistex (/wiki/Blistex) Blocki (/wiki/Blocki) Bond No. 9 (/wiki/Bond_No._9) Bonne Bell (/wiki/Bonne_Bell) Donna Marcella Borghese (/wiki/Donna_Marcella_Borghese) Bumble and bumble (/wiki/Bumble_and_bumble) Burt's Bees (/wiki/Burt%27s_Bees) Melissa Butler (/wiki/Melissa_Butler) C The Campana Company (/wiki/The_Campana_Company) Carol's Daughter (/wiki/Carol%27s_Daughter) Caswell-Massey (/wiki/Caswell-Massey) CBI Laboratories (/wiki/CBI_Laboratories) Charles of the Ritz (/wiki/Charles_of_the_Ritz) Clarisonic (/wiki/Clarisonic) Clinique (/wiki/Clinique) Colgate-Palmolive (/wiki/Colgate-Palmolive) ColourPop Cosmetics (/wiki/ColourPop_Cosmetics) Coty (/wiki/Coty) CoverGirl (/wiki/CoverGirl) D DEX New York (/wiki/DEX_New_York) E E.l.f. (cosmetics) (/wiki/E.l.f._(cosmetics)) Emlin (/wiki/Emlin) EOS (company) (/wiki/EOS_(company)) The Estée Lauder Companies (/wiki/The_Est%C3%A9e_Lauder_Companies) F Florence by Mills (/wiki/Florence_by_Mills) Fluide (/wiki/Fluide) G Gilchrist & Soames (/wiki/Gilchrist_%26_Soames) Gurwitch Products (/wiki/Gurwitch_Products) H Hard Candy (cosmetics) (/wiki/Hard_Candy_(cosmetics)) Helene Curtis Industries, Inc. (/wiki/Helene_Curtis_Industries,_Inc.) I Ipsy (/wiki/Ipsy) J Jeffree Star Cosmetics (/wiki/Jeffree_Star_Cosmetics) Johnson Products Company (/wiki/Johnson_Products_Company) Julep (company) (/wiki/Julep_(company)) K Mary Kay (/wiki/Mary_Kay) Kiehl's (/wiki/Kiehl%27s) Kylie Cosmetics (/wiki/Kylie_Cosmetics) L Lady Esther (/wiki/Lady_Esther) Lenthéric (/wiki/Lenth%C3%A9ric) Lime Crime (/wiki/Lime_Crime) Love Cosmetics (/wiki/Love_Cosmetics) M MAC Cosmetics (/wiki/MAC_Cosmetics) Madam C. J. Walker Manufacturing Company (/wiki/Madam_C._J._Walker_Manufacturing_Company) Madison Reed (/wiki/Madison_Reed) Max Factor (/wiki/Max_Factor) Maybelline (/wiki/Maybelline) Merle Norman Cosmetics (/wiki/Merle_Norman_Cosmetics) Milk Makeup (/wiki/Milk_Makeup) Mink Beauty (/wiki/Mink_Beauty) Germaine Monteil (/wiki/Germaine_Monteil) Morphe Cosmetics (/wiki/Morphe_Cosmetics) N Nardo's Natural (/wiki/Nardo%27s_Natural) NARS Cosmetics (/wiki/NARS_Cosmetics) Neill Corporation (/wiki/Neill_Corporation) Noxell (/wiki/Noxell) NYX Professional Makeup (/wiki/NYX_Professional_Makeup) O Origins (cosmetics) (/wiki/Origins_(cosmetics)) P PeaceKeeper Cause-Metics (/wiki/PeaceKeeper_Cause-Metics) Philosophy (brand) (/wiki/Philosophy_(brand)) Procter & Gamble (/wiki/Procter_%26_Gamble) Pureology (/wiki/Pureology) R Revlon (/wiki/Revlon) Rusk (hair care) (/wiki/Rusk_(hair_care)) S SeneGence (/wiki/SeneGence) Sensient Technologies (/wiki/Sensient_Technologies) Shea Yeleen (/wiki/Shea_Yeleen) Sinful Colors (/wiki/Sinful_Colors) SK-II (/wiki/SK-II) Soko Glam (/wiki/Soko_Glam) Sol de Janeiro (/wiki/Sol_de_Janeiro) Stila (/wiki/Stila) Stuff by Hilary Duff (/wiki/Stuff_by_Hilary_Duff) Anna Sui (/wiki/Anna_Sui) T Tarte Cosmetics (/wiki/Tarte_Cosmetics) Theraderm (/wiki/Theraderm) Timeless Secret (/wiki/Timeless_Secret) Tom Ford (brand) (/wiki/Tom_Ford_(brand)) U Unilever USA (/wiki/Unilever_USA) Uoma Beauty (/wiki/Uoma_Beauty) Urban Decay (cosmetics) (/wiki/Urban_Decay_(cosmetics)) V V. Vivaudou (/wiki/V._Vivaudou) Violent Lips (/wiki/Violent_Lips) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Cosmetics_companies_of_the_United_States&oldid=1019959319 (https://en.wikipedia.org/w/index.php?title=Category:Cosmetics_companies_of_the_United_States&oldid=1019959319) " Categories (/wiki/Help:Category) : Chemical companies of the United States (/wiki/Category:Chemical_companies_of_the_United_States) Cosmetics companies by country (/wiki/Category:Cosmetics_companies_by_country) |
Online jewelry retailer in California Pura Vida Bracelets Industry Handcrafted Jewelry Founded 2010 ( 2010 ) Founder Griffin Thall Paul Goodman Headquarters La Jolla, California (/wiki/La_Jolla,_California) , United States (/wiki/United_States) Pura Vida Bracelets Pura Vida Bracelets is a La Jolla, California–based company that sells hand-crafted bracelets and jewelry online and through boutique stores. It was founded in 2010 by Griffin Thall and Paul Goodman, who created the business having been inspired by Costa Rican culture after discovering the bracelet style while on a vacation in Costa Rica (/wiki/Costa_Rica) . [1] (#cite_note-1) Pura Vida (/wiki/Culture_of_Costa_Rica#Pura_vida) means "pure life" in Spanish; in Costa Rica it is said frequently and has many meanings, such as hello, goodbye, or even to say thank you. [2] (#cite_note-2) In an interview, Thall and Goodman called the term "the slogan of Costa Rica, just like the word 'aloha' from Hawaii". About [ edit ] The company, which is based in La Jolla (/wiki/La_Jolla) , California, was founded by Griffin Thall and Paul Goodman in 2010. [3] (#cite_note-RYOT_15MAY9-3) Thall and Goodman traveled to Costa Rica together on vacation after graduating from San Diego State University (/wiki/San_Diego_State_University) , where they met a pair of bracelet makers named Joaquin and Jorge. They then purchased 400 bracelets for $100 to bring back to the United States. The pair initially sold their original stock at Planet Blue, a small boutique located in Malibu (/wiki/Malibu,_California) , California. [4] (#cite_note-4) [5] (#cite_note-PATCH_11JUNE282-5) [6] (#cite_note-KABC_15FEB132-6) By late 2013, Pura Vida had grown to a dozen US-based staff and 50 Costa Rica–based staff. [7] (#cite_note-CSM_13DEC2-7) As of July 2019, the company has over 650 employees that work to create these bracelets. [8] (#cite_note-8) Pura Vida also creates bracelets for charitable organizations, as a cause marketing (/wiki/Cause_marketing) fundraiser; bracelets are produced in a charitable organization's colors, and a portion of the sale of those bracelets goes to that charitable organization. In 2019, Vera Bradley (/wiki/Vera_Bradley) purchased a 75% stakeholder share in Pura Vida’s parent company, Creative Genius. The 75% of the company was valued at $75 million. They have the option to purchase the remainder of the company in 2024. [9] (#cite_note-“PuraVida”-9) [10] (#cite_note-“PuraCNBC”-10) References [ edit ] ^ (#cite_ref-1) "The Pura Vida Story" (http://www.puravidabracelets.com/story) . Pura Vida Bracelets . Retrieved 2020-03-31 . ^ (#cite_ref-2) Van Velzer, Ryan (June 21, 2015). "National Motto" (http://costarica.com/culture/national-motto/) . costarica.com . Retrieved 16 February 2016 . ^ (#cite_ref-RYOT_15MAY9_3-0) Todorovic, Stefan (9 May 2015). "From Passion to Profits: Pura Vida Bracelets" (https://web.archive.org/web/20151228101830/http://www.ryot.org/pura-vida-bracletes/930976#) . Ryot . Archived from the original (http://www.ryot.org/pura-vida-bracletes/930976) on 2015-12-28 . Retrieved 13 January 2016 . ^ (#cite_ref-4) "Pura Vida Bracelets Made by Artisans Worldwide" (https://ktla.com/morning-news/pura-vida-bracelets-made-by-artisans-worldwide/) . KTLA . 2019-07-12 . Retrieved 2020-04-07 . ^ (#cite_ref-PATCH_11JUNE282_5-0) Reverente, Mira Del Fonso (28 June 2011). "Pura Vida Bracelets: Beyond the Fashion Trend" (http://patch.com/california/agourahills/pura-vida-bracelets-beyond-the-fashion-trend) . Patch: Agoura Hills . Patch Media . Retrieved 13 January 2016 . ^ (#cite_ref-KABC_15FEB132_6-0) Elex, Michaelson (13 February 2015). "SoCal entrepreneurs make millions selling bracelets for charity" (http://abc7.com/society/socal-entrepreneurs-make-millions-selling-bracelets-for-charity/504844/) . KABC-TV (/wiki/KABC-TV) . Retrieved 13 January 2016 . ^ (#cite_ref-CSM_13DEC2_7-0) Karas, David (2 December 2013). "Pura Vida Bracelets creates jobs, funds good works" (http://www.csmonitor.com/World/Making-a-difference/Change-Agent/2013/1202/Pura-Vida-Bracelets-creates-jobs-funds-good-works) . The Christian Science Monitor (/wiki/The_Christian_Science_Monitor) . Retrieved 13 January 2016 . ^ (#cite_ref-8) "Pura Vida Bracelets Made by Artisans Worldwide" (https://ktla.com/morning-news/pura-vida-bracelets-made-by-artisans-worldwide/) . KTLA . 2019-07-12 . Retrieved 2020-04-07 . ^ (#cite_ref-“PuraVida”_9-0) Concepcion, Mariel (2019-06-24). "Vera Bradley Acquires 75% Stake in Pura Vida" (https://www.sdbj.com/news/2019/jun/24/pura-vida-bracelets-acquired-vera-bradley/) . San Diego Business Journal (/wiki/San_Diego_Business_Journal) . Retrieved 2020-01-01 . ^ (#cite_ref-“PuraCNBC”_10-0) Wu, Jasmine (2019-06-20). "Vera Bradley acquires a majority stake in online jewelry store Pura Vida Bracelets" (https://www.cnbc.com/2019/06/20/vera-bradley-acquires-a-majority-stake-in-pura-vida-bracelets.html) . CNBC (/wiki/CNBC) . Retrieved 2020-01-01 . 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(Redirected from Hime Lolita (/w/index.php?title=Hime_Lolita&redirect=no) ) Fashion subculture originating in Japan This article is about the Japanese fashion style. For other uses, see Lolita (disambiguation) (/wiki/Lolita_(disambiguation)) . Angelic Pretty (/wiki/Angelic_Pretty) , a shop specializing in lolita fashion Lolita fashion ( ロリータ・ファッション , rorīta fasshon ) is a subculture (/wiki/Subculture) from Japan (/wiki/Japan) that is highly influenced by Victorian (/wiki/Victorian_fashion) clothing and styles from the Rococo (/wiki/Rococo) period. [1] (#cite_note-1) [2] (#cite_note-2) [3] (#cite_note-scholarworks.gsu.edu-3) [4] (#cite_note-4) [5] (#cite_note-A._Haijima_(2013)-5) [6] (#cite_note-K._Coombes_(2016)_p._36-6) A very distinctive property of Lolita fashion is the aesthetic of cuteness (/wiki/Kawaii) . [7] (#cite_note-7) [8] (#cite_note-8) This clothing subculture can be categorized into three main substyles: ' Gothic (/wiki/Gothic_fashion) ', 'Classic', and 'Sweet'. [3] (#cite_note-scholarworks.gsu.edu-3) [9] (#cite_note-9) Many other substyles such as 'Sailor', 'Country', 'Hime' (princess), 'Guro' ( grotesque (/wiki/Grotesque) ), 'Qi' and 'Wa' (based on traditional Chinese and Japanese dress), 'Punk', 'Shiro' (white), 'Kuro' (black), and ' Steampunk (/wiki/Steampunk) ' Lolita also exist. This style evolved into a widely followed subculture in Japan and other countries in the 1990s and 2000s [10] (#cite_note-Y._Kawamura_(2012)-10) [11] (#cite_note-A._Haijima_2013_p._33-11) [12] (#cite_note-12) [13] (#cite_note-13) [14] (#cite_note-Monden_2008_30-14) and may have waned in Japan as of the 2010s as the fashion became more mainstream. [15] (#cite_note-15) [16] (#cite_note-Quartz-16) [17] (#cite_note-17) Description [ edit ] The main feature of Lolita fashion is the volume of the skirt, created by wearing a petticoat (/wiki/Petticoat) or crinoline (/wiki/Crinoline) . [18] (#cite_note-skemman.is-18) [19] (#cite_note-19) [20] (#cite_note-K._Robinson_2014_p._39-20) The skirt can be either bell-shaped or A-line shaped. [20] (#cite_note-K._Robinson_2014_p._39-20) Components of the Lolita wardrobe consist mainly of a blouse (/wiki/Blouse) (long or short sleeves) with a skirt or a dress, which usually comes to the knees. [21] (#cite_note-hardy1-21) Lolitas frequently wear wigs in combination with other headwear such as hair bows or bonnets (similar to poke bonnets (/wiki/Poke_bonnet) ). Lolitas can also wear Victorian style drawers under their petticoats. For further effect, some Lolitas use knee socks, ankle socks, or tights, together with either high heels (/wiki/High-heeled_footwear) or flat shoes with a bow. Other typical Lolita garments include jumperskirts (/wiki/Jumper_(dress)) (JSK) and one-pieces (OP). [22] (#cite_note-22) History [ edit ] Although the origin of the fashion is unclear, at the end of the 1970s a new movement known as Otome-kei was founded, which slightly influenced Lolita fashion since Otome means maiden and maiden style looks like a less elaborated Lolita style. [18] (#cite_note-skemman.is-18) Before Otome-kei emerged, there was already a rise of cuteness culture in the earlier seventies; during this period there was a strong emphasis on cute and childish handwriting in Japanese schools. [23] (#cite_note-23) [24] (#cite_note-K._Koma_(2013)-24) [25] (#cite_note-25) As a result, the company Sanrio (/wiki/Sanrio) began experimenting with cute designs. [26] (#cite_note-26) The cuteness style, known as kawaii style (/wiki/Kawaii) , became popular in the 1980s. [27] (#cite_note-27) [28] (#cite_note-28) After Otome-kei, Do-It-Yourself (/wiki/Do-It-Yourself) behavior became popular, which led to the emergence of a new style called 'doll-kei', the predecessor of Lolita fashion. [29] (#cite_note-29) [21] (#cite_note-hardy1-21) Between 1977 and 1998, a large part of the Harajuku (/wiki/Harajuku) shopping district closed for car traffic on Sundays. The result was an increase in interaction between pedestrians in Harajuku. [30] (#cite_note-30) When brands like Pink House (/w/index.php?title=Jedix&action=edit&redlink=1) [ ja (https://ja.wikipedia.org/wiki/%E3%82%B8%E3%82%A7%E3%83%87%E3%82%A3%E3%83%83%E3%82%AF%E3%82%B9) ] (1973), [10] (#cite_note-Y._Kawamura_(2012)-10) [31] (#cite_note-hdl.handle.net-31) Milk (1970), [10] (#cite_note-Y._Kawamura_(2012)-10) and Angelic Pretty (/wiki/Angelic_Pretty) (1979) [32] (#cite_note-dspace.carthage.edu-32) began to sell cute clothing, it resulted in the emergence of a new style that would later become known as 'Lolita'. [33] (#cite_note-33) The term 'Lolita' first appeared in the fashion magazine Ryukou Tsushin in the September 1987 issue. [10] (#cite_note-Y._Kawamura_(2012)-10) Shortly after that, Baby, The Stars Shine Bright (/wiki/Baby,_The_Stars_Shine_Bright) (1988), [34] (#cite_note-L._Atkinson_2015_p._40-34) Metamorphose temps de fille (/wiki/Manifesteange_Metamorphose_temps_de_fille) (1993), [35] (#cite_note-35) and other brands emerged. [10] (#cite_note-Y._Kawamura_(2012)-10) In the 1990s, Lolita became more accepted, with visual kei (/wiki/Visual_kei) bands like Malice Mizer (/wiki/Malice_Mizer) and others rising in popularity. These band members wore elaborate clothes that fans began to adopt. [34] (#cite_note-L._Atkinson_2015_p._40-34) During this time Japan went through an economic depression, [36] (#cite_note-36) leading to an increase in alternative youth and fashion cultures such as gyaru, otaku, visual kei, and Lolita, [34] (#cite_note-L._Atkinson_2015_p._40-34) as well as visual-kei-inspired clothing such as Mori, Fairy Kei, and Decora. [37] (#cite_note-Chancy_J._Gatlin_2014_p._37_&_61-37) The Lolita style spread quickly from the Kansai (/wiki/Kansai) region and finally reached Tokyo (/wiki/Tokyo) ; [ citation needed ] partly due to the economic difficulties there was a big growth in the cuteness and youth cultures that originated in the seventies. [34] (#cite_note-L._Atkinson_2015_p._40-34) In the late nineties, the Jingu Bashi (/wiki/Jingu_Bashi) (also called the Harajuku Bridge) became known as a meeting place for youth who wore Lolita and other alternative fashion, [10] (#cite_note-Y._Kawamura_(2012)-10) [38] (#cite_note-F0011392106066816_Y._Kawamura_2006_p._793-794-38) [39] (#cite_note-39) [40] (#cite_note-40) and Lolita became more popular, causing a surge in warehouses selling Lolita fashion. [41] (#cite_note-41) Important magazines that contributed to the spread of the fashion style were the Gothic & Lolita Bible (/wiki/Gothic_%26_Lolita_Bible) (2001), a spin-off of the popular Japanese fashion magazine KERA (/w/index.php?title=Kera_(magazine)&action=edit&redlink=1) [ ja (https://ja.wikipedia.org/wiki/KERA) ] (1998), and FRUiTS (/wiki/FRUiTS) (1997). [42] (#cite_note-42) [43] (#cite_note-43) It was around this time that interest in and awareness of Lolita fashion began entering countries outside of Japan, with the Gothic & Lolita Bible being translated into English and distributed outside of Japan through the publisher Tokyopop (/wiki/Tokyopop) , [44] (#cite_note-44) [45] (#cite_note-45) and FRUiTS publishing an English picture book of Japanese Street Fashion (/wiki/Japanese_street_fashion) in 2001. As the style became further popularized through the Internet, more shops opened abroad, such as Baby, The Stars Shine Bright in Paris (2007) [14] (#cite_note-Monden_2008_30-14) and in New York (2014). [46] (#cite_note-46) Over time, the youth that gathered in Harajuku or at Harajuku Bridge disappeared. One possible explanation is that the introduction of fast fashion (/wiki/Fast_fashion) from retailers H&M (/wiki/H%26M) and Forever 21 (/wiki/Forever_21) caused a reduction in the consumption of street fashion. [47] (#cite_note-KERA-47) [16] (#cite_note-Quartz-16) FRUiTS ceased publication while the Gothic & Lolita Bible was put on hiatus in 2017. [47] (#cite_note-KERA-47) [48] (#cite_note-48) As of May 2023, FRUiTS has been brought back as an ePublication with an English-language version. [49] (#cite_note-49) Sources of inspiration [ edit ] Handmade Lolita dress European culture (/wiki/European_culture) has influenced Lolita fashion. The book Alice in Wonderland (/wiki/Alice%27s_Adventures_in_Wonderland) (1865), [50] (#cite_note-50) [51] (#cite_note-51) written by Lewis Carroll (/wiki/Lewis_Carroll) , [52] (#cite_note-asia-studies.com-52) [53] (#cite_note-53) has inspired many different brands and magazines, [34] (#cite_note-L._Atkinson_2015_p._40-34) such as Alice Deco . [52] (#cite_note-asia-studies.com-52) The reason that the character Alice was a source of inspiration for Lolita fashion is that she was an ideal icon for the Shōjo (shoujo)-image, [34] (#cite_note-L._Atkinson_2015_p._40-34) [54] (#cite_note-54) meaning an image of eternal innocence and beauty. [55] (#cite_note-ijoc.org-55) The first complete translation of the book was published by Maruyama Eikon in 1910, translated under the title Ai-chan No Yume Monogatari (Fantastic stories of Ai). [56] (#cite_note-56) Another figure from Rococo (/wiki/Rococo) that served as a source of inspiration was Marie Antoinette (/wiki/Marie_Antoinette) ; [57] (#cite_note-57) the manga The Rose of Versailles (/wiki/The_Rose_of_Versailles) (Lady Oscar), based on her court, was created in 1979. Popularization [ edit ] Musician Mana (/wiki/Mana_(Japanese_musician)) , pictured at a 2019 fashion show for his brand Moi-même-Moitié, is credited with helping to popularize Gothic Lolita. People who have popularized the Lolita fashion include Yukari Tamura (/wiki/Yukari_Tamura) , Mana (/wiki/Mana_(Japanese_musician)) , and Novala Takemoto (/wiki/Novala_Takemoto) . Takemoto wrote the light novel (/wiki/Light_novel) Kamikaze Girls (/wiki/Kamikaze_Girls) (2002) [11] (#cite_note-A._Haijima_2013_p._33-11) [58] (#cite_note-58) about the relationship between Momoko, a Lolita girl, and Ichigo, a Yanki (/wiki/Yank%C4%AB) . The book was adapted into a movie [11] (#cite_note-A._Haijima_2013_p._33-11) [59] (#cite_note-59) [60] (#cite_note-60) [61] (#cite_note-61) [62] (#cite_note-62) [ excessive citations ] and a manga in 2004. Novala himself claims that "There are no leaders within the Lolita world." [63] (#cite_note-FOOTNOTEHardy_Bernal2007-63) [64] (#cite_note-64) Mana is a musician and is known for popularizing the Gothic Lolita fashion. [5] (#cite_note-A._Haijima_(2013)-5) He played in the rock band Malice Mizer (/wiki/Malice_Mizer) (1992–2001) and founded the heavy metal band Moi dix Mois (/wiki/Moi_dix_Mois) (2002–present). Both bands—whose members are known for eccentric expressions and elaborate costumes—are a part of the visual kei (/wiki/Visual_kei) movement. Mana founded his own fashion label, known as Moi-même-Moitié (/wiki/Mana_(Japanese_musician)) in 1999, which specializes in Gothic Lolita. [65] (#cite_note-Kathryn_A._Hardy_Bernal_(2007)-65) [66] (#cite_note-66) [67] (#cite_note-67) [68] (#cite_note-68) Both bands are very interested in the Roccoco period. [65] (#cite_note-Kathryn_A._Hardy_Bernal_(2007)-65) The government of Japan (/wiki/Japan) has also tried to popularize Lolita fashion. The Minister of Foreign Affairs in February 2009 [69] (#cite_note-69) assigned models to spread Japanese pop culture. [70] (#cite_note-70) [71] (#cite_note-rauli.cbs.dk-71) [72] (#cite_note-KAWAMURA0015_Y._Kawamura_(2012)-72) [24] (#cite_note-K._Koma_(2013)-24) These people were given the title of Kawaa Taishi (ambassadors of cuteness). [71] (#cite_note-rauli.cbs.dk-71) [34] (#cite_note-L._Atkinson_2015_p._40-34) The first three ambassadors of cuteness were model Misako Aoki (/wiki/Misako_Aoki) , who represents the Lolita style of frills-and-lace, Yu Kimura, who represents the Harajuku style, and Shizuka Fujioka, who represents the school-uniform-styled fashion. [71] (#cite_note-rauli.cbs.dk-71) [73] (#cite_note-73) Another way that Japan tries to popularize Japanese street fashion and Lolita is by organizing the international Harajuku walk in Japan, potentially leading other countries to organize similar walks. [74] (#cite_note-74) Possible reasons for the popularity of Lolita fashion outside of Japan include a growing interest in Japanese culture as well as use of the Internet (/wiki/Internet) as a place to share information, [38] (#cite_note-F0011392106066816_Y._Kawamura_2006_p._793-794-38) [72] (#cite_note-KAWAMURA0015_Y._Kawamura_(2012)-72) [75] (#cite_note-75) [76] (#cite_note-76) leading to an increase in worldwide shopping and the opportunity for enthusiastic foreign Lolitas to purchase fashion items. [77] (#cite_note-Young_Kang_&_T._Diane_Cassidy_(2015)_pp._371-384.-77) The origin of Japanese cultural influence in the West can be traced back to the late nineties when cultural goods such as Hello Kitty (/wiki/Hello_Kitty) , Pokémon (/wiki/Pok%C3%A9mon) , [78] (#cite_note-78) and translated mangas appeared in the West. [79] (#cite_note-79) Anime was already being imported to the West in the early nineties, [80] (#cite_note-80) and scholars also mention that anime (/wiki/Anime) and manga (/wiki/Manga) caused the popularity of Japanese culture to rise. [37] (#cite_note-Chancy_J._Gatlin_2014_p._37_&_61-37) [81] (#cite_note-81) This is supported by the idea that cultural streams have been flowing both from Japan to the West, and from the West to Japan. [82] (#cite_note-82) Motives [ edit ] Lolita is seen as a reaction against stifling Japanese society (/wiki/Society) , in which young people are pressured to strictly adhere to gender roles (/wiki/Gender_role) and the expectations and responsibilities that are part of these roles. [83] (#cite_note-83) [84] (#cite_note-Younker_2011_100-84) [85] (#cite_note-85) [86] (#cite_note-86) [87] (#cite_note-87) Wearing fashion inspired by childhood clothing is a reaction against this. [88] (#cite_note-88) [84] (#cite_note-Younker_2011_100-84) [89] (#cite_note-89) [90] (#cite_note-90) This can be explained from two perspectives. Firstly, that it is a way to escape adulthood [18] (#cite_note-skemman.is-18) [65] (#cite_note-Kathryn_A._Hardy_Bernal_(2007)-65) [91] (#cite_note-91) [92] (#cite_note-92) [93] (#cite_note-93) [94] (#cite_note-94) and to go back to the eternal beauty of childhood. [95] (#cite_note-95) [96] (#cite_note-96) Secondly, that it is an escape to a fantasy world, in which an ideal identity (/wiki/Personal_identity) can be created that would not be acceptable in daily life. [5] (#cite_note-A._Haijima_(2013)-5) [97] (#cite_note-97) [98] (#cite_note-X12858453158066_Osmud_Rahman_2011-98) Some Lolitas say they enjoy the dress of the subculture simply because it is fun and not as a protest against traditional Japanese society. [10] (#cite_note-Y._Kawamura_(2012)-10) Other motives could be that wearing the fashion style increases their self-confidence [99] (#cite_note-A._Haijima_2013_p._40-99) [100] (#cite_note-100) [101] (#cite_note-101) [102] (#cite_note-102) or to express an alternative identity. [10] (#cite_note-Y._Kawamura_(2012)-10) [77] (#cite_note-Young_Kang_&_T._Diane_Cassidy_(2015)_pp._371-384.-77) [32] (#cite_note-dspace.carthage.edu-32) [98] (#cite_note-X12858453158066_Osmud_Rahman_2011-98) [103] (#cite_note-103) [104] (#cite_note-104) Socioeconomic dimension [ edit ] Many of the very early Lolitas in the 1990s hand-made most of their clothing, and were inspired by the Dolly Kei movement (/wiki/Japanese_street_fashion#Dolly_kei) of the previous decade. [31] (#cite_note-hdl.handle.net-31) Because of the diffusion of fashion magazines people were able to use Lolita patterns to make their own clothing. [ citation needed ] Another way to own Lolita was to buy it second-hand. [105] (#cite_note-105) The do-it-yourself behaviour can be seen more frequently by people who cannot afford the expensive brands. [106] (#cite_note-106) Once more retail stores began selling Lolita fashion, it became less common for Lolitas to make their own clothing. [ citation needed ] Partly due to the rise of e-commerce (/wiki/E-commerce) and globalization (/wiki/Globalization) , lolita clothing became more widely accessible with the help of the Internet. The market was quickly divided into multiple components: one which purchases mainly from Japanese or Chinese internet marketplaces, the other making use of shopping services to purchase Japanese brands, [77] (#cite_note-Young_Kang_&_T._Diane_Cassidy_(2015)_pp._371-384.-77) with some communities making larger orders as a group. [107] (#cite_note-107) Not every online shop delivers quality Lolita (inspired) products (/wiki/Product_(business)) , a notorious example being Milanoo (2014). [108] (#cite_note-108) Some web shops sell brand replicas, which is frowned upon by many in this community. [109] (#cite_note-Chancy_J._Gatlin_2014_p._93-109) A Chinese replica manufacturer (/wiki/Manufacturing) that is famous for his replica design is Oo Jia. [109] (#cite_note-Chancy_J._Gatlin_2014_p._93-109) Second-hand (/wiki/Used_good) shopping is also an alternative to buying new pieces as items can be bought at a lower price (albeit with varying item condition) and is the sole method of obtaining pieces that are no longer produced by their respective brand. Sociocultural dimension [ edit ] Many Lolitas consider being photographed without permission to be rude and disrespectful; [110] (#cite_note-110) [111] (#cite_note-111) [112] (#cite_note-112) however, some rules differ or overlap in different parts of this community. [113] (#cite_note-113) Lolitas often host meetings in public spaces such as parks, restaurants, cafes, shopping malls, public events, and festivals. [114] (#cite_note-114) Some meetings take place at members' homes, and often have custom house rules (e.g. each member must bring their own cupcake to the meeting). [115] (#cite_note-115) Lolita meetings are thus a social aspect of the Lolita fashion community, serving as an opportunity for members to meet one another. [ citation needed ] Many Lolitas also used to use Livejournal (/wiki/Livejournal) to communicate, but many have since switched to Facebook (/wiki/Facebook) groups. [116] (#cite_note-116) Terminology [ edit ] Lolita fashion emerged decades after the publication of Vladimir Nabokov (/wiki/Vladimir_Nabokov) 's novel Lolita (/wiki/Lolita) (1955). [77] (#cite_note-Young_Kang_&_T._Diane_Cassidy_(2015)_pp._371-384.-77) [117] (#cite_note-M._Christopherson_(2014)_p._23-117) The first Japanese translation was published in 1959. [55] (#cite_note-ijoc.org-55) The novel is about a middle-aged man, Humbert Humbert, who grooms and abuses a twelve-year-old girl nicknamed Lolita. [118] (#cite_note-118) [119] (#cite_note-119) [120] (#cite_note-120) Because the book focused on the controversial subject of pedophilia and underage sexuality, "Lolita" soon developed a negative connotation (/wiki/Pejorative) referring to a girl inappropriately sexualized at a very young age [121] (#cite_note-121) and associated with unacceptable sexual obsession. [122] (#cite_note-122) In Japan, however, discourse around the novel instead built on the country's romanticized girls' culture ( shōjo bunka ), and came to be a positive synonym for the "sweet and adorable" adolescent girl, without a perverse or sexual connotation. [123] (#cite_note-Zank-123) Lolita was made into a movie (/wiki/Lolita_(1962_film)) in 1962, which was sexualized and did not show the disinterest that Dolores (the character in Nabokov's novel to whom the nickname "Lolita" is given) had in sexuality. [124] (#cite_note-124) [125] (#cite_note-125) A remake was made in 1997 (/wiki/Lolita_(1997_film)) . The 17-year-old Amy Fisher (/wiki/Amy_Fisher) , who attempted to murder the wife of her 35-year-old lover and whose crime was made into a film called The Amy Fisher Story (/wiki/The_Amy_Fisher_Story) (1993), was often called the Long Island Lolita. These films reinforced the sexual association. [126] (#cite_note-126) Other racy connotations were created by Lolita Nylon advertisements (1964) [127] (#cite_note-127) and other media that used Lolita in sexual contexts. [128] (#cite_note-Monden_2008_34-128) Within Japanese culture the name refers to cuteness and elegance rather than to sexual attractiveness. [129] (#cite_note-129) [130] (#cite_note-130) Many Lolitas in Japan are not aware that Lolita is associated with Nabokov's book and they are disgusted by it when they discover such relation. [131] (#cite_note-131) The Japanese sense of "Lolita" also appears in lolicon (/wiki/Lolicon) (from "Lolita complex"), [132] (#cite_note-132) [133] (#cite_note-133) a term associated with Russell Trainer's novel The Lolita Complex (1966, translated 1969) and associated with otaku (/wiki/Otaku) (anime and manga fan) culture. The concept and genre of media reflects a blend between the aesthetic of kawaii and sexual themes in fiction. [123] (#cite_note-Zank-123) Another common confusion is between the Lolita fashion style and cosplay (/wiki/Cosplay) . [134] (#cite_note-134) Although both spread from Japan, they are different and should be perceived as independent from each other; [135] (#cite_note-135) one is a fashion style while the other is role-play, with clothing and accessory being used to play a character. This does not exclude that there may be some overlap between members of the groups. [136] (#cite_note-136) This can be seen at anime conventions (/wiki/Anime_conventions) such as the convention in Göteborg in which cosplay and Japanese fashion is mixed. [137] (#cite_note-137) For some Lolitas, it is insulting if people label their outfit as a costume. [10] (#cite_note-Y._Kawamura_(2012)-10) [138] (#cite_note-138) Gallery [ edit ] Hime Lolita Classic Lolita Shiro/White Lolita (left) and Kuro/Black Lolita (right) Sweet Lolita ( Nana Kitade (/wiki/Nana_Kitade) ) Sweet Lolita ( Misako Aoki (/wiki/Misako_Aoki) ) Sweet Lolita Sweet Lolita Country Lolita (Nana Kitade) Pirate Lolita Punk Lolita Wa-Lolita with characteristics of Guro Lolita (eyepatch) Ouji (a similar fashion with a more masculine appearance) Gothic Lolita Elegant Gothic Aristocrat (left) and Gothic Lolita (right) See also [ edit ] Kamikaze Girls (/wiki/Kamikaze_Girls) Kogal (/wiki/Kogal) Gyaru (/wiki/Gyaru) Novala Takemoto (/wiki/Novala_Takemoto) References [ edit ] Citations [ edit ] ^ (#cite_ref-1) Hardy Bernal 2011 (#CITEREFHardy_Bernal2011) , p. 20 ^ (#cite_ref-2) Monden 2008 (#CITEREFMonden2008) ^ Jump up to: a b Robinson 2014 (#CITEREFRobinson2014) , p. 9 ^ (#cite_ref-4) Gatlin 2014 (#CITEREFGatlin2014) , p. 16 ^ Jump up to: a b c Haijima 2013 (#CITEREFHaijima2013) , p. 32 ^ (#cite_ref-K._Coombes_(2016)_p._36_6-0) Coombes 2016 (#CITEREFCoombes2016) , p. 36 ^ (#cite_ref-7) Monden 2008 (#CITEREFMonden2008) , p. 29 ^ (#cite_ref-8) Younker, Terasa. 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"Kawaii vs. rorikon: The reinvention of the term Lolita in modern Japanese manga". In Berninger, M.; Ecke, J.; Haberkorn, G. (eds.). Comics as a Nexus of Cultures: Essays on the Interplay of Media, Disciplines and International Perspectives . Jefferson, NC: McFarland & Company (/wiki/McFarland_%26_Company) . pp. 211–222. ISBN (/wiki/ISBN_(identifier)) 978-0-7864-3987-4 . ^ (#cite_ref-124) Hinton 2013 (#CITEREFHinton2013) , pp. 1584–1585 ^ (#cite_ref-125) "Lolita Fashion" (https://web.archive.org/web/20170806085224/https://www.theparisreview.org/blog/2017/05/25/lolita-fashion/) . The Paris Review . 25 May 2017. Archived from the original (https://www.theparisreview.org/blog/2017/05/25/lolita-fashion/) on 6 August 2017 . Retrieved 6 August 2017 . ^ (#cite_ref-126) Hinton 2013 (#CITEREFHinton2013) , pp. 1586–1587 ^ (#cite_ref-127) "Lolita Nylon Advertisements" (http://www.knijp.com/nylons_pantys.htm) . 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Een subcultuuronderzoek. , Lora-Elly Vannieuwenhuysen, p. 48, KU Leuven, 2014–2015. ^ (#cite_ref-137) Mikami 2011 (#CITEREFMikami2011) , pp. 5–12 ^ (#cite_ref-138) Gatlin 2014 (#CITEREFGatlin2014) , p. 30 General references [ edit ] Berry, B. (2017). Ethnographic Comparison of a Niche Fashion Group, Lolita (Thesis). Florida Atlantic University. Christopherson, M. (2014). The Power of Cute: Redefining Kawaii Culture As a Feminist Movement (Thesis). Carthage College. Archived from the original (https://dspace.carthage.edu/handle/123456789/2121) on 11 August 2017 . Retrieved 10 February 2018 . Coombes, K. (2016). Consuming Hello Kitty: Saccharide Cuteness in Japanese Society (Thesis). Wellesley College. Gatlin, Chancy J. (2014). The Fashion of Frill: The Art of Impression Management in the Atlanta Lolita and Japanese Street Fashion Community (Thesis). Georgia State University. Haijima, A. (2013). Japanese Popular Culture in Latvia: Lolita and Mori Fashion (Thesis). University of Latvia. Hardy Bernal, Kathryn A. (2007). Kamikaze Girls and Loli-Goths . Fashion in Fiction Conference, University of Technology, Sydney, Australia. Archived from the original (http://www.aut.ac.nz/profiles/test/senior-lecturers/kathryn-hardy-bernal) on 11 August 2017 . Retrieved 11 February 2018 . Hardy Bernal, Kathryn Adele (2011). The Lolita Complex: A Japanese fashion subculture and its paradoxes (PDF) (MPhil Thesis). Auckland University of Technology. hdl (/wiki/Hdl_(identifier)) : 10292/2448 (https://hdl.handle.net/10292%2F2448) . Hinton, Perry R. (2013). "Returning in a Different Fashion: Culture, Communication, and Changing Representations of Lolita in Japan and the West" (http://ijoc.org/index.php/ijoc/article/view/1333) . International Journal of Communication . 7 : 1582–1602. Mikami, K. (2011). Cultural Globalization in People's Life Experiences: Japanese Popular Cultural Styles in Sweden (Thesis). Stockholm University. Monden, Masafumi (2008). "Transcultural Flow of Demure Aesthetics: Examining Cultural Globalisation through Gothic & Lolita Fashion, The Japan Foundation Sydney" (https://doi.org/10.21159%2Fnv.02.02) . New Voices . 2 : 21–40. doi (/wiki/Doi_(identifier)) : 10.21159/nv.02.02 (https://doi.org/10.21159%2Fnv.02.02) . Onohara, N. (2011). "Japan as fashion: Contemporary reflections on being fashionable" (https://doi.org/10.15388%2FAOV.2011.0.1095) . Acta Orientalia Vilnensia . 12 (1): 29–41. doi (/wiki/Doi_(identifier)) : 10.15388/AOV.2011.0.1095 (https://doi.org/10.15388%2FAOV.2011.0.1095) . Peirson-Smith, A. (2015). Hey sister, can I borrow your style?: a study of the trans-cultural, trans-textual flows of the Gothic Lolita trend in Asia and beyond (Thesis). City University of Hong Kong. Plevíková, I. (2017). Lolita: A Cultural Analysis (Thesis). Masarykova Univerzita. Robinson, K. (2014). Empowered Princesses: An Ethnographic Examination of the Practices, Rituals, and Conflicts within Lolita Fashion Communities in the United States (Thesis). Georgia State University. Staite, S. Abigail (2012). Lolita: Atemporal Class-Play With tea and cakes (Thesis). University of Tasmania. Valdimarsdótti, I. Guðlaug (2015). Fashion Subcultures in Japan. A multilayered history of street fashion in Japan (Thesis). University of Iceland. Younker, T. (2011). "Lolita: Dreaming, Despairing, Defying" (http://www.asia-studies.com/sjeaa2011.1.html) . Stanford Journal of East Asian Affairs . 11 (1): 97–110. Further reading and documentaries [ edit ] Lolitas Of Amsterdam | Style Out There | Refinery29 (documentary) at YouTube (https://www.youtube.com/watch?v=zV3OtzUwcPg) Lolita Fashion documentaries (documentaires) playlist at YouTube (https://www.youtube.com/playlist?list=PLTsSNI3b0jOeGic1vLxZFkfTj586iCyho) List of Lolita brands at Tumblr (https://lolita-tips.tumblr.com/post/83160633039/where-to-buy-lolita-fashion) (archived version at archive (https://web.archive.org/web/20161119221739/http://lolita-tips.tumblr.com:80/post/83160633039/where-to-buy-lolita-fashion) , 14 August 2017 version) Rebels in Frills: a Literature Review on Lolita Subculture at Academia (thesis) from South Carolina Honors College (https://www.academia.edu/19955055/Rebels_in_Frills_a_Literature_Review_on_Lolita_Subculture) Archived (https://web.archive.org/web/20190704212253/https://www.academia.edu/19955055/Rebels_in_Frills_a_Literature_Review_on_Lolita_Subculture) 4 July 2019 at the Wayback Machine (/wiki/Wayback_Machine) Shoichi Aoki Interview (2003) founder of the street fashion magazine FRUiTS at ABC Australia (http://www.abc.net.au/radionational/programs/nightair/shoichi-aoki-interview/3525068) (archived version at archive (https://web.archive.org/web/20170814072639/http://www.abc.net.au/radionational/programs/nightair/shoichi-aoki-interview/3525068) , 14 August 2017 version) The Tea Party Club's 5th Anniversary starring Juliette et Justine: Q&A (2012) at Jame World (http://www.jame-world.com/uk/articles-90985-the-tea-party-club-s-5th-anniversary-starring-juliette-et-justine-q-a.html) (archived version at archive (https://web.archive.org/web/20170814074205/http://www.jame-world.com/uk/articles-90985-the-tea-party-club-s-5th-anniversary-starring-juliette-et-justine-q-a.html) , 14 August 2017 version) Innocent World Tea Party in Vienna: Q&A (2013) at Jame World (http://www.jame-world.com/us/articles-98079-innocent-world-tea-party-in-vienna-q-a.html) (archived version at archive (https://web.archive.org/web/20170814074004/http://www.jame-world.com/us/articles-98079-innocent-world-tea-party-in-vienna-q-a.html) , 14 August 2017 version) The Tea Party Club Presents: Revelry Q&A (2014) at Jame World (http://www.jame-world.com/us/articles-111951-the-tea-party-club-presents-revelry-q-a.html) (archived version at archive (https://web.archive.org/web/20170814073942/http://www.jame-world.com/us/articles-111951-the-tea-party-club-presents-revelry-q-a.html) , 14 August 2017 version) External links [ edit ] Wikimedia Commons has media related to Lolita fashion . 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Jeri Ah-be-hill Born Geraldine Fuller ( 1933-09-23 ) September 23, 1933 Apache, Oklahoma (/wiki/Apache,_Oklahoma) Died March 11, 2015 (2015-03-11) (aged 81) Santa Fe, New Mexico (/wiki/Santa_Fe,_New_Mexico) Nationality Kiowa Tribe of Oklahoma (/wiki/Kiowa_Tribe_of_Oklahoma) , American Other names Jeri Greeves, Jeri Fuller Ahbe-hill Occupation(s) businesswoman, Native American apparel collector, docent, and curator Years active 1965–2015 Children Teri Greeves (/wiki/Teri_Greeves) Keri Ataumbi (/wiki/Keri_Ataumbi) Jeri Ah-be-hill (September 23, 1933 – March 11, 2015) was a Kiowa (/wiki/Kiowa) fashion expert and art dealer. She owned and operated a trading post on the Wind River Indian Reservation (/wiki/Wind_River_Indian_Reservation) for more than twenty years before moving to Santa Fe, New Mexico where she became the curator of the annual Native American Clothing Contest held at the Santa Fe Indian Market (/wiki/Santa_Fe_Indian_Market) . She also worked as a docent (/wiki/Docent) at both the Institute of American Indian Arts (/wiki/Institute_of_American_Indian_Arts) and the Wheelwright Museum of the American Indian (/wiki/Wheelwright_Museum_of_the_American_Indian) . Considered an expert on Native American fashion, she traveled nationally presenting educational information about tribal clothing. Early life [ edit ] Geraldine Fuller was born on September 23, 1933 [Notes 1] (#cite_note-4) in Apache, Oklahoma (/wiki/Apache,_Oklahoma) to Sarah (née Ataumbi) and Earl Fuller. Her mother was a member of the Kiowa Tribe of Oklahoma (/wiki/Kiowa_Tribe_of_Oklahoma) , and her father was a member of the Comanche Nation (/wiki/Comanche_Nation) . [3] (#cite_note-FOOTNOTEU.S._Indian_Census1934209-3) [1] (#cite_note-FOOTNOTEBerardinelli_Family_Funeral_Service2015-1) [4] (#cite_note-FOOTNOTE''The_Oklahoman''1991-5) She was a great-niece of the noted Kiowa artist Silver Horn (/wiki/Silver_Horn) . [5] (#cite_note-FOOTNOTESilverman199542-6) Fuller studied at Riverside Indian School (/wiki/American_Indian_boarding_schools) in Anadarko (/wiki/Anadarko,_Oklahoma) , [2] (#cite_note-FOOTNOTEHaywood2015-2) becoming involved in Native American apparel when she was asked to model in 1951 at the fashion show of the Peoria, Illinois (/wiki/Peoria,_Illinois) Indian Arts and Crafts Association. From the age of twenty-one, she wore nothing but American Indian-inspired clothing. [6] (#cite_note-FOOTNOTEGolar2015-7) She attended courses at the University of Oklahoma (/wiki/University_of_Oklahoma) in the early 1950s, before moving to St. Louis, Missouri (/wiki/St._Louis,_Missouri) , where she worked at McQuay-Norris (/wiki/McQuay-Norris) . [7] (#cite_note-FOOTNOTEMcGuire19812J-8) In 1954, Fuller married Richard Greeves, an artist and the couple moved to Fort Washakie, Wyoming (/wiki/Fort_Washakie,_Wyoming) , where Jeri set up a studio on the Wind River Indian Reservation (/wiki/Wind_River_Indian_Reservation) . [2] (#cite_note-FOOTNOTEHaywood2015-2) [6] (#cite_note-FOOTNOTEGolar2015-7) They had their two daughters Teri (/wiki/Teri_Greeves) (born 1970) [8] (#cite_note-FOOTNOTEMcFaddenTaubman200527-9) and Keri (/wiki/Keri_Ataumbi) (born 1971), [9] (#cite_note-FOOTNOTE''The_Santa_Fe_New_Mexican''199015-10) [7] (#cite_note-FOOTNOTEMcGuire19812J-8) who would both become noted Native American artists. [2] (#cite_note-FOOTNOTEHaywood2015-2) Career [ edit ] In 1965, Fuller established a gallery and trading post for American Indian arts and crafts. She also began collecting Native American apparel. [2] (#cite_note-FOOTNOTEHaywood2015-2) [6] (#cite_note-FOOTNOTEGolar2015-7) [10] (#cite_note-FOOTNOTECook-Romero2005Z027-11) Though it was unusual for an American Indian woman to operate a business at that time, [10] (#cite_note-FOOTNOTECook-Romero2005Z027-11) Fuller had wanted to find ways to help Native artists promote their work since she was a child. [6] (#cite_note-FOOTNOTEGolar2015-7) Many of the works she carried featured the beadwork (/wiki/Beadwork) of the nearby Arapaho (/wiki/Arapaho) and Shoshone (/wiki/Shoshone) artists, but she carried a wide variety of arts and crafts made by diverse indigenous Americans. [2] (#cite_note-FOOTNOTEHaywood2015-2) She began giving fashion shows to showcase various examples of tribal dress. [11] (#cite_note-FOOTNOTE''The_Jackson_Hole_News_and_Guide''197121-12) [12] (#cite_note-FOOTNOTE''The_Jackson_Hole_News''19776-13) She operated the trading post until her divorce in 1988 and then relocated to Santa Fe, New Mexico (/wiki/Santa_Fe,_New_Mexico) . [2] (#cite_note-FOOTNOTEHaywood2015-2) Fuller volunteered at the Indigenous Language Institute and worked at both the Institute of American Indian Arts (/wiki/Institute_of_American_Indian_Arts) and the Wheelwright Museum of the American Indian (/wiki/Wheelwright_Museum_of_the_American_Indian) , as a docent. [2] (#cite_note-FOOTNOTEHaywood2015-2) In 1990, she legally changed her name to Jeri Ah-be-hill [9] (#cite_note-FOOTNOTE''The_Santa_Fe_New_Mexican''199015-10) and began working at Arrowsmith's Gallery, providing year-round fashion exhibitions. [13] (#cite_note-FOOTNOTEEauclaire199368-14) Ah-be-hill did not see herself as an artist, but rather someone who had gained knowledge from buying for many years [10] (#cite_note-FOOTNOTECook-Romero2005Z027-11) and who could educate others about Native American dance regalia and historical clothing. [13] (#cite_note-FOOTNOTEEauclaire199368-14) In 1991, she was elected to the board of directors for the Southwestern Association for Indian Arts (SWAIA) [14] (#cite_note-FOOTNOTE''The_Santa_Fe_New_Mexican''199115-15) and began directing the fashion show and contest for the Santa Fe Indian Market (/wiki/Santa_Fe_Indian_Market) . [13] (#cite_note-FOOTNOTEEauclaire199368-14) Ah-be-hill was quick to point out the differences in Native fashions from more mainstream clothing. They were not " costumes (/wiki/Costumes) ", which she equated to dress-up (/wiki/Dress-up) games, but rather culturally significant clothing and often handmade in tribally specific styles. [13] (#cite_note-FOOTNOTEEauclaire199368-14) [15] (#cite_note-FOOTNOTETempleman200274-75-16) Over the years that she directed the fashion contest, she saw an increase in contemporary design, which was judged in a separate category. [16] (#cite_note-FOOTNOTESchoenberg201228-17) [15] (#cite_note-FOOTNOTETempleman200274-75-16) After seventeen years of directing the popular style show at the Santa Fe Indian Market, Ah-be-hill stepped aside as chair in 2008, but continued to serve as an event advisor. [2] (#cite_note-FOOTNOTEHaywood2015-2) [16] (#cite_note-FOOTNOTESchoenberg201228-17) Ah-Be-Hill co-wrote "As Long As I Can Thread a Needle: Southern Plains Beadworkers and Their Art" with Charles J. Lohrmann in Native Peoples magazine (Summer 1992). [17] (#cite_note-18) When she was not involved with the Indian Market, Ah-be-hill traveled widely presenting educational talks on Native fashions both throughout the United States and internationally. [18] (#cite_note-FOOTNOTEOlmstead200820-19) She also curated events such as the Smithsonian Museum of Natural History (/wiki/Smithsonian_Museum_of_Natural_History) traveling exhibit on Silver Horn (/wiki/Silver_Horn) , which toured the country in 1995 and included pieces from her collection of her great-uncle, Silver Horn's work. [5] (#cite_note-FOOTNOTESilverman199542-6) In 2010, she served as a Native representative for the Caen Festival of Normandy (/wiki/Normandy) , France. [19] (#cite_note-FOOTNOTE''The_Santa_Fe_New_Mexican''2010C005-20) In 2011, she was the recipient of the Povi’ka Award of the Santa Fe Indian Market in recognition of her leadership and support to Native American artists and communities. [20] (#cite_note-FOOTNOTE''The_Santa_Fe_New_Mexican''2011Z072-21) [21] (#cite_note-FOOTNOTE''The_Albuquerque_Journal''201138-22) Death and legacy [ edit ] Ah-be-hill died on March 11, 2015, in Santa Fe. [1] (#cite_note-FOOTNOTEBerardinelli_Family_Funeral_Service2015-1) Between 2014 and 2016, an exhibit held honoring Native American women artists, featured part of the collection of Jeri Ah-be-hill, and works by Margarete Bagshaw, and Josephine Myers-Wapp (/wiki/Josephine_Myers-Wapp) and were displayed at the Museum of Indian Arts and Culture (/wiki/Museum_of_Indian_Arts_and_Culture) (MIAC) in Santa Fe. The three were honored in 2016 by the MIAC for Women's History Month (/wiki/Women%27s_History_Month) . [22] (#cite_note-FOOTNOTEJacobs2016-23) Notes [ edit ] ^ (#cite_ref-4) Several published sources give her birth year as 1934; [1] (#cite_note-FOOTNOTEBerardinelli_Family_Funeral_Service2015-1) [2] (#cite_note-FOOTNOTEHaywood2015-2) however, given that she was born in September and appears on the 1934 Kiowa-Comanche Census which was taken April 1, 1934, the date on the census appears to be more accurate. [3] (#cite_note-FOOTNOTEU.S._Indian_Census1934209-3) References [ edit ] Citations [ edit ] ^ Jump up to: a b c Berardinelli Family Funeral Service 2015 (#CITEREFBerardinelli_Family_Funeral_Service2015) . ^ Jump up to: a b c d e f g h i Haywood 2015 (#CITEREFHaywood2015) . ^ Jump up to: a b U.S. Indian Census 1934 (#CITEREFU.S._Indian_Census1934) , p. 209. ^ (#cite_ref-FOOTNOTE''The_Oklahoman''1991_5-0) The Oklahoman 1991 (#CITEREFThe_Oklahoman1991) . ^ Jump up to: a b Silverman 1995 (#CITEREFSilverman1995) , p. 42. ^ Jump up to: a b c d Golar 2015 (#CITEREFGolar2015) . ^ Jump up to: a b McGuire 1981 (#CITEREFMcGuire1981) , p. 2J. ^ (#cite_ref-FOOTNOTEMcFaddenTaubman200527_9-0) McFadden & Taubman 2005 (#CITEREFMcFaddenTaubman2005) , p. 27. ^ Jump up to: a b The Santa Fe New Mexican 1990 (#CITEREFThe_Santa_Fe_New_Mexican1990) , p. 15. ^ Jump up to: a b c Cook-Romero 2005 (#CITEREFCook-Romero2005) , p. Z027. ^ (#cite_ref-FOOTNOTE''The_Jackson_Hole_News_and_Guide''197121_12-0) The Jackson Hole News and Guide 1971 (#CITEREFThe_Jackson_Hole_News_and_Guide1971) , p. 21. ^ (#cite_ref-FOOTNOTE''The_Jackson_Hole_News''19776_13-0) The Jackson Hole News 1977 (#CITEREFThe_Jackson_Hole_News1977) , p. 6. ^ Jump up to: a b c d Eauclaire 1993 (#CITEREFEauclaire1993) , p. 68. ^ (#cite_ref-FOOTNOTE''The_Santa_Fe_New_Mexican''199115_15-0) The Santa Fe New Mexican 1991 (#CITEREFThe_Santa_Fe_New_Mexican1991) , p. 15. ^ Jump up to: a b Templeman 2002 (#CITEREFTempleman2002) , p. 74-75. ^ Jump up to: a b Schoenberg 2012 (#CITEREFSchoenberg2012) , p. 28. ^ (#cite_ref-18) Ah Be Hill, Jeri; Lohrmann, Charles J. (Summer 1995). "As Long As I Can Thread a Needle: Southern Plains Beadworks and Their Art". Native Peoples . 6 (4): 10–18. ^ (#cite_ref-FOOTNOTEOlmstead200820_19-0) Olmstead 2008 (#CITEREFOlmstead2008) , p. 20. ^ (#cite_ref-FOOTNOTE''The_Santa_Fe_New_Mexican''2010C005_20-0) The Santa Fe New Mexican 2010 (#CITEREFThe_Santa_Fe_New_Mexican2010) , p. C005. ^ (#cite_ref-FOOTNOTE''The_Santa_Fe_New_Mexican''2011Z072_21-0) The Santa Fe New Mexican 2011 (#CITEREFThe_Santa_Fe_New_Mexican2011) , p. Z072. ^ (#cite_ref-FOOTNOTE''The_Albuquerque_Journal''201138_22-0) The Albuquerque Journal 2011 (#CITEREFThe_Albuquerque_Journal2011) , p. 38. ^ (#cite_ref-FOOTNOTEJacobs2016_23-0) Jacobs 2016 (#CITEREFJacobs2016) . Bibliography [ edit ] Cook-Romero, Elizabeth (2 December 2005). "A Tradition of Breaking Tradition (pt 1)" (https://www.newspapers.com/clip/13158052/the_santa_fe_new_mexican/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . p. 26 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . and Cook-Romero, Elizabeth (2 December 2005). "A Tradition of Breaking Tradition (pt 2)" (https://www.newspapers.com/clip/13158072/the_santa_fe_new_mexican/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . p. 27 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . and Cook-Romero, Elizabeth (19 August 1993). "A Tradition of Breaking Tradition (pt 3)" (https://www.newspapers.com/clip/13158083/the_santa_fe_new_mexican/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . p. 68 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . Eauclaire, Sally (19 August 1993). "Clothing Show Shows the Finest" (https://www.newspapers.com/clip/13161144/the_santa_fe_new_mexican/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . p. 68 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . Golar, Stacy (16 August 2015). "Jeri Ah-be-hill Story" (https://www.newspapers.com/clip/13156096/the_santa_fe_new_mexican/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . p. Z053 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . Haywood, Phaedra (13 March 2015). "Jeri Ah-be-hill, 1934–2015: Indigenous fashion aficionado was 'a giant in honoring her native culture' (http://www.santafenewmexican.com/life/features/jeri-ah-be-hill---indigenous-fashion-aficionado-was/article_b7b30f1e-0b78-5eae-bcab-5222c1270ade.html) " (http://www.santafenewmexican.com/life/features/jeri-ah-be-hill---indigenous-fashion-aficionado-was/article_b7b30f1e-0b78-5eae-bcab-5222c1270ade.html) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . Retrieved 17 August 2017 . Jacobs, Alex (April 28, 2016). "Honoring Native Women Every Day at the Museum of Indian Art and Culture" (https://web.archive.org/web/20170326121836/https://indiancountrymedianetwork.com/culture/arts-entertainment/honoring-native-women-every-day-at-the-museum-of-indian-art-and-culture/) . New York City, New York: Indian Country Media Network (/wiki/Indian_Country_Media_Network) . Archived from the original (https://indiancountrymedianetwork.com/culture/arts-entertainment/honoring-native-women-every-day-at-the-museum-of-indian-art-and-culture/) on 26 March 2017 . Retrieved 14 August 2017 . McFadden, David Revere; Taubman, Ellen Napiura (2005). Contemporary Native North American art from the West, Northwest & Pacific . New York, New York: Museum of Arts & Design. ISBN (/wiki/ISBN_(identifier)) 1-890385-11-5 . McGuire, John M. (24 May 1981). "The White 'Indian': Preserving a Culture in Bronze (pt. 1)" (https://www.newspapers.com/clip/13156748/st_louis_postdispatch/) . St. Louis, Missouri: The St. Louis Post-Dispatch (/wiki/The_St._Louis_Post-Dispatch) . p. 1J . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . and McGuire, John M. (24 May 1981). "Richard Greeves (pt. 2)" (https://www.newspapers.com/clip/13156765/st_louis_postdispatch/) . St. Louis, Missouri: The St. Louis Post-Dispatch (/wiki/The_St._Louis_Post-Dispatch) . p. 2J . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . Olmstead, Donna (17 August 2008). "Cloaked in Meaning: Outfits at clothing contest 'are like a language' matched with dances (pt 1)" (https://www.newspapers.com/clip/13165504/albuquerque_journal/) . Albuquerque, New Mexico: The Albuquerque Journal (/wiki/The_Albuquerque_Journal) . p. 20 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . and Olmstead, Donna (17 August 2008). "Outfits scrutinized for detail and beauty (pt 2)" (https://www.newspapers.com/clip/13165543/albuquerque_journal/) . Albuquerque, New Mexico: The Albuquerque Journal (/wiki/The_Albuquerque_Journal) . p. 22 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . Schoenberg, Amanda (5 August 2012). "Fashion here and now: Contest draws contemporary takes on traditional clothing" (https://www.newspapers.com/clip/13164769/albuquerque_journal/) . Albuquerque, New Mexico: The Albuquerque Journal (/wiki/The_Albuquerque_Journal) . p. 28 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . Silverman, Jason (13 January 1995). "Illuminating the legend of the Kiowa trickster" (https://www.newspapers.com/clip/13161906/the_santa_fe_new_mexican/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . p. 42 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . Templeman, Barbara (14 August 2002). "A Visual Feast (pt 1)" (https://www.newspapers.com/clip/13165176/the_santa_fe_new_mexican/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . p. 74 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . and Templeman, Barbara (14 August 2002). "A Visual Feast (pt 2)" (https://www.newspapers.com/clip/13165210/the_santa_fe_new_mexican/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . p. 75 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . "1934 Indian Census: Kiowa, Comanche, Apache, and Ft. Sill Apache of the Kiowa Agency, Anadarko, Oklahoma" (https://archive.org/stream/indiancensusroll222unit#page/n208/mode/1up) . Washington, D. C.: National Archives and Records Service. 1 April 1934. p. 209. NARA Microfilm Series #595, Roll 222 . Retrieved 17 August 2017 . "2011 Povika Award: Honorees Exemplify What Is Right with the World" (https://www.newspapers.com/clip/13161584/the_santa_fe_new_mexican/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . 14 August 2011. p. Z072 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . "Jackson Soroptimists Host Regional Meeting" (https://www.newspapers.com/clip/13157833/jackson_hole_news_and_guide/) . Jackson, Wyoming: The Jackson Hole News and Guide. 29 April 1971. p. 21 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . "Petition for Name Change" (https://www.newspapers.com/clip/13158309/petition_for_name_change_the_santa_fe/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . 17 September 1990. p. 15 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . "SWAIA to honor contributions to Native culture" (https://www.newspapers.com/clip/13161627/albuquerque_journal/) . Albuquerque, New Mexico: The Albuquerque Journal (/wiki/The_Albuquerque_Journal) . 15 May 2011. p. 38 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . "Tribute: Jeri Ah-be-hill" (https://web.archive.org/web/20170817144444/http://www.berardinellifuneralhome.com/tributes/Jeri-Ah-be-hill) . Berardinelli Funeral Home . Santa Fe, New Mexico: Berardinelli Family Funeral Service. 11 March 2015. Archived from the original (http://www.berardinellifuneralhome.com/tributes/Jeri-Ah-be-hill) on 17 August 2017 . Retrieved 17 August 2017 . "Sarah Ataumbi Big Eagle" (https://web.archive.org/web/20170817144802/http://newsok.com/article/2353292) . Oklahoma City, Oklahoma: The Oklahoman (/wiki/The_Oklahoman) . 10 April 1991. Archived from the original (http://newsok.com/article/2353292) on 17 August 2017 . Retrieved 17 August 2017 . "Show of Indian Fashion" (https://www.newspapers.com/clip/13157852/show_of_indian_fashion_the_jackson/) . Jackson, Wyoming: The Jackson Hole News. 14 September 1977. p. 6 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . "(untitled)" (https://www.newspapers.com/clip/13161733/untitled_the_santa_fe_new_mexican/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . 26 May 1991. p. 15 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . "(untitled)" (https://www.newspapers.com/clip/13165346/untitled_the_santa_fe_new_mexican/) . Santa Fe, New Mexico: The Santa Fe New Mexican (/wiki/The_Santa_Fe_New_Mexican) . 1 December 2010. p. C005 . Retrieved 17 August 2017 – via Newspapers.com (/wiki/Newspapers.com) . 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Indian Actor (born 1988) Sahil Salathia Sahil Salathia: an interview photo Born ( 1990-04-13 ) 13 April 1990 (age 34) Jammu (/wiki/Jammu) , India Alma mater Punjab University, Chandigarh (/wiki/Punjab_University,_Chandigarh) Occupation Actor Years active 2015–present Sahil Salathia is an Indian actor. Early life and education [ edit ] Sahil hails from a Dogra Rajput family in Jammu (/wiki/Jammu) city, the state of Jammu and Kashmir (/wiki/Jammu_and_Kashmir_(state)) . Sahil did his schooling at Apeejay School in Delhi (/wiki/Delhi) and is a software Engineer from the Punjab University, Chandigarh (/wiki/Punjab_University,_Chandigarh) . Sahil is also a trained actor from Barry John Acting School (/wiki/Barry_John_(theatre_director)) . [1] (#cite_note-1) Modeling [ edit ] Sahil represented India at Mr. Asia (/wiki/Mr._Asia_Contest) 2012 in Hong Kong (/wiki/Hong_Kong) and was a finalist (Top 5) amongst 32 Asian and Euro-Asian countries. Sahil has been the face [2] (#cite_note-2) for many popular brands and has also done brand campaigns for almost fifty leading brands in India, some of the brands are; Idea Cellular, Tata Indicom, Kingfisher (/wiki/Kingfisher) , Big Bazaar and Mercedes Benz, etc. He has also appeared in all the leading magazines such as Maxim (/wiki/Maxim_(India)) , GQ (/wiki/GQ_(Indian_edition)) and Hello to name a few, as well as on the cover of India Today (/wiki/India_Today) and Men's Health India . He has done around 20 commercials in India (/wiki/India) and abroad. His latest television commercials include Tata Tetley Green Tea, Lava Mobile Phones, Tata Indica (/wiki/Tata_Indica) , Samsung laptops, Loop mobiles and is continuing. Career [ edit ] He made his acting debut, [3] (#cite_note-3) as the male lead in Ashutosh Gowariker (/wiki/Ashutosh_Gowariker) 's Everest, [4] (#cite_note-4) [5] (#cite_note-5) [6] (#cite_note-6) where he gets to play an extremely layered character [7] (#cite_note-7) of a celebrated mountaineer [8] (#cite_note-8) called Arjun Sabharwal (/wiki/Everest_(Indian_TV_series)) . He was particularly excited [9] (#cite_note-9) to be represented by the great combo of ace director Ashutosh Gowariker (/wiki/Ashutosh_Gowariker) [10] (#cite_note-10) [11] (#cite_note-11) and A. R. Rahman (/wiki/A._R._Rahman) , the Oscar-winning music director who has done the background score for Everest . [12] (#cite_note-12) Sahil was recently awarded the Best Fresh Face by the Lion Gold Awards for his extremely appreciated portrayal of Arjun on screen. A sought-after face in the Indian entertainment circuit, [13] (#cite_note-13) he made his Bollywood film debut on the big screen with Ashutosh Gowarikar (/wiki/Ashutosh_Gowariker) 's Panipat (/wiki/Panipat_(film)) . [14] (#cite_note-14) He is the pride [15] (#cite_note-15) of Jammu (/wiki/Jammu) and an inspiration to many that hard work and perseverance pays off. Filmography [ edit ] Films [ edit ] Year Film Role Notes 2019 Panipat (/wiki/Panipat_(film)) Shamsher Bahadur (/wiki/Shamsher_Bahadur_I_(Krishna_Rao)) Television [ edit ] Year Film Role Notes 2014 Everest (/wiki/Everest_(Indian_TV_series)) Arjun Sabharwal Protagonist 2016 P.O.W.- Bandi Yuddh Ke (/wiki/P.O.W.-_Bandi_Yuddh_Ke) Yusuf Wali Muazzam Antagonist 2020 Hasmukh (/wiki/Hasmukh) Rahul Kapoor Special Appearance Web series [ edit ] Year Film Role Notes 2020 Paurashpur (/wiki/Paurashpur) Bhanu Released on ALTBalaji (/wiki/ALTBalaji) and ZEE5 (/wiki/List_of_ZEE5_original_web_series) 2020 Kaun Banegi Shikharwati (/wiki/Kaun_Banegi_Shikharwati) Released on ZEE5 (/wiki/List_of_ZEE5_original_web_series) , Special Appearance Social causes [ edit ] Apart from acting and modeling, Sahil is also involved in social causes. In the year 2014, he arranged for a fun filled day for the underprivileged kids from a NGO, Smile Foundation (/w/index.php?title=Smile_Foundation&action=edit&redlink=1) during Christmas. [16] (#cite_note-16) He also flagged off the "Chal Kar Pahal" walkathon to support gender equality, women empowerment in Bhopal (/wiki/Bhopal) , Lucknow (/wiki/Lucknow) and Chandigarh (/wiki/Chandigarh) [17] (#cite_note-17) References [ edit ] ^ (#cite_ref-1) "Software engineer from Jammu bags key role" (https://archive.today/20150211060711/http://timesofindia.com/tv/news/hindi/Everest-Software-engineer-from-Jammu-bags-key-role/articleshow/44991893.cms) , Times of India (/wiki/Times_of_India) ^ (#cite_ref-2) The Amazing Models Directory (http://www.theamazingmodels.com/model-details/1192/Sahil-Salathia.php) ^ (#cite_ref-3) "Newcomers as leads" (https://web.archive.org/web/20141019114217/http://www.newindianexpress.com/entertainment/hindi/Gowarikers-EVEREST-has-Newcomer-in-Lead/2014/10/17/article2482353.ece) , by The New Indian Express ^ (#cite_ref-4) "The cast of Everest" (https://timesofindia.indiatimes.com/tv/news/hindi/Meet-the-cast-of-Ashutosh-Gowarikers-Everest/articleshow/44939437.cms) , Times of India (/wiki/Times_of_India) ^ (#cite_ref-5) "sahil on his Everest shooting journey" (http://timesofindia.indiatimes.com/tv/news/hindi/Rohan-Gandotra-and-Sahil-Salathia-We-survived-mainly-on-instant-noodles-soup-and-mutton/articleshow/45546151.cms) , Times of India (/wiki/Times_of_India) ^ (#cite_ref-6) "Jammu boy in a lead role in Everest" (http://timesofindia.indiatimes.com/tv/news/hindi/Everest-Software-engineer-from-Jammu-bags-key-role/articleshow/44991893.cms) , Times of India (/wiki/Times_of_India) ^ (#cite_ref-7) "Sahil talks about his character" (https://web.archive.org/web/20150219031247/http://www.in.com/videos/watchvideo-sahil-salathia-talks-about-his-character-arjun-sabharwal-in-everest-100456327.html) by In.com ^ (#cite_ref-8) Interview with MissMalini (http://www.missmalini.com/2014/11/03/i-didnt-bathe-for-a-month-sahil-salathia-on-conquering-ashutosh-gowarikars-everest/) , by Miss Malini ^ (#cite_ref-9) "SRS: 3 musketeers" (http://www.ahmedabadmirror.com/entertainment/hip-happening/Everests-New-Mountaineers/articleshow/45050018.cms) , Ahmedabad Mirror ^ (#cite_ref-10) "Ashutosh Gowariker casts" (http://www.indiatvnews.com/entertainment/bollywood/ashutosh-gowariker-cast-newcomer-in-everest-17780.html) , by India TV News ^ (#cite_ref-11) "Scale TRPs" (http://www.indiatvnews.com/entertainment/bollywood/ashutosh-gowariker-cast-newcomer-in-everest-17780.html,) , by Hindustan Times ^ (#cite_ref-12) "excited to be part of a great combo" (http://zeenews.india.com/exclusive/i-got-my-dream-d%C3%A9but-with-ashutosh-gowariker-sahil-salathia_1502073.html) , zee news (/wiki/Zee_news) ^ (#cite_ref-13) "New faces rule prime time" (https://timesofindia.indiatimes.com/tv/news/hindi/13-New-faces-rule-prime-time-Telly/articleshow/45230745.cms) , Times of India (/wiki/Times_of_India) ^ (#cite_ref-14) "Sahil looking to make his right film debut" (http://timesofindia.indiatimes.com/tv/news/hindi/TV-actor-Sahil-Salathia-gets-film-offers/articleshow/45687385.cms) , Times of India (/wiki/Times_of_India) ^ (#cite_ref-15) "Engineer who made his way to small screen through modeling" (http://www.greaterjammu.com/2014/20141027/epaper/12.pdf) Archived (https://web.archive.org/web/20150219053212/http://www.greaterjammu.com/2014/20141027/epaper/12.pdf) 19 February 2015 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-16) "A fun-filled day with underprivileged kids" (http://timesofindia.indiatimes.com/tv/news/hindi/Chef-Vikas-Khanna-Nisha-Gangwal-spreading-joy-all-around-this-festive-season/articleshow/45703138.cms) , Times of India (/wiki/Times_of_India) ^ (#cite_ref-17) "the lead actors of Everest initiate the walkathon for gender equality" (http://www.tribuneindia.com/news/life-style/Walk%20with%20them/49217.html) , The Tribune 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East German bimonthly fashion magazine (1956–1995) Sibylle Editor-in-chief Sibylle Gerstner (/wiki/Sibylle_Gerstner) Margot Pfannstiel Categories Fashion magazine Frequency Bimonthly Publisher Modeinstitut Berlin Verlag für die Frau Founder Sibylle Gerstner Founded 1956 Final issue 1995 Country East Germany (/wiki/East_Germany) Germany Based in Berlin (/wiki/Berlin) Leipzig (/wiki/Leipzig) Language German Sibylle was a bimonthly fashion magazine that was published in East Germany (/wiki/East_Germany) and then in Germany from 1956 to 1995. The magazine was subtitled Zeitschrift für Mode und Kultur ( German (/wiki/German_language) : Magazine for fashion and culture ). It is known as the most famous fashion magazine (/wiki/Fashion_magazine) of East Germany [1] (#cite_note-dwgr-1) [2] (#cite_note-2) and was called Vogue of East Germany . [3] (#cite_note-3) History and profile [ edit ] Sibylle was launched by a photographer, Sibylle Gerstner (/wiki/Sibylle_Gerstner) , in 1956. [4] (#cite_note-slee-4) [5] (#cite_note-goei-5) She was also the founding editor-in-chief of the magazine of which the goal was first to educate women on how to dress. [6] (#cite_note-text-6) In 1961 she was replaced by Margot Pfannstiel in the post. [6] (#cite_note-text-6) Following this change the goal of Sibylle became to encourage feminine elegance and fashion with no political concern. [1] (#cite_note-dwgr-1) The magazine was published on a bimonthly basis [1] (#cite_note-dwgr-1) first by the Modeinstitut Berlin and then, by the Verlag für die Frau. [7] (#cite_note-ddrm-7) [8] (#cite_note-hes-8) Therefore, the headquarters of the magazine moved from Berlin to Leipzig (/wiki/Leipzig) . [9] (#cite_note-akrvo-9) Sibylle covered brands from East German and other communist countries (/wiki/Communist_countries) without featuring those reflecting the Western consumerism (/wiki/Consumerism) . [4] (#cite_note-slee-4) In other words, it never focused on stimulating consumption or creating incentives to buy. [10] (#cite_note-10) However, the magazine did not always represent the official approach of the state, particularly by the late 1960s and during the 1980s. [1] (#cite_note-dwgr-1) Each issue of the magazine was controlled by the women's commission of the party's (/wiki/East_German_Communist_Party) central committee before the publication. [11] (#cite_note-id-11) Ute Mahler (/wiki/Ute_Mahler) , a photographer and curator who worked for Sibylle , argued that the East German authorities did not consider the magazine as a significant publication and therefore, censorship (/wiki/Censorship_in_East_Germany) was not strict. [11] (#cite_note-id-11) Nevertheless, some of the issues of Sibylle were not permitted by the East German authorities due to its coverage of women wearing blue jeans (/wiki/Blue_jeans) or mini skirts (/wiki/Mini_skirts) ; [9] (#cite_note-akrvo-9) in one case, a frown was retouched into a smile. [5] (#cite_note-goei-5) Although Sibylle was a fashion-oriented magazine, it also covered articles dealing with art, literature, travel, theater and included interviews. [7] (#cite_note-ddrm-7) The magazine allocated forty pages for fashion-related themes and the remaining forty pages for culture-related subjects. [11] (#cite_note-id-11) The work by German photographers Roger Melis (/wiki/Roger_Melis) , Günter Rössler (/wiki/G%C3%BCnter_R%C3%B6ssler) , Werner Mahler and Sibylle Bergmann was frequently featured in the magazine. [5] (#cite_note-goei-5) [7] (#cite_note-ddrm-7) Arno Fischer (/wiki/Arno_Fischer) was another photographer who worked for Sibylle . [9] (#cite_note-akrvo-9) His revolutionary fashion photographs showing the models in the middle of the street were first published in the magazine. [9] (#cite_note-akrvo-9) Dorothea Melis (/wiki/Dorothea_Melis) was one of the fashion editors (/wiki/Fashion_editor) of the magazine. [5] (#cite_note-goei-5) Following her assignment to the post by Margot Pfannstiel she redesigned and modernized the magazine. [6] (#cite_note-text-6) In addition to fashion photography (/wiki/Fashion_photography) , Sibylle included daily life photography which featured not only East Germany but also Eastern Europe countries and the Soviet Union (/wiki/Soviet_Union) . [1] (#cite_note-dwgr-1) Those taken in Moscow (/wiki/Moscow) were very frequent. [1] (#cite_note-dwgr-1) The magazine became very popular among women due to its coverage of sophisticated self-sewing (/wiki/Sewing) articles which was very popular in the country at that time. [5] (#cite_note-goei-5) It was also sold in Moscow introducing the fashion trends in East Germany to the Soviet women. [12] (#cite_note-12) For a long time the circulation of Sibylle was 200,000 copies. [9] (#cite_note-akrvo-9) Following the reunification of Germany (/wiki/Reunification_of_Germany) the magazine continued to be published. However, due to financial reasons Sibylle folded in 1995. [4] (#cite_note-slee-4) Legacy [ edit ] In 2001 a documentary film was made about Sibylle . [8] (#cite_note-hes-8) It has also been subject of several exhibitions in different cities of Germany, including Rostock (/wiki/Rostock) , Rüsselsheim (/wiki/R%C3%BCsselsheim) and Cottbus (/wiki/Cottbus) . [13] (#cite_note-kun-13) One of them was in Dresden (/wiki/Dresden) which opened in April 2018. [13] (#cite_note-kun-13) In June 2019 another exhibition entitled Sibylle – Die Ausstellung was held in Berlin. [1] (#cite_note-dwgr-1) [4] (#cite_note-slee-4) In 2016 Ute Mahler published a book covering the photographs and other items published in Sibylle . [11] (#cite_note-id-11) References [ edit ] ^ a b c d e f g Gaby Reucher (14 June 2019). " (https://www.dw.com/en/sibylle-the-east-german-version-of-vogue-magazine/g-49184952) 'Sibylle': the East German version of 'Vogue' magazine" (https://www.dw.com/en/sibylle-the-east-german-version-of-vogue-magazine/g-49184952) . Deutsche Welle (/wiki/Deutsche_Welle) . Retrieved 8 August 2020 . ^ (#cite_ref-2) "East Germany's Leading Fashion Magazine, Sibylle" (https://dangerousminds.net/comments/east_germanys_leading_fashion_magazine_sibylle) . Dangerous Minds . 12 July 2016 . Retrieved 8 August 2020 . ^ (#cite_ref-3) Cassidy George (3 October 2019). "Sibylle vs. Twen, a Cold War-era fashion bible for each side of the Berlin Wall" (https://www.documentjournal.com/2019/10/sibylle-vs-twen-a-cold-war-era-fashion-bible-for-each-side-of-the-berlin-wall/) . Document Journal (/wiki/Document_Journal) . Retrieved 24 October 2021 . ^ a b c d "The story behind the forgotten East German fashion magazine that evaded Soviet censorship" (https://www.sleek-mag.com/article/sibylle/) . Sleek Magazine . 24 April 2019 . Retrieved 8 August 2020 . ^ a b c d e Stefanie Dörre (November 2009). "Von Starken Frauen, Selbstgenähten Kleidern und Modepunks" (https://www.goethe.de/ins/cz/de/kul/mag/20673356.html) . Goethe Institute . Retrieved 8 August 2020 . ^ a b c Candice M Hamelin (2018). "Sibylle. An Alternative Venue for East German Art Photographers in the 1960s". Third Text (/wiki/Third_Text) . 32 (4): 450–467. doi (/wiki/Doi_(identifier)) : 10.1080/09528822.2018.1510622 (https://doi.org/10.1080%2F09528822.2018.1510622) . S2CID (/wiki/S2CID_(identifier)) 219626566 (https://api.semanticscholar.org/CorpusID:219626566) . ^ a b c Miriam Schaptke (25 January 2017). " (https://www.ddr-museum.de/en/blog/archive/sibylle-vogue-ddr) "Sibylle" – the Vogue of the DDR" (https://www.ddr-museum.de/en/blog/archive/sibylle-vogue-ddr) . DDR Museum . Retrieved 8 August 2020 . ^ a b Heidi Scherz (May 2015). Nachdenken, ihr nach: Investigating Female Gender Identity and Subjectivity in the German Democratic Republic (MA thesis). University of Helsinki. hdl (/wiki/Hdl_(identifier)) : 10138/157857 (https://hdl.handle.net/10138%2F157857) . ^ a b c d e Ann-Kathrin Riedl (6 June 2019). "Die Ausstellung "Sibylle" erzählt von der befreienden Kraft der Mode(-magazine)" (https://www.vogue.de/mode/artikel/sibylle-ausstellung-berlin) . Vogue (/wiki/Vogue_(magazine)) (in German) . Retrieved 8 August 2020 . ^ (#cite_ref-10) Annekathrin Walther (17 August 2019). "Sibylle – Das war Die "Ost-Vogue" (https://www.monda-magazin.de/kultur/die-zeitschrift-sibylle) " (https://www.monda-magazin.de/kultur/die-zeitschrift-sibylle) . Monda Magazin (in German) . Retrieved 8 August 2020 . ^ a b c d "kreativität in zeiten der zensur: was so besonders am ddr-modemagazin "sybille" war" (https://i-d.vice.com/de/article/evxann/interview-sibylle-frauenbild-ddr) . i-D (in German). 12 January 2017 . Retrieved 8 August 2020 . ^ (#cite_ref-12) Anna Tikhomirova (2017). "Trust in the West or "West-Pakete" from the GDR?! Consumption of East German Clothing by Soviet Women in the Brezhnev Era". Journal of Modern European History . 15 (3): 357. doi (/wiki/Doi_(identifier)) : 10.17104/1611-8944-2017-3-350 (https://doi.org/10.17104%2F1611-8944-2017-3-350) . S2CID (/wiki/S2CID_(identifier)) 148733314 (https://api.semanticscholar.org/CorpusID:148733314) . ^ a b "Sibylle 1956–1995. Magazine for Fashion and Culture" (https://kunstgewerbemuseum.skd.museum/en/exhibitions/sibylle/) . Kunstgewerbemuseum . Retrieved 8 August 2020 . 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Rural women's clothing in the 19th century, later adopted as national dress A late 19th century photo of women in a rural Welsh costume Part of a series (/wiki/Category:Wales) on the Culture of Wales (/wiki/Culture_of_Wales) History (/wiki/History_of_Wales) Timeline (/wiki/Timeline_of_Welsh_history) Bibliography (/wiki/Bibliography_of_Welsh_history) Prehistory (/wiki/Prehistoric_Wales) Roman Era (/wiki/Wales_in_the_Roman_era) Anglo-Welsh Wars (/wiki/List_of_Anglo-Welsh_wars) Early Middle Ages (/wiki/Wales_in_the_early_Middle_Ages) Kingdom of Gwynedd (/wiki/Kingdom_of_Gwynedd) Kingdom of Powys (/wiki/Kingdom_of_Powys) Deheubarth (/wiki/Deheubarth) Medieval Welsh law (/wiki/Cyfraith_Hywel) Norman invasion (/wiki/Norman_invasion_of_Wales) Edwardian conquest (/wiki/Conquest_of_Wales_by_Edward_I) Late Middle Ages (/wiki/Wales_in_the_late_Middle_Ages) Statute of Rhuddlan (/wiki/Statute_of_Rhuddlan) Glyndŵr rebellion (/wiki/Glynd%C5%B5r_rebellion) Laws in Wales Acts 1535 and 1542 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(/wiki/List_of_Welsh_language_poets_(6th_century_to_c.1600)) Theatre (/wiki/Theatre_of_Wales) Welsh historical documents (/wiki/Welsh_historical_documents) Welsh-language comics (/wiki/Welsh-language_comics) Music (/wiki/Music_of_Wales) and performing arts Theatre (/wiki/Theatre_of_Wales) Welsh folk music (/wiki/Welsh_folk_music) Welsh dance (/wiki/Welsh_dance) Welsh stepdance (/wiki/Welsh_stepdance) Cerdd Dant (/wiki/Cerdd_Dant) Crwth (/wiki/Crwth) Cymanfa Ganu (/wiki/Cymanfa_Ganu) Cynghanedd (/wiki/Cynghanedd) Noson Lawen (/wiki/C%C3%A9ilidh) Pibgorn (/wiki/Pibgorn_(instrument)) Tabwrdd (/wiki/Tabor_(instrument)) Triple harp (/wiki/Triple_harp) Twmpath (/wiki/Twmpath) Welsh bagpipes (/wiki/Welsh_bagpipes) Media (/wiki/Media_in_Wales) Radio (/wiki/Radio_in_Wales) Television (/wiki/Television_in_Wales) Cinema (/wiki/Cinema_of_Wales) Sport (/wiki/Sport_in_Wales) Bando (/wiki/Bando_(sport)) Boxing (/wiki/Boxing_in_Wales) Cnapan (/wiki/Cnapan) Cricket (/wiki/Cricket_in_Wales) Football (/wiki/Football_in_Wales) Golf (/wiki/Golf_in_Wales) Horse Racing (/wiki/Horse_racing_in_Wales) Pel-Fas (/wiki/Welsh_Baseball) Pêl-Law (/wiki/Welsh_handball) Rugby League (/wiki/Rugby_league_in_Wales) Rugby Union (/wiki/Rugby_union_in_Wales) Monuments World Heritage Sites (/wiki/List_of_World_Heritage_Sites_in_Wales) Symbols (/wiki/Symbols_of_Wales) Flag (/wiki/Flag_of_Wales) Coat of arms (/wiki/Coat_of_arms_of_Wales) National anthem (/wiki/National_anthem_of_Wales) Flag of Saint David (/wiki/Flag_of_Saint_David) Other flags (/wiki/List_of_Welsh_flags) Welsh Dragon (/wiki/Welsh_Dragon) Welsh heraldry (/wiki/Welsh_heraldry) Celtic cross (/wiki/Celtic_cross) Celtic knot (/wiki/Celtic_knot) Inventions and discoveries (/wiki/List_of_Welsh_inventions_and_discoveries) Wales portal (/wiki/Portal:Wales) v t e The Welsh traditional costume ( Welsh (/wiki/Welsh_language) : Gwisg Gymreig draddodiadol ) was worn by rural women in Wales (/wiki/Wales) . It was identified as being different from that worn by the rural women of England by many of the English visitors who toured Wales during the late 18th and early 19th centuries. It is very likely that what they wore was a survival of a pan-European costume worn by working rural women. [ citation needed ] This included a version of the gown, originally worn by the gentry in the 17th and 18th centuries, an item of clothing that survived in Wales for longer than elsewhere in Britain. The unique Welsh hat (/wiki/Welsh_hat) , which first made its appearance in the 1830s, was used as an icon (/wiki/Cultural_icon) of Wales from the 1840s. [1] (#cite_note-1) It is likely that the Welsh costume began as a rural costume (with regional variations within Wales) and became recognised as a traditional costume by the wives and daughters of the better-off farmers, who wore it for special occasions and when going to market to sell their produce. From the 1880s, when the traditional costume had gone out of general use, selected elements of it became adopted as a National Costume. From then on it was worn by women at events such as royal visits, by choirs, at church and chapel, for photographs and occasionally at eisteddfodau (/wiki/Eisteddfodau) . It was first worn by girls as a celebration on Saint David's Day (/wiki/Saint_David%27s_Day) just before the First World War. The costume is now recognised as the national dress (/wiki/National_costume) of Wales. [2] (#cite_note-WAEoW-2) History [ edit ] A study of the Welsh costume in parts of Gower (left) and Cardiganshire (right) Very little evidence for traditional Welsh costume survives before about 1770 when the first tourists came to Wales and recorded in words and pictures the costumes worn by women in Wales. They noted that the women in rural parts of Wales wore a distinctive costume which varied from place to place. Women in towns and those who lived near the Welsh-English border or near busy ports were already wearing English fashions, often made of cotton. During the 1830s, certain members of the gentry (/wiki/Gentry) , especially Augusta Hall (later Lady Llanover (/wiki/Lady_Llanover) ) of Llanover near Abergavenny, recorded and tried to preserve some Welsh traditions, including costume. The prints of costumes of parts of Wales which she may have commissioned did not have a wide distribution. Some of them were published in an article in 1951. This was the first time that they had been published since the 1830s. [3] (#cite_note-3) Her apparent influence on Welsh costume was greatly exaggerated following the publication in 1963 of an article on Welsh Peasant costume and this caused the general misapprehension that she was responsible for either inventing or preserving traditional Welsh costume. [4] (#cite_note-4) From then on, many writers assumed that she had a great influence on the wearing of Welsh costume by rural women (/wiki/Rural_women) throughout Wales during the 19th century, which, it was supposed, led to the creation of a National Costume but there is very little evidence for this. [5] (#cite_note-5) [6] (#cite_note-6) The origins of the national costume [ edit ] Welsh Fashions Taken on a Market Day in Wales (R. Griffiths, 1851) Although the traditional costume went out of common use by the middle of the 19th century it was still worn by some women at market and for special events. There were calls for Welsh costume to be revived and used at major national events, especially royal visits. In 1834, Augusta Hall (/wiki/Augusta_Hall,_Baroness_Llanover) wrote a prize-winning essay for the Monmouthshire and Glamorganshire eisteddfod held in Cardiff but this contains very little about costume, and nothing about National costumes. In the 1840s Hall organised balls at which her friends wore costumes based on the set of fashion plates which she may have commissioned, but they were made of satins, not wool [7] (#cite_note-7) The adoption of the costume coincided with the growth of Welsh Nationalism (/wiki/Welsh_Nationalism) , where the industrialisation (/wiki/Industrialisation) of much of south Glamorgan (/wiki/South_Glamorgan) was seen as a threat to a traditional agricultural way of life. [2] (#cite_note-WAEoW-2) The national costume made from Welsh wool was therefore seen as a visual declaration of a Welsh identity. [2] (#cite_note-WAEoW-2) During an 1881 visit by the Prince of Wales to Swansea, the Welsh costume was worn by a number of young women including members of a choir. [8] (#cite_note-8) From the 1880s both old and modern versions of the costume were worn by performers at concerts and eisteddfodau (/wiki/Eisteddfodau) , by stall holders at fund raising events and for royal visits. The numbers of women who wore Welsh costume in this way was always small but its use was remarkable enough to mention in reports of such events. Some of those who wore it may have been the younger members of the new middle-class families who could afford the money to buy the costumes and the time to attend such events. Although there was only a little encouragement to wear costumes at these events, those few who did were often spoken of with pride. [ citation needed ] For some, [ who? ] wearing Welsh costume after the 1880s was an attempt to maintain tradition; for others it was to do with Welsh identity and nationality and possibly an attempt to distinguish themselves from incomers both in what they sold at market and the fact that many of them probably spoke Welsh; for a few it was to do with marketing traditional businesses, especially weaving. There is little evidence to support the suggestion that the Welsh costume was worn just to please visitors, but it possible that this happened. [ citation needed ] The young women who adopted the costume for special events from the 1880s were seen as the spirit of the new Wales and the costume became associated with success, especially after the Welsh Ladies’ Choir, dressed in Welsh costume, won a prize at the Chicago World Fair Eisteddfod World's Columbian Exposition (/wiki/World%27s_Columbian_Exposition) in 1893 and went on to sing for Queen Victoria and performed at concerts throughout Britain. [9] (#cite_note-9) The modern costume [ edit ] The modern costume worn by girls on St David's Day (/wiki/St_David%27s_Day) , which used to be made by mothers from old costumes, is now commercially available. The design, colours and use of lace (which was very rarely associated with Welsh costume during the 19th century), may well be derived from costumes made especially for those competing at the International Eisteddfodau (/wiki/International_Eisteddfod) at Llangollen (/wiki/Llangollen) (established in 1947) and other events where dancers required a comfortable and practical costume which was distinct from those worn by representatives from other nations. The costume now generally worn by dance teams is based on the tailored gowns originally found in south west Wales. [10] (#cite_note-10) The modern costumes worn by girls are normally red with white lace detailing, accompanied by a black and white chequered apron. A white shawl and a black hat are also worn, with many wearing the costume on St David's Day (/wiki/Saint_David%27s_Day) (Diwrnod Dewi Sant) accompanying the outfit with a yellow daffodil (/wiki/Daffodil) pinned onto it; the flower most associated with Wales. The elements of Welsh costume [ edit ] A portrait of a Swansea (/wiki/Swansea) woman in Welsh dress, 1818 Two women in national dress drinking tea (c. 1875) Bellringer of Caernarvon in costume of trade by John Cambrian Rowland, 187- Components [ edit ] The gown or bedgown [ edit ] The most distinctive feature of the Welsh costume, other than the hat, is the gown and bedgown (/wiki/Bedgown) . Although both have often been referred to as bedgowns (spelt in various ways in Welsh, most commonly now as betgwn ) the term gown is now used for the long-tailed, tailored garment. (1) a tailored form with a tightly fitted low-cut top and long wide tail These were common in Ceredigion (/wiki/Ceredigion) and Carmarthenshire (/wiki/Carmarthenshire) and possibly in parts of mid-Wales and were often made of red and very dark blue or black striped flannel which was sourced locally. See example on the left in the illustration above 'Welsh Fashions Taken on a Market Day in Wales'. (2) a loose T-shaped bedgown (/wiki/Bedgown) . The T-shaped form was found in north-west and south-east Wales; these were often of printed cotton. (3) a shorter tailed, jacket, in plain fabric, worn in Pembrokeshire (/wiki/Pembrokeshire) . The skirt and underskirt (pais) [ edit ] These were normally of heavy flannel with vertical or occasionally horizontal stripes in bold colours, often reds and dark blue or black and white. The cape or mantle [ edit ] They were long and often had large hoods (to cover the Welsh hat). Blue woollen cloaks were far more common than red ones in much of Wales until the 1860s. The shawl [ edit ] A variety of shawls (/wiki/Shawl) were worn in Wales (1) Square Shawl: Square shawl of wool in natural colours with a fringe all round. This was worn folded to form either a triangle or a rectangle and worn over the shoulders. (2) Turnovers: Some of the finer printed shawls were made with two adjacent edges sewn face up on one face, and the opposite way on the other two edges so that when the shawl was folded diagonally, they both appeared face up. (3) Whittle: Large rectangular or square woollen shawls with long fringes were worn around the waist and used to carry bread and other provisions. They were sometimes also worn as a mantle over the shoulders. Many of these were white or cream and occasionally red. They appear to have been more common in south Wales. A small version in red wool was worn round the shoulders in north Pembrokeshire and are said to have been worn by women who helped to repel the French during the Last invasion of Britain (/wiki/Last_invasion_of_Britain) . (4) Nursing shawl: A large square shawl with long fringes on all sides, made of natural white or cream wool was worn around the shoulder and waist to hold a baby, freeing the hands to do other tasks. These seem to have been worn throughout Wales, but were occasionally found in Welsh expatriate communities and continued in use until the 1960s and early 1970s. (5) The Paisley shawl (/wiki/Paisley_shawl) : Medium to large shawls of wool, silk or printed cotton were decorated with bright Paisley patterns (/wiki/Paisley_pattern) . Many were fringed. Although these are thought to have been an essential part of Welsh costume, most were expensive and probably only worn only for very special occasions. The handkerchief [ edit ] Sometimes now referred to as a fichu, the handkerchief was a square piece of fabric, normally of printed cotton or linen, worn around the neck and tucked into the top of the gown, or worn over the head like a head scarf. The apron [ edit ] The apron was often of natural colours (white through cream and grey to black) in chequered patterns. Stockings [ edit ] Many women spent a lot of time knitting stockings but most were sold for export. Before about 1850 many rural women walked barefoot to and from market, or wore footless stockings. The cap [ edit ] Also known as the mob cap, the cap was a linen or cotton head cover with goffered (/wiki/Clothes_iron#Types_and_names) folded fabrics around the face. Some had long lappets which hung down the front below shoulder level. The Welsh Hat [ edit ] Main article: Welsh hat (/wiki/Welsh_hat) The distinctive features of Welsh hats are the broad, stiff, flat brim and the tall crown. There were two main shapes of crown: those with drum shaped crowns were worn in north-west Wales and those with slightly tapering crowns were found in the rest of Wales. They were probably originally made of felt (known as beaver, but not necessarily made of beaver fur), but most surviving examples are of silk plush (also sometimes known as beaver) on a stiffened buckram base. A third type of hat, known as the cockle hat, was worn in the Swansea area. Men's costume in Wales [ edit ] Men were rarely illustrated or described wearing traditional attire in 19th century paintings. This was due to the fact that it was very similar to the attire worn by men in England. It consisted of a waistcoat (often of bright colours); a jacket often of blue or grey wool; a neckerchief; a pair of breeches; woollen stockings and a black felt hat, either like a bowler or one with a low, drum-shaped crown with a broad floppy brim. Although Welsh and English men's clothing were similar, the main difference between them in that Welsh clothing were often produced at locally. This meant that the majority of Welsh men wore blue or grey wool in the 18th century. According to People's Collection Wales [11] (#cite_note-Welsh_Costume-11) [12] (#cite_note-PeoplesCollection-12) certain groups of men appeared in these illustrations more than every-day men: (1) eccentric (/wiki/Eccentric) mountain guides; (2) grooms at their wedding ceremonies; (3) harpers (/wiki/Harp) ; (4) Welsh Cartoon men; (5) coracle fishermen The majority of men in these images are wearing breeches and stocking, as trousers did not start becoming popular until the French Revolution (/wiki/French_Revolution) in 1789, however Welsh Men continued to prefer the wearing of these breeches. In the Welsh published book 'History of Penmachno (/wiki/Penmachno) ' it stated that in 1807 trousers began to replace the use of breeches. However men who are depicted wearing breeches even after the rise in popularity of the use of trousers is due to the fact that those documenting their clothing wanted to depict traditional clothing or their 'Sunday Best' instead of their work clothes. Unfortunately, due to working clothing being consistently worn by these men in the period, almost none of these clothes have survived from the 18th and 19th century. There has also been few documentation or evidence of the use of fabrics and style. It is seen probable that as the majority of Welsh clothing at the time was made out of wool, and that the wool was produced locally, this could be said the same for men's working clothes. However further research is needed. From descriptions given by tourists about rural Welsh workers was that their clothing was often drab in colour, although kerchiefs and waistcoats were sometimes described as brightly coloured. Descriptions of Men's Costume [ edit ] (1738) "The summit of his head is commonly crown'd with a Monmouth Cap and its crown is commonly pinnacles with the Battlement of a button" [13] (#cite_note-13) (1775) "Saw several pair of flannel sheets drying. These were chiefly used by the common people who also frequently wear red flannel shirts" [14] (#cite_note-14) (1791) "Men and women are almost indistinguishable except for breeches" [15] (#cite_note-15) (1798) "The modern [man], like the ancient Briton (/wiki/Ancient_Briton) , is not very attentive to food or clothing. The latter consists of a flannel jacket and breeches for men" [16] (#cite_note-16) (1803) "A farming party also appeared at this instant, proceeding with goods for Carmarthen market. This group was opened by a robust young fellow driving a couple of cows; he wore the general dress of the country, a short blue coarse cloth coat; and breeches of the same, open at the knees; but he also possessed the luxury of shoes and stockings" [17] (#cite_note-17) (1804) "I here had a specimen, if not a clerical poverty, at least of rusticity. A clergyman of the established church, dressed in a blue coat, striped waistcoat, a silk handkerchief round his neck, and a riding stick in his hand, stood in the throng, selling geese" [18] (#cite_note-18) (1805) "the men generally wear grey or drab coloured cloth, manufactured out of the wool of their own country sheep, coarsely and tickly woven" [19] (#cite_note-19) (1807) "The men wear a coarse woollen cloth of a sky blue colour for coat, breeches, and waistcoat, with worsted stockings of the same colour; through in Radnorshire the colour is a drab. Even many of the clergy are so prejudiced in favour of their paternal dress, that they despise a sable havit, and retain the country clothing" [20] (#cite_note-20) (1827) "Today the Welsh lasses have thot proper to clothe their legs and feet. Yesterday in one walk from Merthyr we saw so much nakedness as quite to shock us. This, bye the bye is one of the means of distinction between the sexes for we never see the men without shoes or stockings" [21] (#cite_note-21) (1861) "The men wear low-crowned hats, and are for the most part clothed in coats and vests of deep blue cloth, home spun and with brass buttons, have knee breeches of corduroy, and are very partial to showy silk neckcloths" [22] (#cite_note-22) (1878) "A short man, broad, clumsy, wearing a coat of sky-blue cloth, corduroy breeches to the knee, a motley woollen waistcoat, a blue ribbon hanging on his breast, indicating the nature of his office and message through the country which he tramped; black woolen stocking on his legs, and two strong leathern boots on his feet; a hat made of rough cloth on his half-bare head" [23] (#cite_note-23) Gentry costume in Wales [ edit ] Most gentry would have worn the latest fashions which they bought either via agents from Paris and London or from local tailors who read the articles on the latest fashions which most newspapers published. [24] (#cite_note-24) Again, clothing worn by the Gentry were very similar in style in England and Wales, However Welsh Gentry sourced their clothing locally. [12] (#cite_note-PeoplesCollection-12) Eccentric Dress [ edit ] Although eccentric dress was not typically worn, it was worn by some mountain guides to achieve good payment, such as those guiding tourist up Cadair Idris (/wiki/Cadair_Idris) and Snowdon (/wiki/Snowdon) . [11] (#cite_note-Welsh_Costume-11) Evidence [ edit ] Written descriptions [ edit ] Over 80,000 words of descriptions of Welsh costumes were written during the 18th and 19th centuries, mostly by English middle-aged, middle-class men, but with a few exceptions – the descriptions by women tend to be lengthy and detailed and probably reliable. [ citation needed ] There are few descriptions in Welsh or by Welsh people in English (but see T. J. Llewelyn Pritchard's descriptions in his novel Twm Sion Catti ). Almost no records of what the women who wore the traditional costumes thought about them have been found. [25] (#cite_note-25) Much of what was written about Welsh costume was influenced by the observer's preconceptions: many of the visitors to Wales at the end of the 18th century came in search of the picturesque and of an Eden or Arcadia and this may have coloured what they recorded. They were often delighted to find that many of the women they saw were healthy, happy and pretty and wore a costume which was distinct from that of English maids. Pictures and photographs [ edit ] Vosper's (/wiki/Sydney_Curnow_Vosper) 1908 watercolour Salem is one of the most recognised images of the Traditional Welsh costume. There are about 700 images dated 1770–1900 in which Welsh costume is clearly depicted and there are a similar number of early 20th century photographs, mostly postcards, some based on earlier photographs while others were comic. Many of these images of Welsh costume were marketed as souvenirs of Wales and they helped to preserve the concept that there was something unique about Welsh costume. Most of the photographs were 'staged' by the photographers and the women often wore their own old costumes or borrowed a set from the photographer as in the example above 'Two women in national dress drinking tea' which is one of 80 photographs taken by John Thomas (1838–1905) of young women who wore a selection of garments from three sets of costumes that he kept. [26] (#cite_note-26) Surviving costume [ edit ] There are a few surviving Welsh costumes in museums and private collections. Most of them are stored in the St Fagans National History Museum (/wiki/St_Fagans_National_History_Museum) near Cardiff (/wiki/Cardiff) and the Ceredigion Museum in Aberystwyth (/wiki/Aberystwyth) . They are very difficult to date and the source of the original fabrics is often unknown. [27] (#cite_note-27) Dolls [ edit ] About eighty 19th-century dolls dressed in Welsh costume are known. Many have genuine Welsh costume fabrics which may be the oldest surviving fabrics of their kind. Almost every female member of the royal family since Princess (later Queen) Victoria's visit in 1832 was given a doll dressed in Welsh costume when she visited Wales. This shows that even at this early date, the Welsh costume was considered something special, and was being marketed along with costume prints. Gallery [ edit ] 1830; Pembroke 1850s or 60s; Gwent 1830; Gwent 1830; Gwent 1885 2014 Wikimedia Commons has media related to Traditional clothing of Wales (https://commons.wikimedia.org/wiki/Category:Traditional_clothing_of_Wales) . ^ (#cite_ref-1) Christine Stevens, 'Welsh Peasant Dress – Workwear or National Costume', Textile History (/wiki/Textile_History) 33, 63–78 (2002) ^ Jump up to: a b c Davies, John; Jenkins, Nigel (2008). The Welsh Academy Encyclopaedia of Wales . Cardiff: University of Wales Press. pp. 931–932. ISBN (/wiki/ISBN_(identifier)) 978-0-7083-1953-6 . ^ (#cite_ref-3) Megan Ellis, Welsh Costume and Customs; The National Library of Wales : Picture book no. 1 National Library of Wales, (1951 and 1958). ^ (#cite_ref-4) Ffransis Payne, 'Welsh Peasant Costume', Folk Life , II, (1963). Ffrancis Payne's article has been quoted by many academics and others as providing evidence that the national Welsh costume was created by Lady Llanover and was later adopted for commercial gain. ^ (#cite_ref-5) Christine Stevens, 'Welsh Costume and the Influence of Lady Llanover' (on line, 2005) ^ (#cite_ref-6) Michael Freeman, ‘Lady Llanover and the Welsh Costume Prints’, The National Library of Wales Journal, xxxiv, no 2 2007, pp.235–251. This gathers all the available evidence relating to Augusta Hall (Lady Llanover) and the watercolours and prints of Welsh costume which she may have commissioned. ^ (#cite_ref-7) Roberts, Huw, Welsh costumes at Llanover, Newsletter, Cymdeithas Gwenynen Gwent, December 2004, p. 2-3. ^ (#cite_ref-8) The Cambrian (a newspaper published in Swansea) in October 1881 ^ (#cite_ref-9) Hywel Teifi Edwards, Eisteddfod Ffair y Byd, Chicago 1893 (1990) ^ (#cite_ref-10) Lois Blake, Welsh Folk Dance (1948); Welsh Folk Dance and Costume, (1954) The second edition included a brief description of Welsh costume to help those making dance costumes. ^ Jump up to: a b "men's clothes" (https://welshhat.wordpress.com/types-of-costume/mens-costume/) . Welsh Costume / Gwisg Gymreig . 17 August 2016 . Retrieved 11 February 2021 . ^ Jump up to: a b "Welsh Costume: Men's clothes" (https://www.peoplescollection.wales/collections/840731) . Peoples Collection Wales . Retrieved 11 February 2021 . ^ (#cite_ref-13) Torbuck, John (1738). A Collection of Welsh Travels and Memoir of Wales . London. p. 44. ^ (#cite_ref-14) Grose, Francis (1775). Journey to South Wales . British Library (/wiki/British_Library) . ^ (#cite_ref-15) Clarke, Edward Daniel, A Tour through the South of England, Wales and Part of Ireland, made during the Summer of 1791 (1793) p.215 ^ (#cite_ref-16) Evans, John Rev (1800). A tour through part of North Wales, in the year 1798, and at other times (2nd ed.). London. ^ (#cite_ref-17) Barber, J.T, Tour Throughout South Wales and Monmouthshire (/wiki/Monmouthshire) (1803) p. 40 ^ (#cite_ref-18) Brewer, J.N (1804). "A Tour through the most interesting parts of North Wales". The Universal Magazine (/wiki/The_Universal_Magazine_of_Knowledge_and_Pleasure) . [ dead link ] ^ (#cite_ref-19) Jones, Theophilus (1805). The History of Brecknock . Vol. 1. pp. 282–284. ^ (#cite_ref-20) Meyrick, S.R (1808). The History and Antiquities of the County of Cardiganshire . p. 91. ^ (#cite_ref-21) Captain Lloyd, A Diary of Journey from Charring Cross, London, through Wales (1827) p. 26 ^ (#cite_ref-22) Hall, Mr and Mrs (1861). The Book of South Wales, the Wye, and the coast . pp. 300–301. ^ (#cite_ref-23) Davies, Jonathan Ceredig, Folk-lore of West and Mid-Wales (1911) pp. 18–19 ^ (#cite_ref-24) Ilid Anthony, Costumes of the Welsh People , (Welsh Folk Museum, 1975), This contains many good photographs of original or reproduction costume of the sort worn by the gentry, including men. Some of the text on ‘The Welsh Costume’ was republished in a catalogue The Welsh Costume to accompany the ladies Institute displays of reconstructions of Welsh costumes in 1981. ^ (#cite_ref-25) Lewis, Jacqueline, Passing Judgement – Welsh Dress and the English Tourist, Folk Life, xxxiii, (1994–95) This was based on a university thesis which used some of the published descriptions written by visitors to Wales. Many more descriptions of Welsh costume have been discovered since this was published. ^ (#cite_ref-26) 'The Welsh Lady', An Occasional newsletter for collectors of Welsh costume Postcards, (from October 2000) ^ (#cite_ref-27) Roberts, Huw, Pais a Becon, Gŵn stwff a Het Silc (2007). This bilingual booklet contains some excellent illustrations of various costumes, mostly from north Wales. External links [ edit ] Welsh Costume and the Influence of Lady Llanover by Christine Stevens (https://web.archive.org/web/20050214205137/http://www.llgc.org.uk/gwyb/cyfeillion/stevensc_welsh_costume.pdf) Article on Welsh costume on the National Museum Wales web site (https://web.archive.org/web/20081013002907/http://www.museumwales.ac.uk/en/faw/welshdress/) Page from a catalogue of Pryce Jones of Newtown, Powys, showing Welsh cloaks (http://a-day-in-the-life.powys.org.uk/eng/home/eo_pjwom2.php) v t e Folk costumes (/wiki/Folk_costume) Africa (/wiki/Clothing_in_Africa) Balgha (/wiki/Balgha) Boubou (/wiki/Agbada) Dashiki (/wiki/Dashiki) Djellaba (/wiki/Djellaba) Head tie (/wiki/Head_tie) Jellabiya (/wiki/Jellabiya) Kanzu (/wiki/Kanzu) Kente cloth (/wiki/Kente_cloth) Kufi (/wiki/Kufi) Litham (/wiki/Litham) Pareo (/wiki/Pareo) Senegalese kaftan (/wiki/Senegalese_kaftan) Tagelmust (/wiki/Tagelmust) Wrapper (/wiki/Wrapper_(clothing)) Asia Central Afghanistan (/wiki/Pashtun_clothing) Pakol 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(/wiki/Burmese_clothing) Longyi (/wiki/Longyi) Gaung baung (/wiki/Gaung_baung) Cambodia (/wiki/Khmer_clothing) Chong Kben (/wiki/Sompot_Chong_Kben) Krama (/wiki/Krama) Sompot (/wiki/Sompot) Sbai (/wiki/Sbai) Indonesia (/wiki/National_costume_of_Indonesia) Baju bodo (/wiki/Bodo_blouse) Batik (/wiki/Batik) Blangkon (/wiki/Blangkon) Ikat (/wiki/Ikat) Kebaya (/wiki/Kebaya) Kemben (/wiki/Kemben) Kupiah (/wiki/Kupiah) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tanjak (/wiki/Tengkolok) Ulos (/wiki/Ulos) Laos (/wiki/Culture_of_Laos#Traditional_clothing) Xout lao (/wiki/Xout_lao) Suea pat (/wiki/Suea_pat) Sinh (/wiki/Sinh_(clothing)) Malaysia (/wiki/Malaysian_cultural_outfits) Baju Kurung (/wiki/Baju_Kurung) Baju Melayu (/wiki/Baju_Melayu) Songket (/wiki/Songket) Songkok (/wiki/Songkok) Tengkolok (/wiki/Tengkolok) Philippines (/wiki/Fashion_and_clothing_in_the_Philippines) Barong tagalog (/wiki/Barong_tagalog) Baro't saya (/wiki/Baro%27t_saya) Buntal hat (/wiki/Buntal_hat) Malong (/wiki/Malong) Maria Clara gown (/wiki/Maria_Clara_gown) Patadyong (/wiki/Patadyong) Salakot (/wiki/Salakot) Thailand (/wiki/Traditional_Thai_clothing) Banong (/wiki/Traditional_Thai_clothing#Banong) Chong kraben (/wiki/Chong_kraben) Chut Thai (/wiki/Traditional_Thai_clothing) Formal Chut Thai (/wiki/Formal_Thai_national_costume) Pha khao ma (/wiki/Traditional_Thai_clothing#Pha_khao_ma) Pha nung (/wiki/Pha_nung) Raj pattern (/wiki/Raj_pattern) Sabai (/wiki/Sabai) Sinh (/wiki/Sinh_(clothing)) Suea pat (/wiki/Suea_pat) Tabengman (/wiki/Traditional_Thai_clothing#Tabengman) Tudong (/wiki/Tudong) Vietnam (/wiki/Vietnamese_clothing) Áo bà ba (/wiki/%C3%81o_b%C3%A0_ba) Áo dài (/wiki/%C3%81o_d%C3%A0i) Áo giao lĩnh (/wiki/%C3%81o_giao_l%C4%A9nh) Áo tứ thân (/wiki/%C3%81o_t%E1%BB%A9_th%C3%A2n) Middle East Abaya (/wiki/Abaya) Agal (/wiki/Agal_(accessory)) Assyria (/wiki/Assyrian_clothing) Bisht (/wiki/Bisht_(clothing)) Boshiya (/wiki/Boshiya) Burqa (/wiki/Burqa) Chador (/wiki/Chador) Izaar 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Kosovorotka (/wiki/Kosovorotka) Lapti (/wiki/Bast_shoe) Orenburg shawl (/wiki/Orenburg_shawl) Sarafan (/wiki/Sarafan) Western Netherlands Poffer (/wiki/Poffer) Kraplap (/wiki/Kraplap) Oorijzer (/wiki/Oorijzer) France Breton costume (/wiki/Breton_costume) Spain Traje de flamenca (/wiki/Traje_de_flamenca) Barretina (/wiki/Barretina) Cachirulo (/wiki/Cachirulo) Cordovan hat (/wiki/Cordovan_hat) Sombrero de catite (/wiki/Sombrero_de_catite) Mantilla (/wiki/Mantilla) Italy Ciocia (/wiki/Ciocia) Coppola cap (/wiki/Coppola_cap) Scandinavian Bunad (/wiki/Bunad) Gákti (/wiki/G%C3%A1kti) Iceland (/wiki/Icelandic_national_costume) Sweden (/wiki/Culture_of_Sweden#Folk_costuming) Nationella dräkten (/wiki/Nationella_dr%C3%A4kten) Bäckadräkten (/wiki/B%C3%A4ckadr%C3%A4kten) Sverigedräkten (/w/index.php?title=Sverigedr%C3%A4kten&action=edit&redlink=1) South America Aguayo (/wiki/Aguayo_(cloth)) Chile Chamanto (/wiki/Chamanto) Chilote cap (/wiki/Chilote_cap) Chilote poncho (/wiki/Chilote_poncho) Chupalla (/wiki/Chupalla) Chullo (/wiki/Chullo) Guayabera (/wiki/Guayabera) Liqui liqui (/wiki/Liqui_liqui) Lliklla (/wiki/Lliklla) Panama hat (/wiki/Panama_hat) Pollera (/wiki/Pollera) Poncho (/wiki/Poncho) Ruana (/wiki/Ruana) North America Inuit skin clothing (/wiki/Inuit_clothing) Tignon (/wiki/Tignon) Ceinture fléchée (/wiki/Ceinture_fl%C3%A9ch%C3%A9e) Western wear (/wiki/Western_wear) Bolo tie (/wiki/Bolo_tie) Chaps (/wiki/Chaps) Huipil (/wiki/Huipil) Mexico Huarache (/wiki/Huarache_(shoe)) Mexican pointy boots (/wiki/Mexican_pointy_boots) Rebozo (/wiki/Rebozo) Serape (/wiki/Serape) Sombrero (/wiki/Sombrero) Quechquemitl (/wiki/Quechquemitl) Oceania Grass skirt (/wiki/Grass_skirt) Feather cloak (/wiki/Feather_cloak) I-sala (/wiki/I-sala) Lap-lap (/wiki/Lap-lap) Lavalava (/wiki/Lavalava) Kiekie (/wiki/Kiekie_(clothing)) Pareo (/wiki/Pareo) Sulu (/wiki/Sulu_(skirt)) Taʻovala (/wiki/Ta%CA%BBovala) Tēfui (/wiki/T%C4%93fui) Tupenu (/wiki/Tupenu) v t e National costume of Europe 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Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Traditional_Welsh_costume&oldid=1227082451 (https://en.wikipedia.org/w/index.php?title=Traditional_Welsh_costume&oldid=1227082451) " Categories (/wiki/Help:Category) : 18th-century fashion (/wiki/Category:18th-century_fashion) 19th-century fashion (/wiki/Category:19th-century_fashion) 1830s fashion (/wiki/Category:1830s_fashion) 1840s fashion (/wiki/Category:1840s_fashion) Welsh clothing (/wiki/Category:Welsh_clothing) Folk costumes (/wiki/Category:Folk_costumes) Hidden categories: All articles with dead external links (/wiki/Category:All_articles_with_dead_external_links) Articles with dead external links from September 2023 (/wiki/Category:Articles_with_dead_external_links_from_September_2023) Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) Use dmy dates from June 2021 (/wiki/Category:Use_dmy_dates_from_June_2021) Articles with excerpts (/wiki/Category:Articles_with_excerpts) Articles containing Welsh-language text (/wiki/Category:Articles_containing_Welsh-language_text) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from March 2024 (/wiki/Category:Articles_with_unsourced_statements_from_March_2024) Articles with unsourced statements from March 2020 (/wiki/Category:Articles_with_unsourced_statements_from_March_2020) All articles with specifically marked weasel-worded phrases (/wiki/Category:All_articles_with_specifically_marked_weasel-worded_phrases) Articles with specifically marked weasel-worded phrases from January 2022 (/wiki/Category:Articles_with_specifically_marked_weasel-worded_phrases_from_January_2022) Articles with unsourced statements from January 2022 (/wiki/Category:Articles_with_unsourced_statements_from_January_2022) Articles with unsourced statements from September 2017 (/wiki/Category:Articles_with_unsourced_statements_from_September_2017) Commons category link is on Wikidata (/wiki/Category:Commons_category_link_is_on_Wikidata) |
1987 (/wiki/Category:Clothing_companies_established_in_1987) 1988 (/wiki/Category:Clothing_companies_established_in_1988) 1989 (/wiki/Category:Clothing_companies_established_in_1989) 1990 (/wiki/Category:Clothing_companies_established_in_1990) 1991 (/wiki/Category:Clothing_companies_established_in_1991) 1992 1993 (/wiki/Category:Clothing_companies_established_in_1993) 1994 (/wiki/Category:Clothing_companies_established_in_1994) 1995 (/wiki/Category:Clothing_companies_established_in_1995) 1996 (/wiki/Category:Clothing_companies_established_in_1996) 1997 (/wiki/Category:Clothing_companies_established_in_1997) NewPP limit report Parsed by mw‐web.codfw.main‐f564bd77d‐fmpvv Cached time: 20240718163748 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.076 seconds Real time usage: 0.108 seconds Preprocessor visited node count: 38/1000000 Post‐expand include size: 1906/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 5/100 Expensive parser function count: 11/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 3073/5000000 bytes Lua time usage: 0.058/10.000 seconds Lua memory usage: 933287/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 102.016 1 Template:Navseasoncats 100.00% 102.016 1 -total Saved in parser cache with key enwiki:pcache:idhash:52209399-0!canonical and timestamp 20240718163748 and revision id 974952166. Rendering was triggered because: page-view Pages in category "Clothing companies established in 1992" The following 14 pages are in this category, out of 14 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . 0–9 5.11 Tactical (/wiki/5.11_Tactical) A Alexander McQueen (fashion house) (/wiki/Alexander_McQueen_(fashion_house)) E Element Skateboards (/wiki/Element_Skateboards) F FUBU (/wiki/FUBU) K Kalyan Sarees (/wiki/Kalyan_Sarees) M Miguel Caballero (company) (/wiki/Miguel_Caballero_(company)) O Oleana (clothing) (/wiki/Oleana_(clothing)) P Prana (brand) (/wiki/Prana_(brand)) R Richard James (tailor) (/wiki/Richard_James_(tailor)) S Seedless Clothing Co. (/wiki/Seedless_Clothing_Co.) Skechers (/wiki/Skechers) T Twins Special (/wiki/Twins_Special) U Up & Running (/wiki/Up_%26_Running) Z Zoggs (/wiki/Zoggs) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Clothing_companies_established_in_1992&oldid=974952166 (https://en.wikipedia.org/w/index.php?title=Category:Clothing_companies_established_in_1992&oldid=974952166) " Categories (/wiki/Help:Category) : 1990s fashion (/wiki/Category:1990s_fashion) Design companies established in 1992 (/wiki/Category:Design_companies_established_in_1992) Clothing companies by year of establishment (/wiki/Category:Clothing_companies_by_year_of_establishment) Manufacturing companies established in 1992 (/wiki/Category:Manufacturing_companies_established_in_1992) Clothing companies established in the 20th century (/wiki/Category:Clothing_companies_established_in_the_20th_century) |
Marie Claire (/wiki/Marie_Claire) is a women's fashion magazine published by Hearst Magazines (/wiki/Hearst_Communications) . A famous woman, typically an actress, singer, or model, is featured on the cover of each month's issue. 2010 [ edit ] Issue Cover model Photographer January Natalie Portman (/wiki/Natalie_Portman) Peggy Sirota February Christina Aguilera (/wiki/Christina_Aguilera) Peggy Sirota March Jennifer Garner (/wiki/Jennifer_Garner) & Jessica Biel (/wiki/Jessica_Biel) James White April Heidi Klum (/wiki/Heidi_Klum) Mark Abrahams (/wiki/Mark_Abrahams_(photographer)) May Jessica Simpson (/wiki/Jessica_Simpson) James White June Sarah Jessica Parker (/wiki/Sarah_Jessica_Parker) James White July Taylor Swift (/wiki/Taylor_Swift) Mark Abrahams (/wiki/Mark_Abrahams_(photographer)) August Dakota Fanning (/wiki/Dakota_Fanning) Tesh September Mary-Kate Olsen (/wiki/Mary-Kate_Olsen) Tesh October Katie Holmes (/wiki/Katie_Holmes) Mark Abrahams (/wiki/Mark_Abrahams_(photographer)) November Victoria Beckham (/wiki/Victoria_Beckham) Ruven Afanador December Emma Watson (/wiki/Emma_Watson) Tesh 2011 [ edit ] Issue Cover model Photographer January Amy Adams (/wiki/Amy_Adams) Mark Abrahams (/wiki/Mark_Abrahams_(photographer)) February Michelle Williams (/wiki/Michelle_Williams_(actress)) Tesh March Miley Cyrus (/wiki/Miley_Cyrus) Tesh April Abbie Cornish (/wiki/Abbie_Cornish) & Bradley Cooper (/wiki/Bradley_Cooper) Peggy Sirota May Amber Riley (/wiki/Amber_Riley) Dianna Agron (/wiki/Dianna_Agron) Lea Michele (/wiki/Lea_Michele) Mark Abrahams (/wiki/Mark_Abrahams_(photographer)) June Ginnifer Goodwin (/wiki/Ginnifer_Goodwin) & Kate Hudson (/wiki/Kate_Hudson) Tesh July Jennifer Aniston (/wiki/Jennifer_Aniston) Tesh August Olivia Wilde (/wiki/Olivia_Wilde) Tesh September Sarah Jessica Parker (/wiki/Sarah_Jessica_Parker) Tesh October Reese Witherspoon (/wiki/Reese_Witherspoon) Tesh November Katie Holmes (/wiki/Katie_Holmes) Tesh December Kim Kardashian (/wiki/Kim_Kardashian) Tesh 2012 [ edit ] Issue Cover model Photographer January Angelina Jolie (/wiki/Angelina_Jolie) Alexei Hay February Christina Aguilera (/wiki/Christina_Aguilera) Tesh March Eva Mendes (/wiki/Eva_Mendes) Txema Yeste April Leighton Meester (/wiki/Leighton_Meester) Tesh May Zooey Deschanel (/wiki/Zooey_Deschanel) Tesh June Jessica Alba (/wiki/Jessica_Alba) Tesh July Blake Lively (/wiki/Blake_Lively) Txema Yeste August Kristen Wiig (/wiki/Kristen_Wiig) Tesh September Miley Cyrus (/wiki/Miley_Cyrus) Tesh October Gwen Stefani (/wiki/Gwen_Stefani) Peggy Sirota November Ashley Greene (/wiki/Ashley_Greene) Tesh December Jessica Chastain (/wiki/Jessica_Chastain) Tesh 2013 [ edit ] Issue Cover model Photographer January Lea Michele (/wiki/Lea_Michele) Andreas Sjödin February Heidi Klum (/wiki/Heidi_Klum) Tesh March Keira Knightley (/wiki/Keira_Knightley) Nathaniel Goldberg April Olivia Wilde (/wiki/Olivia_Wilde) Tesh May Scarlett Johansson (/wiki/Scarlett_Johansson) Txema Yeste June Carrie Underwood (/wiki/Carrie_Underwood) Regan Cameron (/wiki/Regan_Cameron) July Lauren Conrad (/wiki/Lauren_Conrad) Regan Cameron (/wiki/Regan_Cameron) August Nicki Minaj (/wiki/Nicki_Minaj) Satoshi Saikusa September Zooey Deschanel (/wiki/Zooey_Deschanel) Tesh October Vanessa Hudgens (/wiki/Vanessa_Hudgens) Tesh November Natalie Portman (/wiki/Natalie_Portman) Tesh December Julia Roberts (/wiki/Julia_Roberts) Cedric Buchet 2014 [ edit ] Issue Cover model Photographer January Katy Perry (/wiki/Katy_Perry) Regan Cameron (/wiki/Regan_Cameron) February Drew Barrymore (/wiki/Drew_Barrymore) Jan Welters March Kristen Stewart (/wiki/Kristen_Stewart) Tesh April Shailene Woodley (/wiki/Shailene_Woodley) Jan Welters May Elle Fanning (/wiki/Elle_Fanning) Elizabeth Olsen (/wiki/Elizabeth_Olsen) Emilia Clarke (/wiki/Emilia_Clarke) Kate Mara (/wiki/Kate_Mara) Lupita Nyong'o (/wiki/Lupita_Nyong%27o) Cedric Buchet June Jennifer Lawrence (/wiki/Jennifer_Lawrence) Jan Welters July Mila Kunis (/wiki/Mila_Kunis) Tesh August Zoe Saldana (/wiki/Zoe_Saldana) Boe Marion September Blake Lively (/wiki/Blake_Lively) Guy Aroch (/wiki/Guy_Aroch) October Ariana Grande (/wiki/Ariana_Grande) Tesh November Cameron Diaz (/wiki/Cameron_Diaz) Michael Thompson (/wiki/Michael_Thompson_(photographer)) December Anna Kendrick (/wiki/Anna_Kendrick) Tesh 2015 [ edit ] Issue Cover model Photographer January Miranda Lambert (/wiki/Miranda_Lambert) Boe Marion February Gwyneth Paltrow (/wiki/Gwyneth_Paltrow) Jan Welters March Margot Robbie (/wiki/Margot_Robbie) Beau Grealy April Kerry Washington (/wiki/Kerry_Washington) Tesh May Felicity Jones (/wiki/Felicity_Jones) Hailee Steinfeld (/wiki/Hailee_Steinfeld) Iggy Azalea (/wiki/Iggy_Azalea) Kate Upton (/wiki/Kate_Upton) Zoë Kravitz (/wiki/Zo%C3%AB_Kravitz) Dan Martensen June Rachel McAdams (/wiki/Rachel_McAdams) Jen Welters July Rita Ora (/wiki/Rita_Ora) Beau Grealy August Kristen Stewart (/wiki/Kristen_Stewart) Tesh September Miley Cyrus (/wiki/Miley_Cyrus) Mark Seliger (/wiki/Mark_Seliger) October Sienna Miller (/wiki/Sienna_Miller) Txema Yeste November Lea Michele (/wiki/Lea_Michele) Boe Marion December Amber Heard (/wiki/Amber_Heard) Boe Marion 2016 [ edit ] Issue Cover model Photographer January Bella Heathcote (/wiki/Bella_Heathcote) Lily James (/wiki/Lily_James) Suki Waterhouse (/wiki/Suki_Waterhouse) Simon Emmett February Chloë Grace Moretz (/wiki/Chlo%C3%AB_Grace_Moretz) Tesh March Dakota Johnson (/wiki/Dakota_Johnson) Txema Yeste April Drew Barrymore (/wiki/Drew_Barrymore) David Slijper May Ellie Goulding (/wiki/Ellie_Goulding) Gugu Mbatha-Raw (/wiki/Gugu_Mbatha-Raw) Hailey Baldwin (/wiki/Hailey_Baldwin) Kylie Jenner (/wiki/Kylie_Jenner) Zendaya (/wiki/Zendaya) Dan Martensen June Selena Gomez (/wiki/Selena_Gomez) Kai Z. Feng (/wiki/Kai_Z._Feng) July Blake Lively (/wiki/Blake_Lively) Beau Grealy August Amy Schumer (/wiki/Amy_Schumer) Mark Seliger (/wiki/Mark_Seliger) September Sarah Jessica Parker (/wiki/Sarah_Jessica_Parker) Michelangelo Di Battista October Kate Hudson (/wiki/Kate_Hudson) Tesh November Nicki Minaj (/wiki/Nicki_Minaj) Kai Z. 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This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Hungary_water) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Hungary water" (https://www.google.com/search?as_eq=wikipedia&q=%22Hungary+water%22) – news (https://www.google.com/search?tbm=nws&q=%22Hungary+water%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Hungary+water%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Hungary+water%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Hungary+water%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Hungary+water%22&acc=on&wc=on) ( September 2014 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Saint Elisabeth of Hungary is sometimes reputed to have ordered the first modern perfume (/wiki/Perfume) in Europe, called 'Hungary water'. Hungary water (sometimes called "the Queen of Hungary's Water", [1] (#cite_note-1) Eau de la Reine de Hongary , [2] (#cite_note-:0-2) or "spirits of rosemary" [2] (#cite_note-:0-2) ) was one of the first alcohol-based perfumes (/wiki/Perfume) in Europe (/wiki/Europe) , primarily made with rosemary. [2] (#cite_note-:0-2) The oldest surviving recipes call for distilling fresh rosemary (/wiki/Rosemary) and thyme (/wiki/Thyme) [3] (#cite_note-:6-3) with brandy (/wiki/Brandy) , [4] (#cite_note-:3-4) while later formulations contain wine (/wiki/Wine) , [5] (#cite_note-:4-5) [6] (#cite_note-:5-6) lavender (/wiki/Lavender) , [5] (#cite_note-:4-5) [6] (#cite_note-:5-6) mint (/wiki/Mentha) , sage (/wiki/Salvia_officinalis) , [3] (#cite_note-:6-3) marjoram (/wiki/Marjoram) , [4] (#cite_note-:3-4) costus (/wiki/Saussurea_costus) , orange blossom (/wiki/Neroli) and lemon (/wiki/Lemon) . Origins [ edit ] The exact date of the invention of Hungary water is lost to history, though some sources say it dates to 1370 [7] (#cite_note-:1-7) [8] (#cite_note-:2-8) or the late 14th century. [2] (#cite_note-:0-2) It is equally unclear who in particular created it. According to legend, it was formulated at the command of the Queen Elizabeth of Hungary, [7] (#cite_note-:1-7) sometimes identified as Queen Isabella of Hungary [ citation needed ] [note 1] (#cite_note-9) or in one document [ specify ] "Saint Elisabeth, Queen of Hungary". [note 2] (#cite_note-10) Some sources say that a hermit or monk-recluse first gave it to the Queen of Hungary, [8] (#cite_note-:2-8) though most likely it was made by a court alchemist or a monk-alchemist. [ citation needed ] The water was given to the queen in order to help her headaches. [9] (#cite_note-:32-11) These legends mostly date to the early to mid-17th century, [ citation needed ] so the details may have become confused in the intervening centuries. Namesake [ edit ] The queen in question is frequently assumed [ by whom? ] to be Elisabeth of Poland (/wiki/Elisabeth_of_Poland) (1305–1380), although the particulars of her life do not match those in the more common legends. It is even more unlikely that it could be Saint Elisabeth of Hungary (/wiki/Elisabeth_of_Hungary) (1207–1231), who is additionally too early and not a queen. [note 3] (#cite_note-12) The only plausible Queen Isabella (late 13th century) [ citation needed ] likewise seems to be too early to be a strong candidate, as the invention of this water is most probably related [ why? ] to the Black Death (/wiki/Black_Death) epidemic that ravaged Europe between 1346 and 1350 caused by a bacterial infection. [10] (#cite_note-13) This could potentially be due to the antibacterial (/wiki/Antibiotic) effects found in the wine or brandy and rosemary that was used to make the water. [11] (#cite_note-14) [12] (#cite_note-15) Spread through Europe [ edit ] According to legends, Hungary water first appeared outside of Hungary (/wiki/Hungary) in 1370 when Charles V of France (/wiki/Charles_V_of_France) , who was famous for his love of fragrances, received some. [ citation needed ] Its use was popular across Europe for many centuries, and until Eau de Cologne (/wiki/Eau_de_Cologne) appeared in the 18th century, it was the most popular fragrance and remedy applied. [ citation needed ] French Hungary water [ edit ] By the 18th century, French Hungary water from Montpellier (/wiki/Montpellier) [13] (#cite_note-16) was being touted over other variations of Hungary water, because of the quality of the rosemary used in the distillation. [6] (#cite_note-:5-6) Advertisements in newspapers even warned against counterfeit versions of French Hungary water, explaining to potential buyers how to detect the difference in quality. [14] (#cite_note-17) Medicinal use [ edit ] Hungary water was used during the late 17th century as a form of medicine. It was believed to have many uses such as helping to relieve a headache, toothache, or ringing ears. It was also used to help cleanse the body by clearing out several of the vital organs of impurities. Some even believed that it helped reduce blindness and the inability to hear. It was one of the medicines at the time that could be considered a "cure all" meaning that it would help with almost every ailment a person could face. [9] (#cite_note-:32-11) Hungary water was made through a distillation (/wiki/Distillation) process that included concentrating the ingredients involved, which often included rosemary and wine. [15] (#cite_note-:43-18) It was used for men, women, and children alike. The dosage was one or two sips of the medicine or a topical application, depending on whether the ailment was internal or external. [15] (#cite_note-:43-18) Other uses [ edit ] Similar to other herb- and flower-based products, Hungary water was also a valuable remedy, with recipes advising the user to wash with it [5] (#cite_note-:4-5) or drink it in order to receive the most benefit. [4] (#cite_note-:3-4) Other times, it was recommended to be added to other prepared distilled waters to use when washing one's face in order to help prevent irritation and breakouts. [15] (#cite_note-:43-18) It was even thought to help people maintain youthful appearance and beauty. [2] (#cite_note-:0-2) [8] (#cite_note-:2-8) Notes [ edit ] ^ (#cite_ref-9) Historically, the name Isabella was a variant of Elisabeth, and in the period in question the two were sometimes interchangeable. ^ (#cite_ref-10) This may be a conflation of multiple individuals. ^ (#cite_ref-12) The technique of distillation (/wiki/Distillation) only became well known in Europe between about 1150 and 1250. References [ edit ] ^ (#cite_ref-1) Pechey, John; Marggraf, Christiaan; Ettmüller, Michael (1697). A plain introduction to the art of physick, containing the fundamentals, and necessary preliminaries to practice. To which is added, the Materia medica contracted. And alphabetical tables of the vertues of roots, barks, ... Also a collection of choice medicines chymical and Galenical. Together with a different way of making the most celebrated compositions in the apothecaries shops . London: Henry Bonwicke. pp. 377–378 . Retrieved 2018-05-26 . ^ a b c d e Sullivan, Catherine (1994-03-01). "Searching for nineteenth-century Florida water bottles". Historical Archaeology . 28 (1): 78–98. doi (/wiki/Doi_(identifier)) : 10.1007/BF03374182 (https://doi.org/10.1007%2FBF03374182) . ISSN (/wiki/ISSN_(identifier)) 0440-9213 (https://www.worldcat.org/issn/0440-9213) . S2CID (/wiki/S2CID_(identifier)) 162639733 (https://api.semanticscholar.org/CorpusID:162639733) . ^ a b Leslie, Eliza (1847). The lady's receipt-book: a useful companion for large or small families . Philadelphia: Carey and Hart. p. 254. ^ a b c Buc'hoz, Pierre-Joseph; Nicoll, William; Murray, John; Montoya y Solís, Fernando (1784). The toilet of Flora or A collection of the most simple and approved methods of preparing baths, essences, pomatums, powders, perfumes and sweet-scented waters . London: printed for J. Murray ... and W. Nicoll ... pp. 35–37 . Retrieved 2018-05-26 . ^ a b c Smith, George (1731). A compleat body of distilling: explaining the mysteries of that science, in a most easy and familiar manner: containing an exact and accurate method of making all the compound cordial-waters now in use: with a particular account of their several virtues: as also a directory consisting of all the instructions necessary for learning the distiller's art ...: in two parts . Vol. Book II. London: Printed for Henry Lintot. pp. 118–121 . Retrieved 2018-05-26 . ^ a b c Lillie, Charles.; Mackenzie, Colin, ed. (1822). The British perfumer: being a collection of choice receipts and observations made during an extensive practice of thirty years, by which any lady or gentleman may prepare their own articles of the best quality, whether of perfumery, snuffs, or colours . London, New York: J. Souter; W. Seaman. pp. 142–145 . Retrieved 2018-05-26 . {{ cite book (/wiki/Template:Cite_book) }} : |first2= has generic name ( help (/wiki/Help:CS1_errors#generic_name) ) CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ a b Voudouri, Dimitra; Tesseromatis, Christine (December 2015). "Perfumery from Myth to Antiquity" (http://ijmpnet.com/journals/ijmp/Vol_3_No_2_Decembe_2015/4.pdf) (PDF) . International Journal of Medicine and Pharmacy . 3 (2): 52. doi (/wiki/Doi_(identifier)) : 10.15640/ijmp.v3n2a4 (https://doi.org/10.15640%2Fijmp.v3n2a4) . ^ a b c Thompson, C.J.S. (1927). The Mystery and Lure of Perfume . London: John Lane the Bodley Head Limited. p. 140. ^ a b Leong, Elaine (2008). "Making Medicines in the Early Modern Household". Bulletin of the History of Medicine . 82 (1): 145–168. doi (/wiki/Doi_(identifier)) : 10.1353/bhm.2008.0042 (https://doi.org/10.1353%2Fbhm.2008.0042) . ISSN (/wiki/ISSN_(identifier)) 1086-3176 (https://www.worldcat.org/issn/1086-3176) . PMID (/wiki/PMID_(identifier)) 18344588 (https://pubmed.ncbi.nlm.nih.gov/18344588) . S2CID (/wiki/S2CID_(identifier)) 13923538 (https://api.semanticscholar.org/CorpusID:13923538) . ^ (#cite_ref-13) "Plague Information and Facts" (https://web.archive.org/web/20170309164327/http://www.nationalgeographic.com/science/health-and-human-body/human-diseases/the-plague/) . Science & Innovation . 2017-01-18. Archived from the original (https://www.nationalgeographic.com/science/health-and-human-body/human-diseases/the-plague/) on March 9, 2017 . Retrieved 2019-04-23 . ^ (#cite_ref-14) July 5, Dave Mosher |; ET, 2007 04:44am (5 July 2007). "Wine: Kills Germs on Contact" (https://www.livescience.com/7326-wine-kills-germs-contact.html) . Live Science . Retrieved 2019-04-23 . {{ cite web (/wiki/Template:Cite_web) }} : CS1 maint: numeric names: authors list ( link (/wiki/Category:CS1_maint:_numeric_names:_authors_list) ) ^ (#cite_ref-15) Bozin, Biljana; Mimica-Dukic, Neda; Samojlik, Isidora; Jovin, Emilija (2007-09-19). "Antimicrobial and antioxidant properties of rosemary and sage (Rosmarinus officinalis L. and Salvia officinalis L., Lamiaceae) essential oils". Journal of Agricultural and Food Chemistry . 55 (19): 7879–7885. doi (/wiki/Doi_(identifier)) : 10.1021/jf0715323 (https://doi.org/10.1021%2Fjf0715323) . ISSN (/wiki/ISSN_(identifier)) 0021-8561 (https://www.worldcat.org/issn/0021-8561) . PMID (/wiki/PMID_(identifier)) 17708648 (https://pubmed.ncbi.nlm.nih.gov/17708648) . ^ (#cite_ref-16) Abraham Rees (1819), "Montpelier" (https://archive.org/stream/cyclopaediaoruni24rees#page/n51/mode/1up) , The Cyclopaedia , London: Longman, Hurst, Rees, Orme & Brown ^ (#cite_ref-17) "The Weekly journal: or, Saturday's post. With freshest advice foreign and domestick" (https://catalog.hathitrust.org/Record/101820441) . 1724–1725: 1619 . Retrieved 2018-05-26 . {{ cite journal (/wiki/Template:Cite_journal) }} : Cite journal requires |journal= ( help (/wiki/Help:CS1_errors#missing_periodical) ) ^ a b c Stobart, Anne (2014). Household Medicine in Seventeenth-Century England . Bloomsbury Academic. ISBN (/wiki/ISBN_(identifier)) 9781474295932 . OCLC (/wiki/OCLC_(identifier)) 1004811934 (https://www.worldcat.org/oclc/1004811934) . See also [ edit ] Toilet water (/wiki/Toilet_water) Carmelite Water (/wiki/Carmelite_Water) Florida Water (/wiki/Florida_Water) Eau de Cologne (/wiki/Eau_de_Cologne) NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐8rzd4 Cached time: 20240713181550 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.667 seconds Real time usage: 0.904 seconds Preprocessor visited node count: 2666/1000000 Post‐expand include size: 60851/2097152 bytes Template argument size: 4719/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 5/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 66151/5000000 bytes Lua time usage: 0.449/10.000 seconds Lua memory usage: 5603676/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 682.757 1 -total 53.06% 362.256 2 Template:Reflist 33.26% 227.079 7 Template:Cite_book 21.69% 148.108 9 Template:Fix 18.09% 123.479 6 Template:Citation_needed 16.97% 115.850 1 Template:More_citations_needed 13.69% 93.447 1 Template:Ambox 10.64% 72.654 10 Template:Delink 7.83% 53.458 5 Template:Cite_journal 6.06% 41.398 15 Template:Category_handler Saved in parser cache with key enwiki:pcache:idhash:9097222-0!canonical and timestamp 20240713181550 and revision id 1186570149. 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Japanese model and member of Keyakizaka46 Yui Kobayashi 小林 由依 Background information Also known as Yuipon, Kobayui Born ( 1999-10-23 ) October 23, 1999 (age 24) Gunma Prefecture (/wiki/Gunma_Prefecture) , Japan [1] (#cite_note-1) Origin Saitama Prefecture (/wiki/Saitama_Prefecture) , Japan Genres J-pop (/wiki/J-pop) Occupation(s) Japanese idol (/wiki/Japanese_idol) model Years active 2015–present Labels Sony Music Records (/wiki/Sony_Music_Records) Musical artist Yui Kobayashi ( Japanese (/wiki/Japanese_language) : 小林 由依 , Hepburn (/wiki/Hepburn_romanization) : Kobayashi Yui , born 23 October 1999) is a Japanese model (/wiki/Model_(person)) and former member of idol (/wiki/Japanese_idol) group Sakurazaka46 (/wiki/Sakurazaka46) . She is represented by Sony Music Records (/wiki/Sony_Music_Records) and is an exclusive model with fashion magazine with . [2] (#cite_note-withmagazine-2) Career [ edit ] Keyakizaka46 / Sakurazaka46 [ edit ] On August 21, 2015, Kobayashi along with 22 other members were announced for the newly created idol group, Toriizaka46 (now Sakurazaka46 (/wiki/Sakurazaka46) ). [3] (#cite_note-3) Kobayashi made her musical debut with Keyakizaka46's first single, Silent Majority (/wiki/Silent_Majority_(song)) . [4] (#cite_note-1stsingle-4) In October of the same year, Kobayashi made her runway debut (/wiki/Runway_(fashion)) at the GirlsAward 2016 Autumn/Winter (/wiki/GirlsAward_2016_Autumn/Winter) fashion show. [5] (#cite_note-5) As of 2019, Kobayashi has made an appearance in all Keyakizaka46 singles. She formed a duo named "Yuichanzu" ( ゆいちゃんず ) with Yui Imaizumi (/wiki/Yui_Imaizumi) , first appearing in Silent Majority with the song "Shibugakawa". [4] (#cite_note-1stsingle-4) With Imaizumi's graduation in 2018, Kobayashi and Mizuho Habu (/wiki/Mizuho_Habu) formed another duo named "Senko Shimai" ( 線香姉妹 ) , appearing in Ambivalent with "302-Goshitsu". [6] (#cite_note-7thsingle-6) She held performance center roles typically held by Yurina Hirate (/wiki/Yurina_Hirate) when Hirate was unavailable, including the 60th Japan Record Awards (/wiki/60th_Japan_Record_Awards) and the 69th NHK (/wiki/69th_NHK_K%C5%8Dhaku_Uta_Gassen) Kōhaku Uta Gassen . [7] (#cite_note-7) [8] (#cite_note-8) On November 29, 2023, Kobayashi announced that she will be leaving Sakurazaka46 after graduation concert on January 31-February 01, 2024. [9] (#cite_note-9) [10] (#cite_note-10) Other ventures [ edit ] Kobayashi is an exclusive model with fashion magazine with since July 27, 2018. [2] (#cite_note-withmagazine-2) Additionally, on 13 March 2019, she released a photo-book (/wiki/Photo-book#Japanese_photo_books) titled Kanjō no Kōzu ( 感情の構図 ) , published by Kadokawa (/wiki/Kadokawa_Future_Publishing) . [11] (#cite_note-11) Kobayashi's first independent acting role was in the 2020 live-action adaptation of Wasteful Days of High School Girls (/wiki/Wasteful_Days_of_High_School_Girls) by TV Asahi (/wiki/TV_Asahi) . She played the role of Lily Someya, a multiracial (/wiki/Multiracial_people) transfer student; Kobayashi dyed her hair blonde for the role. [12] (#cite_note-12) [13] (#cite_note-13) She will appear in Sakura , an upcoming movie to be released 13 November 2020. [14] (#cite_note-14) Discography [ edit ] Year Single Song Notes 2016 " Silent Majority (/wiki/Silent_Majority_(song)) " [4] (#cite_note-1stsingle-4) "Silent Majority" ( サイレントマジョリティー ) "Te o Tsunaide Kaerōka" ( 手を繋いで帰ろうか ) "Shibuyagawa" ( 渋谷川 ) As "Yuichanzu" with Yui Imaizumi "Noriokureta Bus" ( 乗り遅れたバス ) With Yui Imaizumi, Yurina Hirate (/wiki/Yurina_Hirate) , Miyu Suzumoto, and Rika Watanabe (/wiki/Rika_Watanabe) "Kimi ga Inai" ( キミガイナイ ) " Sekai ni wa Ai Shika Nai (/wiki/Sekai_ni_wa_Ai_Shika_Nai) " [15] (#cite_note-2ndsingle-15) "Sekai ni wa Ai Shika Nai" ( 世界には愛しかない ) "Kataru Nara Mirai o..." ( 語るなら未来を… ) "Bob Dylan wa Kaesanai" ( ボブディランは返さない ) As "Yuichanzu" with Yui Imaizumi " Futari Saison (/wiki/Futari_Saison) " [16] (#cite_note-3rdsingle-16) "Futari Saison" ( 二人セゾン ) "Otona wa Shinjite Kurenai" ( 大人は信じてくれない ) "Seifuku to Taiyō" ( 制服と太陽 ) "Yuuhi 1/3" ( 夕陽1/3 ) With Yui Imaizumi, Yurina Hirate, and Neru Nagahama (/wiki/Neru_Nagahama) 2017 " Fukyōwaon (/wiki/Fuky%C5%8Dwaon) " [17] (#cite_note-4thsingle-17) "Fukyōwaon" ( 不協和音 ) "W-KEYAKIZAKA no Uta" ( W-KEYAKIZAKAの詩 ) "Tuning" As "Yuichanzu" with Yui Imaizumi "Eccentric" ( エキセントリック ) " Kaze ni Fukarete mo (/wiki/Kaze_ni_Fukarete_mo) " [18] (#cite_note-5thsingle-18) "Kaze ni Fukarete mo" ( 風に吹かれても ) "Hiraishin" ( 避雷針 ) 2018 " Glass wo Ware! (/wiki/Glass_wo_Ware!) " [19] (#cite_note-6thsingle-19) "Glass wo Ware!" ( ガラスを割れ! ) "Mou Mori e Kaerou ka?" ( もう森へ帰ろうか? ) "Zenmai Shikake no Yume" ( ゼンマイ仕掛けの夢 ) As "Yuichanzu" with Yui Imaizumi " Ambivalent (/wiki/Ambivalent_(song)) " [6] (#cite_note-7thsingle-6) "Ambivalent" ( アンビバレント ) "Student Dance" "I'm out" "302-Goshitsu" ( 302号室 ) As "Senko Shimai" with Mizuho Habu (/wiki/Mizuho_Habu) 2019 " Kuroi Hitsuji (/wiki/Kuroi_Hitsuji) " [20] (#cite_note-8thsingle-20) "Kuroi Hitsuji" ( 黒い羊 ) "Nobody" Filmography [ edit ] Film [ edit ] Year Title Role Notes Ref. 2020 Sakura Kaoru [21] (#cite_note-21) TV series [ edit ] Year Title Role Network Notes Ref. 2020 Wasteful Days of High School Girls (/wiki/Wasteful_Days_of_High_School_Girls) Lily Someya TV Asahi (/wiki/TV_Asahi) References [ edit ] ^ (#cite_ref-1) Keyakitte, Kakenai? . Episode 253. October 12, 2020. TV Tokyo. ^ Jump up to: a b "欅坂46"5人目"のモデル誕生 小林由依「with」専属入りで憧れランキング上位メンバー揃う" (https://mdpr.jp/news/detail/1780550) (in Japanese). modelpress. 19 July 2018 . Retrieved 25 July 2019 . ^ (#cite_ref-3) "「鳥居坂46」改め「欅坂46」誕生、1期生22名が決定" (https://natalie.mu/music/news/157793) . natalie (in Japanese). Archived (https://web.archive.org/web/20181129131849/https://natalie.mu/music/news/157793) from the original on 2018-11-29 . Retrieved 13 February 2019 . ^ Jump up to: a b c "サイレントマジョリティー" (http://www.keyakizaka46.com/s/k46o/page/silent_majority) . 欅坂46公式サイト (in Japanese). Archived (https://web.archive.org/web/20190213124040/http://www.keyakizaka46.com/s/k46o/page/silent_majority) from the original on 2019-02-13 . Retrieved 13 February 2019 . ^ (#cite_ref-5) "欅坂46小林由依、緊張のランウェイデビューで魅せた！ポージングに胸キュン＜GirlsAward 2016 A／W＞" (https://mdpr.jp/news/detail/1622301) (in Japanese). modelpress. 8 October 2016 . Retrieved 25 July 2019 . ^ Jump up to: a b "アンビバレント" (http://www.keyakizaka46.com/s/k46o/page/7th_single) . 欅坂46公式サイト . Archived (https://web.archive.org/web/20180802162951/http://www.keyakizaka46.com/s/k46o/page/7th_single) from the original on 2018-08-02 . Retrieved 13 February 2019 . ^ (#cite_ref-7) "【紅白】欅坂４６・小林由依が代役センター、ウッチャン「かっこよかったよ！」" (https://hochi.news/articles/20181231-OHT1T50281.html) (in Japanese). Hochi Shimbun. スポーツ報知. 1 Jan 2019 . Retrieved 25 July 2019 . ^ (#cite_ref-8) "欅坂46『レコ大』センター代役は小林由依 紅白リハでも担当" (https://www.oricon.co.jp/news/2126734/full/) . Oricon News. 30 Dec 2018 . Retrieved 25 July 2019 . ^ (#cite_ref-9) "櫻坂46公式サイト" (https://www.sakurazaka46.com/) . 櫻坂46公式サイト (in Japanese) . Retrieved 2024-04-07 . ^ (#cite_ref-10) "【ライブレポート】櫻坂46一期生・小林由依卒業コンサートが大盛況！「8年半、私にとっての青春でした！」（THE FIRST TIMES）" (https://news.yahoo.co.jp/articles/713af8dd09565f171dc3d03d8e57a2f825133721) . Yahoo!ニュース (in Japanese) . Retrieved 2024-04-07 . ^ (#cite_ref-11) "欅坂46小林由依の1st写真集「感情の構図」ホテルの一室で捉えた表紙公開" (https://natalie.mu/music/news/320078) (in Japanese). natalie. 15 Feb 2019 . Retrieved 25 July 2019 . ^ (#cite_ref-12) "欅坂46・小林由依、『女子高生の無駄づかい』出演決定 小悪魔系百合ガールに" (https://www.crank-in.net/news/73401/1) (in Japanese). Crank-In. 30 January 2020 . Retrieved 6 August 2020 . ^ (#cite_ref-13) "欅坂46小林由依、金髪姿に反響「破壊力半端ない」「似合ってる」" (https://mdpr.jp/news/detail/1952320) (in Japanese). Modelpress. 30 January 2020 . Retrieved 6 August 2020 . ^ (#cite_ref-14) "小林由依が小松菜奈に想いを伝える『さくら』予告編公開 主題歌は東京事変が担当" (https://news.yahoo.co.jp/articles/9e1ba279ab6c89a45f58d0422925b6395e14d778) (in Japanese). Yahoo! Japan (/wiki/Yahoo!_Japan) . Real Sound. 6 August 2020 . Retrieved 6 August 2020 . ^ (#cite_ref-2ndsingle_15-0) "『世界には愛しかない』" (http://www.keyakizaka46.com/s/k46o/page/2ndsingle_detail) . 欅坂46公式サイト . Archived (https://web.archive.org/web/20190213123941/http://www.keyakizaka46.com/s/k46o/page/2ndsingle_detail) from the original on 2019-02-13 . Retrieved 17 February 2019 . ^ (#cite_ref-3rdsingle_16-0) "『二人セゾン』" (https://www.keyakizaka46.com/s/k46o/page/3rdsingle) . 欅坂46公式サイト . Archived (https://web.archive.org/web/20190213124025/https://www.keyakizaka46.com/s/k46o/page/3rdsingle) from the original on 2019-02-13 . Retrieved 13 February 2019 . ^ (#cite_ref-4thsingle_17-0) "『不協和音』" (http://www.keyakizaka46.com/s/k46o/page/4th_single) . 欅坂46公式サイト . Archived (https://web.archive.org/web/20180829035021/https://www.keyakizaka46.com/s/k46o/page/4th_single) from the original on 2018-08-29 . Retrieved 17 February 2019 . ^ (#cite_ref-5thsingle_18-0) "『風に吹かれても』" (http://www.keyakizaka46.com/s/k46o/page/5th_single) . 欅坂46公式サイト . Archived (https://web.archive.org/web/20180702011126/https://www.keyakizaka46.com/s/k46o/page/5th_single) from the original on 2018-07-02 . Retrieved 17 February 2019 . ^ (#cite_ref-6thsingle_19-0) "『ガラスを割れ!』" (http://www.keyakizaka46.com/s/k46o/page/6th_single) . 欅坂46公式サイト . Archived (https://web.archive.org/web/20180722155711/http://www.keyakizaka46.com/s/k46o/page/6th_single) from the original on 2018-07-22 . Retrieved 13 February 2019 . ^ (#cite_ref-8thsingle_20-0) "黒い羊" (http://www.keyakizaka46.com/s/k46o/page/8th_single) . 欅坂46公式サイト . Archived (https://web.archive.org/web/20190203030414/https://www.keyakizaka46.com/s/k46o/page/8th_single) from the original on 2019-02-03 . Retrieved 13 February 2019 . ^ (#cite_ref-21) "北村匠海×小松菜奈×吉沢亮「さくら」に寺島しのぶ、永瀬正敏、欅坂46・小林由依らが出演" (https://eiga.com/news/20200603/16/) . eiga.com . Retrieved June 4, 2020 . External links [ edit ] Yui Kobayashi's page on Keyakizaka46's website (http://www.keyakizaka46.com/s/k46o/artist/07?ima=0000) v t e Sakurazaka46 (/wiki/Sakurazaka46) Members 1st Generation Minami Koike Fuyuka Saitō Rina Uemura 2nd Generation Hikari Endō Karin Fujiyoshi Rina Inoue Marino Kōsaka Kira Masumoto Rina Matsuda (captain) Hikaru Morita Rena Moriya Rei Ōzono Akiho Ōnuma Yui Takemoto Hono Tamura Ten Yamasaki 3rd Generation Riko Endō Rika Ishimori Nagisa Kojima Mio Matono Itoha Mukai Yū Murai Miu Marayama Yuzuki Nakashima Reina Odakura Airi Taniguchi Shizuki Yamashita Notable former Yui Imaizumi (/wiki/Yui_Imaizumi) Yurina Hirate (/wiki/Yurina_Hirate) Neru Nagahama (/wiki/Neru_Nagahama) Akane Moriya (/wiki/Akane_Moriya) Rika Watanabe (/wiki/Rika_Watanabe) Risa Watanabe (/wiki/Risa_Watanabe) Yūka Sugai (/wiki/Y%C5%ABka_Sugai) Mizuho Habu (/wiki/Mizuho_Habu) Yui Kobayashi Singles Keyakizaka46 " Slient Majority (/wiki/Silent_Majority_(song)) " " Sekai ni wa Ai Shika Nai (/wiki/Sekai_ni_wa_Ai_Shika_Nai) " " Futari Saison (/wiki/Futari_Saison) " " Fukyōwaon (/wiki/Fuky%C5%8Dwaon) " " Kaze ni Fukarete mo (/wiki/Kaze_ni_Fukarete_mo) " " Glass wo Ware! (/wiki/Glass_wo_Ware!) " " Ambivalent (/wiki/Ambivalent_(song)) " " Kuroi Hitsuji (/wiki/Kuroi_Hitsuji) " " Dare ga Sono Kane o Narasu no ka? (/wiki/Dare_ga_Sono_Kane_o_Narasu_no_ka%3F) " Sakurazaka46 " Nobody's Fault (/wiki/Nobody%27s_Fault_(Sakurazaka46_song)) " " Ban (/wiki/Ban_(song)) " " Nagaredama (/wiki/Nagaredama) " " Samidare yo (/wiki/Samidare_yo) " " Sakurazuki (/wiki/Sakurazuki) " " Start Over! (/wiki/Start_Over!) " " Shonin Yokkyu (/wiki/Sh%C5%8Dnin_Yokky%C5%AB_(Sakurazaka46_song)) " " Ikutsu no Koro ni Modoritai no ka? (/w/index.php?title=Ikutsu_no_Koro_ni_Modoritai_no_ka%3F_(Sakurazaka46_song)&action=edit&redlink=1) " " Jigoujitoku (/w/index.php?title=Jigoujitoku&action=edit&redlink=1) " Albums Keyakizaka46 Masshiro na Mono wa Yogoshitaku naru (/wiki/Masshiro_na_Mono_wa_Yogoshitaku_naru) Sakurazaka46 As You Know? (/wiki/As_You_Know%3F) TV shows Keyakitte, Kakenai? (/wiki/Keyakitte,_Kakenai%3F) KeyaBingo! (/wiki/KeyaBingo!) Soko Magattara, Sakurazaka? (/wiki/Soko_Magattara,_Sakurazaka%3F) Video games Uni's On Air (/wiki/Uni%27s_On_Air) Sakamichi Series (/wiki/Sakamichi_Series) sister groups Nogizaka46 (/wiki/Nogizaka46) Yoshimotozaka46 (/wiki/Yoshimotozaka46) Hinatazaka46 (/wiki/Hinatazaka46) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐hw9gd Cached time: 20240713091741 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.881 seconds Real time usage: 1.183 seconds Preprocessor visited node count: 3235/1000000 Post‐expand include size: 88836/2097152 bytes Template argument size: 7812/2097152 bytes Highest expansion depth: 14/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 90039/5000000 bytes Lua time usage: 0.632/10.000 seconds Lua memory usage: 17053436/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 940.834 1 -total 29.53% 277.833 1 Template:Reflist 22.66% 213.180 27 Template:Nihongo 19.55% 183.928 1 Template:Infobox_musical_artist 17.28% 162.614 3 Template:Navbox_musical_artist 16.99% 159.804 1 Template:Infobox 16.48% 155.092 1 Template:Sakurazaka46 12.20% 114.753 1 Template:Cite_episode 11.27% 106.062 2 Template:Short_description 8.77% 82.473 2 Template:Br_separated_entries Saved in parser cache with key enwiki:pcache:idhash:61357674-0!canonical and timestamp 20240713091741 and revision id 1217723035. 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(Redirected from Frederick Institute of Technology (/w/index.php?title=Frederick_Institute_of_Technology&redirect=no) ) Frederick University Πανεπιστήμιο Frederick Former names Nicosia Technical & Economics School Type Private (/wiki/Private_university) Established 1965 / 2007 Location Nicosia (/wiki/Nicosia) and Limassol (/wiki/Limassol) , Cyprus (/wiki/Cyprus) Campus Blended Colours (/wiki/School_colors) Blue/White Website www.frederick.ac.cy (http://www.frederick.ac.cy) Frederick University is a private university in the Republic of Cyprus (/wiki/Republic_of_Cyprus) . It offers undergraduate and graduate programs on two campuses, one in the capital of the island Nicosia (/wiki/Nicosia) and the other in the second largest city, Limassol (/wiki/Limassol) . Frederick University offers teaching and research in the fields of science, technology, letters and the arts. [1] (#cite_note-1) History [ edit ] Although Frederick University was formally established as a university in 2007, it has a long history in higher education. The organization was first established in 1965 as the Nicosia Technical and Economics School and has since 1975 offered higher education programs as Frederick Institute of Technology (FIT). It offered a broad range of diploma, degree and master courses in the areas of science, engineering, business, tourism, arts, media and education. As a college of higher education, it had established collaborations with a number of UK universities (Bristol, Sunderland University) to jointly offer two-year diploma and Master programs. With the Cyprus law for private universities coming into effect, [ when? ] FIT applied to establish Frederick University, becoming one of the first private universities in Cyprus in September 2007. [2] (#cite_note-2) Frederick University is in the top 100 management and technical universities in Europe and is ranked 5th in Cyprus. [ clarification needed ] [3] (#cite_note-3) Schools and programs [ edit ] Frederick University Campus in Limassol (/wiki/Limassol) The university operates five schools and more than 80 programs. It also operates a number of technical programs under the Frederick Institute of Technology (FIT). Undergraduate programs [ edit ] Source: [4] (#cite_note-4) School of Arts, Communication and Cultural Studies BA in Visual Communication BA in Interior Design BA in Fashion and Image Design BA in Journalism School of Business and Law BA in Business Administration BSc in Accounting and Finance BSc in Maritime Studies Bachelor of Laws (LLB) School of Education and Social Sciences BEd in Primary Education BEd in Pre-Primary Education BSc in Physical Education and Sport Sciences BSc in Psychology BA in Social Work School of Engineering Diploma in Architectural Engineering (Integrated Master) BSc in Civil Engineering BSc in Electrical Engineering BSc in Computer Science BSc in Computer Engineering BSc in Mechanical Engineering BSc in Automotive Engineering School of Health Sciences BSc in Pharmacy BSc in General Nursing Postgraduate and doctoral programs [ edit ] Source: [5] (#cite_note-5) School of Arts, Communication and Cultural Studies MA in Visual Arts PhD in Art and Design Practices School of Business and Law Master of Business Administration (MBA) Master of Business Administration (MBA) with specialization in Public Policy and Management MSc in International Trade and Shipping Management MSc in Marine Engineering and Management MSc in Health Management MA / LLM in Maritime Law and Shipping Management LLM in Public Law PhD in Law PhD in Management School of Education and Social Sciences MA in Adult Education MA in Special Education MA in Educational Administration and Leadership MA in Social Work and Social Administration MEd in Educational Studies: Curriculum Development and Instruction MSc in Education for Sustainable Development and Social Change PhD in Education PhD in Social Work, Social Policy and Administration School of Engineering MSc in Conservation and Restoration of Historical Structures and Monuments MSc in Electrical Engineering MSc in Manufacturing Engineering Design MSc in Energy Engineering MSc in Structural Engineering MSc in Web and Smart Systems PhD in Electrical Engineering PhD in Mechanical Engineering PhD in Civil Engineering PhD in Computer Science PhD in Computer Engineering School of Health Sciences MSc in Community Healthcare MSc in Health Management PhD in Health Management References [ edit ] ^ (#cite_ref-1) From Cyprus Ministry of Education and Culture web site on higher education "Cyprus Higher Education" (https://web.archive.org/web/20090816145827/http://www.highereducation.ac.cy/en/priv-un-frederic-university.html) . Archived from the original (http://www.highereducation.ac.cy/en/priv-un-frederic-university.html) on 2009-08-16 . Retrieved 2008-07-23 . ^ (#cite_ref-2) Saoulli, Alexia (2007-09-13). "Cabinet approves three new universities" (https://web.archive.org/web/20090302173318/http://www.cyprus-mail.com/news/main.php?id=34654&cat_id=1) . Cyprus Mail (/wiki/Cyprus_Mail) . Archived from the original (http://www.cyprus-mail.com/news/main.php?id=34654&cat_id=1) on 2009-03-02 . Retrieved 2007-09-13 . ^ (#cite_ref-3) "Cyprus | Ranking Web of Universities: Webometrics ranks 30000 institutions" (http://www.webometrics.info/en/Europe/cyprus) . ^ (#cite_ref-4) "Undergraduate - Frederick University, Nicosia - Limassol" (https://www.frederick.ac.cy/programs-of-study/undergraduate) . ^ (#cite_ref-5) "Postgraduate - Frederick University, Nicosia - Limassol" (https://www.frederick.ac.cy/programs-of-study/postgraduate) . External links [ edit ] Frederick University homepage (http://www.frederick.ac.cy) Frederick Institute of Technology homepage (http://www.fit.ac.cy) v t e Universities and colleges in Cyprus (/wiki/List_of_universities_and_colleges_in_Cyprus) Universities Cyprus West University (/wiki/Cyprus_West_University) American University of Cyprus (/wiki/American_University_of_Cyprus) Atatürk Teacher Training Academy (/wiki/Atat%C3%BCrk_Teacher_Training_Academy) University of Cyprus (/wiki/University_of_Cyprus) Cyprus International University (/wiki/Cyprus_International_University) Cyprus Science University (/wiki/Cyprus_Science_University) Cyprus University of Technology (/wiki/Cyprus_University_of_Technology) Eastern Mediterranean University (/wiki/Eastern_Mediterranean_University) European University Cyprus (/wiki/European_University_Cyprus) European University of Lefke (/wiki/European_University_of_Lefke) Frederick University Girne American University (/wiki/Girne_American_University) University of Mediterranean Karpasia (/wiki/University_of_Mediterranean_Karpasia) University of Kyrenia (/wiki/University_of_Kyrenia) Near East University (/wiki/Near_East_University) Neapolis University Paphos (/wiki/Neapolis_University_Paphos) British University of Nicosia (/wiki/British_University_of_Nicosia) University of Nicosia (/wiki/University_of_Nicosia) Open University of Cyprus (/wiki/Open_University_of_Cyprus) Foreign campuses Anadolu University (/wiki/Anadolu_University) University of Central Lancashire (/wiki/University_of_Central_Lancashire) Istanbul Technical University (/wiki/Istanbul_Technical_University) Middle East Technical University (/wiki/Middle_East_Technical_University) University of the West of England (/wiki/University_of_the_West_of_England) Colleges Cyprus Institute of Marketing (/wiki/Cyprus_Institute_of_Marketing) Cyprus International Institute of Management (/wiki/Cyprus_International_Institute_of_Management) KES College (/wiki/KES_College) Authority control databases (/wiki/Help:Authority_control) ISNI (https://isni.org/isni/0000000404784359) NewPP limit report Parsed by mw‐web.codfw.main‐ff98d5cb5‐2mvwz Cached time: 20240722170437 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.310 seconds Real time usage: 0.415 seconds Preprocessor visited node count: 1505/1000000 Post‐expand include size: 28472/2097152 bytes Template argument size: 2003/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 32594/5000000 bytes Lua time usage: 0.207/10.000 seconds Lua memory usage: 5210777/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 379.103 1 -total 26.79% 101.572 1 Template:Reflist 22.17% 84.050 4 Template:Cite_web 21.74% 82.399 1 Template:Infobox_university 20.08% 76.115 1 Template:Universities_and_colleges_in_Cyprus 19.27% 73.063 1 Template:Navbox 18.33% 69.499 1 Template:Infobox 10.68% 40.502 1 Template:When 10.52% 39.876 5 Template:Main_other 10.31% 39.102 1 Template:Coord_missing Saved in parser cache with key enwiki:pcache:idhash:18553073-0!canonical and timestamp 20240722170437 and revision id 1204392376. 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Publication's editorial supervisor of its fashion department A fashion editor is a person that supervises the process of creating, developing and presenting content for the fashion department of a magazine (/wiki/Magazine) , Web site (/wiki/Web_site) , newspaper (/wiki/Newspaper) or television program (/wiki/Television_program) . The work of a fashion editor can be quite varied and may hold several responsibilities. Typical work includes supervising other editors and writers, writing or editing articles themselves, formulating and styling fashion photo shoots, choosing photos for publication, choosing fashion items and trends for publication, researching trends in the fashion industry and networking with industry professionals including photographers, designers and public relations professionals. [ citation needed ] Notable fashion editors [ edit ] This is a list of notable fashion editors . Name Publication Country Title Years Website Solange d'Ayen (/wiki/Solange_d%27Ayen) [1] (#cite_note-1) [2] (#cite_note-2) Vogue (magazine) (/wiki/Vogue_France) France fashion editor 1920s-1940s www.vogue.com (http://www.vogue.com) Diana Vreeland (/wiki/Diana_Vreeland) Vogue (magazine) (/wiki/Vogue_(magazine)) United States editor-in-chief (/wiki/Editor-in-chief) 1963-1971 www.vogue.com (http://www.vogue.com) Anna Wintour (/wiki/Anna_Wintour) Vogue (magazine) (/wiki/Vogue_(magazine)) United States editor-in-chief (/wiki/Editor-in-chief) 1988-current www.vogue.com (http://www.vogue.com) Grace Coddington (/wiki/Grace_Coddington) Vogue (magazine) (/wiki/Vogue_(magazine)) United States creative director (/wiki/Creative_director) 1988-current www.vogue.com (http://www.vogue.com) Giovanna Battaglia Engelbert (/wiki/Giovanna_Battaglia_Engelbert) Vogue (magazine) (/wiki/Vogue_(magazine)) Japan fashion editor present www.vogue.co.jp (http://www.vogue.co.jp/) Glenda Bailey (/wiki/Glenda_Bailey) Harper's Bazaar (/wiki/Harper%27s_Bazaar) United States editor-in-chief (/wiki/Editor-in-chief) 2001-current www.harpersbazaar.com (https://web.archive.org/web/20111228080044/http://www.harpersbazaar.com/) Roberta Myers (/wiki/Roberta_Myers) Elle (magazine) (/wiki/Elle_(magazine)) United States editor-in-chief (/wiki/Editor-in-chief) 2007-2017 www.elle.com (http://www.elle.com) Amy Astley (/wiki/Amy_Astley) Teen Vogue (/wiki/Teen_Vogue) United States editor-in-chief (/wiki/Editor-in-chief) 2002-2016 www.teenvogue.com (http://www.teenvogue.com) Alexandra Shulman (/wiki/Alexandra_Shulman) Vogue (magazine) (/wiki/Vogue_(magazine)) United Kingdom editor-in-chief (/wiki/Editor-in-chief) 1992-2017 www.vogue.co.uk (https://www.vogue.co.uk/) Babs Simpson (/wiki/Babs_Simpson) [3] (#cite_note-3) Vogue (magazine) (/wiki/Vogue_(magazine)) United States fashion editor 1947-1972 www.vogue.com (http://www.vogue.com) Patricia Peterson (/wiki/Patricia_Peterson) [4] (#cite_note-4) The New York Times (/wiki/The_New_York_Times) United States fashion editor 1957-1977 www.nytimes.com (http://www.nytimes.com) See also [ edit ] Fashion magazine (/wiki/Fashion_magazine) References [ edit ] ^ (#cite_ref-1) Paccaud, Emmanuelle (19 February 2023). "La presse magazine comme espace médiatique transatlantique | Pratiques éditoriales et représentations des rédacteurs en chef de Vogue et Vanity Fair (1914-1942)" (https://journals.openedition.org/belphegor/4179) . Belphégor. Littérature Populaire et Culture Médiatique (in French) (19–2). doi (/wiki/Doi_(identifier)) : 10.4000/belphegor.4179 (https://doi.org/10.4000%2Fbelphegor.4179) . S2CID (/wiki/S2CID_(identifier)) 246101666 (https://api.semanticscholar.org/CorpusID:246101666) . Solange d'Ayen, rédactrice de mode pour Vogue français depuis la fin des années 1920 ^ (#cite_ref-2) d'Ayen, Solange (15 October 1940). "Letter from France" (https://archive.vogue.com/issue/19401015) . Vogue (/wiki/Vogue_(magazine)) . pp. 114–115. This is a letter from the Duchesse d'Ayen, fashion editor of French Vogue, who is temporarily living in Unoccupied France. ^ (#cite_ref-3) Bowles, Hamish (7 January 2019). "Babs Simpson, a Former Vogue Editor Who Collaborated With Irving Penn, Has Died at 105" (https://www.vogue.com/article/babs-simpson-vogue-editor-obituary) . Vogue . Retrieved 2020-01-02 . ^ (#cite_ref-4) Roberts, Sam (August 2, 2017). "Gösta Peterson, Barrier-Breaking Fashion Photographer, Dies at 94" (https://www.nytimes.com/2017/08/02/arts/gosta-peterson-barrier-breaking-fashion-photographer-dies-at-94.html) . www.nytimes.com . Retrieved 2023-10-07 . v t e Fashion (/wiki/Fashion) articles Index of fashion articles (/wiki/Index_of_fashion_articles) General Environmental impact of fashion (/wiki/Environmental_impact_of_fashion) Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Fashion design copyright (/wiki/Fashion_design_copyright) Fashion matrix (/wiki/Fashion_matrix) Fashion museum (/wiki/Fashion_museum) Fashion plate (/wiki/Fashion_plate) Fashion tourism (/wiki/Fashion_tourism) Semiotics of fashion (/wiki/Semiotics_of_fashion) History (/wiki/History_of_fashion_design) History of clothing and textiles (/wiki/History_of_clothing_and_textiles) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) Timeline of clothing and textiles technology (/wiki/Timeline_of_clothing_and_textiles_technology) 19th century (/wiki/19th_century_in_fashion) 21st century (/wiki/21st_century_in_fashion) Events (/wiki/List_of_fashion_events) Fashion show (/wiki/Fashion_show) Fashion week (/wiki/Fashion_week) Industry (/wiki/Fashion_industry) Awards (/wiki/Category:Fashion_awards) Clothing industry (/wiki/Clothing_industry) Designer clothing (/wiki/Designer_clothing) Digital fashion (/wiki/Digital_fashion) Fashion blog (/wiki/Fashion_blog) Fashion capital (/wiki/Fashion_capital) Fashion entrepreneur (/wiki/Fashion_entrepreneur) Fashion editor Fashion forecasting (/wiki/Fashion_forecasting) Fashion illustration (/wiki/Fashion_illustration) Fashion influencer (/wiki/Fashion_influencer) Fashion journalism (/wiki/Fashion_journalism) Fashion law (/wiki/Fashion_law) Fashion photography (/wiki/Fashion_photography) Fashion merchandising (/wiki/Fashion_merchandising) Fast fashion (/wiki/Fast_fashion) in China (/wiki/Fast_fashion_in_China) Red carpet fashion (/wiki/Red_carpet_fashion) Social media in the fashion industry (/wiki/Social_media_in_the_fashion_industry) Sweatshop (/wiki/Sweatshop) Trickle-up fashion (/wiki/Trickle-up_fashion) Traditional clothing Ceremonial (/wiki/Ceremonial_dress) Court (/wiki/Court_dress) Diplomatic (/wiki/Diplomatic_uniform) Academic (/wiki/Academic_dress) Military (/wiki/Military_uniform) Full (/wiki/Full_dress_uniform) Mess (/wiki/Mess_dress_uniform) Service (/wiki/Service_dress_uniform) Sailor (/wiki/Sailor_suit) Combat (/wiki/Combat_uniform) Folk (/wiki/Folk_costume) Western dress codes (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) Morning dress (/wiki/Morning_dress) White tie (/wiki/White_tie) Ball gown (/wiki/Ball_gown) Semi-formal (/wiki/Semi-formal_wear) Black lounge suit (/wiki/Black_lounge_suit) Black tie (/wiki/Black_tie) Evening gown (/wiki/Evening_gown) Informal (/wiki/Informal_wear) Suit (/wiki/Suit) Cocktail dress (/wiki/Cocktail_dress) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) Christian (/wiki/Christian_clothing) Jewish (/wiki/Jewish_religious_clothing) Islamic (/wiki/Islamic_fashion) Modest fashion 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(/wiki/Bohemian_style) Emo (/wiki/Emo) Fetish (/wiki/Fetish_fashion) Gothic (/wiki/Gothic_fashion) Lolita (/wiki/Lolita_fashion) Queer (/wiki/Queer_fashion) Skinhead (/wiki/Skinhead) Steampunk (/wiki/Steampunk_fashion) Thrift store chic (/wiki/Thrift_store_chic) Rocker (/wiki/Rocker_(subculture)) Greaser (/wiki/Greaser_(subculture)) Glam (/wiki/Glam_rock) Grunge (/wiki/Grunge_fashion) Heavy metal (/wiki/Heavy_metal_fashion) Punk (/wiki/Punk_fashion) Skate (/wiki/Skate_punk) Rockabilly (/wiki/Rockabilly) By country American fashion (/wiki/Fashion_in_the_United_States) Canadian fashion (/wiki/Canadian_fashion) Chinese fashion (/wiki/Chinese_fashion) Filipino fashion (/wiki/Fashion_in_the_Philippines) French fashion (/wiki/French_fashion) German fashion (/wiki/German_fashion) Indian fashion (/wiki/Fashion_in_India) Iranian fashion (/wiki/Fashion_in_Iran) Israeli fashion (/wiki/Israeli_fashion) Italian fashion (/wiki/Italian_fashion) History (/wiki/History_of_Italian_fashion) Japanese 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Traditional straw hat from the Philippines A buntal hat from Baliwag (/wiki/Baliwag) A wide-brimmed woman's baliwag hat from Baliwag (/wiki/Baliwag) The buntal hat is a traditional straw hat (/wiki/Straw_hat) from the Philippines (/wiki/Philippines) woven from fibers extracted from the petioles (/wiki/Petiole_(botany)) of buri palm (/wiki/Corypha) leaves. It is traditionally worn by farmers working in the fields and was a major export of the Philippines in the first half of the 20th century. It can also be paired with semi-formal (/wiki/Semi-formal_attire) barong tagalog (/wiki/Barong_tagalog) as well as informal attire (/wiki/Informal_attire) . Its main centers of production are Baliwag, Bulacan (/wiki/Baliwag,_Bulacan) , and (historically) Sariaya (/wiki/Sariaya) and Tayabas (/wiki/Tayabas) in Quezon Province. Buntal hats produced in Baliwag are also sometimes known as balibuntal hats (a portmanteau (/wiki/Portmanteau) of "Baliwag" and "buntal"), and are regarded as superior in quality to other types of buntal hats. Buntal hats were traditionally woven into wide-brimmed farmer's hats for the domestic market. Later versions of the hat using softened fibers and a finer weave are woven into a form resembling the fedora (/wiki/Fedora) , and it is often mistaken for and sold as the very similar Panama hat (/wiki/Panama_hat) or under the name Bangkok hat . These versions are characterized by being durable, yet light, and with a silkier texture than Panama hats. It can also be woven into other forms, including as women's braided wide-brimmed sun hats (/wiki/Sun_hat) known as the baliwag hat (also named after the town of Baliwag). [1] (#cite_note-Pickard-1) Buntal hats are also sometimes known as the parabuntal hat , East Indian Panama hat , or Italian straw hat . [2] (#cite_note-Kneeland-2) Production [ edit ] Worker pulling out buntal fibers manually from the buri palm petiole (c.1912) [3] (#cite_note-3) Buntal hats are manufactured from buntal fiber extracted from buri palms ( Corypha (/wiki/Corypha) spp.). Most buntal fibers are sourced from the buri plantations of Quezon Province (/wiki/Quezon_Province) . Traditionally, it is extracted by from seven to ten-year old buri palms. Three to six leaf stems (/wiki/Leaf_stem) (at least 6 ft (1.8 m) in length) are cut from a tree twice each year. The base of the stem is skinned and the exposed fiber beaten with a bolo (/wiki/Bolo_knife) blade until they are separated into bundles. The name of the fiber comes from this process ( buntal is Tagalog (/wiki/Tagalog_language) for "to strike" or "to beat"). The top part of the stem is also skinned. The entire stem is then tied to a post for support. Bundles of exposed fiber are selected from the beaten part and then manually pulled out of the stem. Each pulling can yield 1 to 5 fibers, and each stem can yield four to six bundles of fibers (known as meresa ), depending on the condition of the stem and the dexterity of the worker. Modern buntal fibers however, can also be extracted via the easier method of retting (/wiki/Retting) . [4] (#cite_note-Guevarra-4) History [ edit ] Woman weaving buntal hats while a man is using a charcoal iron (/wiki/Clothes_iron) to shape finished hats (c.1929) Originally, buntal hats were primarily produced in the towns of Sariaya (/wiki/Sariaya) and Tayabas (/wiki/Tayabas) , due to the buri palm plantations in Quezon Province (/wiki/Quezon_Province) . Early versions of the buntal hat were wide-brimmed farmer's hats and used unsoftened strips of buntal fiber. The industry expanded into Baliuag, Bulacan (/wiki/Baliuag,_Bulacan) , between 1907 and 1909, originally introduced by Mariano Deveza who originally hailed from Lucban, Quezon (/wiki/Lucban,_Quezon) . Introducing buntal hat weaving to Baliuag was easy since the town already had a preexisting weaving industry producing textiles, pañuelos (/wiki/Pa%C3%B1uelo) (kerchiefs), tapis (/wiki/Tapis_(Philippine_clothing)) , as well as woven hats made from bamboo (/wiki/Bamboo) straw. Buntal hat production in Baliuag was further enhanced by Dolores Maniquis who softened the fibers through the use of a wooden roller known as an iluhan . This process was meticulous as using the roller too many times can result in the fibers becoming too brittle. This resulted in buntal fibers that could be woven into hats with a finer weave and texture. [4] (#cite_note-Guevarra-4) Dancers performing Jota Cagayana in Daly City (/wiki/Daly_City) , California. The man is wearing a white barong tagalog (/wiki/Barong_tagalog) with a buntal hat, while the woman is in a traje de mestiza (/wiki/Traje_de_mestiza) By 1910, buntal hat production was a cottage industry (/wiki/Cottage_industry) in Baliuag. Several people often specialized on different parts of the hat and work together in an assembly process. However, there were no factories per se. Instead, the hats are woven by various households in rural areas who then supplied the merchants. The weavers were exclusively women, usually housewives. [4] (#cite_note-Guevarra-4) The industry was so large that there was at least one weaver for every household. [5] (#cite_note-Balabo-5) By 1920s, the hats were being exported by the Philippines, often passed off as the very similar Panama hat (/wiki/Panama_hat) or under the name "Bangkok hat". However, in 1923, Chinese producers from Hong Kong hired hat weavers from the Philippines. Having acquired the weaving process, they then began to mass-produce balibuntal hats using buntal fibers imported from the Philippines. This affected the local industry to such an extent that Representative Antonio Villarama tried to pass a bill to ban the export of buntal fiber (though it failed). [4] (#cite_note-Guevarra-4) Because of competition from Chinese factories, the buntal hat industry waned until the 1960s when it was again revived by the Villones family from Sariaya, Quezon. Their hats were mostly sourced from suppliers from Baliuag, although they also bought hats from nearby towns in Bulacan (/wiki/Bulacan) , Pampanga (/wiki/Pampanga) , and Nueva Ecija (/wiki/Nueva_Ecija) . Their hats were primarily exported to the United States, Mexico, and Italy. The family accounted for around a quarter of the total monthly production of buntal hats in the 1960s. [4] (#cite_note-Guevarra-4) The industry, however, is once again in danger of extinction due to the growing lack of skilled workers and the declining demand. Most remaining weavers of buntal are elderly. The government of Baliuag has been taking measures to promote buntal hats to the local market. [4] (#cite_note-Guevarra-4) [5] (#cite_note-Balabo-5) [6] (#cite_note-6) In 2011, Rosario Quizon-Bautista, one of the last remaining weavers in Baliuag, also started a project to teach buntal weaving skills to inmates in the Bulacan Provincial Jail, due to the lack of interest among youths in Bulacan. She sells raw buntal fiber to the inmates, and buy back finished hats. This provides them with income while also preserving buntal weaving traditions. [7] (#cite_note-7) In popular culture [ edit ] Baliwag celebrates a 10-day "Buntal Festival" every May each year. [4] (#cite_note-Guevarra-4) [5] (#cite_note-Balabo-5) Similar hats [ edit ] Buntal hats can be mistaken for similar Philippine hats also made from the buri palm, the buri hat (/w/index.php?title=Buri_hat&action=edit&redlink=1) and the calasiao hat (/w/index.php?title=Calasiao_hat&action=edit&redlink=1) . These differ from the buntal hat in that they are made from different parts of the palm. Buri hats are made from unopened buri palm leaves, while calasiao hats are made from the midribs (/wiki/Midrib) of the unopened leaves. Similar hats are also traditionally made in the Philippines from other materials, the most common are bamboo hats made from bamboo straw, and the sabutan hat (/w/index.php?title=Sabutan_hat&action=edit&redlink=1) , made from pandan leaves (/wiki/Pandanus) . [1] (#cite_note-Pickard-1) Gallery [ edit ] Buntal hat from the Baliuag Museum and Library (/wiki/Baliuag_Museum_and_Library) Buntal hat with a round crown from the Baliuag Museum and Library (/wiki/Baliuag_Museum_and_Library) Woman's buntal hat in a Buntal Festival display in SM City Baliwag (/wiki/SM_City_Baliwag) A buntal hat from Baliwag See also [ edit ] Wikimedia Commons has media related to Buntal hats (https://commons.wikimedia.org/wiki/Category:Buntal_hats) . Salakot (/wiki/Salakot) Barong tagalog (/wiki/Barong_tagalog) Baro't saya (/wiki/Baro%27t_saya) References [ edit ] ^ a b Pickard, Edward T. (October 21, 1929). "Philippine Production and Foreign Trade in Hats" (https://books.google.com/books?id=Sp5NHpZv1owC&pg=PA154) . Commerce Reports (40): 154–156. ^ (#cite_ref-Kneeland_2-0) Kneeland, Natalie (1925). Merchandise Manuals for Retail Salespeople: Millinery . A.W. Shaw Company. p. 19. ^ (#cite_ref-3) "The Hat Growing Palm of the Philippines" (https://cdnc.ucr.edu/?a=d&d=SFC19120630.2.75.9&e=-------en--20--1--txt-txIN--------1) . San Francisco Call . 112 (30): 4. June 30, 1912. ^ a b c d e f g Guevarra, Aldrine V. (January 26, 2015). "From Quezon to Bulacan: Tracing the Origin of Baliwag Buntal Hat" (https://doi.org/10.7719%2Fjpair.v19i1.310) . JPAIR Multidisciplinary Research . 19 (1): 42–59. doi (/wiki/Doi_(identifier)) : 10.7719/jpair.v19i1.310 (https://doi.org/10.7719%2Fjpair.v19i1.310) . ^ a b c Balabo, Dino (May 3, 2009). "Baliuag celebrates buntal weaving" (https://www.philstar.com/other-sections/the-good-news/2009/05/03/463183/baliuag-celebrates-buntal-weaving) . PhilStar Global . Retrieved February 24, 2020 . ^ (#cite_ref-6) "Baliuag appeals to its youth to save the buntal hat" (https://news.mb.com.ph/2017/05/28/baliuag-appeals-to-its-youth-to-save-the-buntal-hat/) . Manila Bulletin . May 28, 2017 . Retrieved February 24, 2020 . ^ (#cite_ref-7) Reyes-Estrope, Carmela (May 28, 2011). "Australia discovers hats made by 'weaving inmates of Bulacan' (https://business.inquirer.net/2718/australia-discovers-hats-made-by-%E2%80%98weaving-inmates-of-bulacan%E2%80%99) " (https://business.inquirer.net/2718/australia-discovers-hats-made-by-%E2%80%98weaving-inmates-of-bulacan%E2%80%99) . Philippine Daily Inquirer . 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Historical children's clothing The comic strip character Buster Brown (/wiki/Buster_Brown) , wearing the outfit that took his name A Buster Brown suit was a very popular style of clothing for young boys in the United States during the early 20th century. It was named after the comic strip character Buster Brown (/wiki/Buster_Brown) , created in 1902 by Richard Felton Outcault (/wiki/Richard_Felton_Outcault) . [1] (#cite_note-olian-1) It typically consisted of a belted, double-breasted tunic or jacket worn with a large round collar, floppy bow, and shorts (/wiki/Shorts) or knickerbockers (/wiki/Knickerbockers_(clothing)) . It was often worn with a round straw hat (/wiki/Straw_hat) and a haircut with bangs (/wiki/Fringe_(hair)) . [1] (#cite_note-olian-1) [2] (#cite_note-2) Along with the sailor suit (/wiki/Sailor_suit) , the Eton suit (/wiki/Mess_jacket) , the Norfolk suit (/wiki/Norfolk_jacket) and the Fauntleroy suit (/wiki/Little_Lord_Fauntleroy#Impact_on_fashion) , the Buster Brown suit is cited as one of the key looks in boys' clothing of the period. [3] (#cite_note-3) [4] (#cite_note-stamper-4) Background [ edit ] Prince Edward in sailor suit Outcault got the idea for this suit from Prince Edward (later King Edward VII (/wiki/Edward_VII) ). As a child, Edward's mother, Queen Victoria (/wiki/Queen_Victoria) , had him dressed in suits that looked like sailor suits that the English navy would wear. It was common in the 19th century for royal children to wear clothes similar to those of the military because it showed off their future roles of power and was also a sign of respect and loyalty to their country. On a visit to Ireland, Edward wore a sailor suit and had his portrait painted by Franz Xavier Winterhalter, the court artist. After the painting was done, copies were made as steel engravings for public sale. [5] (#cite_note-Clare_Rose_(2009)_The_meanings_of_the_late_Victorian_sailor_suit,_Journal_for_Maritime_Research,_11:1,_24-50,_DOI:_10.1080/21533369.2009.9668367-5) This is what launched the suits into becoming more popular and a greater symbol of class and power. The comic book character Buster Brown had very wealthy parents, so drawing him dressed up in a sailor suit was a symbol of his wealth and also a symbol of class, alluding to royalty and power. Knowing that sailor suits had this reputation and background explains why mothers chose to dress their sons in them, especially if they were trying to hide the fact that they were poor. Usage [ edit ] The suit was often chosen by mothers for their sons against their children's wishes. [6] (#cite_note-eugene-6) It was perceived by mothers as a symbol of neatness and gentility but could lead to its wearer being mocked by other children and called a " sissy (/wiki/Sissy) ". [7] (#cite_note-7) [8] (#cite_note-8) Mark Rothko (/wiki/Mark_Rothko) , who arrived in the United States as a child immigrant with his family in 1913, was deliberately dressed in a Buster Brown suit made in Daugavpils (/wiki/Daugavpils) to camouflage both the family's poverty and their Russian-Jewish origins. [9] (#cite_note-9) The Buster Brown suit was also occasionally worn by older boys and men, such as the teenaged Eugene Bullard (/wiki/Eugene_Bullard) , a fan of the comic strip, who in the late 1900s purchased a Buster Brown suit with knickerbockers for Sunday best. [6] (#cite_note-eugene-6) See also [ edit ] Collar (clothing) (/wiki/Collar_(clothing)) References [ edit ] ^ a b Olian, JoAnne, ed. (2003). Children's fashions, 1900-1950, as pictured in Sears catalogs . Mineola, N.Y.: Dover Publications. ISBN (/wiki/ISBN_(identifier)) 9780486423258 . ^ (#cite_ref-2) O'Donnol, Shirley Miles (1989). American Costume 1915-1970: A Source Book for the Stage Costumer . Indiana University Press. p. 15. ISBN (/wiki/ISBN_(identifier)) 9780253113733 . ^ (#cite_ref-3) Griffin, Irene Frances (1955). Children's Costume: Its Development and Stage Reproduction . Department of Speech and Drama, Stanford University. p. 183. The three most important innovations in the last part of the century were: the sailor suit, the "Little Lord Fauntleroy" suit, and the "Buster Brown" suit. ^ (#cite_ref-stamper_4-0) Stamper, Anita; Condra, Jill (2010). Clothing through American History the Civil War through the Gilded Age, 1861-1899 . Santa Barbara: ABC-CLIO. p. 351. ISBN (/wiki/ISBN_(identifier)) 9780313084584 . ^ (#cite_ref-Clare_Rose_(2009)_The_meanings_of_the_late_Victorian_sailor_suit,_Journal_for_Maritime_Research,_11:1,_24-50,_DOI:_10.1080/21533369.2009.9668367_5-0) Rose, Clare (2011-02-08). "The meanings of the late Victorian sailor suit". Journal for Maritime Research . 11 : 24–50. doi (/wiki/Doi_(identifier)) : 10.1080/21533369.2009.9668367 (https://doi.org/10.1080%2F21533369.2009.9668367) . S2CID (/wiki/S2CID_(identifier)) 190707496 (https://api.semanticscholar.org/CorpusID:190707496) . ^ a b Lloyd, Craig (2000). Eugene Bullard, black expatriate in jazz-age Paris . Athens: University of Georgia Press. pp. 21–24. ISBN (/wiki/ISBN_(identifier)) 9780820321929 . ^ (#cite_ref-7) Hirschhorn, Clive (1975). Gene Kelly : a biography . Chicago: Regnery. p. 27. ISBN (/wiki/ISBN_(identifier)) 9780809282609 . From the age of seven Gene remembers being dressed in his neat Buster Brown suit and being taken to a dance school in downtown Pittsburgh by his determined mother. He remembers, too, the taunts and jeers of the rough neighbourhood boys, who would place their hands on their hips effeminately and call him a sissy ^ (#cite_ref-8) Mercante, Arthur (2007). Inside the Ropes . McBooks Press. p. 13. ISBN (/wiki/ISBN_(identifier)) 978-1590132944 . ^ (#cite_ref-9) Breslin, James E.B. (1998). Mark Rothko : a biography (Pbk. ed.). Chicago: University of Chicago Press. p. 22. ISBN (/wiki/ISBN_(identifier)) 9780226074061 . This fashion (/wiki/Fashion) -related article is a stub (/wiki/Wikipedia:Stub) . 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American-British businessman and fashion designer James Jebbia Born ( 1963-07-22 ) July 22, 1963 (age 60) New York City, U.S. Nationality American British [1] (#cite_note-newyorktimes-1) Occupations fashion designer businessman Years active 1977–present Known for Founder of Supreme (/wiki/Supreme_(brand)) Spouse Bianca Jebbia Children 2 James Jebbia (born July 22, 1963) is an American-British businessman, fashion designer and former child actor. He is known for being the founder of the skateboarding shop and clothing brand Supreme (/wiki/Supreme_(brand)) . Early life [ edit ] James Jebbia was born on July 22, 1963, in the United States. His American father was formerly in the United States Air Force (/wiki/United_States_Air_Force) , and his English mother was a former teacher. His parents divorced when he was around 10 years old. [1] (#cite_note-newyorktimes-1) At the age of one, Jebbia moved from the U.S. to Crawley (/wiki/Crawley) , West Sussex (/wiki/West_Sussex) in the United Kingdom. [1] (#cite_note-newyorktimes-1) In 1983, when he was 19 years-old, Jebbia moved back to the United States, settling in Staten Island (/wiki/Staten_Island) , New York City. [1] (#cite_note-newyorktimes-1) [2] (#cite_note-complex-2) Career [ edit ] The logo of Supreme (/wiki/Supreme_(brand)) , the company Jebbia founded in 1994 In the late 1970s, Jebbia worked as a child actor. He played the role of Tommy Watson in the first series of Grange Hill (/wiki/Grange_Hill) . [3] (#cite_note-3) In 1983, at the age of 19, Jebbia worked his first job in New York at Parachute, a minimalist skate shop and clothing store located in SoHo, Manhattan (/wiki/SoHo,_Manhattan) . [4] (#cite_note-businessoffashion-4) A few years later, in 1989, he worked as the manager of the streetwear store, Union NYC, which carried mainly English clothing brands. [4] (#cite_note-businessoffashion-4) Its first store opened in 1989 on Spring Street (/wiki/Spring_Street_(Manhattan)) in Manhattan (/wiki/Manhattan) , and later closed in 2009. [5] (#cite_note-5) From 1991 to 1994, Jebbia partnered with Shawn Stussy (/wiki/Shawn_Stussy) , the founder of the clothing brand, Stüssy (/wiki/St%C3%BCssy) . [4] (#cite_note-businessoffashion-4) In 1994, Jebbia founded the clothing brand and skateboarding shop Supreme (/wiki/Supreme_(brand)) , and opened its first store on Lafayette Street (/wiki/Lafayette_Street) in Manhattan. Among his earliest designs was a cut-and-sew pair of tiger-stripe cargo pants. [6] (#cite_note-6) As of 2021, Supreme has 14 locations worldwide. Locations include: New York City, Brooklyn (/wiki/Brooklyn) , Chicago, San Francisco, Los Angeles, London, Paris, Milan, and Japan ( Harajuku (/wiki/Harajuku) , Shibuya (/wiki/Shibuya) , Daikanyama (/wiki/Daikanyamach%C5%8D,_Shibuya) , Nagoya (/wiki/Nagoya) , Osaka (/wiki/Osaka) , and Fukuoka (/wiki/Fukuoka) ). [7] (#cite_note-7) Over the years, Jebbia has collaborated with high-profile artists, such as Damien Hirst (/wiki/Damien_Hirst) , Takashi Murakami (/wiki/Takashi_Murakami) and Richard Prince (/wiki/Richard_Prince) . [4] (#cite_note-businessoffashion-4) In 2017, Supreme collaborated with Louis Vuitton (/wiki/Louis_Vuitton) for their debut collection during Paris Fashion Week (/wiki/Paris_Fashion_Week) . [8] (#cite_note-8) Personal life [ edit ] Jebbia is married to Bianca Jebbia and has two children. He resides in Lower Manhattan (/wiki/Lower_Manhattan) 's West Village (/wiki/West_Village) in New York City. [1] (#cite_note-newyorktimes-1) References [ edit ] ^ Jump up to: a b c d e Williams, Alex (21 November 2012). "Guerrilla Fashion: The Story of Supreme" (https://www.nytimes.com/2012/11/22/fashion/guerrilla-fashion-the-story-of-supreme.html) . The New York Times . Retrieved 5 December 2017 . ^ (#cite_ref-complex_2-0) "50 Things You Didn't Know About Supreme" (http://www.complex.com/style/2013/03/50-things-you-didnt-know-about-supreme/) . Complex . Retrieved 5 December 2017 . ^ (#cite_ref-3) Haynes, Tom (17 January 2022). "Grange Hill actor James Jebbia went on to found a worldwide fashion brand" (https://www.mylondon.news/whats-on/whats-on-news/grange-hill-actor-who-went-20244528) . MyLondon . ^ Jump up to: a b c d "James Jebbia is One of the 500 People Shaping the Global Fashion Industry in 2017" (https://www.businessoffashion.com/community/people/james-jebbia) . The Business of Fashion . Retrieved 5 December 2017 . ^ (#cite_ref-5) Fischer, David (24 July 2009). "Union NYC Closes Its Doors" (https://www.highsnobiety.com/p/union-nyc-closes-its-doors) . Highsnobiety (/wiki/Highsnobiety) . Retrieved 24 July 2021 . ^ (#cite_ref-6) Johnson, Noah (26 July 2019). "A Rare Interview with Supreme's James Jebbia" (https://www.gq.com/story/supreme-james-jebbia-extended-interview) . GQ . Retrieved 27 October 2020 . ^ (#cite_ref-7) "Supreme stores" (http://www.supremenewyork.com/stores) . www.supremenewyork.com . Retrieved 18 March 2018 . ^ (#cite_ref-8) "James Jebbia: What You Need to Know About the Supreme Founder" (https://www.highsnobiety.com/tag/james-jebbia/) . Highsnobiety . Retrieved 7 April 2020 . 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American model and actor This article has multiple issues. Please help improve it (/wiki/Special:EditPage/Donny_Lewis) or discuss these issues on the talk page (/wiki/Talk:Donny_Lewis) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This article may contain an excessive number of citations (/wiki/Wikipedia:Citation_overkill) . Please help remove low-quality or irrelevant citations (/wiki/Wikipedia:Citation_overkill#How_to_trim_excessive_citations) . ( June 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Some of this article's listed sources (/wiki/Wikipedia:Citing_sources) may not be reliable (/wiki/Wikipedia:Reliable_sources) . Please help improve this article by looking for better, more reliable sources. Unreliable citations may be challenged and removed. ( June 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Donny Lewis Born Donny Allen Lewis ( 1976-12-07 ) December 7, 1976 (age 47) Lubbock (/wiki/Lubbock) , Texas (/wiki/Texas) , United States Modeling information Height 187 cm (6 ft 1 + 1 ⁄ 2 in) Hair color Brown Eye color Blue Agency Wilhelmina models NY & Miami, Storm models, Mega models, Major Milan, Marilynn agency Paris, Wilhelmina models Miami, Uno models, Next Canada, Heffner management, State management, CESD talent, The Campbell agency Website donnylewis.com Donny Allen Lewis (born December 7, 1976) is an American model (/wiki/Model_(person)) and actor. His consistent work for major international fashion brands and publications has solidified his status as a male supermodel (/wiki/Supermodel) . His work for the promotion of sustainability in the fashion industry has led him to be named “The Male Face of Sustainable Fashion” and a contributing editor for IRK Magazine. [1] (#cite_note-1) Early life [ edit ] Lewis was born in Lubbock, Texas (/wiki/Lubbock,_Texas) , on December 7, 1976. At the age of 17 he was discovered at the South Plains Mall by Peter John and Mike Beaty, signed with Next Model Management [2] (#cite_note-2) and moved to New York at 18. Modelling career [ edit ] Lewis began working as a model at the age of 18 by signing a two-year contract with GUESS, shot by the photographer Pablo Alfaro. This brought him to the public eye and aroused the interest of the fashion industry. He has worked with photographers, Greg Kadel (/wiki/Greg_Kadel) (Valentino Intimo and Valentino Sand), [3] (#cite_note-models.com-3) Mert Alas and Marcus Piggott, [3] (#cite_note-models.com-3) [4] (#cite_note-4) Camilla Akrans, Terry Richardson (/wiki/Terry_Richardson) , Ellen von Unwerth (/wiki/Ellen_von_Unwerth) , Mario Sorrenti (/wiki/Mario_Sorrenti) [3] (#cite_note-models.com-3) and Michel Comte [5] (#cite_note-5) and for fashion designers [6] (#cite_note-6) and brands such as Salvatore Ferragamo (/wiki/Salvatore_Ferragamo_S.p.A.) , [3] (#cite_note-models.com-3) Valentino (/wiki/Valentino_SpA) , [3] (#cite_note-models.com-3) [7] (#cite_note-talents-models.com-7) Yohji Yamamoto (/wiki/Yohji_Yamamoto) , [3] (#cite_note-models.com-3) Bulgari (/wiki/Bulgari) , [3] (#cite_note-models.com-3) [8] (#cite_note-8) Roberto Cavalli (/wiki/Roberto_Cavalli) , [3] (#cite_note-models.com-3) [7] (#cite_note-talents-models.com-7) Hugo Boss, Kenneth Cole (/wiki/Kenneth_Cole_Productions) , [3] (#cite_note-models.com-3) Rene Lezard, [3] (#cite_note-models.com-3) [9] (#cite_note-9) Armani (/wiki/Armani) , Perry Ellis (/wiki/Perry_Ellis_International) , [3] (#cite_note-models.com-3) [10] (#cite_note-10) Mac cosmetics (/wiki/MAC_Cosmetics) , [3] (#cite_note-models.com-3) [11] (#cite_note-11) and H&M (/wiki/H%26M) . He has appeared in numerous TV commercials, such as FA, Jägermeister and Michelob [12] (#cite_note-12) and in music videos, among others for David Guetta (/wiki/David_Guetta) [13] (#cite_note-13) and Kylie Minogue (/wiki/Kylie_Minogue) . Lewis was also part of two art projects by the photographer/artist Spencer Tunick (/wiki/Spencer_Tunick) and appeared on a double page in issue 52 of Visionaire (/wiki/Visionaire) , [3] (#cite_note-models.com-3) [14] (#cite_note-14) shot by Mert Alas & Marcus Piggott (/wiki/Mert_and_Marcus) . Lewis is signed with Wilhelmina [15] (#cite_note-15) of New York and in 2011 appeared in advertisement campaigns for Davidoff (/wiki/Davidoff) [3] (#cite_note-models.com-3) [7] (#cite_note-talents-models.com-7) and Pal Zileri (/wiki/Pal_Zileri) . [3] (#cite_note-models.com-3) [16] (#cite_note-16) Subsequent clients include: Davidoff [3] (#cite_note-models.com-3) again in 2013 Lancaster Paris (/w/index.php?title=Lancaster_Paris&action=edit&redlink=1) [ fr (https://fr.wikipedia.org/wiki/Lancaster_Paris) ] [3] (#cite_note-models.com-3) alongside Daisy Loewe (/wiki/Daisy_Lowe) shot by photographer Guy Aroch (/wiki/Guy_Aroch) in 2014 Lucchesse (/wiki/Lucchese_Boot_Company) [3] (#cite_note-models.com-3) alongside Jessica Miller shot by photographer Daniel Jackson in 2014 for both SS and FW Otto Kern [3] (#cite_note-models.com-3) shot by photographer Andreas Ortner in 2015 for Otto Kern Signature and Otto Kern Signature Supreme fragrances as well as Otto Kern Signature Speed [3] (#cite_note-models.com-3) in 2016 Stefano Ricci (/wiki/Stefano_Ricci) [3] (#cite_note-models.com-3) in 2018 SS advertising Campaign The Fashionisto [17] (#cite_note-17) [18] (#cite_note-18) Fashion editorial featuring Donny Lewis portraying the iconic Yves Saint Laurent published 2020 120% Lino [19] (#cite_note-19) [20] (#cite_note-20) SS 2020 advertising Campaign Giorgio Armani [21] (#cite_note-21) via press release in The Fashionisto References [ edit ] ^ (#cite_ref-1) "IRK Magazine: Rattling the Everyday" (https://www.irkmagazine.com/donnylewis) . irk-magazine . Retrieved 2021-06-21 . ^ (#cite_ref-2) Next Model Management (http://www.nextmodels.com/#/home) ^ a b c d e f g h i j k l m n o p q r s t u "Donny Lewis - Model" (https://models.com/models/donny-lewis) . MODELS.com . Retrieved 2018-12-06 . ^ (#cite_ref-4) "DNA Models" (https://web.archive.org/web/20120329064330/http://www.dnamodels.com/main-board/donny-lewis/portfolio#/page/25) . DNA Models. Archived from the original (http://www.dnamodels.com/main-board/donny-lewis/portfolio#/page/25) on March 29, 2012 . Retrieved October 17, 2011 . ^ (#cite_ref-5) "DNA Models" (https://web.archive.org/web/20120329064330/http://www.dnamodels.com/main-board/donny-lewis/portfolio#/page/23) . DNA Models. Archived from the original (http://www.dnamodels.com/main-board/donny-lewis/portfolio#/page/23) on March 29, 2012 . Retrieved October 17, 2011 . ^ (#cite_ref-6) "Model and Talent Expo" (https://web.archive.org/web/20060505210030/http://www.modelandtalentexpo.com/mte/success.html) . Model and Talent Expo. Archived from the original (http://www.modelandtalentexpo.com/mte/success.html) on May 5, 2006 . Retrieved October 17, 2011 . ^ a b c "Talents Models" (https://web.archive.org/web/20120424230043/http://www.talents-models.com/largepic.asp?ix=19&modelid=489900&branch=10) . Talents Models. Archived from the original (http://www.talents-models.com/largepic.asp?ix=19&modelid=489900&branch=10) on April 24, 2012 . Retrieved October 17, 2011 . ^ (#cite_ref-8) "Source for Beauty, Skin Care, Fragrance & Hair - BVLGARI EAU PARFUMEE AU THE BLANC Boutique" (http://www.amirahg.com/bvlgari_eau_parfumee_au_the_blanc_boutique) . AmirahG.com . Retrieved October 17, 2011 . ^ (#cite_ref-9) "René Lezard" (http://www.rene-lezard.com/) . Rene-lezard.com . Retrieved October 17, 2011 . ^ (#cite_ref-10) "Donny Lewis" (http://www.bellazon.com/main/index.php?showtopic=38222) . Bellazon . Retrieved October 17, 2011 . ^ (#cite_ref-11) "Love Matte September 2004 - Specktra.net MAC Makeup Community" (http://www.specktra.net/wiki/love-matte-september-2004) . Specktra.net . Retrieved October 17, 2011 . ^ (#cite_ref-12) "Michelob Light - Elevator (2002) - 0:30 (USA) commercials" (http://adland.tv/commercials/michelob-light-elevator-2002-030-usa) . adland.tv . Retrieved October 17, 2011 . ^ (#cite_ref-13) David Guetta, David Guetta - Just a Little More Love (Official Video) , retrieved 2018-12-06 ^ (#cite_ref-14) "What is Visionaire Presentation" (http://www.myplick.com/view/2QS-CNPPlsu/What-is-Visionaire-Presentation) . Myplick.com. January 28, 2009. ^ (#cite_ref-15) Lewis, donny (June 2021). "Wilhelmina" (https://www.wilhelmina.com/new-york/men/men/7010-donny-lewis/) . Wilhelmina models. ^ (#cite_ref-16) MM Scene : Male Model Portfolios : Male Models Online (January 4, 2011). "Donny Lewis for Pal Zileri Spring Summer 2011" (http://www.malemodelscene.net/ad-campaigns/donny-lewis-pal-zileri-spring-summer-2011/#more-18119) . Malemodelscene.net . Retrieved October 17, 2011 . ^ (#cite_ref-17) "DONNY LEWIS IS 'YVES SAINT LAURENT IN MOROCCO by Norbert Bares (Various Editorials)" (https://models.com/work/various-editorials-donny-lewis-is-yves-saint-laurent-in-morocco-by-norbert-bares) . MODELS.com . Retrieved 2020-02-01 . ^ (#cite_ref-18) "Fashionisto Exclusive: Donny Lewis is 'Yves Saint Laurent in Morocco' (https://www.thefashionisto.com/exclusive/2020-donny-lewis/) " (https://www.thefashionisto.com/exclusive/2020-donny-lewis/) . The Fashionisto . 2020-01-10 . Retrieved 2020-02-01 . ^ (#cite_ref-19) "120% Lino Spring/Summer 2020 (Various Campaigns)" (https://models.com/work/various-campaigns-120-lino-springsummer-2020) . MODELS.com . Retrieved 2020-02-01 . ^ (#cite_ref-20) "The pleasure of natural luxury | 120% lino" (https://www.120percento.com/en/) . www.120percento.com . Retrieved 2020-02-01 . ^ (#cite_ref-21) "Donny Lewis & Domenique Melchior Front Giorgio Armani Made to Measure Campaign" (https://www.thefashionisto.com/giorgio-armani-made-to-measure-spring-2021-campaign/) . The Fashionisto . 2021-04-29 . Retrieved 2021-06-21 . External links [ edit ] This article's use of external links (/wiki/Wikipedia:External_links) may not follow Wikipedia's policies or guidelines . Please improve this article (https://en.wikipedia.org/w/index.php?title=Donny_Lewis&action=edit) by removing excessive (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_mirror_or_a_repository_of_links,_images,_or_media_files) or inappropriate (/wiki/Wikipedia:External_links) external links, and converting useful links where appropriate into footnote references (/wiki/Wikipedia:Citing_sources) . ( June 2021 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Donny Lewis (https://models.com/models/Donny_Lewis) on Models.com "Fashionisto Exclusive: Donny Lewis is 'Yves Saint Laurent in Morocco' (https://www.thefashionisto.com/exclusive/2020-donny-lewis/) " (https://www.thefashionisto.com/exclusive/2020-donny-lewis/) . The Fashionisto . 2020-01-10 . Retrieved 2020-02-01 . 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Annual awareness event on 1 February Not to be confused with Global Pink Hijab Day (/wiki/Global_Pink_Hijab_Day) or International Purple Hijab Day (/wiki/International_Purple_Hijab_Day) . This article may be unbalanced (/wiki/Wikipedia:Neutral_point_of_view#Undue_weight) toward certain viewpoints . Please improve the article (https://en.wikipedia.org/w/index.php?title=World_Hijab_Day&action=edit) by adding information on neglected viewpoints, or discuss the issue on the talk page (/wiki/Talk:World_Hijab_Day) . ( June 2020 ) World Hijab Day World Hijab Day poster from 2016 Date(s) 1 February Frequency Annual Established 2013 ( 2013 ) Founder Nazma Khan Website worldhijabday (http://worldhijabday.com) .com (http://worldhijabday.com) Part of a series (/wiki/Category:Islamic_female_clothing) on Islamic (/wiki/Islam) female (/wiki/Women_in_Islam) dress (/wiki/Islamic_clothing) Types (/wiki/Types_of_hijab) Abaya (/wiki/Abaya) Al-amira (/wiki/Al-amira) Battoulah (/wiki/Battoulah) Boshiya (/wiki/Boshiya) Burkini (/wiki/Burkini) Burqa (/wiki/Burqa) Çarşaf (/wiki/%C3%87ar%C5%9Faf) Chador (/wiki/Chador) Haik (/wiki/Haik_(garment)) Hijab (/wiki/Hijab) Jilbaab (/wiki/Jilb%C4%81b) Kerudung (/wiki/Kerudung) Kimeshek (/wiki/Kimeshek) Khimar (/wiki/Khimar) Kurhars (/wiki/Kurhars) Mukena (/wiki/Mukena) Niqaab (/wiki/Niq%C4%81b) Paranja (/wiki/Paranja) Safseri (/wiki/Safseri) Selendang (/wiki/Selendang) Shayla (/wiki/Shayla) Tudong (/wiki/Tudong) Yashmak (/wiki/Yashmak) Practice and law by country (/wiki/Hijab_by_country) Australia (/wiki/Burka_ban_in_Australia) Britain (/wiki/British_debate_over_veils) Canada (/wiki/Islamic_veiling_practices_by_country#Canada) Egypt (/wiki/Niq%C4%81b_in_Egypt) France (/wiki/Islamic_scarf_controversy_in_France) Indonesia (/wiki/Women_in_Indonesia#National_law_and_sharia) Iran (/wiki/Hijab_in_Iran) Pakistan (/wiki/Women_in_Pakistan#Culture) Saudi Arabia (/wiki/Women%27s_rights_in_Saudi_Arabia#Hijab_and_dress_code) Taliban Afghanistan (/wiki/Taliban_treatment_of_women#Gender_policies) Turkey (/wiki/Headscarf_controversy_in_Turkey) Concepts Andaruni (/wiki/Andaruni) Awrah (/wiki/Intimate_parts_in_Islam) Fahisha (/wiki/Fahisha) Gender segregation (/wiki/Islam_and_gender_segregation) Haya (/wiki/Haya_(Islam)) Purdah (/wiki/Purdah) Zenana (/wiki/Zenana) Other Hijabophobia (/wiki/Hijabophobia) Hujum (/wiki/Hujum) Kashf-e hijab (/wiki/Kashf-e_hijab) My Stealthy Freedom (/wiki/My_Stealthy_Freedom) Wimple (/wiki/Wimple) World Hijab Day v t e World Hijab Day is an annual event founded (/wiki/List_of_minor_secular_observances#February) by Nazma Khan in 2013, [1] (#cite_note-1) taking place on 1 February each year in 140 countries worldwide. [2] (#cite_note-2) Its stated purpose is to encourage women of all religions and backgrounds to wear and experience the hijab (/wiki/Hijab) for a day and to educate and spread awareness on why hijab is worn. [3] (#cite_note-3) Nazma Khan said her goal was also to normalize hijab wearing. [4] (#cite_note-ca-4) Background [ edit ] See also: Hijabophobia (/wiki/Hijabophobia) Nazma Khan, a Bangladeshi-American (/wiki/Bangladeshi_Americans) , launched World Hijab Day (WHD) in 2013. She said that her aim was "to raise awareness and normalize the wearing of a hijab." Khan added that she launched the day due hoping for "foster[ing] religious tolerance" given experiences of facing "discrimination and bullying in school and university by being spat on, chased, kicked and called a “terrorist”." This way, other women would not have the same experiences as "she had to endure." [4] (#cite_note-ca-4) Official recognition [ edit ] In 2017 New York State (/wiki/New_York_State) recognized World Hijab Day, and an event marking the day was hosted at the House of Commons, which was attended by Theresa May (/wiki/Theresa_May) (former UK Prime Minister). [5] (#cite_note-:0-5) The House of Representatives of the Philippines (/wiki/House_of_Representatives_of_the_Philippines) approved 1 February as "annual national hijab day" to promote an understanding of the Muslim tradition in 2021. [6] (#cite_note-6) Criticism [ edit ] A. J. Caschetta criticizes the event's date of 1 February as ironic and distasteful since it coincides with the return of Ayatollah Ruhollah Khomeini (/wiki/Ruhollah_Khomeini) to Iran from his French exile, which subsequently led to the enforcement of mandatory wearing of hijabs. [5] (#cite_note-:0-5) [7] (#cite_note-:1-7) Caschetta argues that while the hijab is being promoted in the Western world (/wiki/Western_world) as part of the right to choose clothing, the same right to choice is not being fought for persecuted women who refuse to wear the hijab. [7] (#cite_note-:1-7) In February 2013, Maryam Namazie (/wiki/Maryam_Namazie) , a vocal ex-Muslim and campaigner, criticized World Hijab Day in a blog post that compared World Hijab Day with a World Female Genital Mutilation Day or a World Child Marriage Day. [8] (#cite_note-bbc-8) Asra Nomani (/wiki/Asra_Nomani) wrote an opinion piece in The Washington Post (/wiki/The_Washington_Post) saying the World Hijab Day event spreads the "misleading interpretation" that the head covering is always worn voluntarily, and that "hijab" purely means headscarf. [9] (#cite_note-9) In his own opinion piece published in 2017, Maajid Nawaz (/wiki/Maajid_Nawaz) references the earlier Nomani & Arafa article and describes the event as "worse than passé", suggesting that the name be changed to "Hijab is a Choice Day". [10] (#cite_note-10) In 2018, Canadian human-rights campaigner Yasmine Mohammed (/wiki/Yasmine_Mohammed) started a #NoHijabDay campaign in response, to celebrate the women who have defied social censure and the state to remove the hijab. [11] (#cite_note-11) She said that No Hijab Day is a global day of support for bold women who reject the hijab, those who wish to choose what to wear on their heads. [12] (#cite_note-12) Social media [ edit ] World Hijab Day has largely influenced through social media (/wiki/Social_media) . World Hijab Day campaigners promote the day with hashtags such as #EmpoweredinHijab. [13] (#cite_note-13) [14] (#cite_note-14) See also [ edit ] Women in Islam (/wiki/Women_in_Islam) Global Pink Hijab Day (/wiki/Global_Pink_Hijab_Day) International Purple Hijab Day (/wiki/International_Purple_Hijab_Day) List of female Islamic scholars (/wiki/List_of_female_Islamic_scholars) Islamic feminist views on dress codes (/wiki/Islamic_feminist_views_on_dress_codes) Haya Day (/wiki/Haya_Day) International Day To Combat Islamophobia (/wiki/International_Day_To_Combat_Islamophobia) Bibliography [ edit ] Rahbari, L., Dierickx, S., Coene, G., & Longman, C. (2021). Transnational Solidarity with Which Muslim Women? The Case of the My Stealthy Freedom and World Hijab Day Campaigns. (https://www.cambridge.org/core/journals/politics-and-gender/article/abs/transnational-solidarity-with-which-muslim-women-the-case-of-the-my-stealthy-freedom-and-world-hijab-day-campaigns/1386C8F86EA1DF4946618BCABF5E3F3F) Politics & Gender, 17 (1), 112–135. doi (/wiki/Doi_(identifier)) : 10.1017/S1743923X19000552 (https://doi.org/10.1017%2FS1743923X19000552) Raihanah, M. M. (2017). " ‘World Hijab Day’: Positioning the Hijabi in Cyberspace". In Seen and Unseen . Leiden, The Netherlands: Brill. doi: https://doi.org/10.1163/9789004357013_007 Rahbari, Ladan (2021), In Her Shoes: Transnational Digital Solidarity With Muslim Women, or the Hijab?. Tijds. voor econ. en Soc. Geog., 112: 107–120. https://doi.org/10.1111/tesg.12376 Shirazi, Faegheh. 2019. "The Veiling Issue in 20th Century Iran in Fashion and Society, Religion, and Government" (https://www.mdpi.com/2077-1444/10/8/461) Religions 10, no. 8: 461. https://doi.org/10.3390/rel10080461 Oren, Elizabeth. “Culture in a Murky World: Hijab Trends in Jihadi Popular Culture.” The Cyber Defense Review , vol. 3, no. 3, Army Cyber Institute, 2018, pp. 83–92, JSTOR (/wiki/JSTOR_(identifier)) 26554999 (https://www.jstor.org/stable/26554999) Anouar El Younssi (2018) Maajid Nawaz, Irshad Manji, and the Call for a Muslim Reformation, Politics, Religion & Ideology, 19:3, 305–325, doi (/wiki/Doi_(identifier)) : 10.1080/21567689.2018.1524327 (https://doi.org/10.1080%2F21567689.2018.1524327) Ghumkhor Sahar . (2020) The Confessional Body. In: The Political Psychology of the Veil. Palgrave Studies in Political Psychology. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-32061-4_6 References [ edit ] ^ (#cite_ref-1) "World Hijab Day - Better Awareness. Greater Understanding. Peaceful World" (http://worldhijabday.com/) . Archived (https://web.archive.org/web/20161006192248/http://worldhijabday.com/) from the original on 6 October 2016 . Retrieved 13 September 2016 . ^ (#cite_ref-2) Participating Countries. "Worldwide Support" (http://worldhijabday.com/worldwidesupport/) . World Hijab Day. Archived (https://web.archive.org/web/20160310102705/http://worldhijabday.com/worldwidesupport/) from the original on 10 March 2016 . Retrieved 6 March 2016 . ^ (#cite_ref-3) "World Hijab Day" (https://worldhijabday.com/world-hijab-day-2013/) . worldhijabday.com . Retrieved 6 March 2013 . ^ a b " (https://globalnews.ca/news/8584932/world-hijab-day-canada-2022/) 'We're not oppressed': Canadians unite to mark World Hijab Day - National | Globalnews.ca" (https://globalnews.ca/news/8584932/world-hijab-day-canada-2022/) . Global News . Retrieved 14 February 2022 . ^ a b Grewal, Kairvy (31 January 2020). "On World Hijab Day, women across the globe are polarised" (https://theprint.in/world/on-world-hijab-day-women-across-the-globe-are-polarised/357169/) . ThePrint . Retrieved 1 February 2021 . ^ (#cite_ref-6) "House OKs bill declaring National Hijab Day" (https://www.manilatimes.net/2021/01/26/news/latest-stories/house-oks-bill-declaring-national-hijab-day/833020/) . The Manila Times . 26 January 2021 . Retrieved 1 February 2021 . ^ a b Caschetta, A. J. (30 January 2020). "The Irony and Hypocrisy of World Hijab Day" (https://www.nationalreview.com/2020/01/world-hijab-day-irony-hypocrisy/) . National Review . Retrieved 1 February 2021 . ^ (#cite_ref-bbc_8-0) "Hijab for a day: Non-Muslim women who try the headscarf" (https://www.bbc.co.uk/news/magazine-21283301) . BBC News . 31 January 2013 . Retrieved 14 February 2022 . ^ (#cite_ref-9) "As Muslim women, we actually ask you not to wear the hijab in the name of interfaith solidarity" (https://web.archive.org/web/20151221184811/https://www.washingtonpost.com/news/acts-of-faith/wp/2015/12/21/as-muslim-women-we-actually-ask-you-not-to-wear-the-hijab-in-the-name-of-interfaith-solidarity/) . The Washington Post . 21 December 2015. Archived from the original (https://www.washingtonpost.com/news/acts-of-faith/wp/2015/12/21/as-muslim-women-we-actually-ask-you-not-to-wear-the-hijab-in-the-name-of-interfaith-solidarity) on 21 December 2015 . Retrieved 19 July 2019 . ^ (#cite_ref-10) Maajid Nawaz (29 December 2015). "The Great Hypocritical Muslim Cover-Up" (http://www.thedailybeast.com/articles/2015/12/29/the-great-hypocritical-muslim-cover-up.html) . The Daily Beast . Archived (https://web.archive.org/web/20160305185504/http://www.thedailybeast.com/articles/2015/12/29/the-great-hypocritical-muslim-cover-up.html) from the original on 5 March 2016 . Retrieved 6 March 2016 . ^ (#cite_ref-11) " (https://web.archive.org/web/20190202062234/https://www.spiked-online.com/2019/02/01/removing-your-hijab-can-get-you-killed-even-in-the-west/) 'Removing your hijab can get you killed – even in the West' (https://web.archive.org/web/20190202062234/https://www.spiked-online.com/2019/02/01/removing-your-hijab-can-get-you-killed-even-in-the-west/) " (https://web.archive.org/web/20190202062234/https://www.spiked-online.com/2019/02/01/removing-your-hijab-can-get-you-killed-even-in-the-west/) . spiked . Archived from the original (https://www.spiked-online.com/2019/02/01/removing-your-hijab-can-get-you-killed-even-in-the-west/) on 2 February 2019 . Retrieved 2 February 2019 . ^ (#cite_ref-12) Mohammed, Yasmine (/wiki/Mohammed) . "Support Muslim women in fight against hijab" (https://web.archive.org/web/20190202062034/https://torontosun.com/news/provincial/opinion-support-muslim-women-in-fight-against-hijab) . Toronto Sun . Archived from the original (https://torontosun.com/news/provincial/opinion-support-muslim-women-in-fight-against-hijab) on 2 February 2019 . Retrieved 2 February 2019 . ^ (#cite_ref-13) "World Hijab Day: Proud to be a hijabi and breaking stereotypes" (https://www.bbc.com/news/av/world-africa-64492590) . BBC (/wiki/BBC) . ^ (#cite_ref-14) "World Hijab Day and the women who are breaking boundaries and stereotypes" (https://news.sky.com/story/amp/world-hijab-day-and-the-women-who-are-breaking-boundaries-and-stereotypes-12789502) . Sky News (/wiki/Sky_News) . 1 February 2023. External links [ edit ] Official website (https://worldhijabday.com/) NewPP limit report Parsed by mw‐web.codfw.main‐7cd59cdcfb‐72phh Cached time: 20240717233821 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.433 seconds Real time usage: 0.559 seconds Preprocessor visited node count: 1606/1000000 Post‐expand include size: 42830/2097152 bytes Template argument size: 1601/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 6/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 70660/5000000 bytes Lua time usage: 0.299/10.000 seconds Lua memory usage: 6325156/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 515.092 1 -total 25.96% 133.698 1 Template:Reflist 18.55% 95.532 1 Template:Islamic_female_dress 17.98% 92.621 1 Template:Sidebar 17.30% 89.090 8 Template:Cite_web 13.51% 69.588 1 Template:Short_description 11.79% 60.706 1 Template:Unbalanced 10.06% 51.799 1 Template:Infobox_recurring_event 10.03% 51.679 1 Template:Ambox 9.27% 47.773 1 Template:Infobox Saved in parser cache with key enwiki:pcache:idhash:38399332-0!canonical and timestamp 20240717233821 and revision id 1215836321. 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Traditional Korean accessory for hanbok For the 2013 film, see Norigae (film) (/wiki/Norigae_(film)) . This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Norigae) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Norigae" (https://www.google.com/search?as_eq=wikipedia&q=%22Norigae%22) – news (https://www.google.com/search?tbm=nws&q=%22Norigae%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Norigae%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Norigae%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Norigae%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Norigae%22&acc=on&wc=on) ( May 2019 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Norigae Three parts norigae with bat ornaments Korean name Hangul (/wiki/Hangul) 노리개 (https://en.wiktionary.org/wiki/%EB%85%B8%EB%A6%AC%EA%B0%9C) Revised Romanization (/wiki/Revised_Romanization_of_Korean) Norigae McCune–Reischauer (/wiki/McCune%E2%80%93Reischauer) Norigae Norigae ( Korean (/wiki/Korean_language) : 노리개 (https://en.wiktionary.org/wiki/%EB%85%B8%EB%A6%AC%EA%B0%9C) ) is a typical, traditional Korean (/wiki/Korea) accessory used in Hanbok (/wiki/Hanbok) , which can be hung on goreum (/wiki/Jeogori#Composition) (coat strings) of a woman's jeogori (/wiki/Jeogori) or on her chima (/wiki/Chima_(clothing)) . [1] (#cite_note-노리개의_사용-1) The norigae functions as a decorative pendant and is both a good-luck charm hoped to bring something such as eternal youth, wealth or many sons (depending on its shape), as well as a fashion accessory. Usually, the norigae from the parents' or in-laws' home was passed down to descendants. [2] (#cite_note-노리개-2) Terminology [ edit ] The word norigae originally referred to “pretty and playful objects” or "favourite trinkets" signifying women's liking for the tassel charm regardless of social ranks. [3] (#cite_note-:0-3) [4] (#cite_note-:1-4) History [ edit ] Origins [ edit ] The exact origins of the norigae is unknown, but the current knotting tassel known as norigae can be traced back to the Joseon dynasty (/wiki/Joseon) and was item worn exclusive to the Joseon. [3] (#cite_note-:0-3) [4] (#cite_note-:1-4) It is also difficult to pinpoint the exact time when the norigae started to be widely used. [3] (#cite_note-:0-3) Some sources state that the norigae might have been a protective emblem called jema used in primitive shamanism and was worn initially by children . [3] (#cite_note-:0-3) However, the true archetype of norigae appears to be the waist pendant worn in the Silla (/wiki/Silla) period. [3] (#cite_note-:0-3) Joseon [ edit ] In Joseon, all women of different classes wore the norigae from queens to commoners. [3] (#cite_note-:0-3) The norigae also served to distinguish social ranks and social status. [5] (#cite_note-5) Different shapes and sizes signified the different occasions the norigae was worn to as well as which season to wear it in. [3] (#cite_note-:0-3) The norigae could also be used as a chest or a waist decorations. [3] (#cite_note-:0-3) Composition [ edit ] The norigae is composed by three basic parts: the main ornament, elaborate knots, the tassel on the lowest part. [3] (#cite_note-:0-3) A norigae can be divided into 4 parts: the ddidon ( Korean (/wiki/Korean_language) : 띠돈 ; Hanja (/wiki/Hanja) : 帶金 ) which is a hook (either a separate accessory or additional knots) to attach the norigae to the Hanbok (/wiki/Hanbok) , the paemul ( Korean (/wiki/Korean_language) : 패물 ) which is the main ornament of the norigae , the maedup (/wiki/Chinese_knotting#Korea) ( Korean (/wiki/Korean_language) : 매듭 ) which are the knots of the norigae , and the sul ( Korean (/wiki/Korean_language) : 술 ) which are the tassels (/wiki/Tassel) . [2] (#cite_note-노리개-2) The norigae can be categorize to sizes, large, medium and small according to the person who wears the norigae or places at. For example, the norigae for infant will be much smaller one than adult's. In Joseon Dynasty, the King Yeonsangun (/wiki/Yeonsangun_of_Joseon) used the luxuriousness and sizes of norigae to classify the social rank of his women. [3] (#cite_note-:0-3) The norigae have various shapes derived from nature or from everyday life. They are divided into samjaks ( Korean (/wiki/Korean_language) : 삼작 ; Hanja (/wiki/Hanja) : 三作 ) and danjaks ( Korean (/wiki/Korean_language) : 단작 ; Hanja (/wiki/Hanja) : 單作 ). The samjaks can be further divided into the daesamjaks and the sosamjaks . Both the daesamjaks and the sosamjaks have the same form, but each one's paemul is different. [2] (#cite_note-노리개-2) Main Ornament [ edit ] The main ornament, paemul , for making norigae is usually using gold, silver, jewels, and precious stone. The motifs of main ornament are cut down into 5 basic branches, such as animal, plants, daily objects, characters, and religious symbols. For example, some auspicious characters include the Chinese character, shou (/wiki/Shou_(character)) 《 壽 (https://en.wiktionary.org/wiki/%E5%A3%BD) 》which represents longevity (/wiki/Longevity) . The religious symbols are typically motifs that represents Buddhism (/wiki/Buddhism) . [3] (#cite_note-:0-3) Knots [ edit ] The maedup (/wiki/Chinese_knotting#Korea) uses coloured cord to braid into various shapes. The type of knot has to follow the design of main ornament. The big size of the main ornament parts will combine with small knots. The small main ornament comes along with large knots. The types of knots have to match the whole weight the norigae is going to be. [3] (#cite_note-:0-3) Tassel [ edit ] The sul , which are tassels, are made out of silk thread with coloured and place at the lower parts. Ddidon [ edit ] A butterfly shape of ddidon is hanging on a garment. The ddidon or a clasp means a metal hook used in the norigae . The purpose is to attach the norigae together and be able to hang on the clothes. There are a variety of shapes for ddidon , includes butterfly shape and typical circular shape or squared shape. [3] (#cite_note-:0-3) Similar items [ edit ] Yajin (/wiki/Yajin) – a Chinese fashion item used to decorate the lapel of Chinese upper garments Jinbu (/wiki/Yupei#Jinbu_(禁步)) – a Chinese fashion item made of yupei (/wiki/Yupei) which were used as waist accessories, commonly referred as yaopei (/w/index.php?title=Yaopei&action=edit&redlink=1) See also [ edit ] Chima (/wiki/Chima_(clothing)) Jokduri (/wiki/Jokduri) Jeogori (/wiki/Jeogori) References [ edit ] Wikimedia Commons has media related to Norigae (https://commons.wikimedia.org/wiki/Category:Norigae) . ^ (#cite_ref-노리개의_사용_1-0) "Use of Norigae" (http://donation.enc.daum.net/wikidonation/ency.do?vol=008&code=006002000000019000) . Global Encyclopedia / Daum. ^ Jump up to: a b c "Norigae" (https://web.archive.org/web/20120415044531/http://preview.britannica.co.kr/bol/topic.asp?article_id=b03n4370a) . Korean Britannica Online. Archived from the original (http://preview.britannica.co.kr/bol/topic.asp?article_id=b03n4370a) on 2012-04-15 . Retrieved 2011-11-21 . ^ Jump up to: a b c d e f g h i j k l m Lee, Kyung Ja (March 15, 2005). Norigae: Splendor of the Korean Costume . Ewha Woman’s University Press. ISBN (/wiki/ISBN_(identifier)) 8973006185 . ^ Jump up to: a b Solheim, Emma. "Norigae 상세보기|Citizen JournalistsEmbassy of the Republic of Korea to Norway" (https://overseas.mofa.go.kr/no-en/brd/m_21237/view.do?seq=95&srchFr=&srchTo=&srchWord=&srchTp=&multi_itm_seq=0&itm_seq_1=0&itm_seq_2=0&company_cd=&company_nm=&page=3) . overseas.mofa.go.kr . Retrieved 2021-04-13 . ^ (#cite_ref-5) Ethnic dress in the United States : a cultural encyclopedia . Annette Lynch, Mitchell D. Strauss. Lanham, Maryland: Rowman & Littlefield Publishers. 2015. p. 212. ISBN (/wiki/ISBN_(identifier)) 978-0-7591-2150-8 . OCLC (/wiki/OCLC_(identifier)) 895429761 (https://www.worldcat.org/oclc/895429761) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) v t e Knots (/wiki/Knot) Bight (/wiki/Bight_(knot)) Loop (/wiki/Loop_(knot)) Turn (/wiki/Turn_(knot)) List of knots (/wiki/List_of_knots) List of knot terminology (/wiki/List_of_knot_terminology) By type Bends (/wiki/List_of_bend_knots) Adjustable (/wiki/Adjustable_bend) Albright special (/wiki/Albright_special) Ashley's (/wiki/Ashley%27s_bend) Alpine butterfly (/wiki/Butterfly_bend) Basket weave (/wiki/Basket_weave_knot) Beer (/wiki/Beer_knot) Blood (/wiki/Blood_knot) Carrick (/wiki/Carrick_bend) Double fisherman's (/wiki/Double_fisherman%27s_knot) Fisherman's (/wiki/Fisherman%27s_knot) Flemish (/wiki/Flemish_bend) Grief (/wiki/Grief_knot) Halyard (/wiki/Halyard_bend) Harness (/wiki/Harness_bend) Heaving line (/wiki/Heaving_line_bend) Hunter's (/wiki/Hunter%27s_bend) Nail (/wiki/Nail_knot) 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(/wiki/Bachmann_knot) Beer (/wiki/Beer_knot) Bowline on a bight (/wiki/Bowline_on_a_bight) Alpine butterfly (/wiki/Butterfly_loop) Directional figure eight (/wiki/Directional_figure_eight) Double bowline (/wiki/Double_bowline) Farmer's loop (/wiki/Farmer%27s_loop) Figure-eight (/wiki/Figure-eight_knot) Figure-eight loop (/wiki/Figure-eight_loop) Figure-of-nine loop (/wiki/Figure-of-nine_loop) Friction hitch (/wiki/List_of_friction_hitch_knots) Klemheist (/wiki/Klemheist_knot) Munter hitch (/wiki/Munter_hitch) Noose (/wiki/Noose) Overhand loop (/wiki/Overhand_loop) Prusik (/wiki/Prusik_knot) Trident loop (/wiki/Trident_loop) Yosemite bowline (/wiki/Yosemite_bowline) Coils (/wiki/Coiling) & shanks Chain sinnet (/wiki/Chain_sinnet) Sheepshank (/wiki/Sheepshank) Decorative (/wiki/List_of_decorative_knots) Carrick mat (/wiki/Carrick_mat) Chinese button (/wiki/Chinese_button_knot) Celtic button (/wiki/Celtic_button_knot) Diamond (/wiki/Diamond_knot) Fiador (/wiki/Fiador_knot) Friendship 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(/wiki/Rigid_double_splayed_loop_in_the_bight) Slippery eight (/wiki/Slippery_eight_loop) Span (/wiki/Span_loop) Spanish bowline (/wiki/Spanish_bowline) Tom fool's (/wiki/Tom_fool%27s_knot) Trident (/wiki/Trident_loop) Triple bowline (/wiki/Triple_bowline) Water bowline (/wiki/Water_bowline) Yosemite bowline (/wiki/Yosemite_bowline) Zeppelin (/wiki/Zeppelin_loop) Running (/wiki/Slip_knot) (slip) (/wiki/Slip_knot) Hangman's (/wiki/Hangman%27s_knot) Running bowline (/wiki/Running_bowline) Running highwayman's hitch Tarbuck (/wiki/Tarbuck_knot) Splices (/wiki/Rope_splicing) & splicing Eye (/wiki/Eye_splice) Fid (/wiki/Fid) Marlinspike (/wiki/Marlinspike) Rat-tail (/wiki/Rat-tail_splice) T (/wiki/T-splice) Western Union (/wiki/Western_Union_splice) Stopper (/wiki/Stopper_knot) Ashley's stopper (/wiki/Ashley%27s_stopper_knot) Button (/wiki/Button_knot) Double overhand (/wiki/Double_overhand_knot) Monkey's fist (/wiki/Monkey%27s_fist) Overhand (/wiki/Overhand_knot) Stevedore (/wiki/Stevedore_knot) Whipping (/wiki/Whipping_knot) Common (/wiki/Common_whipping) Overhand knot with draw-loop (/wiki/Overhand_knot_with_draw-loop) Portuguese (/wiki/Portuguese_whipping) Sailmaker's (/wiki/Sailmaker%27s_whipping) West Country (/wiki/West_Country_whipping) Lists of knots Related topics Lists of knots Bends (/wiki/List_of_bend_knots) Bindings (/wiki/List_of_binding_knots) Decorative knots (/wiki/List_of_decorative_knots) Hitches (/wiki/List_of_hitch_knots) ( friction (/wiki/List_of_friction_hitch_knots) ) Mathematical (/wiki/List_of_mathematical_knots_and_links) Related topics Chinese knotting (/wiki/Chinese_knotting) Density (/wiki/Knot_density) History (/wiki/History_of_knotting) International Guild of Knot Tyers (/wiki/International_Guild_of_Knot_Tyers) Macramé (/wiki/Macram%C3%A9) Mizuhiki (/wiki/Mizuhiki) Norigae Ropework (/wiki/Ropework) Lashing (/wiki/Lashing_(ropework)) Splicing (/wiki/Rope_splicing) Seizing (/wiki/Seizing) Sennit (/wiki/Sennit) Category 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This article may lack focus or may be about more than one topic . Please help improve this article, possibly by splitting (/wiki/Wikipedia:Splitting) the article and/or by introducing a disambiguation page (/wiki/Wikipedia:Disambiguation) , or discuss this issue on the talk page (/wiki/Talk:Turkish_folk_dress) . ( April 2017 ) A Turkish folk dress Turkish folk dress is a traditional style of varying folk clothing worn primarily in the rural parts of Turkey throughout the seven geographical regions of the country (/wiki/Geographical_regions_of_Turkey) . Within the folk style of clothing are many variations and references that may be based on region, gender, ethnicity (/wiki/Demographics_of_Turkey) , the class of the wearer, culture and to a less extent religion (/wiki/Religion_in_Turkey) . Similar features that are present in most of these folk dress styles throughout of Turkey include the colorful stripes, baggy floral clothing, multiple layers, poulaines (/wiki/Poulaine) ( çarık ) and overall vibrant colors differing on the region. Heavily implied elements in these folk styles include nature (/wiki/Nature) , romance (/wiki/Romance_(love)) , folk music (/wiki/Music_of_Turkey) and patriotism. [1] (#cite_note-1) History and influences [ edit ] Turkish traditional fashion Turkish traditional fashion Turkish national costume Turkish girl wearing red dress Influences [ edit ] Traditional folk clothing throughout Turkey today is heavily influenced by Ottoman fashion (/wiki/Ottoman_clothing) and based on the developments that occurred during and after the Empire’s reign. The borders of the Ottoman Empire (/wiki/Territorial_evolution_of_the_Ottoman_Empire) encompassed the numerous individual cultures, people, religions and traditions that existed throughout Central Asia (/wiki/Central_Asian_clothing) , Eastern Europe (/wiki/Eastern_Europe) , Southern Europe (/wiki/Southern_Europe) , the Middle East (/wiki/Middle_East) , Central Europe (/wiki/Central_Europe) , and Anatolia. Ottoman culture (/wiki/Culture_of_the_Ottoman_Empire) , and particularly Ottoman fashion evolved as an amalgam of these separate cultures and religions that had interacted over the past centuries of Ottoman reign. “Ottoman culture” was used to define and generalize all present cultures and traditions within the empire, not the present or ruling Turkic culture (/wiki/Turkic_culture) specifically, though Turkic culture within the empire had ultimately embodied itself with other present Ottoman cultures and inherited many of its aspects, creating the basis of Turkish culture (/wiki/Culture_of_Turkey) and diverse identity (/wiki/Turkish_people) today. These set the stepping-stone for further developments of the Turkish culture that would continue on until the collapse and dissolution of Ottoman reign (/wiki/Dissolution_of_the_Ottoman_Empire) , and even after the establishment of the republic; Following several migration waves occurring into the country from Southern Europe ( Albania (/wiki/Albania) and Greece (/wiki/Greece) ), Eastern Europe (particularly Romania (/wiki/Romania) , Bulgaria (/wiki/Bulgaria) and Yugoslavia (/wiki/Yugoslavia) ), the Caucasus, and presently from the Middle East, Russia (/wiki/Russia) , and Ukraine (/wiki/Ukraine) . History [ edit ] Ottoman fashion had not disappeared following the collapse of the Ottoman Empire; as it remained as part of daily use and continued on to evolve within the several nations that emerged from the empire before and after the dissolution, including the newly established Republic of Turkey (/wiki/History_of_the_Republic_of_Turkey) . Some notable features and dress of Ottoman fashion included the mintan , a heavily embroidered chainse or vest; a şalvar , embroidered baggy pants; the sarık , a large, wrapped headpiece usually differing from a traditional turban and region-to-region; and the entari , a long flowy embroidered dress worn typically by women in the empire. Although the notable Fez (/wiki/Fez_(hat)) was also used by non-Muslim communities (/wiki/Giaour) within the empire without religious intend, it was one of the earliest to fall out of fashion in these regions following the collapse with the sarık , including Turkey, after the official ban of the headwear in 1925. Though the sarık remained in-use by Muslim communities in former Ottoman lands and the rural areas of Turkey. [2] (#cite_note-2) Modern Turkish folk dress throughout Turkey today lacks most of the religious aspects of these dress due to governmental pressure and restrictions applied throughout the 20s and late 30s, though has inherited a significant portion of other features with small modifications to a lesser extent. Similar features of modern Turkish folk dress throughout Turkey include: the mintan, şalvar (/wiki/%C5%9Ealvar) , entari, gömlek/bluz (blouse), çarık, kuşak (similar to a girdle, cloth waist-wrap, or cincture (/wiki/Cincture) ), mendil (similar to a neckerchief (/wiki/Neckerchief) ) and yelek (a vest). Turkish folk styles [ edit ] Folk clothing in Turkey embodies the crossing over and interaction of the various cultures in and around Anatolia, and the fashion of each region in Turkey tends to reflect the nature of its people, their interactions and their traditions. Eastern Anatolia [ edit ] Eastern Anatolian (/wiki/Eastern_Anatolia_Region) fashion reflects elements of the neighboring Kurdish (/wiki/Kurdish_population) , Armenian (/wiki/Armenians) , Persian (/wiki/Persian_culture) , and to a lesser extent Azeri cultures (/wiki/Culture_of_Azerbaijan) , such as overall clothing with floral prints, stylish head and face coverings for women, alongside the wide belts for men with floral baggy trousers. Such Turkish fashion styles are mostly influenced by the Kurdish (/wiki/Kurdish_culture) , Armenian (/wiki/Culture_of_Armenia) , and Persian cultures (/wiki/Culture_of_Iran) , but rather distinct from the cultures themselves. Black Sea, Northern Anatolia [ edit ] The traditional fashion of the Black Sea region (/wiki/Black_Sea_Region) is bold and proud-spirited, seen in its deep colors, vibrant and vivid patterns usually referencing the nature of the Pontic Alps (/wiki/Pontic_Mountains) , and sportfulness, with an element of patriotism (/wiki/Patriotism) . It is heavily influenced by the Laz (/wiki/Laz_people) , Georgian (/wiki/Georgians) , Circassian (/wiki/Circassians) and other Caucasian cultures (/wiki/Caucasus) , including some historical elements of Russian culture (/wiki/Culture_of_Russia) which was present in the region during Tsarist (/wiki/Russian_Empire) and Soviet (/wiki/Soviet_Union) reign. Thrace and Marmara Regions [ edit ] Prominent in the geographically European ( Thrace (/wiki/Thrace) ) and northwestern parts ( Marmara (/wiki/Marmara_Region) ) of the country, with large populations of Balkan migrants (/wiki/Muhacir) throughout history. Influenced by Bulgarian (/wiki/Culture_of_Bulgaria) , Greek (/wiki/Greeks) , and to a lesser extent Serbian (/wiki/Culture_of_Serbia) , Romanian (/wiki/Culture_of_Romania) , and Bosnak (/wiki/Culture_of_Bosnia_and_Herzegovina) folk culture. All types of Turkish Thracian folk culture are prominently found in Tekirdağ (/wiki/Tekirda%C4%9F) , while the Marmara region itself is home to several spread-out folk subcultures and is not considered a singular distinct folk style itself. Central Anatolian [ edit ] Influenced by traditional Turkic culture and folk, while also having great influence over most other diverse folk styles across Turkish folk dress. Aegean Coast, Western Anatolia [ edit ] Influenced by Inner Anatolian (/wiki/Central_Anatolia_Region_(statistical)) and Greek folk styles. Mediterranean and Southern Anatolia regions [ edit ] Influenced by other Anatolian. State supervision and control of dress [ edit ] After the collapse of the Ottoman reign and the establishment of the Republic of Turkey, the new Kemalist (/wiki/Kemalism) regime which assumed power in 1923, implemented strict policies of modernization (/wiki/Modernization_theory) , westernization (/wiki/Westernization) and secularization (/wiki/Secularization) in all aspects of Turkish society, including clothing styles. In 1925, the state announced a law by decree which specified that the clothing that was to be worn by civil servants and officers was not to be traditional wear, while the law also enforced a ban on the fez for servants and later citizens, the notable classic symbol of the Ottoman era. The majority of the policies were aimed at reducing religious influence, significance and resemblance within the majority Muslim society of the country, but was also greatly enforced on other religious minority groups as well, causing significant cultural damage. Rulings like these were abided and enforced heavier in the larger urban cities of Turkey, but they had less of an impact in the Turkish countryside and rural areas without enforcement and supervision, where traditional Turkish styles, particularly in men's dress – while incorporating some Western (/wiki/Western_culture) features, like the trouser and the cap, – remained alive and diverse. References [ edit ] ^ (#cite_ref-1) Sofiya. "Home." Each of seven Turkey regions has its own clothing traditions and features - Nationalclothing.org. N.p., n.d. Web. 21 Feb. 2017. ^ (#cite_ref-2) "TURKISH CLOTHING." History of Turkish Clothing. N.p., n.d. Web. 21 Feb. 2017. 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American web series Regular hosts Raja (/wiki/Raja_Gemini) ( left ) and Raven (/wiki/Raven_(drag_queen)) ( right ). Fashion Photo RuView is a weekly YouTube (/wiki/YouTube) series by WOW Presents Plus (/wiki/WOW_Presents_Plus) which premiered in 2014. [1] (#cite_note-1) Hosted by former contestants Raja (/wiki/Raja_Gemini) and Raven (/wiki/Raven_(drag_queen)) , [2] (#cite_note-2) [3] (#cite_note-3) the show sees the duo critique runway looks presented on the reality series RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) . Paper magazine (/wiki/Paper_(magazine)) has said the series "has become an influential cultural entity unto itself". [4] (#cite_note-4) References [ edit ] ^ (#cite_ref-1) Grobar, Matt (2017-06-22). " (https://deadline.com/2017/06/fashion-photo-ruview-randy-barbato-fenton-bailey-world-of-wonder-emmys-interview-news-1202113159/) 'Fashion Photo RuView' EPs Fenton Bailey & Randy Barbato On Their "Screen Agnostic" Approach To Content Creation" (https://deadline.com/2017/06/fashion-photo-ruview-randy-barbato-fenton-bailey-world-of-wonder-emmys-interview-news-1202113159/) . Deadline . Archived (https://web.archive.org/web/20220816214137/https://deadline.com/2017/06/fashion-photo-ruview-randy-barbato-fenton-bailey-world-of-wonder-emmys-interview-news-1202113159/) from the original on 2022-08-16 . Retrieved 2024-04-03 . ^ (#cite_ref-2) Curto, Justin (2022-06-13). "Drag Race's Raja Was Honored to Get Booted on Fashion Photo RuView" (https://www.vulture.com/article/drag-race-raja-interview-star-fashion-photo-ruview.html) . Vulture . Archived (https://web.archive.org/web/20231211024640/https://www.vulture.com/article/drag-race-raja-interview-star-fashion-photo-ruview.html) from the original on 2023-12-11 . Retrieved 2024-04-03 . ^ (#cite_ref-3) Clark, Conor (2021-11-25). "Raven on her "nuts" new show, RuPaul's advice & Fashion Photo RuView" (https://www.gaytimes.co.uk/culture/exclusive-raven-on-her-nuts-new-show-advice-from-rupaul-and-fashion-photo-ruview/) . GAY TIMES . Archived (https://web.archive.org/web/20231207032919/https://www.gaytimes.co.uk/culture/exclusive-raven-on-her-nuts-new-show-advice-from-rupaul-and-fashion-photo-ruview/) from the original on 2023-12-07 . Retrieved 2024-04-03 . ^ (#cite_ref-4) Guzman, Ivan (March 19, 2024). "Raja Looks Back on 10 Years of 'Fashion Photo Ruview' (https://www.papermag.com/fashion-photo-ruview-raja) " (https://www.papermag.com/fashion-photo-ruview-raja) . Paper (/wiki/Paper_(magazine)) . Archived (https://web.archive.org/web/20240328013130/https://www.papermag.com/fashion-photo-ruview-raja) from the original on March 28, 2024 . Retrieved April 3, 2024 . v t e RuPaul's Drag Race (/wiki/RuPaul%27s_Drag_Race) Seasons 1 (/wiki/RuPaul%27s_Drag_Race_season_1) 2 (/wiki/RuPaul%27s_Drag_Race_season_2) 3 (/wiki/RuPaul%27s_Drag_Race_season_3) 4 (/wiki/RuPaul%27s_Drag_Race_season_4) 5 (/wiki/RuPaul%27s_Drag_Race_season_5) 6 (/wiki/RuPaul%27s_Drag_Race_season_6) 7 (/wiki/RuPaul%27s_Drag_Race_season_7) 8 (/wiki/RuPaul%27s_Drag_Race_season_8) 9 (/wiki/RuPaul%27s_Drag_Race_season_9) 10 (/wiki/RuPaul%27s_Drag_Race_season_10) 11 (/wiki/RuPaul%27s_Drag_Race_season_11) 12 (/wiki/RuPaul%27s_Drag_Race_season_12) 13 (/wiki/RuPaul%27s_Drag_Race_season_13) 14 (/wiki/RuPaul%27s_Drag_Race_season_14) 15 (/wiki/RuPaul%27s_Drag_Race_season_15) 16 (/wiki/RuPaul%27s_Drag_Race_season_16) Contestants (/wiki/List_of_RuPaul%27s_Drag_Race_contestants) Winners BeBe Zahara Benet (/wiki/BeBe_Zahara_Benet) Tyra Sanchez (/wiki/Tyra_Sanchez) Raja (/wiki/Raja_Gemini) Sharon Needles (/wiki/Sharon_Needles) Jinkx Monsoon (/wiki/Jinkx_Monsoon) Bianca Del Rio (/wiki/Bianca_Del_Rio) Violet Chachki (/wiki/Violet_Chachki) Bob the Drag Queen (/wiki/Bob_the_Drag_Queen) Sasha Velour (/wiki/Sasha_Velour) Aquaria (/wiki/Aquaria_(drag_queen)) Yvie Oddly (/wiki/Yvie_Oddly) Jaida Essence Hall (/wiki/Jaida_Essence_Hall) Symone (/wiki/Symone_(drag_queen)) Willow Pill (/wiki/Willow_Pill) Sasha Colby (/wiki/Sasha_Colby) Nymphia Wind (/wiki/Nymphia_Wind) Acid Betty (/wiki/Acid_Betty) Adore Delano (/wiki/Adore_Delano) Aiden Zhane (/wiki/Aiden_Zhane) Aja (/wiki/Aja_(entertainer)) A'keria C. Davenport (/wiki/A%27keria_C._Davenport) Alaska (/wiki/Alaska_Thunderfuck) Alexis Mateo (/wiki/Alexis_Mateo) Alexis Michelle (/wiki/Alexis_Michelle) Alyssa Edwards (/wiki/Alyssa_Edwards) Alyssa Hunter (/wiki/Alyssa_Hunter) Amanda Tori Meating (/wiki/Amanda_Tori_Meating) Amethyst (/wiki/Amethyst_(drag_queen)) Anetra (/wiki/Anetra) Angeria Paris VanMicheals (/wiki/Angeria_Paris_VanMicheals) April Carrión (/wiki/April_Carri%C3%B3n) Ariel Versace (/wiki/Ariel_Versace) Asia O'Hara (/wiki/Asia_O%27Hara) Aura Mayari (/wiki/Aura_Mayari) BenDeLaCreme (/wiki/BenDeLaCreme) Blair St. Clair (/wiki/Blair_St._Clair) Bosco (/wiki/Bosco_(drag_queen)) Brita (/wiki/Brita_Filter) Brooke Lynn Hytes (/wiki/Brooke_Lynn_Hytes) Carmen Carrera (/wiki/Carmen_Carrera) Chad Michaels (/wiki/Chad_Michaels) Charlie Hides (/wiki/Charlie_Hides) Chi Chi DeVayne (/wiki/Chi_Chi_DeVayne) Coco Montrese (/wiki/Coco_Montrese) Courtney Act (/wiki/Courtney_Act) Crystal Methyd (/wiki/Crystal_Methyd) Cynthia Lee Fontaine (/wiki/Cynthia_Lee_Fontaine) Dahlia Sin (/wiki/Dahlia_Sin) Darienne Lake (/wiki/Darienne_Lake) Dawn (/wiki/Dawn_(drag_queen)) Dax ExclamationPoint (/wiki/Dax_ExclamationPoint) Daya Betty (/wiki/Daya_Betty) DeJa Skye (/wiki/DeJa_Skye) Delta Work (/wiki/Delta_Work) Denali (/wiki/Denali_(drag_queen)) Derrick Barry (/wiki/Derrick_Barry) Detox (/wiki/Detox_(drag_queen)) DiDa Ritz (/wiki/DiDa_Ritz) Dusty Ray Bottoms (/wiki/Dusty_Ray_Bottoms) Elliott with 2 Ts (/wiki/Elliott_with_2_Ts) Eureka (/wiki/Eureka_O%27Hara) Farrah Moan (/wiki/Farrah_Moan) Geneva Karr (/wiki/Geneva_Karr) Gia Gunn (/wiki/Gia_Gunn) Gigi Goode (/wiki/Gigi_Goode) Ginger Minj (/wiki/Ginger_Minj) Gottmik (/wiki/Gottmik) Heidi N Closet (/wiki/Heidi_N_Closet) Hershii LiqCour-Jeté (/wiki/Hershii_LiqCour-Jet%C3%A9) Honey Davenport (/wiki/Honey_Davenport) Honey Mahogany (/wiki/Honey_Mahogany) India Ferrah (/wiki/India_Ferrah) Irene Dubois (/wiki/Irene_Dubois) Ivy Winters (/wiki/Ivy_Winters) Jackie Cox (/wiki/Jackie_Cox_(drag_queen)) Jade Jolie (/wiki/Jade_Jolie) Jaidynn Diore Fierce (/wiki/Jaidynn_Diore_Fierce) Jan (/wiki/Jan_Sport) Jasmine Kennedie (/wiki/Jasmine_Kennedie) Jasmine Masters (/wiki/Jasmine_Masters) Jax (/wiki/Jax_(drag_queen)) Jaymes Mansfield (/wiki/Jaymes_Mansfield) Jessica Wild (/wiki/Jessica_Wild) Jiggly Caliente (/wiki/Jiggly_Caliente) Joey Jay (/wiki/Joey_Jay_(drag_queen)) Jorgeous (/wiki/Jorgeous) Joslyn Fox (/wiki/Joslyn_Fox) Jujubee (/wiki/Jujubee_(drag_queen)) June Jambalaya (/wiki/June_Jambalaya) Kahanna Montrese (/wiki/Kahanna_Montrese) Kahmora Hall (/wiki/Kahmora_Hall) Kalorie Karbdashian-Williams (/wiki/Kalorie_Karbdashian-Williams) Kameron Michaels (/wiki/Kameron_Michaels) Kandy Ho (/wiki/Kandy_Ho) Kandy Muse (/wiki/Kandy_Muse) Katya (/wiki/Katya_Zamolodchikova) Kelly Mantle (/wiki/Kelly_Mantle) Kennedy Davenport (/wiki/Kennedy_Davenport) Kerri Colby (/wiki/Kerri_Colby) Kim Chi (/wiki/Kim_Chi_(drag_queen)) Kimora Blac (/wiki/Kimora_Blac) Kornbread Jeté (/wiki/Kornbread_Jet%C3%A9) Kylie Sonique Love (/wiki/Kylie_Sonique_Love) Lady Camden (/wiki/Lady_Camden) Laganja Estranja (/wiki/Laganja_Estranja) Laila McQueen (/wiki/Laila_McQueen) LaLa Ri (/wiki/LaLa_Ri) Lashauwn Beyond (/wiki/Lashauwn_Beyond) Latrice Royale (/wiki/Latrice_Royale) Lineysha Sparx (/wiki/Lineysha_Sparx) Loosey LaDuca (/wiki/Loosey_LaDuca) Luxx Noir London (/wiki/Luxx_Noir_London) Madame LaQueer (/wiki/Madame_LaQueer) Maddy Morphosis (/wiki/Maddy_Morphosis) Malaysia Babydoll Foxx (/wiki/Malaysia_Babydoll_Foxx) Manila Luzon (/wiki/Manila_Luzon) Marcia Marcia Marcia (/wiki/Marcia_Marcia_Marcia) Mariah Paris Balenciaga (/wiki/Mariah_Paris_Balenciaga) Max (/wiki/Max_(drag_queen)) Mayhem Miller (/wiki/Mayhem_Miller_(drag_queen)) Megami (/wiki/Megami_(drag_queen)) Mercedes Iman Diamond (/wiki/Mercedes_Iman_Diamond) Mhi'ya Iman Le'Paige (/wiki/Mhi%27ya_Iman_Le%27Paige) Milan (/wiki/Dwayne_Cooper) Milk (/wiki/Milk_(drag_queen)) Mimi Imfurst (/wiki/Mimi_Imfurst) Mirage (/wiki/Mirage_(drag_queen)) Miss Fame (/wiki/Miss_Fame) Mistress Isabelle Brooks (/wiki/Mistress_Isabelle_Brooks) Miz Cracker (/wiki/Miz_Cracker) Monica Beverly Hillz (/wiki/Monica_Beverly_Hillz) Mo Heart (/wiki/Mo_Heart) Monét X Change (/wiki/Mon%C3%A9t_X_Change) Morgan McMichaels (/wiki/Morgan_McMichaels) Morphine Love Dion (/wiki/Morphine_Love_Dion) Mrs. Kasha Davis (/wiki/Mrs._Kasha_Davis) Mystique Summers Madison (/wiki/Mystique_Summers_Madison) Naomi Smalls (/wiki/Naomi_Smalls) Naysha Lopez (/wiki/Naysha_Lopez) Nicky Doll (/wiki/Nicky_Doll) Nicole Paige Brooks (/wiki/Nicole_Paige_Brooks) Nina Bo'nina Brown (/wiki/Nina_Bo%27nina_Brown) Nina Flowers (/wiki/Nina_Flowers) Nina West (/wiki/Nina_West) Olivia Lux (/wiki/Olivia_Lux) Ongina (/wiki/Ongina) Orion Story (/wiki/Orion_Story) Pandora Boxx (/wiki/Pandora_Boxx) Pearl (/wiki/Pearl_(drag_queen)) Penny Tration (/wiki/Penny_Tration) Peppermint (/wiki/Peppermint_(entertainer)) Phi Phi O'Hara (/wiki/Jaremi_Carey) Phoenix (/wiki/Phoenix_(drag_queen)) Plane Jane (/wiki/Plane_Jane) Plasma (/wiki/Plasma_(drag_queen)) Plastique Tiara (/wiki/Plastique_Tiara) The Princess (/wiki/The_Princess_(drag_queen)) Princess Poppy (/wiki/Princess_Poppy_(drag_queen)) Q (/wiki/Q_(drag_queen)) Ra'Jah O'Hara (/wiki/Ra%27Jah_O%27Hara) Raven (/wiki/Raven_(drag_queen)) Robbie Turner (/wiki/Robbie_Turner_(drag_queen)) Robin Fierce (/wiki/Robin_Fierce) Rock M. Sakura (/wiki/Rock_M._Sakura) Rosé (/wiki/Ros%C3%A9_(drag_queen)) Roxxxy Andrews (/wiki/Roxxxy_Andrews) Sahara Davenport (/wiki/Sahara_Davenport) Salina EsTitties (/wiki/Salina_EsTitties) Sapphira Cristál (/wiki/Sapphira_Crist%C3%A1l) Sasha Belle (/wiki/Sasha_Belle) Scarlet Envy (/wiki/Scarlet_Envy) Serena ChaCha (/wiki/Serena_ChaCha) Shangela (/wiki/Shangela) Shannel (/wiki/Shannel) Shea Couleé (/wiki/Shea_Coule%C3%A9) Sherry Pie (/wiki/Sherry_Pie) Shuga Cain (/wiki/Shuga_Cain) Silky Nutmeg Ganache (/wiki/Silky_Nutmeg_Ganache) Soju (/wiki/Soju_(drag_queen)) Spice (/wiki/Sugar_and_Spice_(drag_queens)) Stacy Layne Matthews (/wiki/Stacy_Layne_Matthews) Sugar (/wiki/Sugar_and_Spice_(drag_queens)) Tamisha Iman (/wiki/Tamisha_Iman) Tammie Brown (/wiki/Tammie_Brown) Tatianna (/wiki/Tatianna) Tempest DuJour (/wiki/Tempest_DuJour) Tina Burner (/wiki/Tina_Burner) Thorgy Thor (/wiki/Thorgy_Thor) Trinity K. Bonet (/wiki/Trinity_K._Bonet) Trinity the Tuck (/wiki/Trinity_the_Tuck) Trixie Mattel (/wiki/Trixie_Mattel) Utica Queen (/wiki/Utica_Queen) Valentina (/wiki/Valentina_(drag_queen)) Vanessa Vanjie Mateo (/wiki/Vanessa_Vanjie_Mateo) Venus D-Lite (/wiki/Venus_D-Lite) Victoria "Porkchop" Parker (/wiki/Victoria_%22Porkchop%22_Parker) Vivacious (/wiki/Vivacious_(drag_queen)) Vivienne Pinay (/wiki/Vivienne_Pinay) The Vixen (/wiki/The_Vixen_(drag_queen)) Widow Von'Du (/wiki/Widow_Von%27Du) Willam (/wiki/Willam_Belli) Xunami Muse (/wiki/Xunami_Muse) Yara Sofia (/wiki/Yara_Sofia) Yuhua Hamasaki (/wiki/Yuhua_Hamasaki) Episodes (/wiki/List_of_RuPaul%27s_Drag_Race_episodes) " RuPocalypse Now! (/wiki/RuPocalypse_Now!) " " WTF!: Wrestling's Trashiest Fighters (/wiki/WTF!:_Wrestling%27s_Trashiest_Fighters) " " Glamazons vs. Champions (/wiki/Glamazons_vs._Champions) " " Queens Behind Bars (/wiki/Queens_Behind_Bars) " " Float Your Boat (/wiki/Float_Your_Boat_(RuPaul%27s_Drag_Race)) " " Dragazines (/wiki/Dragazines) " " Frenemies (/wiki/Frenemies_(RuPaul%27s_Drag_Race)) " " Frock the Vote! (/wiki/Frock_the_Vote!) " " DILFs: Dads I'd Like to Frock (/wiki/DILFs:_Dads_I%27d_Like_to_Frock) " " The Fabulous Bitch Ball (/wiki/The_Fabulous_Bitch_Ball) " " The Final Three (/wiki/The_Final_Three) " " RuPaullywood or Bust (/wiki/RuPaullywood_or_Bust) " " Lip Synch Extravaganza Eleganza (/wiki/Lip_Synch_Extravaganza_Eleganza) " " Draggle Rock (/wiki/Draggle_Rock) " " Black Swan: Why It Gotta Be Black? (/wiki/Black_Swan:_Why_It_Gotta_Be_Black%3F) " " Can I Get an Amen (/wiki/Can_I_Get_an_Amen) " " RuPaul Roast (/wiki/RuPaul_Roast_(RuPaul%27s_Drag_Race_season_5)) " (season 5) " Scent of a Drag Queen (/wiki/Scent_of_a_Drag_Queen) " " Drama Queens (/wiki/Drama_Queens_(RuPaul%27s_Drag_Race)) " " Super Troopers (/wiki/Super_Troopers_(RuPaul%27s_Drag_Race)) " " Sugar Ball (/wiki/Sugar_Ball) " " The Final Three, Hunty (/wiki/The_Final_Three,_Hunty) " " RuPaul's Big Opening (/wiki/RuPaul%27s_Big_Opening) " " RuPaul's Big Opening: Part 2 (/wiki/RuPaul%27s_Big_Opening:_Part_2) " " Scream Queens (/wiki/Scream_Queens_(RuPaul%27s_Drag_Race)) " " Shade: The Rusical (/wiki/Shade:_The_Rusical) " " Oh No She Betta Don't! (/wiki/Oh_No_She_Betta_Don%27t!) " " Glamazon by Colorevolution (/wiki/Glamazon_by_Colorevolution) " " Drag Queens of Comedy (/wiki/Drag_Queens_of_Comedy) " " Queens of Talk (/wiki/Queens_of_Talk) " " Drag My Wedding (/wiki/Drag_My_Wedding) " " Glitter Ball (/wiki/Glitter_Ball_(RuPaul%27s_Drag_Race)) " " Sissy That Walk (/wiki/Sissy_That_Walk_(RuPaul%27s_Drag_Race)) " " Born Naked (/wiki/Born_Naked_(RuPaul%27s_Drag_Race)) " " Glamazonian Airways (/wiki/Glamazonian_Airways) " " ShakesQueer (/wiki/ShakesQueer) " " Spoof! (There It Is) (/wiki/Spoof!_(There_It_Is)) " " The DESPY Awards (/wiki/The_DESPY_Awards) " " Ru Hollywood Stories (/wiki/Ru_Hollywood_Stories) " " Conjoined Queens (/wiki/Conjoined_Queens) " " Divine Inspiration (/wiki/Divine_Inspiration_(RuPaul%27s_Drag_Race)) " " Prancing Queens (/wiki/Prancing_Queens) " " Hello, Kitty Girls! (/wiki/Hello,_Kitty_Girls!) " " And the Rest Is Drag (/wiki/And_the_Rest_Is_Drag) " " Keeping It 100! (/wiki/Keeping_It_100!) " " Bitch Perfect (/wiki/Bitch_Perfect) " " RuCo's Empire (/wiki/RuCo%27s_Empire) " " New Wave Queens (/wiki/New_Wave_Queens) " " Wizards of Drag (/wiki/Wizards_of_Drag) " " Shady Politics (/wiki/Shady_Politics) " " RuPaul Book Ball (/wiki/RuPaul_Book_Ball) " " The Realness (/wiki/The_Realness_(RuPaul%27s_Drag_Race)) " " Oh. My. Gaga! (/wiki/Oh._My._Gaga!) 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Dictionary first published in 1965 20,000 Years of Fashion: The History of Costume and Personal Adornment Bottom half of book cover with details from colored plates Author Francois Boucher (/wiki/Francois_Boucher_(art_historian)) Yvonne Deslandres (/wiki/Yvonne_Deslandres) Language English, French Genre Art history (/wiki/Art_history) Publisher Harry N Abrams (/wiki/Abrams_Books) , Groupe Flammarion (/wiki/Groupe_Flammarion) Publication date 1963–66, 1987 Publication place United Kingdom, France, United States Pages 441 OCLC 176250 (https://www.worldcat.org/oclc/176250) 20,000 Years of Fashion: The History of Costume and Personal Adornment is a dictionary of western fashion from ancient times up to the 1960s, edited by Francois Boucher (/wiki/Francois_Boucher_(art_historian)) and his longtime assistant Yvonne Deslandres (/wiki/Yvonne_Deslandres) . The book is widely cited as a reference for fashion trends in paintings and has 1150 illustrations which are mostly paintings, etchings and engravings from Western museums and collections. The book includes a glossary of terms and a bibliography of sources. It was originally published in French in 1965 as Histoire du Costume en Occident de l’antiquité à nos jours and was translated into English the next year, but was published after Boucher's death. In 1987 Deslandres updated a new edition with a section on modern fashion. References [ edit ] Book review (http://www.publishersweekly.com/978-0-8109-1693-7) in Publishers Weekly (/wiki/Publishers_Weekly) This article about a reference book (/wiki/Reference_work) is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=20,000_Years_of_Fashion&action=edit) . v t e This article about the history of fashion (/wiki/History_of_fashion) is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=20,000_Years_of_Fashion&action=edit) . v t e NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐nltmm Cached time: 20240712221409 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.278 seconds Real time usage: 0.684 seconds Preprocessor visited node count: 943/1000000 Post‐expand include size: 16533/2097152 bytes Template argument size: 2466/2097152 bytes Highest expansion depth: 10/100 Expensive parser function count: 0/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 11092/5000000 bytes Lua time usage: 0.150/10.000 seconds Lua memory usage: 2566368/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 373.053 1 -total 36.77% 137.157 1 Template:Infobox_book 32.46% 121.088 2 Template:Asbox 31.91% 119.027 1 Template:Ref-book-stub 26.85% 100.179 1 Template:Infobox 26.29% 98.061 1 Template:Short_description 14.26% 53.213 2 Template:Pagetype 8.12% 30.289 4 Template:Main_other 7.96% 29.710 1 Template:Wikidata_image 7.38% 27.539 1 Template:SDcat Saved in parser cache with key enwiki:pcache:idhash:51351328-0!canonical and timestamp 20240712221409 and revision id 1227309204. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=20,000_Years_of_Fashion&oldid=1227309204 (https://en.wikipedia.org/w/index.php?title=20,000_Years_of_Fashion&oldid=1227309204) " Categories (/wiki/Help:Category) : 1963 non-fiction books (/wiki/Category:1963_non-fiction_books) 20th-century history books (/wiki/Category:20th-century_history_books) History of fashion (/wiki/Category:History_of_fashion) Reference book stubs (/wiki/Category:Reference_book_stubs) Cultural history stubs (/wiki/Category:Cultural_history_stubs) Fashion stubs (/wiki/Category:Fashion_stubs) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description is different from Wikidata (/wiki/Category:Short_description_is_different_from_Wikidata) All stub articles (/wiki/Category:All_stub_articles) |
American fashion designer Julie Chaiken Born Detroit (/wiki/Detroit) , Michigan, United States Alma mater University of California, Los Angeles (/wiki/University_of_California,_Los_Angeles) New York University Stern School of Business (/wiki/New_York_University_Stern_School_of_Business) Occupation Entrepreneur (/wiki/Entrepreneur) Julie Chaiken is an American entrepreneur and fashion designer (/wiki/Fashion_designer) . She is best known as the founder of Chaiken, a San Francisco-based clothing line. [1] (#cite_note-1) [2] (#cite_note-Style-2) [3] (#cite_note-3) Early life and education [ edit ] Chaiken, who was born in Detroit (/wiki/Detroit) , grew up in Northern California (/wiki/Northern_California) , the daughter of Carole Chaiken, who raced, bred, and trained horses, and Donald Chaiken, a real estate developer. [4] (#cite_note-4) She attended high school in Lafayette, California, and received a BA (/wiki/Bachelor%27s_degree) in history from the University of California, Los Angeles (/wiki/University_of_California,_Los_Angeles) , in 1989. [ citation needed ] Her interest in entertainment prompted Chaiken to move to New York City (/wiki/New_York_City) following graduation; she worked in the original programming department at the USA Network (/wiki/USA_Network) before deciding to pursue an MBA (/wiki/Master_of_Business_Administration) . Enrolling at the New York University Stern School of Business (/wiki/New_York_University_Stern_School_of_Business) , Chaiken earned an MBA in corporate finance (/wiki/Corporate_finance) in 1993. [5] (#cite_note-CFDA-5) Career [ edit ] In 1994, recognizing the then-limited clothing options available to fashion-forward women, Chaiken teamed with a friend, Pamela Capone, to found Chaiken and Capone. "I wanted to create something that spoke to who I am, and I came up with the idea of a clothing company to create clothes for women like myself," Chaiken said in an interview in 2004. [6] (#cite_note-NYU-6) Chaiken and Capone's first offering included a successful line of pants, which were described as "revolutionizing the pants market." [2] (#cite_note-Style-2) [7] (#cite_note-Truth_Plus-7) [8] (#cite_note-stylelist-8) [9] (#cite_note-HauteLiving-9) Initially, Capone focused on design while Chaiken focused on the business and business strategy. In 1998, she bought out Capone; by 1999, the line was being carried in more than 400 boutiques and high-end retailers, [9] (#cite_note-HauteLiving-9) including Barneys New York (/wiki/Barneys_New_York) , Saks Fifth Avenue (/wiki/Saks_Fifth_Avenue) , and Nordstrom (/wiki/Nordstrom) . Chaiken, while primarily focused on growing the company, subsequently expanded her role as CEO to include clothing and accessory design. [10] (#cite_note-10) [11] (#cite_note-7x7-11) In 2001, at the request of Chaiken clients including Cindy Crawford (/wiki/Cindy_Crawford) and Vendela (/wiki/Vendela) , Chaiken created a maternity line, Chaiken With Child. Chaiken and Capone's signature pants, with elastic in the waistband, and an "emphatic lack of ugly front pouches," were successful and orders at high-end department mandated wide production. "Business school 101 is find a need and fill it," Chaiken said. The Chaiken with Child spring collection in 2012 represented 15% of Chaiken and Capone's overall sales. [12] (#cite_note-Time-12) in 2008, Chaiken—a single mother of two—went on a two-year hiatus. Returning to the company in 2010, she reconfigured her late-1990s dress line Anonymity to include all categories and relaunched it through QVC (/wiki/QVC) . [13] (#cite_note-13) A ready-to-wear collection returned to the market in 2010 and, although successfully relaunched as Chaiken and Capone, [2] (#cite_note-Style-2) the company became known as simply Chaiken in 2012. [11] (#cite_note-7x7-11) [14] (#cite_note-fashionetc-14) [15] (#cite_note-Harper's-15) [16] (#cite_note-16) In 2014, she was honored as a "Woman to Watch" by Jewish Women International. [17] (#cite_note-17) In 2015, she retired from fashion and is currently focusing on her family and her philanthropic work. Philanthropy [ edit ] Chaiken served eight years on the board of directors for the Center for Reproductive Rights (/wiki/Center_for_Reproductive_Rights) , an international non-profit organization which uses the law to advance reproductive freedom as a fundamental human right (/wiki/Human_right) that all governments are legally obligated to protect, respect, and fulfill. [18] (#cite_note-18) Chaiken is also on the board of The Chaiken Family Foundation. She is currently the Leadership Council Co-Chair for Planned Parenthood Federation of America. She is a founding board member of The Weekend To Be Named Later, [19] (#cite_note-19) which she co-organized with Nancy Lublin (/wiki/Nancy_Lublin) , the founder of Dress for Success (/wiki/Dress_For_Success_(organization)) . LinkedIn (/wiki/LinkedIn) 's Reid Hoffman (/wiki/Reid_Hoffman) , also a co-organizer, describes the event as a "Franklin-inspired gathering of ambitious friends, to brainstorm ways to change the world." [20] (#cite_note-20) Personal life [ edit ] Although frequently in New York, Chaiken lives in Marin County in Northern California. She has two children. [21] (#cite_note-21) [22] (#cite_note-22) See also [ edit ] Biography portal (/wiki/Portal:Biography) Fashion portal (/wiki/Portal:Fashion) List of fashion designers (/wiki/List_of_fashion_designers) List of New York University people (/wiki/List_of_New_York_University_people) List of University of California, Los Angeles people (/wiki/List_of_University_of_California,_Los_Angeles_people) References [ edit ] ^ (#cite_ref-1) De Carlo, Lauren (December 16, 2004). "A Decade of Chaiken" (http://www.wwd.com/fashion-news/fashion-features/a-decade-of-chaiken-589759?full=true) . Women's Wear Daily . Retrieved October 21, 2013 . ^ a b c Minkoff, Jessica. "A Business With Legs" (https://web.archive.org/web/20140111175845/http://www.style.com/stylefile/tag/julie-chaiken/) . Style.com (/wiki/Style.com) . Archived from the original (http://www.style.com/stylefile/tag/julie-chaiken/) on January 11, 2014 . Retrieved July 15, 2023 . ^ (#cite_ref-3) Fishman, Alana. "Lookbook Love: Chaiken Spring 2013" (https://web.archive.org/web/20140424080249/http://www.luckymag.com/style/2012/12/Chaiken-Spring-2013-Lookbook) . Spring, 2013 . Lucky. Archived from the original (http://www.luckymag.com/style/2012/12/Chaiken-Spring-2013-Lookbook) on April 24, 2014 . Retrieved October 21, 2013 . ^ (#cite_ref-4) Aronovsky, Aron Nathan (July 12, 2013). "Carole C. Chaiken" (https://jweekly.com/2013/07/12/deaths115/) . J Weekly (/wiki/J_Weekly) . Retrieved July 15, 2023 . ^ (#cite_ref-CFDA_5-0) "CFDA Members" (http://www.cfda.com/members?member_id=575&tab=q#!julie-chaiken) . CFDA . Retrieved October 28, 2013 . ^ (#cite_ref-NYU_6-0) "Alumni In The News: Julie Chaiken, 1993" (http://w4.stern.nyu.edu/include/printview.cfm?doc_id=5324&docTitle=Julie%20Chaiken%2C%20MBA%201993) . 2004 . NYU School of Business . Retrieved October 30, 2013 . ^ (#cite_ref-Truth_Plus_7-0) Staff (April 21, 2011). "Sartorial Stars: Julie Chaiken of Chaiken and Capone" (https://web.archive.org/web/20140111174211/http://truthplusblog.com/2011/04/21/sartorial-stars-julie-chaiken-of-chaiken-and-capone/) . Truth Plus . Archived from the original (http://truthplusblog.com/2011/04/21/sartorial-stars-julie-chaiken-of-chaiken-and-capone/) on January 11, 2014 . Retrieved October 30, 2013 . ^ (#cite_ref-stylelist_8-0) Marsh, Lisa. "Designer Julie Chaiken Dishes on Chaiken and Capone's Return to Retail" (https://web.archive.org/web/20140111174346/http://main.stylelist.com/2011/01/04/chaiken-and-capone-return-to-retail/) . Stylelist . Archived from the original (http://main.stylelist.com/2011/01/04/chaiken-and-capone-return-to-retail/) on January 11, 2014 . Retrieved October 29, 2013 . ^ a b Sprauve, Angella (April 1, 2013). "The Perfect Fit: Julie Chaiken Launches New Collection" (http://hauteliving.com/2013/04/the-perfect-fit/348959/) . Haute Living (/wiki/Haute_Living) . Retrieved July 15, 2023 . ^ (#cite_ref-10) Staff. "Chaiken: Racked SF" (https://web.archive.org/web/20150412114612/http://sf.racked.com/tags/chaiken) . 2012 . Racked: Shopping and Styling Intelligence. Archived from the original (http://sf.racked.com/tags/chaiken) on April 12, 2015 . Retrieved October 30, 2013 . ^ a b Durbin, Samantha (August 11, 2011). "Do Call It a Comeback: Chaiken and Capone" (http://www.7x7.com/style-design/do-call-it-comeback-chaiken-and-capone#/0) . 7x7 (/wiki/7x7_(magazine)) . Retrieved July 15, 2023 . ^ (#cite_ref-Time_12-0) Bower, Amanda. "Expect the Best" (https://web.archive.org/web/20140111174224/http://thestorkmagazine.com/2008/12/18/expect-the-best/) . The Stork . Archived from the original (http://thestorkmagazine.com/2008/12/18/expect-the-best/) on January 11, 2014 . Retrieved October 30, 2013 . ^ (#cite_ref-13) "QVC Expands New York Fashion Week Presence Launches First NYC Pop-Up Location" (https://www.bloomberg.com/apps/news?pid=newsarchive&sid=an4akoSqbX6A) . Bloomberg (Via PR Newswire). July 7, 2010 . Retrieved October 30, 2013 . ^ (#cite_ref-fashionetc_14-0) Schnicker, Lauren (January 10, 2011). "Chaiken and Capone Makes a Comeback for Spring 2011" (http://fashionetc.com/news/fashion/181-chaiken-and-capone-spring-2011) . Fashion Etc . Retrieved October 29, 2013 . ^ (#cite_ref-Harper's_15-0) King, Joyann (January 20, 2011). "Julie Chaiken's Back! Chaiken Relaunches for Spring" (http://www.harpersbazaar.com/fashion/fashion-designers/chaiken-relaunch-spring-2011-012011) . Harper's Bazaar (/wiki/Harper%27s_Bazaar) . Retrieved October 30, 2013 . ^ (#cite_ref-16) C Fashion Staff (March 14, 2013). "Busy Body" (https://web.archive.org/web/20130322231338/http://www.magazinec.com/?p=26899) . California Style . Archived from the original (http://www.magazinec.com/?p=26899) on March 22, 2013 . Retrieved October 30, 2013 . ^ (#cite_ref-17) "2014 Women to Watch Honorees" (https://web.archive.org/web/20150413022348/http://www.jwi.org/page.aspx?pid=3931#sthash.nPjPQPIU.atSRAgJL.dpbs) . jwi.org . Jewish Women International. Archived from the original (http://www.jwi.org/page.aspx?pid=3931#sthash.nPjPQPIU.atSRAgJL.dpbs) on April 13, 2015 . Retrieved September 17, 2014 . ^ (#cite_ref-18) "Our Mission" (http://reproductiverights.org/en/about-us/mission) . 2013 . The Center for Reproductive Rights . Retrieved October 30, 2013 . ^ (#cite_ref-19) Schomer, Stephanie (May 2011). "Tony Blair's Secret Club And Other Clubs We Want To Crash" (http://www.fastcompany.com/1747581/tony-blairs-secret-club-and-other-clubs-we-want-crash) . Fast Company (/wiki/Fast_Company) . Retrieved July 15, 2023 . ^ (#cite_ref-20) Hoffman, Reid; Cashnocha, Ben (Spring 2013). "The Start-Up of You" (http://www.hesselbeininstitute.org/knowledgecenter/journal.aspx?ArticleID=958) . Leader to Leader Journal . Retrieved October 30, 2013 . ^ (#cite_ref-21) "The Long View" (http://www.oprah.com/home/Julie-Chaikens-San-Francisco-Home/7) . Oprah.com (/wiki/Oprah.com) . Spring 2013 . Retrieved July 15, 2023 . ^ (#cite_ref-22) Kaplan, Julie (July 28, 2008). "Chaiken to Relocate to San Francisco" (http://www.wwd.com/retail-news/retail-features/chaiken-to-relocate-to-san-francisco-1659883) . Women's Wear Daily (/wiki/Women%27s_Wear_Daily) . Retrieved July 15, 2023 . 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Quilled vest Ribbonwork by Ardina Moore (/wiki/Ardina_Moore) Ojibwe beaded velvet shirt, Wisconsin Native American fashion is the design (/wiki/Fashion_design) and creation of high-fashion clothing (/wiki/Clothing) and fashion accessories (/wiki/Fashion_accessories) by Native Americans in the United States (/wiki/Native_Americans_in_the_United_States) . This is a part of a larger movement of Indigenous fashion of the Americas (/wiki/Indigenous_fashion_of_the_Americas) . Indigenous designers frequently incorporate motifs (/wiki/Motif_(visual_arts)) and customary materials into their wearable artworks, providing a basis for creating items for the haute couture (/wiki/Haute_couture) and international fashion markets. Their designs may result from techniques such as beadwork (/wiki/Beadwork) , quillwork (/wiki/Quillwork) , leather (/wiki/Leather_crafting) , and textile arts (/wiki/Textile_arts_of_the_Indigenous_peoples_of_the_Americas) , such as weaving, twining, and tufting. In some cases, however, they choose not to include any materials associated with Indigenous cultures. In the United States, under the Indian Arts and Crafts Act of 1990 (/wiki/Indian_Arts_and_Crafts_Act_of_1990) , in order to qualify as Native American designers, artists must be enrolled in a federally recognized tribe (/wiki/List_of_federally_recognized_tribes) , state-recognized tribe (/wiki/State_recognized_tribes_in_the_United_States) , or be certified as a designated tribal artisan by the tribal council. [1] (#cite_note-1) When Native American designers first broke into the modern fashion industry in the 1940s and 1950s, many adopted a pan-Indian (/wiki/Pan-Indian) approach. By selecting motifs and iconography easily identified as part of Indigenous culture, they were able to gain acceptance and develop a market share (/wiki/Market_share) with mainstream buyers. As the field of Native designers in high fashion expanded, individual designers moved away from pan-Indianism, expressing their individual identity, whether or not it was based on their specific tribal heritage. Many have taken Indigenous themes and incorporated them into their works, while others have taken specific garments and updated them to contemporary aesthetics by changing necklines, sleeve lengths, hemlines, and other features. Controversy has emerged over the misappropriation or inappropriate use of cultural heritage by non-Native designers. Respectful use of imagery by mainstream designers who are not Indigenous can help expand appreciation of Native cultures, but plagiarism of design or malapropos use reinforces negative stereotypes and spurs controversy. Similarly, utilizing artisan craftwork can expand awareness if designers are fairly compensated for their work and given credit for their contributions. Contemporary controversies have spurred both crowd-sourced and legislative action to protect the designs and cultural heritage of Indigenous designers. History [ edit ] Historical clothing of Native American peoples has been collected and displayed by curators of major museums with a focus on pre-20th century attire. For the most part, these collections failed to take into consideration the shift in clothing trends among Indigenous peoples brought about by assimilation policies (/wiki/Cultural_assimilation_of_Native_Americans) or by access to tailoring training and industrially produced textiles. [2] (#cite_note-FOOTNOTEMetcalfe201066–67-2) However, Indigenous-focused museums have featured exhibitions of contemporary Native fashion. For example, the National Museum of the American Indian (/wiki/National_Museum_of_the_American_Indian) in New York City's 2017 "Native Fashion Now" exhibit featured Project Runway finalist Patricia Michaels [3] (#cite_note-3) and The Museum of Indian Arts and Culture in Santa Fe held exhibits as early as 2007 on Native couture and Institute of American Indian Arts (/wiki/Institute_of_American_Indian_Arts) founder Lloyd Kiva New (/wiki/Lloyd_Kiva_New) . [4] (#cite_note-4) While Native peoples have always produced clothing, until the 20th century the garments they made were often for personal, familial, or ceremonial use. [5] (#cite_note-FOOTNOTELieber2016-5) However, forced assimilation (/wiki/Forced_assimilation) policies throughout the 19th and early 20th centuries focused on eradicating Native American culture, including religious observance, language, and other traditional practices. [6] (#cite_note-6) Later, policies such as the 1934 Indian Reorganization Act (/wiki/Indian_Reorganization_Act) changed the strategy for the education of Native peoples, encouraging them instead to reconnect with their cultures, including the creation of traditional dress. [7] (#cite_note-7) In 1942, the American anthropologist (/wiki/Anthropologist) Frederic H. Douglas (/wiki/Frederic_H._Douglas) , sought to highlight the beauty of Native American fashion by presenting a fashion show (/wiki/Fashion_show) featuring garments made by Native Americans between 1830 and 1950. [8] (#cite_note-FOOTNOTEMetcalfe201066–68-8) During the same decade, Lloyd Kiva New (/wiki/Lloyd_Kiva_New) , a Cherokee (/wiki/Cherokee_Nation) who had graduated from the Art Institute of Chicago (/wiki/Art_Institute_of_Chicago) began touring throughout Europe and the United States with clothing and accessory (/wiki/Fashion_accessory) lines he had designed, using hand- woven (/wiki/Weaving) and dyed (/wiki/Dyeing) fabrics and leather crafts (/wiki/Leather_crafting) . In 1945, New opened a studio in Scottsdale, Arizona (/wiki/Scottsdale,_Arizona) , with financial backing from Douglas, [9] (#cite_note-FOOTNOTEMetcalfe201069-9) which initially focused on belts, hats and purses. Influenced by Navajo (/wiki/Navajo) medicine bags (/wiki/Medicine_bag) , his purses, decorated with hand-worked metals (/wiki/Jewellery) became a specialty. [10] (#cite_note-FOOTNOTEMetcalfe201080–81-10) Recognizing the need to reduce labor costs, he began combining machine work with handcrafting and instituted an apprenticeship (/wiki/Apprenticeship) program to meet increasing production demands while gearing his designs for the up-scale market. [11] (#cite_note-FOOTNOTEMetcalfe201082-11) Gaining coverage from national magazines like Harper's Bazaar (/wiki/Harper%27s_Bazaar) and The New Yorker (/wiki/The_New_Yorker) , New began selling his bags at the Elizabeth Arden Salon (/wiki/Elizabeth_Arden,_Inc.) and Neiman Marcus (/wiki/Neiman_Marcus) . [12] (#cite_note-FOOTNOTEMetcalfe201084-12) Expanding into clothing with a focus on classic cuts and simple designs using quality materials, New incorporated woven Cherokee fabrics, bead- (/wiki/Beadwork) and silver-work (/wiki/Native_American_jewelry) into a line of coats and dresses for women and men's suits, [13] (#cite_note-FOOTNOTEMetcalfe201085-86-13) capitalizing on the luxury clothing market which emerged after World War II (/wiki/World_War_II) . [14] (#cite_note-FOOTNOTEMetcalfe201087-14) "Southwestern chic" became a national trend in the early 1950s. [15] (#cite_note-FOOTNOTEMetcalfe201089-15) In 1951, New was the only Native American designer who participated in the Atlantic City International Fashion Show, winning national recognition. [16] (#cite_note-FOOTNOTEMetcalfe201091-16) He began to consult with artists and incorporated silk screened (/wiki/Silk_screen) fabrics using native motifs, such as Pima (/wiki/Pima_people) basket weaving (/wiki/Basket_weaving) designs, Hopi (/wiki/Hopi) pottery (/wiki/Puebloans#Pottery) patterns, Navajo (/wiki/Navajo) and Zuni (/wiki/Zuni_people) yei elements (/wiki/Yeii) , drawing from a variety of tribal aesthetics. As with designers who followed him, his sacred symbols and iconography (/wiki/Iconography) were modified to become secularized. [17] (#cite_note-FOOTNOTEMetcalfe201037,_96–97-17) To encourage other Indigenous artists to enter fashion design and safeguard cultural traditions which he feared might be lost, [18] (#cite_note-FOOTNOTEMetcalfe2010102-18) New turned his attention to education in 1959, sponsoring a summer design project, known as the Southwest Indian Arts Project. The experimental project eventually resulted in the founding by New and other artists of the Institute of American Indian Arts (/wiki/Institute_of_American_Indian_Arts) (IAIA) in 1962. [19] (#cite_note-FOOTNOTEMetcalfe2010108,_113-19) The purpose of the school was to provide an education that fostered pride in students' Indigenous heritage and featured the development of skills designed to improve their economic opportunities. [20] (#cite_note-FOOTNOTEMetcalfe2010132–133-20) New taught a printed textiles course focused on dying techniques, and Azalea Thorpe (/wiki/Azalea_Thorpe) (Scottish) taught weaving. [21] (#cite_note-FOOTNOTEMetcalfe2010133-21) Josephine Myers-Wapp (/wiki/Josephine_Myers-Wapp) ( Comanche (/wiki/Comanche) ) was hired to instruct students in the traditional techniques used to make garments and accessories, laying the groundwork for the aesthetic appreciation of tribal traditions. [22] (#cite_note-FOOTNOTEMetcalfe2010136-22) She taught students to use traditional materials like feathers, leather and shells, and methods including beadwork, ribbonwork (/wiki/Ribbonwork) and weaving to create garments. [23] (#cite_note-FOOTNOTEMetcalfe2010155–156-23) By 1965, IAIA was hosting local fashion shows. Within three years, the students had begun showing their works in other venues in Arizona, New Mexico, Texas, and New York. [24] (#cite_note-FOOTNOTEMetcalfe2010139–140-24) Within ten years, the reputation of the textile design programs at the school had gained international acclaim. [25] (#cite_note-FOOTNOTEMetcalfe2010147-25) During the 1970s, Native American designers began to make a name for themselves during the Indian and Natural movements (/wiki/1970s_in_Western_fashion) , such as Jewel Gilham ( Blackfeet (/wiki/Blackfeet) ) and Remonia Jacobsen ( Otoe (/wiki/Otoe) / Iowa (/wiki/Iowa_Tribe_of_Oklahoma) ). [26] (#cite_note-FOOTNOTEMetcalfe2010199-26) Gilham catered to working women, designing pantsuits (/wiki/Pantsuit) and long dresses made of polyester fabrics with felt insets depicting geometric figures and native motifs. [26] (#cite_note-FOOTNOTEMetcalfe2010199-26) [27] (#cite_note-FOOTNOTE''The_Missoulian''19735-27) [28] (#cite_note-FOOTNOTE''The_Daily_Inter_Lake''197714-28) Jacobsen's work featured loose-fitting dresses featuring decorative techniques, such as embroidered ribbonwork (/wiki/Ribbonwork) in the Otoe and Iowa style, appliqué (/wiki/Appliqu%C3%A9) drawing on Seminole (/wiki/Seminole_Nation_of_Oklahoma) traditions, buckskin (/wiki/Buckskin_(leather)) leggings (/wiki/Leggings) patterned on Kiowa designs, as well as influences from Pueblo and Sioux decorative silhouettes. [29] (#cite_note-FOOTNOTEMetcalfe2010214-29) Fueled by the American Indian (/wiki/American_Indian_Movement) and Civil Rights Movement (/wiki/Civil_Rights_Movement) , countercultural consumers (/wiki/Counterculture) found appeal in Gilham and Jacobsen's work. Furthermore, their fashion fostered a pan-Indian (/wiki/Pan-Indianism) unity in the quest for political power through self-expression. [30] (#cite_note-FOOTNOTEMetcalfe2010216-30) 1975 to 1990 [ edit ] When Josephine Wapp retired in 1975, Sandy Fife Wilson (/wiki/Sandy_Fife_Wilson) ( Muscogee (/wiki/Muscogee_(Creek)_Nation) ) took over instruction of her traditional techniques course and offered "Traditional and Contemporary Fashion Design" to include current fashion trends. [31] (#cite_note-FOOTNOTEMetcalfe2010151-31) [32] (#cite_note-FOOTNOTEBrown2016-32) Fife's students formed the Full Moon Fashions group and began targeting non-native women as prospective buyers for their products. [33] (#cite_note-FOOTNOTEMetcalfe2010152-33) In 1982, when Wendy Ponca (/wiki/Wendy_Ponca) ( Osage (/wiki/Osage_Nation) ) [34] (#cite_note-FOOTNOTEMetcalfe2012b86-34) took over the fashion design courses at the IAIA, she renamed them fiber arts (/wiki/Fiber_art) in accordance with other accredited university curricula, offering three levels of instruction. [35] (#cite_note-FOOTNOTEMetcalfe2010159-35) She founded the Waves of the Earth Fashion Group and required her students to participate in the fashion shows of the IAIA, giving them an opportunity to show their creations and discover how to market their works. [36] (#cite_note-FOOTNOTEMetcalfe2010161–162-36) Ponca changed the direction of Native American fashion [35] (#cite_note-FOOTNOTEMetcalfe2010159-35) by allowing the designers to determine whether their works would include traditional influences and media. [37] (#cite_note-FOOTNOTEMetcalfe2010160-37) She taught them garment design, structural integrity, and color theory, but allowed students to interpret how they used the lessons. [38] (#cite_note-FOOTNOTEMetcalfe2010160-161-38) Ponca's approach was to ignore demands to make designs fit stereotypical definitions of Indigenous identity. Instead she encouraged creativity [39] (#cite_note-FOOTNOTEMetcalfe2010165-39) and innovation, like utilizing mylar (/wiki/Mylar) , a space-age material to create designs which reflected the Osage connection with the sky. [40] (#cite_note-FOOTNOTEMetcalfe2010169-40) The fashion show of the Santa Fe Indian Market (/wiki/Santa_Fe_Indian_Market) , hosted for nearly two decades by fashion expert, Jeri Ah-be-hill (/wiki/Jeri_Ah-be-hill) ( Kiowa (/wiki/Kiowa) ), quickly became another venue to showcase the students' work, [41] (#cite_note-FOOTNOTEHaywood2015-41) [39] (#cite_note-FOOTNOTEMetcalfe2010165-39) using the body as a venue to display designs, rather than galleries. [39] (#cite_note-FOOTNOTEMetcalfe2010165-39) Native Uprising , initially called Native Influx was founded in the 1980s as a collaborative association of Indigenous artists, designers, and models, who were alumni of IAIA, with the express purpose of building a contemporary, Native fashion design movement and allowing members to profit from their fashion shows. [42] (#cite_note-FOOTNOTEMetcalfe2010177–179-42) With New as an advisor and Ponca as the coordinator, the group included many members who made a name for themselves in fashion, for example Marcus Amerman (/wiki/Marcus_Amerman) ( Choctaw (/wiki/Choctaw) ), who acted as the stage director [43] (#cite_note-FOOTNOTEMetcalfe2010180,_258-43) and RoseMary Diaz (/w/index.php?title=RoseMary_Diaz&action=edit&redlink=1) ( Santa Clara Pueblo (/wiki/Santa_Clara_Pueblo) ), who majored in fashion design and creative writing, before turning to writing about fashion. [44] (#cite_note-FOOTNOTEMetcalfe2010163-44) In 1981, Margaret Wood (/wiki/Margaret_Wood_(fashion_designer)) ( Navajo (/wiki/Navajo_Nation) / Seminole (/wiki/Seminole) ) of Arizona, known for fashion design as well as for her quilts (/wiki/Quilt) , [45] (#cite_note-FOOTNOTEMetcalfe2013Z042-45) [46] (#cite_note-FOOTNOTESchmitt2016126–128-46) published Native American Fashion: Modern Adaptations of Traditional Designs . [47] (#cite_note-FOOTNOTEMetcalfe2010217-47) The book was the first treatment of contemporary Native American fashion and remains the sole in-depth treatment of the subject. [48] (#cite_note-FOOTNOTEMetcalfe2010218-48) Also in the 1980s, Indigenous designers like Luanne Belcourt ( Chippewa-Cree (/wiki/Rocky_Boy%27s_Indian_Reservation) ) and Myrtle Raining Bird (Chippewa-Cree) operated their company Sitting Eagles , marketing custom-made garments on their reservation to high-end buyers. [49] (#cite_note-FOOTNOTEMetcalfe2010228–229-49) Jeanette Ferrara (/w/index.php?title=Jeanette_Ferrara&action=edit&redlink=1) ( Isleta Pueblo (/wiki/Isleta_Pueblo) ) opened a design studio known for coats and vests incorporating cotton, wool, and velvet, and Ardina Moore (/wiki/Ardina_Moore) ( Quapaw (/wiki/Quapaw) / Osage (/wiki/Osage_Nation) ) founded Buffalo Sun in Oklahoma in 1983. [50] (#cite_note-FOOTNOTEMetcalfe2010228-50) Geraldine Sherman (/wiki/Geraldine_M._Sherman) ( Lakota (/wiki/Rosebud_Indian_Reservation) ) designed for non-native marketer and anthropologist Helene Hagan (/wiki/Helene_Hagan) to produce garments featuring Native American iconography. Hagan marketed them, stressing their spiritual and symbolic meaning. [50] (#cite_note-FOOTNOTEMetcalfe2010228-50) [51] (#cite_note-FOOTNOTELeighty1986-51) Jeri Ah-be-hill (/wiki/Jeri_Ah-be-hill) at the Santa Fe Indian Market 2014. Demonstration of the difference in dance regalia and experimental fashion. Healthcare professional and fashion designer, Marjorie Bear Don't Walk (/wiki/Marjorie_Bear_Don%27t_Walk) ( Chippewa (/wiki/Chippewa) - Salish (/wiki/Confederated_Salish_and_Kootenai_Tribes_of_the_Flathead_Nation) ) designed high-end couture for working women and displayed her fashions featuring appliqué techniques at conferences. Shed ran a mail order (/wiki/Mail_order) business, allowing customers to provide her with their preferred materials which she then worked into her designs. [52] (#cite_note-FOOTNOTEMetcalfe2010233-52) In 1984, Selina Curley (/w/index.php?title=Selina_Curley&action=edit&redlink=1) ( Apache (/wiki/San_Carlos_Apache_Indian_Reservation) -Navajo) founded a design firm, Traditions by Selina, aimed at preserving the traditions of her heritage. Her typical designs are based on the Apache camp dress with a full, ankle-length skirt and long sleeves. [53] (#cite_note-FOOTNOTESilversmith2013-53) [54] (#cite_note-FOOTNOTEWalker2013-54) The Wheelwright Museum of the American Indian (/wiki/Wheelwright_Museum_of_the_American_Indian) , located in Santa Fe, New Mexico, hosted Talking Threads: Contemporary Native American Fashions in 1986. The exhibit featured designs by Joyce Begay-Foss (/wiki/Joyce_Begay-Foss) (Navajo), Loretta Tah-Martin ( Apache (/wiki/Plains_Apache) - Ponca (/wiki/Ponca_Tribe_of_Indians_of_Oklahoma) ) and Michelle Tsosie Naranjo (/w/index.php?title=Michelle_Tsosie_Naranjo&action=edit&redlink=1) (Santa Clara-Navajo- Laguna Pueblo (/wiki/Laguna_Pueblo) -Mission), among others. [55] (#cite_note-FOOTNOTEMetcalfe2010230-55) The following year, the Red Earth Festival (/wiki/Red_Earth_Festival) was established in Oklahoma City (/wiki/Oklahoma_City) , showcasing creations by non-native designer Michael Kors (/wiki/Michael_Kors) , along with Phyllis Fife (/wiki/Phyllis_Fife) (Muscogee), to demonstrate that Native clothing was part of mainstream fashion. Fife was part of a group of native designers known as the Fashion Drums of Red Earth , who have made the fashion show of the Red Earth Festival an annual event, demonstrating that native clothing is wearable for every day and not simply as ceremonial costuming. [56] (#cite_note-FOOTNOTEMetcalfe2010231–232-56) Also in 1987, Patta Joest (/w/index.php?title=Patta_Joest&action=edit&redlink=1) (Choctaw) established her firm Patta LT with the label Dancing Rabbit , to create high-fashion, producing contemporary garments with design elements from Southeastern Woodland (/wiki/Southeastern_Woodland) tribal heritage. They included Cherokee tear dresses and Seminole patchwork (/wiki/Seminole_patchwork) vests, incorporating features such as Plains Tribes (/wiki/Plains_Tribes) -style beadwork. Her line also included innovative bras and lingerie (/wiki/Lingerie) as well as broomstick skirts (/wiki/Broomstick_skirt) . [57] (#cite_note-FOOTNOTEBaca199952–53-57) The Indian Arts and Crafts Act of 1990 (/wiki/Indian_Arts_and_Crafts_Act_of_1990) was passed by the United States Congress (/wiki/United_States_Congress) . It specified that for artists to market their works as Native American, they must be enrolled in a state or federally recognized tribe or be certified by a tribal council as a member and must disclose their affiliated tribe. [58] (#cite_note-FOOTNOTEMetcalfe201016-58) The law aimed to curtail the misappropriation of Native American designs by non-Natives wishing to capitalize on the Indigenous market. For Indigenous Americans, their symbols, such as the headdress (/wiki/War_bonnet) have ceremonial and sacred properties. Inappropriate use of such objects, like the 2014 Next Top Model (/wiki/Next_Top_Model) use of the headdress for non-Native models and its use in Dallas by Chanel (/wiki/Chanel) for their Métiers d'Art show, were all too frequent occurrences. Though the law made it illegal to sell items by those not affiliated as a tribal member, little could be done when designs, symbols, or names were usurped. The law, written to protect the tribes and their cultures as a whole, does not cover individuals, with the result that there is no protection for the works of fashion designers. As part of their tribal tradition, symbols of various tribes are not typically trademarked (/wiki/Trademarked) , but one exception is the name "Navajo", which was legally trademarked in 1943. [5] (#cite_note-FOOTNOTELieber2016-5) 1991–2010 [ edit ] The 1990s saw a split in the Native American fashion design styles, with one group pursuing simple silhouettes with defined, smooth transitions between fabric lines, while the other group focused on avant-garde (/wiki/Avant-garde) Indigenous couture. Among those who favored classic, clean lines were Betty David (/wiki/Betty_David) ( Spokane (/wiki/Spokane_Tribe) ), [59] (#cite_note-FOOTNOTEMetcalfe2010242-59) known for her shearling coats (/wiki/Shearling_coat) ; [60] (#cite_note-FOOTNOTEPhinney2005-60) Dorothy Grant (/wiki/Dorothy_Grant) ( Haida (/wiki/Haida_people) ), [59] (#cite_note-FOOTNOTEMetcalfe2010242-59) who trained at Vancouver (/wiki/Vancouver) 's Helen Lefeaux School of Fashion Design and whose work includes images of flora and fauna of the Pacific Northwest (/wiki/Pacific_Northwest) , formline art (/wiki/Formline_art) and basketry designs; [45] (#cite_note-FOOTNOTEMetcalfe2013Z042-45) [61] (#cite_note-FOOTNOTEDeerchild2016-61) and Penny Singer (/w/index.php?title=Penny_Singer&action=edit&redlink=1) (Navajo), [59] (#cite_note-FOOTNOTEMetcalfe2010242-59) who added photographic images on fabric to her traditional men's and women's shirts and accessories decorated with beads and ribbon work. [62] (#cite_note-FOOTNOTEMetcalfe2013Z043-62) [63] (#cite_note-FOOTNOTELópez2007Z074-63) Virgil Ortiz (/wiki/Virgil_Ortiz) ( Cochiti Pueblo (/wiki/Cochiti_Pueblo) ) and Grant were the first Native American fashion designers to exhibit at an event in Manhattan. They held a show together at the Mercedes-Benz New York Fashion Week (/wiki/New_York_Fashion_Week) in 2009, [64] (#cite_note-FOOTNOTEMetcalfe2012b84-64) though Ortiz's work generally is known as more cutting-edge and noted for incorporating colors, shapes, and symbols from pottery in his fashion design. [62] (#cite_note-FOOTNOTEMetcalfe2013Z043-62) Angela DeMontigny (/wiki/Angela_DeMontigny) (Chippewa-Cree/ Métis (/wiki/M%C3%A9tis) ) of southwestern Ontario (/wiki/Ontario) , a Canadian First Nation designer, also followed the classic traditional lines, with edgy elements based initially on leather and suede garments before branching into jewelry and accessories. [65] (#cite_note-FOOTNOTEFalcon2009-65) [66] (#cite_note-FOOTNOTE''West_of_the_City_Magazine''2016-66) Other Native American designers from the early 1990s included the master weaver Margaret Roach Wheeler (/wiki/Margaret_Roach_Wheeler) ( Chickasaw (/wiki/Chickasaw) / Choctaw (/wiki/Choctaw_Nation_of_Oklahoma) ), who earned a master's degree in art at Pittsburg State University (/wiki/Pittsburg_State_University) in Kansas, under the tutelage of Marjorie Schick (/wiki/Marjorie_Schick) ; [45] (#cite_note-FOOTNOTEMetcalfe2013Z042-45) [67] (#cite_note-FOOTNOTEMonks201672–73-67) Aresta LaRusso founded Deerwater Design in Flagstaff (/wiki/Flagstaff,_Arizona) in 1994 featuring items made of silk or wool fabrics and deer or elk skin. To update her contemporary patterning, she used zebra and impala hide, decorated with beadwork, fringe, and silver. [68] (#cite_note-FOOTNOTEReid199931,_35-68) [69] (#cite_note-FOOTNOTE''The_Arizona_Republic''200278-69) Wendy Ponca, one of the leaders of the avant-garde group, left IAIA in 1993. After she was replaced by Pearl Sunrise (/w/index.php?title=Pearl_Sunrise&action=edit&redlink=1) (Navajo), a noted weaver, the fashion curriculum at IAIA was eliminated in 1995, [70] (#cite_note-FOOTNOTEMetcalfe2010188,_242-70) though momentum for high fashion works produced by native designers was rising. [71] (#cite_note-FOOTNOTEMetcalfe2010190-71) Among Ponca's students at IAIA in the 1990s were the designers Pilar Agoyo (/w/index.php?title=Pilar_Agoyo&action=edit&redlink=1) ( Ohkay Owingeh (/wiki/Ohkay_Owingeh) / Cochiti (/wiki/Cochiti_Pueblo) / Kewa (/wiki/Kewa_Pueblo,_New_Mexico) ), who works on costuming for several films, including Indiana Jones and the Kingdom of the Crystal Skull (/wiki/Indiana_Jones_and_the_Kingdom_of_the_Crystal_Skull) (2008) and The Avengers (/wiki/The_Avengers_(2012_film)) (2012), [72] (#cite_note-FOOTNOTEAvila2015-72) and Patricia Michaels (/w/index.php?title=Patricia_Michaels&action=edit&redlink=1) ( Taos Pueblo (/wiki/Taos_Pueblo) ), who went on to take second place in season 11 of Project Runway (/wiki/Project_Runway) . [73] (#cite_note-FOOTNOTELivingston2013-73) Her women's jacket titled "Weathered Text: No Trespassing by the Taos War Chief." won the Best of Class award in the textiles category at the Santa Fe Indian Market in 2010. [34] (#cite_note-FOOTNOTEMetcalfe2012b86-34) Another of Ponca's students, Brenda Wahnee ( Comanche (/wiki/Comanche) ), developed her own line Com-N-Acha , featuring fashion forward designs. Her works were featured in 2003 at the Grammy (/wiki/Grammy_Award) Fest party. [59] (#cite_note-FOOTNOTEMetcalfe2010242-59) [74] (#cite_note-FOOTNOTEBegley2003-74) Tazbah Gaussoin ( Picuris Pueblo (/wiki/Picuris_Pueblo) /Navajo), Consuelo Pascual (Navajo/ Maya (/wiki/Maya_peoples) ), and Rose Bean Simpson (Santa Clara Pueblo) were other Ponca students who began making a name in fashion circles in the 1990s. [75] (#cite_note-FOOTNOTEMetcalfe2010246-75) In 2005, the IAIA with support from the W. K. Kellogg Foundation (/wiki/W._K._Kellogg_Foundation) , sponsored Tribal Fusions , as a cross-cultural fashion endeavor, uniting designers from Africa with Marcus Amerman, Dorothy Grant, Patricia Michaels, and Virginia Yazzie Ballenger for the annual fashion show at the Santa Fe Indian Market. It was a unique opportunity for designers from diverse Indigenous populations to share designs and methods of economic empowerment. [76] (#cite_note-FOOTNOTEMetcalfe2010258-76) In 2009, Jessica Metcalfe (/wiki/Jessica_Metcalfe) ( Chippewa (/wiki/Turtle_Mountain_Band_of_Chippewa_Indians) ), a scholar who earned her doctorate from the University of Arizona, created a fashion blog (/wiki/Blog) called "Beyond Buckskin". [77] (#cite_note-FOOTNOTERoss2017-77) Metcalfe used the blog to promote Native American designers, to talk about how they fit into popular culture and also to hold companies accountable when they attempted to appropriate Native culture. [78] (#cite_note-FOOTNOTEGrinberg2013-78) The following year, Patricia Michaels formed UNRESERVED Alliance , in an attempt to ensure that Native American fashion designers were represented at New York Fashion Week (/wiki/New_York_Fashion_Week) . [79] (#cite_note-FOOTNOTEMetcalfe2010263-79) Similarly to Native Uprising founded two decades previously, the collective of designers aimed through collaboration to improve inclusion of Indigenous artists. [80] (#cite_note-FOOTNOTEMetcalfe2010339-80) 2011 and beyond [ edit ] Santa Fe Indian Market Fashion show 2014 As Native American designers recognized that marketing to Indigenous peoples alone limited their business sustainability, they increasingly created clothing that is derived from their cultural heritage but has been adapted to appeal to a larger aesthetic. Early designers tended to approach fashion from a pan-Indian perspective, but contemporary Indigenous designers often "stay within the realm of their own traditional tribal or regional clothing techniques". [81] (#cite_note-FOOTNOTEMetcalfe2010354-81) In 2012, Kelly Holmes ( Cheyenne River Lakota (/wiki/Cheyenne_River_Lakota) ), a former model, founded Native Max (/w/index.php?title=Native_Max&action=edit&redlink=1) , "the first Native American fashion magazine". [5] (#cite_note-FOOTNOTELieber2016-5) Jessica Metcalf ( Turtle Mountain Chippewa (/wiki/Turtle_Mountain_Chippewa) ), who wrote the "Beyond Buckskin" blog, opened a fashion boutique in Gardena, North Dakota (/wiki/Gardena,_North_Dakota) the same year. [77] (#cite_note-FOOTNOTERoss2017-77) Metcalfe, along with photographer Anthony Thosh Collins and designer Bethany Yellowtail (/wiki/Bethany_Yellowtail) ( Northern Cheyenne (/wiki/Northern_Cheyenne) / Crow (/wiki/Crow_Nation) ) created a compilation of fashion called Beyond Buckskin Lookbook which she says is the "first compilation of modern Native fashion produced exclusively by Natives". [78] (#cite_note-FOOTNOTEGrinberg2013-78) [82] (#cite_note-82) In 2014, Loren Aragon (/wiki/Loren_Aragon) (Acoma Pueblo) and Valentina Aragon (Diné) founded the ACONAV couture brand known for its asymetrical designsthat blend cultural ideas with modern silhouettes. [83] (#cite_note-NNO-83) Virgil Ortiz (/wiki/Virgil_Ortiz) (Cochiti Pueblo) creates futuristic fashion designs that reference the Pueblo Revolt (/wiki/Pueblo_Revolt) of 1680 blended with science fiction narratives about fighters for freedom based in the year 2180. [84] (#cite_note-WW-84) In 2016, a survey exhibition, "Native Fashion Now," curated by Karen Kramer at the Peabody Essex Museum (/wiki/Peabody_Essex_Museum) in Salem, Massachusetts (/wiki/Salem,_Massachusetts) , traveled to Philbrook Museum of Art (/wiki/Philbrook_Museum_of_Art) in Tulsa, Oklahoma (/wiki/Tulsa,_Oklahoma) , Portland Art Museum (/wiki/Portland_Art_Museum) in Oregon, and the Smithsonian (/wiki/Smithsonian) 's National Museum of the American Indian (/wiki/George_Gustav_Heye_Center) in Manhattan (/wiki/Manhattan) . The exhibition and its catalog spotlighted on contemporary Native American fashion. Featuring designs from 75 fashion designers from throughout Canada and the United States, the exhibit presented a range of styles and designs from diverse cultures, such as Alano Edzerza ( Tahltan Nation (/wiki/Tahltan_Nation) ), Maya Stewart (/wiki/Maya_Stewart) (Chickasaw/Muscogee/Choctaw) and Bethany Yellowtail (Northern Cheyenne/Crow), among others. [5] (#cite_note-FOOTNOTELieber2016-5) [85] (#cite_note-FOOTNOTELefevre201620-85) Becki Bitternose (George Gordon), who designs jackets and coats from Pendleton blankets, was featured at the 2016 New York Fashion Week. [86] (#cite_note-FOOTNOTELatimer2016-86) Contemporary Native American Fashion Show at the 2015 Santa Fe Indian Market (/wiki/Santa_Fe_Indian_Market) . Controversy [ edit ] The woman on the left is wearing a "Squaw Dress." Non-Native companies and individuals have attempted to use Native American motifs and names in their clothing designs. [87] (#cite_note-FOOTNOTEGilger2011-87) As early as the 1940s, Anglo designers in the United States had developed a type of one and two-piece dresses called " squaw dresses (/wiki/Squaw_dress) ." [88] (#cite_note-FOOTNOTEParezoJones2009374-375-88) These outfits were based on Mexican and Navajo skirts and Western Apache camp dresses. [89] (#cite_note-FOOTNOTEParezoJones2009375-89) The dresses, also known as Fiesta, Kachina, Tohono or Patio Dresses "represented both idealized femininity and Americanness because of their Native American origins." [89] (#cite_note-FOOTNOTEParezoJones2009375-89) These dresses, knowingly appropriating Indigenous styles, were considered a "fashion sensation" of the time, according to the Arizona Daily Star (/wiki/Arizona_Daily_Star) . [90] (#cite_note-90) The Navajo style that influenced the creation of Squaw Dresses was itself an adaptation of European styles by Navajo women. [91] (#cite_note-FOOTNOTEParezoJones2009384-91) The bodice of a Squaw Dress drew from Western Apache and Tohono O'odham styles. [92] (#cite_note-FOOTNOTEParezoJones2009385-92) Squaw dresses were popular in the United States for around 20 years. [93] (#cite_note-:1-93) The original "designer" of the Squaw Dress was Dolores Gonzales (/wiki/Dolores_Gonzales) of Tucson, Arizona. [93] (#cite_note-:1-93) Gonzales herself said of her dresses, "I didn't design them; I lifted them. The Indian women were already wearing them." [94] (#cite_note-94) Other people involved in promoting and working on the designs included the designers Cele Peterson (/w/index.php?title=Cele_Peterson&action=edit&redlink=1) and George Fine (/w/index.php?title=George_Fine&action=edit&redlink=1) . [93] (#cite_note-:1-93) Urban Outfitters (/wiki/Urban_Outfitters) created a collection in 2011 called "Navajo," featuring underwear, hats and other items with art based on traditional Navajo rugs (/wiki/Navajo_weaving) . The Navajo Nation (/wiki/Navajo_Nation) responded by issuing a cease and desist on their use of the word "Navajo". [87] (#cite_note-FOOTNOTEGilger2011-87) Pop band No Doubt (/wiki/No_Doubt) released a 2012 video featuring stereotypical images of the American frontier (/wiki/American_frontier) and ended up pulling the video and issuing an apology. [95] (#cite_note-FOOTNOTEGrinberg2014-95) [96] (#cite_note-FOOTNOTESinha-Roy2012-96) Victoria's Secret (/wiki/Victoria%27s_Secret) clothed a model in a "Native-inspired" bikini and giant war headdress at their fashion show that same year. [97] (#cite_note-FOOTNOTEBhasin2015-97) Victoria's Secret was again accused of cultural appropriation in their 2017 fashion show, which featured outfits inspired by traditional Native fashion. [98] (#cite_note-FOOTNOTEMatera2017-98) Another issue in regard to Native American fashion is the stereotypical (/wiki/Stereotype) representation of Indigenous peoples' clothing in mass media depictions. [99] (#cite_note-FOOTNOTELeavittCovarrubiasPerezFryberg201540-99) Native Americans are portrayed most often in historical contexts wearing traditional clothing. [99] (#cite_note-FOOTNOTELeavittCovarrubiasPerezFryberg201540-99) See also [ edit ] Textile arts of the Indigenous peoples of the Americas (/wiki/Textile_arts_of_the_Indigenous_peoples_of_the_Americas) Inuit clothing (/wiki/Inuit_clothing) References [ edit ] Citations [ edit ] ^ (#cite_ref-1) "The Indian Arts and Crafts Act of 1990" (https://www.doi.gov/iacb/act) . Indian Arts and Crafts Board . U.S. Department of the Interior. 6 October 2022 . Retrieved 21 December 2023 . ^ (#cite_ref-FOOTNOTEMetcalfe201066–67_2-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , pp. 66–67. ^ (#cite_ref-3) "Native Fashion Now" (https://americanindian.si.edu/explore/exhibitions/item?id=954) . National Museum of the American Indian . Retrieved 2019-07-23 . ^ (#cite_ref-4) "Past Exhibitions" (http://miaclab.org/past-exhibitions) . Museum of Indian Arts and Culture . Retrieved 2019-07-23 . ^ a b c d Lieber 2016 (#CITEREFLieber2016) . ^ (#cite_ref-6) Mason, Patrick L., ed. (2013). "Sovereignty and American Indian Communities". Encyclopedia of Race and Racism . Macmillan Reference USA. pp. 93–96. ^ (#cite_ref-7) Collins, Cary C. (Fall 2003). "Art Crafted in the Red Man's Image". New Mexico Historical Review . 78 (4): 439–470. ^ (#cite_ref-FOOTNOTEMetcalfe201066–68_8-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , pp. 66–68. ^ (#cite_ref-FOOTNOTEMetcalfe201069_9-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 69. ^ (#cite_ref-FOOTNOTEMetcalfe201080–81_10-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , pp. 80–81. ^ (#cite_ref-FOOTNOTEMetcalfe201082_11-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 82. ^ (#cite_ref-FOOTNOTEMetcalfe201084_12-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 84. ^ (#cite_ref-FOOTNOTEMetcalfe201085-86_13-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 85-86. ^ (#cite_ref-FOOTNOTEMetcalfe201087_14-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 87. ^ (#cite_ref-FOOTNOTEMetcalfe201089_15-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 89. ^ (#cite_ref-FOOTNOTEMetcalfe201091_16-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 91. ^ (#cite_ref-FOOTNOTEMetcalfe201037,_96–97_17-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , pp. 37, 96–97. ^ (#cite_ref-FOOTNOTEMetcalfe2010102_18-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 102. ^ (#cite_ref-FOOTNOTEMetcalfe2010108,_113_19-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , pp. 108, 113. ^ (#cite_ref-FOOTNOTEMetcalfe2010132–133_20-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , pp. 132–133. ^ (#cite_ref-FOOTNOTEMetcalfe2010133_21-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 133. ^ (#cite_ref-FOOTNOTEMetcalfe2010136_22-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 136. ^ (#cite_ref-FOOTNOTEMetcalfe2010155–156_23-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , pp. 155–156. ^ (#cite_ref-FOOTNOTEMetcalfe2010139–140_24-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , pp. 139–140. ^ (#cite_ref-FOOTNOTEMetcalfe2010147_25-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 147. ^ a b Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 199. ^ (#cite_ref-FOOTNOTE''The_Missoulian''19735_27-0) The Missoulian 1973 (#CITEREFThe_Missoulian1973) , p. 5. ^ (#cite_ref-FOOTNOTE''The_Daily_Inter_Lake''197714_28-0) The Daily Inter Lake 1977 (#CITEREFThe_Daily_Inter_Lake1977) , p. 14. ^ (#cite_ref-FOOTNOTEMetcalfe2010214_29-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 214. ^ (#cite_ref-FOOTNOTEMetcalfe2010216_30-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 216. ^ (#cite_ref-FOOTNOTEMetcalfe2010151_31-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 151. ^ (#cite_ref-FOOTNOTEBrown2016_32-0) Brown 2016 (#CITEREFBrown2016) . ^ (#cite_ref-FOOTNOTEMetcalfe2010152_33-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 152. ^ a b Metcalfe 2012b (#CITEREFMetcalfe2012b) , p. 86. sfn error: no target: CITEREFMetcalfe2012b ( help (/wiki/Category:Harv_and_Sfn_template_errors) ) ^ a b Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 159. ^ (#cite_ref-FOOTNOTEMetcalfe2010161–162_36-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , pp. 161–162. ^ (#cite_ref-FOOTNOTEMetcalfe2010160_37-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 160. ^ (#cite_ref-FOOTNOTEMetcalfe2010160-161_38-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 160-161. ^ a b c Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 165. ^ (#cite_ref-FOOTNOTEMetcalfe2010169_40-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 169. ^ (#cite_ref-FOOTNOTEHaywood2015_41-0) Haywood 2015 (#CITEREFHaywood2015) . ^ (#cite_ref-FOOTNOTEMetcalfe2010177–179_42-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , pp. 177–179. ^ (#cite_ref-FOOTNOTEMetcalfe2010180,_258_43-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , pp. 180, 258. ^ (#cite_ref-FOOTNOTEMetcalfe2010163_44-0) Metcalfe 2010 (#CITEREFMetcalfe2010) , p. 163. ^ a b c Metcalfe 2013 (#CITEREFMetcalfe2013) , p. 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"Meet Bethany Yellowtail, a Native American fashion designer who's inspiring a whole generation of women" (http://www.latimes.com/fashion/la-ig-bethany-yellowtail-los-angeles-designer-20170609-htmlstory.html) . Los Angeles Times (/wiki/Los_Angeles_Times) . Retrieved 2018-01-17 . ^ (#cite_ref-NNO_83-0) Tupica, Rich (May 2020). "Loren Aragon of ACONAV goes from Geek to Chic" (https://nativenewsonline.net/business/native-biz-q-a-loren-aragon-of-aconav-goes-from-geek-to-chic) . Native News Online . Retrieved 27 December 2023 . ^ (#cite_ref-WW_84-0) Flathman, John. "Science Fiction Meets the 1680 Pueblo Revolt in Virgil Ortiz's History Colorado Exhibition" (https://www.westword.com/arts/1680-pueblo-revolt-virgil-ortiz-history-colorado-exhibition-16816963) . Westworld . 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"The squaw dress: Tucson's controversial but unique fashion history" (https://web.archive.org/web/20180118011417/http://arizonasonoranewsservice.com/the-squaw-dress-tucsons-controversial-but-unique-fashion-history/) . Arizona Sonora News . Archived from the original (http://arizonasonoranewsservice.com/the-squaw-dress-tucsons-controversial-but-unique-fashion-history/) on 2018-01-18 . Retrieved 2018-01-17 . ^ (#cite_ref-94) Henry, Bonnie (1995-02-23). "Dior of the Desert" (https://www.newspapers.com/clip/16626885/arizona_daily_star/) . Arizona Daily Star . p. 29 . Retrieved 2018-01-17 – via Newspapers.com. ^ (#cite_ref-FOOTNOTEGrinberg2014_95-0) Grinberg 2014 (#CITEREFGrinberg2014) . ^ (#cite_ref-FOOTNOTESinha-Roy2012_96-0) Sinha-Roy 2012 (#CITEREFSinha-Roy2012) . ^ (#cite_ref-FOOTNOTEBhasin2015_97-0) Bhasin 2015 (#CITEREFBhasin2015) . ^ (#cite_ref-FOOTNOTEMatera2017_98-0) Matera 2017 (#CITEREFMatera2017) . ^ a b Leavitt et al. 2015 (#CITEREFLeavittCovarrubiasPerezFryberg2015) , p. 40. 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Angolan model In this Portuguese name (/wiki/Portuguese_name) , the first or maternal family name (/wiki/Surname) is da Conceição and the second or paternal family name is Diniz . Sharam Diniz Born Sharam-Sharam da Conceição Diniz [2] (#cite_note-2) ( 1991-03-02 ) March 2, 1991 (age 33) Luanda (/wiki/Luanda) , Angola (/wiki/Angola) Nationality Angolan (/wiki/Demographics_of_Angola) Occupation Fashion model (/wiki/Fashion_model) Modeling information Height 5 ft 10 in (178 cm) Hair color Brown Eye color Brown Agency One Management (New York) Premium Models (Paris) Monster Management (Milan) Models 1 (London) Uno Models (Barcelona) Nomad Management (Los Angeles) Way Model Management (São Paulo) Glam Celebrity (Portugal) MP Management (/wiki/MP_Management) (Stockholm) [1] (#cite_note-1) Sharam-Sharam da Conceição Diniz , known professionally as Sharam Diniz , is an Angolan-Portuguese fashion model and businesswoman. [3] (#cite_note-3) [4] (#cite_note-4) She is known for her appearances in the Victoria's Secret Fashion Show (/wiki/Victoria%27s_Secret_Fashion_Show) . [5] (#cite_note-5) Career [ edit ] Diniz has been on the cover of GQ Portugal and Vogue Portugal. [6] (#cite_note-6) [7] (#cite_note-7) Her first modeling job was a 2011 Victoria's Secret (/wiki/Victoria%27s_Secret) spring advertisement. [8] (#cite_note-8) She appeared in a SoHo (/wiki/SoHo) billboard for 7 for All Mankind (/wiki/7_for_All_Mankind) jeans. [9] (#cite_note-9) Diniz has walked the runway for Balmain (/wiki/Balmain_(fashion_house)) , Calvin Klein (/wiki/Calvin_Klein) , Prabal Gurung (/wiki/Prabal_Gurung) , Vivienne Westwood (/wiki/Vivienne_Westwood) , Cushnie et Ochs (/wiki/Cushnie_et_Ochs) , Rag & Bone (/wiki/Rag_%26_Bone) , Kenneth Cole (/wiki/Kenneth_Cole_Productions) , Carolina Herrera (/wiki/Carolina_Herrera) , Hervé Léger (/wiki/Herv%C3%A9_L%C3%A9ger) , Jason Wu (/wiki/Jason_Wu) among others. [10] (#cite_note-10) [11] (#cite_note-11) She has starred in ads for Tom Ford (/wiki/Tom_Ford) , Chanel (/wiki/Chanel) , Ralph Lauren (/wiki/Ralph_Lauren) , Armani Exchange (/wiki/Armani_Exchange) , 7 For All Mankind (/wiki/7_For_All_Mankind) , Target (/wiki/Target_Corporation) , H&M (/wiki/H%26M) , Clinique (/wiki/Clinique) and Anne Klein (/wiki/Anne_Klein_(fashion_designer)) . [12] (#cite_note-12) She has appeared in Allure (/wiki/Allure_(magazine)) , Cosmopolitan (/wiki/Cosmopolitan_(magazine)) , V (magazine) (/wiki/V_(American_magazine)) and Sports Illustrated Swimsuit Issue (/wiki/Sports_Illustrated_Swimsuit_Issue) among others. [13] (#cite_note-13) In Portugal, she was given the Globos de Ouro ("Golden Globe") award for "Best Female Model". [14] (#cite_note-14) Diniz appeared in a “Made in Portugal” ad. [15] (#cite_note-15) See also [ edit ] List of Victoria's Secret models (/wiki/List_of_Victoria%27s_Secret_models) References [ edit ] ^ (#cite_ref-1) "Sharam Diniz - Model" (https://models.com/models/sharam-diniz) . ^ (#cite_ref-2) "Fotos: Noiva, Sharam Diniz comemora 25º aniversário" (http://www.lux.iol.pt/nacional/famosos/fotos-noiva-sharam-diniz-comemora-25-aniversario) . ^ (#cite_ref-3) "Why Shaving My Head Was The Best Decision I've Made" (https://www.refinery29.com/sharam-diniz-model-buzzcut-interview) . ^ (#cite_ref-4) "Sharam Diniz - Vogue.it" (https://www.vogue.it/vogue-black/the-black-blog/2015/02/intervista-a-sharam-diniz) . www.vogue.it . ^ (#cite_ref-5) "Model Sharam Diniz Knows What Your Instagram Feed Needs" (https://www.gq.com/story/sharam-diniz-instagram-model-bikini-photos-gallery) . GQ . 22 December 2015. ^ (#cite_ref-6) "GQ&A: Sharam Diniz" (https://gq.co.za/girls/models-celebrities/gq-and-a-sharam-diniz-16541787) . GQ . ^ (#cite_ref-7) "SI Swimsuit 2015 Casting Call: Sharam Diniz" (https://www.si.com/swim-daily/2014/05/07/si-swimsuit-2015-casting-call-sharam-diniz) . ^ (#cite_ref-8) "Victoria's Secret Spring 2011 (Victoria's Secret)" (https://models.com/work/victorias-secret-victorias-secret-spring-2011/458644) . ^ (#cite_ref-9) "The Sit Down with EmEz- Sharam Diniz | EmEz | Power 105.1 FM" (https://power1051.iheart.com/featured/emez/content/2018-06-16-the-sit-down-with-emez-sharam-diniz/) . ^ (#cite_ref-10) Archived (https://web.archive.org/web/20190320233129/http://www.fashionmodeldirectory.com/sharam_diniz) 20 March 2019 at the Wayback Machine (/wiki/Wayback_Machine) [ dead link ] ^ (#cite_ref-11) "The Wayback Machine has not archived that URL" (https://www.com/story/sharam-diniz-instagram-model-bikini-photos-gallery) . [ dead link ] ^ (#cite_ref-12) "Jac Jagaciak, Fei Fei Sun + Sharam Diniz Star in Chanel l'Instant Watch 2014 Campaign" (https://www.fashiongonerogue.com/chanel-linstant-watch-2014-campaign/) . 7 April 2014. ^ (#cite_ref-13) "Sharam Diniz - Fashion Model" (http://www.fashionmodeldirectory.com/models/sharam_diniz/) . FashionModelDirectory.com . ^ (#cite_ref-14) "Sharam Diniz recebe prémio no Coliseu dos Recreios" (https://caras.sapo.pt/globosdeouro/globosdeouro_moda/2013-05-20-sharam-diniz-recebe-premio-no-coliseu-dos-recreios) . ^ (#cite_ref-15) "Portugal Wants To Be Sexy, As It Aims To Rebrand "Made in Portugal" Image" (https://www.forbes.com/sites/declaneytan/2015/10/22/portugal-wants-to-be-sexy-as-it-aims-to-rebrand-made-in-portugal-image/#7cfe33d24da8) . Forbes . 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Wikimedia Commons has media related to Caps (https://commons.wikimedia.org/wiki/Category:Caps) . The main article for this category (/wiki/Help:Categories) is Cap (/wiki/Cap) . 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Rendering was triggered because: page-view Subcategories This category has only the following subcategory. B Berets (/wiki/Category:Berets) (13 P) Pages in category "Caps" The following 103 pages are in this category, out of 103 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . Cap (/wiki/Cap) 0–9 59Fifty (/wiki/59Fifty) A Ak-kalpak (/wiki/Ak-kalpak) Altstädter (/wiki/Altst%C3%A4dter) Apex (headdress) (/wiki/Apex_(headdress)) Arming cap (/wiki/Arming_cap) Ascot cap (/wiki/Ascot_cap) Ayam (cap) (/wiki/Ayam_(cap)) B Baggy green (/wiki/Baggy_green) Balmoral bonnet (/wiki/Balmoral_bonnet) Baseball cap (/wiki/Baseball_cap) Beanie (seamed cap) (/wiki/Beanie_(seamed_cap)) Bigeard cap (/wiki/Bigeard_cap) Bishop Andrewes cap (/wiki/Bishop_Andrewes_cap) Blue bonnet (/wiki/Blue_bonnet) Boudoir cap (/wiki/Boudoir_cap) Bycocket (/wiki/Bycocket) C Cap (sport) (/wiki/Cap_(sport)) Cap and bells (/wiki/Cap_and_bells) Cap comforter (/wiki/Cap_comforter) Cap of maintenance (/wiki/Cap_of_maintenance) Casquette (/wiki/Casquette) Caubeen (/wiki/Caubeen) Chapeau (/wiki/Chapeau) Chilote cap (/wiki/Chilote_cap) Cohuleen druith (/wiki/Cohuleen_druith) Coif (/wiki/Coif) Coonskin cap (/wiki/Coonskin_cap) Coppola cap (/wiki/Coppola_cap) Cricket cap (/wiki/Cricket_cap) D Doppa (/wiki/Doppa) Dunce cap (/wiki/Dunce_cap) Dutch cap (/wiki/Dutch_cap) E Elbsegler (/wiki/Elbsegler) F Flat cap (/wiki/Flat_cap) Fleetenkieker (/wiki/Fleetenkieker) Forage cap (/wiki/Forage_cap) G Gandhi cap (/wiki/Gandhi_cap) Gediminas' Cap (/wiki/Gediminas%27_Cap) Glengarry (/wiki/Glengarry) Gugiuman (/wiki/Gugiuman) H List of headgear (/wiki/List_of_headgear) Heligoland pilot's cap (/wiki/Heligoland_pilot%27s_cap) Hypothermia cap (/wiki/Hypothermia_cap) I Cap of invisibility (/wiki/Cap_of_invisibility) Işlic (/wiki/I%C5%9Flic) J Jobawi (/wiki/Jobawi) Jockey's cap (/wiki/Jockey%27s_cap) Juliet cap (/wiki/Juliet_cap) K Kalpak (/wiki/Kalpak) Kashket (/wiki/Kashket) Kepi (/wiki/Kepi) Knit cap (/wiki/Knit_cap) Kufi (/wiki/Kufi) L Lika cap (/wiki/Lika_cap) M Maciejówka (cap) (/wiki/Maciej%C3%B3wka_(cap)) Mariner's cap (/wiki/Mariner%27s_cap) Mazepynka (/wiki/Mazepynka) Miner's cap (/wiki/Miner%27s_cap) Monmouth cap (/wiki/Monmouth_cap) Montenegrin cap (/wiki/Montenegrin_cap) Mooskappe (/wiki/Mooskappe) Mounteere cap (/wiki/Mounteere_cap) N Newsboy cap (/wiki/Newsboy_cap) Nightcap (garment) (/wiki/Nightcap_(garment)) Nurse's cap (/wiki/Nurse%27s_cap) P Patrol cap (/wiki/Patrol_cap) Peaked cap (/wiki/Peaked_cap) The Phryges (/wiki/The_Phryges) Phrygian cap (/wiki/Phrygian_cap) Pileus (hat) (/wiki/Pileus_(hat)) Prince Henry cap (/wiki/Prince_Henry_cap) Q Qeleshe (/wiki/Qeleshe) R Rally cap (/wiki/Rally_cap) Rastacap (/wiki/Rastacap) Rogatywka (/wiki/Rogatywka) S Sailor cap (/wiki/Sailor_cap) Šajkača (/wiki/%C5%A0ajka%C4%8Da) Shower cap (/wiki/Shower_cap) Šibenik cap (/wiki/%C5%A0ibenik_cap) Side cap (/wiki/Side_cap) Sindhi cap (/wiki/Sindhi_cap) Ski cap (/wiki/Ski_cap) Smoking cap (/wiki/Smoking_cap) Songkok (/wiki/Songkok) Sports visor (/wiki/Sports_visor) Square academic cap (/wiki/Square_academic_cap) Stormy Kromer cap (/wiki/Stormy_Kromer_cap) Student cap (/wiki/Student_cap) Šubara (/wiki/%C5%A0ubara) Swim cap (/wiki/Swim_cap) T Tam cap (/wiki/Tam_cap) Taqiyah (cap) (/wiki/Taqiyah_(cap)) Titovka (cap) (/wiki/Titovka_(cap)) Tricolor hat (/wiki/Tricolor_hat) Triglavka (/wiki/Triglavka) Trucker hat (/wiki/Trucker_hat) Tubeteika (/wiki/Tubeteika) Tudor bonnet (/wiki/Tudor_bonnet) U Ushanka (/wiki/Ushanka) Utility cover (/wiki/Utility_cover) W Water polo cap (/wiki/Water_polo_cap) Widow's cap (/wiki/Widow%27s_cap) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Caps&oldid=1048370284 (https://en.wikipedia.org/w/index.php?title=Category:Caps&oldid=1048370284) " Category (/wiki/Help:Category) : Hats (/wiki/Category:Hats) Hidden category: Commons category link is on Wikidata (/wiki/Category:Commons_category_link_is_on_Wikidata) |
This article contains content that is written like an advertisement (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_soapbox_or_means_of_promotion) . Please help improve it (https://en.wikipedia.org/w/index.php?title=Fabrican&action=edit) by removing promotional content (/wiki/Wikipedia:Spam) and inappropriate external links (/wiki/Wikipedia:External_links#Advertising_and_conflicts_of_interest) , and by adding encyclopedic content written from a neutral point of view (/wiki/Wikipedia:Neutral_point_of_view) . ( October 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Fabrican is an instant spray-on (/wiki/Aerosol_spray) fabric technology. The spray-on material is made from polymers (/wiki/Polymers) and natural or synthetic fibers (/wiki/Synthetic_fibre) . The spray is delivered from a compressed air spray gun or aerosol can and dries upon contact with the air, creating a non-woven fabric that can be applied to many surfaces (including water). [1] (#cite_note-Fabrican_Ltd_on_the_Discovery_Channel-1) The material is sterile [2] (#cite_note-Fabrican_is_sterile-2) when it is dispensed from the spray gun or aerosol can. History [ edit ] It was invented by Manel Torres (/wiki/Manel_Torres) [3] (#cite_note-tg-3) while investigating ways to speed up conventional methods of constructing garments as part of his Ph. D. research in Fashion at the Royal College of Art (/wiki/Royal_College_of_Art) and Imperial College London (/wiki/Imperial_College_London) . Torres founded Fabrican Ltd in 2003. The technology was further developed by Fabrican Ltd while based at Imperial College London (/wiki/Imperial_College_London) . Fabrican was showcased at London Fashion Week (/wiki/London_Fashion_Week) 2010 [4] (#cite_note-4) as well as in fashion shows in Milan [5] (#cite_note-5) and Moscow [6] (#cite_note-6) and at TED Talks. [7] (#cite_note-Spray-On_Fabric:_Manel_Torres_at_TEDxImperialCollege-7) [8] (#cite_note-From_fashion_to_technology_-_creating_a_new_material:_Manel_Torres_at_TEDxVienna-8) The technology has also been featured in the media by the BBC, [9] (#cite_note-9) [10] (#cite_note-10) the Discovery Channel, [11] (#cite_note-11) and CBS News. [12] (#cite_note-12) In 2014, in conformity with an organizational emphasis on developing biomedical applications, fabrican occupied new laboratory facilities at the London Bioscience Innovation Centre. [13] (#cite_note-Fabrican’s_innovative_Spray-on_Fabric-13) At Paris Fashion Week 2022, Bella Hadid (/wiki/Bella_Hadid) closed the Coperni fashion show after being sprayed into a dress on stage and walking the runway. [14] (#cite_note-14) See also [ edit ] Spray-on condom (/wiki/Spray-on_condom) Silly String (/wiki/Silly_String) Spray-on skin (/wiki/Spray-on_skin) References [ edit ] ^ (#cite_ref-Fabrican_Ltd_on_the_Discovery_Channel_1-0) Fabrican Ltd on the Discovery Channel (https://www.youtube.com/watch?v=nKZuPPjoxHQ) ^ (#cite_ref-Fabrican_is_sterile_2-0) Fabrican's Medical Applications (http://www.fabricanltd.com/applications.php?category=Medical) ^ (#cite_ref-tg_3-0) "Designers create reusable spray-on clothes" (https://web.archive.org/web/20100918112921/http://www.tgdaily.com/unbalanced/51544-designers-create-reusable-spray-on-clothes) . TG Daily. Archived from the original (http://www.tgdaily.com/unbalanced/51544-designers-create-reusable-spray-on-clothes) on 2010-09-18 . Retrieved 2010-09-17 . ^ (#cite_ref-4) "Fabrican Spray On Fabric" (http://www.geeky-gadgets.com/fabrican-spray-on-fabric-16-09-2010/) . Geeky Gadgets . Retrieved 2010-09-17 . ^ (#cite_ref-5) "Milano: Furniture Fair 2011 - Principia – Rooms and Substances of the Next Arts exhibition" (http://contessanally.blogspot.co.uk/2011/04/milano-furniture-fair-2011-principia.html) . Contessanally, Blogspot . Retrieved 2011-04-27 . ^ (#cite_ref-6) "Fabrican Ltd, Moscow Design Week 2011" (https://vimeo.com/33195646) . Alvaro Díaz, Vimeo . Retrieved 2011-12-05 . ^ (#cite_ref-Spray-On_Fabric:_Manel_Torres_at_TEDxImperialCollege_7-0) Spray-On Fabric: Manel Torres at TEDxImperialCollege (https://www.youtube.com/watch?v=EW6Gv-IoErw) ^ (#cite_ref-From_fashion_to_technology_-_creating_a_new_material:_Manel_Torres_at_TEDxVienna_8-0) From fashion to technology - creating a new material: Manel Torres at TEDxVienna (https://www.youtube.com/watch?v=E5m7Tg00aLo) ^ (#cite_ref-9) "Spray-on clothing developed by designer and scientists" (https://www.bbc.co.uk/news/science-environment-11339057) . Neil Bowdler, BBC . Retrieved 2010-09-17 . ^ (#cite_ref-10) "An interview with a textiles engineer" (https://www.bbc.co.uk/news/science-environment-11339057) . The Imagineers, BBC . Retrieved 2013-06-04 . ^ (#cite_ref-11) "Fabrican Ltd on the Discovery Channel" (https://www.youtube.com/watch?v=nKZuPPjoxHQ) . fabricanltd, YouTube . Retrieved 2013-02-19 . ^ (#cite_ref-12) "Fabrican Spray-On Fabric: Fashion Designer Wants To Spray On Your Shirt (VIDEO)" (http://www.huffingtonpost.com/2009/10/26/fabrican-spray-on-fabric_n_333796.html) . Huffington Post . Retrieved 2010-03-18 . ^ (#cite_ref-Fabrican’s_innovative_Spray-on_Fabric_13-0) Fabrican’s innovative Spray-on Fabric (http://www.lbic.com/pdfs/LBIC_Newsletter_A4_Summer_2015_3_RGB.pdf) ^ (#cite_ref-14) "The stars of Paris Fashion Week: Bella Hadid x Fabrican" (https://www.parispackagingweek.com/en/2022/10/10/the-stars-of-paris-fashion-week-bella-hadid-x-fabrican/) . 10 October 2022. External links [ edit ] Video (https://web.archive.org/web/20100918095104/http://www.telegraph.co.uk/news/newstopics/howaboutthat/8007246/Spray-on-clothing-in-a-can-to-be-launched.html) from The Daily Telegraph (/wiki/The_Daily_Telegraph) Website (http://www.fabricanltd.com/) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐5h7km Cached time: 20240713053650 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.202 seconds Real time usage: 0.246 seconds Preprocessor visited node count: 495/1000000 Post‐expand include size: 17238/2097152 bytes Template argument size: 84/2097152 bytes Highest expansion depth: 8/100 Expensive parser function count: 2/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 36631/5000000 bytes Lua time usage: 0.134/10.000 seconds Lua memory usage: 4006274/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 225.196 1 -total 63.49% 142.973 1 Template:Reflist 52.50% 118.221 9 Template:Cite_web 33.11% 74.562 1 Template:Advert 25.98% 58.516 1 Template:Ambox 0.99% 2.226 1 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:28863240-0!canonical and timestamp 20240713053650 and revision id 1221486484. 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Limited Trade name (/wiki/Trade_name) Radley London Industry Fashion (/wiki/Fashion#Fashion_industry) Founded 1998 ; 26 years ago ( 1998 ) Founder Lowell Harder Headquarters London (/wiki/London) , United Kingdom Number of locations 19 (2023) Area served Worldwide Key people Nick Vance ( CEO (/wiki/CEO) ) Products Handbags purses shoes watches luggage accessories Website radley (http://radley.co.uk) .co (http://radley.co.uk) .uk (http://radley.co.uk) Radley is a London-based, British accessories brand which designs and manufactures luxury handbags, purses and other women's accessories for UK and international markets. The brand was founded by Lowell Harder in 1998. History [ edit ] Early years [ edit ] Radley founder and current Creative Director, Australian Lowell Harder, began working in the accessories industry as a weekend stall holder on London's Camden Market (/wiki/Camden_Market) in 1984 selling Indian men's accessories brand Hidesign (/wiki/Hidesign) . Harder began working with the Hidesign (/wiki/Hidesign) design team and together developed new designs for the UK market. [1] (#cite_note-basics-1) Harder's business with Hidesign (/wiki/Hidesign) soon outgrew its market stall setting and needed increased investment and infrastructure which was supplied by the handbag company Tula Group in 1991. With the backing of the Tula Group, Harder was able to continue with Hidesign and in 1997, with a new working partner, develop a new women's accessories brand, Radley. 'Harder launched it [Radley] in 1998 after becoming "fed up" with seeing bags in the same colours – such as black and navy. Instead she wanted to create something different and colourful,' wrote Drapers trade magazine in an interview with Harder in 2012. [1] (#cite_note-basics-1) Initial sales of Radley were low, however through a pre-existing relationship with Department store John Lewis via Hidesign, John Lewis began to trial a selection of Radley designs. Radley became a success for John Lewis (/wiki/John_Lewis_(department_store)) , which then led to an interest from other UK based department stores. Rebranding to present [ edit ] In Autumn of 2009 the company was rebranded from Radley to Radley London. Scottie dog logo [ edit ] In an October 2012 interview with Drapers trade magazine, Radley founder Lowell Harder said of the conception of the brand's dog shaped logo 'we were experimenting with different things and one of the designers came-up with it. We hung it off a bag and people loved it.' [1] (#cite_note-basics-1) The dog logo, which hung from the bag strap, was put on a few ranges in the collection for Autumn/Winter 2000 but was added to most of the range by 2001 because of increased interest from customers. After the departure of Harder in December 2010, the new design team implemented a new version of the dog logo which saw a negative reception from the consumer. In her October 2012 Drapers (/wiki/Drapers_(magazine)) magazine interview, she explained why the original design of the logo was reinstated on her return 'He was changed after I left and was made too butch. The idea of him was that he was meant to look cute and fun so we are going back to that…it was important to us that we changed him back.' [1] (#cite_note-basics-1) First buy-out [ edit ] With the increased sales of Radley in 2002, Harder led a buyout of Tula Group from its founding members. Tula and Hidesign were maintained as brands [1] (#cite_note-basics-1) Second buy-out [ edit ] Phoenix Equity Partners (/wiki/Phoenix_Equity_Partners) purchased a majority stake of Radley in a £45m deal in March 2006. It was listed again for sale the following December in 2007. The majority stake was purchased in a second buyout by private equity fund Exponent Private Equity in a transaction valued at £130m. Exponent Private Equity presently maintains their majority ownership to this day alongside Radley's management team and Phoenix Equity Partners reinvested as minority stakeholders. [1] (#cite_note-basics-1) Retail [ edit ] UK [ edit ] The company's first store opened in 2005 on London's King's Road (/wiki/King%27s_Road) . There are currently 2 full-price Radley stores and 16 outlets in the UK. The brand is also currently stocked in a number of other retail locations and department stores across the UK including British retailers Fenwick (/wiki/Fenwick_(department_store)) Ltd, John Lewis (/wiki/John_Lewis_(department_store)) and House of Fraser (/wiki/House_of_Fraser) . [1] (#cite_note-basics-1) International [ edit ] Radley is currently stocked in Germany, Switzerland (/wiki/Switzerland) , Japan, Russia, South Africa, Australia, Thailand (/wiki/Thailand) , New Zealand (/wiki/New_Zealand) and The Netherlands at Bataviastad Outlet Shopping Center. The bags are also available at Macy's (/wiki/Macy%27s) in the United States. [2] (#cite_note-2) Online [ edit ] Radley started online trading in 2007 and is currently stocked online in the UK by John Lewis, Next (/wiki/Next_plc) , House of Fraser and Very (/wiki/Very_(online_retailer)) . Collaborations [ edit ] In 2013, Radley collaborated with the Scottish fashion designer Holly Fulton (/wiki/Holly_Fulton) for a capsule collection of accessories. In 2010, and again in 2013, Radley announced a partnership with Harris Tweed (/wiki/Harris_Tweed) , to incorporate the Scottish textiles into their handbag designs. There have also been capsule collections with the Victoria & Albert Museum (/wiki/Victoria_%26_Albert_Museum) and illustrators William Grill, Emma Cowlam and Rory Crichton. [1] (#cite_note-basics-1) Brand ambassadors [ edit ] From Spring/Summer 2012 through to Spring/Summer 2013, Vogue (/wiki/Vogue_(British_magazine)) UK's contributing Editor Laura Bailey (/wiki/Laura_Bailey_(model)) was Radley's Brand Ambassador. The partnership also saw the launch of two capsule collections co-designed by Bailey. For Autumn/Winter 2013, British model Erin O'Connor (/wiki/Erin_O%27Connor) appeared in Radley's UK advertising campaign. Product offering [ edit ] The brand currently produces handbags, small leather goods, luggage, hats, scarves, gloves, eyewear, casual footwear, watches, gifts and stationery. [1] (#cite_note-basics-1) Radley launched their signature fragrance Radley London in March 2015. The fragrance is available in an Eau De Parfum, body wash and body lotion. Charity [ edit ] British Heart Foundation [ edit ] Radley has maintained a working relationship with the British Heart Foundation (/wiki/British_Heart_Foundation) , a UK based cardiovascular research charity, over the last five years. In that time Radley has produced two capsule collections with a portion of the proceeds being donated to the charity. References [ edit ] ^ a b c d e f g h i Faulkner, Ruth (19 October 2012). "Bag to Basics" (http://www.drapersonline.com/news/multiples/the-drapers-interview/bag-to-basics/5041932.article) . Drapers Magazine . Retrieved 20 October 2012 . ^ (#cite_ref-2) "How Radley London successfully expanded beyond the UK" (http://fifty.io/us/blog/radley) . fifty.io . Retrieved 9 September 2023 . External links [ edit ] Official website (http://www.radley.co.uk) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐cg4qn Cached time: 20240721105054 Cache expiry: 911347 Reduced expiry: true Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.317 seconds Real time usage: 0.453 seconds Preprocessor visited node count: 2144/1000000 Post‐expand include size: 62688/2097152 bytes Template argument size: 13293/2097152 bytes Highest expansion depth: 17/100 Expensive parser function count: 6/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 19705/5000000 bytes Lua time usage: 0.177/10.000 seconds Lua memory usage: 4552481/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 420.333 1 -total 35.13% 147.660 1 Template:Infobox_company 32.93% 138.420 1 Template:Infobox 29.51% 124.056 3 Template:Ambox 22.11% 92.925 1 Template:Reflist 19.13% 80.391 2 Template:Cite_web 18.84% 79.199 1 Template:Multiple_issues 14.48% 60.885 1 Template:Short_description 11.40% 47.907 1 Template:One_source 8.15% 34.249 2 Template:Pagetype Saved in parser cache with key enwiki:pcache:idhash:35496970-0!canonical and timestamp 20240721105054 and revision id 1235814560. 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American fashion label Haus Alkire Founded 2012 Headquarters New York, NY Website https://www.hausalkire.com/ (https://www.hausalkire.com/) Haus Alkire is an American fashion label (/wiki/Fashion_label) headed by design partners Julie Alkire (/wiki/Julie_Haus) and Jason Alkire (/wiki/Jason_Alkire) . Both the Alkires are members of the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) (CFDA). [1] (#cite_note-1) Established in 2012, the line is made in New York City (/wiki/New_York_City) . Founders [ edit ] The label was founded by Julie Alkire and Jason Alkire. Besides co-designing garments, Jason employs techniques in painting, graphic design, and photography to create the custom prints used in the collections. [2] (#cite_note-2) Prior to his fashion designer career Jason Alkire was an advertising executive and the publisher and creative director of SPOON magazine. The magazine was distributed by Time Warner (/wiki/Time_Warner) . Julie Alkire was the editor-in-chief of the same magazine before she began her fashion career. She is known for her work on her eponymous line Julie Haus (/wiki/Julie_Haus) . [3] (#cite_note-3) Retail business [ edit ] In 2013, the designers opened an atelier type store dedicated to the Haus Alkire collection located on White Street in the neighborhood of Tribeca (/wiki/Tribeca) in New York City. [4] (#cite_note-4) The first collection (Autumn/Winter 2012) was shown at New York Fashion Week (/wiki/New_York_Fashion_Week) on February 14, 2012. The designers sought inspiration from the artist Lou Jie and the actress Elsa Martinelli (/wiki/Elsa_Martinelli) 's portrayal of Belle Star in the 1968 film The Belle Star Story . [5] (#cite_note-5) The New York Fashion Week (/wiki/New_York_Fashion_Week) event was held at the Lincoln Center for the Performing Arts (/wiki/Lincoln_Center_for_the_Performing_Arts) . [6] (#cite_note-6) The second collection was inspired by Hana, Hawaii (/wiki/Hana,_Hawaii) . The designers used images of an imaginary creature along with Plumeria and bamboo trees as the subject for their textile prints. The showing was held at a home in the West Village (/wiki/West_Village) area of New York City. [7] (#cite_note-7) Awards [ edit ] The designers were awarded the Ecco Domani (/wiki/Ecco_Domani) Fashion Foundation Award for Womenswear in January 2012. The award recognizes emerging American fashion talent. [8] (#cite_note-8) [9] (#cite_note-9) [10] (#cite_note-10) [11] (#cite_note-11) In February 2012, the designers were named to the W Hotels (/wiki/W_Hotels) Fashion Next program. [12] (#cite_note-12) [13] (#cite_note-13) In February 2013, the Autumn/Winter collection was sponsored by Swarovski Elements. [14] (#cite_note-14) In 2015, the designers were awarded The Fashion Group International (/wiki/Fashion_Group_International) Rising Star Award for womenswear. There were ten finalists competing for the award that included Rosie Assoulin, Tome, Ji Oh, Tanya Taylor, Antonio Azzuolo, Harbison, and Houghton. Previous winners of the award include Proenza Schouler (/wiki/Proenza_Schouler) , Alexander Wang (designer) (/wiki/Alexander_Wang_(designer)) , Jason Wu (/wiki/Jason_Wu) , Phillip Lim (/wiki/Phillip_Lim) , and Wes Gordon (/wiki/Wes_Gordon) . Wu was the guest speaker at the award ceremony. [15] (#cite_note-15) [16] (#cite_note-16) [17] (#cite_note-17) [18] (#cite_note-18) [19] (#cite_note-19) In 2014, Alkire and Haus were finalists for same award. [20] (#cite_note-20) [21] (#cite_note-21) In 2015, the designers also won the Design Entrepreneurs NYC Israel Goldgrub award presented by New York City Economic Development Corporation (/wiki/New_York_City_Economic_Development_Corporation) NYCEDC (/wiki/NYCEDC) and the Fashion Institute of Technology (/wiki/Fashion_Institute_of_Technology) . [22] (#cite_note-22) In 2016, HAUS ALKIRE was named to the Council of Fashion Designers of America (/wiki/Council_of_Fashion_Designers_of_America) (CFDA) {Fashion Incubator} 4.0 class for 2016-2018. [23] (#cite_note-23) [24] (#cite_note-24) Accolades [ edit ] The designer label was named one of the "15 Hot New Designers You Need to Know Now" by Refinery29 [25] (#cite_note-25) ELLE magazine names the line "2012's Rising Fashion Stars" [26] (#cite_note-26) Named by Fashionista.com as "Fashionista Five: New York Labels to Watch" [27] (#cite_note-27) Paper Magazine declared the line one of the "10 Fresh Fashion Week Faces to Watch" [28] (#cite_note-28) USA Network stated the line was "The New Class: Five Designers to Watch at Mercedes-Benz Fashion Week" [29] (#cite_note-29) In 2011, an editor compared the design duo to other famous design partners Isabel Toledo (/wiki/Isabel_Toledo) and Ruben Toledo, and Max Azria (/wiki/Max_Azria) and Lubov Azria, and Maria Cornejo (/wiki/Maria_Cornejo) and Mark Bothwick. [30] (#cite_note-30) References [ edit ] ^ (#cite_ref-1) Iredale, Jessica (2018-12-05). "CFDA Names 14 New Members" (https://wwd.com/fashion-news/fashion-scoops/cfda-names-14-new-members-1202921665/) . WWD.com . Retrieved 2019-01-08 . ^ (#cite_ref-2) Blair, Catherine (2012-01-18). "NBC New York" (http://www.nbcnewyork.com/blogs/threadny/THREAD-Haus-Alkire-on-Ecco-Domani-Win-Late-Night-Print-Making-137572898.html) . NBC New York . Retrieved 2012-11-12 . ^ (#cite_ref-3) Peden, Lauren David (2012-06-26). "Fashion Informer" (http://thefashioninformer.typepad.com/informer/2012/06/introducinghaus-alkire-.html) . TheFashionInformer . Retrieved 2012-11-12 . ^ (#cite_ref-4) Torkells, Erik (2013-04-02). "New Kid on the Block: Haus Alkire" (http://tribecacitizen.com/2013/04/02/new-kid-on-the-block-haus-alkire/) . TribecaCitizen.com . Retrieved 2013-04-11 . ^ (#cite_ref-5) Chernikoff, Leah (2012-02-20). "Haus Alkire Fall 2012 Back in the Spotlight" (http://fashionista.com/2012/02/haus-alkire-fall-2012-the-good-bad-guy/) . Fashionista.com . Retrieved 2012-11-12 . ^ (#cite_ref-6) "Official Mercedes-Benz Fashion Week Site" (https://web.archive.org/web/20121004015304/http://www.mbfashionweek.com/designers/haus_alkire) . MBFashionweek.com. Archived from the original (http://www.mbfashionweek.com/designers/haus_alkire) on 2012-10-04 . Retrieved 2012-11-12 . ^ (#cite_ref-7) Hou, Kathleen (2012-09-14). "Haus Alkire Spring 2013" (http://fashionista.com/2012/09/haus-alkire-spring-2013/) . Fashionista.com . Retrieved 2012-11-30 . ^ (#cite_ref-8) "Ecco Domani Fashion Foundation Award Winners Named" (http://www.wwd.com/fashion-news/designer-luxury/ecco-domani-award-winners-named-5449390) . WWD.com. 2012-01-03 . Retrieved 2012-11-12 . ^ (#cite_ref-9) "Ecco Domani's 2012 Winners Announced" (http://www.style.com/stylefile/2012/01/ecco-domanis-2012-winners-announced/) . Style.com. 2012-01-03 . Retrieved 2012-11-12 . ^ (#cite_ref-10) Denardo, Maria. "Ecco Domani Fashion Foundation Reveals 2012 Winners" (https://web.archive.org/web/20120120021711/http://www.fashionweekdaily.com/the-fix/article/ecco-domanis-2012-winner-lineup) . Fashion Week Daily. Archived from the original (http://www.fashionweekdaily.com/the-fix/article/ecco-domanis-2012-winner-lineup) on 2012-01-20 . Retrieved 2012-11-12 . ^ (#cite_ref-11) Chernikoff, Leah (2012-01-10). "Fashionista.com" (http://fashionista.com/2012/01/ecco-domani-winners-julie-haus-and-jason-alkire-reveal-their-first-designer-venture-haus-alkire/) . Fashionista.com . Retrieved 2012-11-12 . ^ (#cite_ref-12) Little, Katie (February 8, 2012). "W Hotels 'Fashion Next' Partnership to Hit the Runway" (https://www.cnbc.com/2012/02/08/w-hotels-fashion-next-partnership-to-hit-the-runway.html) . CNBC (/wiki/CNBC) . ^ (#cite_ref-13) "INSPIRED BY TRAVEL: HAUS ALKIRE ESCAPE TO VERBIER" (https://w-hotels.marriott.com/the-angle/inspired-travel-haus-alkire-escape-verbier/) . Marriott International (/wiki/Marriott_International) . ^ (#cite_ref-14) Walter, Kendall (2013-02-07). "HAUS ALKIRE NYFW F/W 2013" (http://thefashionlist.com/2013/02/haus-alkire-nyfw-fw-2013/) . TheFashionList.com . Retrieved 2013-03-26 . ^ (#cite_ref-15) La Ferla, Ruth (2015-02-11). "New York Fashion Week's Under-the-Radar Talents" (https://www.nytimes.com/2015/02/12/fashion/new-york-fashion-weeks-under-the-radar-talents.html?_r=0) . New York Times . Retrieved 2015-02-20 . ^ (#cite_ref-16) Feitelberg, Rosemary (2015-01-13). "Jason Wu to Speak at Rising Star Awards" (http://www.wwd.com/fashion-news/designer-luxury/jason-wu-to-speak-at-rising-star-awards-8106087) . WWD . Retrieved 2015-02-20 . ^ (#cite_ref-17) Rosenfeld, Austen (2015-02-09). "Sally LaPointe and Haus Alkire Share FGI's Rising Star Award for Womenswear" (http://www.style.com/culture/parties/2015/fashion-group-international-rising-star-awards) . Style.com . Retrieved 2015-02-20 . ^ (#cite_ref-18) Feitelberg, Rosemary (2015-02-09). "Fashion Group International Honors Rising Stars" (http://www.wwd.com/fashion-news/fashion-features/fashion-group-international-hands-out-rising-star-awards-8163260) . WWD . Retrieved 2015-02-20 . ^ (#cite_ref-19) Weiss, Zachary (2015-02-09). "Inside Fashion Group International's 18th Annual Rising Stars Luncheon" (http://fashionweekdaily.com/inside-fashion-group-internationals-18th-annual-rising-stars-luncheon-2/) . Fashion Week Daily . Retrieved 2015-02-20 . ^ (#cite_ref-20) Karimzadeh, Marc (2014-01-13). "Rising Star Finalist Revealed" (http://www.wwd.com/fashion-news/fashion-features/rising-star-awards-finalists-revealed-7351748) . WWD.com . Retrieved 2014-05-13 . ^ (#cite_ref-21) "Fashion Group International Announces Nominees" (http://fashionweekdaily.com/fashion-group-international-announces-rising-star-awards-nominees/) . FashionWeekDaily.com. 2014-01-13 . Retrieved 2014-05-13 . ^ (#cite_ref-22) Lockwood, Lisa (2015-10-02). "Cadet and Haus Alkire Win Design Entrepreneurs NYC Awards" (http://wwd.com/markets-news/designer-luxury/cadet-and-haus-alkire-design-entrepreneurs-nyc-awards-10250934/) . WWD . Retrieved 2016-06-08 . ^ (#cite_ref-23) Yotka, Steff (2016-05-25). "This Is the Next Wave of Young American Designers" (http://www.vogue.com/13440154/cfda-fashion-incubator-2016-2018/) . Vogue . Retrieved 2016-06-08 . ^ (#cite_ref-24) "Meet the 10 Designers Joining the CFDA Fashion Incubator Class of 2018" (http://fashionista.com/2016/05/cfda-fashion-incubator-2016) . Fashionista. 2016-05-25 . Retrieved 2016-06-08 . ^ (#cite_ref-25) Brillson, Leila (2012-03-31). "15 Hot New Designers You Need To Know Now" (https://www.refinery29.com/fashion-archive-126/slideshow?page=9#slide-9) . Refinery29.com . Retrieved 2012-11-12 . ^ (#cite_ref-26) Davis, Rebecca Willa (2011-07-14). "2012′S Rising Fashion Starts" (http://www.elle.com/news/fashion-style/2012s-rising-fashion-stars-34954) . Elle.com . Retrieved 2012-11-12 . ^ (#cite_ref-27) Mau, Dhani (2012-02-08). "Fashionista Five: New York Labels to Watch This Week" (http://fashionista.com/2012/02/fashionista-five-new-york-labels-to-watch-this-week/) . Fashionista.com . Retrieved 2012-11-12 . ^ (#cite_ref-28) Dolan, Maggie (2012-02-08). "10 Fresh Fashion Week Faces to Watch" (http://www.papermag.com/2012/02/fashion_week_wes_gordon.php) . PaperMag.com . Retrieved 2012-11-12 . ^ (#cite_ref-29) Booker, Kristin (2012-01-26). "The New Class: Five Designers to Watch at Mercedes-Benz Fashion Week" (http://www.characterblog.com/2012/01/the-new-class-five-new-designers-showing-at-mercedes-benz-fashion-week.php) . CharacterBlog.com . Retrieved 2012-11-12 . ^ (#cite_ref-30) Ramirez, Kristie (2011-03-03). "Corsicana's Julie Haus and Jason Alkire are creative design forces" (http://www.dallasnews.com/lifestyles/style/fashion/20110303-corsicana_s-julie-haus-and-jason-alkire-are-creative-design-forces.ece) . DallasNews.com . Retrieved 2012-11-12 . External links [ edit ] HAUS ALKIRE Website (http://www.hausalkire.com/) NewPP limit report Parsed by mw‐web.codfw.main‐78b6d8ccc6‐pzm95 Cached time: 20240624185659 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.384 seconds Real time usage: 0.496 seconds Preprocessor visited node count: 2238/1000000 Post‐expand include size: 50212/2097152 bytes Template argument size: 636/2097152 bytes Highest expansion depth: 11/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 109924/5000000 bytes Lua time usage: 0.262/10.000 seconds Lua memory usage: 6463634/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 468.104 1 -total 52.12% 243.998 1 Template:Reflist 43.75% 204.818 29 Template:Cite_web 26.50% 124.059 1 Template:Infobox_company 21.58% 101.003 1 Template:Infobox 15.15% 70.919 1 Template:Short_description 8.99% 42.077 2 Template:Pagetype 6.59% 30.838 6 Template:Main_other 3.56% 16.684 1 Template:Authority_control 3.26% 15.269 1 Template:SDcat Saved in parser cache with key enwiki:pcache:idhash:37581105-0!canonical and timestamp 20240624185659 and revision id 1164233141. 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Australian fashion designer This article has multiple issues. Please help improve it (/wiki/Special:EditPage/Steven_Khalil) or discuss these issues on the talk page (/wiki/Talk:Steven_Khalil) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) The neutrality (/wiki/Wikipedia:Neutral_point_of_view) of this article is disputed (/wiki/Wikipedia:NPOV_dispute) . Relevant discussion may be found on the talk page (/wiki/Talk:Steven_Khalil##) . Please do not remove this message until conditions to do so are met (/wiki/Template:POV#When_to_remove) . ( October 2018 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Some of this article's listed sources (/wiki/Wikipedia:Citing_sources) may not be reliable (/wiki/Wikipedia:Reliable_sources) . Please help improve this article by looking for better, more reliable sources. Unreliable citations may be challenged and removed. ( October 2018 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Steven Khalil is an Australian bridal and red carpet (/wiki/Red_carpet) fashion designer (/wiki/Fashion_designer) , known for his bridal and red carpet gowns. [1] (#cite_note-1) Khalil launched his own fashion brand in 2003, 'Steven Khalil', and has since gained popularity. His designs have been worn by many Australian and International celebrities such as Samantha Jade (/wiki/Samantha_Jade) , Giuliana Rancic (/wiki/Giuliana_Rancic) , Dannii Minogue (/wiki/Dannii_Minogue) , Ariel Winter (/wiki/Ariel_Winter) , Jessica Mauboy (/wiki/Jessica_Mauboy) , Paula Abdul (/wiki/Paula_Abdul) , Kylie Jenner (/wiki/Kylie_Jenner) , Khloe Kardashian (/wiki/Khlo%C3%A9_Kardashian) , Kris Jenner, Jennifer Lopez (/wiki/Jennifer_Lopez) , Kelly Preston (/wiki/Kelly_Preston) , Emily Ratajkowski, Carrie Underwood, Princess Olympia of Greece, Georgia Fowler and Jesinta Campbell (/wiki/Jesinta_Campbell) . [2] (#cite_note-:0-2) Early life [ edit ] Steven Khalil was raised in Campbelltown Western Sydney by his single mother who immigrated to Australia at the age of 21 from Lebanon with her then husband (and Steven's father). [3] (#cite_note-3) Khalil is the youngest of four children. [4] (#cite_note-4) From a young age, Khalil was intrigued by fashion designers such as Yves Saint Laurent (/wiki/Yves_Saint_Laurent_(designer)) , Christian Dior (/wiki/Christian_Dior) and Coco Chanel (/wiki/Coco_Chanel) . [5] (#cite_note-5) However, Khalil's love for fashion, specifically bridal wear began at 7 years old, where he was highly anticipating the Royal Wedding of Prince Charles and Princess Diana (/wiki/Wedding_of_Prince_Charles_and_Lady_Diana_Spencer) . Khalil was drawn to Princess Diana's dress (/wiki/Wedding_dress_of_Lady_Diana_Spencer) , especially its fabric, drape, movement and length and thus ultimately triggered his journey to becoming a bridal and red carpet fashion designer. [6] (#cite_note-:1-6) At age 11, he received his first sewing machine and began sewing small items such as scrunchies and clothing items for dolls. Education [ edit ] Khalil has expressed that he was always drawn to the creative subjects in high school, such as art, textiles and design technology. [6] (#cite_note-:1-6) After graduating high school, despite being rejected from his desired fashion school, East Sydney, Khalil continued to pursue his dreams and studied Fashion Design, Bridal Couture and Clothing Production for three and a half years. [6] (#cite_note-:1-6) Career [ edit ] Early career [ edit ] Khalil's first fashion related job was working with a bridal boutique, making flower girl dresses and doing basic errands. [7] (#cite_note-7) Shortly after, Khalil began working in Double Bay's well known bridal boutique, Mark Holt Bridal, where he was able to expand and refine his skills. Khalil continued working at Mark Holt's Bridal for seven years with love and passion, becoming Head Designer at 22 years old. His talents were indeed exposed and celebrated, with his bridal designs landing on the front page of magazine covers across the nation. Likewise, many of his designs were sent to editorial shoots. Eventually, his talent was recognised in various bridal houses across Sydney, Khalil opened his own fashion boutique in Paddington, known as, 'Steven Khalil'. Steven Khalil, in his Atelier in Paddington, Sydney Current career [ edit ] Opening his first bridal boutique at just 27 years old, Khalil's designs soon became renowned both locally and internationally. While Khalil has expressed that he certainly struggled and made mistakes in the early years of his boutique, he continued to strive and learn from them. [6] (#cite_note-:1-6) Thereafter, the future bridal market became highly intrigued with Khalil's modern and romantic gowns. As a result, Khalil was able to establish his clientele, which included celebrities and high profile social identities. Khalil's attention to intricate detail presented him with an opportunity to design Red Carpet gowns, which are now well known to be worn among celebrities such as Jennifer Lopez, Emily Ratajowski, and the Kardashian/Jenner family. While increasing his expertise, skills and understanding the bridal market over the course of his career, Khalil has gradually released bridal and red carpet collections since the beginning of his own business, including showing at 2019 Paris Haute Couture Fashion Week. Khalil's designs have expanded to an international scale, launching international stockists such as The Wedding Club, a luxury bridal wear store based in London, and is hoping to expand to Europe and Dubai. [8] (#cite_note-8) Due to his popularity in the US, Khalil opened a showroom in LA for celebrity stylists to access his gowns. A large part of Khalil's career centralises around fashion shows, domestically and internationally, which gives the ability for designers to showcase their work, increase clientele and generate a well branded name. Although Khalil is well regarded for his bridal and red carpet designs, in late 2017, he launched his own perfume for women, 'Steven Khalil Eau De Parfum'. Khalil created the perfume around the idea that the woman would have a special connection to the scent in conjunction to a special event, in particular, their wedding day. [9] (#cite_note-9) Bridal, couture and red carpet launches [ edit ] 2014 Collection [ edit ] Khalil created several bridal and red carpet pieces for the Fashion Palette Show 2014. This launch consisted of a range of couture gowns in neutral tones such as nude, white and gold, with statements of navy and aubergine. Khalil's inspiration for this collection was derived from the idea of all things 'Luxe' and metallic statements. [10] (#cite_note-:2-10) Moreover, this collection utilised imported fabrics, such as Italian wool, silk and French lace. [10] (#cite_note-:2-10) Khalil's favourite piece from this collection was known as the 'Warrior Gown', to which he described as a piece for an 'ultimate goddess gown for a strong women.' [10] (#cite_note-:2-10) 2015 Mercedes Benz Fashion Week [ edit ] Steven Khalil's works have been appreciated and celebrated over the many years at Mercedes Benz Fashion Week, an international fashion week that recognises notable designers. Khalil's 2015 collection consisted of feminine silhouettes, fitted suits and elegant embellishments, emanating a fairytale charm. The show opened with navy and metallic tones presented in fitted suits and luxurious sleek gowns. [11] (#cite_note-11) This was followed by bold yellows and corals, which complimented each other. Thereafter, Khalil's models closed the show with his signature white gowns, each consisting of intricate detail and design. His attention to colour palette, fabric, length and trail was indeed prominent in 2015's MBFW. 2015/16 Ready to Wear Spring/Summer [ edit ] The 2015/16 Ready to Wear Collection maintained simplicity, consisting of black pant suits, plunging neck lines, feathering, sequences and neutral tones, that similar to the 2014 collection. Hints of neon were also visible among the detailing of skirts. [12] (#cite_note-12) 2017 Mercedes Benz Fashion Week [ edit ] 2017 was a memorable year for Khalil, as he closed his fashion show with a $100,000 bridal couture piece. With eight months of planning and over 300 hours of handwork, the dress featured a mesh bodice and floor length veil, covering the entire width of the catwalks surface. [13] (#cite_note-13) Indeed, it received much attention from the press and buyers, specifically from Middle Eastern countries, however, Khalil stated that he would like to save it in his archiv 2018/2019 Bridal Collection [ edit ] Khalil's most recent collection exudes a romantic aura, hence its title, 'Romance Ultime'. The collection consists of French lace, custom beading, tulle and intricate embroidery. Khalil wanted to return the 'classic feminine bride' in this collection. [14] (#cite_note-14) 2019 Couture Collection Khalil showcased at the prestigious Haute Couture Paris Fashion Week in 2019. Celebrities and royalty [ edit ] Samantha Jade wearing Steven Khalil's dress. Steven Khalil's bridal and red carpet designs have been worn by many high profile identities since the beginning of his business. His increase in clientele can be due to his international showrooms in the United States that have showcased his works, which have been caught by the eye of celebrities such as Kylie Jenner. Guliana Rancic, E News host, has also worn Khalil's gowns regularly at Red Carpet events such as the Oscars and the Grammys. Likewise, Australian celebrities such as Samantha Jade and Sonia Kruger have been seen frequently wearing Khalil's designs to red carpet events. Khalil's designs are also worn by several Australian celebrity brides. The list of brides includes Nicole Trunfio, Bianca Chetah, Zoe Stenmark, Nikki Phillips, Zoe Marshall, Rachael Finch, Erin McNaught, Storm Keating, Anna Heinrich and Tessa James. [15] (#cite_note-15) Anna Heinrich particularly received attention from media outlets due to great public interest about her wedding dress. She wore Khalil's new 'Romance Ultime' Collection, which featured intricate beading, detailing and floral designs. [16] (#cite_note-16) Khalil's designs have also gained the attention from royalty. Following the Mercedes Benz Fashion Week show in 2017, Khalil received an email from the Princess Olympia of Greece, who requested to wear a piece from THE MBFW show to her 21st birthday. [2] (#cite_note-:0-2) Bridal Wear Trends [ edit ] Fashion shows, whether they're domestic or international, play a large role in exhibiting and categorising trends of the year. While bridal trends do not fluctuate too much, shows such as the Mercedes Benz Fashion Week Australia is an integral part to the bridal wear industry, providing an avenue for Australian fashion designers to progress and demonstrate their range. 2018 [ edit ] Bridal wear trends and styles are continually evolving and adapting with time. 2018 consisted of a range of trends, especially after The Royal Wedding of Meghan Markle and Prince Harry. Named the 'Meghan Markle Effect', [17] (#cite_note-:4-17) many bridal designers, including Steven Khalil were influenced by Markle's dress, which was simple, clean and minimalist. During some time before the Royal Wedding, a few Australian news articles and blogs, including the Sydney Morning Herald [18] (#cite_note-18) and 'Who' questioned and speculated if Khalil was going to be designing Markle's wedding dress. Additional bridal wear trends that have taken over the fashion landscape this year include 'Femme Florals'. [17] (#cite_note-:4-17) This trend centralises around beading, lace detailing and soft colours, all of which Khalil has executed in his 2018/2019 Bridal Collection, 'Romance Ultime'. 2017 [ edit ] The trends and styles exhibited during Spring of 2017 certainly contrast from 2018 trends. 2017 consisted of plunging necklines, capes and off the shoulder designs. [19] (#cite_note-19) Certainly the most prominent trend was the 'Non-Wedding, Wedding Look', which is designed with the means to be compatible with any wedding style event, including the reception and the after party. Khalil is synonymous with this trend, especially in his Red Carpet designs which are seen to be worn by many celebrities during red carpet, wedding and like events. [6] (#cite_note-:1-6) 2016 [ edit ] 2016's bridal fashion consisted of a range of styles, however, maintained a traditional aura. Designs such as feminine tuxedos, feathering, floral and deep necklines were most popular. [20] (#cite_note-20) Likewise, Khalil exhibited these trends in his 2015/2016 Ready to Wear Spring/Summer Collection. However, Khalil did step outside the trends slightly by including sequence and details of bright neon. Other contributions [ edit ] Alongside creating Bridal and Red Carpet pieces, in 2017, Khalil collaborated with PROJECT FUTURES, a project that aims to help women and young children who are in danger to human trafficking, slavery and sex exploitation in Australia and Cambodia. [21] (#cite_note-21) The partnership raised awareness of the heinous crimes against women and children by designing a t-shirt, and providing all of its profits to the Australian charity Project Futures. [22] (#cite_note-22) Such profits contribute access to shelter, food education, and to services such as medical and psychological treatment for those women and children who are exploited to such circumstances. [23] (#cite_note-23) References [ edit ] ^ (#cite_ref-1) "Steven Khalil" (https://stevenkhalil.com/#1) . stevenkhalil.com . Retrieved 4 September 2018 . ^ Jump up to: a b Waterhouse, Kate (13 July 2017). "Gown designer Steven Khalil reveals what it's like to dress celebs and royals" (https://www.smh.com.au/entertainment/celebrity/gown-designer-steven-khalil-reveals-what-its-like-to-dress-celebs-and-royals-20170710-gx8gov.html) . The Sydney Morning Herald . Retrieved 5 October 2018 . ^ (#cite_ref-3) Drapalski, Megan (15 September 2018). "Aussie designer Steven Khalil's designs keeping up with the Kardashians and Hollywood A-list" (https://www.dailytelegraph.com.au/newslocal/macarthur/leumeahraised-designer-dresses-hollywoods-best/news-story/f3351fa345165be92945754ae6ae75aa) . The Daily Telegraph . Retrieved 15 September 2018 . ^ (#cite_ref-4) "steven khalil Archives - Kate Waterhouse" (https://katewaterhouse.com/tag/steven-khalil/) . Kate Waterhouse . Retrieved 5 October 2018 . ^ (#cite_ref-5) "Q&A with Steven Khalil" (https://saharmwrites.wordpress.com/2017/02/28/qa-with-steven-khalil/) . Sahar Mourad Writes . 28 February 2017 . Retrieved 19 October 2018 . ^ Jump up to: a b c d e Sebastian, Jules (6 December 2015). "Tea With Jules - Fashion Designer Steven Khalil chats to Jules Sebastian" (https://www.youtube.com/watch?v=ibjfaoeaV-M) . Youtube . Retrieved 4 October 2018 . ^ (#cite_ref-7) Drapalski, Megan (18 September 2015). "Aussie designer Steven Khalil's designs keeping up with the Kardashians and Hollywood A-list" (https://www.dailytelegraph.com.au/newslocal/macarthur/leumeahraised-designer-dresses-hollywoods-best/news-story/f3351fa345165be92945754ae6ae75aa) . Retrieved 4 October 2018 . ^ (#cite_ref-8) Huntington, Patty (19 September 2017). "Australian Couturier Steven Khalil to Launch Fragrance, Expand Internationally" (https://wwd.com/fashion-news/fashion-scoops/australian-couturier-steven-khalil-fragrance-expand-internationally-10992342/) . WWD . Retrieved 5 October 2018 . ^ (#cite_ref-9) Gay, Danielle. "Steven Khalil has launched a fragrance that is set to become a wedding day forever favourite - Vogue Australia" (https://www.vogue.com.au/brides/beauty/steven-khalil-has-launched-a-fragrance-that-is-set-to-become-a-wedding-day-forever-favourite/news-story/295e70860bfbfc529bfa7216aa7140fe) . www.vogue.com.au . Retrieved 5 October 2018 . ^ Jump up to: a b c "The Uber Glam Bride. Designer Steven Khalil New Collection" (https://thecarousel.com/beauty/fashion/bridal/uber-glam-bride-designer-steven-khalils-new-collection/) . The Carousel . 8 May 2014 . Retrieved 5 October 2018 . ^ (#cite_ref-11) "Steven Khalil Mercedes Benz Fashion Week 2015 - Polka Dot Bride" (https://www.polkadotbride.com/2015/05/steven-khalil-mercedes-benz-fashion-week-2015/) . www.polkadotbride.com . Retrieved 5 October 2018 . ^ (#cite_ref-12) "Steven Khalil ready-to-wear spring/summer '15/'16 - Vogue Australia" (https://www.vogue.com.au/fashion/fashion-shows/australian/steven-khalil-readytowear-springsummer-1516/image-gallery/b957ac9fd2623b46df1ef4281f8618b5?pos=1) . www.vogue.com.au . Retrieved 9 November 2018 . ^ (#cite_ref-13) "MBFWA 2017: Steven Khalil – Complete Wedding" (https://www.completewedding.com.au/2017/05/15/mbfwa-2017-steven-khalil/) . www.completewedding.com.au . Retrieved 5 October 2018 . ^ (#cite_ref-14) "Steven Khalil's new wedding dress collection is stunning" (https://www.marieclaire.com.au/steven-khalil-new-bridal-collection) . Marie Claire . Retrieved 5 October 2018 . ^ (#cite_ref-15) McGregor, Kate. "The Australian Celebrities All Wore Steven Khalil Wedding Dresses" (https://www.popsugar.com.au/fashion/Australian-Celebrities-Wearing-Steven-Khalil-Wedding-Dress-41030749?stream_view=1#interstitial-1) . POPSUGAR Fashion Australia . Retrieved 9 November 2018 . ^ (#cite_ref-16) "Anna Heinrich and Tim Robards Marry in Italy: All the Details on Her Steven Khalil Wedding Gown" (https://www.eonline.com/au/news/942418/anna-heinrich-and-tim-robards-marry-in-italy-all-the-details-on-her-steven-khalil-gown) . E! News . 7 June 2018 . Retrieved 9 November 2018 . ^ Jump up to: a b "From the Markle Effect to the End of Boho Bridal, These Are the Top Wedding Dress Trends of 2018" (https://www.harpersbazaar.com/wedding/bridal-fashion/g22856638/top-wedding-dresses-trends-2018/) . Harper's BAZAAR . 11 September 2018 . Retrieved 9 November 2018 . ^ (#cite_ref-18) Brown, Annie (28 November 2017). "Which designer will Meghan Markle wear on her wedding day?" (https://www.smh.com.au/lifestyle/fashion/which-designer-will-meghan-markle-wear-on-her-wedding-day-20171128-gzu0s7.html) . The Sydney Morning Herald . Retrieved 9 November 2018 . ^ (#cite_ref-19) Soo Hoo, Fawnia (19 April 2016). "THE 10 BIGGEST BRIDAL TRENDS FOR SPRING 2017" (https://fashionista.com/2016/04/spring-2017-bridal-trends) . Fashionista . Retrieved 9 November 2018 . ^ (#cite_ref-20) Soo Hoo, Fawina (21 April 2015). "The 10 Biggest Bridal Trends for Spring 2016" (https://fashionista.com/2015/04/spring-2016-bridal-trends) . Fashionista . Retrieved 9 November 2018 . ^ (#cite_ref-21) "About" (https://projectfutures.com/about#whoweare) . PROJECT FUTURES . Retrieved 19 October 2018 . ^ (#cite_ref-22) "This hot new t-shirt from renowned Aussie designer Steven Khalil could save a life" (https://www.news.com.au/lifestyle/fashion/this-hot-new-tshirt-from-renowned-aussie-designer-steven-khalil-could-save-a-life/news-story/9e96652b9dc8c77840b0bcdedb6461a1) . NewsComAu . Retrieved 19 October 2018 . ^ (#cite_ref-23) McGregor, Kate. "Steven Khalil Just Designed a T-Shirt, Here's Why" (https://www.popsugar.com.au/fashion/Steven-Khalil-Charity-T-Shirt-44171499) . POPSUGAR Fashion Australia . Retrieved 19 October 2018 . 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Clothing of Pashtun people from Afghanistan As a chiefly rural and tribal population, the Pashtun dress of Afghanistan (/wiki/Afghanistan) is typically made from light linens (/wiki/Linen) , and are loose-fitting for ease of movement. Men's dress [ edit ] Partūg-Kamees and Waskat are commonly worn by Pashtun men Pashtun men usually wear a Partūg-Kamees in Pashto (/wiki/Pashto_language) (sometimes worn with a pakol (/wiki/Pakol) or paṭkay ). In the Kandahar (/wiki/Kandahar) region young men usually wear different type of hat similar to a topi (/wiki/Sindhi_topi) and in the Peshawar (/wiki/Peshawar) region they wear white kufis (/wiki/Kufi) instead. Leaders or tribal chiefs sometimes wear a karakul (/wiki/Karakul_(hat)) hat, such as Hamid Karzai (/wiki/Hamid_Karzai) , Nur Muhammad Taraki (/wiki/Nur_Muhammad_Taraki) , Hafizullah Amin (/wiki/Hafizullah_Amin) , Zahir Shah (/wiki/Mohammad_Zahir_Shah) and others. [1] (#cite_note-1) The Pashtun Lūngai (or Paṭkay) is the most worn one. [ citation needed ] Women's dress [ edit ] A Pashtun Kochi (/wiki/Kochis) girl in Southern Afghanistan with her sheep Pashtun women traditionally wear a long tunic ( kamiz ) or full-skirted dress over loose-fitting trousers ( partug ) of a contrasting color, and a head covering. [2] (#cite_note-2) Tunics often feature beaded or felt panels at the shoulder and the front of the bodice or waist sections. Shapes for casual and festive clothing are similar, as are shapes for winter and summer clothing, but colors and fabrics reflect the formality and seasonality of the garment. [3] (#cite_note-3) Pashtun (/wiki/Pashtuns) Kochi (/wiki/Kochis) women wear a colorful 3-layer embroidered dress to protect them from the cold. A version more suitable for hotter climates also exists, the dress is no longer become exclusive to Kochi women and now oftentimes associated with Pashtun women in general. [4] (#cite_note-4) See also [ edit ] Pashtun Culture (/wiki/Pashtun_culture) References [ edit ] ^ (#cite_ref-1) Manlow, Veronica (4 May 2018). Designing Clothes: Culture and Organization of the Fashion Industry . Routledge. p. 29. ISBN (/wiki/ISBN_(identifier)) 978-1-351-52263-2 . ^ (#cite_ref-2) Condra, Jill (9 April 2013). Encyclopedia of National Dress [2 volumes]: Traditional Clothing around the World [2 volumes] . Bloomsbury Publishing USA. p. 5. ISBN (/wiki/ISBN_(identifier)) 978-0-313-37637-5 . ^ (#cite_ref-3) Vogelsang, Willem. "8. Pashtun traditional dress" (https://trc-leiden.nl/trc-digital-exhibition/index.php/afghan-dress/item/77-pashtun-dress) . TRC Leiden . Retrieved 28 February 2024 . ^ (#cite_ref-4) "Colours of winter | Shehr | thenews.com.pk" (https://www.thenews.com.pk/tns/detail/1011654-colours-of-winter) . www.thenews.com.pk . Retrieved 28 February 2024 . v t e Afghan clothing (/wiki/Afghan_clothing) Clothes Burqa (/wiki/Burqa) Chapan (/wiki/Chapan) Karakul (hat) (/wiki/Karakul_(hat)) Khet partug (/wiki/Khet_partug) Pakol (/wiki/Pakol) Pashtun clothing Perahan tunban (/wiki/Perahan_tunban) Firaq partug (/wiki/Firaq_partug) Taqiyah (cap) (/wiki/Taqiyah_(cap)) Stitching and design Balochi needlework (/wiki/Balochi_needlework) Zardozi (/wiki/Zardozi) Category:Afghan clothing (/wiki/Category:Afghan_clothing) v t e Khyber Pakhtunkhwa clothing (/wiki/Khyber_Pakhtunkhwa_clothing) Burqa (/wiki/Burqa) Chapan (/wiki/Chapan) Karakul (hat) (/wiki/Karakul_(hat)) Khet partug (/wiki/Khet_partug) Pakol (/wiki/Pakol) Pashtun clothing Perahan tunban (/wiki/Perahan_tunban) Firaq partug (/wiki/Firaq_partug) Taqiyah (cap) (/wiki/Taqiyah_(cap)) Peshawari turban (pagri) (/wiki/Peshawari_turban) Peshawari chappal (/wiki/Peshawari_chappal) v t e Pakistani clothing Clothes Khalat (/wiki/Khalat) Khetpartug (/wiki/Khetpartug) Shalwar kameez (/wiki/Shalwar_kameez) Saraiki Shalwar kameez (/wiki/Saraiki_shalwar_suits) Sherwani (/wiki/Sherwani) Headgear Bughti (/wiki/Bughti) Khoyi (/w/index.php?title=Khoyi&action=edit&redlink=1) Pakol (/wiki/Pakol) Rumelli (/w/index.php?title=Rumelli&action=edit&redlink=1) Saaluk (/w/index.php?title=Saaluk&action=edit&redlink=1) Tuktay (/wiki/Tuktay) Dastar (Pagri) (/wiki/Turban) Shawls Ajrak (/wiki/Ajrak) Sajarak (/wiki/Sajarak) Stitching and design Balochi needlework (/wiki/Balochi_needlework) Embroidery of Pakistan Footwear Multani Khussa (/wiki/Multani_Khussa) Peshawari Chappal (/wiki/Peshawari_Chappal) Quettani Norozi (/w/index.php?title=Quettani_Norozi&action=edit&redlink=1) Sindhi Mojari (/wiki/Sindhi_Mojari) By ethnicity Baloch (/wiki/Balochi_clothing) Gilgiti (/w/index.php?title=Gilgiti_clothing&action=edit&redlink=1) Pashtun Punjabi (/wiki/Punjabi_clothing) Sindhi (/wiki/Sindhi_clothing) This Afghanistan (/wiki/Afghanistan) -related article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Pashtun_clothing&action=edit) . v t e This Pakistan (/wiki/Pakistan) -related article is a stub (/wiki/Wikipedia:Stub) . 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(Redirected from Early Germanic clothing (/w/index.php?title=Early_Germanic_clothing&redirect=no) ) Early culture of the Germanic peoples This article is about the early culture of Germanic peoples (/wiki/Germanic_peoples) . For related subjects, see Germanic culture (/wiki/Germanic_culture) . Royal mounds (/wiki/Mound) at Gamla Uppsala (/wiki/Gamla_Uppsala) in Sweden (/wiki/Sweden) , an important centre of early Germanic culture Area of the Nordic Bronze Age (/wiki/Nordic_Bronze_Age) culture, ca 1200 BC Early Germanic culture was the culture of the early Germanic peoples (/wiki/Germanic_peoples) . Largely derived from a synthesis of Proto-Indo-European (/wiki/Proto-Indo-European_society) and indigenous Northern European elements, the Germanic culture started to exist in the Jastorf culture (/wiki/Jastorf_culture) that developed out of the Nordic Bronze Age (/wiki/Nordic_Bronze_Age) . It came under significant external influence during the Migration Period (/wiki/Migration_Period) , particularly from ancient Rome (/wiki/Ancient_Rome) . The Germanic peoples eventually overwhelmed the Western Roman Empire (/wiki/Western_Roman_Empire) , which by the Middle Ages (/wiki/Middle_Ages) facilitated their conversion (/wiki/Christianisation_of_the_Germanic_peoples) from paganism (/wiki/Germanic_paganism) to Christianity (/wiki/Christianity) and the abandonment of their tribal way of life. Certain traces of early Germanic culture have survived among the Germanic peoples up to the present day. Languages [ edit ] Main article: Germanic languages (/wiki/Germanic_languages) Further information: Germanic substrate hypothesis (/wiki/Germanic_substrate_hypothesis) , Pre-Germanic (/wiki/Pre-Germanic_(disambiguation)) , and Proto-Germanic (/wiki/Proto-Germanic) Expansion of the early Germanic tribes into Central Europe (/wiki/Central_Europe) : [1] (#cite_note-1) Settlements before 750 BC New settlements by 500 BC New settlements by 250 BC New settlements by AD 1 One proposed theory for Germanic (/wiki/Germanic_languages) dialect groups and their approximate distribution in northern Europe around 1 CE: North Germanic (/wiki/North_Germanic_languages) North Sea Germanic (/wiki/North_Sea_Germanic) (Ingvaeonic) Weser–Rhine Germanic (/wiki/Weser%E2%80%93Rhine_Germanic) , (Istvaeonic) Elbe Germanic (/wiki/Elbe_Germanic) (Irminonic) East Germanic (/wiki/East_Germanic_languages) The approximate extent of Germanic languages in northern Europe in the early 10th century: Old West Norse (/wiki/Old_West_Norse) Old East Norse (/wiki/Old_East_Norse) Old Gutnish (/wiki/Old_Gutnish) Old English (/wiki/Old_English) Continental West Germanic (/wiki/West_Germanic_languages) ( Old Frisian (/wiki/Old_Frisian) , Old Saxon (/wiki/Old_Saxon) , Old Dutch (/wiki/Old_Dutch) , Old High German (/wiki/Old_High_German) ). Crimean Gothic (/wiki/Crimean_Gothic) ( East Germanic (/wiki/East_Germanic) ) Linguists postulate that an early Proto-Germanic (/wiki/Proto-Germanic) language existed and was distinguishable from the other Indo-European languages (/wiki/Indo-European_languages) as far back as 500 BCE. [2] (#cite_note-FOOTNOTEWaldmanMason2006300-2) From what is known, the early Germanic tribes may have spoken mutually intelligible (/wiki/Mutually_intelligible) dialects derived from a common parent language but there are no written records to verify this fact. The Germanic tribes moved and interacted over the next centuries, and separate dialects among Germanic languages (/wiki/Germanic_languages) developed down to the present day. [3] (#cite_note-FOOTNOTEDalby1999224–225-3) Some groups, such as the Suebi (/wiki/Suebi) , have a continuous recorded existence, and so there is a reasonable confidence that their modern dialects can be traced back to those in classical times. [4] (#cite_note-FOOTNOTERobinson1992194–195-4) By extension, but sometimes controversially, the names of the sons of Mannus (/wiki/Mannus) , Istvaeones (/wiki/Istvaeones) , Irminones (/wiki/Irminones) , and Ingvaeones (/wiki/Ingvaeones) , are sometimes used to divide up the medieval and modern West Germanic languages (/wiki/West_Germanic_languages) . [ citation needed ] The more easterly groups such as the Vandals (/wiki/Vandals) are thought to have been united in the use of East Germanic languages (/wiki/East_Germanic_languages) , the most famous of which is Gothic (/wiki/Gothic_language) . The dialect of the Germanic people who remained in Scandinavia (/wiki/Scandinavia) is not generally called Ingvaeonic (/wiki/Ingvaeonic) , but is classified as North Germanic (/wiki/North_Germanic_languages) , which developed into Old Norse (/wiki/Old_Norse) . Within the West Germanic group, linguists associate the Suebian or Hermionic group with an " Elbe Germanic (/wiki/Elbe_Germanic) " which developed into Upper German (/wiki/Upper_German) , including modern German. [5] (#cite_note-FOOTNOTEOstler2006304–314-5) More speculatively, given the lack of any such clear explanation in any classical source, modern linguists sometimes designate the Frankish language (/wiki/Frankish_language) (and its descendant Dutch (/wiki/Dutch_language) ) as Istvaeonic (/wiki/Istvaeonic) , although the geographical term " Weser–Rhine Germanic (/wiki/Weser%E2%80%93Rhine_Germanic) " is often preferred. However, the classical " Germani " near the Rhine, to whom the term was originally applied by Caesar, may not have even spoken Germanic languages, let alone a language recognizably ancestral to modern Dutch. [6] (#cite_note-FOOTNOTEWightman198512–14-6) The close relatives of Dutch, Low German (/wiki/Low_German) , English and Frisian (/wiki/Frisian_languages) , are sometimes designated as Ingvaeonic, or alternatively, " North Sea Germanic (/wiki/North_Sea_Germanic) ". Frankish, (and later Dutch, Luxembourgish (/wiki/Luxembourgish) and the Frankish dialects of German in Germany) has continuously been intelligible to some extent with both "Ingvaeonic" Low German, and some "Suebian" High German dialects, with which they form a spectrum of continental dialects. All these dialects or languages appear to have formed by the mixing of migrating peoples after the time of Julius Caesar (/wiki/Julius_Caesar) . So it is not clear if these medieval dialect divisions correspond to any mentioned by Tacitus (/wiki/Tacitus) and Pliny (/wiki/Pliny_the_Elder) . Indeed, in Tacitus (Tac. Ger. 40) [7] (#cite_note-FOOTNOTETacitus200958_[Ch._40]-7) and in Claudius Ptolemy (/wiki/Claudius_Ptolemy) 's Geography (/wiki/Geography_(Ptolemy)) , the Anglii (/wiki/Anglii) , ancestors of the Anglo-Saxons (/wiki/Anglo-Saxons) , are designated as being a Suebic tribe. [ citation needed ] Despite their common linguistic framework, by the 5th century CE, the Germanic peoples were linguistically differentiated and could no longer easily comprehend one another. [8] (#cite_note-FOOTNOTEMusset199312–13-8) Nonetheless, the line between Germanic and Romance peoples (/wiki/Romance_peoples) in central Europe remained at the western mouth of the Rhine (/wiki/Rhine) river and while Gaul (/wiki/Gaul) fell under Germanic domination and was firmly settled by the Franks (/wiki/Franks) , the linguistic patterns did not move much. Further west and south in Europe-proper, the linguistic presence of the Germanic languages is almost negligible. Despite the fact that the Visigoths (/wiki/Visigoths) ruled a kingdom (/wiki/Visigothic_Kingdom) in what is now Spain and Portugal (/wiki/Portugal) for upwards of 250 years, there are almost no recognizable Gothic words borrowed into Spanish or Portuguese (/wiki/Portuguese_language) . [9] (#cite_note-FOOTNOTEOstler2006307-9) Conversely, many common given names in the Iberian peninsula, and the surnames derived from them, are of Germanic origin (Álvaro – Álvarez; Fernando – Fernández/Hernández; Gonzalo – González; Rodrigo – Rodríguez, etc.). [10] (#cite_note-10) By 500 CE, the West Germanic speakers had apparently developed a distinct language continuum with extensive loaning from Latin (/wiki/Latin) (due to their ongoing contact with the Romans), whereas the East Germanic languages were dying out. [b] (#cite_note-12) [2] (#cite_note-FOOTNOTEWaldmanMason2006300-2) [11] (#cite_note-FOOTNOTEDalby1999225-13) [c] (#cite_note-14) Literature [ edit ] Further information: Saga (/wiki/Saga) , Old Norse poetry (/wiki/Old_Norse_poetry) , Edda (/wiki/Edda) , Skald (/wiki/Skald) , Old English literature (/wiki/Old_English_literature) , Scop (/wiki/Scop) , Beowulf (/wiki/Beowulf) , and Nibelungenlied (/wiki/Nibelungenlied) Excerpt from Njáls saga (/wiki/Nj%C3%A1ls_saga) in the Möðruvallabók (/wiki/M%C3%B6%C3%B0ruvallab%C3%B3k) (AM 132 folio 13r) c. 1350 Germanic literature includes all the oral and written literature which was common to the early Germanic peoples, in respect to form and nature of content. It was generally intended to honor the gods or to praise tribal ancestors. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) The general public plays an insignificant role in Germanic literature, which revolves almost exclusively around chieftains, warriors and their associates. Wives and other female relatives of such leaders and warriors figure prominently in many pieces of Germanic literature. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) Germanic literature is divided into literature transferred orally from generation to generation and literature written down at a later date. Some of this literature, such as the Grottasöngr (/wiki/Grottas%C3%B6ngr) , appears to have been passed down from a very early time. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) Much of what is known about Germanic literature was passed down by skalds (/wiki/Skald) and scops (/wiki/Scop) , who were poets employed by a chieftain to memorize his deeds and those of his ancestors. Priscus (/wiki/Priscus) notes that such skalds were also prominent at the court of Attila (/wiki/Attila) . [12] (#cite_note-FOOTNOTEOwen1960225–262-15) The structure of the verse and the rime system shows that Germanic poetry followed a distinct poetic form. A significant characteristic is the alliterative verse (/wiki/Alliterative_verse) . [12] (#cite_note-FOOTNOTEOwen1960225–262-15) Riddles figure prominently in both Anglo-Saxon (/wiki/Anglo-Saxon_riddles) and early Scandianvian (/wiki/Riddles_(Scandinavian)) literature. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) Important works are Germanic literature are Beowulf (/wiki/Beowulf) , the Nibelungenlied (/wiki/Nibelungenlied) , and the Icelandic Eddas (/wiki/Eddas) and sagas (/wiki/Saga) . [12] (#cite_note-FOOTNOTEOwen1960225–262-15) Powerful individuals of the distant past figure prominently in Germanic literature. Such individuals include Julius Caesar, Attila, Ermanaric (/wiki/Ermanaric) , Theodoric the Great (/wiki/Theodoric_the_Great) and Charlemagne (/wiki/Charlemagne) . Accounts of the history of the Goths play and important role in Germanic literature, and although the Goths themselves disappeared, their deeds were remembered for centuries afterwards among Germanic peoples living as far as Iceland (/wiki/Iceland) . [12] (#cite_note-FOOTNOTEOwen1960225–262-15) The works of Jordanes (/wiki/Jordanes) , Gregory of Tours (/wiki/Gregory_of_Tours) , Paul the Deacon (/wiki/Paul_the_Deacon) , Priscus and Saxo Grammaticus (/wiki/Saxo_Grammaticus) were written in Latin and Greek (/wiki/Greek_language) , but since their authors were of Germanic origin and because their works show traces of Germanic heritage, philologist Francis Owen (/wiki/Francis_Owen_(philologist)) considers these works part of Germanic literature as well. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) A large amount of Germanic epic literature must have been produced during the violent years of the Migration Period (/wiki/Migration_Period) , but few of these accounts appear to have been preserved. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) During his reign, Charlemagne ordered a collection of the old heroic songs to be made, but this collection was later destroyed by order of Louis the Pious (/wiki/Louis_the_Pious) . [12] (#cite_note-FOOTNOTEOwen1960225–262-15) A common theme in Germanic literature is the consequences of failing to live up to one's moral principles, and the moral dilemma faced by an individual struggling to maintain his loyalty under difficult conditions. A key theme is the attempt of the individual to overcome his fate, referred to as wyrd (/wiki/Wyrd) by the Anglo-Saxons. [12] (#cite_note-FOOTNOTEOwen1960225–262-15) In Germanic literature, dark humor (/wiki/Dark_humor) figures prominently. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) Scripts [ edit ] Further information: Runes (/wiki/Runes) and Gothic alphabet (/wiki/Gothic_alphabet) An inscription using cipher runes (/wiki/Cipher_runes) , the Elder Futhark (/wiki/Elder_Futhark) , and the Younger Futhark (/wiki/Younger_Futhark) , on the 9th-century Rök runestone (/wiki/R%C3%B6k_runestone) in Sweden The earliest known Germanic inscription was found at Negau (/wiki/Negau_helmet) (in what is now southern Austria (/wiki/Austria) ) on a bronze helmet (/wiki/Negau_helmet) dating back to the first century BCE. [14] (#cite_note-FOOTNOTETodd200412–13-17) Some of the other earliest known physical records of the Germanic language appear on stone and wood carvings in Runic (/wiki/Runic) script from around 200 CE. [15] (#cite_note-FOOTNOTEDalby1999224-18) Runes had a special significance in early Germanic culture, and each runic letter had a distinct name associated with a particular subject. The origins of runes has been a source of controversy. [16] (#cite_note-FOOTNOTEOwen1960209–225-19) Runic writing likely disappeared due to the concerted opposition of the Christian Church (/wiki/Christian_Church) , which regarded runic text as heathen symbols which supposedly contained inherent magical properties that they associated with the Germanic peoples' pagan past. [17] (#cite_note-FOOTNOTEHalsall198115-20) Unfortunately, this primitive view ignores the abundance of "pious runic writing found on church-related objects" (ranging from inscriptions in the doorways of churches, on church bells and even those found on baptismal fonts) when Christianity was introduced (/wiki/Christianisation_of_the_Germanic_peoples) into the Germanic North. [18] (#cite_note-FOOTNOTEAntonsen200237-21) [d] (#cite_note-22) An important linguistic step was made by the Christian convert Ulfilas (/wiki/Ulfilas) , who became a bishop to the Thervingi (/wiki/Thervingi) Goths in CE 341; he subsequently invented a Gothic alphabet (/wiki/Gothic_alphabet) and translated the scriptures from Greek into Gothic, creating a Gothic Bible (/wiki/Gothic_Bible) , which is the earliest known translation of the Bible into a Germanic language. [19] (#cite_note-FOOTNOTEBauer201044-23) Religion [ edit ] Main article: Germanic paganism (/wiki/Germanic_paganism) Further information: Old Norse Religion (/wiki/Old_Norse_Religion) , Gothic paganism (/wiki/Gothic_paganism) , and Anglo-Saxon paganism (/wiki/Anglo-Saxon_paganism) Prior to the Middle Ages (/wiki/Middle_Ages) , Germanic peoples followed what is now referred to as Germanic paganism (/wiki/Germanic_paganism) : "a system of interlocking and closely interrelated religious worldviews and practices rather than as one indivisible religion" and as such consisted of "individual worshippers, family traditions and regional cults within a broadly consistent framework". [20] (#cite_note-FOOTNOTEEwing20089-24) The gilded side of the Trundholm Sun Chariot (/wiki/Trundholm_Sun_Chariot) , Nordic Bronze Age (/wiki/Nordic_Bronze_Age) Germanic religion was polytheistic (/wiki/Polytheism) in nature, with some underlying similarities to other European and Indo-European religions (/wiki/Proto-Indo-European_religion) . Despite the unique practices of some tribes, there was a degree of cultural uniformity among the Germanic peoples concerning religion. [21] (#cite_note-FOOTNOTEEliade1984154-25) [e] (#cite_note-28) From its earliest descriptions by Roman authors in antiquity to the Icelandic accounts written in the Middle Ages, Germanic religion appears to have changed considerably. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Origins [ edit ] Germanic religion appears to have emerged as a synthesis of the religion of the Indo-European speakers who arrived with the Corded Ware culture (/wiki/Corded_Ware_culture) and the indigenous populations among whom they settled. It is often suggested that the conflict (/wiki/%C3%86sir%E2%80%93Vanir_War) between the Æsir (/wiki/%C3%86sir) and Vanir (/wiki/Vanir) , the two groups in the Norse (/wiki/Norse_mythology) branch of the Germanic pantheon, represents a remembrance of this synthesis. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Deities [ edit ] Main articles: List of Germanic deities (/wiki/List_of_Germanic_deities) and Common Germanic deities (/wiki/Common_Germanic_deities) Many of the deities found in Germanic paganism (/wiki/List_of_Germanic_deities) appeared under similar names across the Germanic peoples, most notably the god known to the Germans as Wodan or Wōden, to the Anglo-Saxons as Woden, and to the Norse as Óðinn (/wiki/Odin) , as well as the god Thor (/wiki/Thor) – known to the Germans as Donar, to the Anglo-Saxons as Þunor and to the Norse as Þórr. [ citation needed ] Tacitus writes that the Germanic peoples primarily worshipped " Mercury (/wiki/Mercury_(mythology)) ", but also " Hercules (/wiki/Hercules) " and " Mars (/wiki/Mars_(mythology)) ". These have generally been identified with Odin, Thor and Týr (/wiki/T%C3%BDr) , the gods of wisdom, thunder and war respectively. Týr appears to at one point have been the chief deity in the Germanic pantheon, but he was eventually displaced by Odin. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Rituals [ edit ] Further information: Temple at Uppsala (/wiki/Temple_at_Uppsala) , Sacred trees and groves in Germanic paganism and mythology (/wiki/Sacred_trees_and_groves_in_Germanic_paganism_and_mythology) , Heathen hof (/wiki/Heathen_hof) , Blót (/wiki/Bl%C3%B3t) , Galdr (/wiki/Galdr) , Hallow (/wiki/Hallow) , Seiðr (/wiki/Sei%C3%B0r) , Symbel (/wiki/Symbel) , Hörgr (/wiki/H%C3%B6rgr) , Trollkyrka (/wiki/Trollkyrka) , Uppåkra temple (/wiki/Upp%C3%A5kra_temple) , and Vé (shrine) (/wiki/V%C3%A9_(shrine)) Stone slab from The King's Grave (/wiki/The_King%27s_Grave) in southern Sweden, Nordic Bronze Age (/wiki/Nordic_Bronze_Age) , 1400 BC Archaeological findings suggest that the early Germanic peoples practiced some of the same 'spiritual' rituals as the Celts (/wiki/Celts) , including human sacrifice (/wiki/Human_sacrifice) , divination, and the belief in spiritual connection with the natural environment around them. [25] (#cite_note-FOOTNOTEBurns2003367-30) In Germanic religion, one distinguishes between household worship and community worship. This was similar to religious worship in Roman religion (/wiki/Roman_religion) . In household worship the male head of the household would act as the "priest". [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Spiritual rituals frequently occurred in consecrated groves or upon islands on lakes where perpetual fires burned. [26] (#cite_note-FOOTNOTEWilliams199882-31) The Germanic peoples did not construct temples to carry out their religious rites. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Priests [ edit ] Further information: Gothi (/wiki/Gothi) and Veleda (/wiki/Veleda) Unlike the Celts, who had their druids (/wiki/Druid) , there does not appear to have been a priestly caste among the Germanic peoples. There were however individuals who performed certain religious duties. This included carrying out sacrifices and punishing those found guilty of crimes against the tribe. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Germanic priestesses were feared by the Romans, as these tall women with glaring eyes, wearing flowing white gowns often wielded a knife for sacrificial offerings. Captives might have their throats cut and be bled into giant cauldrons or have their intestines opened up and the entrails thrown to the ground for prophetic readings. [27] (#cite_note-FOOTNOTEWilliams199881–82-32) [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Afterlife [ edit ] Main articles: Valhalla (/wiki/Valhalla) , Fólkvangr (/wiki/F%C3%B3lkvangr) , and Einherjar (/wiki/Einherjar) Germanic ideology and religious practices were pervaded and colored to a large degree by war, particularly the notion of a heroic death on the battlefield, as this brought the god(s) a "blood sacrifice." [28] (#cite_note-FOOTNOTEEliade1984161-33) [f] (#cite_note-34) Conversion to Christianity [ edit ] Main article: Christianisation of the Germanic peoples (/wiki/Christianisation_of_the_Germanic_peoples) Further information: Gothic Christianity (/wiki/Gothic_Christianity) , Gothic Bible (/wiki/Gothic_Bible) , Christianisation of Anglo-Saxon England (/wiki/Christianisation_of_Anglo-Saxon_England) , and Christianization of Scandinavia (/wiki/Christianization_of_Scandinavia) Christianity had no relevance for the pagan barbarians until their contact and integration with Rome. [29] (#cite_note-FOOTNOTEBurns2003368-35) Pagan beliefs amid the Germanic tribes were reported by some of the earlier Roman historians and in the 6th century CE another instance of this appears when the Byzantine historian and poet, Agathias (/wiki/Agathias) , remarked that the Alemannic (/wiki/Alemanni) religion was "solidly and unsophisticatedly pagan." [30] (#cite_note-FOOTNOTEDrinkwater2007117-36) The Ostrogoths (/wiki/Ostrogoths) , Visigoths, and Vandals were Christianized while they were still outside the bounds of the Empire; however, they converted to Arianism (/wiki/Arianism) rather than Roman Catholicism (/wiki/Roman_Catholicism) , and were soon regarded as heretics (/wiki/Christian_heresy) by Catholics. [31] (#cite_note-FOOTNOTESantosuo200414–16-37) The one great written remnant of the Gothic language is the Gothic Bible made by Wulfila, the Arian missionary (/wiki/Missionary) who converted them. [32] (#cite_note-FOOTNOTEWaldmanMason2006327-38) Goths, Vandals, and other Germanic peoples often offered political resistance prior to their conversion to Christianity. [33] (#cite_note-FOOTNOTECameron199797-39) The Lombards (/wiki/Lombards) were not converted until after their entrance into the Empire, but received Christianity from Arian Germanic tribes sometime during the 5th century. [34] (#cite_note-FOOTNOTEWaldmanMason2006497-40) The Franks were converted directly from paganism to Catholicism under the leadership of Clovis I (/wiki/Clovis_I) in about CE 496 without an intervening time as Arians. [35] (#cite_note-FOOTNOTEGermanic_peoples,_''Encyclopædia_Britannica_Online''-41) The Visigoths converted to Roman Catholicism in 589 AD. [36] (#cite_note-FOOTNOTEPohl199737-42) Several centuries later, Anglo-Saxon and Frankish missionaries and warriors undertook the conversion of their Saxon (/wiki/Saxons) neighbors. A key event was the felling of Thor's Oak (/wiki/Thor%27s_Oak) near Fritzlar (/wiki/Fritzlar) by Boniface (/wiki/Boniface) , apostle of the Germans (/wiki/Germans) , in CE 723. When Thor failed to strike Boniface dead after the oak hit the ground, the Franks were amazed and began their conversion to the Christian faith. [g] (#cite_note-43) Eventually for many Germanic tribes, the conversion to Christianity was achieved by armed force, successfully completed by Charlemagne, in a series of campaigns (the Saxon Wars (/wiki/Saxon_Wars) ), that also brought Saxon lands into the Frankish empire (/wiki/Frankish_empire) . [37] (#cite_note-FOOTNOTEMcKitterick2008103–106-44) Massacres, such as at Verden (/wiki/Massacre_of_Verden) , where as many as 4,500 people were beheaded according to one of Charlemagne's chroniclers, were a direct result of this policy. [38] (#cite_note-FOOTNOTEWilson200547-45) In Scandinavia, Germanic paganism continued to dominate until the 11th century in the form of Old Norse religion (/wiki/Old_Norse_religion) , when it was gradually replaced by Christianity. [39] (#cite_note-FOOTNOTEKendrick2013118–123-46) While the Germanic peoples were slowly converted to Christianity by varying means, many elements of the pre-Christian culture and indigenous beliefs remained firmly in place after the conversion process, particularly in the more rural and distant regions. Of particular note is the survival of the pagan fascination with the forest in the retention of Christmas tree (/wiki/Christmas_tree) even today. Many of the Germanic tribes actually revered forests as sacred places and left them unmolested. Conversion to Christianity broke this pagan obsession with protecting the forest in some locations and allowed once migrant tribes to settle in places where they previously refused to cultivate the soil or chop down trees based on religious belief. To that end, the Christianisation of Germanic peoples facilitated the clearing of forests and therewith provided "a broad and stable basis for the medieval economy of Central Europe" by leveraging the vast forest resources available to them. [40] (#cite_note-FOOTNOTEPrice1965368–378-47) Heathenism [ edit ] Main article: Germanic paganism (/wiki/Germanic_paganism) Elements of Germanic paganism survived into post-Christianization folklore (/wiki/Folklore) , and today new religious movements (/wiki/New_religious_movement) exist which see themselves as modern revivals of Germanic Heathenry (/wiki/Heathenry_(new_religious_movement)) . Folklore [ edit ] Main article: Germanic folklore (/wiki/Germanic_folklore) The folklore (/wiki/Germanic_folklore) of early Germanic peoples was intimately intertwined with their natural surroundings. Legendary creatures of Germanic folklore include elves (/wiki/Elves) , who inhabited the woods, foundations and streams; dwarves (/wiki/Dwarf_(mythology)) , who inhabited the caves of the earth; serpents (/wiki/Sea_serpent) , who inhabited the sea; and the neck (/wiki/Neck_(water_spirit)) , who inhabited the marshes. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Remnants of early Germanic folklore has survived unto the present day. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Festivals [ edit ] Festivals in early Germanic culture included the autumn festival ( Winter Nights (/wiki/Winter_Nights) ), the New Year festival ( Yule (/wiki/Yule) ), the spring festival ( Easter (/wiki/%C4%92ostre) ), and Midsummer's Day (/wiki/Midsummer) . [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Yule was intended to induce the sun (/wiki/Sun) to regain its former strength. Easter celebrated the renewal of nature. The Midsummer's Day was the greatest festival of all, in which it was celebrated that the sun had regained its full power. On this occasion numerous tribes would come together to celebrate and a general peace would sometimes be declared. Meanwhile, the autumn festival was a period of mourning. [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Calendar [ edit ] Main article: Early Germanic calendar (/wiki/Early_Germanic_calendar) The early Germanic calendars were the regional calendars (/wiki/Calendar) used among the early Germanic peoples (/wiki/Germanic_peoples) before they adopted the Julian calendar (/wiki/Julian_calendar) in the Early Middle Ages (/wiki/Early_Middle_Ages) . The calendars were an element of early Germanic culture. The Germanic peoples had names for the months that varied by region and dialect, but they were later replaced with local adaptations of the Julian (/wiki/Julian_calendar) month names. Records of Old English (/wiki/Old_English) and Old High German (/wiki/Old_High_German) month names date to the 8th and 9th centuries, respectively. Old Norse (/wiki/Old_Norse) month names are attested from the 13th century. As with most pre-modern calendars, the reckoning used in early Germanic culture (/wiki/Germanic_peoples) was likely lunisolar (/wiki/Lunisolar_calendar) . As an example, the Runic calendar (/wiki/Runic_calendar) developed in medieval Sweden (/wiki/Medieval_Sweden) was lunisolar, fixing the beginning of the year at the first full moon (/wiki/Full_moon) after winter solstice (/wiki/Winter_solstice) . Funerary practices [ edit ] Further information: Norse funeral (/wiki/Norse_funeral) and Sutton Hoo (/wiki/Sutton_Hoo) See also: Ship burial (/wiki/Ship_burial) and Horse burial (/wiki/Horse_burial) The Håga mound (/wiki/H%C3%A5ga_mound) at Uppsala (/wiki/Uppsala) , Sweden is from the Nordic Bronze Age (/wiki/Nordic_Bronze_Age) . In Neolithic Northern Europe, the deceased were generally buried by inhumation. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) By the early Bronze Age, cremation became more frequent, and eventually universal. The deceased was generally burnt at a funeral pyre (/wiki/Pyre) , while his weapons and other possessions were placed in an urn for burial. Leading members of the community were sometimes buried in burial mounds (/wiki/Burial_mound) . During the Pre-Roman Iron Age (/wiki/Pre-Roman_Iron_Age) , the possessions of the deceased was sometimes placed in a hollowed-out grave without an urn. During the Roman period, urns were typically placed in flat graves. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) The deceased was buried along with his possessions so that he could bring them to the afterlife. Such possessions included weapons, personal adornments and other belongings, sometimes including the owner's horse (/wiki/Horse_burial) and even his boat (/wiki/Ship_burial) . In certain rare cases the deceased was even buried along with several of his servants, who would be slain for the purpose. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) Tacitus reports that certain Germanic individuals were inhumated in mound graves. Archaeological evidence does not suggest that this was a common practice. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) Cremation appears to have been much more common and long lasting in Scandinavia than in other Germanic territories. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) Among the coastal and island peoples of the north, the deceased was often placed with all his possessions in his boat, and then set on fire. Boat burials remained common in later times, even when inhumation was reintroduced. In such burials, the body was often placed in a boat over which a burial mound was erected. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) Inhumation became common again during the Migration period. Since such graves were often arranged in long rows, they have been called row-graves. They are not distinguished by mounds. Often they were arranged on either side of a high-way. This was a practice that had survived from Neolithic times. [41] (#cite_note-FOOTNOTEOwen1960178–179-48) Symbols [ edit ] This Thor (/wiki/Thor) 's hammer in silver with filigree ornamentation was found in Scania (/wiki/Scania) . It was donated to the Swedish History Museum (/wiki/Swedish_History_Museum) in 1895. See also: Sun cross (/wiki/Sun_cross) , Swastika (Germanic Iron Age) (/wiki/Swastika_(Germanic_Iron_Age)) , Valknut (/wiki/Valknut) , Raven banner (/wiki/Raven_banner) , Mjölnir (/wiki/Mj%C3%B6lnir) , Dragon's Eye (symbol) (/wiki/Dragon%27s_Eye_(symbol)) , Triquetra (/wiki/Triquetra) , and Triskelion (/wiki/Triskelion) There were many symbols of importance in early Germanic culture, including the sun cross (/wiki/Sun_cross) and the swastika (/wiki/Swastika_(Germanic_Iron_Age)) . Such symbols are attested from the Nordic Bronze Age (/wiki/Nordic_Bronze_Age) up to the Viking Age (/wiki/Viking_Age) . [24] (#cite_note-FOOTNOTEOwen1960183–209-29) Patterns of thought [ edit ] Further information: Old Norse philosophy (/wiki/Old_Norse_philosophy) See also: Nine Noble Virtues (/wiki/Nine_Noble_Virtues) and Prussian virtues (/wiki/Prussian_virtues) Early Germanic society was characterized by a rigorous code of ethics (/wiki/Code_of_ethics) , which above all valued trust, loyalty and courage. [h] (#cite_note-50) The attainment of honor, fame and recognition was a primary ambition. Independence and individuality was highly emphasized. This emphasis largely prevented the emergence of a unified Germanic state. The environment in which the Germanic peoples emerged, notably their attachment to the forest and the sea, played a major role in shaping such values. Germanic literature is filled with scorn for characters who failed to live the Germanic ideals. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) Although Germanic society was highly stratified between leaders, freemen and slaves, their culture still emphasized equality. On occasion, the freemen of the tribe would overrule the decisions of their own leaders. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) Law [ edit ] Þorgnýr the Lawspeaker (/wiki/%C3%9Eorgn%C3%BDr_the_Lawspeaker) showing the power of his office to the King of Sweden at Gamla Uppsala (/wiki/Gamla_Uppsala) , 1018. The lawspeaker forced King Olof Skötkonung (/wiki/Olof_Sk%C3%B6tkonung) not only to accept peace with his enemy, King Olaf the Stout (/wiki/Olaf_II_of_Norway) of Norway, but also to give his daughter to him in marriage. Illustration by C. Krogh. Main article: Germanic law (/wiki/Germanic_law) See also: Mund (law) (/wiki/Mund_(law)) Common elements of Germanic society can be deduced both from Roman historiography (/wiki/Roman_historiography) and comparative evidence from the Early Medieval (/wiki/Early_Medieval) period. [43] (#cite_note-FOOTNOTEGermanic_law,_''Encyclopædia_Britannica_Online''-51) Kingship [ edit ] Main article: Germanic king (/wiki/Germanic_king) Further information: Reiks (/wiki/Reiks) and Kindins (/wiki/Kindins) A main element uniting Germanic societies was kingship (/wiki/Germanic_king) , in origin a sacral institution (/wiki/Sacral_king) combining the functions of military leader, high priest, lawmaker and judge. Germanic monarchy was elective (/wiki/Elective_monarchy) ; the king was elected by the free men from among eligible candidates of a family ( OE (/wiki/Old_English) cynn ) tracing their ancestry to the tribe's divine or semi-divine founder. Under the influence of the Roman Empire (/wiki/Roman_Empire) , the power of Germanic kings over their own people increased throughout the centuries, partially because mass-migrations of the time required more stern leadership. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) Caesar notes that in wartime, Germanic tribes would select a "magistrate" with supreme authority to wage war. Those who refused to follow him were considered traitors, and were subjected to social isolation: When a nation either defends itself in war or wages it, magistrates are selected to be in charge of the war with power of life and death... Those unwilling to follow are thought as deserters and traitors and are no longer trusted in anything. [i] (#cite_note-53) Assemblies [ edit ] Germanic thing (/wiki/Thing_(assembly)) , drawn after the depiction in a relief of the Column of Marcus Aurelius (/wiki/Column_of_Marcus_Aurelius) (193 CE (/wiki/Common_Era) ) Main article: Thing (assembly) (/wiki/Thing_(assembly)) All freemen had the right to participate in general assemblies or things (/wiki/Thing_(assembly)) , where disputes between freemen were addressed according to customary law. [ citation needed ] In the federalist (/wiki/Federalism) organization of Switzerland (/wiki/Switzerland) , where cantonal (/wiki/Cantons_of_Switzerland) structures remained comparatively local, the Germanic thing survived into the 21st century in the form of the Landsgemeinde (/wiki/Landsgemeinde) , albeit subject to federal law. [ citation needed ] Legal codes [ edit ] The king was bound to uphold ancestral law, but was at the same time the source for new laws for cases not addressed in previous tradition. This aspect was the reason for the creation of the various Germanic law codes by the kings following their conversion to Christianity (/wiki/Christianization_of_the_Germanic_peoples) : besides recording inherited tribal law, these codes have the purpose of settling the position of the church and Christian clergy within society, usually setting the weregilds (/wiki/Weregild) of the members of the clerical hierarchy parallel to that of the existing hierarchy of nobility, with the position of an archbishop (/wiki/Archbishop) mirroring that of the king. [ citation needed ] Generally speaking, Roman legal codes eventually provided the model for many Germanic laws and they were fixed in writing along with Germanic legal customs. [45] (#cite_note-FOOTNOTEWolfram1997310-54) Traditional Germanic society was gradually replaced by the system of estates (/wiki/Estates_of_the_realm) and feudalism (/wiki/Feudalism) characteristic of the High Middle Ages (/wiki/High_Middle_Ages) in both the Holy Roman Empire (/wiki/Holy_Roman_Empire) and Anglo-Norman (/wiki/Anglo-Norman_England) England in the 11th to 12th centuries, to some extent under the influence of Roman law (/wiki/Roman_law) as an indirect result of Christianisation, but also because political structures had grown too large for the flat hierarchy of a tribal society (/wiki/Tribal_society) . [ citation needed ] The same effect of political centralization took hold in Scandinavia slightly later, in the 12th to 13th century ( Age of the Sturlungs (/wiki/Age_of_the_Sturlungs) , Consolidation of Sweden (/wiki/Consolidation_of_Sweden) , Civil war era in Norway (/wiki/Civil_war_era_in_Norway) ), by the end of the 14th century culminating in the giant Kalmar Union (/wiki/Kalmar_Union) . [ citation needed ] Egill Skallagrímsson (/wiki/Egill_Skallagr%C3%ADmsson) engaging in holmgang (/wiki/Holmgang) with Berg-Önundr, painting by Johannes Flintoe (/wiki/Johannes_Flintoe) Elements of tribal law, notably the wager of battle (/wiki/Trial_by_combat) , remained in effect throughout the Middle Ages, in the case of the Holy Roman Empire until the establishment of the Imperial Chamber Court (/wiki/Imperial_Chamber_Court) in the early German Renaissance (/wiki/German_Renaissance) . Determining guilt [ edit ] Further information: Holmgang (/wiki/Holmgang) In the case of a suspected crime, the accused could avoid punishment by presenting a fixed number of free men (their number depending on the severity of the crime) prepared to swear an oath (/wiki/Oath) on his innocence. Failing in having witness testify in his favor, an accused man could prove his innocence in a trial. Such trials often the outcome when numerous individuals would swear oaths both in support and opposition of the defendant. Trials were typically either a trial by ordeal (/wiki/Trial_by_ordeal) or a trial by combat (/wiki/Trial_by_combat) . Common ordeals include trial by water (/wiki/Trial_by_ordeal) and trial by fire (/wiki/Trial_by_ordeal) . [46] (#cite_note-FOOTNOTEOwen1960147–150-55) If someone was accused of crimes against the community itself, the determining of guilt or innocence was generally left to the priests. [46] (#cite_note-FOOTNOTEOwen1960147–150-55) Punishment [ edit ] Further information: Bog body (/wiki/Bog_body) The Tollund Man (/wiki/Tollund_Man) of the 4th century BCE is one of the best studied examples of a bog body (/wiki/Bog_body) . Such bodies are often the remains of Germanic individuals subjected to capital punishment. Capital crimes in early Germanic culture included treason, cowardice in battle, desertion, assassination, degenerate magical practices and robbery. [46] (#cite_note-FOOTNOTEOwen1960147–150-55) Tacitus notes that traitors were on occasion hanged in trees, while cowards were disposed of by drowning them in swamps: "Traitors and deserters are hanged on trees. Cowards, those who will not fight, and those who have defiled their bodies, are plunged into a boggy mire, with a wicker hurdle pressed on top of them." [47] (#cite_note-FOOTNOTETacitus200943_[Ch._12]-56) Hanging was considered an offering to the gods, while the drowning in swamps was more of a symbolic act, intended to completely remove the criminal from contact with the living. Some bog bodies (/wiki/Bog_body) appear to have been bound, and it is possible that they were buried alive. [46] (#cite_note-FOOTNOTEOwen1960147–150-55) Corporal or capital punishment for free men does not figure prominently in the Germanic law codes, and banishment (/wiki/Banishment) appears generally to be the most severe penalty issued officially. This reflects that Germanic tribal law did not have the scope of exacting revenge (/wiki/Blood_feud) , which was left to the judgement of the family of the victim, but to settle damages as fairly as possible once an involved party decided to bring a dispute before the assembly. [ citation needed ] Weregild [ edit ] Main article: Weregild (/wiki/Weregild) Early Germanic law reflects a hierarchy of worth within the society of free men, reflected in the differences in weregild (/wiki/Weregild) . The weregild was instituted as a way to prevent the blood feuds (/wiki/Blood_feud) . It was a sum of money which was to be paid to the injured party as compensation for damage to person or property. [46] (#cite_note-FOOTNOTEOwen1960147–150-55) The amount of weregild to be paid depended upon the damage done and the position of the persons involved. It was generally regulated by the tribal assembly. [46] (#cite_note-FOOTNOTEOwen1960147–150-55) A fascinating component of early Germanic laws were the varying distinctions concerning the physical body, as each body part had a personal injury value and corresponding legal claims for personal injury viewed matters like gender, rank and status as a secondary interest when deliberating cases. [48] (#cite_note-FOOTNOTEOliver2011203–226-57) Among the Anglo-Saxons, a regular free man (a ceorl (/wiki/Churl) ) had a weregild of 200 shillings (/wiki/Shilling) (i.e. solidi (/wiki/Solidus_(coin)) or gold pieces), classified as a twyhyndeman "200-man" for this reason, while a nobleman commanded a fee of six times that amount ( twelfhyndeman "1200-man"). [ citation needed ] Among the Alemanni the basic weregild for a free man was 200 shillings, and the amount could be doubled or tripled according to the man's rank. Unfree serfs (/wiki/Serf) did not command a weregild, and the recompense paid in the event of their death was merely for material damage, 15 shillings in the case of the Alamanni, increased to 40 or 50 if the victim had been a skilled artisan. [ citation needed ] The social hierarchy is not only reflected in the weregild due in the case of the violent or accidental death of a man, but also in differences in fines for lesser crimes. Thus the fines for insults, injury, burglary or damage to property differ depending on the rank of the injured party. [ citation needed ] [j] (#cite_note-58) They do not usually depend on the rank of the guilty party, although there are some exceptions associated with royal privilege. [k] (#cite_note-59) Free women did not have a political station of their own but inherited the rank of their father if unmarried, or their husband if married. [ citation needed ] The weregild or recompense due for the killing or injuring of a woman is notably set at twice that of a man of the same rank in Alemannic law (/wiki/Lex_Alamannorum) . [ citation needed ] Property [ edit ] Caesar writes that Germanic peoples did not own private property, but that land was the property of the entire tribe, and was distributed by the tribal leaders to be occupied for a specified amount of time. Such measures were intended to prevent members of the tribe from becoming settled agriculturalists, and to prevent wealth concentration, which could become a source of instability. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) To a large degree, many of the extant legal records from the Germanic tribes seem to revolve around property transactions. [50] (#cite_note-FOOTNOTEOliver201127-61) In early Germanic society, the free men of property each ruled their own estate (/wiki/Estate_(house)) and were subject to the king directly, without any intermediate hierarchy as in later feudalism (/wiki/Feudalism) . Free men without landed property could swear fealty (/wiki/Oath) to a man of property who as their lord would then be responsible for their upkeep, including generous feasts (/wiki/Symbel) and gifts. This system of sworn retainers was central to early Germanic society, and the loyalty of the retainer to his lord generally replaced his family ties. [ citation needed ] Warfare [ edit ] The 3rd-century Great Ludovisi sarcophagus (/wiki/Great_Ludovisi_sarcophagus) depicts a battle between Goths (/wiki/Goths) and Romans (/wiki/Roman_army) . Main article: Early Germanic warfare (/wiki/Early_Germanic_warfare) Although the arrival of the Corded Ware culture in Northern Europe in the 3rd millennium BC must have been accompanied by widespread conflict, Germanic society during the Nordic Bronze Age of the 2nd millennium BC appears to have been largely peaceful. With the introduction of iron to Northern Europe however, Germanic society became heavily characterized by war. [51] (#cite_note-FOOTNOTEOwen1960119–133-62) Germanic weapons were usually spears, javelins, shields and sometimes broad slashing swords, known as Spathae to the Romans. Shields were round, oval or hexagonal, often painted with tribal or clan symbols. Body armour and helmets were rare, being reserved for chiefs and their inner circle of warriors, many Germanic warriors often fought naked. [52] (#cite_note-63) "Even iron is not plentiful with them, as we infer from the character of their weapons. But few use swords or long lances. They carry a spear [hasta] (framea is their name for it), with a narrow and short head, but so sharp and easy to wield that the same weapon serves, according to circumstances, for close or distant conflict. As for the horse-soldier, he is satisfied with a shield and spear; the foot-soldiers also scatter showers of javelins each man having several and hurling them to an immense distance, and being naked or lightly clad with a little cloak." -Tacitus, Germania Germanic warfare largely emphasized offensive infantry warfare. Armies would typically attack in a wedge formation, with chieftains leading from the front fighting side by side with their immediate family members. Germanic warriors would eventually also excel at horse-powered warfare and naval warfare. Fortifications were rarely used, and as a result, there was little use for siege equipment. [51] (#cite_note-FOOTNOTEOwen1960119–133-62) Raids by small war bands led by a charismatic leader, a so-called comitatus (/wiki/Comitatus) , was a common occurrence. Military training was started from an early age. During the time of the Roman Empire (/wiki/Roman_Empire) , large number of Germanic mercenaries served in the Roman army (/wiki/Roman_army) , some even gaining prominent positions. Early Germanic peoples believed that heroic death in battle would enable a warrior admittance to Valhalla, a majestic hall presided over by Odin, chief of the Germanic pantheon. [51] (#cite_note-FOOTNOTEOwen1960119–133-62) In times of distress, a Germanic tribe would on occasion embark on a wholesale mass-migration, in which the entire able-bodied population became engaged in war. In a series of Germanic Wars (/wiki/Germanic_Wars) , invading Germanic peoples overwhelmed the Western Roman Empire (/wiki/Western_Roman_Empire) and established themselves as the foremost military powers of Western Europe in its place. [51] (#cite_note-FOOTNOTEOwen1960119–133-62) Economy [ edit ] Further information: Félag (/wiki/F%C3%A9lag) Agriculture [ edit ] Germanic agriculture emphasized cereal production and animal husbandry (/wiki/Animal_husbandry) . This depended on the nature of the area. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Cereals produced by Germanic agriculturalists was normally used for home consumption, rather than being sold or exported. Cattle hides was however an important export for Germanic merchants. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) History [ edit ] Traces of the earliest pastoralism of the Germanic peoples appear in central Europe in the form of elaborate cattle burials along the Elbe and Vistula Rivers from around 4000–3000 BCE. [53] (#cite_note-FOOTNOTEWaldmanMason2006312-64) These archaeological remnants were left by the Globular Amphora culture (/wiki/Globular_Amphora_culture) who cleared forests for herding cattle and sometime after 3000 BCE began using wheeled carts and plows to cultivate their lands. Central to survival for their assistance in tilling the soil and supplying food, cattle became an economic resource to these early people. [54] (#cite_note-FOOTNOTEWaldmanMason2006313-65) The Funnelbeaker culture (/wiki/Funnelbeaker_culture) and Corded Ware culture and (circa. 2900–2300 BCE) coincide one another and provide evidence of how the ancestors of the Germanic peoples lived. [55] (#cite_note-FOOTNOTEWaldmanMason2006313–314-66) Roman descriptions [ edit ] Caesar writes that the Germanic tribes were not agricultural people, and that tribal leaders instituted active measures to prevent members of the tribe from becoming settled agriculturalists. Archaeological research has however discovered that this observation by Caesar is not entirely correct. Agriculture was and had been for a long time a key component in Germanic life. Caesar's observations were made from warlike tribes on the move near the Roman borders, and are thus not representative of all the Germanic peoples. That agriculture was an important part of Germanic life is attested by Caesar, when he writes that the Usipetes (/wiki/Usipetes) and Tencteri (/wiki/Tencteri) had been forced to migrate from their lands after the Suebi had sabotaged their crops. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Tacitus writes that the Germanic peoples were more of a pastoral people than an agricultural people. Wealth was in a large part measured by the amount of cattle owned. He noted that Germanic cattle was of smaller size than Roman cattle. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Crop raising [ edit ] The chief cereal grains produced were wheat and barley (/wiki/Barley) . In later times oats (/wiki/Oat) and rye (/wiki/Rye) were also cultivated. Garden products such as beans (/wiki/Beans) , beets (/wiki/Beets) , peas (/wiki/Peas) and turnips (/wiki/Turnips) were well known. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Evidence from a Saxon village known as Feddersen Wierde (/wiki/Feddersen_Wierde) near Cuxhaven (/wiki/Cuxhaven) , Germany (which existed between BCE 50 to CE 450) shows that the Germanic peoples cultivated oats (/wiki/Oat) and rye, used manure (/wiki/Manure) as fertilizer, and that they practiced crop rotation (/wiki/Crop_rotation) . [56] (#cite_note-FOOTNOTEOsborne200839-67) Husbandry [ edit ] Germanic agriculturalists primarily emphasized the raising of cattle, but goats, pigs (/wiki/Domestic_pigs) , horses and sheep also played an important role. This had been the case since at least the early Bronze Age. There were plenty of chickens, ducks and geese (/wiki/Geese) in Germanic farmyards. A Germanic farm was typically inhabited by a large number of dogs. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Germanic farmers harvested wool (/wiki/Wool) from their sheep, and used it for clothing. Oxen (/wiki/Oxen) were used to plow the fields and for drawing wagons. This was the main means of transport. Horses were used for riding, ans also later as a draft animal. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) In areas along the North Sea (/wiki/North_Sea) coast, cattle raising appears to have been prevalent. This was because the high probability of flooding made agriculture risky. Similarly, in mountainous areas with good pasture but poor soil, husbandry was prevalent. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Agricultural settlements [ edit ] Archaeological research has uncovered two forms of Germanic agricultural settlements. There were the farm village and the individual farm. The prevalence of either of these forms of settlements depended upon the nature of the land. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The prevalence of the individual farm among Germanic peoples has sometimes been ascribed to their love of independence. Such individual farms depended upon a plentiful supply of water. Areas with poor soil or where the area was broken up by hills also encouraged the prevalence of individual farms. In the Icelandic sagas only individual farms are mentioned, and this also appears to have been the case in Norway, from where most of the Icelanders (/wiki/Icelanders) came. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The establishment of agricultural villages was more common in areas with rich soil or a poor water supply. Such settlements were typically grouped around a common water supply. Such settlements required a more sophisticated form or communal organization. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Equipment [ edit ] The plough (/wiki/Plough) was the most important form of agricultural equipment for the early Germanic peoples, who had abandoned the hoe (/wiki/Hoe_(tool)) in Neolithic times. The Germanic words for plough are of distinct Indo-European origin. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The plough was typically drawn by oxen, as shown in Bronze Age rock carvings. The wheel plough was eventually introduced to them from the south. It significantly improved the efficiency of Germanic agriculture. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The Germanic tribes appear to have been the first peoples to use the heavy plough (/wiki/Heavy_plough) , which enabled them to farm the rough forested lowlands of Northern Europe. In this respect their technology was superior to that of the Romans. [l] (#cite_note-69) The Germanic word for harrow (/wiki/Harrow_(tool)) is of Indo-European origin, indicating that this tool was introduced at an early time. The sickle (/wiki/Sickle) was used for the reaping of grain, while the ancient practice of beating out grain with sticks or tramping it out remained prevalent for a long time. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Iron Age oak boat discovered at Nydam Mose (/wiki/Nydam_Mose) in Sønderborg (/wiki/S%C3%B8nderborg) , Denmark. The fields were tilled with a light-weight wooden ard (/wiki/Ard_(plough)) , although heavier models also existed in some areas. [ citation needed ] Fishing [ edit ] Among Germanic peoples living along the coasts, fishing was an important business. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Hunting [ edit ] This section is empty. You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Early_Germanic_culture&action=edit§ion=) . ( December 2019 ) Trade [ edit ] The Amber Road (/wiki/Amber_Road) from the Baltic Sea (/wiki/Baltic_Sea) to Rome (/wiki/Rome) Further information: Amber Road (/wiki/Amber_Road) , Trade during the Viking Age (/wiki/Trade_during_the_Viking_Age) , Trade route from the Varangians to the Greeks (/wiki/Trade_route_from_the_Varangians_to_the_Greeks) , and Volga trade route (/wiki/Volga_trade_route) The presence of amber in Mycenaean (/wiki/Mycenaean_Greece) graves, and the presence of Italian bronze daggers in Northern European graves, attest to trade relations between early Bronze Age Germanic peoples and the Mediterranean Sea (/wiki/Mediterranean_Sea) . Such trade further increased in volume through the Iron Age (/wiki/Iron_Age) . [58] (#cite_note-FOOTNOTEOwen1960174–178-70) The early Germanic peoples imported a large amount of gold from Ireland and ornaments from cultures along the Danube (/wiki/Danube) . Large amounts of amber (/wiki/Amber) has been discovered at sites of the Hallstatt culture (/wiki/Hallstatt_culture) , testifying to a massive export of this commodity by the Germanic peoples to their Celtic southern neighbors. From the Hallstatt culture, this amber found its way to the Villanovan culture (/wiki/Villanovan_culture) . In return, the Germanic peoples imported salt from the Hallstatt culture. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The arrival of iron from the south into Germanic territories led to a partial collapse of the Nordic Bronze Age. By this time the amber trade had declined. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) Map showing the major Varangian (/wiki/Varangians) trade routes: the Volga trade route (/wiki/Volga_trade_route) (in red) and the Dnieper and Dniester routes (/wiki/Trade_route_from_the_Varangians_to_the_Greeks) (in purple). Other trade routes of the 8th–11th centuries shown in orange. Roman goods exported by the Romans to Germanic territories include beads (/wiki/Bead) , coins, glassware, silverware and weapons. In turn the Romans received amber, cattle, fur and slaves. By the 4th century, wine became a very important Roman export to the Germanic world. It became a luxury product widely consumed by Germanic leaders. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) The two most important trade routes between Rome and the Germanic world went either along the North Sea coast or along the Vistula (/wiki/Vistula) towards the Adriatic (/wiki/Adriatic_Sea) . Significant trade routes were also located along the Oder (/wiki/Oder) and Elbe (/wiki/Elbe) rivers. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) Trade relations between Rome and the Germanic peoples increased throughout the history of the Roman Empire. This trade also facilitated increased cultural contacts. As the Germanic peoples became more and more acquainted with Roman industrial products, their appreciation of Roman coinage (/wiki/Roman_currency) increased. The importation of Roman coins into Germanic territories reduced the importance of amber in Germanic society. Large collections of Roman coinage have been found deep into Germanic territories, even in Scandinavia. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) Returning Germanic mercenaries in the Roman army (/wiki/Roman_army) brought back many Roman products to their communities. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) One of the reasons the Romans may have drawn borders along the Rhine, besides the sizable population of Germanic warriors on one side of it, was that the Germanic economy was not robust enough for them to extract much booty nor were they convinced they could acquire sufficient tax revenue from any additional efforts of conquest. Drawing a distinctive line between themselves and Germanic people also incentivized alliances and trade as the Germanic people sought a share of the imperial wealth. [59] (#cite_note-FOOTNOTEManco2013202-71) Finance [ edit ] In early Germanic society, amber was an important medium of exchange. [58] (#cite_note-FOOTNOTEOwen1960174–178-70) Early Germanic peoples are recorded as being intensely opposed to taxation. For this reason, it is noted by Salvian (/wiki/Salvian) , native Romans in many cases preferred "barbarian" rule over Roman rule. [60] (#cite_note-FOOTNOTEKristinsson2010172-72) "For in the Gothic country the barbarians are so far from tolerating this sort of oppression that not even Romans who live among them have to bear it. Hence all the Romans in that region have but one desire, that they may never have to return to the Roman jurisdiction. It is the unanimous prayer of the Roman people in that district that they may be permitted to continue to lead their present life among the barbarians." [60] (#cite_note-FOOTNOTEKristinsson2010172-72) Roman coinage was coveted by the Germanic people who preferred silver to gold coins, mostly likely indications that a market economy was developing. Tacitus does mention the presence of a bartering system being observable among the Germanic people, but this was not exclusive, as he also writes of their use of "gold and silver for the purpose of commerce", adding rather sardonically in his text, that they preferred silver for buying cheap everyday goods. [61] (#cite_note-FOOTNOTETacitus200940_[Ch._5]-73) Such observations from Tacitus aside, fine metalwork, iron and glassware was soon being traded by the Germanic peoples along the coast of the North Sea of Denmark and the Netherlands (/wiki/Netherlands) . [62] (#cite_note-FOOTNOTEWaldmanMason2006315–316-74) Slavery [ edit ] Main article: Thrall (/wiki/Thrall) Slavery was common among the early Germanic peoples. Slaves were both captured during war and purchased. Certain slaves had on the contrary lost their freedom through gambling. Such individuals were however generally expelled from the community. As the Germanic peoples were frequently engaged in war, there was a constant supply of cheap slaves, although slavery was never as important an institution as it became in ancient Rome. [63] (#cite_note-FOOTNOTEOwen1960150–153-75) In the Germanic economy, slaves performed both domestic work and farm labor. Attractive female slaves would often end up as concubines (/wiki/Concubine) for leaders and wealthy landowners. Gladiator (/wiki/Gladiator) games between slaves, such as those carried out in ancient Rome, is not mentioned as having been common among Germanic peoples, although it is possible that such games were arranged among the Germanic peoples living on the Roman border. [63] (#cite_note-FOOTNOTEOwen1960150–153-75) According to Tacitus, Germanic peoples treated slaves more mildly than contemporary peoples. Although the master had complete power of life and death over his slave, mistreatment of slaves is not recorded in early Germanic literature. In the Icelandic sagas, the children of slaves and masters are often mentioned as playing with each other. The manumission (/wiki/Manumission) of slaves among Germanic peoples was common, just as it was among the Romans. Owen notes that the life of a Germanic slave was "infinitely better than on the industrialized farms of Italy.". [63] (#cite_note-FOOTNOTEOwen1960150–153-75) Craftsmanship [ edit ] [W]ith their great ferocity [Germans] combine great craft, to an extent scarcely credible to one who has had no experience with them, and are a race to lying born... [64] (#cite_note-FOOTNOTEWinkler2016303-76) – Marcus Velleius Paterculus (/wiki/Marcus_Velleius_Paterculus) After 1300 BCE the societies of Jutland (/wiki/Jutland) and Northern Germany (/wiki/Northern_Germany) along with the Celtic people experienced a major revolution in technology during the Late Bronze Age, shaping tools, containers and weapons through the improved techniques of working bronze. [ citation needed ] Both the sword and the bow and arrow as well as other weaponry proliferate and an arms race of sorts between the tribes ensued as they tried to outpace one another. Trade was taking place to a greater degree and simple gems and amber from the Mediterranean indicate that long-distance exchange of goods was occurring. [65] (#cite_note-FOOTNOTEWaldmanMason2006314–315-77) Important small-scale industries in Germanic society were weaving (/wiki/Weaving) , the manual production of basic pottery (/wiki/Pottery) and, more rarely, the fabrication of iron tools, especially weapons. [ citation needed ] When the Iron Age arrived, the Germanic people showed greater mastery of ironworks than their Celtic contemporaries but they did not have the extensive trade networks during this period that their southern neighbors enjoyed with the Greco-Roman world. [66] (#cite_note-FOOTNOTEWaldmanMason2006315-78) [m] (#cite_note-80) In many cases in fact, ancient Germanic smiths and other craftsmen produced products of higher quality than the Romans. [n] (#cite_note-82) [o] (#cite_note-84) Germanic metalworkers must have held very important positions in their societies. This is attested by the respect accorded to master craftsmen in Germanic literature, such as Wayland the Smith (/wiki/Wayland_the_Smith) . [58] (#cite_note-FOOTNOTEOwen1960174–178-70) Architecture [ edit ] Mead hall [ edit ] Main article: Mead hall (/wiki/Mead_hall) A reconstructed Viking Age mead hall (/wiki/Mead_hall) (28.5 metres long). A significant structure in Germanic architecture was the mead hall (/wiki/Mead_hall) . It was designed for the purpose of serving as a dining-hall, sleeping-room and assembly for the chieftain and his followers. Such hall are vividly described in the Germanic epics. In Beowulf (/wiki/Beowulf) , which takes place in 6th century Scandinavia, the mead hall is described as a quadrilateral structure of wood with a raised platform on either side within. In the center on one side of the mead-hall, there was a high-seat and a secondary high-seat, which were reserved for the chieftain and his guest of honor respectively. In front of the high-seats were long tables upon which heavy planks were raised. The chief's followers would sleep in the hall at raised platforms during the night, with their equipment hanging above on the wall ready for use. The king would normally sleep in a separate structure. A blazing hearth (/wiki/Hearth) was placed in the center of the hall. Infrastructure [ edit ] Archaeologists have discovered a number of well-constructed roads across moors in Germanic territories. Although the Germanic peoples were not road-builders, paths and wagon tracks were created. They later learned the art of road-building from Roman engineers (/wiki/Roman_engineering) . [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Germanic peoples did not build bridges. Rivers were instead crossed at fords or by boats. This is vividly described in the Nibelungenlied. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Dwellings [ edit ] The dwelling houses of the Germanic tribes varied by locality and time period. Typically, they were of timber and constructed rectangularly with walls of upright posts. Intervening spaces were filled with interwoven twigs (/wiki/Twig) and branches (/wiki/Branch) , and then smeared with clay (/wiki/Clay) . When dry this had the same effect as modern stucco (/wiki/Stucco) . Roofs were thatched with grass or straw. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Early Germanic houses were typically unitary, housing both humans and animals. Buildings often had upright logs or posts as walls, long crossed rafters (/wiki/Rafter) at the top and thatched (/wiki/Thatching) saddle roofs (/wiki/Saddle_roof) , with the interior of the house being divided into three parts by two rows of posts. The entrance was typically on the side and there was an exit in the roof for the smoke from the hearth. The living quarters were generally in one part of the building, while the stalls for cattle were in the side areas. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Round houses were not uncommon in Germanic architecture, but was more frequent among the Celts. This form of architecture appears to have been borrowed by Germanic peoples encroaching upon Celtic territory, such as the Marcomanni (/wiki/Marcomanni) . On the Column of Marcus Aurelius (/wiki/Column_of_Marcus_Aurelius) , Roman soldiers are depicted setting fire to such round houses belonging to the Marcomanni. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) A more simple Germanic construction were log huts with thatched roofs at an angle of ca. 45 degrees. Such structures are described by Strabo (/wiki/Strabo) and Pliny, who claim that those could be loaded on wagons and established at a new place. These constructions were probably utilized during times of war or migration. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Germanic houses were frequently constructed on artificial mounds as a measure against flooding. This form of construction was particularly common along the North Sea coast, where floods were frequent. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Houses belonging to powerful members of the community were normally quite spacious. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Settlements [ edit ] Further information: Árheimar (/wiki/%C3%81rheimar) and Birka (/wiki/Birka) Germanic settlements were typically small, rarely containing much more than ten households, often less, and were usually located by clearings in the woods. [p] (#cite_note-86) Settlements remained of a fairly constant size throughout the period. [ citation needed ] Germanic settlements were typically along the coasts and rivers. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Other buildings [ edit ] The more simple structures in Germanic villages were often dug-out shelters with dung (/wiki/Cow_dung) -covered roofs. These were generally used as supply-rooms, work-rooms or dwelling places for the poor. [70] (#cite_note-FOOTNOTEOwen1960139–143-85) Feddersen Wierde [ edit ] A reconstructed house from Feddersen Wierde in the Hannover Museum The best known settlements are the wurts, or warfts in North Germany. The classic site is Feddersen Wierde (/wiki/Feddersen_Wierde) , near Cuxhaven at the mouth of the River Weser. This was inhabited from the first century BC until the fifth century AD, when due to the rising sea level, they probably emigrated to England. A comprehensive archaeological excavation between 1954 and 1963 yielded valuable knowledge about prehistoric settlements in the North Germany Music [ edit ] This section is empty. You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Early_Germanic_culture&action=edit§ion=) . ( December 2019 ) Cuisine [ edit ] Diet [ edit ] Although the Germanic tribes practiced both agriculture and husbandry, the latter was extremely important both as a source of dairy products and as a basis for wealth and social status, which was measured by the size of an individual's herd. [71] (#cite_note-FOOTNOTEKishlanskyGearyO'Brien2008164-87) Caesar writes that the Germanic peoples mainly consumed milk, cheese and meat. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) The diet consisted mainly of the products of farming and husbandry and was supplied by hunting to a very modest extent. Barley and wheat were the most common agricultural products and were used for baking a certain flat type of bread as well as brewing beer. [56] (#cite_note-FOOTNOTEOsborne200839-67) Beowulf and the Icelandic sagas describe a society with a plentiful supply of food. [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Many of the famous Germanic mass-migrations carried out appear to have been motivated by famine (/wiki/Famine) , often induced by crop failures (/wiki/Crop_failure) . [49] (#cite_note-FOOTNOTEOwen1960166–174-60) Drinks [ edit ] Vendel Period (/wiki/Vendel_Period) bronze horn fittings and 3rd century glass drinking horn on display at the Swedish Museum of National Antiquities (/wiki/Swedish_Museum_of_National_Antiquities) . Further information: Mead (/wiki/Mead) and Symbel (/wiki/Symbel) Early Germanic peoples prepared both ale (/wiki/Ale) , mead (/wiki/Mead) , beer and wine. The importance of drinking at social functions is vividly described in pieces of Germanic literature such as Beowulf, the Nibelungenlied and the Poetic Edda (/wiki/Poetic_Edda) . [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Both the words beer and ale (/wiki/Ale) are of distinct Germanic origin, having no cognates (/wiki/Cognate) in other Indo-European languages (/wiki/Indo-European_languages) . In early Germanic culture, beer had been sweetened by honey (/wiki/Honey) , while ale was made from grain alone. Since the honey had to be imported from the south, it is probable that ale was being drunk among the Germanic tribes earlier than beer. [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Tacitus notes that the Germanic drink was "a liquid made from barley or wheat fermented into a faint resemblance of whine." [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Evidence from Germanic literature and the Germanic vocabulary show that mead played a particularly important role in early Germanic culture. The oldest mentioning of mead (/wiki/Mead) being drunk by the Germanic tribes is from the 5th century writer Priscus (/wiki/Priscus) , who writes that mead was being consumed at the court of Attila. Mead was prepared through boiling a mixture of water and honey and leaving it to ferment (/wiki/Ferment) . In later times wine was added to the mead. [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Wine seems to have been introduced to the Germanic tribes at a late date, as this drink could not be produced in Northern Europe, and had to be imported. [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Contrary to Caesar, Tacitus writes that several Germanic tribes were known to drink excessively. Germanic drinking bouts were often accompanied with violence. Tacitus adds in this connection that the Germanic peoples were more easily defeated through exploiting their vices than by attacking them militarily. [72] (#cite_note-FOOTNOTEOwen1960133–139-88) Caesar notes that certain warlike and powerful Germanic tribes, such as the Nervii (/wiki/Nervii) and Suebi, practiced teetotalism (/wiki/Teetotalism) , banning the import of alcoholic beverages to their territories in order to combat degeneracy. [q] (#cite_note-90) [r] (#cite_note-92) Family life [ edit ] "The Women of the Teutons (/wiki/Teutons) Defend the Wagon Fort (/wiki/Laager) " (1882) by Heinrich Leutemann (/wiki/Heinrich_Leutemann) The most important family relationships among the early Germanic peoples were within the individual household, a fact based on the archaeological evidence from their settlements where the long-houses appeared to be central in their existence. Within the household unit, an individual was equally bound to both the mother and the father's side of the family. [75] (#cite_note-FOOTNOTETodd200432-93) Fathers were the main figures of authority, [76] (#cite_note-FOOTNOTEWaldmanMason2006317-94) but wives also played an important and respected role. Children were valued, and according to Tacitus, limiting or destroying one's offspring was considered shameful. Mothers apparently breast-fed their own children rather than using nurses. [ citation needed ] Besides parents and children, a household might include slaves, but slavery was uncommon, and according to Tacitus, slaves normally had households of their own. Their slaves (usually prisoners of war) were most often employed as domestic servants. [76] (#cite_note-FOOTNOTEWaldmanMason2006317-94) Extended family [ edit ] Further information: Sippe (/wiki/Sippe) and Norse clans (/wiki/Norse_clans) A drinking scene on an image stone (/wiki/Image_stone) from Gotland (/wiki/Gotland) , in the Swedish Museum of National Antiquities (/wiki/Swedish_Museum_of_National_Antiquities) in Stockholm. A Germanic family was part of an extended family known as the sippe (/wiki/Sippe) , which was the basis for the organization of Germanic society. The sippe provided the basis for the organization of the "hundreds" in times of war, and determined the amount of weregild to be paid in disputes. A family was the core of the household, which also included slaves and others who worked on the estate. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) The writings of Tacitus allude to the Germanic peoples being aware of a shared ethnicity (/wiki/Ethnicity) , in that, they either knew or believed that they shared a common biological ancestor with one another. [ citation needed ] Just how pervasive this awareness may have been is certainly debatable, but other factors like language, clothing, ornamentation, hair styles, weapon types, religious practices and shared oral history were likely just as significant in tribal identity for the Germanic peoples. [77] (#cite_note-FOOTNOTEWaldmanMason2006318-95) Members of a Germanic tribe told tales about the exploits of heroic founding figures who were more or less mythologized. Village life consisted of free men assembled under a chieftain, all of whom shared common cultural and political traditions. Status among the early Germanic tribes was often gauged by the size of a man's cattle herd or by one's military prowess. [78] (#cite_note-FOOTNOTEGeary1999111-96) Before their conversion to Christianity, the Germanic peoples of Europe were made up of several tribes (/wiki/Tribe) , each functioning as an economic and military unit and sometimes united by a common religious cult. Outsiders could be adopted into a new tribe. Kinship (/wiki/Kinship) , especially close kinship, was very important to life within a tribe but generally was not the source of a tribe's identity. In fact, several elements of ancient Germanic life tended to weaken the role of kinship: the importance of the retinues (/wiki/Retinue) surrounding military chieftains (/wiki/Chieftain) , the ability of strong leaders to unite people who were not closely related, and feuds (/wiki/Feud) and other conflicts within a tribe that might lead to permanent divisions. [13] (#cite_note-FOOTNOTEOwen1960153–166-16) A code of ethics in battle prevailed among the Germanic kin. According to Tacitus, the greatest disgrace that can befall a warrior of a clan among the Germanic tribes was the abandonment of their shield during combat, as this almost certainly resulted in social isolation. [79] (#cite_note-FOOTNOTETacitus200940_[Ch._6]-97) Within tribal Germanic society, their social hierarchy was linked intrinsically to war and this warrior code maintained the fidelity between chiefs and their young warriors. [80] (#cite_note-FOOTNOTEHeather2003324-98) Feuds were the standard means for resolving conflicts and regulating behavior. Peace within the tribe was about controlling violence with codes identifying exactly how certain types of feuds were to be settled. [77] (#cite_note-FOOTNOTEWaldmanMason2006318-95) Those closely related to a person who had been injured or killed were supposed to exact revenge on or monetary payment from the offender. This duty helped reaffirm the bonds between extended family members. Yet such feuds weakened the tribe as a whole, sometimes leading to the creation of a new tribe as one group separated from the rest. Clans of Germanic people consisted of groupings of about 50 households in total with societal rules for each specific clan. [76] (#cite_note-FOOTNOTEWaldmanMason2006317-94) Recent scholarship suggests that, despite the obligation to take part in feuds and other customs involving kinship ties, extended families (/wiki/Extended_families) did not form independent units among the early Germanic peoples. [ citation needed ] Though most members of a tribe would have been more or less distantly related, common descent was not the main source of a tribe's identity, and extended families were not the main social units within a tribe. Traditional theories have emphasized the supposedly central role in Germanic culture of clans or large groups with common ancestry. But there is little evidence that such clans existed, and they were certainly not an important element of social organization. As historian Alexander C. Murray concludes, "kinship was a crucial factor in all aspects of barbarian activity, but its uses and groupings were fluid, and probably on the whole not long lasting." [81] (#cite_note-FOOTNOTEMurray198364-99) Internal competition within the factions of a tribe occasionally resulted in internecine warfare which weakened and sometime destroyed a group, as appears to have been the case for the Cherusci tribe during Rome's earlier period. [82] (#cite_note-FOOTNOTETodd200430-100) When a certain number of families resided on the same territory, this constituted a village ( Dorf in German). The overall territory occupied by people from the same tribe was designated in the writings of Tacitus as a civitas , with each of the individual civitas divided into pagi (or cantons), which were made up of several vici . [ citation needed ] In cases where the tribes were grouped into larger confederations or a group of kingdoms, the term pagus (/wiki/Pagus) was applied ( Gau in German). [83] (#cite_note-FOOTNOTEBémontMonod2012410–415-101) Extensive contact with Rome altered the egalitarian structure of tribal Germanic society. As individuals rose to prominence, a distinction between commoner and nobility developed and with it the previous constructs of folkright shared equally across the tribe was replaced in some cases by privilege. [84] (#cite_note-FOOTNOTEWaldmanMason2006321-102) As a result, Germanic society became more stratified (/wiki/Social_stratification) . Elites within the Germanic tribes who learned the Roman system and emulated the way they established dominion were able to gain advantages and exploit them accordingly. [85] (#cite_note-FOOTNOTEPohl199734-103) Important changes began taking place by the 4th century CE as Germanic peoples, while still cognizant of their unique clan identities, started forming larger confederations of a similar culture. Gathering around the dominant tribes among them and hearkening to the most charismatic leaders brought the various barbarians tribes closer together. On the surface this change appeared to the Romans as welcome since they preferred to deal with a few strong chiefs to control the populations that they feared across the Rhine and Danube, but it eventually made these Germanic rulers of confederated peoples more and more powerful. [86] (#cite_note-FOOTNOTESantosuo20049-104) While strong, they were still not federated to one another since they possessed no sense of "pan-Germanic solidarity", but this started to change noticeably by the 5th century CE at Rome's expense. [87] (#cite_note-FOOTNOTEWard-Perkins200550–51-105) Role of women [ edit ] Hervor (/wiki/Hervor) dying after the Battle of the Goths and Huns (/wiki/Hl%C3%B6%C3%B0skvi%C3%B0a) , by Peter Nicolai Arbo (/wiki/Peter_Nicolai_Arbo) See also: Shieldmaiden (/wiki/Shieldmaiden) In early Germanic society, a woman had no formal political rights, meaning that she was not permitted to participate in popular or tribal assemblies. She could be represented through her male relatives, and thus only exert influence from behind the scenes. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Despite their lack of direct political influence, Roman writers note that Germanic women had much influence in their society. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Some tribes believed that women possessed magical powers and were feared accordingly. [89] (#cite_note-FOOTNOTEWilliams199879-107) Female priestesses had a major influence on decisions made by Cimbri (/wiki/Cimbri) and Teutones (/wiki/Teutones) during the Cimbrian War (/wiki/Cimbrian_War) , and Ariovistus (/wiki/Ariovistus) during his war with Caesar. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Germanic epics, such as the Nibelungenlied and Beowulf, describe the strong influence which royal women exerted in their society. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Goddesses revered among the Germanic tribes include Nerthus (/wiki/Nerthus) of the Ingvaeones and Freya (/wiki/Freya) . [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Tacitus describes how, during battles, Germanic warriors were encouraged and cared for by their wives and mothers. Germanic literature contains many references to mischief caused by women. Women playing a prominent role in Germanic literature include Gudrun (/wiki/Gudrun) , Brunhild (/wiki/Brunhild) and the wives of Gunther (/wiki/Gunther) and Njáll Þorgeirsson (/wiki/Nj%C3%A1ll_%C3%9Eorgeirsson) . [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Sexuality [ edit ] Julius Caesar (/wiki/Julius_Caesar) notes that early Germanic peoples believed sexual abstinence (/wiki/Sexual_abstinence) until adulthood increased physical growth and manliness. [90] (#cite_note-FOOTNOTEOwen1960152–153-108) For a young Germanic man, having had sexual relations with a woman before the age of twenty was considered a disgrace: "Life is all in hunting and military exercise. From childhood they train for labor and hardship. They have great praise among them for those who remain longest without sexual experience. Some think this makes for height, muscle, and strength. Indeed to have had knowledge of a woman before age twenty they think very shameful, and there is no hiding it..." [91] (#cite_note-FOOTNOTECaesar2019154,_6.21-109) Caesar further noted, to his amazement, that men and women would frequently bath naked together in lakes and rivers. [90] (#cite_note-FOOTNOTEOwen1960152–153-108) Marital relations [ edit ] Process of marriage [ edit ] The Ring of Pietroassa (/wiki/Ring_of_Pietroassa) (drawing by Henri Trenk (/wiki/Henri_Trenk) , 1875). Generally, there were two forms of marriage among the Germanic peoples, one involving the participation of the parents and the other, those that did not. Known as Friedelehe , the latter form consisted of marriage between a free man and a free woman, since marriage between free persons and slaves was forbidden by law. [92] (#cite_note-FOOTNOTEFrassetto2003262-110) Of note, Tacitus observed that "The dowry (/wiki/Dowry) is not brought by the wife to the husband but by the husband to the wife" and wedding gifts related to a marriage consisted of things like oxen, saddles and various armaments. The marriage of a daughter was typically arranged by her parents, although the wishes of the daughter was generally taken into considerations. Sometimes girls would be given away for marriage as a way to preserve the peace. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Marriageable age [ edit ] The age at first marriage (/wiki/Marriageable_age) among ancient Germanic tribes, according to Tacitus, was late for women compared to Roman women: "The young men are slow to mate, and reach manhood with unimpaired vigour. Nor are the virgins hurried into marriage. Being as old and as tall as the men, they are equal to their mates in age and strength, and the children inherit the robustness of their parents." [93] (#cite_note-FOOTNOTETacitus200948_[Ch._20]-111) Where Aristotle (/wiki/Aristotle) had set the prime of life at 37 years for men and 18 for women, the Visigothic Code (/wiki/Visigothic_Code) of law in the 7th century placed the prime of life at twenty years for both men and women, after which both presumably married. Thus it can be presumed that ancient Germanic brides were on average about twenty and were roughly the same age as their husbands. [94] (#cite_note-FOOTNOTEHerlihy198573–75-112) Anglo-Saxon women, like those of other Germanic tribes, are marked as women from the age of twelve onward, based on archaeological finds, implying that the age of marriage coincided with puberty (/wiki/Puberty) . [95] (#cite_note-FOOTNOTEGreenSiegmund2003107-113) Monogamy vs. polygamy [ edit ] Based on the writings of Tacitus, most of the Germanic men were content with one wife, which indicates a general trend towards monogamy (/wiki/Monogamy) . Tacitus notes that the Germanic tribes were strictly monogamous, and that adultery was severely punished: Considering the great size of the population, adultery is very rare. The penalty for it is instant and left to the husband. He cuts off her hair, strips her naked in the presence of kinsmen, and flogs her all through the village. They have no mercy on a woman who prostitutes her chastity. Neither beauty, nor youth, nor wealth can find her another husband. In fact, no one there laughs about vice, nor is seducing and being seduced called "modern"... To limit the number of their children or to kill one of the later-born is regarded as a crime. [96] (#cite_note-FOOTNOTETacitus200947-48_[Ch._19]-114) For those higher within their social hierarchy however, polygamy (/wiki/Polygamy) was sometimes solicited on account of their rank. [97] (#cite_note-FOOTNOTETacitus200947_[Ch._18]-115) [s] (#cite_note-116) Intermarriage [ edit ] Statue of Thusnelda (/wiki/Thusnelda) , wife of Arminius (/wiki/Arminius) , at Loggia dei Lanzi (/wiki/Loggia_dei_Lanzi) , Florence. For Germanic kings, warrior chieftains, senators and Roman nobility (/wiki/Roman_nobility) , a certain degree of intermarriage was undertaken to strengthen their ties to one another and to the Empire, making marriage or connubium as the Romans connoted the bond, an instrument of politics. [98] (#cite_note-FOOTNOTEWolfram1997105-117) Earlier treaty terms in the late 4th century CE had forbidden "foreign" Goths to intermarry with Romans. [99] (#cite_note-FOOTNOTEWolfram199788-118) Some of the marriage attempts of the 6th century CE were deliberately planned for the sake of royal succession. Imperial policy had to be carefully charted between the Roman-Germanic claimants to kingship and the maintenance of Roman imperial administration, as the federated Germanic kings attempted to put their stamp on Roman rule and replace Roman armies with their own warriors. Roman leaders were not oblivious to the clever tactics (intermarriage and offspring) employed by Germanic chieftains and adopted creative treaties to either appease them or temper their ambitions. [100] (#cite_note-FOOTNOTEWolfram1997106–107-119) Marriage roles [ edit ] Upon being married, a Germanic woman fell under the guardianship of her husband. She became his property. If a man was proven guilty of being violent towards his wife, her family would in some cases begin feud against her husband. Such feuds are described vividly in the Icelandic sagas. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Revealing the warlike nature of their society, Tacitus reported that wives came to their husbands as a partner in toils and dangers; to suffer and to dare equally with him, in peace and in war. [97] (#cite_note-FOOTNOTETacitus200947_[Ch._18]-115) Upon the death of their husbands and other male relatives on the battlefield and the defeat of their tribe, Germanic women are recorded by Roman historians as having killed their children (/wiki/Infanticide) and committed suicide. Such was the fate of the women of the Cimbri and Teutons after their defeat in the Cimbrian War. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) For Germanic women of later antiquity, marriage obviously had its appeal since it offered greater security and better placement in their social hierarchy. [101] (#cite_note-FOOTNOTEFrassetto2003261-120) Evidence of Germanic patriarchy (/wiki/Patriarchy) is evident later in the 7th century CE Edict of Rothari (/wiki/Edict_of_Rothari) of the Lombards, which stated that women were not allowed to live of their own freewill and that they had to be subject to a man and if no one else, they were to be "under the power of the king". [102] (#cite_note-FOOTNOTEBury1928281-121) From the Icelandic sagas, it becomes evident that married women had almost complete control of household management. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) In the case of renowned leaders, their wives were sometimes burned alive with their dead husbands. This tradition is vividly described in the Germanic epics, and the wives who subjected themselves to immolation are praised for their loyalty to their husbands. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Divorce [ edit ] In cases of divorce described in the Icelandic sagas, the purchase price for the woman had to be paid back to her parents, and she was permitted to retain property legally owned by her. [88] (#cite_note-FOOTNOTEOwen1960143–147-106) Archaeology [ edit ] Further information: Corded Ware culture (/wiki/Corded_Ware_culture) , Nordic Bronze Age (/wiki/Nordic_Bronze_Age) , Pre-Roman Iron Age (/wiki/Pre-Roman_Iron_Age) , Roman Iron Age (/wiki/Roman_Iron_Age) , Germanic Iron Age (/wiki/Germanic_Iron_Age) , Vendel Period (/wiki/Vendel_Period) , and Viking Age (/wiki/Viking_Age) This section is empty. You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Early_Germanic_culture&action=edit§ion=) . ( December 2019 ) See the Jastorf culture (/wiki/Jastorf_culture) for a discussion of Germanic archaeology. Art [ edit ] Further information: Migration Period art (/wiki/Migration_Period_art) , Anglo-Saxon art (/wiki/Anglo-Saxon_art) , and Viking art (/wiki/Viking_art) This section is empty. You can help by adding to it (https://en.wikipedia.org/w/index.php?title=Early_Germanic_culture&action=edit§ion=) . ( December 2019 ) Appearances [ edit ] Attempt to reconstruct Bastarnae (/wiki/Bastarnae) costumes at the Archaeological Museum of Kraków (/wiki/Archaeological_Museum_of_Krak%C3%B3w) . Such clothing and weapons were commonplace among peoples on the Roman Empire's borders. Sources [ edit ] The practice of cremation by Germanic tribes of the Bronze Age and Pre-Roman Iron Age has made it difficult to ascertain the clothing of Germanic peoples during the initial years of the Iron Age. By the beginning of the Roman Iron Age (/wiki/Roman_Iron_Age) however, burial practices were again changing, although little clothing is generally preserved in burials. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) The clothing of Germanic criminals buried in the moors (/wiki/Moorland) has however been well preserved due to the physical conditions. The descriptions by Roman writers, and particularly the depictions of Germanic warriors on Roman columns, provide valuable evidence of the clothing used by the early Germanic peoples. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Clothing [ edit ] Further information: Anglo-Saxon dress (/wiki/Anglo-Saxon_dress) Male clothing [ edit ] By the Roman Iron Age, as in the Bronze Age, Germanic peoples were wearing long-sleeved jackets reaching down the knees, and a skin or woolen mantle (/wiki/Mantle_(clothing)) held at the neck with a brooch or safety pin. Contrary to the Bronze Age however, trousers were now being used. This custom had been adopted from the Celts, who in turn had adopted this custom from nomads (/wiki/Eurasian_nomads) of the steppes (/wiki/Eurasian_Steppe) . The adoption of this custom has been ascribed to climatic changes and the increased role of horsemanship in Germanic culture at the time. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Caesar notes that the Suebi wore only skins, but Tacitus does not agree with this in his observations a hundred years later. While customs might have changed during this time, it is probable that Caesar based his observations strictly from warriors. Evidence from Roman columns and moor bodies substantiate Tacitus. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Roman monuments typically depicts Germanic warriors as being naked from the waist up, except from a mantle worn over the shoulders. This was probably to achieve increased mobility. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) From about the 3rd century AD, linen (/wiki/Linen) clothing appears more frequently, which is a sign of increasing wealth. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Reconstruction of the garments of the Vandalic (/wiki/Vandals) couple, with the male having his hair in a " Suebian knot (/wiki/Suebian_knot) " (160 AD), Archaeological Museum of Kraków (/wiki/Archaeological_Museum_of_Krak%C3%B3w) , Poland. Jackets from the 3rd century AD were typically worn over a linen garment. Short knee trousers were also worn. This is shown from moor burials, and from the fact that such trousers began to be used by Roman soldiers at the time, probably as an imitation of Germanic warriors. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Female clothing [ edit ] Further information: Hangaroc (/wiki/Hangaroc) and Hangerok (/wiki/Hangerok) The dress of Germanic women changed considerably from the Bronze Age to the Iron Age. In particular, skirts were more ample and free-flowing. The girle-ornament of the Bronze Age was no longer worn. Tacitus writes that Germanic women more frequently wore linen garments than men. They wore long dresses that were generally dyed in red or other colors. This dress had a high waist and was generally sleeveless. The dress of Germanic women indicate a high degree of practical knowledge of the use of materials. Women must have had a knowledge of dying, and colors were certainly derived from plants. Germanic women are notably depicted in one Roman illustration with trousers and the upper part of the breast partly exposed. This is however not the case from moor burials and other illustrations. It is possible that this illustration was of a female figure symbolizing Germania rather than a typical Germanic woman. Headgear [ edit ] While Germanic males of the Bronze Age generally wore a helm-like cap, the Iron Age was characterized by leaving heads uncovered, whereas the head decorations of Germanic women varied considerably with the times. [104] (#cite_note-FOOTNOTEOwen1960115–118-123) Women typically wore various kinds of "combs, hairpins and head decoration" as well as ornaments around the forehead; it was also customary for women to wear their hair long and short hair was considered "a mark of disgrace." [105] (#cite_note-FOOTNOTEOwen1960118-124) Shoes [ edit ] Early Germanic peoples typically wore shoes of the sandal (/wiki/Sandal) type. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Hairstyles [ edit ] The Osterby Head (/wiki/Osterby_Man#Osterby_Head) with Suebian knot (/wiki/Suebian_knot) Further information: Suebian knot (/wiki/Suebian_knot) By the Iron Age, Germanic warriors, particularly those of the Suebi, are known for wearing their hair in a so-called Suebian knot (/wiki/Suebian_knot) . [103] (#cite_note-FOOTNOTEOwen1960115–119-122) By the 3rd century AD, significant changes had occurred with regards to the Germanic hairstyle. The custom of wearing the hair long had become prominent among such peoples as the Franks, among whom it became a sign of noble birth and eligibility for kingship. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Germanic warriors are often depicted in Roman columns with full beards (/wiki/Beard) , but this practice probably varied from tribe to tribe and period to period. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Germanic women typically wore their hair long or plaited. Germanic women wore various types of hairpins and combs. It was considered disgraceful to wear the hair short. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Ornaments [ edit ] The Germanic peoples of the Bronze Age are well known for their ornaments (/wiki/Ornament_(art)) . The same techniques were handed down to the craftsmen of the Iron Age. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) The display of ornaments played an important part in early Germanic culture. Products were made of both bronze (/wiki/Bronze) , gold and silver. Early Germanic literature reserves a prominent place for ornaments such as the Brísingamen (/wiki/Br%C3%ADsingamen) of the goddess Freya, the Nibelung (/wiki/Nibelung) hoard and the heirlooms of Beowulf. [103] (#cite_note-FOOTNOTEOwen1960115–119-122) Recreational activities [ edit ] Gambling [ edit ] Roman writers note that Germanic peoples were extremely fond of gambling. Francis Owen note that these Roman observations were made from Germanic warriors, who were not necessarily representative of their communities as a whole. [106] (#cite_note-FOOTNOTEOwen1960151-125) Germanic studies [ edit ] Further information: Viking revival (/wiki/Viking_revival) , Gothicism (/wiki/Gothicism) , Scandinavism (/wiki/Scandinavism) , and Pan-Germanism (/wiki/Pan-Germanism) Thor's Fight with the Giants (/wiki/Thor%27s_Fight_with_the_Giants) (1872) by Mårten Eskil Winge (/wiki/M%C3%A5rten_Eskil_Winge) was made during the Viking revival (/wiki/Viking_revival) . The Renaissance (/wiki/Renaissance) revived interest in pre-Christian Classical Antiquity (/wiki/Classical_Antiquity) and only in a second phase in pre-Christian Northern Europe. [107] (#cite_note-FOOTNOTEMcGrath2015146–151-126) The Germanic peoples of the Roman era were often lumped with the other agents of the " barbarian (/wiki/Barbarian) " invasions, the Alans (/wiki/Alans) and the Huns (/wiki/Huns) , as opposed to the civilized Roman identity of the Holy Roman Empire (/wiki/Holy_Roman_Empire) . [108] (#cite_note-FOOTNOTEBurns20033–9,_14–23,_331-127) Early modern publications dealing with Old Norse (/wiki/Old_Norse) culture appeared in the 16th century, e.g. Historia de gentibus septentrionalibus ( Olaus Magnus (/wiki/Olaus_Magnus) , 1555) and the first edition of the 13th century Gesta Danorum (/wiki/Gesta_Danorum) (Saxo Grammaticus), in 1514. [109] (#cite_note-FOOTNOTEGolther19083-128) Authors of the German Renaissance (/wiki/German_Renaissance) such as Johannes Aventinus (/wiki/Johannes_Aventinus) discovered the Germani of Tacitus as the "Old Germans", whose virtue and unspoiled manhood, as it appears in the Roman accounts of noble savagery (/wiki/Noble_savage) , they contrast with the decadence of their own day. [110] (#cite_note-FOOTNOTEStrauss1963229–230-129) The pace of publication increased during the 17th century with Latin translations of the Edda (notably Peder Resen's Edda Islandorum of 1665). The Viking revival (/wiki/Viking_revival) of 18th century Romanticism (/wiki/Romanticism) created a fascination with anything "Nordic" in disposition. [111] (#cite_note-FOOTNOTEMjöberg1980207–238-130) The beginning of Germanic philology (/wiki/Germanic_philology) proper begins in the early 19th century, with Rasmus Rask (/wiki/Rasmus_Rask) 's Icelandic Lexicon of 1814, and was in full bloom by the 1830s, with Jacob Grimm (/wiki/Jacob_Grimm) 's Deutsche Mythologie (/wiki/Deutsche_Mythologie) giving an extensive account of reconstructed Germanic mythology (/wiki/Germanic_mythology) and composing a German dictionary ( Deutsches Wörterbuch (/wiki/Deutsches_W%C3%B6rterbuch) ) of Germanic etymology (/wiki/Common_Germanic) . [112] (#cite_note-FOOTNOTEChisholm1911414-131) Jacob Grimm also coauthored with his brother Wilhelm (/wiki/Wilhelm_Grimm) , the famous Grimm's Fairy Tales (/wiki/Grimm%27s_Fairy_Tales) . Apart from linguistic studies, the subject of what became of the Roman era Germanic tribes, and how they influenced the Middle Ages (/wiki/Middle_Ages) and the development of modern Western culture (/wiki/Western_culture) was a subject discussed during the Enlightenment (/wiki/The_Enlightenment) by such as writers as Montesquieu (/wiki/Montesquieu) and Giambattista Vico (/wiki/Giambattista_Vico) . [113] (#cite_note-FOOTNOTEKramerMaza2002124–138-132) The development of Germanic studies as an academic discipline in the 19th century ran parallel to the rise of nationalism (/wiki/Nationalism) in Europe and the search for national histories (/wiki/Nationalism_and_historiography) for the nascent nation states (/wiki/Nation_state) developing after the end (/wiki/Congress_of_Vienna) of the Napoleonic Wars (/wiki/Napoleonic_Wars) . [114] (#cite_note-FOOTNOTEJansen2011242–243-133) A Germanic national ethnicity offered itself for the unification of Germany (/wiki/Unification_of_Germany) , contrasting the emerging German Empire (/wiki/German_Empire) with its neighboring rivals of differing ancestry. [115] (#cite_note-FOOTNOTEJansen2011242–249-134) The emergence of a German ethnic identity was subsequently founded upon national myths (/wiki/National_myth) of Germanic antiquity. [116] (#cite_note-FOOTNOTEMosse196467–87-135) These tendencies culminated in a later Pan-Germanism (/wiki/Pan-Germanism) , Alldeutsche Bewegung which had as its aim, the political unity of all of German-speaking Europe (/wiki/German-speaking_Europe) (all Volksdeutsche (/wiki/Volksdeutsche) ) into a Germanic nation state. [117] (#cite_note-FOOTNOTEMosse1964218–225-136) [118] (#cite_note-FOOTNOTESmith198997–111-137) Contemporary Romantic nationalism (/wiki/Romantic_nationalism) in Scandinavia placed more weight on the Viking Age (/wiki/Viking_Age) , resulting in the movement known as Scandinavism (/wiki/Scandinavism) . [119] (#cite_note-FOOTNOTEDerry201227,_220,_238–248-138) Following World War II (/wiki/World_War_II) there was a backlash against nationalism, and as a response, government support for the study of ancient Germanic history and culture was significantly reduced both in Germany and Scandinavia. [t] (#cite_note-140) In these years, what remained of Germanic studies was characterized by a reaction against nationalism. Archaeological attempts to assign an identity to early Germanic peoples was deliberately avoided. [u] (#cite_note-142) The uniqueness, common northern origins and antiquity of the early Germanic peoples were called into question. [v] (#cite_note-Todd_9-143) The movement gained particular momentum during the 1960s. It has been strongly associated with the so-called Vienna School , which is associated with the European Science Foundation (/wiki/European_Science_Foundation) and includes prominent members such as Reinhard Wenskus (https://de.wikipedia.org/wiki/Reinhard_Wenskus) , Walter Pohl (/wiki/Walter_Pohl) , Herwig Wolfram (/wiki/Herwig_Wolfram) . [122] (#cite_note-FOOTNOTELiebeschuetz2015314-144) These scholars employed sociological (/wiki/Sociology) theories to reject the concept of ethnicity (/wiki/Ethnicity) entirely. While Wenskus earlier maintained that the early Germanic peoples held a certain core-tradition ( Traditionskern ), Pohl has later maintained that early Germanic peoples had no institutions or values of their own, and made no contribution to medieval Europe whatsoever. [w] (#cite_note-Liebeschuetz_xxi-145) These views are seconded by Wolfram, who states that Germans (/wiki/Germans) and Scandinavians (/wiki/Scandinavians) "have as much a Germanic history" as " Slavic nations (/wiki/Slavs) , Greeks (/wiki/Greeks) , Turks (/wiki/Turkish_people) and even the Tunisians (/wiki/Tunisians) and Maltese (/wiki/Maltese_people) ." [123] (#cite_note-FOOTNOTEWolfram199712-146) Wolf Liebeschuetz (/wiki/Wolf_Liebeschuetz) has characterized the theories of the Vienna School as "extraordinarily one-sided" and "dogmatism", and its proponents as having "a closed mind". [w] (#cite_note-Liebeschuetz_xxi-145) More recently, an even more radical group has emerged, which also employs sociological theories to deconstruct (/wiki/Deconstruction) Germanic peoples, while accusing the Vienna School of being " crypto (https://en.wiktionary.org/wiki/crypto) - nationalists (/wiki/Nationalists) ". Andrew Gillett (/wiki/Andrew_Gillett) has emerged as a leading figure among these scholars. According to them, linguistic evidence and Roman and early Germanic literature is unreliable, while archaeology "cannot be used to distinguish between peoples, and should not be used to trace migration". They state that Germanic culture was entirely derived from the Romans, and that there was therefore "no Germanic contribution to medieval Europe." [x] (#cite_note-149) Gillett's theories have been dismissed by Liebeschuetz [y] (#cite_note-Liebeschuetz_xxv-151) as "flawed because they depend on a dogmatic and selective use of the evidence" and "very strongly ideological". [z] (#cite_note-153) In modern times, Malcolm Todd (/wiki/Malcolm_Todd) writes, the ideologically motivated theories of the post-war era have lost currency. The origins of the Germanic peoples are again traced to the first millennium BC, or even the Late Neolithic (/wiki/Late_Neolithic) , in Northern Europe. [v] (#cite_note-Todd_9-143) See also [ edit ] Wikimedia Commons has media related to Ancient Germanic history and culture (https://commons.wikimedia.org/wiki/Category:Ancient_Germanic_history_and_culture) . Early Slavs (/wiki/Early_Slavs) Ancient Greece (/wiki/Ancient_Greece) Ancient Rome (/wiki/Ancient_Rome) Scythians (/wiki/Scythians) Sarmatians (/wiki/Sarmatians) Notes [ edit ] ^ (#cite_ref-11) See: Don Ringe, A Linguistic History of English: From Proto-Indo-European to Proto-Germanic (New York: Oxford University Press, 2006), 213. ^ (#cite_ref-12) Of the Germanic languages, the only well-attested East Germanic language is Gothic. [a] (#cite_note-11) ^ (#cite_ref-14) For more on this, see: Kurt Braunmüller, "Was ist Germanisch heute?" Sprachwissenschaft 25 (2000): 271–295. ^ (#cite_ref-22) As late as the 10th century there is evidence of runic writing on a stone monument erected by the first Christian king of Denmark (/wiki/Denmark) , Harald Bluetooth (/wiki/Harald_Bluetooth) . In the text, Harald honors his parents using runic script and on the other side of the stone is a depiction of 'Christ in His Glory', incorporating a runic inscription which extolls Harald for acquiring Denmark (/wiki/Denmark) and Norway (/wiki/Norway) and for converting the Danes (/wiki/Danes_(Germanic_tribe)) into Christians. See: Moltke (1985). Runes and Their Origin: Denmark and Elsewhere , pp. 207–220. ^ (#cite_ref-28) Many groups of Germanic peoples shared one form or another of a creation story where a divine being emerges from nothingness only to be sacrificed and torn to pieces; the bones of this divine creature (named Ymir) produced the rocks, his flesh became the earth, his blood formed the seas, the clouds emerged from his hair, and his skull made up the sky. [22] (#cite_note-FOOTNOTEEliade1984155–156-26) In this creation story, a mighty tree called Yggdrasill (/wiki/Yggdrasill) is situated at the center of the earth, its top touching the sky, its branches covering the earth, and the great tree's roots plunging into hell. Connecting the three planes of "Heaven, Earth, and Hades", this "Universal Tree" symbolized the universe itself. [23] (#cite_note-FOOTNOTEEliade1984157-27) ^ (#cite_ref-34) The principle shared deity among the Germanic tribes, Odin-Wodan, (in varying name forms) was not only the god of war, but of the dead as well. Odin protected great heroes in combat but often killed his "protégés", who were led to him by the Valkyries (/wiki/Valkyrie) and gathered together at Valhalla (/wiki/Valhalla) to practice fighting in preparation for the final eschatological battle of the Ragnarök (/wiki/Ragnar%C3%B6k) . [28] (#cite_note-FOOTNOTEEliade1984161-33) ^ (#cite_ref-43) See: Levison (1905). Vitae Sancti Bonifatii archiepiscopi moguntini , pp. 31–32. ^ (#cite_ref-50) "The rigorous ethics of early Germanic society, based on trust, loyalty, and courage, and the perhaps somewhat idealized picture of the moral code given by Tacitus, had a divine sanction..." [42] (#cite_note-FOOTNOTEGermanic_religion_and_mythology,_''Encyclopædia_Britannica_Online''-49) ^ (#cite_ref-53) "When a nation either defends itself in war or wages it, magistrates are selected to be in charge of the war with power of life and death... Those unwilling to follow are thought as deserters and traitors and are no longer trusted in anything." [44] (#cite_note-FOOTNOTECaesar2019155,_6.23-52) ^ (#cite_ref-58) E.g. "If a freeman steal from the king, let him pay ninefold", in the Law of Æthelberht (/wiki/Law_of_%C3%86thelberht) , paragraph 4. ^ (#cite_ref-59) E.g. reduction of the weregild to half the regular amount if the man responsible for the killing is employed by the king in the laws of Æthelberht of Kent, paragraph 7. ^ (#cite_ref-69) "Teutonic tribes who moved into a large part of western Europe did not come empty-handed, and in some respects their technology was superior to that of the Romans. It has already been observed that they were people of the Iron Age, and although much about the origins of the heavy plow remains obscure these tribes appear to have been the first people with sufficiently strong iron plowshares to undertake the systematic settlement of the forested lowlands of northern and western Europe, the heavy soils of which had frustrated the agricultural techniques of their predecessors. The invaders came thus as colonizers. They may have been regarded as "barbarians" by the Romanized inhabitants of western Europe who naturally resented their intrusion, and the effect of their invasion was certainly to disrupt trade, industry, and town life. But the newcomers also provided an element of innovation and vitality." [57] (#cite_note-FOOTNOTEHistory_of_Technology:_Medieval_advance_(500–1500_ce),_''Encyclopædia_Britannica_Online''-68) ^ (#cite_ref-80) "The Teutonic tribes who conquered and divided the Roman Empire were little versed in the monumental arts and unskilled in figure representation; but in metalworking, in the making of weapons and other utilitarian objects, and in the delicate ornament of the goldsmith's art they excelled.." [67] (#cite_note-FOOTNOTEMetalwork:_Teutonic_Tribes,_''Encyclopædia_Britannica_Online''-79) ^ (#cite_ref-82) "Some smiths were able to rework iron into high-quality steel and make sword blades with a core of softer steel for flexibility and harder steel on the exterior to keep a sharp edge, far finer weapons than those used in the Roman army at the time." [68] (#cite_note-FOOTNOTEWaldmanMason2006324-81) ^ (#cite_ref-84) "Furthermore, the skills of Germanic smiths and other craftsmen were as good as, or better than those found inside the Roman empire." [69] (#cite_note-FOOTNOTEMacDowall200016-83) ^ (#cite_ref-86) This and the following information is based on P.J. Geary, Before France and Germany. The Creation and Transformation of the Merovingian World (New York: Oxford University Press, 1988), 44 ff. and M. Innes, Introduction to Early Medieval Western Europe, 300–900 (Abingdon 2007), 71–72. ^ (#cite_ref-90) "[T]hey allowed import of no wine or other luxury goods, because they thought these things weakned spirits and diminshed courage..." [73] (#cite_note-FOOTNOTECaesar201951,_2.15-89) ^ (#cite_ref-92) "They do not let wine be imported to them, for they think it softens men for hard work and makes them womanly." [74] (#cite_note-FOOTNOTECaesar201951,_4.2-91) ^ (#cite_ref-116) See: Young, Bruce W. (2008). Family Life in the Age of Shakespeare . Greenwood Press, pp. 16–17. ^ (#cite_ref-140) "In Germany...the first need was to detach prehistoric studies from the political influences of the pre-war period. German archaeologists, like their Scandinavian colleagues though sometimes for different reasons, have had to make do with very slender financial resources." [120] (#cite_note-FOOTNOTEOxenstierna19673-139) ^ (#cite_ref-142) "Archaeological attempts to assign an identity to the Germani have been consciously avoided since the end of the Second World War." [121] (#cite_note-FOOTNOTEClay2008146-141) ^ a b "Modern approaches to the problem of German origins have to a large extent been governed by shifts in political feeling... In the early 1960s, Germanic origins came under intense examination from linguists as well as archaeologists. Long-held notions about the separateness of the Germans were seriously challenged. The spread of Germanic peoples from a northern heart-land was brought into question and the creation of a Germanic identity was linked with the advance of Roman power to the Rhine and Danube. The reaction against extreme nationalism had gone too far. In the 1980s the pendulum began a backward swing. Once again, arguments which trace the origin of the Germanic peoples to a remote period of European prehistory, to the later Neolithic, are heard... It is possible to accept that the ancestors of the Germans known to our earliest surviving historical accounts can be traced back to the mid-first millennium bc..." [128] (#cite_note-FOOTNOTETodd20049–11-154) ^ a b "Walter Pohl, had a completely closed mind to any view that admitted that these northern gentes had genuine histories and traditions of their own. Not content to demolish the view that these tribes were essentially racial organizations, they relied on sociological theory that ethnicity is nothing more than a negotiated system of social classification, and that ethnic differences are "situational," to deny these peoples any institutions and values of their own, and so to reduce their contribution to medieval Europe to nothing at all. Such dogmatism is easily explained as a reaction to Nazi racism but it is nevertheless extraordinarily one-sided." [124] (#cite_note-FOOTNOTELiebeschuetz2015xxi-147) ^ (#cite_ref-149) "After the 1939–45 war, it was obvious to nearly every one that racialism was not only immoral but also based on pseudo-science. There was a reaction, which resulted among other things in a revision of views about the early Germans... [R]evisionism continues. A younger generation has now appeared, and taken the argument further... They use a sociological model which implies that social groups are infinitely flexible, and can be transformed more or less at will... This view is represented in a series of papers edited by Andrew Gillett and published in 2002. The collection presents a highly intelligent systematic deconstruction of the picture constructed by scholarship since the early 19th century, i.e., criticising even Wenskus and his school as crypto-nationalists. The argument of these, on the whole younger, scholars is that there was no coreculture— either of the Germani as a whole, or even of the separate Germanic tribes. They assert that if we know practically nothing about any of these peoples before they entered the Roman empire, that is because they did not know anything themselves... Those 'Germanic' customs which we know the Germans acquired in the empire, and from the Romans. We cannot therefore identify any specifically Germanic contribution to the post-Roman world." [125] (#cite_note-FOOTNOTELiebeschuetz201587-90-148) ^ (#cite_ref-Liebeschuetz_xxv_151-0) "Chapter 6 reviews the debate on the nature of the Germanic tribes that established kingdoms in the provinces of the Empire. It argues that these people did indeed possess both core traditions and a sense of shared identity, and that these had evolved well before their entry into the Roman world." [126] (#cite_note-FOOTNOTELiebeschuetz2015xxv-150) ^ (#cite_ref-153) ""[C]ontinuous transformation is not incompatible with the possession of core-traditions. The various Germanic tribes possessed such traditions, and these tradition made it possible for these groups to function as effective units, and to survive from generation to generation. Some traditions, especially language, all the tribes had in common... In my opinion the arguments of opponents of the Traditionskern theory are flawed because they depend on a dogmatic and selective use of the evidence... To demolish the view that the Dark Age tribes had an identity based on ethnic core-traditions, the authors of the Gillett volume devote a great deal of energy to disqualifying the scholarship of earlier generations as distorted by mainly nationalist ideology. Yet they show no awareness that their own positions are very strongly ideological, deriving from the rejection of nationalism and the acceptance of multiculturalism, that are conspicuous features of current western values, and which find practical expression, among other things, in the downgrading of national patriotism in the interest of the European ideal." [127] (#cite_note-FOOTNOTELiebeschuetz201599-100-152) References [ edit ] Citations [ edit ] ^ (#cite_ref-1) Kinder, Hermann (1988), Penguin Atlas of World History , vol. 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East and West in Late Antiquity: Invasion, Settlement, Ethnogenesis and Conflicts of Religion . BRILL (/wiki/Brill_Publishers) . ISBN (/wiki/ISBN_(identifier)) 9789004289529 . MacDowall, Simon (2000). Germanic Warrior 236-568 AD . Bloomsbury USA (/wiki/Bloomsbury_Publishing) . ISBN (/wiki/ISBN_(identifier)) 1841761524 . Manco, Jean (2013). Ancestral Journeys: The Peopling of Europe from the First Venturers to the Vikings . New York: Thames & Hudson. ISBN (/wiki/ISBN_(identifier)) 978-0-500-05178-8 . McDonald, J.D. (2005). "Y Haplogroups of the World (PDF map)" (https://web.archive.org/web/20131211101657/http://www.scs.illinois.edu/~mcdonald/WorldHaplogroupsMaps.pdf) (PDF) . University of Illinois . Archived from the original (http://www.scs.illinois.edu/~mcdonald/WorldHaplogroupsMaps.pdf) (PDF) on 11 December 2013 . Retrieved 22 April 2015 . McGrath, Alister (2015). Christianity: An Introduction . Malden, MA: Wiley-Blackwell. ISBN (/wiki/ISBN_(identifier)) 978-1-118-46565-3 . McKitterick, Rosamond (2008). Charlemagne: The Formation of a European Identity . New York: Cambridge University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-521-71645-1 . Mjöberg, Johan (1980). "Romanticism and Revival". In David Wilson (ed.). The Northern World . London: Thames and Hudson. ISBN (/wiki/ISBN_(identifier)) 978-0-500-28430-8 . Moltke, Erik. Runes and Their Origin: Denmark and Elsewhere . Copenhagen: Nationalmuseets Forlag, 1985. ISBN (/wiki/ISBN_(identifier)) 87-480-0578-9 (/wiki/Special:BookSources/87-480-0578-9) Morgan, Kenneth (2001). The Oxford History of Britain . Oxford and New York: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19-280135-7 . Mosse, George (1964). The Crisis of German Ideology: Intellectual Origins of the Third Reich . New York: Grosset & Dunlap. ASIN (/wiki/ASIN_(identifier)) B000W259Y8 (https://www.amazon.com/dp/B000W259Y8) . Murray, Alexander C. (1983). Germanic Kinship Structure: Studies in Law and Societies in Antiquity and the Early Middle Ages . Toronto: Pontifical Institute of Mediaeval Studies. ISBN (/wiki/ISBN_(identifier)) 978-0-88844-065-5 . Musset, Lucien (1993). The Germanic Invasions, the Making of Europe 400–600 AD . New York: Barnes & Noble. ISBN (/wiki/ISBN_(identifier)) 1-56619-326-5 . Oliver, Lisi (2011). The Body Legal in Barbarian Law . Toronto: University of Toronto. ISBN (/wiki/ISBN_(identifier)) 978-0-8020-9706-4 . Osborne, Roger (2008). Civilization: A New History of the Western World . New York: Pegasus Books. ISBN (/wiki/ISBN_(identifier)) 978-1-933648-76-7 . Owen, Francis (/wiki/Francis_Owen_(philologist)) (1960). The Germanic People . New York: Bookman Associates. Oxenstierna, Eric (/wiki/Eric_Oxenstierna) (1967). The World of the Norsemen . Nordgermanen.English. London: Weidenfeld & Nicolson (/wiki/Weidenfeld_%26_Nicolson) . Ostler, Nicholas (2006). Empires of the Word: A Language History of the World . New York: Harper Perennial. ISBN (/wiki/ISBN_(identifier)) 978-0-06-093572-6 . Pasley, Malcolm (/wiki/Malcolm_Pasley) ; Bithell, Jethro (/wiki/Jethro_Bithell) (1972). Germany: a companion to German studies . Methuen (/wiki/Methuen_Publishing) . ISBN (/wiki/ISBN_(identifier)) 1438129181 . Petit, Paul (/wiki/Paul_Petit_(historian)) ; MacMullen, Ramsay (/wiki/Ramsay_MacMullen) . "Ancient Rome: The Barbarian Invasions" (https://www.britannica.com/place/ancient-Rome/The-Later-Roman-Empire#ref26693) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica) . Retrieved 12 July 2018 . Pohl, Walter (1997). "The Barbarian Successor States". In Leslie Webster (/wiki/Leslie_Webster_(art_historian)) ; Michelle Brown (/wiki/Michelle_P._Brown) (eds.). The Transformation of the Roman World, AD 400–900 . London: British Museum Press. ISBN (/wiki/ISBN_(identifier)) 978-0-7141-0585-7 . Price, Arnold H. (1965). "The Germanic Forest Taboo and Economic Growth". Vierteljahrshefte für Sozial-und Wirtschaftsgeschichte . 52 (3): 368–378. JSTOR (/wiki/JSTOR_(identifier)) 20729190 (https://www.jstor.org/stable/20729190) . Ringe, Don. A Linguistic History of English: From Proto-Indo-European to Proto-Germanic . New York: Oxford University Press, 2006. ISBN (/wiki/ISBN_(identifier)) 978-0-19-955229-0 (/wiki/Special:BookSources/978-0-19-955229-0) Robinson, Orrin (1992). Old English and its Closest Relatives: A Survey of the Earliest Germanic Languages . London: Routledge. ISBN (/wiki/ISBN_(identifier)) 978-0-8047-1454-9 . Santosuo, Antonio (2004). Barbarians, Marauders, and Infidels: The Ways of Medieval Warfare . New York: MJF Books. ISBN (/wiki/ISBN_(identifier)) 978-1-56731-891-3 . Smith, Woodruff D. (1989). The Ideological Origins of Nazi Imperialism . New York: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19-504741-7 . Stein, Peter G. (/wiki/Peter_Stein_(legal_scholar)) ; Glendon, Mary Ann (/wiki/Mary_Ann_Glendon) . "Germanic law" (https://www.britannica.com/topic/Germanic-law) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica) . Retrieved 8 September 2019 . Strauss, Gerald (1963). Historian in an Age of Crisis. The Life and Work of Johannes Aventinus, 1477–1534 . Cambridge, Massachusetts: Harvard University Press. ASIN (/wiki/ASIN_(identifier)) B0000CLVQC (https://www.amazon.com/dp/B0000CLVQC) . Tacitus, Cornelius (2009). Agricola and Germany . Translated by Anthony R. Birley. New York: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19953-926-0 . Todd, Malcolm (/wiki/Malcolm_Todd) (2004). The Early Germans . Blackwell Publishing (/wiki/Wiley-Blackwell) . ISBN (/wiki/ISBN_(identifier)) 1-4051-1714-1 . Turville-Petre, E.O.G (/wiki/Gabriel_Turville-Petre) ; Polomé, Edgar Charles (/wiki/Edgar_Charles_Polom%C3%A9) . "Germanic religion and mythology" (https://www.britannica.com/topic/Germanic-religion-and-mythology) . Encyclopædia Britannica (/wiki/Encyclop%C3%A6dia_Britannica) . Retrieved 12 July 2018 . Waldman, Carl; Mason, Catherine (2006). Encyclopedia of European Peoples . New York: Facts on File. ISBN (/wiki/ISBN_(identifier)) 978-0-8160-4964-6 . Ward-Perkins, Bryan (2005). The Fall of Rome: And the End of Civilization . New York: Oxford University Press. ISBN (/wiki/ISBN_(identifier)) 978-0-19-280728-1 . Wightman, Edith Mary (1985). Gallia Belgica . Berkeley and Los Angeles: University of California Press. ISBN (/wiki/ISBN_(identifier)) 978-0-520-05297-0 . Williams, Derek (1998). Romans and Barbarians . New York: St. Martin's Press. ISBN (/wiki/ISBN_(identifier)) 0-312-19958-9 . Wilson, Derek (2005). Charlemagne: A Biography . New York: Vintage Books. ISBN (/wiki/ISBN_(identifier)) 978-0-307-27480-9 . Winkler, Martin M. (2016). Arminius the Liberator: Myth and Ideology . Oxford University Press (/wiki/Oxford_University_Press) . ISBN (/wiki/ISBN_(identifier)) 978-0190252915 . Wolfram, Herwig (1997). The Roman Empire and its Germanic Peoples . Berkeley and Los Angeles: University of California Press. ISBN (/wiki/ISBN_(identifier)) 0-520-08511-6 . Further reading [ edit ] Fleming von Sweringen, Grace (October 1909). "Women in the Germanic Hero-Sagas". Journal of English and Germanic Philology (/wiki/Journal_of_English_and_Germanic_Philology) . 8 (4). University of Illinois Press (/wiki/University_of_Illinois_Press) : 501–512. JSTOR (/wiki/JSTOR_(identifier)) 27699995 (https://www.jstor.org/stable/27699995) . Green, D. H. (/wiki/Dennis_Howard_Green) (2004). Language and History in the Early Germanic World . Cambridge University Press (/wiki/Cambridge_University_Press) . ISBN (/wiki/ISBN_(identifier)) 0521794234 . Gummere, Francis Barton (/wiki/Francis_Barton_Gummere) (1892). Germanic Origins: A Study in Primitive Culture . D. Nutt (/wiki/David_Nutt_(publisher)) . ISBN (/wiki/ISBN_(identifier)) 9780521794237 . Hachmann, Rolf (/wiki/Rolf_Hachmann) (1971). The Germanic peoples . Barrie and Jenkins (/wiki/Barrie_%26_Jenkins) . ISBN (/wiki/ISBN_(identifier)) 9780214652189 . Hinds, Kathryn (2010). Early Germans . Marshall Cavendish (/wiki/Marshall_Cavendish) . ISBN (/wiki/ISBN_(identifier)) 978-0761445159 . Krüger, Bruno (https://de.wikipedia.org/wiki/Bruno_Kr%C3%BCger) [in German] . Die Germanen [ The Germanic Peoples ] (in German). Vol. 1. Akad.-Verlag (/wiki/Akademie_Verlag) . ISBN (/wiki/ISBN_(identifier)) 978-0761445159 . Murdoch, Brian (/wiki/Brian_O._Murdoch) (1996). The Germanic Hero: Politics and Pragmatism in Early Medieval Poetry . A & C Black (/wiki/A_%26_C_Black) . ISBN (/wiki/ISBN_(identifier)) 1441174656 . Thompson, E. A. (/wiki/Edward_Arthur_Thompson) (1965). The Early Germans . Clarendon Press (/wiki/Clarendon_Press) . ISBN (/wiki/ISBN_(identifier)) 9780198142522 . Todd, Malcolm (/wiki/Malcolm_Todd) (1975). The Northern Barbarians, 100 B.C.-A.D. 300 . Hutchinson (/wiki/Hutchinson_(publisher)) . ISBN (/wiki/ISBN_(identifier)) 0091222206 . Wobrey, William; Murdoch, Brian (/wiki/Brian_O._Murdoch) ; Hardin, James N.; Read, Malcolm Kevin (2004). Early Germanic Literature and Culture . Boydell & Brewer (/wiki/Boydell_%26_Brewer) . ISBN (/wiki/ISBN_(identifier)) 157113199X . "A Comparative Grammar of the Early Germanic Languages" (https://archive.org/details/a-comparitive-grammar-of-early-germanic-languages) . Nelson Goering . English Studies, 102:1, 144-153. v t e Germanic peoples (/wiki/Germanic_peoples) Ethnolinguistic group (/wiki/Ethnolinguistic_group) of Northern European (/wiki/Northern_Europe) origin primarily identified as speakers of Germanic languages (/wiki/Germanic_languages) History Nordic Bronze Age (/wiki/Nordic_Bronze_Age) Pre-Roman Iron Age (/wiki/Pre-Roman_Iron_Age) Roman Iron Age (/wiki/Roman_Iron_Age) Germanic Iron Age (/wiki/Germanic_Iron_Age) Viking Age (/wiki/Viking_Age) Early culture Architecture (/wiki/Early_Germanic_architecture) Art (/wiki/Migration_Period_art) Calendar (/wiki/Early_Germanic_calendars) Clothing (/wiki/Early_Germanic_clothing) Family (/wiki/Family_in_early_Germanic_culture) Festivals (/wiki/Early_Germanic_festivals) Folklore (/wiki/Germanic_mythology) Proto-Germanic folklore (/wiki/Proto-Germanic_folklore) Anglo-Saxon mythology (/wiki/Anglo-Saxon_mythology) Continental Germanic mythology (/wiki/Continental_Germanic_mythology) Norse mythology (/wiki/Norse_mythology) 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language (/wiki/Germanic_parent_language) Proto-Germanic language (/wiki/Proto-Germanic_language) East Germanic languages (/wiki/East_Germanic_languages) North Germanic languages (/wiki/North_Germanic_languages) West Germanic languages (/wiki/West_Germanic_languages) Groups (/wiki/List_of_ancient_Germanic_peoples) Alemanni (/wiki/Alemanni) Brisgavi (/wiki/Brisigavi) Bucinobantes (/wiki/Bucinobantes) Lentienses (/wiki/Lentienses) Raetovari (/wiki/Raetovari) Adrabaecampi (/wiki/Adrabaecampi) Angles (/wiki/Angles_(tribe)) Anglo-Saxons (/wiki/Anglo-Saxons) Ambrones (/wiki/Ambrones) Ampsivarii (/wiki/Ampsivarii) Angrivarii (/wiki/Angrivarii) Armalausi (/wiki/Armalausi) Auiones (/wiki/Auiones) Avarpi (/wiki/Avarpi) Baemi (/wiki/Baemi) Baiuvarii (/wiki/Baiuvarii) Banochaemae (/wiki/Banochaemae) Bastarnae (/wiki/Bastarnae) Batavi (/wiki/Batavi_(Germanic_tribe)) Belgae (/wiki/Belgae) Germani cisrhenani (/wiki/Germani_cisrhenani) Atuatuci (/wiki/Atuatuci) Caeroesi (/wiki/Caerosi) Condrusi (/wiki/Condrusi) Eburones (/wiki/Eburones) Paemani (/wiki/Paemani) Segni (/wiki/Segni_(tribe)) Morini (/wiki/Morini) Nervii (/wiki/Nervii) Bateinoi (/wiki/Bateinoi) Betasii (/wiki/Baetasii) Brondings (/wiki/Brondings) Bructeri (/wiki/Bructeri) Burgundians (/wiki/Burgundians) Buri (/wiki/Buri_tribe) Cananefates (/wiki/Cananefates) Caritni (/wiki/Caritni) Casuari (/wiki/Casuari) Chaedini (/wiki/Chaedini) Chaemae (/wiki/Chaemae) Chamavi (/wiki/Chamavi) Chali (/wiki/Chali) Charudes (/wiki/Charudes) Chasuarii (/wiki/Chasuarii) Chattuarii (/wiki/Chattuarii) Chatti (/wiki/Chatti) Chauci (/wiki/Chauci) Cherusci (/wiki/Cherusci) Cimbri (/wiki/Cimbri) Cobandi (/wiki/Cobandi) Corconti (/wiki/Corconti) Cugerni (/wiki/Cugerni) Danes (/wiki/Danes_(tribe)) Dauciones (/wiki/Dauciones) Dulgubnii (/wiki/Dulgubnii) Favonae (/wiki/Favonae) Firaesi (/wiki/Firaesi) Fosi (/wiki/Fosi) Franks (/wiki/Franks) Ripuarian Franks (/wiki/Ripuarian_Franks) Salian Franks (/wiki/Salian_Franks) Frisiavones (/wiki/Frisiavones) Frisii (/wiki/Frisii) Gambrivii (/wiki/Gambrivii) Geats (/wiki/Geats) Gepids (/wiki/Gepids) Goths (/wiki/Goths) Crimean Goths (/wiki/Crimean_Goths) Greuthungi (/wiki/Greuthungi) Gutones (/wiki/Gutones) Ostrogoths (/wiki/Ostrogoths) Thervingi (/wiki/Thervingi) Thracian Goths (/wiki/Thracian_Goths) Visigoths (/wiki/Visigoths) Gutes (/wiki/Gutes) Harii (/wiki/Harii) Hermunduri (/wiki/Hermunduri) Heruli (/wiki/Heruli) Hilleviones (/wiki/Hilleviones) Ingaevones (/wiki/Ingaevones) Irminones (/wiki/Irminones) Istvaeones (/wiki/Istvaeones) Jutes (/wiki/Jutes) Juthungi (/wiki/Juthungi) Lacringi (/wiki/Lacringi) Lemovii (/wiki/Lemovii) Lombards (/wiki/Lombards) Heaðobards (/wiki/Hea%C3%B0obards) Lugii (/wiki/Lugii) Diduni (/wiki/Diduni) Helisii (/wiki/Helisii) Helveconae (/wiki/Helveconae) Manimi (/wiki/Manimi) Nahanarvali (/wiki/Nahanarvali) Marcomanni (/wiki/Marcomanni) Marsacii (/wiki/Marsacii) Marsi (/wiki/Marsi_(Germanic_tribe)) Mattiaci (/wiki/Mattiaci) Nemetes (/wiki/Nemetes) Njars (/wiki/Njars) Nuithones (/wiki/Nuithones) Osi (/wiki/Osi_(tribe)) Quadi (/wiki/Quadi) Reudigni (/wiki/Reudigni) Rugii (/wiki/Rugii) Rugini (/wiki/Rugini) Saxons (/wiki/Saxons) Semnones (/wiki/Semnones) Sicambri (/wiki/Sicambri) Sciri (/wiki/Sciri) Sitones (/wiki/Sitones) Suarines (/wiki/Suarines) Suebi (/wiki/Suebi) Sunici (/wiki/Sunici) Swedes (/wiki/Swedes_(tribe)) Taifals (/wiki/Taifals) Tencteri (/wiki/Tencteri) Teutons (/wiki/Teutons) Thelir (/wiki/Thelir) Thuringii (/wiki/Thuringii) Toxandri (/wiki/Texandri) Treveri (/wiki/Treveri) Triboci (/wiki/Triboci) Tubantes (/wiki/Tubantes) Tulingi (/wiki/Tulingi) Tungri (/wiki/Tungri) Ubii (/wiki/Ubii) Usipetes (/wiki/Usipetes) Vagoth (/wiki/Vagoth) Vandals (/wiki/Vandals) Hasdingi (/wiki/Hasdingi) Silingi (/wiki/Silingi) Vangiones (/wiki/Vangiones) Varisci (/wiki/Varisci) Victohali (/wiki/Victohali) Vidivarii (/wiki/Vidivarii) Vinoviloth (/wiki/Vinoviloth) Warini (/wiki/Warini) Christianization 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(Redirected from Tongue (footwear) (/w/index.php?title=Tongue_(footwear)&redirect=no) ) Footwear This article is about footwear. For other uses, see Shoe (disambiguation) (/wiki/Shoe_(disambiguation)) . "Insole" redirects here. For other uses, see Insole (disambiguation) (/wiki/Insole_(disambiguation)) . A variety of shoes displayed at the Nordic Museum (/wiki/Nordic_Museum) , including models from 1700 to the 1960s. A shoe is an item of footwear (/wiki/Footwear) intended to protect and comfort the human foot (/wiki/Foot) . Though the human foot can adapt to varied terrains and climate conditions, it is vulnerable, and shoes provide protection. Form was originally tied to function, but over time, shoes also became fashion items. Some shoes are worn as safety equipment, such as steel-toe boots (/wiki/Steel-toe_boots) , which are required footwear at industrial worksites. Additionally, shoes have often evolved into many different designs, such as high heels (/wiki/High-heeled_shoe) , which are most commonly worn by women during fancy occasions. Contemporary footwear varies vastly in style, complexity and cost. Basic sandals (/wiki/Sandal) may consist of only a thin sole (/wiki/Sole_(shoe)) and simple strap and be sold for a low cost. High fashion shoes made by famous designers (/wiki/Fashion_design) may be made of expensive materials, use complex construction and sell for large sums of money. Some shoes are designed for specific purposes, such as boots (/wiki/Boot) designed specifically for mountaineering (/wiki/Mountaineering_boot) or skiing (/wiki/Ski_boot) , while others have more generalized usage such as sneakers (/wiki/Sneakers) which have transformed from a special purpose sport shoe into a general use shoe. Traditionally, shoes have been made from leather (/wiki/Leather) , wood (/wiki/Wood) or canvas (/wiki/Canvas) , but are increasingly being made from rubber (/wiki/Synthetic_rubber) , plastics (/wiki/Plastic) , and other petrochemical (/wiki/Petrochemical) -derived materials. [1] (#cite_note-:0-1) Globally, the shoe industry is a $200 billion a year industry. [1] (#cite_note-:0-1) 90% of shoes end up in landfills, because the materials are hard to separate, recycle or otherwise reuse. [1] (#cite_note-:0-1) History Antiquity The oldest known leather shoe (/wiki/Areni-1_shoe) , about 5500 years old, found in Armenia (/wiki/Armenia) Esparto (/wiki/Esparto) sandals from the 6th (/wiki/6th_millennium_BC) or 5th millennium BC (/wiki/5th_millennium_BC) found in Spain (/wiki/Spain) Roman shoes: a man's, [2] (#cite_note-2) a woman's [3] (#cite_note-3) and a child's [4] (#cite_note-4) shoe from Bar Hill Roman Fort (/wiki/Bar_Hill_Fort) , Scotland. Earliest evidence The earliest known shoes are sagebrush bark sandals (/wiki/Sandal) dating (/wiki/Carbon_dating) from approximately 7000 or 8000 BC, found in the Fort Rock Cave (/wiki/Fort_Rock_Cave) in the US (/wiki/United_States) state of Oregon (/wiki/Oregon) in 1938. [5] (#cite_note-Connolly_Tom-5) The world's oldest leather shoe (/wiki/Areni-1_shoe) , made from a single piece of cowhide laced with a leather cord along seams at the front and back, was found in the Areni-1 cave complex (/wiki/Areni-1_cave_complex) in Armenia (/wiki/Armenia) in 2008 and is believed to date to 3500 BC. [6] (#cite_note-Ravilious_Kate-6) [7] (#cite_note-Petraglia_Michael-7) Ötzi the Iceman (/wiki/%C3%96tzi_the_Iceman) 's shoes, dating to 3300 BC, featured brown bearskin bases, deerskin side panels, and a bark-string net, which pulled tight around the foot. [6] (#cite_note-Ravilious_Kate-6) The Jotunheimen shoe (/wiki/Jotunheimen_shoe) was discovered in August 2006: archaeologists estimate that this leather shoe was made between 1800 and 1100 BC, [8] (#cite_note-Nesje_Pilø_Finstad_Solli-8) [9] (#cite_note-9) making it the oldest article of clothing discovered in Scandinavia. Sandals and other plant fiber based tools were found in Cueva de los Murciélagos (/wiki/Cueva_de_los_Murci%C3%A9lagos) in Albuñol (/wiki/Albu%C3%B1ol) in southern Spain in 2023, dating to approximately 7500 to 4200 BC, making them what are believed to be the oldest shoes found in Europe. [10] (#cite_note-Science_Advances-10) It is thought that shoes may have been used long before this, but because the materials used were highly perishable, it is difficult to find evidence of the earliest footwear. [11] (#cite_note-Johnson_Olivia-11) Footprints (/wiki/Footprints) suggestive of shoes or sandals due to having crisp edges, no signs of toes found and three small divots where leather tying laces/straps would have been attached have been at Garden Route National Park (/wiki/Garden_Route_National_Park) , Addo Elephant National Park (/wiki/Addo_Elephant_National_Park) and Goukamma Nature Reserve (/wiki/Goukamma_Marine_Protected_Area) in South Africa (/wiki/South_Africa) . [12] (#cite_note-Helm_Lockley_Cawthra_De_Vynck-12) These date back to between 73,000 and 136,000 PB. Consistent with the existence of such shoe is the finding of bone awls (/wiki/Bone_tool) dating back to this period that could have made simple footwear. [12] (#cite_note-Helm_Lockley_Cawthra_De_Vynck-12) Another source of evidence is the study of the bones of the smaller toes (as opposed to the big toe), it was observed that their thickness decreased approximately 40,000 to 26,000 years ago. This led archaeologists (/wiki/Archaeologist) to deduce the existence of common rather than an occasional wearing of shoes as this would lead to less bone growth, resulting in shorter, thinner toes. [13] (#cite_note-Trinkaus_Erik-13) These earliest designs were very simple, often mere "foot bags" of leather to protect the feet from rocks, debris, and cold. Americas Many early natives in North America wore a similar type of footwear, known as the moccasin (/wiki/Moccasin) . These are tight-fitting, soft-soled shoes typically made out of leather or bison (/wiki/Bison) hides. Many moccasins were also decorated with various beads and other adornments. Moccasins were not designed to be waterproof, and in wet weather and warm summer months, most Native Americans (/wiki/Indigenous_peoples_of_the_Americas) went barefoot (/wiki/Barefoot) . [14] (#cite_note-Laubin_Laubin_Vestal-14) The leaves of the sisal (/wiki/Sisal) plant were used to make twine (/wiki/Twine) for sandals in South America while the natives of Mexico used the Yucca (/wiki/Yucca) plant. [15] (#cite_note-Curtin_Cameron-15) [16] (#cite_note-DeMello_Margo-16) Africa and Middle East As civilizations began to develop, thong sandals (precursors to the modern flip-flop (/wiki/Flip-flops) ) were worn. This practice dates back to pictures of them in ancient Egyptian (/wiki/Ancient_Egypt) murals from 4000 BC. "Thebet" may have been the term used to describe these sandals in Egyptian times, possibly from the city Thebes (/wiki/Thebes,_Egypt) . The Middle Kingdom (/wiki/Middle_Kingdom_of_Egypt) is when the first of these thebets were found, but it is possible that it debuted in the Early Dynastic Period (/wiki/Early_Dynastic_Period_(Egypt)) . [17] (#cite_note-17) One pair found in Europe was made of papyrus (/wiki/Papyrus) leaves and dated (/wiki/Carbon_dating) to be approximately 1,500 years old. They were also worn in Jerusalem (/wiki/Jerusalem) during the first century of the Christian era. [18] (#cite_note-Kendzior_Russell-18) Thong sandals were worn by many civilizations and made from a vast variety of materials. Ancient Egyptian sandals were made from papyrus and palm leaves. The Masai (/wiki/Maasai_people) of Africa made them out of rawhide (/wiki/Rawhide_(textile)) . In India they were made from wood. While thong sandals were commonly worn, many people in ancient times, such as the Egyptians (/wiki/Ancient_Egypt) , Hindus (/wiki/Hindus) and Greeks (/wiki/Ancient_Greece) , saw little need for footwear, and most of the time, preferred being barefoot. [19] (#cite_note-Frazine_Richard-19) The Egyptians and Hindus made some use of ornamental footwear, such as a soleless sandal known as a "Cleopatra", [ citation needed ] which did not provide any practical protection for the foot. Asia and Europe The ancient Greeks largely viewed footwear as self-indulgent, unaesthetic and unnecessary. Shoes were primarily worn in the theater, as a means of increasing stature, and many preferred to go barefoot. [19] (#cite_note-Frazine_Richard-19) Athletes in the Ancient Olympic Games (/wiki/Ancient_Olympic_Games) participated barefoot—and naked. [20] (#cite_note-ancient_olympics-20) Even the gods (/wiki/Twelve_Olympians) and heroes were primarily depicted barefoot, as well as the hoplite (/wiki/Hoplite) warriors. They fought battles in bare feet and Alexander the Great (/wiki/Alexander_the_Great) conquered his vast empire with barefoot armies. The runners of Ancient Greece (/wiki/Ancient_Greece) had also been believed to have run barefoot. [21] (#cite_note-Krentz_Peter-21) Footwear of Roman soldiers (reconstruction) The Romans (/wiki/Ancient_Rome) , who eventually conquered the Greeks and adopted many aspects of their culture, did not adopt the Greek perception of footwear and clothing. Roman clothing (/wiki/Clothing_in_ancient_Rome) was seen as a sign of power, and footwear was seen as a necessity of living in a civilized world, although the slaves and paupers usually went barefoot. [19] (#cite_note-Frazine_Richard-19) Roman soldiers were issued with chiral (/wiki/Chiral) (left and right shoe different) footwear. [22] (#cite_note-22) Shoes for soldiers had riveted insoles to extend the life of the leather, increase comfort, and provide better traction. The design of these shoes also designated the rank of the officers. The more intricate the insignia and the higher up the boot went on the leg, the higher the rank of the soldier. [23] (#cite_note-23) There are references to shoes being worn in the Bible (/wiki/Bible) . [24] (#cite_note-24) In China and Japan, rice straws were used. [ citation needed ] Starting around 4 BC, the Greeks began wearing symbolic footwear. These were heavily decorated to clearly indicate the status of the wearer. Courtesans wore leather shoes colored with white, green, lemon or yellow dyes, and young woman betrothed or newly married wore pure white shoes. Because of the cost to lighten leather, shoes of a paler shade were a symbol of wealth in the upper class. Often, the soles would be carved with a message so it would imprint on the ground. Cobblers became a notable profession around this time, with Greek shoemakers becoming famed in the Roman empire. [25] (#cite_note-25) Middle Ages and early modern period Asia and Europe A common casual shoe in the Pyrenees (/wiki/Pyrenees) during the Middle Ages was the espadrille (/wiki/Espadrille) . This is a sandal with braided jute soles and a fabric upper portion, and often includes fabric laces that tie around the ankle. The term is French (/wiki/French_language) and comes from the esparto (/wiki/Esparto) grass. The shoe originated in the Catalonian (/wiki/Catalonia) region of Spain (/wiki/Spain) as early as the 13th century, and was commonly worn by peasants (/wiki/Peasant) in the farming communities in the area. [16] (#cite_note-DeMello_Margo-16) New styles began to develop during the Song dynasty in China, one of them being the debut of foot straps. It was first used by the noble Han classes, but soon developed throughout society. Women would use these shoes to develop their "lotus feet", which would entice the males. The practice allegedly started during the Shang dynasty, but it grew popular by c. AD 960 . [26] (#cite_note-:1-26) When the Mongols (/wiki/Mongols) conquered China, they dissolved the practice in 1279, and the Manchus banned foot binding in 1644. The Han people, however, continued to use the style without much government intervention. [26] (#cite_note-:1-26) Dutch pattens, c. 1465 . Excavated from the archeological site of Walraversijde (/wiki/Walraversijde) , near Ostend (/wiki/Ostend) , Belgium (/wiki/Belgium) In medieval times shoes could be up to two feet long, with their toes sometimes filled with hair, wool, moss, or grass. [27] (#cite_note-27) Many medieval shoes were made using the turnshoe (/wiki/Turnshoe) method of construction, in which the upper was turned flesh side out, and was lasted onto the sole and joined to the edge by a seam. [28] (#cite_note-28) The shoe was then turned inside-out so that the grain was outside. Some shoes were developed with toggled flaps or drawstrings (/wiki/Drawstring) to tighten the leather around the foot for a better fit. Surviving medieval turnshoes often fit the foot closely, with the right and left shoe being mirror images. [29] (#cite_note-29) Around 1500, the turnshoe method was largely replaced by the welted rand method (where the uppers are sewn to a much stiffer sole and the shoe cannot be turned inside-out). [30] (#cite_note-Blair_John-30) The turn shoe method is still used for some dance (/wiki/Dance_shoe) and specialty shoes. By the 15th century, pattens (/wiki/Patten_(shoe)) became popular by both men and women in Europe (/wiki/Europe) . These are commonly seen as the predecessor of the modern high-heeled shoe (/wiki/High-heeled_footwear) , [31] (#cite_note-high_heels-31) while the poor and lower classes in Europe, as well as slaves in the New World, were barefoot. [19] (#cite_note-Frazine_Richard-19) In the 15th century, the Crakow (/wiki/Crakow_(shoe)) was fashionable (/wiki/1400%E2%80%931500_in_fashion) in Europe (/wiki/Europe) . This style of shoe is named because it is thought to have originated in Kraków (/wiki/Krak%C3%B3w) , the capital of Poland (/wiki/Poland) . The style is characterized by the point of the shoe, known as the "polaine", which often was supported by a whalebone (/wiki/Baleen) tied to the knee to prevent the point getting in the way while walking. [32] (#cite_note-polaine-32) Also during the 15th century, chopines (/wiki/Chopine) were created in Turkey (/wiki/Turkey) , and were usually 7–8 in (180–200 mm) high. These shoes became popular in Venice (/wiki/Venice) and throughout Europe, as a status symbol (/wiki/Status_symbol) revealing wealth and social standing. During the 16th century, royalty, such as Catherine de Medici (/wiki/Catherine_de_Medici) or Mary I of England (/wiki/Mary_I_of_England) , started wearing high-heeled shoes to make them look taller or larger than life. By 1580, even men wore them, and a person with authority or wealth was often referred to as, "well-heeled". [31] (#cite_note-high_heels-31) In 17th century France, heels were exclusively worn by aristocrats. Louis XIV of France (/wiki/Louis_XIV_of_France) outlawed anybody from wearing red high heels except for himself and his royal court. [33] (#cite_note-33) Eventually the modern shoe, with a sewn-on sole, was devised. Since the 17th century, most leather shoes have used a sewn-on sole. This remains the standard for finer-quality dress shoes today. Until around 1800, welted rand shoes were commonly made without differentiation for the left or right foot. Such shoes are now referred to as "straights". [34] (#cite_note-Yue_Charlotte-34) Only gradually did the modern foot-specific shoe become standard. Industrial era Asia and Europe A shoemaker (/wiki/Shoemaker) in the Georgian era (/wiki/Georgian_era) , from The Book of English Trades , 1821. Shoemaking (/wiki/Shoemaking) became more commercialized in the mid-18th century, as it expanded as a cottage industry (/wiki/Cottage_industry) . Large warehouses (/wiki/Warehouse) began to stock footwear, made by many small manufacturers from the area. Until the 19th century, shoemaking was a traditional handicraft, but by the century's end, the process had been almost completely mechanized, with production occurring in large factories. Despite the obvious economic gains of mass production (/wiki/Mass_production) , the factory system produced shoes without the individual differentiation that the traditional shoemaker was able to provide. The 19th century was when Chinese feminists called for an end to the use of foot straps, and a ban in 1902 was implemented. The ban was soon repealed until it was banned again in 1911 by the new Nationalist government. It was effective in coastal cities, but countryside cities continued without much regulation. Mao Zedong enforced the rule in 1949 and it continues throughout contemporary times. A number of people still have lotus feet today. [26] (#cite_note-:1-26) Woman's shoe, China, possibly Shanxi or Ningbo style, late 19th to early 20th century The first steps towards mechanisation were taken during the Napoleonic Wars (/wiki/Napoleonic_Wars) by the engineer, Marc Brunel (/wiki/Marc_Brunel) . He developed machinery for the mass production of boots for the soldiers of the British Army (/wiki/British_Army) . In 1812, he devised a scheme for making nailed-boot-making machinery that automatically fastened soles to uppers by means of metallic pins or nails. [35] (#cite_note-Napol-35) With the support of the Duke of York (/wiki/Prince_Frederick,_Duke_of_York_and_Albany) , the shoes were manufactured, and, due to their strength, cheapness, and durability, were introduced for the use of the army. In the same year, the use of screws and staples was patented by Richard Woodman (/wiki/Richard_Woodman_(martyr)) . Brunel's system was described by Sir Richard Phillips (/wiki/Sir_Richard_Phillips) as a visitor to his factory in Battersea (/wiki/Battersea) as follows: By the late 19th century, the shoemaking industry had migrated to the factory and was increasingly mechanized. Pictured, the bottoming room of the B. F. Spinney & Co. factory in Lynn, Massachusetts (/wiki/Lynn,_Massachusetts) , 1872. In another building I was shown his manufactory of shoes, which, like the other, is full of ingenuity, and, in regard to subdivision of labour, brings this fabric on a level with the oft-admired manufactory of pins. Every step in it is affected by the most elegant and precise machinery; while, as each operation is performed by one hand, so each shoe passes through twenty-five hands, who complete from the hide, as supplied by the currier, a hundred pairs of strong and well-finished shoes per day. All the details are performed by the ingenious application of the mechanic powers; and all the parts are characterised by precision, uniformity, and accuracy. As each man performs but one step in the process, which implies no knowledge of what is done by those who go before or follow him, so the persons employed are not shoemakers, but wounded soldiers, who are able to learn their respective duties in a few hours. The contract at which these shoes are delivered to Government is 6s. 6d. per pair, being at least 2s. less than what was paid previously for an unequal and cobbled article. [36] (#cite_note-36) However, when the war ended in 1815, manual labour (/wiki/Manual_labour) became much cheaper, and the demand for military equipment subsided. As a consequence, Brunel's system was no longer profitable and it soon ceased business. [35] (#cite_note-Napol-35) Americas Similar exigencies at the time of the Crimean War (/wiki/Crimean_War) stimulated a renewed interest in methods of mechanization and mass-production, which proved longer lasting. [35] (#cite_note-Napol-35) A shoemaker in Leicester (/wiki/Leicester) , Tomas Crick, patented the design for a riveting machine in 1853. His machine used an iron plate to push iron rivets into the sole. The process greatly increased the speed and efficiency of production. He also introduced the use of steam-powered (/wiki/Steam-power) rolling-machines (/w/index.php?title=Rolling-machine&action=edit&redlink=1) for hardening leather and cutting-machines, in the mid-1850s. [37] (#cite_note-37) Advertisement in an 1896 issue of McClure's (/wiki/McClure%27s) for "The Regal". Attila, a former shoe factory from the 1910s in Tampere (/wiki/Tampere) , Finland (/wiki/Finland) The sewing machine was introduced in 1846, and provided an alternative method for the mechanization of shoemaking. By the late 1850s, the industry was beginning to shift towards the modern factory, mainly in the US and areas of England. A shoe-stitching machine was invented by the American Lyman Blake in 1856 and perfected by 1864. Entering into a partnership with McKay, his device became known as the McKay stitching machine and was quickly adopted by manufacturers throughout New England (/wiki/New_England) . [38] (#cite_note-38) As bottlenecks opened up in the production line due to these innovations, more and more of the manufacturing stages, such as pegging and finishing, became automated. By the 1890s, the process of mechanisation was largely complete. On January 24, 1899, Humphrey O'Sullivan of Lowell, Massachusetts (/wiki/Lowell,_Massachusetts) , was awarded a patent (/wiki/Patent) for a rubber heel for boots and shoes. [39] (#cite_note-39) Globalization A process for manufacturing stitchless, that is, glued, shoes— AGO (/wiki/AGO_system) —was developed in 1910. Since the mid-20th century, advances in rubber, plastics, synthetic cloth, and industrial adhesives have allowed manufacturers to create shoes that stray considerably from traditional crafting techniques. Leather, which had been the primary material in earlier styles, has remained standard in expensive dress shoes, but athletic shoes often have little or no real leather. Soles, which were once laboriously hand-stitched on, are now more often machine stitched or simply glued on. Many of these newer materials, such as rubber and plastics, have made shoes less biodegradable. It is estimated that most mass-produced shoes require 1000 years to degrade in a landfill (/wiki/Landfill) . [40] (#cite_note-Clark_Brian-40) In the late 2000s, some shoemakers picked up on the issue and began to produce shoes made entirely from degradable materials (/wiki/Cradle_to_Cradle_Design) , such as the Nike Considered. [41] (#cite_note-nike_considered-41) [42] (#cite_note-CSR-42) In 2007, the global shoe industry had an overall market of $ (/wiki/United_States_Dollar) 107.4 billion, in terms of revenue (/wiki/Revenue) , and is expected to grow to $122.9 billion by the end of 2012. Shoe manufacturers in the People's Republic of China (/wiki/People%27s_Republic_of_China) account for 63% of production, 40.5% of global exports and 55% of industry revenue. However, many manufacturers in Europe (/wiki/Europe) dominate the higher-priced, higher value-added end of the market. [43] (#cite_note-PRWeb_ibisworld-43) Culture and folklore See also: Tradition of removing shoes in home (/wiki/Tradition_of_removing_shoes_in_home) Haines Shoe House in Hallam, Pennsylvania (/wiki/Hallam,_Pennsylvania) Sports shoes in Hong Kong (/wiki/Hong_Kong) Children's shoes at school in Ladakh (/wiki/Ladakh) As an integral part of human culture and civilization, shoes have found their way into our culture, folklore, and art. A popular 18th-century nursery rhyme (/wiki/Nursery_rhyme) is There was an Old Woman Who Lived in a Shoe (/wiki/There_was_an_Old_Woman_Who_Lived_in_a_Shoe) . This story tells about an old woman living in a shoe with a lot of children. In 1948, Mahlon Haines (/wiki/Mahlon_Haines) , a shoe salesman in Hallam, Pennsylvania (/wiki/Hallam,_Pennsylvania) , built an actual house shaped like a work boot (/wiki/Boot) as a form of advertisement. The Haines Shoe House (/wiki/Haines_Shoe_House) was rented to newlyweds and the elderly until his death in 1962. Since then, it has served as an ice cream (/wiki/Ice_cream) parlor, a bed and breakfast (/wiki/Bed_and_breakfast) , and a museum (/wiki/Museum) . It still stands today and is a popular roadside attraction. [44] (#cite_note-Lake_Matt-44) Shoes also play an important role in the fairy tales (/wiki/Fairy_tales) Cinderella (/wiki/Cinderella) and The Red Shoes (/wiki/The_Red_Shoes_(fairy_tale)) . In the movie (/wiki/Motion_picture) adaption of the children's book (/wiki/Children%27s_literature) The Wonderful Wizard of Oz (/wiki/The_Wonderful_Wizard_of_Oz) , a pair of red ruby slippers play a key role in the plot. The 1985 comedy The Man with One Red Shoe (/wiki/The_Man_with_One_Red_Shoe) features an eccentric man wearing one normal business shoe and one red shoe that becomes central to the plot. One poem, written by Phebus Etienne with the title "Shoes", focuses on them. It describes religious messages and is 3 stanzas long. The first stanza is one line, whereas the second is 13 lines and the third being 14 lines. Throughout the poem the main character talks about their dead mother and their routine with her grave. Haitians are said to "not put shoes on the dead." as it makes spirits easier to "step over the offerings". [45] (#cite_note-45) Athletic sneaker collection has also existed as a part of urban subculture in the United States for several decades. [46] (#cite_note-Skidmore_Sarah-46) Recent decades have seen this trend spread to European nations such as the Czech Republic (/wiki/Czech_Republic) . [47] (#cite_note-Czech-47) A Sneakerhead (/wiki/Sneakerhead) is a person who owns multiple pairs of shoes as a form of collection and fashion. A contributor to the growth of sneaker collecting is the continued global popularity of the Air Jordan (/wiki/Air_Jordan) line of sneakers designed by Nike (/wiki/Nike,_Inc.) for Basketball (/wiki/Basketball) star Michael Jordan (/wiki/Michael_Jordan) . In the Bible (/wiki/Bible) 's Old Testament (/wiki/Old_Testament) , the shoe is used to symbolize something that is worthless or of little value. In the New Testament (/wiki/New_Testament) , the act of removing one's shoes symbolizes servitude. Ancient Semitic-speaking peoples (/wiki/Ancient_Semitic-speaking_peoples) regarded the act of removing their shoes as a mark of reverence when approaching a sacred person or place. [48] (#cite_note-Farbridge_Maurice-48) In the Book of Exodus (/wiki/Book_of_Exodus) , Moses (/wiki/Moses) was instructed to remove his shoes before approaching the burning bush: Put off thy shoes from off thy feet, for the place whereon thou standest [is] holy ground. [49] (#cite_note-49) Salt Crystal Shoes, art installation at the Dead Sea (/wiki/Dead_Sea) by Israeli (/wiki/Israel) artist Sigalit Landau (/wiki/Sigalit_Landau) The removal of the shoe also symbolizes the act of giving up a legal right. In Hebrew (/wiki/Hebrew_language) custom, if a man chose not to marry his childless brother's widow (/wiki/Levirate_marriage) , the widow removed her brother-in-law's shoe to symbolize that he had abandoned his duty. In Arab (/wiki/Arab_people) custom, the removal of one's shoe also symbolized the dissolution of marriage. [48] (#cite_note-Farbridge_Maurice-48) In Arab culture (/wiki/Arab_culture) , showing the sole of one's shoe is considered an insult, and to throw a shoe (/wiki/Shoe_tossing#Insult) and hit someone with it is considered an even greater insult. Shoes are considered to be dirty as they frequently touch the ground, and are associated with the lowest part of the body—the foot (/wiki/Foot) . As such, shoes are forbidden in mosques (/wiki/Mosque) , and it is also considered unmannerly to cross the legs and display the soles of one's shoes during conversation. This insult was demonstrated in Iraq, first when Saddam Hussein (/wiki/Saddam_Hussein) 's statue was toppled in 2003, Iraqis gathered around it and struck the statue with their shoes. [50] (#cite_note-Gammell_Caroline-50) In 2008, United States President George W. Bush (/wiki/George_W._Bush) had a shoe thrown at him (/wiki/George_W._Bush_shoeing_incident) by a journalist as a statement against the war in Iraq. [51] (#cite_note-Asser_Martin-51) More generally, shoe-throwing (/wiki/Shoe-throwing) or shoeing, showing the sole of one's shoe or using shoes to insult (/wiki/Insult) are forms of protest in many parts of the world. Incidents where shoes were thrown at political figures have taken place in Australia, India, Ireland, Taiwan, Hong Kong, Pakistan, the United Kingdom, the United States, and most notably the Arab world (/wiki/Arab_world) . [52] (#cite_note-Tel-52) [53] (#cite_note-BBC-53) Empty shoes may also symbolize death. In Greek (/wiki/Greece) culture, empty shoes are the equivalent of the American funeral wreath. For example, empty shoes placed outside of a Greek home would tell others that the family's son has died in battle. [54] (#cite_note-Reeve_Andru-54) At an observation memorializing the 10th anniversary of the September 11 attacks (/wiki/September_11_attacks) , 3,000 pairs of empty shoes were used to recognize those killed. [55] (#cite_note-Cohen_Sam-55) The Shoes on the Danube Bank (/wiki/Shoes_on_the_Danube_Bank) is a memorial in Budapest (/wiki/Budapest) , Hungary (/wiki/Hungary) . Conceived by film director Can Togay (/wiki/Can_Togay) , he created it on the east bank of the Danube River (/wiki/Danube_River) with sculptor Gyula Pauer (/w/index.php?title=Gyula_Pauer&action=edit&redlink=1) to honor the Jews who were killed by fascist Arrow Cross (/wiki/Arrow_Cross_Party) militiamen in Budapest during World War II (/wiki/World_War_II) . They were ordered to take off their shoes and were shot at the edge of the water so that their bodies fell into the river and were carried away. The memorial represents their shoes left behind on the bank. Construction "Insole" redirects here. For other uses, see Insole (disambiguation) (/wiki/Insole_(disambiguation)) . "Shoe sole" redirects here. For the French pastry called shoe-soles, see palmier (/wiki/Palmier) . See also: Shoe insert (/wiki/Shoe_insert) The basic anatomy of a shoe is recognizable, regardless of the specific style of footwear. All shoes have a sole , which is the bottom of a shoe, in contact with the ground. Soles can be made from a variety of materials, although most modern shoes have soles made from natural rubber (/wiki/Natural_rubber) , polyurethane (/wiki/Polyurethane) , or polyvinyl chloride (/wiki/Polyvinyl_chloride) (PVC) compounds. [56] (#cite_note-Karak_Niranjan-56) Soles can be simple—a single material in a single layer—or they can be complex, with multiple structures or layers and materials. When various layers are used, soles may consist of an insole, midsole, and an outsole. [57] (#cite_note-Vonhof_John-57) The insole is the interior bottom of a shoe, which sits directly beneath the foot under the footbed (also known as sock liner). The purpose of the insole is to attach to the lasting margin of the upper, which is wrapped around the last (/wiki/Last) during the closing of the shoe during the lasting operation. Insoles are usually made of cellulosic paper board or synthetic non woven insole board. Many shoes have removable and replaceable footbeds. Extra cushioning is often added for comfort (to control the shape, moisture, or smell of the shoe) or health reasons (to help deal with differences in the natural shape of the foot or positioning of the foot during standing or walking). [57] (#cite_note-Vonhof_John-57) The outsole is the layer in direct contact with the ground. Dress shoes often have leather or resin rubber outsoles; casual or work-oriented shoes have outsoles made of natural rubber or a synthetic material like polyurethane. The outsole may comprise a single piece or may be an assembly of separate pieces, often of different materials. On some shoes, the heel of the sole has a rubber plate for durability and traction, while the front is leather for style. Specialized shoes will often have modifications on this design: athletic or so-called cleated shoes like soccer, rugby, baseball and golf shoes have spikes embedded in the outsole to improve traction. [57] (#cite_note-Vonhof_John-57) The midsole is the layer in between the outsole and the insole, typically there for shock absorption. Some types of shoes, like running shoes, have additional material for shock absorption (/wiki/Shock_absorption) , usually beneath the heel of the foot, where one puts the most pressure down. Some shoes may not have a midsole at all. [57] (#cite_note-Vonhof_John-57) The heel (/wiki/Heel_(shoe)) is the bottom rear part of a shoe. Its function is to support the heel of the foot. They are often made of the same material as the sole of the shoe. This part can be high for fashion or to make the person look taller, or flat for more practical and comfortable use. [57] (#cite_note-Vonhof_John-57) On some shoes the inner forward point of the heel is chiselled off, a feature known as a "gentleman's corner". This piece of design is intended to alleviate the problem of the points catching the bottom of trousers and was first observed in the 1930s. [58] (#cite_note-58) A heel is the projection at the back of a shoe which rests below the heel bone (/wiki/Calcaneus) . The shoe heel is used to improve the balance of the shoe, increase the height of the wearer, alter posture or other decorative purposes. Sometimes raised, the high heel (/wiki/High-heeled_footwear) is common to a form of shoe often worn by women, but sometimes by men too. See also stiletto heel (/wiki/Stiletto_heel) . The upper helps hold the shoe onto the foot. In the simplest cases, such as sandals or flip-flops, this may be nothing more than a few straps for holding the sole in place. Closed footwear, such as boots, trainers and most men's shoes, will have a more complex upper. This part is often decorated or is made in a certain style to look attractive. The upper is connected to the sole by a strip of leather, rubber, or plastic that is stitched between it and the sole, known as a welt (/wiki/Welt_(shoe)) . [57] (#cite_note-Vonhof_John-57) Most uppers have a mechanism, such as laces, straps with buckles, zippers, elastic, velcro straps, buttons, or snaps, for tightening the upper on the foot. Uppers with laces usually have a tongue that helps seal the laced opening and protect the foot from abrasion by the laces. Uppers with laces also have eyelets or hooks to make it easier to tighten and loosen the laces and to prevent the lace from tearing through the upper material. An aglet (/wiki/Aglet) is the protective wrapping on the end of the lace. The vamp is the front part of the shoe, starting behind the toe, extending around the eyelets and tongue and towards back part of the shoe. The medial is the part of the shoe closest to a person's center of symmetry, and the lateral is on the opposite side, away from their center of symmetry. This can be in reference to either the outsole or the vamp. Most shoes have shoelaces (/wiki/Shoelaces) on the upper, connecting the medial and lateral parts after one puts their shoes on and aiding in keeping their shoes on their feet. In 1968, Puma SE (/wiki/Puma_SE) introduced the first pair of sneakers with Velcro (/wiki/Velcro) straps in lieu of shoelaces, and these became popular by the 1980s, especially among children and the elderly. [59] (#cite_note-Suddath_Claire-59) [60] (#cite_note-Frank_Robert-60) The toe box (/wiki/Toe_box) is the part that covers and protects the toes. People with toe deformities, or individuals who experience toe swelling (such as long-distance runners (/wiki/Long-distance_running) ) usually require a larger toe box. [61] (#cite_note-61) Diagram of a typical dress shoe. The area labeled as the "Lace guard" is sometimes considered part of the quarter and sometimes part of the vamp. Duration: 3 minutes and 10 seconds. 3:10 Subtitles available. CC A shoemaker making turnshoes (/wiki/Turnshoes) at the Roscheider Hof Open Air Museum (/wiki/Roscheider_Hof_Open_Air_Museum) . English subtitles. Cutaway view of a typical shoe. Types This article contains content that is written like an advertisement (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_soapbox_or_means_of_promotion) . Please help improve it (https://en.wikipedia.org/w/index.php?title=Shoe&action=edit) by removing promotional content (/wiki/Wikipedia:Spam) and inappropriate external links (/wiki/Wikipedia:External_links#Advertising_and_conflicts_of_interest) , and by adding encyclopedic content written from a neutral point of view (/wiki/Wikipedia:Neutral_point_of_view) . ( January 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Most types of shoes are designed for specific activities. For example, boots (/wiki/Boot) are typically designed for work or heavy outdoor use. Athletic shoes (/wiki/Athletic_shoe) are designed for particular sports such as running, walking, or other sports. Some shoes are designed to be worn at more formal (/wiki/Dress_shoe) occasions, and others are designed for casual wear. There are also a vast variety of shoes designed for different types of dancing. Orthopedic shoes are special types of footwear designed for individuals with particular foot problems or special needs. Clinicians evaluate patient's footwear as a part of their clinical examination. However, it is often based on each individual's needs, with attention to the choice of footwear worn and if the shoe is adequate for the purpose of completing their activities of daily living. [62] (#cite_note-62) Other animals, such as dogs (/wiki/Dog) and horses (/wiki/Horse) , may also wear special shoes to protect their feet as well. Depending on the activity for which they are designed, some types of footwear may fit into multiple categories. For example, Cowboy boots (/wiki/Cowboy_boots) are considered boots, but may also be worn in more formal occasions and used as dress shoes (/wiki/Dress_shoe) . Hiking boots (/wiki/Hiking_boots) incorporate many of the protective features of boots, but also provide the extra flexibility and comfort of many athletic shoes (/wiki/Athletic_shoe) . Flip-flops (/wiki/Flip-flops) are considered casual footwear, but have also been worn in formal occasions, such as visits to the White House (/wiki/White_House) . [63] (#cite_note-Ward_Julie-63) [64] (#cite_note-Lister_Richard-64) Athletic Main article: Sneakers (/wiki/Sneakers) A pair of athletic running shoes Bowling centers maintain bowling shoes for rental to patrons, to prevent damage to lane approaches. Athletic shoes (/wiki/Athletic_shoes) are designed for various sports activities, focusing on maximizing friction (/wiki/Friction) between the foot and the ground. These shoes often utilize materials like rubber (/wiki/Natural_rubber) to achieve this purpose. [65] (#cite_note-McGinnis_Peter-65) The earliest athletic shoes, dating to the mid-19th century, were track spikes (/wiki/Track_spikes) with metal cleats (/wiki/Cleat_(shoe)) for increased traction. Over time, athletic shoe design evolved, with companies like Reebok (/wiki/Reebok) and Adidas (/wiki/Adidas) contributing to the development of modern athletic shoes. Notable innovations include rubber-soled athletic shoes and the introduction of specialized shoes for different sports, such as basketball (/wiki/Basketball) and golf (/wiki/Golf) . More recently, minimalist shoes have gained popularity as barefoot running (/wiki/Barefoot_running) became popular by the late 20th and early 21st century, maintaining optimum flexibility and natural walking while also providing some degree of protection. Their purpose is to allow one's feet and legs to feel more subtly the impacts and forces involved in running, allowing finer adjustments in running style. [66] (#cite_note-Dan_Winters-66) [16] (#cite_note-DeMello_Margo-16) [67] (#cite_note-Farrally_Cochran-67) The earliest rubber-soled athletic shoes date back to 1876 in the United Kingdom, when the New Liverpool Rubber Company made plimsolls (/wiki/Plimsolls) , or sandshoes, designed for the sport of croquet (/wiki/Croquet) . Similar rubber-soled shoes were made in 1892 in the United States by Humphrey O'Sullivan, based on Charles Goodyear (/wiki/Charles_Goodyear) 's technology. The United States Rubber Company (/wiki/United_States_Rubber_Company) was founded the same year and produced rubber-soled and heeled shoes under a variety of brand names, which were later consolidated in 1916 under the name, Keds (/wiki/Keds_(shoes)) . These shoes became known as, "sneakers", because the rubber sole allowed the wearer to sneak up on another person. In 1964, the founding of Nike (/wiki/Nike,_Inc.) by Phil Knight (/wiki/Phil_Knight) and Bill Bowerman (/wiki/Bill_Bowerman) of the University of Oregon (/wiki/University_of_Oregon) introduced many new improvements common in modern running shoes, such as rubber waffle soles, breathable nylon (/wiki/Nylon) uppers, and cushioning in the mid-sole and heel. During the 1970s, the expertise of podiatrists (/wiki/Podiatrist) also became important in athletic shoe design, to implement new design features based on how feet reacted to specific actions, such as running, jumping, or side-to-side movement for men and women. [16] (#cite_note-DeMello_Margo-16) A pair of Converse All-Stars Shoes specific to the sport of basketball (/wiki/Basketball) were developed by Chuck Taylor (/wiki/Chuck_Taylor_(salesman)) , and are popularly known as Chuck Taylor All-Stars (/wiki/Chuck_Taylor_All-Stars) . In 1969, Taylor was inducted into the Naismith Memorial Basketball Hall of Fame (/wiki/Naismith_Memorial_Basketball_Hall_of_Fame) in recognition of this development, and in the 1970s, other shoe manufacturers, such as Nike, Adidas, Reebok, and others began imitating this style of athletic shoe. [68] (#cite_note-Peterson_Hal-68) In April 1985, Nike introduced its own brand of basketball shoe which would become popular in its own right, the Air Jordan (/wiki/Air_Jordan) , named after the then-rookie Chicago Bulls (/wiki/Chicago_Bulls) basketball player, Michael Jordan (/wiki/Michael_Jordan) . The Air Jordan line of shoes sold $100 million in their first year. [69] (#cite_note-Papson_Goldman-69) As barefoot running (/wiki/Barefoot_running) became popular by the late 20th and early 21st century, many modern shoe manufacturers have recently designed footwear that mimic this experience, maintaining optimum flexibility and natural walking while also providing some degree of protection. Some of these shoes include the Vibram FiveFingers (/wiki/Vibram_FiveFingers) , [70] (#cite_note-TrailSpace-70) Nike Free (/wiki/Nike_Free) , [71] (#cite_note-Cortese_Amy-71) and Saucony (/wiki/Saucony) 's Kinvara and Hattori. [72] (#cite_note-Saucony-72) [73] (#cite_note-Jhung_Lisa-73) Mexican huaraches (/wiki/Huarache_(running_shoe)) are also very simple running shoes, similar to the shoes worn by the Tarahumara (/wiki/Tarahumara) people of northern Mexico, who are known for their distance running abilities. [74] (#cite_note-McDougall_Christopher-74) Wrestling shoes (/wiki/Wrestling_shoes) are also very light and flexible shoes that are designed to mimic bare feet while providing additional traction and protection. Many athletic shoes are designed with specific features for specific activities. One of these includes roller skates (/wiki/Roller_skates) , which have metal or plastic wheels on the bottom specific for the sport of roller skating. Similarly, ice skates (/wiki/Ice_skates) have a metal blade attached to the bottom for locomotion across ice (/wiki/Ice) . Skate shoes (/wiki/Skate_shoes) have also been designed to provide a comfortable, flexible and durable shoe for the sport of skateboarding (/wiki/Skateboarding) . [75] (#cite_note-Welinder_Whitley-75) Climbing shoes (/wiki/Climbing_shoe) are rubber-soled, tight-fitting shoes designed to fit in the small cracks and crevices for rock climbing (/wiki/Rock_climbing) . Cycling shoes (/wiki/Cycling_shoe) are similarly designed with rubber soles and a tight fit, but also are equipped with a metal or plastic cleat to interface with clipless pedals (/wiki/Bicycle_pedal#Clipless_pedals) , as well as a stiff sole to maximize power transfer and support the foot. [76] (#cite_note-IPMBA-76) Some shoes are made specifically to improve a person's ability to weight train (/wiki/Weight_training) . [77] (#cite_note-77) Sneakers that are a mix between an activity-centered and a more standard design have also been produced: examples include roller shoes (/wiki/Roller_shoe) , which feature wheels that can be used to roll on hard ground, and Soap shoes (/wiki/Soap_(shoes)) , which feature a hard plastic sole that can be used for grinding (/wiki/Grind_(sport)) . Boot Main article: Boot (/wiki/Boot) A pair of steel-toed (/wiki/Steel-toe_boot) safety boots Boots (/wiki/Boot) are a specialized type of footwear that covers the foot and extends up the leg. They serve both functional and fashion purposes, offering protection from elements like water, snow, and mud while also being a fashion statement. Cowboy boots, for instance, are known for their distinctive style and are popular among cowboys in the western United States (/wiki/Western_United_States) . Hiking boots (/wiki/Hiking_boot) , on the other hand, are designed for comfort and support during long walks in rough terrains. Snow boots (/wiki/Snow_boot) are ideal for wet or snowy weather, providing warmth and protection against the elements. Additionally, boots are used in specialized activities like skiing, ice skating, and climbing due to their unique features tailored to these activities. [78] (#cite_note-DeWeese_Daniel-78) [79] (#cite_note-Chand_Elise-79) [80] (#cite_note-Howe_Steve-80) [81] (#cite_note-Stimpert_Desiree-81) Boots may also be attached to snowshoes (/wiki/Snowshoe) to increase the distribution of weight over a larger surface area (/wiki/Surface_area) for walking in snow (/wiki/Snow) . Ski boots (/wiki/Ski_boots) are a specialized snow boot which are used in alpine (/wiki/Alpine_skiing) or cross-country skiing (/wiki/Cross-country_skiing) and designed to provide a way to attach the skier to his/her skis (/wiki/Ski) using ski bindings (/wiki/Ski_binding) . The ski/boot/binding combination is used to effectively transmit control inputs from the skier's legs to the snow. Ice skates (/wiki/Ice_skate) are another specialized boot with a metal blade attached to the bottom which is used to propel the wearer across a sheet of ice (/wiki/Ice) . [82] (#cite_note-Bellis_Mary_Ice-82) Inline skates (/wiki/Inline_skates) are similar to ice skates but with a set of three to four wheels in lieu of the blade, which are designed to mimic ice skating on solid surfaces such as wood or concrete. [83] (#cite_note-Olsen_Scott&Brennan-83) Boots are designed to withstand heavy wear to protect the wearer and provide good traction. They are generally made from sturdy leather uppers and non-leather outsoles. They may be used for uniforms (/wiki/Uniform) of the police (/wiki/Police) or military (/wiki/Military) , as well as for protection in industrial settings such as mining (/wiki/Mining) and construction (/wiki/Construction) . Protective features may include steel-tipped toes (/wiki/Steel-toe_boots) and soles or ankle (/wiki/Ankle) guards. [84] (#cite_note-Construction_Materials-84) Dress and casual Dress shoes (/wiki/Dress_shoe) are characterized by their smooth leather uppers, leather soles, and sleek design, suitable for formal occasions. In contrast, casual shoes have sturdier leather uppers, non-leather outsoles, and a wider profile for everyday wear. Some dress shoe designs are unisex, while others are specific to men or women. Men's This male dress shoe, known as a derby shoe (/wiki/Derby_shoe) , is distinguished by its open lacing. Men's dress shoes include styles like Oxfords, Derbies, Monk-straps, and Slip-ons, each with its unique characteristics in terms of lacing, decoration, and formality. Women's High heel sandals Women's shoes cover a wide range of styles, including high heels, mules, slingbacks, ballet flats, and court shoes, with high-heeled footwear being a popular choice for formal occasions. Unisex Clog (/wiki/Clog_(shoe)) Platform shoe (/wiki/Platform_shoe) : shoe with very thick soles and heels Sandals (/wiki/Sandal_(footwear)) : open shoes consisting of a sole and various straps, leaving much of the foot exposed to air. They are thus popular for warm-weather wear, because they let the foot be cooler than a closed-toed shoe would. Saddle shoe (/wiki/Saddle_shoe) : leather shoe with a contrasting saddle-shaped band over the instep, typically white uppers with black "saddle". Slip-on shoe (/wiki/Slip-on_shoe) : a dress or casual shoe without shoelaces or fasteners; often with tassels, buckles, or coin-holders (penny loafers). Boat shoes (/wiki/Boat_shoe) , also known as "deck shoes": similar to a loafer, but more casual. Laces are usually simple leather with no frills. Typically made of leather and featuring a soft white sole to avoid marring or scratching a boat deck. The first boat shoe was invented in 1935 by Paul A. Sperry (/wiki/Paul_A._Sperry) . Slippers (/wiki/Slipper) : For indoor use, commonly worn with pajamas (/wiki/Pajamas) . Dance Dancers use a variety of footwear depending on the style of dance and the surface they will be dancing on. Pointe shoes, for instance, are designed for ballet dancing, featuring a stiffened toe box and hardened sole to allow dancers to stand on the tips of their toes. Ballet shoes, on the other hand, are soft, pliable shoes made of canvas or leather, providing flexibility and comfort for ballet dancing. Other dance shoe types include jazz shoes, tango, and flamenco shoes, ballroom shoes, tap shoes, character shoes, and foot thongs, each designed to meet the specific needs of different dance styles. Pointe shoes (/wiki/Pointe_shoes) Ballet shoes (/wiki/Ballet_shoes) Jazz shoes (/wiki/Jazz_shoe) . This style is frequently worn by acro dancers (/wiki/Acro_dance) A foot thong , viewed from the bottom Ghillies (/wiki/Ghillies_(dance)) Ladies' ballroom shoes Men's ballroom shoes Tap shoes (/wiki/Tap_shoe) Kierpce (/w/index.php?title=Kierpce&action=edit&redlink=1) Children's shoe from the early 80s. Orthopedic See also: Diabetic shoe (/wiki/Diabetic_shoe) Orthopedic heavy duty black leather school uniform shoes Orthopedic shoes are specially designed to alleviate discomfort associated with various foot and ankle disorders, such as blisters (/wiki/Blister) , bunions, calluses, and plantar fasciitis. They are also used by individuals with diabetes, unequal leg length (/wiki/Unequal_leg_length) , or children with mobility issues. [85] (#cite_note-85) [86] (#cite_note-86) [87] (#cite_note-87) These shoes typically feature a low heel, wide toe box, and firm heel for added support. Some orthopedic shoes come with removable insoles or orthotics to provide extra arch support. [16] (#cite_note-DeMello_Margo-16) Measures and sizes Main article: Shoe size (/wiki/Shoe_size) World's largest pair of shoes (/wiki/Giant_shoes_of_Marikina) , Riverbank Center (/wiki/Riverbanks_Center) , Philippines—5.29 metres (17.4 ft) long and 2.37 metres (7 ft 9 in) wide, equivalent to a French shoe size of 75. Shoe sizes are indicated by a numerical value representing the length of the shoe, with different systems used globally. European sizes are measured in Paris Points, while the UK and American units are based on whole-number sizes spaced at one barleycorn (1/3 inch) with UK adult sizes starting at size 1 = 8 + 2 ⁄ 3 in (22.0 cm). In the US, this is size 2. Men's and women's shoe sizes often use different scales [ citation needed ] , and some systems are measured using a Brannock Device (/wiki/Brannock_Device) which considers the width and length size values of the feet. The Mondopoint system, introduced in the 1970s by International Standard ISO 2816:1973 "Fundamental characteristics of a system of shoe sizing to be known as Mondopoint" and ISO 3355:1975 "Shoe sizes – System of length grading (for use in the Mondopoint system)" includes measurements of both length and width of the foot. [88] (#cite_note-88) [89] (#cite_note-89) Toddler-sized shoe. Accessories Various accessories are used to enhance the functionality and comfort of shoes. Crampons provide traction on icy terrain, foam taps adjust shoe fit, heel grips prevent slipping, and ice cleats enhance stability on slippery surfaces. Overshoes protect shoes from rain and snow, while shoe bags are used for storage. Shoe brushes and polishing cloths maintain shoe appearance, while shoe inserts offer additional comfort. Removal of shoes "Plzz REMOVE YOUR SHOES" sign at entrance to stupa (/wiki/Stupa) . Nubra (/wiki/Nubra) , India Main article: Tradition of removing shoes in the home and houses of worship (/wiki/Tradition_of_removing_shoes_in_the_home_and_houses_of_worship) In many places in the world, shoes are removed when moving from exteriors to interiors, particularly in homes [90] (#cite_note-Kurzius_2023_p020-90) [91] (#cite_note-Nast_Spier_2020_y674-91) and religious buildings. [92] (#cite_note-Sood_2011_e867-92) In many Asian countries, outdoor shoes are exchanged for indoor shoes or slippers (/wiki/Slipper) . [93] (#cite_note-LaMotte_2023_u513-93) Fitness center (/wiki/Fitness_center) etiquette encourages the exchange of outdoor shoes for indoor shoes, both to prevent dirt and grime from being transferred to the equipment and to ensure that participants are wearing the right shoes for their activities. [94] (#cite_note-C.P.T_2023_s056-94) See also Foot binding (/wiki/Foot_binding) List of shoe companies (/wiki/Category:Shoe_companies) List of shoe styles (/wiki/List_of_shoe_styles) Locomotor effects of shoes (/wiki/Locomotor_effects_of_shoes) Runner's toe (/wiki/Runner%27s_toe) , injury from malfitting shoes Shoe dryer (/wiki/Shoe_dryer) Shoe rack (/wiki/Shoe_rack) Shoe tossing (/wiki/Shoe_tossing) Trousers (/wiki/Trousers) Shoe fetish (/wiki/Shoe_fetish) References ^ Jump up to: a b c Hoskins, Tansy E. (2020-03-21). " (https://www.theguardian.com/fashion/2020/mar/21/some-soles-last-1000-years-in-landfill-the-truth-about-the-sneaker-mountain) 'Some soles last 1,000 years in landfill': the truth about the sneaker mountain" (https://www.theguardian.com/fashion/2020/mar/21/some-soles-last-1000-years-in-landfill-the-truth-about-the-sneaker-mountain) . The Guardian . Retrieved 2021-02-19 . ^ (#cite_ref-2) "The Scottish Ten" (https://www.engineshed.org/about-us/the-scottish-ten/sites/antonine-wall-scotland/) . The Engine Shed . Centre for Digital Documentation and Visualisation LLP . Retrieved 14 October 2017 . ^ (#cite_ref-3) "Lady's Shoe, Bar Hill" (https://vimeo.com/140404027) . 2015-09-25 . Retrieved 24 May 2018 . ^ (#cite_ref-4) "Child's Shoe, Bar Hill" (https://vimeo.com/140054166) . 2015-09-22 . Retrieved 24 May 2018 . ^ (#cite_ref-Connolly_Tom_5-0) Connolly, Tom. "The World's Oldest Shoes" (http://pages.uoregon.edu/connolly/FRsandals.htm) . University of Oregon (/wiki/University_of_Oregon) . 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Bibcode (/wiki/Bibcode_(identifier)) : 2010PLoSO...510984P (https://ui.adsabs.harvard.edu/abs/2010PLoSO...510984P) . doi (/wiki/Doi_(identifier)) : 10.1371/journal.pone.0010984 (https://doi.org/10.1371%2Fjournal.pone.0010984) . PMC (/wiki/PMC_(identifier)) 2882957 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2882957) . PMID (/wiki/PMID_(identifier)) 20543959 (https://pubmed.ncbi.nlm.nih.gov/20543959) . Reported in (among others) Belluck, Pam (9 June 2010). "This Shoe Had Prada Beat by 5,500 Years" (https://www.nytimes.com/2010/06/10/science/10shoe.html) . The New York Times (/wiki/The_New_York_Times) . Archived (https://web.archive.org/web/20100611103130/http://www.nytimes.com/2010/06/10/science/10shoe.html) from the original on 11 June 2010 . 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Archived (https://web.archive.org/web/20160517123717/https://books.google.com/books?id=KYP03bw1mVIC&pg=PA47&lpg=PA47&dq=air+jordans&source=bl&ots=2FUA00vpwr&sig=77efxA0aD2mdSqO5V5321Xv6TDI&hl=en&sa=X&ei=QoU2UN-6OpO08ASC3oGIDg&ved=0CFQQ6AEwBQ#v=onepage&q=air%20jordans&f=false) from the original on 2016-05-17. ^ (#cite_ref-TrailSpace_70-0) "Vibram FiveFingers Named A "Best Invention of 2007" by Time Magazine" (http://www.trailspace.com/articles/2007/11/12/vibram-fivefingers-named-a-best-invention-of-2007-by-time-magazine.html) . trailspace.com . 12 November 2007. Archived (https://web.archive.org/web/20100513230848/http://www.trailspace.com/articles/2007/11/12/vibram-fivefingers-named-a-best-invention-of-2007-by-time-magazine.html) from the original on 13 May 2010 . Retrieved June 26, 2010 . ^ (#cite_ref-Cortese_Amy_71-0) Cortese, Amy (August 29, 2009). "Wiggling Their Toes at the Shoe Giants" (https://www.nytimes.com/2009/08/30/business/30shoe.html) . The New York Times (/wiki/The_New_York_Times) . Archived (https://web.archive.org/web/20110404080819/http://www.nytimes.com/2009/08/30/business/30shoe.html) from the original on April 4, 2011 . Retrieved July 1, 2010 . ^ (#cite_ref-Saucony_72-0) "Saucony Progrid Kinvara Running Shoe Review: Runner's World" (https://web.archive.org/web/20110911213001/http://www.runnersworld.com/cda/shoefinder_detail/1,7161,s6-240-400-0-0-0-0-0-1861,00.html) . Runner's World . February 15, 2008. Archived from the original (http://www.runnersworld.com/cda/shoefinder_detail/1,7161,s6-240-400-0-0-0-0-0-1861,00.html) on September 11, 2011 . Retrieved September 3, 2011 . ^ (#cite_ref-Jhung_Lisa_73-0) Jhung, Lisa (May 2011). "Saucony Minimalism" (https://web.archive.org/web/20110506145415/http://gear.runnersworld.com/2011/05/saucony-minimalism.html) . Runner's World . Archived from the original (http://gear.runnersworld.com/2011/05/saucony-minimalism.html) on 2011-05-06 . Retrieved August 17, 2011 . ^ (#cite_ref-McDougall_Christopher_74-0) McDougall, Christopher (2011). Born to Run: A Hidden Tribe, Superathletes, and the Greatest Race the World Has Never Seen . New York City (/wiki/New_York_City) : Vintage Books. pp. 168 (https://archive.org/details/isbn_9780307279187/page/168) , 172. ISBN (/wiki/ISBN_(identifier)) 978-0-307-27918-7 . born to run. ^ (#cite_ref-Welinder_Whitley_75-0) Welinder, Per; Whitley, Peter (2012). Mastering Skateboarding . Champaign, Illinois (/wiki/Champaign,_Illinois) : Human Kinetics. p. 8. ISBN (/wiki/ISBN_(identifier)) 978-0-7360-9599-0 . Archived (https://web.archive.org/web/20160624133118/https://books.google.com/books?id=n-sm3PHrfuMC&pg=PA8&lpg=PA8&dq=skate+shoes&source=bl&ots=hHtSxS72qm&sig=r38MPQz6t7tiO5dgrvT6g3STjhg&hl=en&sa=X&ei=wos2ULXeD4T89gS6joGwCg&ved=0CEcQ6AEwAw#v=onepage&q=skate%20shoes&f=false) from the original on 2016-06-24. ^ (#cite_ref-IPMBA_76-0) International Police Mountain Bike Association (2008). The Complete Guide to Public Safety Cycling . Sudbury, Massachusetts (/wiki/Sudbury,_Massachusetts) : Jones & Bartlett Publishers. p. 45. ISBN (/wiki/ISBN_(identifier)) 978-0-7637-4433-5 . Archived (https://web.archive.org/web/20160519050811/https://books.google.com/books?id=OWeDspfAdKcC&pg=PA45&lpg=PA45&dq=cycling+shoes&source=bl&ots=FRDs04HdY_&sig=H1Gf57RjKAVWzaYA6vMtKoHofN0&hl=en&sa=X&ei=YI02UKufII2o8gSAhIGwDA&ved=0CD4Q6AEwAQ#v=onepage&q=cycling%20shoes&f=false) from the original on 2016-05-19. ^ (#cite_ref-77) Radding, Ben (November 15, 2018). "The Best Weightlifting Shoes, According to Trainers" (https://www.yahoo.com/lifestyle/best-weightlifting-shoes-according-trainers-202200672.html) . Yahoo Life . ^ (#cite_ref-DeWeese_Daniel_78-0) DeWeese, G. Daniel (June 29, 2010). "The Functional Side of Cowboy Boots" (https://web.archive.org/web/20121016062459/http://www.truewestmagazine.com/jcontent/living-the-dream/living-the-dream/fashion/2731-the-functional-side-of-cowboy-boots) . True West Magazine (/wiki/True_West_Magazine) . Archived from the original (http://www.truewestmagazine.com/jcontent/living-the-dream/living-the-dream/fashion/2731-the-functional-side-of-cowboy-boots) on October 16, 2012 . Retrieved August 10, 2012 . ^ (#cite_ref-Chand_Elise_79-0) Chand, Elise Gaston (2009). A Parent's Guide to Riding Lessons: Everything You Need to Know to Survive and Thrive With a Horse-Loving Kid . North Adams, Massachusetts (/wiki/North_Adams,_Massachusetts) : Storey Publishing. p. 91. ISBN (/wiki/ISBN_(identifier)) 978-1-60342-447-9 . Archived (https://web.archive.org/web/20160510104233/https://books.google.com/books?id=Iu2CzhW0g3YC&pg=PA91&lpg=PA91&dq=exotic+cowboy+boots&source=bl&ots=o4vQGrMP6f&sig=qM8AFCqdgGZc_0dhQygyIq2UM6k&hl=en&sa=X&ei=cmAkUOTrNIag8gTctYG4Cw&ved=0CDYQ6AEwADgK#v=onepage&q=exotic%20cowboy%20boots&f=false) from the original on 2016-05-10. ^ (#cite_ref-Howe_Steve_80-0) Howe, Steve (March 2002). "Boots" (https://books.google.com/books?id=DOIDAAAAMBAJ&q=hiking+boots&pg=PA43) . Backpacker . Archived (https://web.archive.org/web/20130318234513/http://books.google.com/books?id=DOIDAAAAMBAJ&pg=PA43&lpg=PA43&dq=hiking+boots&source=bl&ots=8CoJk-V0n9&sig=ZtaEOvkfB_S5S40bn7bAi7UF-3g&hl=en&sa=X&ei=amIkUMuJFI-g8gSE_IDYCA&ved=0CFAQ6AEwBTgK#v=onepage&q=hiking%20boots&f=false) from the original on March 18, 2013 . Retrieved August 10, 2012 . ^ (#cite_ref-Stimpert_Desiree_81-0) Stimpert, Desiree. "What Makes a Boot a Snow Boot" (http://shoes.about.com/od/boots/a/snow_boots.htm) . About.com (/wiki/About.com) . Archived (https://web.archive.org/web/20120723171147/http://shoes.about.com/od/boots/a/snow_boots.htm) from the original on July 23, 2012 . Retrieved August 10, 2012 . ^ (#cite_ref-Bellis_Mary_Ice_82-0) Bellis, Mary. "History of Ice Skates" (https://archive.today/20121205235844/http://inventors.about.com/library/inventors/bliceskates.htm) . About.com (/wiki/About.com) . Archived from the original (http://inventors.about.com/library/inventors/bliceskates.htm) on December 5, 2012 . Retrieved August 10, 2012 . ^ (#cite_ref-Olsen_Scott&Brennan_83-0) Olsen, Scott & Brennan. "Inline-Skates" (http://web.mit.edu/invent/iow/Inline.html) . lemelson.mit.edu. Archived (https://web.archive.org/web/20060502164738/http://web.mit.edu/invent/iow/Inline.html) from the original on May 2, 2006 . Retrieved August 10, 2012 . ^ (#cite_ref-Construction_Materials_84-0) Somaiya, A.; James, E.; Wieffering, N. (2008). Construction Materials . Forest Drive, Pinelands, Cape Town (/wiki/Cape_Town) : Pearson Education South Africa. p. 36. ISBN (/wiki/ISBN_(identifier)) 978-1-77025-156-4 . Archived (https://web.archive.org/web/20160508104957/https://books.google.com/books?id=VIVr_oR3JowC&pg=PA36&lpg=PA36&dq=safety+boots&source=bl&ots=hydz0hRuEA&sig=5OSk5uTUJBdFY4z2GJK-Rz6Arm8&hl=en&sa=X&ei=gFkkUM2KM4fM9QSvmIGwDA&ved=0CGUQ6AEwBzgK#v=onepage&q=safety%20boots&f=false) from the original on 2016-05-08. ^ (#cite_ref-85) Hill, Matthew; Healy, Aoife; Chockalingam, Nachiappan (December 2019). "Key concepts in children's footwear research: a scoping review focusing on therapeutic footwear" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6487054) . Journal of Foot and Ankle Research . 12 (1): 25. doi (/wiki/Doi_(identifier)) : 10.1186/s13047-019-0336-z (https://doi.org/10.1186%2Fs13047-019-0336-z) . PMC (/wiki/PMC_(identifier)) 6487054 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6487054) . PMID (/wiki/PMID_(identifier)) 31061678 (https://pubmed.ncbi.nlm.nih.gov/31061678) . ^ (#cite_ref-86) Hill, Matthew; Healy, Aoife; Chockalingam, Nachiappan (December 2020). "Effectiveness of therapeutic footwear for children: A systematic review" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7222438) . Journal of Foot and Ankle Research . 13 (1): 23. doi (/wiki/Doi_(identifier)) : 10.1186/s13047-020-00390-3 (https://doi.org/10.1186%2Fs13047-020-00390-3) . PMC (/wiki/PMC_(identifier)) 7222438 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7222438) . PMID (/wiki/PMID_(identifier)) 32404124 (https://pubmed.ncbi.nlm.nih.gov/32404124) . ^ (#cite_ref-87) Hill, Matthew; Healy, Aoife; Chockalingam, Nachiappan (August 2021). "Defining and grouping children's therapeutic footwear and criteria for their prescription: an international expert Delphi consensus study" (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8354267) . BMJ Open . 11 (8): e051381. doi (/wiki/Doi_(identifier)) : 10.1136/bmjopen-2021-051381 (https://doi.org/10.1136%2Fbmjopen-2021-051381) . ISSN (/wiki/ISSN_(identifier)) 2044-6055 (https://www.worldcat.org/issn/2044-6055) . PMC (/wiki/PMC_(identifier)) 8354267 (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8354267) . PMID (/wiki/PMID_(identifier)) 34373314 (https://pubmed.ncbi.nlm.nih.gov/34373314) . ^ (#cite_ref-88) US patent 1725334 (https://worldwide.espacenet.com/textdoc?DB=EPODOC&IDX=US1725334) , "Foot-measuring instrument", published 1929-08-20 ^ (#cite_ref-89) R. Boughey. Size Labelling of Footwear. Journal of Consumer Studies & Home Economics. Volume 1, Issue 2. June 1977. DOI:10.1111/j.1470-6431.1977.tb00197.x ^ (#cite_ref-Kurzius_2023_p020_90-0) Kurzius, Rachel (October 2, 2023). "The case for — and against — taking your shoes off in the house" (https://www.washingtonpost.com/home/2023/10/02/take-shoes-off-indoors-house/) . Washington Post . Retrieved February 14, 2024 . ^ (#cite_ref-Nast_Spier_2020_y674_91-0) Spier, Ally (April 24, 2020). "Should You Take Your Shoes Off While Indoors?" (https://www.architecturaldigest.com/story/should-you-take-your-shoes-off-while-indoors) . Architectural Digest . Retrieved February 14, 2024 . ^ (#cite_ref-Sood_2011_e867_92-0) Sood, Suemedha (June 17, 2011). "Religious tourism etiquette" (https://www.bbc.com/travel/article/20110616-travelwise-religious-tourism-etiquette) . BBC Home . Retrieved February 14, 2024 . ^ (#cite_ref-LaMotte_2023_u513_93-0) LaMotte, Sandee (December 7, 2023). "The dirty truth about taking your shoes off at the door" (https://www.cnn.com/2023/12/07/health/remove-shoes-germs-wellness/index.html) . CNN . Retrieved February 14, 2024 . ^ (#cite_ref-C.P.T_2023_s056_94-0) C.P.T, Lee Boyce (2023-11-06). "Gym Etiquette Code of Conduct: 12 Rules for Every Lifter" (https://www.mensjournal.com/health-fitness/gentlemans-guide-gym-etiquette#wear-indoor-shoes) . Men's Journal . Retrieved February 14, 2024 . Bibliography Bergstein, Rachelle (2012). Women from the Ankle Down: The Story of Shoes and How They Define Us (Hardback). New York: Harper Collins. pp. 284 pages (https://archive.org/details/womenfromankledo00berg/page/284) . ISBN (/wiki/ISBN_(identifier)) 978-0-06-196961-4 . Doe, Tamasin (1998), Patrick Cox: Wit, Irony, and Footwear , ISBN (/wiki/ISBN_(identifier)) 0-8230-1148-8 (/wiki/Special:BookSources/0-8230-1148-8) . Pattison, Angela, A Century of Shoes: Icons of Style in the 20th Century , ISBN (/wiki/ISBN_(identifier)) 0-7858-0835-3 (/wiki/Special:BookSources/0-7858-0835-3) . Swann, June. History of Footwear in Norway, Sweden and Finland: Prehistory to 1950 , ISBN (/wiki/ISBN_(identifier)) 91-7402-323-3 (/wiki/Special:BookSources/91-7402-323-3) . Further reading Design Museum. Fifty Shoes That Changed the World (https://www.goodreads.com/book/show/30656443-fifty-shoes-that-changed-the-world) . London: Conran Octopus, 2009. ISBN (/wiki/ISBN_(identifier)) 978-1-84091-539-6 (/wiki/Special:BookSources/978-1-84091-539-6) . External links Shoes at Wikipedia's sister projects Definitions (https://en.wiktionary.org/wiki/Special:Search/Shoes) from Wiktionary Media (https://commons.wikimedia.org/wiki/Shoe) from Commons News (https://en.wikinews.org/wiki/Special:Search/Shoes) from Wikinews Quotations (https://en.wikiquote.org/wiki/Shoes) from Wikiquote Texts (https://en.wikisource.org/wiki/Special:Search/Shoes) from Wikisource Textbooks (https://en.wikibooks.org/wiki/Special:Search/Shoes) from Wikibooks Resources (https://en.wikiversity.org/wiki/Special:Search/Shoes) from Wikiversity Bata Shoe Museum (/wiki/Bata_Shoe_Museum) 's online exhibits on the history and variety of footwear: "All About Shoes" (https://web.archive.org/web/20221005164952/http://www.allaboutshoes.ca/en/) . Archived from the original (http://www.allaboutshoes.ca/en/) on 2022-10-05. "Footwear History" (https://web.archive.org/web/20060813085112/http://www.footwearhistory.com/) . Archived from the original (http://www.footwearhistory.com/) on 2006-08-13. "International Shoe Size Conversion Charts" (http://www.i18nguy.com/l10n/shoes.html) . , from i18nguy's website, offers more information. "Shoe Care" (https://archive.today/20121218002956/http://www.schuh-lexikon.de/en/shoe-care.html) . Archived from the original (http://www.schuh-lexikon.de/en/shoe-care.html) on 2012-12-18. Illustrated "Glossary of Shoe Terms" (https://web.archive.org/web/20220319083936/https://www.candefashions.com/about/glossary-of-shoe-terms/) . Archived from the original (https://www.candefashions.com/about/glossary-of-shoe-terms/) on 2022-03-19. Map: "Medieval shoes in museums" (https://www.google.com/maps/d/viewer?mid=1M-CQxxbfVfh7GtlSsNhZa5MTteiI2Dbb&ll=38.964142178237196%2C2.784477716013839&z=2) . v t e Footwear (/wiki/Footwear) Abandoned footwear (/wiki/Abandoned_footwear) Shoe Shoemaking (/wiki/Shoemaking) Shoe size (/wiki/Shoe_size) Dress shoes (/wiki/Dress_shoe) Blucher (/wiki/Blucher_shoe) Brogues (/wiki/Brogue_shoe) Brothel creepers (/wiki/Brothel_creeper) Derby (/wiki/Derby_shoe) Monks (/wiki/Monk_shoe) Oxfords (/wiki/Oxford_shoe) Spectator shoes (Co-respondent shoes) (/wiki/Spectator_shoe) Winklepickers (/wiki/Winklepicker) Wholecuts (/wiki/Wholecut) Slip-on shoes (/wiki/Slip-on_shoe) Court shoes (/wiki/Court_shoe) Prince Albert slippers (/wiki/Slipper#Types) Loafers (/wiki/Slip-on_shoe#Types_of_loafer) Venetian-style shoes (/wiki/Venetian-style_shoe) Women's Ballet flats (/wiki/Ballet_flat) High-heeled footwear (/wiki/High-heeled_shoe) Mary Janes (/wiki/Mary_Jane_(shoe)) Mojari (/wiki/Mojari) Mules 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Jackboots (/wiki/Jackboot) Jump boots (/wiki/Jump_boot) Jungle boots (/wiki/Jungle_boot) Tanker boots (/wiki/Tanker_boot) Trench boots (/wiki/Trench_boot) Munson Last (/wiki/Edward_Lyman_Munson#Munson_last) Work Australian work boots (/wiki/Australian_work_boot) Cowboy boots (/wiki/Cowboy_boot) Engineer boots (/wiki/Engineer_boot) Hip boots (/wiki/Hip_boot) Jika-tabi (/wiki/Jika-tabi) Rigger boots (/wiki/Rigger_boot) Steel-toe boots (/wiki/Steel-toe_boot) Waders (/wiki/Waders_(footwear)) Fashion boots (/wiki/Fashion_boot) Chelsea boots (/wiki/Chelsea_boot) ( Beatle boots (/wiki/Beatle_boot) ) Chukka boots (/wiki/Chukka_boot) Go-go boots (/wiki/Go-go_boot) Knee-high boots (/wiki/Knee-high_boot) Over-the-knee boots (/wiki/Over-the-knee_boot) Platform boots (/wiki/Platform_shoe) Thigh-high boots (/wiki/Thigh-high_boots) Ugg boots (/wiki/Ugg_boots) Other Jodhpur boots (/wiki/Jodhpur_boot) Wellington boots (/wiki/Wellington_boot) Ballet boots (/wiki/Ballet_boot) Sport-related footwear Athletic shoes (/wiki/Sneaker) Ballet shoes (/wiki/Ballet_shoe) Boat shoes (/wiki/Boat_shoe) Climbing shoes (/wiki/Climbing_shoe) Cross country running shoes (/wiki/Cross_country_running_shoe) Cycling shoes (/wiki/Cycling_shoe) Football boots (/wiki/Football_boot) Ghillies (/wiki/Ghillies_(dance)) Hiking boots (/wiki/Hiking_boot) Ice skates (/wiki/Ice_skate) Inline skates (/wiki/Inline_skates) Kung fu shoes (/wiki/Kung_fu_shoe) Minimalist shoes (/wiki/Minimalist_shoe) Motorcycle boots (/wiki/Motorcycle_boot) Mountaineering boots (/wiki/Mountaineering_boot) Plimsolls (/wiki/Plimsoll_(shoe)) Racing flats (/wiki/Racing_flat) Racing shoes (/wiki/Racing_shoes) Riding boots (/wiki/Riding_boot) Roller shoes (/wiki/Roller_shoe) Roller skates (/wiki/Roller_skates) Sabatons (/wiki/Sabaton) Safari boots (/wiki/Safari_boot) Skate shoes (/wiki/Skate_shoe) Ski boots (/wiki/Ski_boot) Sneakers (/wiki/Sneaker) Swimfins (/wiki/Swimfin) Water shoes (/wiki/Water_shoe) Wrestling shoes (/wiki/Wrestling_shoe) Folk footwear (/wiki/Folk_costume) Abacas (/wiki/Abaca_slippers) Abarkas (/wiki/Abarka) Alpargatas (/wiki/Espadrille) Avarcas (/wiki/Avarca) Balghas (/wiki/Balgha) Bast shoes (/wiki/Bast_shoe) Ciocie (/wiki/Ciocie) Clogs (/wiki/Clog) Espadrilles (/wiki/Espadrille) Furlane (/wiki/Furlane_(shoe)) Galesh (/wiki/Galesh) Geta (/wiki/Geta_(footwear)) Giveh (/wiki/Giveh) Haferlschuh (/wiki/Haferlschuh) Hnyat-phanats (/wiki/Hnyat-phanat) Huarache (/wiki/Huarache_(shoe)) Hwa (/wiki/Hwa) Jipsin (/wiki/Jipsin) Jorabs (/wiki/Jorabs) Kamiks (/wiki/Kamik) Kolhapuri chappals (/wiki/Kolhapuri_chappal) Moccasins (/wiki/Moccasin) Mojaris (/wiki/Mojari) Mukluks (/wiki/Mukluk) Nalins (/wiki/Turkish_clogs) Okobo (/wiki/Okobo) Opanci (/wiki/Opanak) Peshawari chappals (/wiki/Peshawari_chappal) Snowshoes (/wiki/Snowshoe) Tsarouchi (/wiki/Tsarouchi) Takunya (/wiki/Turkish_clogs) Upanah (/wiki/Upanah) Valenkis (/wiki/Valenki) Waraji (/wiki/Waraji) Zōri (/wiki/Z%C5%8Dri) Historical footwear Areni-1 shoes (/wiki/Areni-1_shoe) Buskins (/wiki/Buskin) Calcei (/wiki/Calcei) Caligae (/wiki/Caligae) Carbatina (/wiki/Carbatina) Cavalier boots (/wiki/Cavalier_boot) Chinese styles (/wiki/Hanfu_footwear) Chopines (/wiki/Chopine) Duckbill shoes (/wiki/Duckbill_shoe) Flowerpot shoes (/wiki/Flowerpot_shoe) Hessians (/wiki/Hessian_(boot)) Lotus shoes (/wiki/Lotus_shoe) Pampooties (/wiki/Pampootie) Pigaches (/wiki/Pigache) Poulaines (/wiki/Poulaine) Socci (/wiki/Socci) Turnshoes (/wiki/Turnshoe) Shoe construction Bespoke shoes (/wiki/Bespoke_shoes) Blake construction (/wiki/Blake_construction) Goodyear welt (/wiki/Goodyear_welt) Shoe buckle (/wiki/Shoe_buckle) Shoelaces (/wiki/Shoelaces) Toe box (/wiki/Toe_box) High heels (/wiki/High-heeled_shoe) Clear heels (/wiki/Clear_heels) Kitten heels (/wiki/Kitten_heel) Spool heels (/wiki/Spool_heel) Stiletto heels (/wiki/Stiletto_heel) Wedges (/wiki/Wedge_(footwear)) Hosiery Anklets (/wiki/Anklet_(sock)) Bobby socks (/wiki/Bobby_sock) Dress socks (/wiki/Dress_sock) Footwraps (/wiki/Footwrap) Knee highs (/wiki/Knee_highs) Pantyhose (/wiki/Pantyhose) Sock (/wiki/Sock) Stocking (/wiki/Stocking) Tights (/wiki/Tights) Toe socks (/wiki/Toe_sock) Tabi (/wiki/Tabi) List of shoe styles (/wiki/List_of_shoe_styles) v t e Athletic shoe (/wiki/Sneakers) brands Companies and brands Footwear-only Alpina (/wiki/Alpina_%C5%BDiri) Feiyue (/wiki/Feiyue) Gola (/wiki/Gola_(manufacturer)) Karhu (/wiki/Karhu_(sports_brand)) Keds (/wiki/Keds) Pro-Keds (/wiki/Pro-Keds) Spira (/wiki/Spira_(footwear_company)) Vibram (/wiki/Vibram) Xero Shoes (/wiki/Xero_Shoes) 361 Degrees (/wiki/361_Degrees) Footwear and apparel Adidas (/wiki/Adidas) AFA (/wiki/AFA_Sports) Airwalk (/wiki/Airwalk) Allbirds (/wiki/Allbirds) Altra (/wiki/Altra_Running) AND1 (/wiki/AND1) Anta (/wiki/Anta_Sports) Asics (/wiki/Asics) Athleta (/wiki/Athleta_(sports_manufacturer)) Atletica (/wiki/Atletica) Avia (/wiki/Avia_(shoes)) Bata (/wiki/Bata_Corporation) British Knights (/wiki/British_Knights) Brooks (/wiki/Brooks_Sports) Capelli (/wiki/Capelli_Sport) Cariuma (/wiki/Cariuma) Carlton (/wiki/Carlton_Sports) Champion (/wiki/Champion_(sportswear)) Charly (/wiki/Charly_(brand)) Columbia (/wiki/Columbia_Sportswear) Converse (/wiki/Converse_(brand)) DC Shoes (/wiki/DC_Shoes) Diadora (/wiki/Diadora) Dunlop (/wiki/Dunlop_Sport) DVS (/wiki/DVS_Shoes) Ellesse (/wiki/Ellesse) Erke (/wiki/ERKE) Etnies (/wiki/Etnies) Everlast (/wiki/Everlast_(brand)) Fila (/wiki/Fila) Finta (/wiki/Finta) Frasers (/wiki/Frasers_Group) Gilbert (/wiki/Gilbert_Rugby) Givova (/wiki/Givova) Grays International (/wiki/Grays_International) Gray-Nicolls (/wiki/Gray-Nicolls) Head (/wiki/Head_(company)) Hoka One One (/wiki/Hoka_One_One) Hummel (/wiki/Hummel_International) Invicta (/wiki/Invicta_(company)) Jordan (/wiki/Air_Jordan) KangaRoos (/wiki/KangaRoos) Kappa (/wiki/Kappa_(brand)) Karrimor (/wiki/Karrimor) K-Swiss (/wiki/K-Swiss) LA Gear (/wiki/LA_Gear) Li-Ning (/wiki/Li-Ning) Lonsdale (/wiki/Lonsdale_(clothing)) Lotto (/wiki/Lotto_Sport_Italia) Macron (/wiki/Macron_(sportswear)) Merrell (/wiki/Merrell_(company)) Mizuno (/wiki/Mizuno_Corporation) Muddyfox (/wiki/Muddyfox) New Balance (/wiki/New_Balance) Nike, Inc. (/wiki/Nike,_Inc.) North Face (/wiki/The_North_Face) On (/wiki/On_(company)) Olympikus (/wiki/Olympikus) Panam (/wiki/Panam_(brand)) Peak (/wiki/Peak_Sport_Products) Penalty (/wiki/Penalty_(sports_manufacturer)) Pirma (/wiki/Pirma) Pentland (/wiki/Pentland_Group) PF Flyers (/wiki/PF_Flyers) Pony (/wiki/Pony_International) Puma (/wiki/Puma_(brand)) Pro-Specs (/wiki/Pro-Specs) Onitsuka Tiger (/wiki/Onitsuka_Tiger) Quiksilver (/wiki/Quiksilver) Rainha (/wiki/Rainha) Reebok (/wiki/Reebok) Russell (/wiki/Russell_Athletic) Salomon (/wiki/Salomon_Group) Saucony (/wiki/Saucony) Skechers (/wiki/Skechers) Scott (/wiki/Scott_Sports) Slazenger (/wiki/Slazenger) Sole (/wiki/Sole_Technology) Spalding (/wiki/Spalding_(company)) Sperry (/wiki/Sperry_Top-Sider) Starter (/wiki/Starter_(clothing_line)) Supra (/wiki/Supra_(footwear_brand)) Topper (/wiki/Topper_(sports)) Umbro (/wiki/Umbro) Under Armour (/wiki/Under_Armour) Vans (/wiki/Vans) Veja (/wiki/Veja_(brand)) VF (/wiki/VF_Corporation) Wilson (/wiki/Wilson_Sporting_Goods) Wolverine (/wiki/Wolverine_World_Wide) World Balance (/wiki/World_Balance) XBlades (/wiki/XBlades) Xtep (/wiki/Xtep) Yonex (/wiki/Yonex) Zoo York (/wiki/Zoo_York_(company)) Types Biodegradable (/wiki/Biodegradable_athletic_footwear) Cross country (/wiki/Cross_country_running_shoe) Minimalist (/wiki/Minimalist_shoe) Skate (/wiki/Skate_shoe) Sneaker (/wiki/Sneaker) v t e Clothing (/wiki/Clothing) History (/wiki/History_of_clothing_and_textiles) Industry (/wiki/Clothing_industry) Technology (/wiki/Clothing_technology) Terminology (/wiki/Clothing_terminology) Timeline (/wiki/Timeline_of_clothing_and_textiles_technology) Headwear (/wiki/Headgear) Beret (/wiki/Beret) Cap (/wiki/Cap) baseball (/wiki/Baseball_cap) flat (/wiki/Flat_cap) knit (/wiki/Knit_cap) Hat (/wiki/Hat) boater (/wiki/Boater) bowler (/wiki/Bowler_hat) fedora (/wiki/Fedora) homburg (/wiki/Homburg_hat) top (/wiki/Top_hat) Helmet (/wiki/Helmet) Hood (/wiki/Hood_(headgear)) Kerchief (/wiki/Kerchief) Mask (/wiki/Mask) Turban (/wiki/Turban) Veil (/wiki/Veil) Neckwear (/wiki/Neckwear) Bands (/wiki/Bands_(neckwear)) Choker (/wiki/Choker) Clerical collar (/wiki/Clerical_collar) Lavallière (/wiki/Pussy_bow) Neckerchief (/wiki/Neckerchief) Neck gaiter (/wiki/Neck_gaiter) Necktie (/wiki/Necktie) ascot (/wiki/Ascot_tie) bolo (/wiki/Bolo_tie) bow (/wiki/Bow_tie) kipper (/wiki/Kipper_tie) school (/wiki/School_tie) stock (/wiki/Stock_tie) Scarf (/wiki/Scarf) Tippet (/wiki/Tippet) Tops (/wiki/Top_(clothing)) Blouse (/wiki/Blouse) cache-cœur (/wiki/Cache-c%C5%93ur) crop top (/wiki/Crop_top) halterneck (/wiki/Halterneck) tube top (/wiki/Tube_top) Cycling (/wiki/Cycling_jersey) Kurta (/wiki/Kurta) Mantle (/wiki/Mantle_(clothing)) Shirt (/wiki/Shirt) dress (/wiki/Dress_shirt) Henley (/wiki/Henley_shirt) polo (/wiki/Polo_shirt) sleeveless (/wiki/Sleeveless_shirt) T (/wiki/T-shirt) Sweater (/wiki/Sweater) cardigan (/wiki/Cardigan_(sweater)) guernsey (/wiki/Guernsey_(clothing)) hoodie (/wiki/Hoodie) jersey (/wiki/Jersey_(clothing)) polo neck (/wiki/Polo_neck) shrug (/wiki/Shrug_(clothing)) sweater vest (/wiki/Sweater_vest) twinset (/wiki/Twinset) Waistcoat (/wiki/Waistcoat) Trousers (/wiki/Trousers) Bell-bottoms (/wiki/Bell-bottoms) Bondage (/wiki/Bondage_pants) Capri (/wiki/Capri_pants) Cargo (/wiki/Cargo_pants) Chaps (/wiki/Chaps) Formal (/wiki/Formal_trousers) Go-to-hell (/wiki/Go-to-hell_pants) High water (/wiki/High-rise_(fashion)) Lowrise (/wiki/Low-rise_(fashion)) Jeans (/wiki/Jeans) Jodhpurs (/wiki/Jodhpurs) Overalls (/wiki/Overalls) Palazzo (/wiki/Palazzo_pants) Parachute (/wiki/Parachute_pants) Pedal pushers (/wiki/Pedal_pushers) Phat (/wiki/Phat_pants) Shorts (/wiki/Shorts) Bermuda (/wiki/Bermuda_shorts) dycling (/wiki/Cycling_shorts) dolphin (/wiki/Dolphin_shorts) gym (/wiki/Gym_shorts) hotpants (/wiki/Hotpants) running (/wiki/Running_shorts) Slim-fit (/wiki/Slim-fit_pants) Sweatpants (/wiki/Sweatpants) Windpants (/wiki/Windpants) Yoga pants (/wiki/Yoga_pants) Suits (/wiki/Suit) and uniforms (/wiki/Uniform) Ceremonial dress (/wiki/Ceremonial_dress) academic (/wiki/Academic_dress) court (/wiki/Court_dress) diplomatic (/wiki/Diplomatic_uniform) Folk (/wiki/Folk_costume) Jodhpuri (/wiki/Jodhpuri) Jumpsuit (/wiki/Jumpsuit) Military (/wiki/Military_uniform) full (/wiki/Full_dress_uniform) mess (/wiki/Mess_dress_uniform) service (/wiki/Service_dress_uniform) sailor (/wiki/Sailor_suit) combat (/wiki/Combat_uniform) Pantsuit (/wiki/Pantsuit) Religious (/wiki/Religious_clothing) cassock (/wiki/Cassock) clerical (/wiki/Clerical_clothing) vestment (/wiki/Vestment) School (/wiki/School_uniform) Prison (/wiki/Prison_uniform) Workwear (/wiki/Workwear) boilersuit (/wiki/Boilersuit) cleanroom (/wiki/Cleanroom_suit) hazmat (/wiki/Hazmat_suit) space (/wiki/Space_suit) scrubs (/wiki/Scrubs_(clothing)) Dresses (/wiki/Dress) and gowns (/wiki/Gown) Formal, semi- formal, informal Backless (/wiki/Backless_dress) Bouffant gown (/wiki/Bouffant_gown) Coatdress (/wiki/Coatdress) Cocktail (/wiki/Cocktail_dress) little black (/wiki/Little_black_dress) Evening (/wiki/Evening_gown) ball gown (/wiki/Ball_gown) debutante (/wiki/Debutante_dress) Plain (/wiki/Plain_dress) Prairie (/wiki/Prairie_dress) Princess line (/wiki/Princess_line) Strapless (/wiki/Strapless_dress) Wedding (/wiki/Wedding_dress) Wrap (/wiki/Wrap_dress) Casual House (/wiki/House_dress) Jumper (/wiki/Jumper_(dress)) Romper suit (/wiki/Romper_suit) Sheath (/wiki/Sheath_dress) Shirtdress (/wiki/Shirtdress) Slip (/wiki/Slip_dress) Sundress (/wiki/Sundress) Skirts (/wiki/Skirt) A-line (/wiki/A-line_(clothing)) Ballerina (/wiki/Ballerina_skirt) Denim (/wiki/Denim_skirt) Men's (/wiki/Men%27s_skirts) Miniskirt (/wiki/Miniskirt) Pencil (/wiki/Pencil_skirt) Prairie (/wiki/Prairie_skirt) Rah-rah (/wiki/Rah-rah_skirt) Sarong (/wiki/Sarong) Skort (/wiki/Skort) Tutu (/wiki/Tutu_(clothing)) Wrap (/wiki/Wrap_(clothing)) Underwear (/wiki/Underwear) and lingerie (/wiki/Lingerie) Top Bra (/wiki/Bra) Camisole (/wiki/Camisole) Undershirt (/wiki/Undershirt) Bottom Diaper (/wiki/Diaper) Training pants (/wiki/Training_pants) Leggings (/wiki/Leggings) Panties (/wiki/Panties) Plastic pants (/wiki/Plastic_pants) Slip (/wiki/Slip_(clothing)) Thong (/wiki/Thong) Underpants (/wiki/Underpants) boxer briefs (/wiki/Boxer_briefs) boxer shorts (/wiki/Boxer_shorts) briefs (/wiki/Briefs) Full Bodysuit, adult (/wiki/Bodysuit) Bodysuit, infant (/wiki/Infant_bodysuit) Long underwear (/wiki/Long_underwear) See-through (/wiki/See-through_clothing) Teddy (/wiki/Teddy_(garment)) Coats (/wiki/Coat) and outerwear (/wiki/List_of_outerwear) Overcoats (/wiki/Overcoat) Car (/wiki/Car_coat) Chesterfield (/wiki/Chesterfield_coat) Covert (/wiki/Covert_coat) Duffel (/wiki/Duffel_coat) Duster (/wiki/Duster_(clothing)) Greatcoat (/wiki/Greatcoat) British Warm (/wiki/British_Warm) Guards Coat (/wiki/Guards_Coat) Greca (/wiki/Greca_(clothing)) Over-frock (/wiki/Over-frock_coat) Riding (/wiki/Riding_coat) shadbelly (/wiki/Shadbelly) Trench (/wiki/Trench_coat) Ulster (/wiki/Ulster_coat) Cloak (/wiki/Cloak) opera (/wiki/Opera_cloak) Paletot (/wiki/Paletot) Pea (/wiki/Pea_coat) Polo (/wiki/Polo_coat) Raincoat (/wiki/Raincoat) Mackintosh (/wiki/Mackintosh) Suit coats Frock coat (/wiki/Frock_coat) bekishe (/wiki/Bekishe) rekel (/wiki/Rekel) Mess jacket (/wiki/Mess_jacket) Suit jacket (/wiki/Suit_jacket) Blazer (/wiki/Blazer) smoking (/wiki/Smoking_jacket) sports (/wiki/Sport_coat) Teba (/wiki/Teba_jacket) Tailcoat (/wiki/Tailcoat) dress (/wiki/White_tie#Dress_coat) morning (/wiki/Morning_dress#Morning_coat) Other Apron (/wiki/Apron) pinafore (/wiki/Pinafore) Blouson (/wiki/Blouson) Cagoule (/wiki/Cagoule) Cape (/wiki/Cape) ferraiolo (/wiki/Ferraiolo) Inverness (/wiki/Inverness_cape) Mantle (/wiki/Mantle_(clothing)) monastic (/wiki/Mantle_(monastic_vesture)) royal (/wiki/Mantle_(royal_garment)) mozzetta (/wiki/Mozzetta) pellegrina (/wiki/Pellegrina) Coatee (/wiki/Coatee) Cut-off (/wiki/Cut-off) Gilet (/wiki/Gilet) Jacket (/wiki/Jacket) down (/wiki/Down_jacket) flight (/wiki/Flight_jacket) goggle (/wiki/Goggle_jacket) Harrington (/wiki/Harrington_jacket) leather (/wiki/Leather_jacket) mackinaw (/wiki/Mackinaw_jacket) Norfolk (/wiki/Norfolk_jacket) safari (/wiki/Safari_jacket) Jerkin (/wiki/Jerkin_(garment)) Lab coat (/wiki/White_coat) Parka (/wiki/Parka) Poncho (/wiki/Poncho) Robe (/wiki/Robe) bathrobe (/wiki/Bathrobe) dressing gown (/wiki/Dressing_gown) Shawl (/wiki/Shawl) Ski suit (/wiki/Ski_suit) Sleeved blanket (/wiki/Sleeved_blanket) Windbreaker (/wiki/Windbreaker) Nightwear (/wiki/Nightwear) Babydoll (/wiki/Babydoll) Babygrow (/wiki/Babygrow) Blanket sleeper (/wiki/Blanket_sleeper) Negligee (/wiki/Negligee) Nightgown (/wiki/Nightgown) Nightshirt (/wiki/Nightshirt) Pajamas (/wiki/Pajamas) Swimwear (/wiki/Swimsuit) Bikini (/wiki/Bikini) Burkini (/wiki/Burkini) Boardshorts (/wiki/Boardshorts) Dry suit (/wiki/Dry_suit) Monokini (/wiki/Monokini) One-piece (/wiki/One-piece_swimsuit) Rash guard (/wiki/Rash_guard) Sling (/wiki/Sling_swimsuit) Square leg suit (/wiki/Square_leg_suit) Swim briefs (/wiki/Swim_briefs) Swim diaper (/wiki/Swim_diaper) Trunks (/wiki/Trunks_(clothing)) Wetsuit (/wiki/Wetsuit) Footwear (/wiki/Footwear) Boot (/wiki/Boot) Court shoe (/wiki/Court_shoe) Dress boot (/wiki/Dress_boot) Dress shoe (/wiki/Dress_shoe) Flip-flops (/wiki/Flip-flops) Sandal (/wiki/Sandal) Shoe Slipper (/wiki/Slipper) Sneaker (/wiki/Sneaker) Legwear (/wiki/Hosiery) Sock (/wiki/Sock) Hold-ups (/wiki/Hold-ups) Garter (/wiki/Garter) Pantyhose (/wiki/Pantyhose) Stocking (/wiki/Stocking) Tights (/wiki/Tights) Accessories (/wiki/Fashion_accessory) Belt (/wiki/Belt_(clothing)) Boutonnière (/wiki/Boutonni%C3%A8re) Coin purse (/wiki/Coin_purse) Cufflink (/wiki/Cufflink) Cummerbund (/wiki/Cummerbund) Gaiters (/wiki/Gaiters) Glasses (/wiki/Glasses) Gloves (/wiki/Glove) Headband (/wiki/Headband) Handbag (/wiki/Handbag) Jewellery (/wiki/Jewellery) Livery (/wiki/Livery) Muff (/wiki/Muff_(handwarmer)) Pocket protector (/wiki/Pocket_protector) Pocket watch (/wiki/Pocket_watch) Sash (/wiki/Sash) Spats (/wiki/Spats_(footwear)) Sunglasses (/wiki/Sunglasses) Suspenders (/wiki/Suspenders) Umbrella (/wiki/Umbrella) Wallet (/wiki/Wallet) Watch (/wiki/Watch) Dress codes (/wiki/Dress_code) Western (/wiki/Western_dress_codes) Formal (/wiki/Formal_wear) morning dress (/wiki/Morning_dress) white tie (/wiki/White_tie) Semi-formal (/wiki/Semi-formal_wear) black lounge suit (/wiki/Black_lounge_suit) black tie (/wiki/Black_tie) Informal (/wiki/Informal_wear) Casual (/wiki/Casual_wear) Related Clothing fetish (/wiki/Clothing_fetish) Clothing swap (/wiki/Clothing_swap) Costume (/wiki/Costume) creature suit (/wiki/Creature_suit) Halloween costume (/wiki/Halloween_costume) Cross-dressing (/wiki/Cross-dressing) Environmental impact (/wiki/Environmental_impact_of_fashion) Fashion (/wiki/Fashion) haute couture (/wiki/Haute_couture) made-to-measure (/wiki/Made-to-measure) ready-to-wear (/wiki/Ready-to-wear) Fur clothing (/wiki/Fur_clothing) types (/wiki/List_of_types_of_fur) Fursuit (/wiki/Fursuit) Global trade of secondhand clothing (/wiki/Global_trade_of_secondhand_clothing) Laws (/wiki/Clothing_laws_by_country) List of individual dresses (/wiki/List_of_individual_dresses) Reconstructed clothing (/wiki/Reconstructed_clothing) Right to clothing (/wiki/Right_to_clothing) Vintage clothing (/wiki/Vintage_clothing) Clothing portal (/wiki/Portal:Clothing) v t e Prehistoric technology (/wiki/Prehistoric_technology) Prehistory (/wiki/Prehistory) Timeline (/wiki/Timeline_of_prehistory) Outline (/wiki/Outline_of_prehistoric_technology) Stone Age (/wiki/Stone_Age) Subdivisions (/wiki/Three-age_system#Stone_Age_subdivisions) New Stone Age (/wiki/Neolithic) Technology (/wiki/Technology) history (/wiki/History_of_technology) Glossary (/wiki/Glossary_of_archaeology) Tools (/wiki/Lithic_technology) Farming (/wiki/History_of_agriculture) Neolithic Revolution (/wiki/Neolithic_Revolution) Founder crops (/wiki/Founder_crops) New World crops (/wiki/New_World_crops) Ard / plough (/wiki/Ard_(plough)) Celt (/wiki/Celt_(tool)) Digging stick (/wiki/Digging_stick) Domestication (/wiki/Domestication) Goad (/wiki/Goad) Irrigation (/wiki/Irrigation) Secondary products (/wiki/Secondary_products_revolution) Sickle (/wiki/Sickle) Terracing (/wiki/Terrace_(earthworks)) Food processing Fire (/wiki/Control_of_fire_by_early_humans) Basket (/wiki/Basket) Cooking (/wiki/Cooking) Earth oven (/wiki/Earth_oven) Granaries (/wiki/Granary) Grinding slab (/wiki/Grinding_slab) Ground stone (/wiki/Ground_stone) Hearth (/wiki/Hearth) Aşıklı Höyük (/wiki/A%C5%9F%C4%B1kl%C4%B1_H%C3%B6y%C3%BCk#Hearths) Qesem cave (/wiki/Qesem_cave#Fire) Manos (/wiki/Mano_(stone)) Metate (/wiki/Metate) Mortar and pestle (/wiki/Mortar_and_pestle) Pottery (/wiki/Pottery) Quern-stone (/wiki/Quern-stone) Storage pits (/wiki/Prehistoric_storage_pits) Hunting (/wiki/Hunting_hypothesis) Arrow (/wiki/Arrow) Boomerang (/wiki/Boomerang) throwing stick (/wiki/Throwing_stick) Bow and arrow (/wiki/Bow_and_arrow) history (/wiki/History_of_archery) Nets (/wiki/Gravettian#Hunting) Spear (/wiki/Spear) spear-thrower (/wiki/Spear-thrower) baton (/wiki/Baton_fragment_(Palart_310)) harpoon (/wiki/Harpoon) Schöningen (/wiki/Sch%C3%B6ningen_spears) woomera (/wiki/Woomera_(spear-thrower)) Projectile points (/wiki/Projectile_point) Arrowhead (/wiki/Arrowhead) Transverse (/wiki/Transverse_arrowhead) Bare Island (/wiki/Bare_Island_projectile_point) Cascade (/wiki/Cascade_point) Clovis (/wiki/Clovis_point) Cresswell (/wiki/Creswellian_culture) Cumberland (/wiki/Cumberland_point) Eden (/wiki/Eden_point) Folsom (/wiki/Folsom_point) Lamoka (/wiki/Lamoka_projectile_point) Manis Mastodon (/wiki/Manis_Mastodon_site) Plano (/wiki/Plano_point) Systems Game drive system (/wiki/Game_drive_system) Buffalo jump (/wiki/Buffalo_jump) Toolmaking (/wiki/Lithic_technology) Earliest toolmaking (/wiki/Industry_(archaeology)) Oldowan (/wiki/Oldowan) Acheulean (/wiki/Acheulean) Mousterian (/wiki/Mousterian) Aurignacian (/wiki/Aurignacian) Clovis culture (/wiki/Clovis_culture) Cupstone (/wiki/Cupstone) Fire hardening (/wiki/Fire_hardening) Gravettian culture (/wiki/Gravettian) Hafting (/wiki/Hafting) Hand axe (/wiki/Hand_axe) Grooves (/wiki/Grooves_(archaeology)) Langdale axe industry (/wiki/Langdale_axe_industry) Levallois technique (/wiki/Levallois_technique) Lithic core (/wiki/Lithic_core) Lithic reduction (/wiki/Lithic_reduction) analysis (/wiki/Lithic_analysis) debitage (/wiki/Debitage) flake (/wiki/Lithic_flake) Lithic technology (/wiki/Lithic_technology) Magdalenian culture (/wiki/Magdalenian) Metallurgy (/wiki/Ferrous_metallurgy) Microblade technology (/wiki/Microblade_technology) Mining (/wiki/Grime%27s_Graves) Prepared-core technique (/wiki/Prepared-core_technique) Solutrean industry (/wiki/Solutrean) Striking platform (/wiki/Striking_platform) Tool stone (/wiki/Tool_stone) Uniface (/wiki/Uniface) Yubetsu technique (/wiki/Yubetsu_technique) Other tools (/wiki/Artifact_(archaeology)) Adze (/wiki/Adze) Awl (/wiki/Stitching_awl) bone (/wiki/Gravettian#Use_of_animal_remains) Axe (/wiki/Axe) Bannerstone (/wiki/Bannerstone) Blade (/wiki/Blade_(archaeology)) prismatic (/wiki/Prismatic_blade) Bone tool (/wiki/Bone_tool) Bow drill (/wiki/Bow_drill) Burin (/wiki/Burin_(lithic_flake)) Canoe (/wiki/Canoe#History) Oar (/wiki/Oar) Pesse canoe (/wiki/Pesse_canoe) Chopper (/wiki/Chopper_(archaeology)) tool (/wiki/Chopping_tool) Cleaver (/wiki/Cleaver_(Stone_Age_tool)) Denticulate tool (/wiki/Denticulate_tool) Fire plough (/wiki/Fire_plough) Fire-saw (/wiki/Fire-saw) Hammerstone (/wiki/Hammerstone) Knife (/wiki/Knife) Microlith (/wiki/Microlith) Quern-stone (/wiki/Quern-stone) Racloir (/wiki/Racloir) Rope (/wiki/Rope) Scraper (/wiki/Scraper_(archaeology)) side (/wiki/Grattoir_de_c%C3%B4t%C3%A9) Stone tool (/wiki/Stone_tool) Tally stick 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Blombos Cave (/wiki/Blombos_Cave) Abri de la Madeleine (/wiki/Abri_de_la_Madeleine) Sibudu Cave (/wiki/Sibudu_Cave) Roundhouse (/wiki/Roundhouse_(dwelling)) Stilt house (/wiki/Stilt_house) Alp pile dwellings (/wiki/Prehistoric_pile_dwellings_around_the_Alps) Stone roof (/wiki/Ness_of_Brodgar) Wattle and daub (/wiki/Wattle_and_daub) Water management Check dam (/wiki/Check_dam) Cistern (/wiki/Cistern) Flush toilet (/wiki/Flush_toilet#History) Reservoir (/wiki/Reservoir) Well (/wiki/Well) Other architecture Archaeological features (/wiki/Feature_(archaeology)) Broch (/wiki/Broch) Burnt mound (/wiki/Burnt_mound) fulacht fiadh (/wiki/Fulacht_fiadh) Causewayed enclosure (/wiki/Causewayed_enclosure) Tor enclosure (/wiki/Tor_enclosure) Circular enclosure (/wiki/Neolithic_circular_enclosures_in_Central_Europe) Goseck (/wiki/Goseck_Circle) Cursus (/wiki/Cursus) Henge (/wiki/Henge) Thornborough (/wiki/Thornborough_Henges) Megalithic architectural elements (/wiki/Megalithic_architectural_elements) 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Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Shoe&oldid=1233336566#Construction (https://en.wikipedia.org/w/index.php?title=Shoe&oldid=1233336566#Construction) " Categories (/wiki/Help:Category) : Shoes (/wiki/Category:Shoes) Footwear (/wiki/Category:Footwear) Protective gear (/wiki/Category:Protective_gear) Hidden categories: Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) All articles with dead external links (/wiki/Category:All_articles_with_dead_external_links) Articles with dead external links from July 2018 (/wiki/Category:Articles_with_dead_external_links_from_July_2018) Articles with permanently dead external links (/wiki/Category:Articles_with_permanently_dead_external_links) Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Wikipedia semi-protected pages (/wiki/Category:Wikipedia_semi-protected_pages) All articles with unsourced statements (/wiki/Category:All_articles_with_unsourced_statements) Articles with unsourced statements from January 2018 (/wiki/Category:Articles_with_unsourced_statements_from_January_2018) Articles with unsourced statements from June 2022 (/wiki/Category:Articles_with_unsourced_statements_from_June_2022) Articles with a promotional tone from January 2024 (/wiki/Category:Articles_with_a_promotional_tone_from_January_2024) All articles with a promotional tone (/wiki/Category:All_articles_with_a_promotional_tone) Articles with unsourced statements from September 2020 (/wiki/Category:Articles_with_unsourced_statements_from_September_2020) Pages using Sister project links with default search (/wiki/Category:Pages_using_Sister_project_links_with_default_search) Articles with BNF identifiers (/wiki/Category:Articles_with_BNF_identifiers) Articles with BNFdata identifiers (/wiki/Category:Articles_with_BNFdata_identifiers) Articles with GND identifiers (/wiki/Category:Articles_with_GND_identifiers) Articles with J9U identifiers (/wiki/Category:Articles_with_J9U_identifiers) Articles with LCCN identifiers (/wiki/Category:Articles_with_LCCN_identifiers) Articles with NDL identifiers (/wiki/Category:Articles_with_NDL_identifiers) Articles containing video clips (/wiki/Category:Articles_containing_video_clips) |
Scotland portal (/wiki/Portal:Scotland) Fashion portal (/wiki/Portal:Fashion) Classification (/wiki/Wikipedia:Classification) : People (/wiki/Category:People) : By occupation (/wiki/Category:People_by_occupation) : Designers (/wiki/Category:Designers) / Businesspeople in fashion (/wiki/Category:Businesspeople_in_fashion) : Fashion designers (/wiki/Category:Fashion_designers) : By nationality (/wiki/Category:Fashion_designers_by_nationality) : British (/wiki/Category:British_fashion_designers) : Scottish Also: United Kingdom (/wiki/Category:United_Kingdom) : Scotland (/wiki/Category:Scotland) : People (/wiki/Category:Scottish_people) : By occupation (/wiki/Category:Scottish_people_by_occupation) : Designers (/wiki/Category:Scottish_designers) / Businesspeople in fashion (/wiki/Category:Scottish_businesspeople_in_fashion) : Fashion designers NewPP limit report Parsed by mw‐web.codfw.main‐ff98d5cb5‐z92gt Cached time: 20240722170504 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.056 seconds Real time usage: 0.090 seconds Preprocessor visited node count: 209/1000000 Post‐expand include size: 3677/2097152 bytes Template argument size: 845/2097152 bytes Highest expansion depth: 8/100 Expensive parser function count: 6/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 1041/5000000 bytes Lua time usage: 0.026/10.000 seconds Lua memory usage: 914245/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 75.795 1 -total 57.83% 43.836 1 Template:Portal 41.95% 31.796 1 Template:Fooian_fooers 27.21% 20.626 4 Template:Resolve_category_redirect 3.29% 2.493 3 Template:COLON Saved in parser cache with key enwiki:pcache:idhash:29996037-0!canonical and timestamp 20240722170504 and revision id 1207732063. Rendering was triggered because: page-view Pages in category "Scottish fashion designers" The following 18 pages are in this category, out of 18 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . B Guy Berryman (/wiki/Guy_Berryman) John Boyd (milliner) (/wiki/John_Boyd_(milliner)) C William Chambers (milliner) (/wiki/William_Chambers_(milliner)) Philip Colbert (/wiki/Philip_Colbert) F Holly Fulton (/wiki/Holly_Fulton) G Bill Gibb (/wiki/Bill_Gibb) Patrick Grant (designer) (/wiki/Patrick_Grant_(designer)) H Pam Hogg (/wiki/Pam_Hogg) J Charles Jeffrey (fashion designer) (/wiki/Charles_Jeffrey_(fashion_designer)) K Christopher Kane (/wiki/Christopher_Kane) M Michelle Mone, Baroness Mone (/wiki/Michelle_Mone,_Baroness_Mone) O Eunice Olumide (/wiki/Eunice_Olumide) P Ronald Paterson (/wiki/Ronald_Paterson) Ray Petri (/wiki/Ray_Petri) S Jonathan Saunders (/wiki/Jonathan_Saunders) John Stephen (/wiki/John_Stephen) Douglas Stuart (writer) (/wiki/Douglas_Stuart_(writer)) T Stuart Trevor (/wiki/Stuart_Trevor) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Scottish_fashion_designers&oldid=1207732063 (https://en.wikipedia.org/w/index.php?title=Category:Scottish_fashion_designers&oldid=1207732063) " Categories (/wiki/Help:Category) : Scottish designers (/wiki/Category:Scottish_designers) Scottish businesspeople in fashion (/wiki/Category:Scottish_businesspeople_in_fashion) British fashion designers (/wiki/Category:British_fashion_designers) Scottish fashion (/wiki/Category:Scottish_fashion) |
Foreva – Comércio de Calçado, S.A. Industry Shoes (/wiki/Shoe) Founded 1984 Headquarters Portugal (/wiki/Portugal) Website www (http://www.foreva.pt/) .foreva (http://www.foreva.pt/) .pt (http://www.foreva.pt/) Foreva – Comércio de Calçado, S.A. [1] (#cite_note-1) is a Portuguese (/wiki/Portugal) company that manufactures shoes (/wiki/Shoe) . It is one of the most important and well-known shoe companies of Portugal, and its stores are mostly located in shopping malls (/wiki/Shopping_mall) all over the country, including the Azores (/wiki/Azores) and Madeira (/wiki/Madeira) . It is part of the Portuguese group Kyaia , [2] (#cite_note-kyaia-jn-2) since 2005. Its suppliers and factories are mainly in Northern Portugal (/wiki/Northern_Portugal) , in particular Guimarães (/wiki/Guimar%C3%A3es) . [2] (#cite_note-kyaia-jn-2) History [ edit ] Foreva was founded in 1984. [3] (#cite_note-foreva-lisbonlux-3) Its first store opened in Lisbon (/wiki/Lisbon) . The company expanded from then on, manufacturing more and opening new shops over the years. However, it began to have various financial problems around the beginning of the 2000s (decade). In 2005, with 47 shops, [4] (#cite_note-kyaia-dn-4) the company was acquired by the Kyaia group. It corresponded to an investment of over 7 million euros (/wiki/Euro) . [5] (#cite_note-5) According to Fortunato Frederico, a businessman in charge of the Kyaia group, he bought a true " Titanic (/wiki/Titanic) sinking boat" [6] (#cite_note-portugalglobal-6) and "went through a lot to put it floating back again". Nevertheless, already in 2010, the company began to improve its financial situation and make profit. [6] (#cite_note-portugalglobal-6) Production [ edit ] Foreva's main centre of production has been, from the start, in the city of Guimarães (/wiki/Guimar%C3%A3es) ( North of Portugal (/wiki/North_of_Portugal) ). In 2010, a new Kyaia group factory opened in Paredes de Coura (/wiki/Paredes_de_Coura) , also in the same region of the country. [7] (#cite_note-kyaia-boasnoticias-7) The Kyaia group employs over 500 factory workers. [7] (#cite_note-kyaia-boasnoticias-7) See also [ edit ] List of companies of Portugal (/wiki/List_of_companies_of_Portugal) References [ edit ] ^ (#cite_ref-1) "Foreva at Europages" (https://web.archive.org/web/20120406173744/http://www.europages.co.uk/FOREVACOMERCIO-DE-CALCADO-SA/bch-EUR-PRT028538-00101-25-xx/company-information.html) . Archived from the original (http://www.europages.co.uk/FOREVACOMERCIO-DE-CALCADO-SA/bch-EUR-PRT028538-00101-25-xx/company-information.html) on 6 April 2012 . Retrieved 30 November 2011 . ^ a b LUSA. "Calçado: Kyaia investe 1,2 ME em novas instalações para expansão das marcas Foreva/Sapatália" (http://www.jn.pt/paginainicial/interior.aspx?content_id=946612) [Shoe industry: Kyaia invests 1,2 M. in new facilities for Foreva & Sapatália brands] (in Portuguese) . Retrieved 30 November 2011 . ^ (#cite_ref-foreva-lisbonlux_3-0) LisbonLux – City Guide. "FOREVA – Shoe shop in Lisbon, Portugal" (http://www.lisbonlux.com/lisbon-shops/foreva.html) . Retrieved 30 November 2011 . ^ (#cite_ref-kyaia-dn_4-0) Sónia Santos Pereira (Diário Económico). "Kyaia adquire rede de 63 lojas" (https://www.dn.pt/Inicio/interior.aspx?content_id=600611) [Kyaia buys chain of 63 stores] (in Portuguese) . Retrieved 30 November 2011 . ^ (#cite_ref-5) "Kyaia compra Grupo Foreva e quer dominar o mundo" (http://www.guimaraesdigital.com/index.php?a=noticias&id=29744) [Kyaia buys Foreva Group and wants to conquer the world] (in Portuguese) . Retrieved 1 December 2011 . ^ a b "Algumas empresas portuguesas já exportam para os chineses" (https://web.archive.org/web/20120613114756/http://www.portugalglobal.pt/PT/PortugalNews/RevistaImprensaNacional/Empresas/Paginas/Algumasempresasportuguesasj%C3%A1exportamparaoschineses.aspx) (in Portuguese). Archived from the original (http://www.portugalglobal.pt/PT/PortugalNews/RevistaImprensaNacional/Empresas/Paginas/Algumasempresasportuguesasj%C3%A1exportamparaoschineses.aspx) on 13 June 2012 . Retrieved 30 November 2011 . ^ a b "Kyaia inaugura nova fábrica em Paredes de Coura" (https://web.archive.org/web/20111104184801/http://boasnoticias.pt/noticias_Kyaia-inaugura-nova-f%C3%A1brica-em-Paredes-de-Coura_4593.html) [Kyaia opens new factory in Paredes de Coura] (in Portuguese). Archived from the original (http://www.boasnoticias.pt/noticias_Kyaia-inaugura-nova-f%C3%A1brica-em-Paredes-de-Coura_4593.html) on 4 November 2011 . Retrieved 1 December 2011 . External links [ edit ] Official website (http://www.foreva.pt/) NewPP limit report Parsed by mw‐web.eqiad.main‐757b695c56‐9qk8n Cached time: 20240715222854 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.268 seconds Real time usage: 0.457 seconds Preprocessor visited node count: 1352/1000000 Post‐expand include size: 17818/2097152 bytes Template argument size: 846/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 2/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 28195/5000000 bytes Lua time usage: 0.158/10.000 seconds Lua memory usage: 4472316/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 321.639 1 -total 38.67% 124.373 1 Template:Infobox_company 36.26% 116.621 7 Template:Cite_web 35.28% 113.473 1 Template:Infobox 18.96% 60.969 1 Template:Use_dmy_dates 6.20% 19.949 6 Template:Main_other 4.81% 15.475 1 Template:DMCA 3.67% 11.802 1 Template:Dated_maintenance_category 3.66% 11.762 1 Template:Comma_separated_entries 2.41% 7.736 1 Template:FULLROOTPAGENAME Saved in parser cache with key enwiki:pcache:idhash:33735388-0!canonical and timestamp 20240715222854 and revision id 1141230149. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Foreva&oldid=1141230149 (https://en.wikipedia.org/w/index.php?title=Foreva&oldid=1141230149) " Categories (/wiki/Help:Category) : Shoe companies of Portugal (/wiki/Category:Shoe_companies_of_Portugal) Shoe brands (/wiki/Category:Shoe_brands) Manufacturing companies of Portugal (/wiki/Category:Manufacturing_companies_of_Portugal) Clothing companies established in 1984 (/wiki/Category:Clothing_companies_established_in_1984) Manufacturing companies established in 1984 (/wiki/Category:Manufacturing_companies_established_in_1984) 1984 establishments in Portugal (/wiki/Category:1984_establishments_in_Portugal) Portuguese brands (/wiki/Category:Portuguese_brands) Hidden categories: CS1 Portuguese-language sources (pt) (/wiki/Category:CS1_Portuguese-language_sources_(pt)) Use dmy dates from February 2023 (/wiki/Category:Use_dmy_dates_from_February_2023) |
This article contains content that is written like an advertisement (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_soapbox_or_means_of_promotion) . Please help improve it (https://en.wikipedia.org/w/index.php?title=Chester_Barrie&action=edit) by removing promotional content (/wiki/Wikipedia:Spam) and inappropriate external links (/wiki/Wikipedia:External_links#Advertising_and_conflicts_of_interest) , and by adding encyclopedic content written from a neutral point of view (/wiki/Wikipedia:Neutral_point_of_view) . ( June 2020 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) This article contains wording that promotes (/wiki/MOS:PUFFERY) the subject through exaggeration (/wiki/Wikipedia:Wikipuffery) of unnoteworthy facts (/wiki/Wikipedia:UNDUE) . Please help improve it (https://en.wikipedia.org/w/index.php?title=Chester_Barrie&action=edit) by removing or replacing such wording. ( June 2020 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Chester Barrie Company type Private (/wiki/Limited_company) Industry Retailer (/wiki/Retailer) Founded 1935 Founder Simon Ackerman Headquarters London (/wiki/London) , W1 (/wiki/W_postcode_area) , United Kingdom (/wiki/United_Kingdom) Products Clothing (/wiki/Clothing) , Fashion (/wiki/Fashion) Parent (/wiki/Parent_company) Prominent Europe Website Official website (http://chesterbarrie.co.uk) Chester Barrie was a 'semi- bespoke (/wiki/Bespoke) ' gentleman (/wiki/Gentleman) 's tailor (/wiki/Tailor) last located at No. 19 Savile Row (/wiki/Savile_Row) , London (/wiki/London) . Founded in 1935 by Simon Ackerman, a tailor born in Russia who immigrated to the United States, and presently owned by Prominent Europe. The business provided ready-to-wear clothes, as well as made-to-measure tailoring. History [ edit ] At the turn of the 20th century, Simon Ackerman left Kaunas, Russia for New York City (/wiki/New_York_City) . Having built up a high-priced, quality tailoring business in and around New York, in 1935 he decided that he wanted to import quality British-made suits for the US market. [1] (#cite_note-CBHistory-1) He traveled to England, founding Chester Barrie in 1935 and opening a factory in Crewe (/wiki/Crewe) in Cheshire (/wiki/Cheshire) - midpoint between cloth mills of Huddersfield (/wiki/Huddersfield) and the Port of Liverpool (/wiki/Port_of_Liverpool) . His aim was to create ready-to-wear tailoring, that was of the same quality and had the same attention to detail as the bespoke tailors of Savile Row but without the wait and high cost. Suits for export had the button holes (/wiki/Button_hole) un-finished, where by sending them back to the United States (/wiki/United_States) unfinished thus avoided the import duty (/wiki/Import_duty) . The factory was opened in Chestnut Grove under the name Chester Barrie, based on combining: [1] (#cite_note-CBHistory-1) Chester (/wiki/Chester) , the city and county town of the location he chose for his factory Barrie, the surname of children's fiction writer J. M. Barrie (/wiki/J._M._Barrie) , who wrote Peter Pan (/wiki/Peter_Pan) . In 1937, the business opened a store on Savile Row. The following year Ackerman returned to the United States, placing his son Myron in charge of the British business. [1] (#cite_note-CBHistory-1) The business's growth continued until late 1939 and the start of World War II (/wiki/World_War_II) when the factory's production turned to the war effort, eventually picking up a contract to produce officers' uniforms for the US Army (/wiki/US_Army) in Europe, [1] (#cite_note-CBHistory-1) after the United States entered the war post the attack on Pearl Harbor (/wiki/Attack_on_Pearl_Harbor) . Post-war, business picked up, and in 1949 the factory moved into no longer needed sections of the Rolls-Royce (/wiki/Rolls-Royce_Limited) Crewe factory (/wiki/Bentley_Crewe) , which itself had been constructed pre-war as a shadow factory (/wiki/Shadow_factory) to mass-produce the Rolls-Royce Merlin (/wiki/Rolls-Royce_Merlin) engine. The new capacity allowed the firm to expand, including supplying its product to Harrods (/wiki/Harrods) after Myron sent his own sales people in initially to promote the product. [1] (#cite_note-CBHistory-1) Ackerman was very wise in his promotional activity, engaging popular movie stars including Cary Grant (/wiki/Cary_Grant) and popular figures including Sir Winston Churchill (/wiki/Winston_Churchill) , backing this up with practical and relatively affordable style. Having sold across Europe and the former Commonwealth Empire (/wiki/British_Commonwealth) since 1955, in 1961 the company moved to a new factory in Crewe, to allow the Bentley Motors (/wiki/Bentley_Motors) business to expand. In 1978, the Ackerman family sold the business to the Austin Reed (/wiki/Austin_Reed_(retailer)) Group, by which time the business was employing 470 people, selling to Harrods, Selfridges (/wiki/Selfridges) , Turnbull & Asser (/wiki/Turnbull_%26_Asser) and Saks Fifth Avenue (/wiki/Saks_Fifth_Avenue) , in Manhattan (/wiki/Manhattan) , New York (/wiki/New_York_(state)) . [ citation needed ] Austin Reed started using the factory to produce a number of other brands beside Chester Barrie, and from 1981 started to produce the ready-to-wear stock for fellow Savile Row tailor H. Huntsman. In 1989 the company won the Queen's Award for Export Achievement (/wiki/Queen%27s_Award_for_Export_Achievement) , and in 1998 started making the purple label suits for Polo (/wiki/Polo_Ralph_Lauren) Ralph Lauren (/wiki/Ralph_Lauren) . [2] (#cite_note-CNNFortune-2) Present [ edit ] As the dot.com boom decline hit world markets, the demand for bespoke suits declined. In financial troubles, Austin Reed sold the loss-making Chester Barrie business to Thompson Holdings (Richard Thompson) in 2000. After the business went in receivership (/wiki/Receivership) in 2002, the Crewe factory sold to former management, trading as the Cheshire Clothing Company, who later moved to a new factory. [ citation needed ] SRG Group plc acquired the Chester Barrie Brand and worldwide licensing rights, and engage CCC to manufacture top-end bespoke suits. [3] (#cite_note-CBManf-3) In 2006, CCC itself went into receivership and closed. A new independent manufacturing company was formed in Crewe, Cheshire Bespoke, who again widened their manufacturing offering to supply ranges for brands including Ozwald Boateng (/wiki/Ozwald_Boateng) . [4] (#cite_note-Marino_Donati-4) In 2007, the ownership of the Chester Barrie brand and worldwide licensing rights were sold to Prominent Europe. This has given the brand a new lease of life, while the relationship with Cheshire Bespoke is much diminished. [ citation needed ] Chester Barrie ran a number of concessions within department stores across the UK - including Harvey Nichols, Austin Reed, John Lewis and House of Fraser - where they offered their ready-to-wear tailoring as well as a Made To Measure service. The product offer was expanded to include shirts and ties plus a more "dress-down" selection, reflecting the shift in styles of dressing. [ citation needed ] . The presence of other brands, introduced to the portfolio in 2015 (and sold in the same locations), with arguably stronger identities and a wider-global appeal ( [5] (#cite_note-5) ) ensured a continued dilution of the Chester Barrie identity in a changing-modern market. Chester Barrie's then-Buyer, Chris Modoo, doubled-down on the classic English look, bringing in Edward Sexton to help with the development of the brand's "block" ( [6] (#cite_note-6) [7] (#cite_note-7) ). However, this alienated the brand from the "mainstream" stores it had concessions in, which saw competitors, and the market as a whole, moving to softer-shouldered garments, a more contemporary silhouette and more lifestyle-led; and in 2017 Chris Modoo was made redundant by Prominent Europe. However, a new creative direction saw the brand split into three distinctive categories: Chester by Chester Barrie (an entry level version of the brand, primarily sold in John Lewis), Chester Barrie Black Label (primarily sold in the House of Fraser concessions) and Chester Barrie Gold Label (sold in the flagship Savile Row store). It was hoped the "halo effect" [8] (#cite_note-8) [ circular reference ] of the high end product would filter down from the gold label to the other lines. There was some initial success, with a bumper year in 2018, as gross sales for Prominent Europe began to soar, [9] (#cite_note-drapersonline.com-9) however this growth was down to the business having opened more locations in House of Fraser and less about the Chester Barrie brand itself, this was in spite of a £100,000 re-fit of the flagship ( [10] (#cite_note-10) [11] (#cite_note-11) ). However, in October 2019 Prominent Europe announced to its Chester Barrie staff that they were under threat of redundancy as they looked to restructure the overall business [12] (#cite_note-ReferenceA-12) and in January 2020, Prominent Europe made the decision to close its branded business, [13] (#cite_note-13) with the closure of the Savile Row flagship (the building has since been taken up by Daisy Knatchbull (/wiki/Daisy_Knatchbull) [14] (#cite_note-14) ) and it being exited from the aforementioned department stores. The last remaining store is the Chester Barrie outlet in York, which is scheduled to close in early 2021. It is unknown if there is a buyer in place to salvage the brand. In 2022 Prominent Europe sold Chester Barrie to a UK based private consortium with extensive industry experience and plans for the brand worldwide. Timeline [ edit ] 1935 Simon Ackerman returns to set up business in London. 1937 Opened first Chester Barrie store on Savile Row. 1938 Myron Ackerman, Simon's son is despatched to run the business in the UK. 1941 World War II, Chester Barrie makes uniforms for American officers. 1949 Chester Barrie opened a larger factory shared with the Rolls-Royce Company. [ citation needed ] 1950 Begin selling to Harrods and Austin Reed. Harrods originally rejected the brand for being too expensive but Myron Ackerman sent his own staff to work in store and the suits sold extremely well. 1955 Started selling across Commonwealth countries (Australia, Canada, Hong Kong, etc.) and Europe (notably France, Sweden and Belgium) 1961 Chester Barrie moved to a new purpose built factory in Crewe to keep up with demand. 1978 Business sold to the Austin Reed Group. By then Chester Barrie was employing over 470 people. Selling to Harrods (/wiki/Harrods) , Selfridges (/wiki/Selfridges) , Turnbull & Asser (/wiki/Turnbull_%26_Asser) and Saks Fifth Avenue (/wiki/Saks_Fifth_Avenue) , New York City (/wiki/New_York_City) . [ citation needed ] 1981 Chester Barrie gained recognition from founders of Savile Row, when H. Huntsman ordered their first ready-to-wear stock from Chester Barrie. 1989 Won the Queen's Award for Export Achievement. [ citation needed ] 1998 Starts making purple label suits for Polo (/wiki/Polo_Ralph_Lauren) Ralph Lauren (/wiki/Ralph_Lauren) . [2] (#cite_note-CNNFortune-2) 2000 bought by Thomson Holdings. 2002 Goes into receivership (/wiki/Receivership) . Crewe factory sold to former management, trading as the Cheshire Clothing Company, who later move to new factory. SRG Group plc acquires the Chester Barrie Brand and worldwide licensing rights, and engage CCC to manufacture top-end bespoke suits, while others are outsourced to Far East. [ citation needed ] 2006 CCC goes into receivership and closes. New independent manufacturing company formed in Crewe, Cheshire Bespoke, who now widen offering to cover ranges for brands including Ozwald Boateng (/wiki/Ozwald_Boateng) . [4] (#cite_note-Marino_Donati-4) 2007 Chester Barrie business and brands sold to Prominent Europe, who continue relationship with Cheshire Bespoke. [15] (#cite_note-The_soul_of_the_suit-15) 2017 Chris Modoo is made redundant as Buyer for Chester Barrie. 2018 Prominent Europe have a bumper year of sales, albeit with reduced profit margins. It proved to be the best year for the branded retail-division. [9] (#cite_note-drapersonline.com-9) 2018 Prominent Europe spend over £100,000 on the re-fit of the flagship store. [16] (#cite_note-16) 2019 Prominent Europe reviews its brand strategy, with the looming threat of redundancy for its branded division staff. [12] (#cite_note-ReferenceA-12) 2020 Prominent Europe close their retail operation, involving the closure of all Chester Barrie concessions and the flagship Savile Row shop. [17] (#cite_note-17) 2022 - Prominent Europe sells Chester Barrie to private UK based Consortium. References [ edit ] ^ a b c d e "About Us" (https://web.archive.org/web/20110716071817/http://www.chesterbarrie.co.uk/About_us/) . Chester Barrie. Archived from the original (http://www.chesterbarrie.co.uk/About_us/) on 16 July 2011 . Retrieved 12 December 2010 . ^ a b Lauren Goldstein (9 November 1998). "Ralph Lauren, Prince Charles, and You!" (https://money.cnn.com/magazines/fortune/fortune_archive/1998/11/09/250851/index.htm) . Fortune magazine . Retrieved 12 December 2010 . ^ (#cite_ref-CBManf_3-0) "Manufacturing" (https://web.archive.org/web/20110716071732/http://www.chesterbarrie.co.uk/Manufacturing/) . Chester Barrie. Archived from the original (http://www.chesterbarrie.co.uk/Manufacturing/) on 16 July 2011 . Retrieved 12 December 2010 . ^ a b Marino Donati (28 April 2007). "Cheshire Bespoke to step up tailoring production" (http://www.drapersonline.com/news/cheshire-bespoke-to-step-up-tailoring-production/760764.article) . Retrieved 12 December 2010 . ^ (#cite_ref-5) "How Simon Carter fashioned a global menswear brand" (https://www.bbc.co.uk/news/business-43140996) . BBC News . 26 February 2018. ^ (#cite_ref-6) "An Interview with Christopher Modoo, Creative and Buying Manager at Chester Barrie Savile Row | Men's Flair" (https://mensflair.com/an-interview-wirth-christopher-modoo-chester-barrie-savile-row/) . 9 March 2014. ^ (#cite_ref-7) "Website Coming soon - Twenty6" (http://www.twenty6magazine.com/issue-l/london-tailors/interview-christopher-modoo-chester-barrie) . ^ (#cite_ref-8) Halo effect (/wiki/Halo_effect) ^ a b "Prominent revenue soars as profit drops" (https://www.drapersonline.com/news/prominent-revenue-soars-as-profit-drops) . 6 February 2018. ^ (#cite_ref-10) "Chester Barrie to refurbish Savile Row store" (https://fashionunited.uk/news/retail/chester-barrie-to-refurbish-savile-row-store/2018081334164) . 13 August 2018. ^ (#cite_ref-11) "Chester Barrie Newly Refurbished Savile Row Store" (https://www.menswearstyle.co.uk/2018/09/28/chester-barrie-newly-refurbished-savile-row-store/8302) . ^ a b "Exclusive: Chester Barrie owner reviews brand strategy" (https://www.drapersonline.com/news/chester-barrie-owner-reviews-brand-strategy) . October 2019. ^ (#cite_ref-13) "Exclusive: Chester Barrie owner closes branded business" (https://www.drapersonline.com/news/chester-barrie-owner-closes-branded-business/7038396.article) . 14 November 2019. ^ (#cite_ref-14) "Savile Row's 'suit-shaped gap for women' (https://www.bbc.co.uk/news/av/uk-54470547) " (https://www.bbc.co.uk/news/av/uk-54470547) . BBC News . ^ (#cite_ref-The_soul_of_the_suit_15-0) "The soul of the suit" (http://www.warringtonguardian.co.uk/lifestyle/interviews/3731025.The_soul_of_the_suit/) . Warrington Guardian. 6 October 2008 . Retrieved 12 December 2010 . ^ (#cite_ref-16) "Chester Barrie steps into the future" (https://www.drapersonline.com/companies/chester-barrie-steps-into-the-future) . 2 October 2018. ^ (#cite_ref-17) "Exclusive: Chester Barrie owner closes branded business" (https://www.drapersonline.com/news/chester-barrie-owner-closes-branded-business) . 14 November 2019. 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This biographical article is written like a résumé (/wiki/Wikipedia:NOTRESUME) . Please help improve it (https://en.wikipedia.org/w/index.php?title=Elim_Chew&action=edit) by revising it to be neutral (/wiki/Wikipedia:NPOV) and encyclopedic (/wiki/Wikipedia:MOSBIO) . ( December 2010 ) Elim Chew (born 1966) is the founder of the street wear (/wiki/Street_wear) brand, 77th Street (/wiki/77th_Street_(Streetwear_Brand)) . [1] (#cite_note-1) Career [ edit ] Elim's first attempt into the retailing turned out to be a huge success in the retail scene. Prior to that, she was in Britain undergoing a hairdressing course and returned to Singapore (/wiki/Singapore) to open a salon. In addition to expanding her retail businesses, Elim lent her expertise, experience and time to various youth organisations in Singapore. She co-founded Singapore Street Festival – a platform for showcasing local talents in areas such as performing arts, visual art forms, fashion, entertainment and sports, The Young Entrepreneur Mastery (TYEM) – a non-profit academy that supported youth entrepreneurship and inculcated an entrepreneurial mindset (/wiki/Entrepreneurial_mindset) in out-of-school youths. Elim was also a founding member and director of the Social Innovation Park (/w/index.php?title=Social_Innovation_Park&action=edit&redlink=1) (SIP), [2] (#cite_note-2) a social enterprise incubator which aimed to provide a replicable set of integrated services and resources that would help create a platform to support social entrepreneurs' business models that advocated societal change. Through this platform, she championed Pop and Talent Hub, the first social enterprise talent development platform in Singapore which gathered talents from social homes, institutions and also professional artists to sell their artworks with the objective of making them self-reliant. Community work [ edit ] As part of Elim's on-going community campaigns, she launched My Voice in 2004 which was a book featuring 77 earnest real life experiences written by youths from all walks of life. My Voice was supported by MCYS (/wiki/MCYS) , South East Community Development Centre (/w/index.php?title=South_East_Community_Development_Centre&action=edit&redlink=1) (CDC), UFM 100.3FM and Drama Box. The 2nd edition of My Voice – Breaking Free was launched subsequently on 9 December 2006. All proceeds from the sale of My Voice was used for funding life skills, entrepreneurial and creative skills workshops run by TYEM, which guided youths to take on life challenges with purpose and confidence. On top of that, Elim also sat in over 20 committees. She chaired and co-chaired several public service, youth and community groups including the Programming Committee for *scape. *scape was an iconic youth community space for free expressions supported by MCYS (/wiki/MCYS) and National Youth Council of Singapore (/wiki/National_Youth_Council_of_Singapore) (NYC) and Action Community for Entrepreneurship (/w/index.php?title=Action_Community_for_Entrepreneurship&action=edit&redlink=1) (ACE) of Ministry of Trade and Industry. [3] (#cite_note-3) She was a member on the Board of Trustees, [4] (#cite_note-4) Entrepreneurship Committee and Investment Committee at the National University of Singapore (/wiki/National_University_of_Singapore) .She got the award for the most Promising Woman Entrepreneur in 2001 by the Singapore Association of Small and Medium Enterprises Awards [ edit ] Her accolades included being named the "Most Promising Woman Entrepreneur of the Year" by ASME (/wiki/ASME) in 2001, awarded "Mont Blanc Businesswomen Award" in 2002, "Young Woman Achiever Award" by Her World (/wiki/Her_World) and "Leadership and Mentoring Award" by Research Communications International in 2003. She acknowledged that her first award in 2001 gave her the opportunity to become a youth ambassador (/wiki/Youth_ambassador) in Singapore. Personal life [ edit ] She is a member of City Harvest Church. When key members of the church were charged by CAD she was quoted : "City Harvest has been my family for 21 years and a family comes together in challenging times". References [ edit ] ^ (#cite_ref-1) "Elim Chew" (https://web.archive.org/web/20100727065443/http://infopedia.nl.sg/articles/SIP_1486_2009-03-15.html) . National Library, Singapore (/wiki/National_Library,_Singapore) . Archived from the original (http://infopedia.nl.sg/articles/SIP_1486_2009-03-15.html) on 27 July 2010. ^ (#cite_ref-2) Social Innovation Park (http://www.socialinnovationpark.org/boardmembers/index.html) Archived (https://web.archive.org/web/20081203114703/http://www.socialinnovationpark.org/boardmembers/index.html) 3 December 2008 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-3) ACE – Action Community For Entrepreneurship (http://www.iptechx.com/Contact/index.asp) Archived (https://web.archive.org/web/20081006231344/http://www.iptechx.com/Contact/index.asp) 6 October 2008 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-4) NUS Board of Trustees (http://www.nus.edu.sg/corporate/about/trustees.htm) Archived (https://web.archive.org/web/20081229174031/http://www.nus.edu.sg/corporate/about/trustees.htm) 29 December 2008 at the Wayback Machine (/wiki/Wayback_Machine) Authority control databases (/wiki/Help:Authority_control) VIAF (https://viaf.org/viaf/315535261) NewPP limit report Parsed by mw‐web.codfw.main‐58c7647fd9‐7lj6w Cached time: 20240714102559 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.245 seconds Real time usage: 0.330 seconds Preprocessor visited node count: 357/1000000 Post‐expand include size: 9318/2097152 bytes Template argument size: 288/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 12249/5000000 bytes Lua time usage: 0.178/10.000 seconds Lua memory usage: 3704334/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 307.279 1 -total 39.46% 121.262 1 Template:Reflist 31.45% 96.636 1 Template:Cite_web 30.49% 93.684 1 Template:Authority_control 19.02% 58.458 1 Template:Like_resume 17.75% 54.547 1 Template:Ambox 10.06% 30.901 1 Template:Use_dmy_dates 3.79% 11.639 1 Template:DMCA 3.56% 10.947 3 Template:Webarchive 2.78% 8.535 1 Template:Dated_maintenance_category Saved in parser cache with key enwiki:pcache:idhash:29440351-0!canonical and timestamp 20240714102559 and revision id 1179792002. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Elim_Chew&oldid=1179792002 (https://en.wikipedia.org/w/index.php?title=Elim_Chew&oldid=1179792002) " Categories (/wiki/Help:Category) : 1965 births (/wiki/Category:1965_births) Singaporean people of Chinese descent (/wiki/Category:Singaporean_people_of_Chinese_descent) Living people (/wiki/Category:Living_people) Singaporean fashion designers (/wiki/Category:Singaporean_fashion_designers) Hidden categories: Webarchive template wayback links (/wiki/Category:Webarchive_template_wayback_links) Use dmy dates from October 2023 (/wiki/Category:Use_dmy_dates_from_October_2023) Articles with a promotional tone from December 2010 (/wiki/Category:Articles_with_a_promotional_tone_from_December_2010) All articles with a promotional tone (/wiki/Category:All_articles_with_a_promotional_tone) Articles with VIAF identifiers (/wiki/Category:Articles_with_VIAF_identifiers) |
British chain of hairdressing salons Toni & Guy Industry Hairdressing (/wiki/Hairdressing) Founded 1963 ; 61 years ago ( 1963 ) Founder Toni Mascolo (/wiki/Toni_Mascolo) Guy Mascolo Headquarters London, England [1] (#cite_note-1) Area served Worldwide Key people David Heath (CEO) Website toniandguy (http://toniandguy.com) .com (http://toniandguy.com) Toni & Guy, Bow Lane, London EC4, 2018 Toni & Guy, Paragon Street, Hull, England Toni & Guy (stylised as TONI&GUY ) is a British international chain of hairdressing salons founded in the UK in 1963 by brothers Toni (/wiki/Toni_Mascolo) and Guy Mascolo. [2] (#cite_note-auto-2) [3] (#cite_note-3) History [ edit ] In 1963, Toni Mascolo and his brother Guy opened their first salon in Clapham (/wiki/Clapham) , London. [4] (#cite_note-4) In 1985, the company opened its first salon outside Europe, in Dallas (/wiki/Dallas) , Texas. It also launched the TIGI product line. [5] (#cite_note-officialSalons-5) In 1990, the Toni & Guy Hairdressing Academy was opened. [5] (#cite_note-officialSalons-5) In 2009, the TIGI product line was acquired by Unilever (/wiki/Unilever) for £296 million. [6] (#cite_note-6) In January 2019, Nigel Darwin was appointed as CEO, after a 12-month search to replace the previous CEO (and co-founder), Toni Mascolo, who died in December 2017. [7] (#cite_note-Cosmetics_Business-7) As of 2022 [update] (https://en.wikipedia.org/w/index.php?title=Toni_%26_Guy&action=edit) , there are 457 salons in 41 countries. [2] (#cite_note-auto-2) References [ edit ] ^ (#cite_ref-1) "Contact us" (http://toniandguy.com/contact-us) . toniandguy.com . ^ a b Horwell, Veronica (14 December 2017). "Toni Mascolo obituary" (https://www.theguardian.com/fashion/2017/dec/14/toni-mascolo-obituary) . The Guardian . Retrieved 15 December 2017 – via www.theguardian.com. ^ (#cite_ref-3) Mann, Jamie Robertson, George; Etutu, Joice (13 December 2017). "How Toni & Guy gave hair a new look" (https://www.bbc.co.uk/news/business-42338946) . BBC News . Retrieved 15 December 2017 . {{ cite news (/wiki/Template:Cite_news) }} : CS1 maint: multiple names: authors list ( link (/wiki/Category:CS1_maint:_multiple_names:_authors_list) ) ^ (#cite_ref-4) Low, Valentine (13 December 2017). "Toni Mascolo, co-found of Toni & Guy hairdressers, dies aged 75" (https://www.thetimes.co.uk/article/toni-mascolo-co-found-of-toni-guy-hairdressers-dies-aged-75-svlxp2lzl) – via www.thetimes.co.uk. ^ a b "About our hair and beauty salons" (https://salons.toniguy.com/about/) . toniguy.com . Retrieved 2019-09-01 . ^ (#cite_ref-6) "Unilever buys salon brands for $411.5m" (https://www.ft.com/content/22fda836-ebf9-11dd-8838-0000779fd2ac) . 2009-01-26. ^ (#cite_ref-Cosmetics_Business_7-0) Bargh, Becky (12 January 2019). "Toni&Guy replaces late founder and CEO Toni Mascolo after a 12 month search" (https://www.cosmeticsbusiness.com/news/article_page/Toni_and_Guy_replaces_late_founder_and_CEO_Toni_Mascolo_after_a_12_month_search/150881) . Cosmetics Business . Retrieved 26 October 2019 . External links [ edit ] Official website (http://www.toniandguy.com) Media related to Toni & Guy (https://commons.wikimedia.org/wiki/Category:Toni_%26_Guy) at Wikimedia Commons Authority control databases (/wiki/Help:Authority_control) International VIAF (https://viaf.org/viaf/138626216) National United States (https://id.loc.gov/authorities/nb2005017346) NewPP limit report Parsed by mw‐web.eqiad.main‐57d74c944b‐qkbwd Cached time: 20240719055834 Cache expiry: 1101687 Reduced expiry: true Complications: [vary‐revision‐sha1] CPU time usage: 0.402 seconds Real time usage: 0.580 seconds Preprocessor visited node count: 1896/1000000 Post‐expand include size: 25310/2097152 bytes Template argument size: 2139/2097152 bytes Highest expansion depth: 15/100 Expensive parser function count: 4/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 32192/5000000 bytes Lua time usage: 0.258/10.000 seconds Lua memory usage: 5603063/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 536.404 1 -total 26.47% 141.974 1 Template:Infobox_company 25.11% 134.708 1 Template:Reflist 24.28% 130.232 1 Template:Infobox 22.99% 123.337 1 Template:Short_description 18.11% 97.117 1 Template:Authority_control 17.20% 92.260 2 Template:Cite_web 12.71% 68.202 9 Template:Main_other 12.02% 64.462 1 Template:SDcat 7.89% 42.306 2 Template:Pagetype Saved in parser cache with key enwiki:pcache:idhash:56053261-0!canonical and timestamp 20240719055834 and revision id 1226291080. 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Michael Donnellan Portrait of Michael by Tom Blau Born Michael James Donnellan [1] (#cite_note-The_Times_210685-1) 1915 [2] (#cite_note-Donnellan_obituary-2) Dublin (/wiki/Dublin) , Ireland Died 1985 [2] (#cite_note-Donnellan_obituary-2) Knightsbridge (/wiki/Knightsbridge) , London (/wiki/London) [1] (#cite_note-The_Times_210685-1) Other names Michael of Carlos Place, Michael Donéllan Occupation Fashion designer Notable credit Member of Incorporated Society of London Fashion Designers (/wiki/Incorporated_Society_of_London_Fashion_Designers) Michael Donnellan (1915–1985) – best known as Michael of Carlos Place and simply Michael – was an Irish-born fashion designer who headed the house of Lachasse (/wiki/Lachasse) from 1941, before running a successful eponymous couture house in London from 1953 to 1971. From the 1960s on, he combined the role of couturier with consultancy to mainstream fashion houses, most notably acting as a key consultant to Marks & Spencer (/wiki/Marks_%26_Spencer) . His obituary of 1985 in The Times (/wiki/The_Times) described his label as "the last great English tailoring house", saying also that Donnellan's death: "marks the end of an era". [2] (#cite_note-Donnellan_obituary-2) The Guardian (/wiki/The_Guardian) fashion editor Alison Adburgham (/wiki/Alison_Adburgham) said he was best described as the Balenciaga (/wiki/Balenciaga) of London. [3] (#cite_note-Guardian_Adburgham_260163-3) Early life and career [ edit ] Michael Donnellan was born in Dublin and trained as a surgeon before making the move from medicine to fashion. [2] (#cite_note-Donnellan_obituary-2) After wartime service (/wiki/World_War_II) , he joined the fashion house of Lachasse as chief designer – he was named head of its operation from 1941. [2] (#cite_note-Donnellan_obituary-2) In this role at Lachasse, he was following in the footsteps of two other great London couturiers – Digby Morton (/wiki/Digby_Morton) and Hardy Amies (/wiki/Hardy_Amies) . [4] (#cite_note-Lachasse_Woram-4) Although he was attached to a large and respected fashion house, he was already a name in his own right – Michael of Lachasse – and was included among London's "big 10" in a feature in Life (/wiki/Life_(magazine)) in 1953 about the run up to the coronation (/wiki/Coronation_of_Elizabeth_II) of Elizabeth II (/wiki/Elizabeth_II) . [5] (#cite_note-Life_Greene-5) He was skilled at spotting nascent fashion looks and was the first to work with the British 'supermodel' Avril James – refining her style and making her his early design 'muse'. James subsequently became one of the most familiar faces in British modelling – working for, among others, John Cavanagh (/wiki/John_Cavanagh_(designer)) – and became known in the British press as: "the girl who said no to Dior". [6] (#cite_note-6) Establishment of eponymous label [ edit ] In 1953, Donnellan established his own label – from here on in he was almost universally known as 'Michael of Carlos Place', or simply 'Michael'. His showroom's location – Carlos Place – had previously been the premises of another leading light of the London couture scene Peter Russell (/wiki/Peter_Russell_(fashion_designer)) , who sold his London business interests to Donnellan prior to emigrating to Australia. [7] (#cite_note-SMH_0653-7) A year later, Michael of Carlos place joined the Incorporated Society of London Fashion Designers (/wiki/Incorporated_Society_of_London_Fashion_Designers) (IncSoc) – although Donnellan had been aligned with IncSoc since 1950 as head of Lachasse. [8] (#cite_note-How_Fashion_Works_Waddell-8) Brand hallmarks [ edit ] The hallmark of Michael of Carlos Place clothes was their exceptional tailoring, and this attracted clients such as Evelyn Laye (/wiki/Evelyn_Laye) and Claudette Colbert (/wiki/Claudette_Colbert) as well as many society women. [2] (#cite_note-Donnellan_obituary-2) In common with other IncSoc members, Donnellan designed in fine traditional fabrics such as tweed (/wiki/Tweed_(cloth)) , but also used softer and more tactile materials such as jersey and leather. He was among the first designers in the 1950s to develop the "three piece model", a jacket, skirt and tailored matching blouse – showing this in 1957 for the first time and, it is said, inspiring the trend in Paris. [9] (#cite_note-Times,_on_this_day_05022005-9) By 1958, he had developed this concept further, also introducing much longer jackets that narrowed towards the hem. [9] (#cite_note-Times,_on_this_day_05022005-9) Reviewing the Michael fashion collection for autumn/winter 1958, The Times reviewer said: "To examine the way seams are set, the grain of the fabric used, is to understand why such couture clothes are described as being 'built.' It is a fetish with Michael that his clothes must do something for the wearer, must flatter the woman". [10] (#cite_note-The_Times_250758-10) Later career [ edit ] Donnellan was not only a skilled interpreter of couture trends but had "a prescient understanding of fashion change". [2] (#cite_note-Donnellan_obituary-2) Some fashion reviewers noted his impact on the precision tailoring of Clive (/wiki/Clive_Evans_(fashion_designer)) – who trained initially with Michael and brought the Swinging London (/wiki/Swinging_London) look into couture throughout the 1960s. [11] (#cite_note-The_Guardian_Hart_Adburgham-11) As hemlines rose and customers moved from couture to ready-to-wear, Donnellan moved too. Although he did not close his couture house until 1971 – a period described by The Times as "fashion anarchy" – he had begun consulting to mainstream and mid-price retailers, notably Marks & Spencer, from the 1960s. [2] (#cite_note-Donnellan_obituary-2) In April 1965, it was reported that he had "edited' Marks & Spencer's first ever export collection in his role as the brand's consultant, an association announced at the start of that year. [12] (#cite_note-The_Times_260465-12) [13] (#cite_note-Guardian_Adburgham_220165-13) In his work for the dynamic mainstream fashion industry that was developing in the UK during this era, he was highly influential. His obituary notes: "he updgraded the cut and cloth of ready-to-wear clothes and became an overall advisor on mass-manufacture style." [2] (#cite_note-Donnellan_obituary-2) Ready-to-wear and sewing patterns [ edit ] In common with his fellow IncSoc member Mattli (/wiki/Mattli) , Michael appeared as an expert on the BBC (/wiki/BBC) programme Clothes that Count , a 1967 series that focused on the burgeoning home sewing audience and gave advice on using and adapting sewing patterns (/wiki/Pattern_(sewing)) . Michael – whose own designs appeared within the Vogue (/wiki/Vogue_(magazine)) couturier pattern series as 'Michael of London' – assisted a home sewer to create a suit that fitted her body shape by providing advice on customising the pattern. [14] (#cite_note-BBC_Clothes_that_count-14) [15] (#cite_note-Pattern_Vault_Mad_Men-15) While some London couture designers were being criticised by the press by the late 1960s as being out of touch with the fashion trends, Donnellan was still considered influential. A 1970 review of his spring collection notes his skillful presentation of a new silhouette and quoted his guidance that if women didn't show the knees, they must define the hips. The review concluded: "It was a collection for 1970, entirely relevant to now – no nonsense about the twenties, the thirties nor the fifties." [16] (#cite_note-Guardian_Adburgham_220170-16) Donnellan was well placed to understand the move towards ready-to-wear – especially since he had been working with Marks & Spencer – and had begun including a few readymade items within his own couture shows from 1968, getting them cut and sewn in his Carlos Place workroom and charging around half the price of his couture lines. [17] (#cite_note-Observer_Adburgham_110269-17) Donnellan closed Michael of Carlos Place in 1971; his obituary notes that he didn't blame the market or the times for this, instead citing the shortage of skilled tailors available to British couturiers. [2] (#cite_note-Donnellan_obituary-2) Legacy [ edit ] The Victoria and Albert Museum (/wiki/Victoria_and_Albert_Museum) holds some examples of Michael outfits. His former premises, 8 Carlos Place, an historic listed building, is still a part of the London couture scene as London showrooom for the French fashion designer Roland Mouret (/wiki/Roland_Mouret) . [18] (#cite_note-Vogue_Bowles-18) References [ edit ] ^ Jump up to: a b "Latest wills". The Times . No. 62170. 21 June 1985. ^ Jump up to: a b c d e f g h i j Obituaries (12 January 1985). "Mr Michael Donnellan". The Times . No. 62034. ^ (#cite_ref-Guardian_Adburgham_260163_3-0) Adburgham, Alison (26 January 1963). "London Fashion Week". The Guardian. ^ (#cite_ref-Lachasse_Woram_4-0) Woram, Catherine. "Lachasse" (http://www.fashionencyclopedia.com/Ki-Le/Lachasse.html) . fashionencyclopedia.com . Fashion Encyclopedia . Retrieved 21 August 2014 . ^ (#cite_ref-Life_Greene_5-0) Greene, Milton; staff writer (30 March 1953). "Britain dresses up for the Queen" (https://books.google.com/books?id=CUIEAAAAMBAJ&q=Peter+Russell+Fashion+Designer+%2B+hunting&pg=PA118) . Life . ^ (#cite_ref-6) "Avril James obituary" (https://www.telegraph.co.uk/news/obituaries/10596117/Avil-James-obituary.html) . Daily Telegraph. 24 January 2014 . Retrieved 18 August 2014 . ^ (#cite_ref-SMH_0653_7-0) staff (25 June 1953). "Top-flight designer coming to Australia" (http://nla.gov.au/nla.news-article18373284/1061373?zoomLevel=3) . Sydney Morning Herald . Retrieved 13 August 2014 . ^ (#cite_ref-How_Fashion_Works_Waddell_8-0) Waddell, Gavin (2004). How Fashion Works: Couture, Ready-to-Wear and Mass Production . Oxford: Blackwell Science. pp. 175–7. ISBN (/wiki/ISBN_(identifier)) 9780632057528 . Retrieved 9 August 2014 . ^ Jump up to: a b "On this day: February 1958". The Times . No. 68303. 5 February 2005. ^ (#cite_ref-The_Times_250758_10-0) "Last day of London dress shows: the high waistline persists". The Times . No. 54212. 25 July 1958. ^ (#cite_ref-The_Guardian_Hart_Adburgham_11-0) Hart, John; Adburgham, Alison (23 January 1965). "The Spring Fashion Collections". The Guardian. ^ (#cite_ref-The_Times_260465_12-0) "Fashion into Europe". The Times . No. 56305. 26 April 1965. ^ (#cite_ref-Guardian_Adburgham_220165_13-0) Adburgham, Alison (22 January 1965). "The London spring collections". The Guardian. ^ (#cite_ref-BBC_Clothes_that_count_14-0) Hoey, Brian (1967). "Clothes that count: suit" (https://www.bbc.co.uk/archive/whatwewore/5603.shtml) . BBC . Retrieved 21 August 2014 . ^ (#cite_ref-Pattern_Vault_Mad_Men_15-0) "Mad Men Era 3: London's Old Guard" (http://blog.pattern-vault.com/2011/10/11/mad-men-era-3-londons-old-guard/) . blog.pattern-vault.com . Pattern Vault. 11 October 2011 . Retrieved 18 September 2014 . ^ (#cite_ref-Guardian_Adburgham_220170_16-0) Adburgham, Alison (22 January 1970). "Fashion from mid-calf to hip". The Guardian. ^ (#cite_ref-Observer_Adburgham_110269_17-0) Adburgham, Alison (11 February 1969). "London haute couture". The Observer. ^ (#cite_ref-Vogue_Bowles_18-0) Bowles, Hamish (20 February 2011). "Roland Mouret: House Proud" (https://web.archive.org/web/20111224160827/http://www.vogue.com/vogue-daily/article/roland-mouret-house-proud/#1) . Vogue. Archived from the original (http://www.vogue.com/vogue-daily/article/roland-mouret-house-proud/#1) on 24 December 2011 . Retrieved 18 August 2014 . External links [ edit ] Michael portrait (http://www.npg.org.uk/collections/search/portrait/mw82743/Michael-Michael-Donllan-with-two-fashion-models) by Norman Parkinson (/wiki/Norman_Parkinson) at National Portrait Gallery Michael of Carlos place outfit at Victoria and Albert Museum archive (https://collections.vam.ac.uk/item/O1277295/ensemble-michael-donellan/) NewPP limit report Parsed by mw‐web.eqiad.main‐65b65867f9‐lrmsl Cached time: 20240716210524 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.433 seconds Real time usage: 0.709 seconds Preprocessor visited node count: 2221/1000000 Post‐expand include size: 28344/2097152 bytes Template argument size: 1541/2097152 bytes Highest expansion depth: 12/100 Expensive parser function count: 2/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 67340/5000000 bytes Lua time usage: 0.249/10.000 seconds Lua memory usage: 5319259/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 644.932 1 -total 49.24% 317.543 1 Template:Reflist 40.59% 261.766 15 Template:Cite_news 28.86% 186.147 1 Template:Infobox_person 12.90% 83.202 1 Template:Authority_control 7.95% 51.295 19 Template:Pluralize_from_text 6.86% 44.213 1 Template:Use_dmy_dates 5.63% 36.295 1 Template:Wikidata_image 3.91% 25.232 1 Template:DMCA 3.46% 22.323 1 Template:Dated_maintenance_category Saved in parser cache with key enwiki:pcache:idhash:43871310-0!canonical and timestamp 20240716210524 and revision id 1167290240. Rendering was triggered because: page-view esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Michael_Donnellan_(fashion_designer)&oldid=1167290240 (https://en.wikipedia.org/w/index.php?title=Michael_Donnellan_(fashion_designer)&oldid=1167290240) " Categories (/wiki/Help:Category) : 1940s fashion (/wiki/Category:1940s_fashion) 1950s fashion (/wiki/Category:1950s_fashion) 1960s fashion (/wiki/Category:1960s_fashion) 1970s fashion (/wiki/Category:1970s_fashion) Irish fashion designers (/wiki/Category:Irish_fashion_designers) 1915 births (/wiki/Category:1915_births) 1985 deaths (/wiki/Category:1985_deaths) Businesspeople from Dublin (city) (/wiki/Category:Businesspeople_from_Dublin_(city)) British fashion designers (/wiki/Category:British_fashion_designers) Hidden categories: Use dmy dates from April 2022 (/wiki/Category:Use_dmy_dates_from_April_2022) Articles with hCards (/wiki/Category:Articles_with_hCards) |
Knitted swimwear or bikini The crochet bikini or crocheted bikini is a bikini (/wiki/Bikini) / swimsuit (/wiki/Swimsuit) crafted from yarn that has been worn since at least the 1970s. [1] (#cite_note-MMOA-1) The style gained popularity in the late 2010s as a form of boho-chic and as new brands emerged. [2] (#cite_note-prima-2) [3] (#cite_note-elle-3) A crochet bikini created by Brazilian street artist Maria Solange Ferrarini has been the focus of several lawsuits that received international attention. Turkish American entrepreneur Ipek Irgit took the idea of Ferrarini's crochet bikini during a visit to Brazil and claimed copyright on the design. Since starting her company in 2013, Irgit has made copyright claims against any similar swimwear and never credited Ferrarini. [4] (#cite_note-nyt-4) In 2019, Ferrarini was awarded her own copyright on the design she created. [5] (#cite_note-target-5) History [ edit ] Crochet (/wiki/Crochet) motifs became a material used for bikinis in the 1970s, among other alternative materials. [1] (#cite_note-MMOA-1) Actress Robin Byrd (/wiki/Robin_Byrd) became known for wearing a crochet bikini during the 1970s, and the look became closely associated with her image. [6] (#cite_note-timeline-6) Maria Solange Ferrarini was born 1956 or 1957 in São Carlos, Brazil (/wiki/S%C3%A3o_Carlos,_Brazil) to a seamstress mother and bricklayer father. She was taught to crochet at an early age and sewed out of economic necessity. She sold her crafted garments on the beach in Trancoso, Brazil (/wiki/Trancoso,_Brazil) . As the beach town became more popular, her sales increased. British model Kelly Brook (/wiki/Kelly_Brook) was photographed wearing one of these bikinis during her visit to the town in 2012. Ferrarini signs all of her crochet bikinis. [4] (#cite_note-nyt-4) In 2013, Turkish American entrepreneur Ipek Irgit launched her crochet bikini under the trademark of Kiini. [4] (#cite_note-nyt-4) [7] (#cite_note-7) The product gained attention after model Dree Hemingway (/wiki/Dree_Hemingway) posted a picture of herself in a Kiini. [8] (#cite_note-wmag-8) [4] (#cite_note-nyt-4) Irgit, who had previously worked for New York design companies, including Max Mara (/wiki/Max_Mara) , [9] (#cite_note-lifestyle-9) branded her product by creating a portmanteau (/wiki/Portmanteau) of her initials and the word bikini . Initial claim [ edit ] In 2014, Irgit obtained copyright protection for the crochet bikini design and claimed trade dress rights. [10] (#cite_note-tfl-10) [4] (#cite_note-nyt-4) In 2015, Irgit sued Victoria's Secret for a similar crochet bikini. [11] (#cite_note-aba-11) Later, Irgit sued Neiman Marcus (/wiki/Neiman_Marcus) and two other swimwear companies for trade violations. [11] (#cite_note-aba-11) Sally Wu, a colleague of Irgit's in the production of the Kiini, told The New York Times (/wiki/The_New_York_Times) that Irgit feared that the discovery process of those lawsuits would reveal that Irgit had not actually designed the Kiini. (Irgit denied Wu's claim.) The discovery process never proceeded, and Irgit and Victoria's Secret (/wiki/Victoria%27s_Secret) settled their suit out of court. [4] (#cite_note-nyt-4) Other lawsuits and versions [ edit ] In April 2018, Kiini filed a federal lawsuit in the Southern District of New York, against Neiman Marcus (/wiki/Neiman_Marcus) , alleging unfair competition. [4] (#cite_note-nyt-4) A month later, Kiini amended its lawsuit against Neiman Marcus to explicitly add PilyQ, Bloomingdales (/wiki/Bloomingdales) , Lord & Taylor (/wiki/Lord_%26_Taylor) , Macy's (/wiki/Macy%27s) and other retailers as defendants. PilyQ is a swimwear brand which sells a line of crochet bikinis under its brand name Platinum. [4] (#cite_note-nyt-4) Following the lawsuit, Jason Forge, the husband of one of PilyQ's owners, sought out Brazilian street artist Maria Solange Ferrarini, to negotiate a licensing deal for her crochet bikini designs. [4] (#cite_note-nyt-4) Under the terms of the deal, Ferrarini was paid about $5,100 in 2018, and would earn an annual licensing fee of $7,700 as from 2019. [4] (#cite_note-nyt-4) Today [ edit ] As of October 2019 [update] (https://en.wikipedia.org/w/index.php?title=Crochet_bikini&action=edit) , Neiman Marcus, [11] (#cite_note-aba-11) Target (/wiki/Target_Corporation) [5] (#cite_note-target-5) and other retailers [12] (#cite_note-chic-12) continue to sell their own versions of crochet bikinis, while Irgit's lawsuits against them, and Ferrarini's lawsuit against Irgit, continue to work their way through the courts. Ferrarini was awarded her own copyright on her crochet bikini design by the United States Copyright Office (/wiki/United_States_Copyright_Office) in January 2019. [5] (#cite_note-target-5) Ferrarini's copyright was awarded under the title "Ferrarini Bikini". [13] (#cite_note-13) Crochet bikinis can also be crafted as a DIY item. [2] (#cite_note-prima-2) There are many crochet bikini lookalikes for the Kiini. [12] (#cite_note-chic-12) As of March 2023, retailers such as Urban Outfitters, ASOS, and Amazon are selling crocheted bikinis as well as cover-ups and dresses. [14] (#cite_note-14) References [ edit ] ^ Jump up to: a b Charleston, Beth Duncuff (October 2004). "The Bikini" (http://www.metmuseum.org/toah/hd/biki/hd_biki.htm) . Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art . Retrieved August 15, 2013 . ^ Jump up to: a b "How to crochet a bikini for summer" (https://www.prima.co.uk/craft/a28113822/crochet-bikini/) . June 20, 2019 . Retrieved June 20, 2019 . ^ (#cite_ref-elle_3-0) Carreon, Justine (May 2, 2017). "17 Crochet Bikinis That Were Basically Made For Summer" (https://www.elle.com/fashion/shopping/g29852/crochet-bikini-bathing-suits/) . Elle . Retrieved 2019-01-02 . ^ Jump up to: a b c d e f g h i j Rosman, Katherine (March 29, 2017). "The Itsy-Bitsy, Teenie-Weenie, Very Litigious Bikini" (https://www.nytimes.com/2018/12/20/business/kiini-bikini-lawsuit-ipek-irgit-solange-ferrarini.html) . Retrieved March 29, 2017 . ^ Jump up to: a b c Rosman, Katherine (26 June 2019). "Target Pulls New Thread in Bikini Yarn" (https://www.nytimes.com/2019/06/26/style/kiini-crocheted-bikini-lawsuit-target.html) . The New York Times . ^ (#cite_ref-timeline_6-0) Buck, Stephanie (March 15, 2017). "The wholesomely pornographic Robin Byrd sued Time Warner to keep her show on the air" (https://timeline.com/robin-byrd-show-ed92d1e790e1) . Retrieved March 15, 2017 . ^ (#cite_ref-7) Kiini (http://tarr.uspto.gov/servlet/tarr?regser=serial&entry=85910161) ^ (#cite_ref-wmag_8-0) Sagansky, Gillian (September 15, 2014). "Bikinis Forever" (https://www.wmagazine.com/story/ipek-irgit-kiini-swimwear) . Retrieved September 15, 2014 . ^ (#cite_ref-lifestyle_9-0) "Introducing Ipek Irgit: The Designer Behind This Summer's Hottest Swimwear Brand" (https://www.thelifestyleedit.com/kiini-swimwear-designer-ipek-irgit/) . March 29, 2017 . Retrieved March 29, 2017 . ^ (#cite_ref-tfl_10-0) Givner, Ariel (March 29, 2017). "Kiini, Victoria's Secret Settle Swimsuit Infringement Lawsuit" (http://www.thefashionlaw.com/home/kiini-victorias-secret-settle-swimsuit-infringement-lawsuit) . Retrieved March 29, 2017 . ^ Jump up to: a b c Weiss, Debra Cassens (2019-01-02). "Who owns the copyright to a crocheted bikini? Legal battle waged by Kiini maker takes a turn" (http://www.abajournal.com/news/article/who-owns-the-copyright-to-a-crocheted-bikini-legal-battle-waged-by-kiini-maker-takes-a-turn) . ABA Journal . Retrieved 2019-01-02 . ^ Jump up to: a b Julia, Maria (May 11, 2018). "7 WEBSITES FOR BEAUTIFUL KIINI LOOK ALIKES (FOR CHEAP!)" (https://chicpursuit.com/kiini-look-alike-bikinis/) . Retrieved May 11, 2018 . ^ (#cite_ref-13) Ferrarini, Maria Solange (2018-06-23). "Ferrarini Bikini Copyright Application" (https://cocatalog.loc.gov/cgi-bin/Pwebrecon.cgi?v1=1&ti=1,1&Search%5FArg=ferrarini&Search%5FCode=TALL&CNT=25&PID=F7XvuwbDeto0rZFj60iGTaIW4mP_&SEQ=20191208174944&SID=1) . United States Copyright Catalog . Retrieved December 8, 2019 . ^ (#cite_ref-14) Muhammad, Latifah (2023-03-29). "Boho Style: Where to Buy the Perfect Crochet Bikinis, Dresses, Tops & Coverups" (https://www.billboard.com/culture/product-recommendations/where-to-buy-crochet-bikini-1235031943/) . Billboard . Retrieved 2023-05-04 . 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Rendering was triggered because: api-parse esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Crochet_bikini&oldid=1209289981 (https://en.wikipedia.org/w/index.php?title=Crochet_bikini&oldid=1209289981) " Categories (/wiki/Help:Category) : Swimsuits (/wiki/Category:Swimsuits) History of clothing (Western fashion) (/wiki/Category:History_of_clothing_(Western_fashion)) One-piece suits (/wiki/Category:One-piece_suits) Clothing manufacturers (/wiki/Category:Clothing_manufacturers) Swimwear brands (/wiki/Category:Swimwear_brands) Crochet (/wiki/Category:Crochet) Hidden categories: Articles with short description (/wiki/Category:Articles_with_short_description) Short description matches Wikidata (/wiki/Category:Short_description_matches_Wikidata) Articles containing potentially dated statements from October 2019 (/wiki/Category:Articles_containing_potentially_dated_statements_from_October_2019) All articles containing potentially dated statements (/wiki/Category:All_articles_containing_potentially_dated_statements) |
NewPP limit report Parsed by mw‐web.eqiad.main‐8f8cc567‐qc8wl Cached time: 20240703085337 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.002 seconds Real time usage: 0.002 seconds Preprocessor visited node count: 1/1000000 Post‐expand include size: 0/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 1/100 Expensive parser function count: 0/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 0/5000000 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 0.000 1 -total Saved in parser cache with key enwiki:pcache:idhash:19637583-0!canonical and timestamp 20240703085337 and revision id 754395172. Rendering was triggered because: page-view Pages in category "Chinese headgear" The following 29 pages are in this category, out of 29 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . B Beonggeoji (/wiki/Beonggeoji) Buyao (/wiki/Buyao) C Changzhou comb (/wiki/Changzhou_comb) Chinese hairpin (/wiki/Chinese_hairpin) Asian conical hat (/wiki/Asian_conical_hat) D Damao (hat) (/wiki/Damao_(hat)) F Facekini (/wiki/Facekini) Fengguan (/wiki/Fengguan) Fujin (headgear) (/wiki/Fujin_(headgear)) G Guan (headwear) (/wiki/Guan_(headwear)) Guapi mao (/wiki/Guapi_mao) Gugu hat (/wiki/Gugu_hat) H Hair stick (/wiki/Hair_stick) Honggaitou (/wiki/Honggaitou) Humao (/wiki/Humao) L Liangbatou (/wiki/Liangbatou) Liangmao (/wiki/Liangmao) List of hanfu headwear (/wiki/List_of_hanfu_headwear) M Mianguan (/wiki/Mianguan) Mili (veil) (/wiki/Mili_(veil)) Futou (/wiki/Futou) Q Qing official headwear (/wiki/Qing_official_headwear) Qizhuang (/wiki/Qizhuang) S Shubi (comb) (/wiki/Shubi_(comb)) Zhanjiao Futou (/wiki/Zhanjiao_Futou) T Tang official headwear (/wiki/Tang_official_headwear) Tifayifu (/wiki/Tifayifu) W Wangjin (/wiki/Wangjin) Weimao (/wiki/Weimao) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Chinese_headgear&oldid=754395172 (https://en.wikipedia.org/w/index.php?title=Category:Chinese_headgear&oldid=754395172) " Categories (/wiki/Help:Category) : Headgear by country (/wiki/Category:Headgear_by_country) Chinese clothing (/wiki/Category:Chinese_clothing) |
Sportswear Retailer in China Pou Sheng International (Holdings) Limited 寶勝國際(控股)有限公司 Company type Listed company (/wiki/Listed_company) Industry Retailing (/wiki/Retailing) Founded 1992 Headquarters Hong Kong (/wiki/Hong_Kong) , China Area served China Key people Chairman: Wu Pan-Tsu Products Sportswear (/wiki/Sportswear_(activewear)) Parent (/wiki/Parent_company) Yue Yuen Industrial Holdings (/wiki/Yue_Yuen_Industrial_Holdings) Website www (http://www.pousheng.com) .pousheng (http://www.pousheng.com) .com (http://www.pousheng.com) Pou Sheng International (Holdings) Limited ( Chinese (/wiki/Traditional_Chinese_characters) : 寶勝國際(控股)有限公司 ) ( SEHK (/wiki/Hong_Kong_Stock_Exchange) : 3813 (https://www.hkex.com.hk/Market-Data/Securities-Prices/Equities/Equities-Quote?sym=3813&sc_lang=en) ), or Pou Sheng International , is a sportswear (/wiki/Sportswear_(activewear)) retailer in Mainland China (/wiki/Mainland_China) under the brand of YYsports . [1] (#cite_note-1) In 2008, Pou Sheng International was spun off (/wiki/Corporate_spin-off) from its parent company (/wiki/Parent_company) , Yue Yuen Industrial Holdings (/wiki/Yue_Yuen_Industrial_Holdings) ( SEHK (/wiki/Hong_Kong_Stock_Exchange) : 551 (https://www.hkex.com.hk/Market-Data/Securities-Prices/Equities/Equities-Quote?sym=551&sc_lang=en) ), [2] (#cite_note-2) and listed on the Hong Kong Stock Exchange (/wiki/Hong_Kong_Stock_Exchange) with its IPO (/wiki/Initial_public_offering) price of HK$2.93 per share (/wiki/Share_(finance)) . [3] (#cite_note-3) Its brand (/wiki/Brand) portfolio of footwear as Nike (/wiki/Nike,_Inc.) , Adidas (/wiki/Adidas) , SKECHERS (/wiki/SKECHERS) , PUMA (/wiki/Puma_AG) , Converse (/wiki/Converse_(shoe_company)) , etc. [4] (#cite_note-4) See also [ edit ] Pou Chen Corporation (/wiki/Pou_Chen_Corporation) Yue Yuen Industrial Holdings (/wiki/Yue_Yuen_Industrial_Holdings) References [ edit ] ^ (#cite_ref-1) PROPOSED ACQUISITION OF 70% OF ISSUED SHARE CAPITAL OF FARSIGHTED INTERNATIONAL LIMITED BEING A MAJOR TRANSACTION FOR POU SHENG INTERNATIONAL (HOLDINGS) LIMITED AND DISCLOSEABLE TRANSACTION FOR YUE YUEN INDUSTRIAL (HOLDINGS) LIMITED (http://202.66.146.82/listco/hk/yueyuen/announcement/a090115.pdf) ^ (#cite_ref-2) PROPOSED DISCLOSEABLE TRANSACTION BY WAY OF SPIN-OFF AND SEPARATE LISTING OF POU SHENG INTERNATIONAL (HOLDINGS) LIMITED AND ITS SUBSIDIARIES ON THE MAIN BOARD OF THE STOCK EXCHANGE OF HONG KONG LIMITED (http://www.yueyuen.com/press_file/LTN20080515334.pdf) Archived (https://web.archive.org/web/20110718150038/http://www.yueyuen.com/press_file/LTN20080515334.pdf) 2011-07-18 at the Wayback Machine (/wiki/Wayback_Machine) ^ (#cite_ref-3) Yue Yuen may gain US$156 mln from retail business' HK IPO (http://www.marketavenue.cn/upload/news/NEWS_38953.htm) ^ (#cite_ref-4) Pou Sheng International (Holdings) Ltd (http://www.alacrastore.com/company-snapshot/Pou_Sheng_International_Holdings_Ltd-4102836) External links [ edit ] Pou Sheng International (Holdings) Limited (http://www.pousheng.com/) YYsports (http://www.yysports.com/) v t e Athletic shoes and sporting goods of (/wiki/Athletic_shoe) China (/wiki/China) 361 Degrees (/wiki/361_Degrees) Anta (/wiki/Anta_Sports) Peak (/wiki/Peak_Sport_Products) Dongxiang (/wiki/China_Dongxiang) Erke (/wiki/ERKE) Feiyue (/wiki/Feiyue) Li-Ning (/wiki/Li-Ning) Monton (/wiki/Monton_Sports) Pou Sheng Warrior (/wiki/Warrior_(shoes)) Xtep (/wiki/Xtep) Zoke (/wiki/Zoke) Guirenniao (/wiki/Guirenniao) This retail business article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Pou_Sheng_International&action=edit) . v t e This Chinese corporation or company article is a stub (/wiki/Wikipedia:Stub) . 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England portal (/wiki/Portal:England) Contents Top (https://en.wikipedia.org/wiki/Category:English_socialites) 0–9 (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=0) A (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=A) B (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=B) C (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=C) D (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=D) E (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=E) F (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=F) G (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=G) H (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=H) I (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=I) J (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=J) K (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=K) L (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=L) M (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=M) N (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=N) O (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=O) P (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=P) Q (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=Q) R (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=R) S (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=S) T (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=T) U (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=U) V (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=V) W (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=W) X (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=X) Y (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=Y) Z (https://en.wikipedia.org/w/index.php?title=Category:English_socialites&from=Z) NewPP limit report Parsed by mw‐web.eqiad.main‐8645764cd7‐t26ns Cached time: 20240713131445 Cache expiry: 2592000 Reduced expiry: false Complications: [no‐toc] CPU time usage: 0.100 seconds Real time usage: 0.128 seconds Preprocessor visited node count: 321/1000000 Post‐expand include size: 25890/2097152 bytes Template argument size: 2904/2097152 bytes Highest expansion depth: 20/100 Expensive parser function count: 2/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 4140/5000000 bytes Lua time usage: 0.023/10.000 seconds Lua memory usage: 630246/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 116.949 1 -total 57.42% 67.151 1 Template:CatAutoTOC 55.30% 64.668 2 Template:Category_other 51.92% 60.715 1 Template:Automatic_category_TOC/core 46.32% 54.172 1 Template:Category_TOC 42.43% 49.624 1 Template:Portal 38.56% 45.094 1 Template:TOC_top 28.86% 33.755 1 Template:Flatlist 2.41% 2.823 1 Template:TOC_bottom 1.72% 2.017 1 Template:Category_TOC/tracking Saved in parser cache with key enwiki:pcache:idhash:4365116-0!canonical and timestamp 20240713131445 and revision id 978248106. Rendering was triggered because: page-view Subcategories This category has the following 2 subcategories, out of 2 total. C English courtesans (/wiki/Category:English_courtesans) (28 P) L Socialites from London (/wiki/Category:Socialites_from_London) (27 P) Pages in category "English socialites" The following 196 pages are in this category, out of 196 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . A Jane, Lady Abdy (/wiki/Jane,_Lady_Abdy) William Acton (painter) (/wiki/William_Acton_(painter)) Penelope Aitken (/wiki/Penelope_Aitken) Ghislaine Alexander (/wiki/Ghislaine_Alexander) Mary Sturt, Baroness Alington (/wiki/Mary_Sturt,_Baroness_Alington) William Arden, 2nd Baron Alvanley (/wiki/William_Arden,_2nd_Baron_Alvanley) Lady Margarita Armstrong-Jones (/wiki/Lady_Margarita_Armstrong-Jones) Lady Lettice Ashley-Cooper (/wiki/Lady_Lettice_Ashley-Cooper) Muriel Ashley, Lady Mount Temple (/wiki/Muriel_Ashley,_Lady_Mount_Temple) Lady Cynthia Asquith (/wiki/Lady_Cynthia_Asquith) Katharine Asquith (/wiki/Katharine_Asquith) Annabel Astor, Viscountess Astor (/wiki/Annabel_Astor,_Viscountess_Astor) Violet Astor, Baroness Astor of Hever (/wiki/Violet_Astor,_Baroness_Astor_of_Hever) B Ruth Baldwin (socialite) (/wiki/Ruth_Baldwin_(socialite)) Poppy Baring (/wiki/Poppy_Baring) Sarah Baring (/wiki/Sarah_Baring) Elvira Barney (/wiki/Elvira_Barney) Baba Beaton (/wiki/Baba_Beaton) Cecil Beaton (/wiki/Cecil_Beaton) Nancy Beaton (/wiki/Nancy_Beaton) Lady Evelyn Beauchamp (/wiki/Lady_Evelyn_Beauchamp) Henry Somerset, 12th Duke of Beaufort (/wiki/Henry_Somerset,_12th_Duke_of_Beaufort) Tamara Beckwith (/wiki/Tamara_Beckwith) Debonnaire von Bismarck (/wiki/Debonnaire_von_Bismarck) Sylvia Brett (/wiki/Sylvia_Brett) Lady Diana Bridgeman (/wiki/Lady_Diana_Bridgeman) Olivia Buckingham (/wiki/Olivia_Buckingham) Claus von Bülow (/wiki/Claus_von_B%C3%BClow) Laura Cavendish, Countess of Burlington (/wiki/Laura_Cavendish,_Countess_of_Burlington) C Baroness de Calabrella (/wiki/Baroness_de_Calabrella) Diana Caldwell (/wiki/Diana_Caldwell) Rosemary Pratt, Marchioness Camden (/wiki/Rosemary_Pratt,_Marchioness_Camden) Fiona Campbell-Walter (/wiki/Fiona_Campbell-Walter) Anthea Gamble Carew (/wiki/Anthea_Gamble_Carew) Caroline Stanhope, Countess of Harrington (/wiki/Caroline_Stanhope,_Countess_of_Harrington) Lady Mary Charteris (/wiki/Lady_Mary_Charteris) Mary Cholmondeley, Lady Delamere (/wiki/Mary_Cholmondeley,_Lady_Delamere) Lady Elizabeth Clyde (/wiki/Lady_Elizabeth_Clyde) Sibyl Colefax (/wiki/Sibyl_Colefax) Joan Collins (/wiki/Joan_Collins) Lily Collins (/wiki/Lily_Collins) Lady Mary Colman (/wiki/Lady_Mary_Colman) Lady Emily Compton (/wiki/Lady_Emily_Compton) Henry Conway (socialite) (/wiki/Henry_Conway_(socialite)) Lady Diana Cooper (/wiki/Lady_Diana_Cooper) William Cooper (co-operator) (/wiki/William_Cooper_(co-operator)) Annie Pearson, Viscountess Cowdray (/wiki/Annie_Pearson,_Viscountess_Cowdray) Marita Crawley (/wiki/Marita_Crawley) Peggy Cripps (/wiki/Peggy_Cripps) Maud Cunard (/wiki/Maud_Cunard) Lady Georgiana Curzon (/wiki/Lady_Georgiana_Curzon) Mary Curzon, Lady Howe (/wiki/Mary_Curzon,_Lady_Howe) D Lady Ursula d'Abo (/wiki/Lady_Ursula_d%27Abo) Caroline Primrose, Lady Dalmeny (/wiki/Caroline_Primrose,_Lady_Dalmeny) Edward Davenport (fraudster) (/wiki/Edward_Davenport_(fraudster)) Brenda Dean Paul (/wiki/Brenda_Dean_Paul) Brian Dean Paul (/wiki/Brian_Dean_Paul) Angela Delevingne (/wiki/Angela_Delevingne) Poppy Delevingne (/wiki/Poppy_Delevingne) Olga Deterding (/wiki/Olga_Deterding) Deborah Cavendish, Duchess of Devonshire (/wiki/Deborah_Cavendish,_Duchess_of_Devonshire) Jane Digby (/wiki/Jane_Digby) Norah Docker (/wiki/Norah_Docker) William Donaldson (/wiki/William_Donaldson) E Petra Ecclestone (/wiki/Petra_Ecclestone) Tamara Ecclestone (/wiki/Tamara_Ecclestone) Mary Edwards (1705–1743) (/wiki/Mary_Edwards_(1705%E2%80%931743)) F Eliza de Feuillide (/wiki/Eliza_de_Feuillide) Heather Firbank (/wiki/Heather_Firbank) Nancy Fish (/wiki/Nancy_Fish) Olga FitzGeorge (/wiki/Olga_FitzGeorge) Ann Fleming (/wiki/Ann_Fleming) Adrian Foley, 8th Baron Foley (/wiki/Adrian_Foley,_8th_Baron_Foley) Lady Edith Foxwell (/wiki/Lady_Edith_Foxwell) Essex Leila Hilary French (/wiki/Essex_Leila_Hilary_French) Valerie Violet French (/wiki/Valerie_Violet_French) G Evelyn Gardner (/wiki/Evelyn_Gardner) Kathleen Garman (/wiki/Kathleen_Garman) Lorna Garman (/wiki/Lorna_Garman) Gathorne-Hardy family (/wiki/Gathorne-Hardy_family) Peaches Geldof (/wiki/Peaches_Geldof) Pixie Geldof (/wiki/Pixie_Geldof) Lady Annabel Goldsmith (/wiki/Lady_Annabel_Goldsmith) Sophie Gradon (/wiki/Sophie_Gradon) Henrietta Grosvenor (/wiki/Henrietta_Grosvenor) Daphne Guinness (/wiki/Daphne_Guinness) H Emma, Lady Hamilton (/wiki/Emma,_Lady_Hamilton) Doris Harcourt (/wiki/Doris_Harcourt) Pamela Harriman (/wiki/Pamela_Harriman) Jane Stanhope, Countess of Harrington (/wiki/Jane_Stanhope,_Countess_of_Harrington) Deirdre Hart-Davis (/wiki/Deirdre_Hart-Davis) Nicky Haslam (/wiki/Nicky_Haslam) Laura Henderson (/wiki/Laura_Henderson) David Herbert (/wiki/David_Herbert) Lady Isabella Hervey (/wiki/Lady_Isabella_Hervey) Wanda Holden (/wiki/Wanda_Holden) Felix Hope-Nicholson (/wiki/Felix_Hope-Nicholson) Alison Mary Hore-Ruthven (/wiki/Alison_Mary_Hore-Ruthven) Margaret Leslie Hore-Ruthven (/wiki/Margaret_Leslie_Hore-Ruthven) Edward Hughes Ball Hughes (/wiki/Edward_Hughes_Ball_Hughes) I Margaret Irby (/wiki/Margaret_Irby) J William Dodge James (/wiki/William_Dodge_James) Carrie Johnson (/wiki/Carrie_Johnson) Zita Jungman (/wiki/Zita_Jungman) K Evelyn Knight (/wiki/Evelyn_Knight) L Lady Jane Lacey (/wiki/Lady_Jane_Lacey) Constance Lewis (/wiki/Constance_Lewis) Penelope Ligonier (/wiki/Penelope_Ligonier) Norah Lindsay (/wiki/Norah_Lindsay) Vera Bate Lombardi (/wiki/Vera_Bate_Lombardi) Hugh Lowther, 5th Earl of Lonsdale (/wiki/Hugh_Lowther,_5th_Earl_of_Lonsdale) Daisy Lowe (/wiki/Daisy_Lowe) Lady Dorothy Lygon (/wiki/Lady_Dorothy_Lygon) Lady Lettice Lygon (/wiki/Lady_Lettice_Lygon) Lady Sibell Lygon (/wiki/Lady_Sibell_Lygon) M Lady Dorothy Macmillan (/wiki/Lady_Dorothy_Macmillan) Dorothea Macnee (/wiki/Dorothea_Macnee) Nadja Malacrida (/wiki/Nadja_Malacrida) Lady Alice Manners (/wiki/Lady_Alice_Manners) Lady Eliza Manners (/wiki/Lady_Eliza_Manners) Lady Isabel Manners (/wiki/Lady_Isabel_Manners) Lady Violet Manners (/wiki/Lady_Violet_Manners) Marie-Chantal, Crown Princess of Greece (/wiki/Marie-Chantal,_Crown_Princess_of_Greece) Ghislaine Maxwell (/wiki/Ghislaine_Maxwell) Sonia Melchett (/wiki/Sonia_Melchett) Valerie, Lady Meux (/wiki/Valerie,_Lady_Meux) Pippa Middleton (/wiki/Pippa_Middleton) Mitford family (/wiki/Mitford_family) Jessica Mitford (/wiki/Jessica_Mitford) Nancy Mitford (/wiki/Nancy_Mitford) Pamela Mitford (/wiki/Pamela_Mitford) Judith Venetia Montagu (/wiki/Judith_Venetia_Montagu) Santa Montefiore (/wiki/Santa_Montefiore) Henrietta Moraes (/wiki/Henrietta_Moraes) Lady Ottoline Morrell (/wiki/Lady_Ottoline_Morrell) Diana Mosley (/wiki/Diana_Mosley) Lady Tatiana Mountbatten (/wiki/Lady_Tatiana_Mountbatten) N Mary Nesbitt (/wiki/Mary_Nesbitt) P Charles Palmer-Tomkinson (/wiki/Charles_Palmer-Tomkinson) Tara Palmer-Tomkinson (/wiki/Tara_Palmer-Tomkinson) Peter Palumbo, Baron Palumbo (/wiki/Peter_Palumbo,_Baron_Palumbo) Bridget Parsons (/wiki/Bridget_Parsons) Lady Katie Percy 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Occupation This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Patternmaker_(clothing)) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Patternmaker" clothing (https://www.google.com/search?as_eq=wikipedia&q=%22Patternmaker%22+clothing) – news (https://www.google.com/search?tbm=nws&q=%22Patternmaker%22+clothing+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Patternmaker%22+clothing&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Patternmaker%22+clothing+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Patternmaker%22+clothing) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Patternmaker%22+clothing&acc=on&wc=on) ( December 2023 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) A patternmaker is a skilled worker who produces patterns (/wiki/Pattern_(sewing)) on paper or fabric for use in the clothing (/wiki/Clothing) industry. Apparel patternmakers draft patterns based on a designer's sketch of a style. The designer gives the sketch to the patternmaker, who can ask questions to determine details the designer is looking for. [1] (#cite_note-1) Patterns may be drafted on paper or in a computer program designed for patternmaking. Most of the time, in modern American samplerooms, the patternmaker pulls an existing pattern (or block) and makes a modified copy of it to match the new style, either on paper or on computer. If the style is completely new, the patternmaker will usually drape a rough draft in muslin fabric on a dress form, then show it to the designer to discuss any changes before transferring the markings to paper to create the pattern for cutting. Patterns may also be drafted from measurements, this method can also produce well fitting garments as long as the patternmaker has a good handle on shapes and balance. Patternmakers are also asked to copy existing garments without damaging them. This is a common practice in American (/wiki/United_States) samplerooms. Patternmakers have a combination of engineering (/wiki/Engineering) and design (/wiki/Design) skill. They need to be able to understand what the designer wants, and translate that into the lines of a pattern that will cause the garment to fit correctly. Ideally, the pattern captures not only the fit, but also the flair intended by the designer. Patternmaking is taught in conjunction with fashion design education, as it is vital for designers to understand the apparel development process. It is also taught as a major at certain trade schools. There are many books on the subject, but it is rare for a patternmaker to become a professional through teaching oneself. Apprenticeships are almost unheard of in modern America, but would serve well to improve the transition from student to professional status. Because this occupation is relatively unknown outside of the apparel industry, there is a serious lack of patternmakers who can accurately interpret designs in Los Angeles (/wiki/Los_Angeles) , and possibly other fashion capitals. History [ edit ] With the onset of the Industrial Revolution in the 19th century, clothing production became more automated. Patternmakers began using technology such as drawing tools and measuring systems to create accurate patterns for mass production. [2] (#cite_note-2) [3] (#cite_note-3) Their role was crucial in ensuring accurate cut and assembly of garments. The 20th century witnessed an explosion of creativity and experimentation in fashion. [4] (#cite_note-4) Fashion designers have played a key role in translating the innovative designs of avant-garde designers into practical and functional models. [5] (#cite_note-5) [6] (#cite_note-6) They worked closely with fashion designers to understand their vision and bring it to life through precision model building. The progenitor of this business is rightly considered the French fashion designer Charles Frederick Worth, who began by selling fabrics and ended up opening his own fashion house House of Worth. [7] (#cite_note-7) [8] (#cite_note-8) [9] (#cite_note-9) With the development of computer technology, patternmakers have new tools for designing and developing patterns. [10] (#cite_note-10) [11] (#cite_note-11) Computer-aided design (CAD) software has revolutionized the industry by allowing patternmakers to create and modify patterns digitally. This has increased the efficiency, accuracy and flexibility of the pattern making process. Today's fashion designers face new challenges such as sustainable fashion and the demand for tailored clothing. They work with fashion designers and manufacturers to develop patterns that minimize waste and optimize fabric usage. Patternmakers play a crucial role in the production of sustainable and well-fitting garments. [12] (#cite_note-12) See also [ edit ] Pattern (sewing) (/wiki/Pattern_(sewing)) References [ edit ] ^ (#cite_ref-1) Naval Education and Training Program Development Center (1976). Patternmaker 1 & C . U.S. Department of Defense, Department of the Navy, Naval Education and Training Support Command. ^ (#cite_ref-2) "History of the Pattern Maker profession: Evolution of talent and creativity" (https://www.artdress.com.pl/en/post/history-of-the-pattern-maker-profession-evolution-of-talent-and-creativity) . www.artdress.com.pl . Retrieved 2024-07-17 . ^ (#cite_ref-3) "Pattern Making in Garment Manufacturing" (https://www.textileschool.com/293/pattern-making/) . www.textileschool.com . Retrieved 2024-07-17 . ^ (#cite_ref-4) "The History of Fashion Through The Decades" (https://glamobserver.com/the-history-of-fashion-through-the-decades/) . glamobserver.com . Retrieved 2024-07-17 . ^ (#cite_ref-5) "History of Fashion Design (Guide)" (https://tagvault.org/blog/history-of-fashion-design-guide/) . tagvault.org . Retrieved 2024-07-17 . ^ (#cite_ref-6) "Decades of Style: A Journey Through Fashion History" (https://www.collegenp.com/article/decades-of-style-a-journey-through-fashion-history/) . www.collegenp.com . Retrieved 2024-07-17 . ^ (#cite_ref-7) "Charles Frederick Worth Biography" (https://www.thefamouspeople.com/profiles/charles-frederick-worth-7218.php) . www.thefamouspeople.com . Retrieved 2024-07-17 . ^ (#cite_ref-8) "Custom Tailor In Los Angeles" (https://patternmaker-tailor.net/patternmaker/) . patternmaker-tailor.net . Retrieved 2024-07-17 . ^ (#cite_ref-9) "The Father Of Haute Couture: Charles Frederick Worth" (https://www.thefamouspeople.com/profiles/charles-frederick-worth-7218.php) . www.thefamouspeople.com . Retrieved 2024-07-17 . ^ (#cite_ref-10) "How to Become a Patternmaker" (https://interviewguy.com/how-to-become-a-patternmaker/) . interviewguy.com . Retrieved 2024-07-17 . ^ (#cite_ref-11) "Essentials of Pattern Making and Why It's Important to Get it Right" (https://sewport.com/learn/pattern-making) . sewport.com . Retrieved 2024-07-17 . ^ (#cite_ref-12) "A Simplified Guide To Clothing Production" (https://the-rosenrot.com/guide-to-clothing-production/) . the-rosenrot.com . Retrieved 2024-07-17 . You can help expand this article with text translated from the corresponding article (https://de.wikipedia.org/wiki/Zuschneider) in German . (January 2024) Click [show] for important translation instructions. 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American fashion blogger, model, and designer This article contains content that is written like an advertisement (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_soapbox_or_means_of_promotion) . Please help improve it (https://en.wikipedia.org/w/index.php?title=Nadia_Aboulhosn&action=edit) by removing promotional content (/wiki/Wikipedia:Spam) and inappropriate external links (/wiki/Wikipedia:External_links#Advertising_and_conflicts_of_interest) , and by adding encyclopedic content written from a neutral point of view (/wiki/Wikipedia:Neutral_point_of_view) . ( May 2024 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Nadia Aboulhosn Born Nadia Aboul-Hosn ( 1988-09-13 ) September 13, 1988 (age 35) Orlando, Florida (/wiki/Orlando,_Florida) , U.S. Occupation(s) Model, Blogger, Clothing Designer Years active 2010–present Modelling information Height 5 ft 3 in (160 cm) Hair colour Brown Eye colour Brown Website www (http://www.nadiaaboulhosn.com/) .nadiaaboulhosn (http://www.nadiaaboulhosn.com/) .com (http://www.nadiaaboulhosn.com/) Nadia Aboulhosn (born September 13, 1988) is an American fashion blogger, model, and designer from Orlando (/wiki/Orlando,_Florida) , Florida (/wiki/Florida) . [1] (#cite_note-OrlandoEcho-1) She is best known for designing clothing lines for Boohoo.com (/wiki/Boohoo.com) , Addition Elle (/wiki/Addition_Elle) , and Lord & Taylor (/wiki/Lord_%26_Taylor) . [2] (#cite_note-businessinsider-2) [3] (#cite_note-newyorkfashionweeklive-3) Aboulhosn has been featured in Vogue Italia (/wiki/Vogue_Italia) , Complex Magazine (/wiki/Complex_Magazine) , Refinery29 (/wiki/Refinery29) , Seventeen Magazine (/wiki/Seventeen_(American_magazine)) , Teen Vogue (/wiki/Teen_Vogue) , American Apparel (/wiki/American_Apparel) , and BuzzFeed (/wiki/BuzzFeed) . [4] (#cite_note-.torontosun-4) [5] (#cite_note-5) [6] (#cite_note-:0-6) She is of Lebanese descent, originally from the town of Btekhnay (/wiki/Btekhnay) in Mount Lebanon (/wiki/Mount_Lebanon) . Career [ edit ] At age 22, Nadia moved to Harlem, New York. [7] (#cite_note-:1-7) She started her blog in 2010. [6] (#cite_note-:0-6) Her blogging career began as something she did in her spare time and now she is a full-time fashion blogger. She also makes money by advertising and promoting clothing through modeling. [7] (#cite_note-:1-7) Nadia advocates for the body positivity movement and self-acceptance. [8] (#cite_note-8) Her blog includes not only fashion but also features a humanitarian section. [9] (#cite_note-9) In August 2014, Nadia participated as a panelist for Create and Cultivate conference in Chicago for women entrepreneurs in the digital space. [6] (#cite_note-:0-6) Some of her inspirations are Angelina Jolie and Oprah, and her favorite brands include Nasty Gal, ASOS, BooHoo, Missguided, and Adidas. [6] (#cite_note-:0-6) Her first modeling shoot was with Seventeen magazine for a curvy section. [10] (#cite_note-:2-10) Shortly after she won American Apparel's model search. [11] (#cite_note-11) After modeling in an Addition Elle lingerie campaign she was approached about designing. [12] (#cite_note-:3-12) She created a Fall 2015 capsule collection, which was shown at New York Fashion Week. [10] (#cite_note-:2-10) Her design featured a 14-piece collection for women sized 12–24 and described as “minimalistic”, “military” and “comfortable". [10] (#cite_note-:2-10) [12] (#cite_note-:3-12) Her line for Love & Legend was sold exclusively at Lord & Taylor. [12] (#cite_note-:3-12) She was named the face of boohoo.com and took a partnership where she was also able to release her own collection which did really well. [13] (#cite_note-13) In 2016 Abhoulson shot for the cover of Women's Running Magazine's April issue. [14] (#cite_note-14) Her message encourages hard-work and diversity, as well as reinventing the standards of the fashion industry. In January she did an interview with PAPER Magazine explaining how she is the model bridging the gap between straight and plus size. [15] (#cite_note-15) References [ edit ] ^ (#cite_ref-OrlandoEcho_1-0) "Addition Elle Collaborates With Plus-Size Fashion Blogger Nadia Aboulhosn" (https://web.archive.org/web/20160304084559/http://www.orlandoecho.com/index.php/sid/230038281) . Orlando Echol . February 7, 2015. Archived from the original (http://www.orlandoecho.com/index.php/sid/230038281) on March 4, 2016 . Retrieved December 17, 2015 . ^ (#cite_ref-businessinsider_2-0) Williams-Grut, Oscar (May 6, 2015). "Nadia Aboulhosn is the plus-sized fashion blogger who rescued Boohoo and helped grow its revenues 27%" (http://www.businessinsider.com/nadia-aboulhosn-plus-sized-fashion-blogger-who-fixed-boohoo-2015-5?r=UK&IR=T) . Business Insider . Retrieved December 17, 2015 . ^ (#cite_ref-newyorkfashionweeklive_3-0) Collie, Chris (October 14, 2015). "Nadia Aboulhosn's New Collection for Addition Elle" (http://newyorkfashionweeklive.com/nadia-aboulhosns-new-collection-for-addition-elle) . New York Fashion Week Live . Retrieved December 17, 2015 . ^ (#cite_ref-.torontosun_4-0) Solomon, Rosalyn (September 25, 2015). "Model and blogger Nadia Aboulhosn on plus-size fashion: 'That's just who we are' (http://www.torontosun.com/2015/09/23/model-and-blogger-nadia-aboulhosn-on-plus-size-fashion-thats-just-who-we-are) " (http://www.torontosun.com/2015/09/23/model-and-blogger-nadia-aboulhosn-on-plus-size-fashion-thats-just-who-we-are) . Toronto Sun . Retrieved December 17, 2015 . ^ (#cite_ref-5) "15 Questions With Nadia Aboulhosn – Vv Magazine" (http://viewthevibe.com/interview-15-questions-plus-sized-blogger-nadia-aboulhosn/) . viewthevibe.com . 23 March 2015 . Retrieved 2016-03-07 . ^ a b c d "What It's Like to Be a Plus-Size Blogger, According to Nadia Aboulhosn" (http://stylecaster.com/plus-size-blogger-nadia-aboulhosn/) . StyleCaster . 20 July 2015 . Retrieved 2016-03-07 . ^ a b " (https://www.telegraph.co.uk/women/womens-life/11208608/Plus-size-fashion-blogger-People-say-Im-fat-and-ugly.html) 'People call me fat and ugly': Meet the blogger who loves her body (and isn't afraid to show it)" (https://www.telegraph.co.uk/women/womens-life/11208608/Plus-size-fashion-blogger-People-say-Im-fat-and-ugly.html) . Telegraph.co.uk . 11 November 2014 . Retrieved 2016-03-07 . ^ (#cite_ref-8) "Body Image in the Fashion World" (http://www.huffingtonpost.com/nadia-aboulhosn/body-image-self-acceptance-fashion_b_2442427.html) . The Huffington Post . 9 January 2013 . Retrieved 2016-03-07 . ^ (#cite_ref-9) "Bustle" (http://www.bustle.com/articles/83855-nadia-aboulhosn-plus-size-blogger-and-model-took-the-fatkini-to-the-next-level-and-it) . www.bustle.com . 17 May 2015 . Retrieved 2016-03-07 . ^ a b c "The sexy, profane appeal of fashion blogger Nadia Aboulhosn" (http://www.dailydot.com/lifestyle/nadia-aboulhosn-additonelle-capsule-collection/) . The Daily Dot (/wiki/The_Daily_Dot) . 8 September 2015. ^ (#cite_ref-11) "4 years ago today" (http://www.nadiaaboulhosn.com/2016/01/4-years-ago-today.html) . ^ a b c Solomon, Rosalyn; Network, Postmedia. "Model and blogger Nadia Aboulhosn on plus-size fashion: 'That's just who we are' (http://www.torontosun.com/2015/09/23/model-and-blogger-nadia-aboulhosn-on-plus-size-fashion-thats-just-who-we-are) " (http://www.torontosun.com/2015/09/23/model-and-blogger-nadia-aboulhosn-on-plus-size-fashion-thats-just-who-we-are) . Toronto Sun . Retrieved 2016-03-07 . ^ (#cite_ref-13) "Nadia Aboulhosn is the plus-sized fashion blogger who rescued Boohoo and helped grow its revenues 27%" (http://www.businessinsider.com/nadia-aboulhosn-plus-sized-fashion-blogger-who-fixed-boohoo-2015-5?r=UK&IR=T) . Business Insider (/wiki/Business_Insider) . ^ (#cite_ref-14) "How Our Cover With Nadia Aboulhosn Came To Life" (https://web.archive.org/web/20160318123806/http://womensrunning.competitor.com/2016/03/team-wr-2/how-april-cover-nadia-aboulhosn-came-to-life_56081) . womensrunning.competitor.com . Archived from the original (https://womensrunning.competitor.com/2016/03/team-wr-2/how-april-cover-nadia-aboulhosn-came-to-life_56081) on 2016-03-18. ^ (#cite_ref-15) "Nadia Aboulhosn, the Model Bridging the Gap Between Straight and Plus Sizes" (http://www.papermag.com/nadia-aboulhosn-the-model-bridging-the-gap-between-straight-and-plus-s-1576441920.html) . 28 January 2016. 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Traditional Egyptian folklore costume This article does not cite (/wiki/Wikipedia:Citing_sources) any sources (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Badlah_(Egyptian_folklore_costume)) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed (/wiki/Wikipedia:Verifiability#Burden_of_evidence) . Find sources: "Badlah" Egyptian folklore costume (https://www.google.com/search?as_eq=wikipedia&q=%22Badlah%22+Egyptian+folklore+costume) – news (https://www.google.com/search?tbm=nws&q=%22Badlah%22+Egyptian+folklore+costume+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Badlah%22+Egyptian+folklore+costume&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Badlah%22+Egyptian+folklore+costume+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Badlah%22+Egyptian+folklore+costume) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Badlah%22+Egyptian+folklore+costume&acc=on&wc=on) ( June 2017 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Little Egypt Dancer The Bedlah or Badlet Ra'as is a traditional Egyptian (/wiki/Egypt) folklore costume mostly worn by women, but in some Egyptian weddings male dancers also wear it. The word badlah is an Egyptian Arabic (/wiki/Egyptian_Arabic) for " suit (/wiki/Suit_(clothing)) ". In Egyptian belly dancing clubs (/wiki/Cabaret) ( Egyptian Arabic (/wiki/Egyptian_Arabic_language) : Kabareeh ), the term badlah refers simply to the costume that a dancer wears. Most commonly it is used to refer to the matched set of bra and belt that cabaret dancers use, but technically it encompasses all parts of the dancer's costume as well, such as the jewelry, headband, skirt, pants and veil. This is often referred to as a Complete Badlah . Occasionally it also refers to just one piece of the costume such as the highly ornate belt that tribal dancers wear which may or may not have a matching bra. The term Badlah hardwear refers to the more sturdy portions of the dancer's costume, the bra, belt and jewelry and the term Bedlah softwear includes the flowing fabric portions of the costume, the skirt, pants, vest, choli and/or veil. Badlah got in the Western imagination of Victorian painters (/wiki/Victorian_painting) and was adopted by dancers who catered to foreign audiences who expected the look. Many dancers also adopted the look simply because they liked it, and it has survived to become the most popular costume for Egyptian belly dancers and oriental dancers across the globe. References [ edit ] This clothing (/wiki/Clothing) -related article is a stub (/wiki/Wikipedia:Stub) . 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Dress worn by Princess Alice at her wedding to Prince Louis of Hesse in 1862 This article needs attention from an expert in Fashion . The specific problem is: This topic may be covered by offline, inaccessible sources, which may be found in, primarily. libraries. WikiProject Fashion (/wiki/Wikipedia:WikiProject_Fashion) may be able to help recruit an expert. ( July 2012 ) The wedding dress of Princess Alice of the United Kingdom (/wiki/Princess_Alice_of_the_United_Kingdom) was worn during a period of court mourning for the death of her father. [1] (#cite_note-RoyalDress-1) Princess Alice was the second daughter of Queen Victoria (/wiki/Queen_Victoria) and Prince Albert (/wiki/Prince_Albert_of_Saxe-Coburg-Gotha) . On 1 July 1862, in the dining room of Osborne House (/wiki/Osborne_House) on the Isle of Wight (/wiki/Isle_of_Wight) , she married Prince Louis of Hesse (/wiki/Louis_IV,_Grand_Duke_of_Hesse) . Seven months had passed since the death of the Prince Consort (/wiki/Prince_Consort) and the Royal Family was still in deep mourning. The venue was chosen so that the Queen would be able to avoid inviting the usual guests of state. From "The Royal Wedding Dresses" by Nigel Arch and Joanna Marschner (p. 58): "She wore a 'half-high dress with a deep flounce of Honiton lace, a veil of the same and a wreath of orange blossom and myrtle'." [1] (#cite_note-RoyalDress-1) It was a simple style and not embellished with a court train. [1] (#cite_note-RoyalDress-1) Queen Victoria later confided to her daughter, the Princess Royal (Vicky), that the wedding of 'poor Alice' had been "more like a funeral." See also [ edit ] Victorian era portal (/wiki/Portal:Victorian_era) List of individual dresses (/wiki/List_of_individual_dresses) References [ edit ] Nigel Arch and Joanna Marschner. The Royal Wedding Dresses . pg 58. ^ a b c "Royal Wedding Dresses throughout history" (https://www.royal.uk/wedding-dresses) . The Royal Family. 11 May 2018 . Retrieved 9 October 2018 . v t e Wedding dresses (/wiki/Wedding_dress) worn at British (/wiki/British_royal_family) royal weddings (/wiki/List_of_royal_weddings) 19th century Princess Charlotte of Wales (/wiki/Wedding_dress_of_Princess_Charlotte_of_Wales) (1816) Queen Victoria (/wiki/Wedding_dress_of_Queen_Victoria) (1840) Victoria, Princess Royal (/wiki/Wedding_dress_of_Victoria,_Princess_Royal) (1858) Princess Alice (1862) Princess Alexandra of Denmark (/wiki/Wedding_dress_of_Princess_Alexandra_of_Denmark) (1863) Princess Helena (/wiki/Wedding_dress_of_Princess_Helena_of_the_United_Kingdom) (1866) Princess Louise (/wiki/Wedding_dress_of_Princess_Louise_of_the_United_Kingdom) (1871) Princess Louise Margaret of Prussia (/wiki/Wedding_dress_of_Princess_Louise_Margaret_of_Prussia) (1879) Princess Helen of Waldeck and Pyrmont (/wiki/Wedding_dress_of_Princess_Helen_of_Waldeck_and_Pyrmont) (1882) Princess Beatrice (/wiki/Wedding_dress_of_Princess_Beatrice_of_the_United_Kingdom) (1885) Princess Louise of Wales (/wiki/Wedding_dress_of_Princess_Louise_of_Wales) (1889) Princess Marie Louise of Schleswig-Holstein (/wiki/Wedding_dress_of_Princess_Marie_Louise_of_Schleswig-Holstein) (1891) Princess Victoria Mary of Teck (/wiki/Wedding_dress_of_Princess_Victoria_Mary_of_Teck) (1893) Princess Maud of Wales (/wiki/Wedding_dress_of_Princess_Maud_of_Wales) (1896) 20th century Princess Alice of Albany (/wiki/Wedding_dress_of_Princess_Alice_of_Albany) (1904) Princess Margaret of Connaught (/wiki/Wedding_dress_of_Princess_Margaret_of_Connaught) (1905) Princess Alexandra (/wiki/Princess_Alexandra,_2nd_Duchess_of_Fife#Marriage) (1913) Princess Patricia of Connaught (/wiki/Wedding_dress_of_Princess_Patricia_of_Connaught) (1919) Princess Mary (/wiki/Wedding_dress_of_Princess_Mary_of_the_United_Kingdom) (1922) Lady Elizabeth Bowes-Lyon (/wiki/Wedding_dress_of_Lady_Elizabeth_Bowes-Lyon) (1923) Princess Maud (/wiki/Maud_Carnegie,_Countess_of_Southesk#Marriage) (1923) Princess Marina of Greece and Denmark (/wiki/Wedding_dress_of_Princess_Marina_of_Greece_and_Denmark) (1934) Lady Alice Montagu Douglas Scott (/wiki/Wedding_dress_of_Lady_Alice_Montagu_Douglas_Scott) (1935) Wallis Warfield (/wiki/Wedding_dress_of_Wallis_Warfield) (1937) Princess Elizabeth (/wiki/Wedding_dress_of_Princess_Elizabeth_of_the_United_Kingdom) (1947) Princess Margaret (/wiki/Wedding_dress_of_Princess_Margaret_of_the_United_Kingdom) (1960) Katharine Worsley (/wiki/Wedding_dress_of_Katharine_Worsley) (1961) Princess Alexandra of Kent (/wiki/Wedding_dress_of_Princess_Alexandra_of_Kent) (1963) Birgitte van Deurs Henriksen (/wiki/Wedding_dress_of_Birgitte_van_Deurs_Henriksen) (1972) Princess Anne (/wiki/Wedding_dresses_of_Princess_Anne_of_the_United_Kingdom) (1973) Baroness Marie Christine von Reibnitz (/wiki/Wedding_dress_of_Baroness_Marie_Christine_von_Reibnitz) (1978) Lady Diana Spencer (/wiki/Wedding_dress_of_Lady_Diana_Spencer) (1981) Sarah Ferguson (/wiki/Wedding_dress_of_Sarah_Ferguson) (1986) Anne, Princess Royal (/wiki/Wedding_dresses_of_Princess_Anne_of_the_United_Kingdom) (1992) Sophie Rhys-Jones (/wiki/Wedding_dress_of_Sophie_Rhys-Jones) (1999) 21st century Camilla Parker Bowles (/wiki/Wedding_dress_of_Camilla_Parker_Bowles) (2005) Catherine Middleton (/wiki/Wedding_dress_of_Catherine_Middleton) (2011) Meghan Markle (/wiki/Wedding_dress_of_Meghan_Markle) (2018) Princess Eugenie of York (/wiki/Wedding_dress_of_Princess_Eugenie_of_York) (2018) Princess Beatrice of York (/wiki/Wedding_dress_of_Princess_Beatrice_of_York) (2020) This article related to the history of England (/wiki/History_of_England) is a stub (/wiki/Wikipedia:Stub) . 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CK One is a citrus aromatic chypre (/wiki/Chypre) unisex fragrance (/wiki/Fragrance) developed by Alberto Morillas (/wiki/Alberto_Morillas) [1] (#cite_note-:3-1) and Harry Fremont for Calvin Klein (/wiki/Calvin_Klein) . [2] (#cite_note-fragrantica-2) Composition and marketing [ edit ] CK One's top notes include pineapple (/wiki/Pineapple) , mandarin orange (/wiki/Mandarin_orange) , papaya (/wiki/Papaya) , bergamot (/wiki/Bergamot_orange) , cardamom (/wiki/Cardamom) and lemon (/wiki/Lemon) . Its middle notes include nutmeg (/wiki/Nutmeg) , violet (/wiki/Viola_(plant)) , orris root (/wiki/Orris_root) , jasmine (/wiki/Jasmine) , lily-of-the-valley (/wiki/Lily-of-the-valley) and rose (/wiki/Rose) . Its base notes include sandalwood (/wiki/Sandalwood) , amber, musk (/wiki/Musk) , cedar (/wiki/Cedrus) and oakmoss (/wiki/Oakmoss) . [2] (#cite_note-fragrantica-2) The fragrance is considered to be a unisex fragrance, [3] (#cite_note-3) and was the first unisex fragrance to gain wide popularity in the US. [4] (#cite_note-4) It has also been described as the first fragrance to be openly marketed as unisex. [5] (#cite_note-5) History and sales [ edit ] CK One was launched in 1994. [2] (#cite_note-fragrantica-2) It became a best-seller, making more than $5 million in its first 10 days. [6] (#cite_note-6) It generated about $90 million (USD) annually in the mid-1990s. [7] (#cite_note-:0-7) As of 2007, the scent's sales in the United States were still about $30 million annually. [7] (#cite_note-:0-7) References [ edit ] ^ (#cite_ref-:3_1-0) Kilikita, Jacqueline (June 5, 2018). "Meet The Nose Behind All Your Favorite Perfumes" (https://www.refinery29.com/90s-perfume-fragrance-alberto-mollinas) . Refinery29 . Retrieved 22 August 2018 . ^ Jump up to: a b c CK One (https://www.fragrantica.com/perfume/Calvin-Klein/CK-One-276.html) fragrantica.com ^ (#cite_ref-3) CK One (https://www.fragrancex.com/products/_cid_cologne-am-lid_c-am-pid_104m__products.html) Archived (https://web.archive.org/web/20191107222632/https://www.fragrancex.com/products/_cid_cologne-am-lid_c-am-pid_104m__products.html) 2019-11-07 at the Wayback Machine (/wiki/Wayback_Machine) fragrancex.com ^ (#cite_ref-4) CK One (http://www.basenotes.net/ID26120368.html) basenotes.net ^ (#cite_ref-5) Remembering the first ‘one:’ CK One Turns 25 (https://www.dazeddigital.com/beauty/article/43918/1/ck-one-turns-25-calvin-klein-fragrance) . Dazed . 4 April 2019. Retrieved 15 January 2023. ^ (#cite_ref-6) It Smelled Like Gen X Spirit (https://www.nytimes.com/2019/05/14/style/ck-one-fragrance-cologne.html) . The New York Times . 14 May 2019. Retrieved 15 January 2023. ^ Jump up to: a b Wilson, Eric (March 8, 2007). "Perfume-Cologne-Fragrances-Calvin Klein-Twenty Somethings" (https://www.nytimes.com/2007/03/08/fashion/08CALVIN.html) . The New York Times . Retrieved 22 August 2018 . v t e Perfumes (/wiki/Perfume) Overview History (/wiki/History_of_perfume) List of perfumes (/wiki/List_of_perfumes) Types Solid perfume (/wiki/Solid_perfume) Eau de Cologne (/wiki/Eau_de_Cologne) Eau de toilette (/wiki/Eau_de_toilette) Essential oils (/wiki/List_of_essential_oils) Pomander (/wiki/Pomander) Chypre (/wiki/Chypre) Fougère (/wiki/Foug%C3%A8re) Ingredients (/wiki/Category:Perfume_ingredients) Plant sources (/wiki/Perfume#Plant_sources) including Herbal distillates (/wiki/Herbal_distillate) Animal sources (/wiki/Perfume#Animal_sources) Synthetic (/wiki/Aroma_compound) Science Aromachology (/wiki/Aromachology) Fragrance wheel (/wiki/Fragrance_wheel) Fragrance extraction (/wiki/Fragrance_extraction) Note (/wiki/Note_(perfumery)) Scentography (/wiki/Scentography) Professions Perfumer (/wiki/Perfumer) Organizations Fragrance Museum (/wiki/Fragrance_Museum) Fragrances of the World (/wiki/Fragrances_of_the_World) International Fragrance Association (/wiki/International_Fragrance_Association) Musée du Parfum (/wiki/Mus%C3%A9e_du_Parfum) Osmothèque (/wiki/Osmoth%C3%A8que) Research Institute of Fragrance Materials (/wiki/Research_Institute_of_Fragrance_Materials) Théâtre-Musée des Capucines (/wiki/Th%C3%A9%C3%A2tre-Mus%C3%A9e_des_Capucines) The Fragrance Foundation (/wiki/The_Fragrance_Foundation) ISIPCA (/wiki/ISIPCA) Basenotes (/wiki/Basenotes) People Ernest Beaux (/wiki/Ernest_Beaux) Coco Chanel (/wiki/Coco_Chanel) François Coty (/wiki/Fran%C3%A7ois_Coty) Ernest Daltroff (/wiki/Ernest_Daltroff) Michael Edwards (/wiki/Michael_Edwards_(fragrance_expert)) Johann Maria Farina (/wiki/Johann_Maria_Farina) Jacques Guerlain (/wiki/Jacques_Guerlain) Adolph Goetting (/wiki/Adolph_Goetting) David H. McConnell (/wiki/David_H._McConnell) Luca Turin (/wiki/Luca_Turin) Edmond Roudnitska (/wiki/Edmond_Roudnitska) Companies Avon Products (/wiki/Avon_Products) Caron (/wiki/Parfums_Caron) Firmenich (/wiki/Firmenich) Frutarom (/wiki/Frutarom) Givaudan (/wiki/Givaudan) International Flavors & Fragrances (/wiki/International_Flavors_%26_Fragrances) Mane SA (/wiki/Mane_SA) Robertet (/wiki/Robertet) Sensient Flavors & Fragrances Group (/wiki/Sensient_Technologies) Symrise (/wiki/Symrise) T. Hasegawa (/wiki/T._Hasegawa) Takasago (/wiki/Takasago_International_Corporation) Category (/wiki/Category:Perfumery) Commons (https://commons.wikimedia.org/wiki/Category:Perfumes) Wiktionary (https://en.wiktionary.org/wiki/Perfume) This fashion (/wiki/Fashion) -related article is a stub (/wiki/Wikipedia:Stub) . 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Japanese apparel manufacturer tamaki niime Co., Ltd. Company type Limited (/wiki/Limited_company) Industry Apparel (/wiki/Apparel) Founded 2006 ; 18 years ago ( 2006 ) Founder Niime Tamaki Headquarters Nishiwaki-shi, Hyogo, Japan Area served Worldwide Products Shawls (/wiki/Shawls) , Shirts (/wiki/Shirts) , Pants (/wiki/Pants) , Children's clothes, Bags (/wiki/Bags) , Denims (/wiki/Denim) Owner Niime Tamaki Website https://www.niime.jp/ (https://www.niime.jp/) tamaki niime Co., Ltd. (有限会社玉木新雌 Yugen-Gaisha tamaki niime ) is a Japanese apparel (/wiki/Apparel) manufacturer (/wiki/Manufacturer) of original Banshu-ori (/w/index.php?title=Banshu-ori&action=edit&redlink=1) fabrics, based in Nishiwaki-shi (/wiki/Nishiwaki,_Hy%C5%8Dgo) , Hyogo (/wiki/Hyogo) . Banshu-ori fabric is made in one continuous production process, starting with a yarn (/wiki/Yarn) to dyeing (/wiki/Dyeing) to sewing (/wiki/Sewing) process (/wiki/Process) . Popular products include the "Only One" Shawl that Niime Tamaki wove with a belt-type power loom (/wiki/Power_loom) made in 1965. [1] (#cite_note-Sankei-1) [2] (#cite_note-Profile-2) [3] (#cite_note-sugoist-3) [4] (#cite_note-shufu-4) [5] (#cite_note-hyogo.lg-5) [6] (#cite_note-6) As of March 2017, their products are sold not only in Japan but also at 200 stores in 15 countries. A shawl (/wiki/Shawl) produced by the company was also selected as "The Wonder 500" by the Ministry of Economy, Trade and Industry. [1] (#cite_note-Sankei-1) [2] (#cite_note-Profile-2) [3] (#cite_note-sugoist-3) [4] (#cite_note-shufu-4) [5] (#cite_note-hyogo.lg-5) Summary [ edit ] tamaki niime specializes in apparel produced using Banshu-ori fabric. Banshu-ori is a traditional brand of fabric manufactured in the North Harima area of Hyogo. The methods used to weave and dye the fabric are based on a technology brought to Hyogo by ”Miyadaiku” Yasubei Hida from Kyoto (/wiki/Kyoto) around 1800. Weaving and dyeing Banshu-ori was a popular off-season (/wiki/Off-season) side job of farmers (/wiki/Farmers) in the Nishiwaki-shi around Kyoto. Traditional Banshu-ori must conform to certain methods and quality standards to be considered authentic. [7] (#cite_note-nishiwaki-7) [8] (#cite_note-Kitaharima-8) In 2004 fashion designer (/wiki/Fashion_designer) Niime Tamaki (originally a from Katsuyama-shi (/wiki/Katsuyama,_Fukui) , Fukui (/wiki/Fukui_Prefecture) ) began working with Banshu-ori after a chance meeting with a Banshu-ori craftsman (/wiki/Artisan) in Tokyo (/wiki/Tokyo) . Tamaki launched her own brand "tamaki niime" in 2004, which produced Banshu-or using both new manufacturing methods and traditional ones. For three years she designed and sold apparel in Osaka, using fabric woven by craftsman in Nishiwaki. In 2006 she decided to expand and established the company "tamaki niime". [2] (#cite_note-Profile-2) [3] (#cite_note-sugoist-3) [9] (#cite_note-Kobe-9) The company moved to a store in Nishiwaki-shi, where they continued to weave and dye Banshu-ori. Tamaki started to do weaving in addition to her design activities and learned how to operate the loom. She experimented with the fabric, and developed a soft cloth that was difficult to sew and had the consistency of cotton candy. She wrapped it around her neck and noticed it was very comfortable to wear. This fabric became the “Only One” shawl, which was the main product of the company at the time. It was marketed as “an original shawl loved by everyone regardless of gender, age, or nationality”. The “Only One” shawl is woven using a belt-type power loom made in 1965, which creates a unique pattern and feeling that cannot be replicated using more modern machines. [3] (#cite_note-sugoist-3) [10] (#cite_note-Hesomachi-10) [11] (#cite_note-COEUR-11) The company continues to weave this fabric and apparel from it. The factory uses a variety of equipment to support the designing, dyeing, weaving, and sewing processes including a belt-type power loom, a rapier loom, yarn dyeing machine, warper, and CAD/CAM. They also use an arrange winder to create a rainbow-like gradation of multi-colored threads, as well as a state-of-the-art whole garment made by SHIMI SEIKI MFG LTD with the ability to knit without sewing. tamaki niime make and produce shawls, shirts, pants, children’s clothes, bags and denims. They sell their products wholesale to partner select shops, department stores, and exhibitions all over Japan. Their works are marketed and sold internationally in over 200 stores in 15 countries including the United States (/wiki/United_States) , the United Kingdom (/wiki/The_United_Kingdom) , Canada (/wiki/Canada) , Mexico (/wiki/Mexico) , New Zealand (/wiki/New_Zealand) , and Taiwan (/wiki/Taiwan) . [3] (#cite_note-sugoist-3) [10] (#cite_note-Hesomachi-10) [11] (#cite_note-COEUR-11) The vision of tamaki niime is to turn the town of Hie-cho, where they are located, into a cotton town. In 2014 they began cultivating organic cotton on borrowed, abandoned farmland. They also are attempting to boost net domestic production of cotton by purchasing cotton seeds from growers at harvest and distributing them to people so they can also grow cotton. As they look to expand their business, Tamaki does consider issues of mass production, mass consumption, and global environmental impacts. In addition to cultivating cotton they grow vegetables which are used in their café annexed to their factory. [3] (#cite_note-sugoist-3) [10] (#cite_note-Hesomachi-10) [11] (#cite_note-COEUR-11) History [ edit ] 2004 – In December, Niime Tamaki makes brand “tamaki niime” aiming for new interpretation and development of Banshu-ori. 2006 – In April, “tamaki niime co., Ltd” established. 2008 – In April, opened directly managed store in Nishiwaki-shi. 2009 – In May, Tamaki moved to Nishiwaki-shi, and started development, announcement and production of original shawls. 2010 - In April, directly managed store “tamaki niime weaving room & stock room " opened in Nishiwaki-shi. In October, introduced two belt type weaving looms made in 1965. Started making "only one shawl" woven by Tamaki herself. 2011 - In May, introduced a Rapier loom (/wiki/Rapier_loom) made in 1983. 2012 – In March, introduced an innovative knitting machine. 2014 - In February, started cultivating organic cotton. In August, introduced the Netherlands hand weaving machine "louët" megado ", introduced a circular knitting machine in November. 2015 - "Hanayaka Kansai Selection 2016" and "Hyogo Female Future / Hanada Award" received 2016 - In September, moved "tamaki niime weaving room & stock room" to the foot of Mt. Okanoyama called "Japan's Navel" in Nishiwaki-shi Hie-town. Opened the newly renovated building which renovated the old dye factory about 5 times the area of the previous Lab. Aiming at "the space where the maker and the customer connect", it is structured so that Lab can be seen from Shop through the glass. On October 3, the Kansai Economic Federation selected Tamaki's "Roots Shawl" as one of ten points of Kansai's special product "Hanayaka Kansai Selection" that they would like to recommend foreigners. 2017 – In February, introduced two power looms (/wiki/Power_looms) made by 1967 and a warper. On February 21, exhibited at "Banshu-Ori Messe! 2017" (Minato-ku, Tokyo). In April, started organic cultivation of rice (/wiki/Rice) and vegetables (/wiki/Vegetables) . In October, introduced a circular knitting machine and two glass spinning machines. A total of 13 machines are in operation. 2018 - In January, newly established about 50 seats of food and drink space on the second floor of at the store and the Lab, offering a body-friendly lunch including organic coffee and locally produced tea, and offering a vegetarian menu called "haragoshirae-kai" on weekend. ( [5] (#cite_note-hyogo.lg-5) [7] (#cite_note-nishiwaki-7) [10] (#cite_note-Hesomachi-10) [11] (#cite_note-COEUR-11) [12] (#cite_note-12) [13] (#cite_note-Yomiuri2017-13) [14] (#cite_note-Senken2016-14) [15] (#cite_note-Kobe2016-15) [16] (#cite_note-KobeOctober2016-16) [17] (#cite_note-kobe-np-17) [18] (#cite_note-KOBE_mini-18) ) References [ edit ] ^ Jump up to: a b Sankei Shimbun 11 March 2013 (5 sides "Yutori") retrieved 29 June 2018. ^ Jump up to: a b c tamaki niime Official Website - Profile (https://www.niime.jp/) - retrieved 30 June 2018. ^ Jump up to: a b c d e f Sugoisuto – Banshu-ori artist Tamaki Niime san (http://www.hyogo-intercampus.ne.jp/sugoist/interview/tamakiniime) - retrieved 29 June 2018. ^ Jump up to: a b 暮らしとおしゃれの編集室（主婦と生活社）西脇市の地場産業・播州織ブランド「tamaki niime」の新工房兼ショップがリニューアルオープン（Living and fashion editing room (Shufu To Seikatsu Sha Co., Ltd.)）- retrieved 29 June 2018. ^ Jump up to: a b c 北播磨県民局 - 播州織メッセ！2017の開催(North Harima prefectural office – Holding of “Banshu-Ori Messe! 2017”) (https://web.pref.hyogo.lg.jp/governor/documents/g_kaiken20170123_06.pdf) - retrieved 29 June 2018. ^ (#cite_ref-6) "Banshu Ori: Four Japanese Mills Known For Traditional Cotton Textiles - Le Souk" (https://www.lesouk.co/articles/material-inspiration/banshu-ori-four-japanese-mills-known-for-traditional-cotton-textiles) . www.lesouk.co . Retrieved 2018-08-01 . ^ Jump up to: a b Nishiwaki-shi Official Site - About Banshu-Ori (http://www.city.nishiwaki.lg.jp/kankotokusan/jibasangyo/bansyuori/1355896832921.html) - retrieved 29 June 2018. ^ (#cite_ref-Kitaharima_8-0) Kitaharima Industrial Development Organization Official Site (http://www.banshu-ori.com/about/index.html) - retrieved 29 June 2018. ^ (#cite_ref-Kobe_9-0) Kobe Shimbun(神戸新聞) 30 June 2017 - retrieved 29 June 2018. ^ Jump up to: a b c d Hesomachi Bunka Shimbun(へそまち文化新聞) Vol. 1 Commemorative Issue 25 December 2016 - retrieved 29 June 2018. ^ Jump up to: a b c d COEUR Vol.41 Issued 1 March 2017 - retrieved 29 June 2018. ^ (#cite_ref-12) Kobe Shimbun Editorial Board Interview "Designer Tamaki Niime" 7 February 2011 - retrieved 29 June 2018. ^ (#cite_ref-Yomiuri2017_13-0) Yomiuri Shimbun 16 February 2017(Harima Edition 33 sides) - retrieved 29 June 2018. ^ (#cite_ref-Senken2016_14-0) Senken Shimbun 15 September 2016 (1 side) - retrieved 29 June 2018. ^ (#cite_ref-Kobe2016_15-0) Kobe Shimbun 8 September 2016 (21) "Tamaki Niime san Banshu-ori Brand New Store and Workshop 10th" - retrieved 29 June 2018. ^ (#cite_ref-KobeOctober2016_16-0) Kobe Shimbun 4 October 2016 (11 sides) Akinori Uchida ^ (#cite_ref-kobe-np_17-0) "神戸新聞NEXT｜社会｜播州織の魅力、東京で発信 ファッションショーも | Kobe Shimbun NEXT - Attraction of Banshu-ori, outgoing in Tokyo, Also a fashion show" (https://www.kobe-np.co.jp/news/shakai/201702/0009935025.shtml) . kobe-np.co.jp . 21 February 2017 . Retrieved 12 July 2018 . ^ (#cite_ref-KOBE_mini_18-0) Kobe Shimbun KOBE mini Nishiwaki January 2018 - retrieved 29 June 2018. External links [ edit ] tamaki niime Official Website (https://www.niime.jp/) tamaki niime Official Facebook (https://www.facebook.com/tamakiniimeofficial/) tamaki niime Instagram (https://www.instagram.com/tamakiniime/) NewPP limit report Parsed by mw‐web.codfw.main‐5486b6fcc7‐f2pt4 Cached time: 20240701020406 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.243 seconds Real time usage: 0.350 seconds Preprocessor visited node count: 1543/1000000 Post‐expand include size: 12070/2097152 bytes Template argument size: 1119/2097152 bytes Highest expansion depth: 15/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 18709/5000000 bytes Lua time usage: 0.137/10.000 seconds Lua memory usage: 3882507/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 312.214 1 -total 33.46% 104.462 1 Template:Short_description 31.44% 98.151 1 Template:Infobox_company 29.14% 90.982 2 Template:Cite_web 28.08% 87.676 1 Template:Infobox 17.79% 55.549 5 Template:Main_other 16.98% 53.021 1 Template:SDcat 12.15% 37.920 2 Template:Pagetype 2.66% 8.302 1 Template:Start_date_and_age 2.48% 7.743 1 Template:Comma_separated_entries Saved in parser cache with key enwiki:pcache:idhash:57882992-0!canonical and timestamp 20240701020406 and revision id 1165084456. 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Textile and Clothing in Mauritius Clothing production is an important industry in Mauritius (/wiki/Mauritius) . Clothes are imported (/wiki/Import) and exported (/wiki/Export) in Mauritius. The clothing sector (/wiki/Clothing_sector) was on the verge of bankruptcy (/wiki/Bankruptcy) in 2008, but recovered. [1] (#cite_note-IPS-1) The sector employed 67,174 people in 2007 and made 1.45 billion dollars in revenue that same year. [1] (#cite_note-IPS-1) History [ edit ] Clothing and textile industry in Mauritius started in the 1970s, when foreign investors (mainly coming from Hong Kong (/wiki/Hong_Kong) ) started setting up firms which would assemble imported textiles into clothing; most of those activities happed in the export processing zones (/wiki/Free-trade_zone) (EPZs). [2] (#cite_note-2) : 182 Europe (/wiki/Europe) and the United States (/wiki/United_States) are the traditional export markets of Mauritius; preferential trading deals with partners such as the European Union (/wiki/European_Union) and the United States in some economic sectors (/wiki/Economic_sector) , such as the sugar industry and in textile and clothing sectors, resulted in the significant growth of the total exports of Mauritius, especially from the 1970s to the 1990s. [3] (#cite_note-:0-3) : 253 1970s [ edit ] Sir Edouard Lim Fat (/w/index.php?title=Edouard_Lim_Fat&action=edit&redlink=1) , a Sino-Mauritian born in 1921, is generally acknowledged as the creator of the Mauritius Export Processing Zone (EPZ) in 1970. [4] (#cite_note-:1-4) The structure of Mauritius EPZ was modelled based on the EPZs found in Singapore (/wiki/Singapore) , Hong Kong (/wiki/Hong_Kong) , Malaysia (/wiki/Malaysia) , and others, and it was based on manufacturing for exports only. [4] (#cite_note-:1-4) In the first few months, there were 5 factories set in the EPZ with more than 500 employees; the original and majority of the textile or apparel stakeholders were from Hong Kong. [4] (#cite_note-:1-4) In the early 1970s, significant investors in the Mauritian EPZ were from Hong Kong, Taiwan (/wiki/Taiwan) , Malaysia, and Singapore, who contributed to the high growth rate during the early 1970s. [5] (#cite_note-5) : 102 The results of the influx of foreign direct investment (/wiki/Foreign_direct_investment) was the benefits of Mauritius' transnational ethnic networks, especially the small Chinese community in Mauritius ( Sino-Mauritians (/wiki/Mauritians_of_Chinese_origin) ) who played a significant role in attracting foreign direct investment from Hong Kong. [6] (#cite_note-6) : 51–52 People from the Hong Kong textile industry came to Mauritius and introduced apparel and textile machinery with them. [4] (#cite_note-:1-4) During that time, Mauritius had the labour capacity, and Mauritian women preferred working in the factory instead of working on the sugar plantations due to the lower working hours (8 hours in factory instead of 12 hours on the sugar plantation) and the higher pay (3-5 rupees per day in factory work instead of 2-2.5 rupees per day on sugar plantation). [4] (#cite_note-:1-4) In 1973, 23% companies under the Mauritius EPZ were textile-apparel companies; these were Vettex Limited , Floreal Knitwear , Textiles Industries Limited , Compagnie Mauricienne Commerciale (CMT) , and Orkay Synthetics. [4] (#cite_note-:1-4) In 1975, Mauritius signed the Lomé convention (/wiki/Lom%C3%A9_Convention) and was given preferential access to European markets leading to a duty-free agreement where no duty had to be paid if Mauritian goods were imported in Europe; this duty-free agreement attracted foreign investors to Mauritius. [4] (#cite_note-:1-4) While the first half of the 1970s showed fast development for Mauritius export companies, the latter 1970s showed no growth in the textile-apparel industry due to political and economic factors, which include firms having to acknowledge world finances, oil crisis, and the need for public transportation development in Mauritius, among many others. [4] (#cite_note-:1-4) 1980s [ edit ] In the 1980s, many Hong Kong companies left Mauritius leaving equipment and trained Mauritian labour behind as they realized that they could keep their assets in China. Therefore, local Mauritian investors continued and developed new textile and clothing firms; textile and apparel production increased in Mauritius due to a civil war in Sri Lanka (/wiki/Sri_Lanka) . [4] (#cite_note-:1-4) 1990s [ edit ] In the 1990s, many Hong Kong investors had to relocate their business to Vietnam (/wiki/Vietnam) and China (/wiki/China) due to lower production and labour cost; this lead more local investors to invest in the Mauritian textile and apparel industry. The textiles and clothing industry in Mauritius reached its employment peak in 1999 and had to outsource in Madagascar where the labour force was cheaper; the Mauritian factory labourers however decided to shift to the newly formed tourism industry and foreign labourers from Sri Lanka, India, and China had to be brought in the country. [4] (#cite_note-:1-4) 2000s [ edit ] The beginning of the 2000s were challenging to the Mauritian and textile industry: the Lomé agreement was ended but was replaced by the COTONOU Agreement which was signed in 2000; this agreement allowed the continuation of trade benefits between African, Caribbean, and Pacific countries and the European Union. [4] (#cite_note-:1-4) In 2000, Mauritius was excluded from the African Growth and Opportunity Act (/wiki/African_Growth_and_Opportunity_Act) (which allowed duty free garments to the United States) and was only included in 2006. [4] (#cite_note-:1-4) Since the 2000 FOCAC Ministerial Conference agreement , China took third position (following France (/wiki/France) and India (/wiki/India) ) in terms of traditional source of imports in Mauritius. [3] (#cite_note-:0-3) : 253 Imports of textiles machinery and equipment, along with manufactured consumer goods, became bulk of imports from China. [3] (#cite_note-:0-3) : 253 By investing in local spinning capacity, Mauritius reduced its dependence on Chinese yarn and textile imports, which lead to a reduction in textile imports from China. [3] (#cite_note-:0-3) : 253 In 2003, most of Mauritius apparel production was moved to Madagascar (/wiki/Madagascar) as labour was too expensive in Mauritius. All the Hong Kong companies left Mauritius and gave their facilities to the Mauritians. [4] (#cite_note-:1-4) The items manufactured in Mauritius however became stagnant and low quality. [4] (#cite_note-:1-4) From 2004 to 2007, Mauritian exports to the US decreased by 49%. [4] (#cite_note-:1-4) Fashion in Mauritius [ edit ] See also: Culture of Mauritius (/wiki/Culture_of_Mauritius) Fashion in Mauritius is also influenced by the vague formality-related rules, personal preference, difference between urban and rural lifestyle, and by the diverse origins of the Mauritian population, including ethno-religious identity. [7] (#cite_note-:2-7) Mauritius of all background wears bright colours, especially Mauritian women. [7] (#cite_note-:2-7) Flip-flops (locally known as 'savat') are worn by all Mauritian regardless of their cultural background, which are suitable for the Mauritian climate. [7] (#cite_note-:2-7) Beachwear and tight/revealing clothing is acceptable in many resorts (/wiki/Resort) but they are not considered appropriate in towns and villages. [7] (#cite_note-:2-7) Western-style clothing [ edit ] Western-style clothing is worn by the majority of Mauritian population in their everyday life; however, the fashion is influenced by the diverse origins of the population. [7] (#cite_note-:2-7) Most Mauritian men have 1 or 2 suits (/wiki/Suit) , which are worn on special occasions. [8] (#cite_note-:5-8) : 249 Ethnic clothing [ edit ] Creole dress/ Sega dress [ edit ] Creole dress ( Sega (/wiki/Sega_(genre)) dress) traditionally worn by female Sega dancers is composed of bright blouses and long skirts while men typically wear rolled-up trousers, straw hats, and colourful shirts. [7] (#cite_note-:2-7) [9] (#cite_note-:3-9) Sega dancers dress often display colourful patterns. [7] (#cite_note-:2-7) Sega clothing appears to be related to the dressing of their ancestors. [9] (#cite_note-:3-9) Sega performers, men and women wore colourful clothing, 2004. Men and women wearing Sega clothing. Mauritian of Indian Origins [ edit ] The Sari (/wiki/Sari) is a traditional dress for Mauritian of Indian origins. [7] (#cite_note-:2-7) Some traditional Indo-Mauritians (/wiki/Mauritians_of_Indian_origin) wear Dhoti (/wiki/Dhoti) Kurta (/wiki/Kurta) while others mixed the Dhoti Kurta with a Western-style shirt. Bright jewelry is commonly worn among Indo-Mauritian women, especially for those who reside in rural areas. [7] (#cite_note-:2-7) Devout Hindus, especially rural women, often wear tika (/wiki/Tilaka) on the forehead and henna (/wiki/Henna) in their hair to show their marriage status. [7] (#cite_note-:2-7) Muslim clothing [ edit ] Muslims from diverse social background and coming from diverse regions of India settled in Mauritius in Colonial Mauritius. [10] (#cite_note-:4-10) : 61 The traditional women clothing among the muslim population is Indian clothing of various styles (dress, trousers, shirts, orhni (a matching veil which covers the head and shoulder areas), and sometimes sari). [10] (#cite_note-:4-10) : 78 A large proportion of muslim women have adopted the hijab (/wiki/Hijab) and wear it together with either Western-style or Indian clothing. [10] (#cite_note-:4-10) : 78 Burqa (/wiki/Burqa) is worn by a minority of muslim women. [7] (#cite_note-:2-7) Muslim men may be found wearing cloth skullcaps or a fez (/wiki/Fez_(hat)) on important religious events. [7] (#cite_note-:2-7) Mauritian of Chinese Origins [ edit ] The Mandarin gown (/wiki/Mandarin_gown) is a traditional dress for Mauritian of Chinese origins. [7] (#cite_note-:2-7) Work and School attire culture [ edit ] Work attire culture [ edit ] In a white-collar work setting, men's attire can be informal but they should not be casual; they are typically expected to wear long-sleeved shirt and well-cut trousers instead of jeans (/wiki/Jeans) . [8] (#cite_note-:5-8) : 249 There is no restriction on colour; however, white and pale blue are preferred for upper garments while trousers are typically found in dark colours; shoes are always dark in colour. [8] (#cite_note-:5-8) : 249 Women has more freedom of choice than men. A common form of working attire for women is a plain dark skirt (red skirt is however accepted) with a blouse in a pastel colour. [8] (#cite_note-:5-8) : 249 Printed dresses with a simple classic cut is also appropriate. [8] (#cite_note-:5-8) : 249 Women can also wear trousers. [8] (#cite_note-:5-8) : 249 Some traditional dresses such as the Indian sari can also be worn. [8] (#cite_note-:5-8) : 249 The cheongsam (/wiki/Cheongsam) is however not accepted due to its kinky image and therefore do not reflect the image of a serious business woman. [8] (#cite_note-:5-8) : 249 Both men and women are allowed to wear discreet jewelleries; men usually wear a watch, a wedding or signet ring, and sometimes a crucifix (/wiki/Crucifix) on a small chain. Women are allowed to wear earrings and bracelets. [8] (#cite_note-:5-8) : 249 School Uniforms culture [ edit ] In Mauritius, school uniforms are typically compulsory from the primary school to the higher secondary level; the use of uniforms at school date back to the British colonial period. [11] (#cite_note-:6-11) Very few private schools which are based on a French education system do not require school uniforms. [11] (#cite_note-:6-11) See also [ edit ] Culture of Mauritius (/wiki/Culture_of_Mauritius) References [ edit ] ^ a b "Clothing Sector Not Hanging by a Thread Anymore" (https://web.archive.org/web/20090121080210/http://www.ipsnews.net/news.asp?idnews=41564) . Inter Press Service. March 12, 2008. Archived from the original (http://ipsnews.net/news.asp?idnews=41564) on January 21, 2009 . Retrieved March 17, 2012 . ^ (#cite_ref-2) Fostering technology absorption in Southern African enterprises . Itzhak Goldberg, Smita Kuriakose, World Bank. Washington, D.C.: World Bank. 2011. ISBN (/wiki/ISBN_(identifier)) 978-0-8213-8886-0 . OCLC (/wiki/OCLC_(identifier)) 758976097 (https://www.worldcat.org/oclc/758976097) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ a b c d Jonker, Kobus (2018). China's impact on the African Renaissance : the baobab grows . Bryan Robinson. Singapore. ISBN (/wiki/ISBN_(identifier)) 978-981-13-0179-7 . OCLC (/wiki/OCLC_(identifier)) 1043830955 (https://www.worldcat.org/oclc/1043830955) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) ^ a b c d e f g h i j k l m n o Robeck, Jacquelene; Rosunee, Satyadev; Pattison, Jessica (2012). "The Mauritius Apparel Manufacturing Industry: Explorations of the Past to the Present" (https://sgsrjournals.co.in/paperdownload/p-1-IJTC%2012%20_Jacquelene%20Robeck_done.pdf) (PDF) . International Journal of Trade and Commerce-IIARTC . 1 (2): 163–174. ^ (#cite_ref-5) Carter, Marina (2009). Abacus and mah jong : Sino-Mauritian settlement and economic consolidation . James Ng Foong Kwong. Leiden: Brill. ISBN (/wiki/ISBN_(identifier)) 978-90-04-17572-3 . OCLC (/wiki/OCLC_(identifier)) 644523582 (https://www.worldcat.org/oclc/644523582) . ^ (#cite_ref-6) Williams, Allan (2014). International Migration and Knowledge . Vladimir Baláž. London: Routledge. ISBN (/wiki/ISBN_(identifier)) 978-1-134-10875-6 . OCLC (/wiki/OCLC_(identifier)) 881416216 (https://www.worldcat.org/oclc/881416216) . ^ a b c d e f g h i j k l m Cleary, Tim (2011). Mauritius- Cultural Smart! The Essential Guide to Customs & Culture . London: Kuperard. ISBN (/wiki/ISBN_(identifier)) 978-1-85733-546-0 . OCLC (/wiki/OCLC_(identifier)) 756867265 (https://www.worldcat.org/oclc/756867265) . ^ a b c d e f g h i NgCheong-Lum, Roseline (2010). Mauritius : a Survival Guide to Customs and Etiquette . Singapore: Marshall Cavendish International (Asia) Ptd Ltd. ISBN (/wiki/ISBN_(identifier)) 978-981-261-993-8 . OCLC (/wiki/OCLC_(identifier)) 609854865 (https://www.worldcat.org/oclc/609854865) . ^ a b "UNESCO - Traditional Mauritian Sega" (https://ich.unesco.org/en/RL/traditional-mauritian-sega-01003) . ich.unesco.org . Retrieved 2022-04-21 . ^ a b c Indentured Muslims in the diaspora : identity and belongings of minority groups in plural societies . Maurits S. Hassankhan, Goolam H. Vahed, Lomarsh Roopnarine. London. 2017. ISBN (/wiki/ISBN_(identifier)) 978-1-351-98686-1 . OCLC (/wiki/OCLC_(identifier)) 962808439 (https://www.worldcat.org/oclc/962808439) . {{ cite book (/wiki/Template:Cite_book) }} : CS1 maint: location missing publisher ( link (/wiki/Category:CS1_maint:_location_missing_publisher) ) CS1 maint: others ( link (/wiki/Category:CS1_maint:_others) ) ^ a b Glavin, Chris (2017-07-28). "School Uniforms in Mauritius | K12 Academics" (https://www.k12academics.com/School%20Uniforms/school-uniforms-mauritius) . www.k12academics.com . Retrieved 2022-04-21 . v t e Clothing in Africa (/wiki/Clothing_in_Africa) Sovereign states Algeria (/w/index.php?title=Clothing_in_Algeria&action=edit&redlink=1) Angola (/w/index.php?title=Clothing_in_Angola&action=edit&redlink=1) Benin (/w/index.php?title=Clothing_in_Benin&action=edit&redlink=1) Botswana (/w/index.php?title=Clothing_in_Botswana&action=edit&redlink=1) Burkina Faso (/w/index.php?title=Clothing_in_Burkina_Faso&action=edit&redlink=1) Burundi (/w/index.php?title=Clothing_in_Burundi&action=edit&redlink=1) Cameroon (/wiki/Clothing_in_Cameroon) Cape Verde (/w/index.php?title=Clothing_in_Cape_Verde&action=edit&redlink=1) Central African Republic (/w/index.php?title=Clothing_in_the_Central_African_Republic&action=edit&redlink=1) Chad (/w/index.php?title=Clothing_in_Chad&action=edit&redlink=1) Comoros (/w/index.php?title=Clothing_in_the_Comoros&action=edit&redlink=1) Democratic Republic of the Congo (/w/index.php?title=Clothing_in_the_Democratic_Republic_of_the_Congo&action=edit&redlink=1) Republic of the Congo (/w/index.php?title=Clothing_in_the_Republic_of_the_Congo&action=edit&redlink=1) Djibouti (/w/index.php?title=Clothing_in_Djibouti&action=edit&redlink=1) Egypt (/wiki/Clothing_in_Egypt) Equatorial Guinea (/w/index.php?title=Clothing_in_Equatorial_Guinea&action=edit&redlink=1) Eritrea (/w/index.php?title=Clothing_in_Eritrea&action=edit&redlink=1) Eswatini (/w/index.php?title=Clothing_in_Eswatini&action=edit&redlink=1) Ethiopia (/w/index.php?title=Clothing_in_Ethiopia&action=edit&redlink=1) Gabon (/w/index.php?title=Clothing_in_Gabon&action=edit&redlink=1) The Gambia (/w/index.php?title=Clothing_in_the_Gambia&action=edit&redlink=1) Ghana (/w/index.php?title=Clothing_in_Ghana&action=edit&redlink=1) Guinea (/w/index.php?title=Clothing_in_Guinea&action=edit&redlink=1) Guinea-Bissau (/w/index.php?title=Clothing_in_Guinea-Bissau&action=edit&redlink=1) Ivory Coast (/w/index.php?title=Clothing_in_Ivory_Coast&action=edit&redlink=1) Kenya (/w/index.php?title=Clothing_in_Kenya&action=edit&redlink=1) Lesotho (/w/index.php?title=Clothing_in_Lesotho&action=edit&redlink=1) Liberia (/w/index.php?title=Clothing_in_Liberia&action=edit&redlink=1) Libya (/w/index.php?title=Clothing_in_Libya&action=edit&redlink=1) Madagascar (/w/index.php?title=Clothing_in_Madagascar&action=edit&redlink=1) Malawi (/w/index.php?title=Clothing_in_Malawi&action=edit&redlink=1) Mali (/w/index.php?title=Clothing_in_Mali&action=edit&redlink=1) Mauritania (/w/index.php?title=Clothing_in_Mauritania&action=edit&redlink=1) Mauritius Morocco (/w/index.php?title=Clothing_in_Morocco&action=edit&redlink=1) Mozambique (/w/index.php?title=Clothing_in_Mozambique&action=edit&redlink=1) Namibia (/w/index.php?title=Clothing_in_Namibia&action=edit&redlink=1) Niger (/w/index.php?title=Clothing_in_Niger&action=edit&redlink=1) Nigeria (/w/index.php?title=Clothing_in_Nigeria&action=edit&redlink=1) Rwanda (/w/index.php?title=Clothing_in_Rwanda&action=edit&redlink=1) São Tomé and Príncipe (/w/index.php?title=Clothing_in_S%C3%A3o_Tom%C3%A9_and_Pr%C3%ADncipe&action=edit&redlink=1) Senegal (/w/index.php?title=Clothing_in_Senegal&action=edit&redlink=1) Seychelles (/w/index.php?title=Clothing_in_Seychelles&action=edit&redlink=1) Sierra Leone (/w/index.php?title=Clothing_in_Sierra_Leone&action=edit&redlink=1) Somalia (/wiki/Clothing_in_Somalia) South Africa (/w/index.php?title=Clothing_in_South_Africa&action=edit&redlink=1) South Sudan (/w/index.php?title=Clothing_in_South_Sudan&action=edit&redlink=1) Sudan (/wiki/Clothing_in_Sudan) Tanzania (/w/index.php?title=Clothing_in_Tanzania&action=edit&redlink=1) Togo (/w/index.php?title=Clothing_in_Togo&action=edit&redlink=1) Tunisia (/w/index.php?title=Clothing_in_Tunisia&action=edit&redlink=1) Uganda (/w/index.php?title=Clothing_in_Uganda&action=edit&redlink=1) Zambia (/w/index.php?title=Clothing_in_Zambia&action=edit&redlink=1) Zimbabwe (/w/index.php?title=Clothing_in_Zimbabwe&action=edit&redlink=1) States with limited recognition Sahrawi Arab Democratic Republic (/w/index.php?title=Clothing_in_the_Sahrawi_Arab_Democratic_Republic&action=edit&redlink=1) Somaliland (/w/index.php?title=Clothing_in_Somaliland&action=edit&redlink=1) Dependencies and other territories Canary Islands (/w/index.php?title=Clothing_in_the_Canary_Islands&action=edit&redlink=1) / Ceuta (/w/index.php?title=Clothing_in_Ceuta&action=edit&redlink=1) / Melilla (/w/index.php?title=Clothing_in_Melilla&action=edit&redlink=1) (Spain) Madeira (/w/index.php?title=Clothing_in_Madeira&action=edit&redlink=1) (Portugal) Mayotte (/w/index.php?title=Clothing_in_Mayotte&action=edit&redlink=1) / Réunion (/w/index.php?title=Clothing_in_R%C3%A9union&action=edit&redlink=1) (France) Saint Helena (/w/index.php?title=Clothing_in_Saint_Helena&action=edit&redlink=1) / Ascension Island (/w/index.php?title=Clothing_in_Ascension_Island&action=edit&redlink=1) / Tristan da 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The main article for this category (/wiki/Help:Categories) is Early Germanic clothing (/wiki/Early_Germanic_clothing) . NewPP limit report Parsed by mw‐api‐int.eqiad.main‐6645bc74b6‐tpsmm Cached time: 20240715170702 Cache expiry: 2592000 Reduced expiry: false Complications: [] CPU time usage: 0.032 seconds Real time usage: 0.048 seconds Preprocessor visited node count: 10/1000000 Post‐expand include size: 400/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 3/100 Expensive parser function count: 0/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 326/5000000 bytes Lua time usage: 0.016/10.000 seconds Lua memory usage: 627191/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 40.392 1 Template:Cat_main 100.00% 40.392 1 -total Saved in parser cache with key enwiki:pcache:idhash:62664789-0!canonical and timestamp 20240715170702 and revision id 932424357. Rendering was triggered because: api-parse Pages in category "Early Germanic clothing" The following 3 pages are in this category, out of 3 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . A Anglo-Saxon dress (/wiki/Anglo-Saxon_dress) H Hangaroc (/wiki/Hangaroc) Hangerok (/wiki/Hangerok) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Early_Germanic_clothing&oldid=932424357 (https://en.wikipedia.org/w/index.php?title=Category:Early_Germanic_clothing&oldid=932424357) " Categories (/wiki/Help:Category) : Clothing by culture (/wiki/Category:Clothing_by_culture) Early Germanic culture (/wiki/Category:Early_Germanic_culture) |
German model and actress (born 1974) This article has multiple issues. Please help improve it (/wiki/Special:EditPage/Franziska_Knuppe) or discuss these issues on the talk page (/wiki/Talk:Franziska_Knuppe) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This biography of a living person (/wiki/Wikipedia:Biographies_of_living_persons) needs additional citations (/wiki/Wikipedia:Citing_sources) for verification (/wiki/Wikipedia:Verifiability) . Please help by adding reliable sources (/wiki/Wikipedia:Reliable_sources) . Contentious material (/wiki/Wikipedia:BLPREMOVE) about living persons that is unsourced or poorly sourced (/wiki/Wikipedia:QUESTIONABLE) must be removed immediately from the article and its talk page, especially if potentially libelous (/wiki/Wikipedia:Libel) . Find sources: "Franziska Knuppe" (https://www.google.com/search?as_eq=wikipedia&q=%22Franziska+Knuppe%22) – news (https://www.google.com/search?tbm=nws&q=%22Franziska+Knuppe%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Franziska+Knuppe%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Franziska+Knuppe%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Franziska+Knuppe%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Franziska+Knuppe%22&acc=on&wc=on) ( June 2014 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) This article includes a list of general references (/wiki/Wikipedia:Citing_sources) , but it lacks sufficient corresponding inline citations (/wiki/Wikipedia:Citing_sources#Inline_citations) . Please help to improve (/wiki/Wikipedia:WikiProject_Reliability) this article by introducing (/wiki/Wikipedia:When_to_cite) more precise citations. ( June 2014 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Franziska Knuppe Franziska Knuppe at Berlin Fashion Week (/wiki/Berlin_Fashion_Week) Summer 2012 Born ( 1974-12-07 ) 7 December 1974 (age 49) Rostock (/wiki/Rostock) , East Germany (/wiki/East_Germany) Spouse Christian Möstl ( m. 1999) Children 1 Modeling information Height 1.82 m (6 ft 0 in) Hair color Blonde Eye color Green Website www (http://www.knuppe.com) .knuppe (http://www.knuppe.com) .com (http://www.knuppe.com) Franziska Knuppe (born 7 December 1974 in Rostock (/wiki/Rostock) ) is a German (/wiki/Germans) model (/wiki/Model_(person)) and actress (/wiki/Actress) . Biography [ edit ] She was discovered by designer Wolfgang Joop (/wiki/Wolfgang_Joop) in 1997 at a café in Potsdam (/wiki/Potsdam) . She was featured prominently in campaigns of Triumph International (/wiki/Triumph_International) , JOOP! (/wiki/JOOP!) , Oasis and Reebok (/wiki/Reebok) . She modeled for e.g. Thierry Mugler (/wiki/Thierry_Mugler) , Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) , Escada (/wiki/Escada) , Rocobarocco (/w/index.php?title=Rocobarocco&action=edit&redlink=1) , Wunderkind Couture (/wiki/Wunderkind_(fashion)) , Jasper Conran (/wiki/Jasper_Conran) , Betty Jackson (/wiki/Betty_Jackson) , Strenesse (/w/index.php?title=Strenesse&action=edit&redlink=1) , Vivienne Westwood (/wiki/Vivienne_Westwood) and Issey Miyake (/wiki/Issey_Miyake) . She was photographed by i.a. Peter Lindbergh (/wiki/Peter_Lindbergh) , Karl Lagerfeld (/wiki/Karl_Lagerfeld) , Michel Comte (/wiki/Michel_Comte) , Manfred Baumann (/wiki/Manfred_Baumann) , and Arthur Elgort (/wiki/Arthur_Elgort) . Knuppe married Christian Möstl in 1999. They both had a daughter, Mathilda, in 2007. [1] (#cite_note-1) In 2008, she was the host of Supermodel (/wiki/Supermodel_(season_2)) and in 2019, she reprised that role on the Austrian equivalent of Austria's Next Top Model (/wiki/Austria%27s_Next_Topmodel_(season_9)) . In 2020, she appeared as the Bat on the German version of Masked Singer (/wiki/The_Masked_Singer_(German_season_2)) . Award [ edit ] 2009 Vienna Fashion Award (/wiki/Vienna_Fashion_Award) , model category References [ edit ] 3nach9 TV interview (https://www.youtube.com/watch?v=M8dKACPwsWw) ^ (#cite_ref-1) Morgenpost (http://www.morgenpost.de/printarchiv/leute/article196254/Franziska_Knuppe_Ich_bin_schwanger_und_uebergluecklich.html) External links [ edit ] Official website of Franziska Knuppe (http://www.knuppe.com) Franziska Knuppe (https://www.imdb.com/name/nm2021756/) at IMDb (/wiki/IMDb_(identifier)) Authority control databases (/wiki/Help:Authority_control) International VIAF (https://viaf.org/viaf/311624391) National Germany (https://d-nb.info/gnd/1061458539) People Deutsche Biographie (https://www.deutsche-biographie.de/pnd1061458539.html?language=en) NewPP limit report Parsed by mw‐web.codfw.main‐6f54559974‐mxv84 Cached time: 20240720002506 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.364 seconds Real time usage: 0.778 seconds Preprocessor visited node count: 2746/1000000 Post‐expand include size: 51897/2097152 bytes Template argument size: 12592/2097152 bytes Highest expansion depth: 19/100 Expensive parser function count: 7/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 15485/5000000 bytes Lua time usage: 0.255/10.000 seconds Lua memory usage: 7049153/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 469.467 1 -total 48.79% 229.067 1 Template:Infobox_model 26.88% 126.198 3 Template:Ambox 17.26% 81.039 1 Template:Multiple_issues 15.87% 74.523 1 Template:Authority_control 13.02% 61.111 1 Template:Infobox 12.72% 59.703 1 Template:Short_description 10.39% 48.788 1 Template:BLP_sources 8.31% 38.990 1 Template:Marriage 7.08% 33.242 2 Template:Pagetype Saved in parser cache with key enwiki:pcache:idhash:43058534-0!canonical and timestamp 20240720002506 and revision id 1170464246. 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Bodice of Indian origin Angia (also angi , [1] (#cite_note-1) angiya , [2] (#cite_note-:2-2) or anggiya ) is an obsolete form of bodice (/wiki/Bodice) or breast-cloth of Indian (/wiki/India) origin dating from the 19th century, covering the entire upper body from bust to waist and tied at the back. [3] (#cite_note-:0-3) [4] (#cite_note-:1-4) [5] (#cite_note-5) Very short sleeves, if any, and high waist characterized the angia, which was made of fine cotton material such as muslin (/wiki/Muslin) . Women in India (/wiki/India_subcontinent) wore it beneath dresses such as Peshwaj (/wiki/Peshwaj) . [6] (#cite_note-6) [7] (#cite_note-7) Francis Buchanan-Hamilton (/wiki/Francis_Buchanan-Hamilton) and Captain Medows Taylor (/wiki/Philip_Meadows_Taylor) assert that stitched garments of this kind did not exist prior to the Muslim invasions in India (/wiki/Muslim_conquests_in_the_Indian_subcontinent) . [8] (#cite_note-8) Style [ edit ] The angia, an early version of the modern ladies' blouse, [9] (#cite_note-9) was completely enclosed in front and contoured to the bosom. Its backside was tied with strings or ribbons both across the shoulder and below the bosom line; [4] (#cite_note-:1-4) yet, unlike other tight inner garments such as corsets, it merely covered the bosom without providing support to the back. It was worn by both Hindus and Muslims. [10] (#cite_note-10) The Ahir (/wiki/Ahir) woman in Haryana (/wiki/Haryana) was easily identifiable by her angia, lehnga (similar to a ghagri but shorter), and orhni. [3] (#cite_note-:0-3) In Punjab, women wore angia of colored cloth. [11] (#cite_note-11) Artwork [ edit ] In a Johan Zoffany (/wiki/Johan_Zoffany) 1785 painting that still survives in the India Office Records (/wiki/India_Office_Records) in London, Fyze Palmer (Mughal wife Fyze Baksh) can be seen, barefoot and dressed in traditional Lucknavi (/wiki/Lucknow) court attire: "a magnificent saffron Peshwaz (/wiki/Peshwaj) and dupatta (/wiki/Dupatta) over a brief angia." [12] (#cite_note-:3-12) [13] (#cite_note-13) See also [ edit ] Ekpatta (/wiki/Ekpatta) Pratidhi (/wiki/Pratidhi) Stanapatta (/wiki/Stanapatta) Nivi (garment) (/wiki/Nivi_(garment)) References [ edit ] ^ (#cite_ref-1) Dhir, V. P.; Bajaj, B. Raj (1976). Haryana district gazetteers: Karnal . Haryana Gazetteers Organisation, Chandigarh. p. 92. ^ (#cite_ref-:2_2-0) Penzer, N. m (1924). Ocean Of Story Vol.2 . Motilal Banarsidass. p. 50. ^ a b A. BISWAS. INDIAN COSTUMES . pp. 127, 42. ^ a b The Edinburgh Review . A. and C. Black. 1867. p. 69. ^ (#cite_ref-5) Jukes, Andrew John (1900). Dictionary of the Jatki or Western Panjábi language . Religious Bk. & Tract Soc. p. 22. ^ (#cite_ref-6) Buchanan, Francis (1928). Account of the district of Purnea in 1809-10 . p. 138. ^ (#cite_ref-7) Umair Mirza (1990-01-01). Historical Documents Of Eastern India . p. 104. ^ (#cite_ref-8) Watson, John Forbes (1867). The Textile Manufactures and the Costumes of the People of India . Allen. p. 58. ^ (#cite_ref-9) Pradesh (India), Madhya (1971). Madhya Pradesh: Betul. Supplement . Government Central Press. p. 105. ^ (#cite_ref-10) The Asiatic Journal and Monthly Register for British and Foreign India, China, and Australia . Parbury, Allen, and Company. 1839. p. 251. ^ (#cite_ref-11) Punjab District and State Gazetteers: Part A. Compiled and published under the authority of the Punjab government. 1900. p. 87. ^ (#cite_ref-:3_12-0) Dalrymple, William (2003). White Mughals : love and betrayal in eighteenth-century India . Internet Archive. New York : Viking. p. 397. ISBN (/wiki/ISBN_(identifier)) 978-0-670-03184-9 . ^ (#cite_ref-13) "BBC Four – Love and Betrayal in India: The White Mughal – A love story that broke the conventional boundaries of Empire" (https://www.bbc.co.uk/programmes/articles/18SDBJqWwgc7VLDM7MhGK2S/a-love-story-that-broke-the-conventional-boundaries-of-empire) . BBC . Retrieved 2022-01-12 . A painting of General William Palmer and his Mughal wife Fyze Baksh, by Johann Zoffany. 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Canadian fashion designer Angela DeMontigny Occupation fashion designer Label DeMontigny Website angelademontigny (http://angelademontigny.com) .com (http://angelademontigny.com) Angela DeMontigny is a native Canadian fashion designer (/wiki/Fashion_designer) of Cree (/wiki/Cree) - Métis (/wiki/M%C3%A9tis) heritage. [1] (#cite_note-falcon-1) She is known for her use of leather (/wiki/Leather) and suede (/wiki/Suede) in her clothing and handbags, as well as cultural motifs from her background including fringe, beadwork (/wiki/Beadwork) and cutwork (/wiki/Cutwork) [2] (#cite_note-official-2) in a style she describes as "indigenous luxury." [3] (#cite_note-cbc-london-3) Early life [ edit ] DeMontigny grew up in North Vancouver (/wiki/North_Vancouver_(city)) . In 1991, she moved to Toronto (/wiki/Toronto) . [4] (#cite_note-:0-4) Career [ edit ] DeMontigny first opened a storefront in Vancouver (/wiki/Vancouver) at the age of 24. In 1993 DeMontigny received an Internship Award from the Canadian Council for Aboriginal Business in Toronto (/wiki/Toronto) that helped start her path in fashion. [5] (#cite_note-ccab-5) Inspired by fellow indigenous designers like Dorothy Grant (/wiki/Dorothy_Grant) , [6] (#cite_note-wotc-6) she began to bring more of her personal heritage into her work and launched her own line in 1995. [7] (#cite_note-muskrat-7) That year, she moved to Six Nations of the Grand River reserve and started an apparel factory and industrial sewing training program, Spirit Ware and the Factory. [4] (#cite_note-:0-4) DeMontigny also began working more with leather, saying, "I love leather; it's in my DNA. I'm from a line of trappers and furriers." [6] (#cite_note-wotc-6) In 2010, DeMontigny started the first Aboriginal Fashion Week during the Vancouver Winter Olympics (/wiki/2010_Winter_Olympics) . [8] (#cite_note-:1-8) In 2014, she opened her flagship boutique on James Street North in Hamilton, Ontario (/wiki/Hamilton,_Ontario) . [4] (#cite_note-:0-4) DeMontigny has exhibited her collections internationally, including at the 2017 South African fashion week [9] (#cite_note-spec-9) and London Fashion Week (/wiki/London_Fashion_Week) 2018. [3] (#cite_note-cbc-london-3) She was appointed the designer-in-residence at the Ryerson School of Fashion (/wiki/Toronto_Metropolitan_University) . [8] (#cite_note-:1-8) She also speaks about and advocates for indigenous designers (/wiki/Native_American_fashion) and models, producing shows of Aboriginal fashion and serving on the World Indigenous Fashion Council as the Head for North America. [5] (#cite_note-ccab-5) She currently runs a studio for her made-to-order clothing in Hamilton, Ontario (/wiki/Hamilton,_Ontario) . [2] (#cite_note-official-2) Additionally, DeMontigny has worked in wardrobing (/wiki/Wardrobe_supervisor) for events like the Aboriginal Music Awards (/w/index.php?title=Aboriginal_Music_Awards&action=edit&redlink=1) and Fashion Television. [7] (#cite_note-muskrat-7) References [ edit ] ^ (#cite_ref-falcon_1-0) Falcon, Janine (2016-06-30). "First Nation old world meets new with these aboriginal fashion designers" (https://web.archive.org/web/20160630052301/http://www.metronews.ca/entertainment/2009/07/23/old-world-meets-new.html) . Metro Canada . Archived from the original (http://www.metronews.ca/entertainment/2009/07/23/old-world-meets-new.html) on 2016-06-30 . Retrieved 2018-08-08 . ^ Jump up to: a b "About Angela DeMontigny" (http://www.angelademontigny.com/about/) . AngelaDeMontigny.com . Retrieved 2018-08-08 . ^ Jump up to: a b Pan, Flora (2018-02-10). " (https://www.cbc.ca/news/canada/hamilton/angela-demontigny-london-fashion-week-indigenous-designer-1.4530300) 'Indigenous luxury' designer from Hamilton headed to London Fashion Week" (https://www.cbc.ca/news/canada/hamilton/angela-demontigny-london-fashion-week-indigenous-designer-1.4530300) . CBC News . Retrieved 2018-08-08 . ^ Jump up to: a b c McCormick, Nicole (2020-06-05). "Angela DeMontigny challenges people's view of Indigenous fashion, breaks down stereotypes" (https://toronto.citynews.ca/2020/06/05/national-indigenous-history-month-angela-demontigny/) . City News . Retrieved 2023-01-06 . ^ Jump up to: a b "CCAB » Angela DeMontigny Bio" (https://www.ccab.com/events/angela-demontigny-bio/) . www.ccab.com . Retrieved 2018-08-09 . ^ Jump up to: a b "DESIGN STUDIO: Angela DeMontigny – West of the City" (http://www.westofthecity.com/people-and-events/design-studio-angela-demontigny/) . West of the City . 2016-11-10 . Retrieved 2018-08-09 . ^ Jump up to: a b "Angela DeMontigny" (http://muskratmagazine.com/angela-demontigny/) . MUSKRAT Magazine . 2015-05-12 . Retrieved 2018-08-08 . ^ Jump up to: a b Boutsalis, Kelly (2018-11-29). "Indigenous designer Angela DeMontigny is 'centring Canada's original fashion voice' (https://www.thestar.com/life/fashion_style/2018/11/29/indigenous-designer-angela-demontigny-is-centring-canadas-original-fashion-voice.html) " (https://www.thestar.com/life/fashion_style/2018/11/29/indigenous-designer-angela-demontigny-is-centring-canadas-original-fashion-voice.html) . Toronto Star (/wiki/Toronto_Star) . Retrieved 2023-01-06 . ^ (#cite_ref-spec_9-0) Camaiani, Teresa (2017-11-16). "Indigenous designers showcase skills and knowledge at South African Fashion Week" (https://www.thespec.com/living-story/7914627-indigenous-designers-showcase-skills-and-knowledge-at-south-african-fashion-week/) . TheSpec.com . Retrieved 2018-08-09 . 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Rendering was triggered because: page-view Subcategories This category has the following 31 subcategories, out of 31 total. B Models from the London Borough of Barking and Dagenham (/wiki/Category:Models_from_the_London_Borough_of_Barking_and_Dagenham) (3 P) Models from the London Borough of Barnet (/wiki/Category:Models_from_the_London_Borough_of_Barnet) (1 P) Models from the London Borough of Bexley (/wiki/Category:Models_from_the_London_Borough_of_Bexley) (1 P) Models from the London Borough of Brent (/wiki/Category:Models_from_the_London_Borough_of_Brent) (1 P) Models from the London Borough of Bromley (/wiki/Category:Models_from_the_London_Borough_of_Bromley) (4 P) C Models from the London Borough of Camden (/wiki/Category:Models_from_the_London_Borough_of_Camden) (10 P) Models from the London Borough of Croydon (/wiki/Category:Models_from_the_London_Borough_of_Croydon) (6 P) E Models from the London Borough of Ealing (/wiki/Category:Models_from_the_London_Borough_of_Ealing) (2 P) Models from the London Borough of Enfield (/wiki/Category:Models_from_the_London_Borough_of_Enfield) (3 P) G Models from the Royal Borough of Greenwich (/wiki/Category:Models_from_the_Royal_Borough_of_Greenwich) (2 P) H Models from the London Borough of Hackney (/wiki/Category:Models_from_the_London_Borough_of_Hackney) (7 P) Models from the London Borough of Hammersmith and Fulham (/wiki/Category:Models_from_the_London_Borough_of_Hammersmith_and_Fulham) (13 P) Models from the London Borough of Haringey (/wiki/Category:Models_from_the_London_Borough_of_Haringey) (2 P) Models from the London Borough of Harrow (/wiki/Category:Models_from_the_London_Borough_of_Harrow) (1 P) Models from the London Borough of Havering (/wiki/Category:Models_from_the_London_Borough_of_Havering) (3 P) Models from the London Borough of Hillingdon (/wiki/Category:Models_from_the_London_Borough_of_Hillingdon) (1 P) Models from the London Borough of Hounslow (/wiki/Category:Models_from_the_London_Borough_of_Hounslow) (3 P) I Models from the London Borough of Islington (/wiki/Category:Models_from_the_London_Borough_of_Islington) (4 P) K Models from the Royal Borough of Kensington and Chelsea (/wiki/Category:Models_from_the_Royal_Borough_of_Kensington_and_Chelsea) (7 P) Models from the Royal Borough of Kingston upon Thames (/wiki/Category:Models_from_the_Royal_Borough_of_Kingston_upon_Thames) (3 P) L Models from the London Borough of Lambeth (/wiki/Category:Models_from_the_London_Borough_of_Lambeth) (4 P) Models from the London Borough of Lewisham (/wiki/Category:Models_from_the_London_Borough_of_Lewisham) (2 P) M Models from the London Borough of Merton (/wiki/Category:Models_from_the_London_Borough_of_Merton) (1 P) N Models from the London Borough of Newham (/wiki/Category:Models_from_the_London_Borough_of_Newham) (2 P) R Models from the London Borough of Redbridge (/wiki/Category:Models_from_the_London_Borough_of_Redbridge) (2 P) Models from the London Borough of Richmond upon Thames (/wiki/Category:Models_from_the_London_Borough_of_Richmond_upon_Thames) (2 P) S Models from the London Borough of Southwark (/wiki/Category:Models_from_the_London_Borough_of_Southwark) (5 P) T Models from the London Borough of Tower Hamlets (/wiki/Category:Models_from_the_London_Borough_of_Tower_Hamlets) (7 P) W Models from the London Borough of Waltham Forest (/wiki/Category:Models_from_the_London_Borough_of_Waltham_Forest) (2 P) Models from the London Borough of Wandsworth (/wiki/Category:Models_from_the_London_Borough_of_Wandsworth) (7 P) Models from the City of Westminster (/wiki/Category:Models_from_the_City_of_Westminster) (1 C, 13 P) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Models_from_London_by_borough&oldid=1235085436 (https://en.wikipedia.org/w/index.php?title=Category:Models_from_London_by_borough&oldid=1235085436) " Categories (/wiki/Help:Category) : Models from London (/wiki/Category:Models_from_London) People from London by borough (/wiki/Category:People_from_London_by_borough) Hidden categories: Categories for deletion (/wiki/Category:Categories_for_deletion) Categories for discussion from July 2024 (/wiki/Category:Categories_for_discussion_from_July_2024) All categories for discussion (/wiki/Category:All_categories_for_discussion) |
1937 dress Lobster dress Designer Elsa Schiaparelli (/wiki/Elsa_Schiaparelli) Year 1937 Type Evening gown (/wiki/Evening_gown) or Dinner dress (/wiki/Dinner_dress) Material Silk (/wiki/Silk) The lobster dress is a 1937 dress designed by Elsa Schiaparelli (/wiki/Elsa_Schiaparelli) . It features a large lobster painted by Salvador Dalí (/wiki/Salvador_Dal%C3%AD) . Design [ edit ] The dress is an A-line (/wiki/A-line_(clothing)) off-white silk (/wiki/Silk) evening (/wiki/Evening_gown) or dinner dress (/wiki/Dinner_dress) with a crimson waistband featuring a large lobster (/wiki/Lobster) painted by Salvador Dalí (/wiki/Salvador_Dal%C3%AD) onto the skirt. The initial lobster motif was drawn by Dali and printed onto the dress by the silk designer Sache. [1] (#cite_note-FITNYC-1) The dress is also illustrated with sprigs of parsley (/wiki/Parsley) . [2] (#cite_note-Shen2020-2) The dress is made from printed silk organza (/wiki/Organza) and synthetic horsehair (/wiki/Horsehair) . [3] (#cite_note-Phil-3) The front of the dress is 52 inches (132 cm) in length, with a waist measurement of 22 inches (56 cm). [3] (#cite_note-Phil-3) Schiaparelli prevented Dali from adding mayonnaise (/wiki/Mayonnaise) to the completed dress. [1] (#cite_note-FITNYC-1) [4] (#cite_note-Secrest2014-4) [5] (#cite_note-Guard-5) History [ edit ] From 1934, Dalí had started incorporating lobsters into his work, including New York Dream-Man Finds Lobster in Place of Phone shown in the magazine American Weekly (/wiki/American_Weekly) in 1935, and the mixed-media Lobster Telephone (/wiki/Lobster_Telephone) (1936). Dali saw lobsters (/wiki/Lobster) as symbolic of sexuality. [2] (#cite_note-Shen2020-2) The lobster is placed low on the dress, between the legs of the wearer, with the tail of the lobster fanning upward toward the wearer's Mons Veneris (/wiki/Mons_Veneris) , and its claws towards her calves. [6] (#cite_note-Frazier2012-6) The lobster dress made its debut as part of Schiaparelli's Summer/Fall 1937 collection. [2] (#cite_note-Shen2020-2) The dress was worn by Wallis Simpson (/wiki/Wallis_Simpson) in photographs taken by Cecil Beaton (/wiki/Cecil_Beaton) at the Château de Candé (/wiki/Ch%C3%A2teau_de_Cand%C3%A9) , shortly before Simpson's marriage to Edward VIII (/wiki/Edward_VIII) . Beaton's photographs of Simpson would be featured in Vogue (/wiki/Vogue_(magazine)) magazine in an eight-page spread in June 1937. [7] (#cite_note-7) The dress was included as part of Simpson's wedding trousseau. [8] (#cite_note-Birmingham1981-8) [9] (#cite_note-Petican2019-9) It was illustrated in Women's Wear Daily (/wiki/Women%27s_Wear_Daily) in May 1937 as a feature on Simpson's spring wardrobe. [1] (#cite_note-FITNYC-1) In her book, Nevertheless, She Wore It: 50 Iconic Fashion Moments , Ann Shen wrote that in Simpson's wearing of the dress "was charged with erotic flippancy" and gave the British public "even more reason to hate Wallis" in the aftermath of her husband's abdication as British monarch (/wiki/Abdication_of_Edward_VIII) . Shen felt that the dress shows "the power of innovation and sexual empowerment in a woman – and the impact art and fashion can have". [2] (#cite_note-Shen2020-2) Schiaparelli and Dali would subsequently create a 'Shoe Hat' (1937–38) and the 'Skeleton Dress' (1938) together. [1] (#cite_note-FITNYC-1) The dress was reimagined by Miuccia Prada (/wiki/Miuccia_Prada) in 2012 to mark the opening of the retrospective Schiaparelli and Prada: Impossible Conversations at the Metropolitan Museum of Art (/wiki/Metropolitan_Museum_of_Art) in New York City and worn by Anna Wintour (/wiki/Anna_Wintour) at the 2012 Met Gala (/wiki/Met_Gala) . [9] (#cite_note-Petican2019-9) The dress was reimagined by Schiaparelli's Creative Director Bertrand Guyon (/w/index.php?title=Bertrand_Guyon&action=edit&redlink=1) for their Spring 2017 collection of haute couture (/wiki/Haute_couture) . Guyon's dress took 6 people some 250 hours to make, with the lobster appliqué sewn by hand onto the skirt. [10] (#cite_note-Vogue17-10) Schiaparelli donated her own copy of the dress to the Philadelphia Museum of Art (/wiki/Philadelphia_Museum_of_Art) in 1969. [3] (#cite_note-Phil-3) The dress was extensively analysed by Claire Eldred in her essay "Encounters and Exchanges with Elsa Schiaparelli's Lobster Dress: an Object Biography" in the 2019 book Fashion and Contemporaneity: Realms of the Visible . [9] (#cite_note-Petican2019-9) See also [ edit ] List of individual dresses (/wiki/List_of_individual_dresses) List of works by Salvador Dalí (/wiki/List_of_works_by_Salvador_Dal%C3%AD) References [ edit ] ^ a b c d "1937 - Elsa Schiaparelli, Lobster dinner dress" (https://web.archive.org/web/20201206023150/https://fashionhistory.fitnyc.edu/1937-schiaparelli-lobster/) . Fashion Institute of Technology – Fashion history timeline . Fashion Institute of Technology (/wiki/Fashion_Institute_of_Technology) . Archived from the original (https://fashionhistory.fitnyc.edu/1937-schiaparelli-lobster/) on 2020-12-06 . Retrieved 26 January 2021 . ^ a b c d Ann Shen (1 September 2020). Nevertheless, She Wore It: 50 Iconic Fashion Moments . Chronicle Books LLC. p. 161. ISBN (/wiki/ISBN_(identifier)) 978-1-4521-8401-2 . ^ a b c "The Lobster Dress" (http://www.philamuseum.org/collections/permanent/65327.html?mulR=21188) . Collections database . Philadelphia Museum of Art (/wiki/Philadelphia_Museum_of_Art) . Archived (https://web.archive.org/web/20120222000513/http://www.philamuseum.org/collections/permanent/65327.html?mulR=21188) from the original on 2012-02-22. ^ (#cite_ref-Secrest2014_4-0) Meryle Secrest (/wiki/Meryle_Secrest) (6 November 2014). Elsa Schiaparelli: A Biography . Penguin Books Limited. ISBN (/wiki/ISBN_(identifier)) 978-0-241-96685-3 . ^ (#cite_ref-Guard_5-0) Jess Cartner-Morley (/wiki/Jess_Cartner-Morley) (29 September 2018). "Fantastical frocks rule in off-the-peg Schiaparelli range" (https://www.theguardian.com/fashion/2018/sep/29/schiaparelli-first-ready-to-wear-collection) . The Guardian (/wiki/The_Guardian) . Retrieved 27 January 2021 . ^ (#cite_ref-Frazier2012_6-0) Nancy Frazier (2012). I, Lobster: A Crustacean Odyssey . University of New Hampshire Press (/wiki/University_of_New_Hampshire_Press) . p. 105. ISBN (/wiki/ISBN_(identifier)) 978-1-61168-323-3 . ^ (#cite_ref-7) "The Future Duchess of Windsor: New photographs taken at the beautiful Château de Candé exclusively for Vogue by Cecil Beaton". Vogue . June 1, 1937. pp. 52–57. ^ (#cite_ref-Birmingham1981_8-0) Stephen Birmingham (1981). Duchess: The Story of Wallis Warfield Windsor . Book Club Associates. p. 192. ISBN (/wiki/ISBN_(identifier)) 978-0-346-90643-3 . ^ a b c Laura Petican (4 January 2019). Fashion and Contemporaneity: Realms of the Visible . BRILL. pp. 69–86. ISBN (/wiki/ISBN_(identifier)) 978-90-04-39225-0 . ^ (#cite_ref-Vogue17_10-0) Emily Farra (24 January 2017). "80 Years Later, Schiaparelli Brings Back Elsa's Famous Lobster Dress" (https://web.archive.org/web/20200918085100/https://www.vogue.com/article/schiaparelli-behind-the-scenes-details-lobster-embroidered-dress-inspiration) . Vogue (/wiki/Vogue_(magazine)) . Archived from the original (https://www.vogue.com/article/schiaparelli-behind-the-scenes-details-lobster-embroidered-dress-inspiration) on 2020-09-18 . Retrieved 26 January 2021 . Bibliography Elsa Schiaparelli: A Biography. Penguin Books Limited. ISBN (/wiki/ISBN_(identifier)) 978-0-241-96685-3 (/wiki/Special:BookSources/978-0-241-96685-3) . External links [ edit ] Photographs of the dress (https://www.philamuseum.org/collections/permanent/65327.html?mulR=21188) v t e Salvador Dalí (/wiki/Salvador_Dal%C3%AD) List of works (/wiki/List_of_works_by_Salvador_Dal%C3%AD) Paintings List of works (/wiki/List_of_works_by_Salvador_Dal%C3%AD) Landscape Near Figueras (/wiki/Landscape_Near_Figueras) (1910) Vilabertran (/wiki/Vilabertran_(Dal%C3%AD)) (1913) Cabaret Scene (/wiki/Cabaret_Scene) (1922) Portrait of My Father (/wiki/Portrait_of_My_Father) (1925) Young Woman at a Window (/wiki/Young_Woman_at_a_Window) (1925) The Basket of Bread (/wiki/The_Basket_of_Bread) (1926) Apparatus and Hand (/wiki/Apparatus_and_Hand) (1927) The Lugubrious Game (/wiki/The_Lugubrious_Game) (1929) The First Days of Spring (/wiki/The_First_Days_of_Spring) (1929) The Accommodations of Desire (/wiki/The_Accommodations_of_Desire) (1929) The Great Masturbator (/wiki/The_Great_Masturbator) (1929) The Invisible Man (/wiki/The_Invisible_Man_(painting)) (1929–1932) The Persistence of Memory (/wiki/The_Persistence_of_Memory) (1931) The Ghost of Vermeer of Delft Which Can Be Used as a Table (/wiki/The_Ghost_of_Vermeer_of_Delft_Which_Can_Be_Used_as_a_Table) (1934) Morphological Echo (/wiki/Morphological_Echo) (1934–1936) A Chemist Lifting with Extreme Precaution the Cuticle of a Grand Piano (/wiki/A_Chemist_Lifting_with_Extreme_Precaution_the_Cuticle_of_a_Grand_Piano) (1936) Couple with Their Heads Full of Clouds (/wiki/Couple_with_Their_Heads_Full_of_Clouds) (1936, 1937) Soft Construction with Boiled Beans (Premonition of Civil War) (/wiki/Soft_Construction_with_Boiled_Beans_(Premonition_of_Civil_War)) (1936) The Burning Giraffe (/wiki/The_Burning_Giraffe) (1937) Metamorphosis of Narcissus (/wiki/Metamorphosis_of_Narcissus) (1937) Swans Reflecting Elephants (/wiki/Swans_Reflecting_Elephants) (1937) Apparition of Face and Fruit Dish on a Beach (/wiki/Apparition_of_Face_and_Fruit_Dish_on_a_Beach) (1938) The Enigma of Hitler (/wiki/The_Enigma_of_Hitler) (1939) Shirley Temple, The Youngest, Most Sacred Monster of the Cinema in Her Time (/wiki/Shirley_Temple,_The_Youngest,_Most_Sacred_Monster_of_the_Cinema_in_Her_Time) (1939) The Face of War (/wiki/The_Face_of_War) (1940) Slave Market with the Disappearing Bust of Voltaire (/wiki/Slave_Market_with_the_Disappearing_Bust_of_Voltaire) (1940) Geopoliticus Child Watching the Birth of the New Man (/wiki/Geopoliticus_Child_Watching_the_Birth_of_the_New_Man) (1943) The Seven Lively Arts (/wiki/The_Seven_Lively_Arts_(Dal%C3%AD)) (1944) Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening (/wiki/Dream_Caused_by_the_Flight_of_a_Bee_Around_a_Pomegranate_a_Second_Before_Awakening) (1944) Basket of Bread (/wiki/Basket_of_Bread) (1945) The Apotheosis of Homer (/wiki/The_Apotheosis_of_Homer_(Dal%C3%AD)) (1945) The Temptation of St. Anthony (/wiki/The_Temptation_of_St._Anthony_(Dal%C3%AD)) (1946) The Elephants (/wiki/The_Elephants) (1948) Cartel de Don Juan Tenorio (/wiki/Cartel_de_Don_Juan_Tenorio) (1949) Leda Atomica (/wiki/Leda_Atomica) (1949) The Madonna of Port Lligat (/wiki/The_Madonna_of_Port_Lligat) (1949) Christ of Saint John of the Cross (/wiki/Christ_of_Saint_John_of_the_Cross) (1951) Galatea of the Spheres (/wiki/Galatea_of_the_Spheres) (1952) The Disintegration of the Persistence of Memory (/wiki/The_Disintegration_of_the_Persistence_of_Memory) (1952–1954) The Colossus of Rhodes (/wiki/The_Colossus_of_Rhodes_(Dal%C3%AD)) (1954) Crucifixion (Corpus Hypercubus) (/wiki/Crucifixion_(Corpus_Hypercubus)) (1954) Young Virgin Auto-Sodomized by the Horns of Her Own Chastity (/wiki/Young_Virgin_Auto-Sodomized_by_the_Horns_of_Her_Own_Chastity) (1954) The Sacrament of the Last Supper (/wiki/The_Sacrament_of_the_Last_Supper) (1955) Living Still Life (/wiki/Living_Still_Life) (1956) The Seven Lively Arts (/wiki/The_Seven_Lively_Arts_(Dal%C3%AD)) (1957) The Discovery of America by Christopher Columbus (/wiki/The_Discovery_of_America_by_Christopher_Columbus) (1958–59) The Ecumenical Council (/wiki/The_Ecumenical_Council_(painting)) (1959–60) Galacidalacidesoxyribonucleicacid (/wiki/Galacidalacidesoxyribonucleicacid) (1963) La Gare de Perpignan (/wiki/La_Gare_de_Perpignan) (1965) Tuna Fishing (/wiki/Tuna_Fishing_(painting)) (1966–67) The Hallucinogenic Toreador (/wiki/The_Hallucinogenic_Toreador) (1968–1970) La Toile Daligram (/wiki/La_Toile_Daligram) (1972) Dalí Seen from the Back Painting Gala from the Back Eternalised by Six Virtual Corneas Provisionally Reflected by Six Real Mirrors (/wiki/Dal%C3%AD_Seen_from_the_Back_Painting_Gala_from_the_Back_Eternalised_by_Six_Virtual_Corneas_Provisionally_Reflected_by_Six_Real_Mirrors) (1972–1973) Lincoln in Dalivision (/wiki/Lincoln_in_Dalivision) (1977) The Swallow's Tail (/wiki/The_Swallow%27s_Tail) (1983) Other artworks Lobster Telephone (/wiki/Lobster_Telephone) (1936) Lobster dress (1937) Mae West Lips Sofa (/wiki/Mae_West_Lips_Sofa) (1937) Champagne Standard Lamps (/wiki/Champagne_Standard_Lamps) (1938) Rainy Taxi (/wiki/Rainy_Taxi) (1938) A Logician Devil (/wiki/A_Logician_Devil) (1951) Writings Giraffes on Horseback Salad (/wiki/Giraffes_on_Horseback_Salad) (1937) The Secret Life of Salvador Dalí (/wiki/The_Secret_Life_of_Salvador_Dal%C3%AD) (1942) Dali's Mustache (/wiki/Dali%27s_Mustache) (1954) (with Philippe Halsman (/wiki/Philippe_Halsman) ) Être Dieu (/wiki/%C3%8Atre_Dieu) (1985) Films Un Chien Andalou (/wiki/Un_Chien_Andalou) (1929) L'Age d'Or (/wiki/L%27Age_d%27Or) (1930) Spellbound (/wiki/Spellbound_(1945_film)) (1945, dream sequence) Destino (/wiki/Destino) (1946, completed 2003) Set design and costumes Mariana Pineda (1927 production) (/wiki/Mariana_Pineda_(play)) Museums Dalí Theatre and Museum (/wiki/Dal%C3%AD_Theatre_and_Museum) ( Dalí·Jewels (/wiki/Dal%C3%AD%C2%B7Jewels) ) Gala Dalí Castle House-Museum (/wiki/Castle_of_P%C3%BAbol) Salvador Dalí House Museum (/wiki/Salvador_Dal%C3%AD_House_Museum) Salvador Dalí Museum (/wiki/Salvador_Dal%C3%AD_Museum) Dalí Paris (/wiki/Dal%C3%AD_Paris) Dalí Universe (/wiki/Dal%C3%AD_Universe) Morohashi Museum of Modern Art (/wiki/Morohashi_Museum_of_Modern_Art) Related Gala Dalí (wife) (/wiki/Gala_Dal%C3%AD) Gala-Salvador Dalí Foundation (/wiki/Gala-Salvador_Dal%C3%AD_Foundation) Paranoiac-critical method (/wiki/Paranoiac-critical_method) Salvador Dalí and dance (/wiki/Salvador_Dal%C3%AD_and_dance) Chupa Chups (/wiki/Chupa_Chups) Dalí Atomicus (1948 photograph) (/wiki/Dal%C3%AD_Atomicus) Salvador Dalí (1966 film) (/wiki/Salvador_Dal%C3%AD_(film)) The Death of Salvador Dali (2005 film) (/wiki/The_Death_of_Salvador_Dali) Little Ashes (2008 film) (/wiki/Little_Ashes) Midnight in Paris (2011 film) (/wiki/Midnight_in_Paris) Dalíland (2022 film) (/wiki/Dal%C3%ADland) "Salvador Dalí" (song) (/wiki/Salvador_Dal%C3%AD_(song)) 2919 Dali (asteroid) (/wiki/2919_Dali) Dali crater (/wiki/Dali_(crater)) Salvador Dalí Desert (/wiki/Salvador_Dal%C3%AD_Desert) 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Rendering was triggered because: page-view Subcategories This category has the following 149 subcategories, out of 149 total. 0–9 Clothing companies established in 1810 (/wiki/Category:Clothing_companies_established_in_1810) (1 P) Clothing companies established in 1818 (/wiki/Category:Clothing_companies_established_in_1818) (1 P) Clothing companies established in 1830 (/wiki/Category:Clothing_companies_established_in_1830) (2 P) Clothing companies established in 1837 (/wiki/Category:Clothing_companies_established_in_1837) (2 P) Clothing companies established in 1839 (/wiki/Category:Clothing_companies_established_in_1839) (1 P) Clothing companies established in 1846 (/wiki/Category:Clothing_companies_established_in_1846) (1 P) Clothing companies established in 1850 (/wiki/Category:Clothing_companies_established_in_1850) (2 P) Clothing companies established in 1853 (/wiki/Category:Clothing_companies_established_in_1853) (3 P) Clothing companies established in 1856 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Adidas Kampung is a generic name for cheap black rubber (/wiki/Rubber) shoes that are usually made in Malaysia (/wiki/Malaysia) . The first time was introduced by Tuan Lakai Adang, a member of the Police Field Force (/wiki/Police_Field_Force) on September 19, 1974, in Keningau (/wiki/Keningau) , Sabah (/wiki/Sabah) . Being made 100% out of rubber, they are waterproof, easy to dry, and thus ideal for trekking in tropical weather. [1] (#cite_note-1) They gained attention in the blogosphere when they were featured as having been used by local climbers to win various climbathons such as the Mount Kinabalu International Climbathon (/wiki/Mount_Kinabalu_International_Climbathon) held in Sabah (/wiki/Sabah) . [2] (#cite_note-2) [3] (#cite_note-3) [4] (#cite_note-4) One particular model comes with four yellow stripes and studded soles and is commonly used by villagers to play football (/wiki/Association_football) . Its similarities to the famed stripes on Adidas (/wiki/Adidas) shoes earned it the moniker Adidas Kampung (/wiki/Kampung) , or the Village Adidas. [5] (#cite_note-5) Adidas Kampungs are easily found in sundry shops in the villages of Malaysia for under RM10.00. [6] (#cite_note-6) References [ edit ] ^ (#cite_ref-1) "Jungle shoe called the Adidas Kampung" (https://web.archive.org/web/20111129155851/http://www.my-rainforest-adventures.com/2008/12/adidas-kampung-the-ultimate-tropical-jungle-shoe/) . my-rainforest-adventures.com . 2008-12-15. Archived from the original (http://www.my-rainforest-adventures.com/2008/12/adidas-kampung-the-ultimate-tropical-jungle-shoe/) on 2011-11-29. ^ (#cite_ref-2) "He only used 'ADIDAS KAMPUNG', but still won the Climbathon '07" (https://web.archive.org/web/20200219213806/http://mount-kinabalu-borneo.com/blog/he-only-used-adidas-kampung-but-still-won-the-climbathon-07.html) . mount-kinabalu-borneo.com . 2007-08-29. Archived from the original (http://mount-kinabalu-borneo.com/blog/he-only-used-adidas-kampung-but-still-won-the-climbathon-07.html) on 2020-02-19. ^ (#cite_ref-3) "Shoe technology for the jungle. Adidas Kampung" (https://www.westbrothers.com.au/collections/adidas) . adidasworld . Retrieved 2024-01-11 . ^ (#cite_ref-4) Rainer Fong, Durie (2011-10-23). "Rubber tapper claims fourth title in challenging Mt Kinabalu race" (https://web.archive.org/web/20111128094629/http://thestar.com.my/news/story.asp?file=%2F2011%2F10%2F23%2Fnation%2F9757115&sec=nation) . The Star Online . Archived from the original (http://thestar.com.my/news/story.asp?file=/2011/10/23/nation/9757115&sec=nation) on 2011-11-28. ^ (#cite_ref-5) "The Adidas Kampung" (https://www.stickyricetravel.com/the-adidas-kampung/) . Sticky Rice Travel . 2016-10-03 . Retrieved 2023-04-05 . ^ (#cite_ref-6) "5 Reasons Adidas Kampung are the Best Hiking Shoes in Malaysia" (https://www.monkeyrockworld.com/adidas-kampung-best-hiking-shoes-in-malaysia/) . Monkey Rock World . 2020-06-19 . 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You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Adidas_Kampung&action=edit) . v t e This shoe (/wiki/Shoe) -related article is a stub (/wiki/Wikipedia:Stub) . You can help Wikipedia by expanding it (https://en.wikipedia.org/w/index.php?title=Adidas_Kampung&action=edit) . v t e NewPP limit report Parsed by mw‐api‐ext.codfw.main‐557d6f8488‐trg44 Cached time: 20240712184311 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.256 seconds Real time usage: 0.307 seconds Preprocessor visited node count: 595/1000000 Post‐expand include size: 29295/2097152 bytes Template argument size: 255/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 38959/5000000 bytes Lua time usage: 0.175/10.000 seconds Lua memory usage: 3442137/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 261.179 1 -total 49.17% 128.423 1 Template:Reflist 42.70% 111.529 1 Template:Malaysian_clothing 41.92% 109.496 1 Template:Navbox 41.21% 107.625 6 Template:Cite_web 6.34% 16.556 1 Template:Malaysia-stub 6.29% 16.422 2 Template:Asbox 4.98% 13.007 1 Template:Flagicon 1.68% 4.396 1 Template:Shoe-stub 1.44% 3.748 1 Template:Country_data_Malaysia Saved in parser cache with key enwiki:pcache:idhash:21604168-0!canonical and timestamp 20240712184311 and revision id 1212635694. Rendering was triggered because: unknown esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Adidas_Kampung&oldid=1212635694 (https://en.wikipedia.org/w/index.php?title=Adidas_Kampung&oldid=1212635694) " Categories (/wiki/Help:Category) : Shoes (/wiki/Category:Shoes) Culture of Malaysia (/wiki/Category:Culture_of_Malaysia) Malaysia stubs (/wiki/Category:Malaysia_stubs) Clothing stubs (/wiki/Category:Clothing_stubs) Hidden category: All stub articles (/wiki/Category:All_stub_articles) |
Suit simulating the constraints of older aged drivers Ford Third Age Suit III (2014) An ageing suit (also spelt as aging suit ) is a suit (/wiki/Suit_(clothing)) pioneered by the automotive industry (/wiki/Automotive_industry) in simulating the constraints of older aged drivers. Ageing suits were first used by Japanese car-maker Nissan (/wiki/Nissan) in the early 21st Century, since Japan (/wiki/Japan) has a large aged population. MIT's ageing suit, nicknamed "AGNES", has been used in research by companies such as Siemens, Daimler and General Mills. [1] (#cite_note-1) The suits target and enable the study and solving of such senior citizenry infirmities as bad balance, stiff joints, weaker eyesight and extra weight. According to Nissan's associate chief designer Etsuhiro Watanabe; "Difficulty in walking, back pains, trouble in lifting arms -- we wanted to consider assorted infirmities. It's easy to do this for the young, but we wanted to design for adverse conditions and see what modifications are needed." [2] (#cite_note-2) Ageing suits are made of materials that restrict movement of the knees, elbows, back and neck, and use gloves to reduce the sense of touch, and goggles to simulate blurry vision. Such suits are, along with Nissan, also widely used by Ford (/wiki/Ford_Motor_Company) , and played a major role in the development of their Ford Focus (/wiki/Ford_Focus) . [3] (#cite_note-3) In Mexico (/wiki/Mexico) the ageing suit was reoriented as a method of gerontological training, by the designer Annika Maya Rivero ( Mayores de Hoy (http://mayoresdehoy.com/tag/aging-suit/) ) she thinks that more than an aging suit, the suit should be called "Emphatic generator suit" See also [ edit ] Old age (/wiki/Old_age) References [ edit ] ^ (#cite_ref-1) "Agnes the ageing suit" (https://www.ft.com/cms/s/2/1fed1eee-b34b-11e0-9af2-00144feabdc0.html#axzz35WXosGI6) . Financial Times . 22 July 2011. ^ (#cite_ref-2) "Japan aging suit puts car makers in senior circuit" (https://www.reuters.com/article/us-japan-nissan-suit-idUST9224920080416) . Reuters. 2008-04-16 . Retrieved 2012-11-16 . ^ (#cite_ref-3) Excell, Jon (22 November 2009). "The silver lining of an ageing population | In-depth" (http://www.theengineer.co.uk/in-depth/the-big-story/the-silver-lining-of-an-ageing-population/1000081.article) . The Engineer . Retrieved 2012-11-16 . External links [ edit ] What a drag it is getting old: 'Aging suit' helps the young understand challenges of age (https://web.archive.org/web/20110719210807/http://today.msnbc.msn.com/id/41587310/ns/today-today_health/t/what-drag-it-getting-old-aging-suit-helps-young-understand-challenges-age/) Age Suit to train doctors in care of the elderly (https://www.youtube.com/watch?v=YU8dZ1BpCQE) , AP Archive, 30. 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Canadian entrepreneur This article is an orphan (/wiki/Wikipedia:Orphan) , as no other articles link to it (https://en.wikipedia.org/w/index.php?title=Special:WhatLinksHere&target=Lauren_Chan&namespace=0) . Please introduce links (/wiki/Help:Link) to this page from related articles (https://en.wikipedia.org/w/index.php?title=Special%3ASearch&redirs=1&search=Lauren+Chan&fulltext=Search&ns0=1&title=Special%3ASearch&advanced=1&fulltext=Lauren+Chan) ; try the Find link tool (https://edwardbetts.com/find_link?q=Lauren_Chan) for suggestions. ( June 2022 ) The topic of this article may not meet Wikipedia's general notability guideline (/wiki/Wikipedia:Notability) . Please help to demonstrate the notability of the topic by citing reliable secondary sources (/wiki/Wikipedia:Reliable_sources) that are independent (/wiki/Wikipedia:Independent_sources) of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be shown, the article is likely to be merged (/wiki/Wikipedia:Merging) , redirected (/wiki/Wikipedia:Redirect) , or deleted (/wiki/Wikipedia:Deletion_policy) . Find sources: "Lauren Chan" (https://www.google.com/search?as_eq=wikipedia&q=%22Lauren+Chan%22) – news (https://www.google.com/search?tbm=nws&q=%22Lauren+Chan%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Lauren+Chan%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Lauren+Chan%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Lauren+Chan%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Lauren+Chan%22&acc=on&wc=on) ( June 2022 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Lauren Chan is a Canadian model, editor and entrepreneur. [1] (#cite_note-:0-1) Career [ edit ] Originally from Brantford (/wiki/Brantford) , Ontario, Chan graduated from University of Western Ontario (/wiki/University_of_Western_Ontario) in 2012 with a Bachelor of Arts in Sociology. She then moved to New York City to pursue a career as a plus-size model with Ford Models (/wiki/Ford_Models) [2] (#cite_note-2) [3] (#cite_note-:1-3) and a fashion writer. Three years later, she stepped away from modeling and became the fashion news editor for Condé Nast (/wiki/Cond%C3%A9_Nast) -owned Glamour (/wiki/Glamour_(magazine)) in 2015. [1] (#cite_note-:0-1) [4] (#cite_note-4) [5] (#cite_note-5) In addition to covering the womenswear market, Chan focused on size-inclusion via her print column and digital vertical called Style Your Size, the Glamour x Lane Bryant (/wiki/Lane_Bryant) clothing line, which she co-designed, [6] (#cite_note-:2-6) and broadcast appearances like Good Morning America (/wiki/Good_Morning_America) and The TODAY Show (/wiki/The_TODAY_Show) —still, she struggled to find clothes in plus sizes to wear to work. [7] (#cite_note-7) As a result, Chan left her job in 2018 to create Henning, a plus-size clothing brand and return to modeling. [1] (#cite_note-:0-1) [8] (#cite_note-8) [9] (#cite_note-9) Ranging from size 12-24, the company's business model was based on made-on-demand, slow fashion (/wiki/Slow_fashion) . [10] (#cite_note-10) In April 2023, Henning was acquired by Universal Standard. Following the acquisition of Henning, Chan appeared as a Sports Illustrated Swimsuit Rookie in the 2023 issue. In 2018 American Society of Magazine Editors (/wiki/American_Society_of_Magazine_Editors) awarded Chan the ASME Next Award for Journalists Under 30. [11] (#cite_note-11) [12] (#cite_note-12) In 2019, Chan was named one of Chatelaine magazine's Women of the Year. [13] (#cite_note-13) That same year, she was recognized by Toronto Life (/wiki/Toronto_Life) magazine as one of the city's best-dressed Torontonians. [14] (#cite_note-14) In 2021, she was nominated for The Digital Fashion Creator of the Year Award from the Canadian Arts and Fashion Awards (/wiki/Canadian_Arts_and_Fashion_Awards) . [15] (#cite_note-15) In 2023, she won the Canadian Arts and Fashion Award for Model of the Year. That year, she also appeared on Toronto Life's list of 50 most influential Canadians and Marie Claire's 2023 Power List alongside Michelle Obama, Emma Grede, and Megan Fox. Activism [ edit ] Chan has been an ambassador for the National Eating Disorders Association (/wiki/National_Eating_Disorders_Association) since 2019. [16] (#cite_note-16) She is also a member of the advisory board for Model Alliance (/wiki/Model_Alliance) , an advocacy group for models. [6] (#cite_note-:2-6) In 2024, she was honored by Manhattan Borough President Mark Levine and Assemblymember Grace Lee for her leadership in New York City's Asian-American community and work on size-inclusion in the fashion industry. References [ edit ] ^ a b c "How Model Turned CEO Lauren Chan Finds the Coolest Vintage Online" (https://www.vogue.com/article/shopping-with-vogue-lauren-chan-henning-tradesy) . Vogue . 2021-10-20 . Retrieved 2022-06-06 . ^ (#cite_ref-2) "Lauren Chan on Size Inclusivity and Her Fashion Favourites" (http://www.ellecanada.com/fashion/shopping/lauren-chan-henning-launch) . Elle Canada . Retrieved 2022-06-06 . ^ (#cite_ref-:1_3-0) "A way around the no's" (http://alumni.westernu.ca/alumni-gazette/fall-2020/a-way-around-the-nos.html) . alumni.westernu.ca . Retrieved 2022-06-06 . ^ (#cite_ref-4) "Lauren Chan" (https://jagmodels.com/model/lauren-chan/) . JAG models . Retrieved 2022-06-06 . ^ (#cite_ref-5) Grady, Lora (2019-09-12). "Lauren Chan's Plus-Size Workwear Line Is a Game Changer" (https://www.flare.com/fashion-beauty/lauren-chan-henning-plus-size-work-clothes/) . FLARE . Retrieved 2022-06-24 . ^ a b "Lauren Chan, Founder and CEO, Henning" (https://www.nationaleatingdisorders.org/lauren-chan-founder-and-ceo-henning) . National Eating Disorders Association . 2018-12-17 . Retrieved 2022-06-06 . ^ (#cite_ref-7) "Lauren Chan Turns A Beat Into A Business" (https://shopcuup.com/blogs/bodytalk/lauren-chan-turns-a-beat-into-a-business) . CUUP . Retrieved 2022-06-06 . ^ (#cite_ref-8) Scriver, Amanda (January 31, 2020). "Designer Lauren Chan is making pieces worthy of the plus-size consumer" (https://www.cbc.ca/life/style/designer-lauren-chan-is-making-pieces-worthy-of-the-plus-size-consumer-1.5447496) . CBC News . Retrieved June 24, 2022 . ^ (#cite_ref-9) Parker, Odessa Paloma (2019-09-12). "Lauren Chan couldn't find chic plus-size office wear. So she started a new label" (https://www.theglobeandmail.com/life/style/article-lauren-chan-couldnt-find-chic-plus-size-office-wear-so-she-started-a/) . The Globe and Mail . Retrieved 2022-06-24 . ^ (#cite_ref-10) Fisher, Lauren Alexis (2019-09-13). "This New Brand Is One of Fashion Week's Most Important Launches" (https://www.harpersbazaar.com/fashion/trends/a29038808/henning-fashion-brand/) . Harper's BAZAAR . Retrieved 2022-06-06 . ^ (#cite_ref-11) "ASME NEXT AWARD 2018 WINNERS ANNOUNCED" (https://www.asme.media/asme-next-award-2018-winners-announced) . www.asme.media . Retrieved 2022-06-06 . ^ (#cite_ref-12) LeSavage, Halie (2022-06-16). "13 Things Henning Founder and Model Lauren Chan Would Buy Again" (https://www.harpersbazaar.com/fashion/trends/g40231491/lauren-chan-henning-style/) . Harper's BAZAAR . Retrieved 2022-06-24 . ^ (#cite_ref-13) Kong, Stacey Lee (November 29, 2019). "Woman of the Year 2019: Lauren Chan" (https://www.chatelaine.com/living/lauren-chan-woman-of-the-year-2019/) . Chatelaine . ^ (#cite_ref-14) Leydon |, Erin (2019-09-05). "Toronto's Best Dressed, 2019" (https://torontolife.com/style/torontos-best-dressed-2019/) . Toronto Life . Retrieved 2022-06-06 . ^ (#cite_ref-15) "2021 Winners | CAFA" (https://www.cafawards.ca/archives/2021-cafa/2021winners/) . Retrieved 2022-06-06 . ^ (#cite_ref-16) "Henning CEO Lauren Chan Joins National Eating Disorders Association as its Newest Ambassador" (https://www.nationaleatingdisorders.org/henning-ceo-lauren-chan-joins-national-eating-disorders-association-its-newest-ambassador) . National Eating Disorders Association . 2019-03-29 . Retrieved 2022-06-06 . 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Rendering was triggered because: page-view Pages in category "Jewish fashion designers" The following 98 pages are in this category, out of 98 total. This list may not reflect recent changes (/wiki/Wikipedia:FAQ/Categorization#Why_might_a_category_list_not_be_up_to_date?) . A Adrian (costume designer) (/wiki/Adrian_(costume_designer)) Gaby Aghion (/wiki/Gaby_Aghion) Rachel Antonoff (/wiki/Rachel_Antonoff) Jacques Azagury (/wiki/Jacques_Azagury) Max Azria (/wiki/Max_Azria) Yigal Azrouël (/wiki/Yigal_Azrou%C3%ABl) B Maya Bash (/wiki/Maya_Bash) Elena Benarroch (/wiki/Elena_Benarroch) Stacey Bendet (/wiki/Stacey_Bendet) Fira Benenson (/wiki/Fira_Benenson) Richard Blackwell (/wiki/Richard_Blackwell) Bobby Breslau (/wiki/Bobby_Breslau) Tory Burch (/wiki/Tory_Burch) Amanda Bynes (/wiki/Amanda_Bynes) C Giuliana Camerino (/wiki/Giuliana_Camerino) Ruth Sacks Caplin (/wiki/Ruth_Sacks_Caplin) Hattie Carnegie (/wiki/Hattie_Carnegie) Dov Charney (/wiki/Dov_Charney) Ronen Chen (/wiki/Ronen_Chen) Claw Money (/wiki/Claw_Money) Nudie Cohn (/wiki/Nudie_Cohn) Kenneth Cole (designer) (/wiki/Kenneth_Cole_(designer)) Jo Copeland (/wiki/Jo_Copeland) D Wayne Diamond (/wiki/Wayne_Diamond) Inbal Dror (/wiki/Inbal_Dror) E Marc Ecko (/wiki/Marc_Ecko) Victor Edelstein (/wiki/Victor_Edelstein) Alber Elbaz (/wiki/Alber_Elbaz) Joseph Ettedgui (/wiki/Joseph_Ettedgui) F Nicole Farhi (/wiki/Nicole_Farhi) Renée Firestone (/wiki/Ren%C3%A9e_Firestone) Edith Flagg (/wiki/Edith_Flagg) Diane von Fürstenberg (/wiki/Diane_von_F%C3%BCrstenberg) Talita von Fürstenberg (/wiki/Talita_von_F%C3%BCrstenberg) G Rudi Gernreich (/wiki/Rudi_Gernreich) Kym Gold (/wiki/Kym_Gold) Adriano Goldschmied (/wiki/Adriano_Goldschmied) Lea Gottlieb (/wiki/Lea_Gottlieb) Madame Grès (/wiki/Madame_Gr%C3%A8s) Sidonie Grünwald-Zerkowitz (/wiki/Sidonie_Gr%C3%BCnwald-Zerkowitz) Shoshanna Lonstein Gruss (/wiki/Shoshanna_Lonstein_Gruss) H Julia Haart (/wiki/Julia_Haart) Batsheva Hay (/wiki/Batsheva_Hay) Edith Head (/wiki/Edith_Head) Jacques Heim (/wiki/Jacques_Heim) Alexandre Herchcovitch (/wiki/Alexandre_Herchcovitch) Stan Herman (/wiki/Stan_Herman) Lena Himmelstein (/wiki/Lena_Himmelstein) Jacob H. Horwitz (/wiki/Jacob_H._Horwitz) I Stacy Igel (/wiki/Stacy_Igel) J Marc Jacobs (/wiki/Marc_Jacobs) Kara Janx (/wiki/Kara_Janx) Tara Jarmon (/wiki/Tara_Jarmon) Žuži Jelinek (/wiki/%C5%BDu%C5%BEi_Jelinek) Alexander Julian (/wiki/Alexander_Julian) K Donna Karan (/wiki/Donna_Karan) Dorit Kemsley (/wiki/Dorit_Kemsley) Anne Klein (fashion designer) (/wiki/Anne_Klein_(fashion_designer)) Calvin Klein (/wiki/Calvin_Klein) Hila Klein (/wiki/Hila_Klein) Michael Kors (/wiki/Michael_Kors) L Ralph Lauren (/wiki/Ralph_Lauren) Rolf Leeser (/wiki/Rolf_Leeser) Judith Leiber (/wiki/Judith_Leiber) Monica Lewinsky (/wiki/Monica_Lewinsky) Nili Lotan (/wiki/Nili_Lotan) M Paul Marciano (/wiki/Paul_Marciano) Susan Matheson (/wiki/Susan_Matheson) Stella McCartney (/wiki/Stella_McCartney) Leah McSweeney (/wiki/Leah_McSweeney) Joe Mimran (/wiki/Joe_Mimran) Isaac Mizrahi (/wiki/Isaac_Mizrahi) N Joseph Nakash (/wiki/Joseph_Nakash) O Kimberly Ovitz (/wiki/Kimberly_Ovitz) P Mollie Parnis (/wiki/Mollie_Parnis) Emeric Partos (/wiki/Emeric_Partos) Henriette Simon Picker (/wiki/Henriette_Simon_Picker) Zac Posen (/wiki/Zac_Posen) Anna Potok (/wiki/Anna_Potok) R Sruli Recht (/wiki/Sruli_Recht) Charlotte Ronson (/wiki/Charlotte_Ronson) Eva Rosencrans (/wiki/Eva_Rosencrans) Nettie Rosenstein (/wiki/Nettie_Rosenstein) Sonia Rykiel (/wiki/Sonia_Rykiel) S David Sassoon (designer) (/wiki/David_Sassoon_(designer)) Arnold Scaasi (/wiki/Arnold_Scaasi) Amir Slama (/wiki/Amir_Slama) Yotam Solomon (/wiki/Yotam_Solomon) T Elie Tahari (/wiki/Elie_Tahari) Thea Tewi (/wiki/Thea_Tewi) Pnina Tornai (/wiki/Pnina_Tornai) W Chester Weinberg (/wiki/Chester_Weinberg) Heidi Weisel (/wiki/Heidi_Weisel) John Weitz (/wiki/John_Weitz) Stuart Weitzman (/wiki/Stuart_Weitzman) Z Dasha Zhukova (/wiki/Dasha_Zhukova) Ruti Zisser (/wiki/Ruti_Zisser) Rachel Zoe (/wiki/Rachel_Zoe) esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Category:Jewish_fashion_designers&oldid=1182527420 (https://en.wikipedia.org/w/index.php?title=Category:Jewish_fashion_designers&oldid=1182527420) " Categories (/wiki/Help:Category) : Jewish artists (/wiki/Category:Jewish_artists) Fashion designers (/wiki/Category:Fashion_designers) |
Part of a series (/wiki/Category:Islamic_female_clothing) on Islamic (/wiki/Islam) female (/wiki/Women_in_Islam) dress (/wiki/Islamic_clothing) Types (/wiki/Types_of_hijab) Abaya (/wiki/Abaya) Al-amira (/wiki/Al-amira) Battoulah (/wiki/Battoulah) Boshiya (/wiki/Boshiya) Burkini (/wiki/Burkini) Burqa (/wiki/Burqa) Çarşaf (/wiki/%C3%87ar%C5%9Faf) Chador (/wiki/Chador) Haik (/wiki/Haik_(garment)) Hijab (/wiki/Hijab) Jilbaab (/wiki/Jilb%C4%81b) Kerudung (/wiki/Kerudung) Kimeshek (/wiki/Kimeshek) Khimar (/wiki/Khimar) Kurhars (/wiki/Kurhars) Mukena (/wiki/Mukena) Niqaab (/wiki/Niq%C4%81b) Paranja (/wiki/Paranja) Safseri (/wiki/Safseri) Selendang (/wiki/Selendang) Shayla (/wiki/Shayla) Tudong (/wiki/Tudong) Yashmak (/wiki/Yashmak) Practice and law by country (/wiki/Hijab_by_country) Australia (/wiki/Burka_ban_in_Australia) Britain (/wiki/British_debate_over_veils) Canada (/wiki/Islamic_veiling_practices_by_country#Canada) Egypt (/wiki/Niq%C4%81b_in_Egypt) France (/wiki/Islamic_scarf_controversy_in_France) Indonesia (/wiki/Women_in_Indonesia#National_law_and_sharia) Iran (/wiki/Hijab_in_Iran) Pakistan (/wiki/Women_in_Pakistan#Culture) Saudi Arabia (/wiki/Women%27s_rights_in_Saudi_Arabia#Hijab_and_dress_code) Taliban Afghanistan (/wiki/Taliban_treatment_of_women#Gender_policies) Turkey (/wiki/Headscarf_controversy_in_Turkey) Concepts Andaruni (/wiki/Andaruni) Awrah (/wiki/Intimate_parts_in_Islam) Fahisha (/wiki/Fahisha) Gender segregation (/wiki/Islam_and_gender_segregation) Haya (/wiki/Haya_(Islam)) Purdah (/wiki/Purdah) Zenana (/wiki/Zenana) Other Hijabophobia (/wiki/Hijabophobia) Hujum (/wiki/Hujum) Kashf-e hijab (/wiki/Kashf-e_hijab) My Stealthy Freedom (/wiki/My_Stealthy_Freedom) Wimple (/wiki/Wimple) World Hijab Day (/wiki/World_Hijab_Day) v t e Part of a series on Islamization (/wiki/Islamization) Islamizations Late Antiquity - Middle Ages - Modern Islamization (/wiki/Islamization) Spread of Islam (/wiki/Spread_of_Islam) Islamic missionary activity (/wiki/Islamic_missionary_activity) Islamization of Palestine (/wiki/Islamization_of_Palestine) Islamization of Jerusalem (/wiki/Islamization_of_Jerusalem) Islamization of Syria (/wiki/Islamization_of_Syria) Islamization of Egypt (/wiki/Islamization_of_Egypt) Islamization of Iran (/wiki/Islamization_of_Iran) Islamization and Turkification of Xinjiang (/wiki/Islamization_and_Turkification_of_Xinjiang) Islamization of Bosnia and Herzegovina (/wiki/Islamization_of_Bosnia_and_Herzegovina) Islamization of the Sudan region (/wiki/Islamization_of_the_Sudan_region) Spread of Islam in Southeast Asia (/wiki/Spread_of_Islam_in_Southeast_Asia) Spread of Islam in Indonesia (/wiki/Spread_of_Islam_in_Indonesia) Islamization of Albania (/wiki/Islamization_of_Albania) Islamization in Pakistan (/wiki/Islamization_in_Pakistan) Conversion to Islam (/wiki/Conversion_to_Islam) Conversion to Islam in prisons (/wiki/Conversion_to_Islam_in_prisons) Conversion to Islam in U.S. prisons (/wiki/Conversion_to_Islam_in_U.S._prisons) Conversion of non-Islamic places of worship into mosques (/wiki/Conversion_of_non-Islamic_places_of_worship_into_mosques) List of converts to Islam (/wiki/List_of_converts_to_Islam) v t e "Say no to burqas" mural in Newtown, New South Wales. In Australia, there is an ongoing debate over the possibility of a ban on the wearing of burqa (/wiki/Burqa) and niqab (/wiki/Niqab) , conservative forms of dress for Islamic women. There are currently 14 nations that have banned the burqa and niqab, including Austria (/wiki/Austria) , France (/wiki/France) , Belgium (/wiki/Belgium) , Denmark (/wiki/Denmark) , Switzerland (/wiki/Switzerland) , Netherlands (/wiki/Netherlands) , [1] (#cite_note-1) Latvia (/wiki/Latvia) , [2] (#cite_note-2) Bulgaria (/wiki/Bulgaria) , [3] (#cite_note-3) Cameroon (/wiki/Cameroon) , Chad (/wiki/Chad) , Congo (/wiki/Congo-Brazzaville) , Gabon (/wiki/Gabon) , China (/wiki/China) and Morocco (/wiki/Morocco) . Background [ edit ] Following the Moscow theatre hostage crisis (/wiki/Moscow_theatre_hostage_crisis) in 2002, Australian politician Fred Nile (/wiki/Fred_Nile) asked whether the then state minister of police would consider banning full-body coverings like those worn by the Chechen (/wiki/Chechnya) terrorists from parliament and public gathering places in order to prevent the carriage of weapons or explosive devices. On 23 June 2010, Nile introduced a bill into the Legislative Council to criminalize the public wearing of any face covering which prevents the identification of the wearer, [4] (#cite_note-4) including the burqa (/wiki/Burqa) and niqab (/wiki/Niqab) . He again in 2014 put up a bill that would ban the burqa and niqab. [5] (#cite_note-5) [6] (#cite_note-6) In 2010, Senator Cory Bernardi (/wiki/Cory_Bernardi) wrote an opinion piece calling for a ban on wearing the burqa (/wiki/Burqa) in public. [7] (#cite_note-:3-7) In September 2014, Senator Jacqui Lambie (/wiki/Jacqui_Lambie) announced plans to introduce a private member's bill (/wiki/Private_member%27s_bill) aimed at banning the burqa (/wiki/Burqa) in Australia. [8] (#cite_note-8) In February 2017, she introduced a private member's bill (/wiki/Private_member%27s_bill) which would amend the Criminal Code Act 1995 to make it illegal to wear full-face coverings in public places when a terrorism threat declaration is in force, unless it was necessary for certain purposes. [9] (#cite_note-9) Arguments [ edit ] A main argument for the burqa ban is security, especially in government areas such as Parliament House (/wiki/Parliament_House,_Canberra) . It has been suggested that rather than a blanket ban, people wearing face coverings be required to show their face for 'security and identification purposes' in these places exclusively. [10] (#cite_note-10) Those for the ban have argued that men force Islamic women to wear the dress; however, Islam (/wiki/Islam) does not require women to cover their faces. Some Islamic women say they feel 'naked' walking out without wearing a burka, and that a ban would effectively 'force' them to stay at home. The ban has been criticised for conflicting with Section 116 of the Constitution (/wiki/Constitution_of_Australia) , which prohibits the federal government from making any law 'prohibiting the free exercise of religion'. [11] (#cite_note-11) State-level enforcement [ edit ] In September 2011, Australia (/wiki/Australia) 's most populous state, New South Wales (/wiki/New_South_Wales) , passed the Identification Legislation Amendment Act 2011 requiring a person to remove a face covering if asked by a state official. The law is viewed as a response to a court case in 2011 where a woman in Sydney was convicted of falsely claiming that a traffic policeman had tried to remove her niqab . [12] (#cite_note-12) Political positions [ edit ] Politicians such as Cory Bernardi (/wiki/Cory_Bernardi) , [13] (#cite_note-13) George Christensen (/wiki/George_Christensen) , Jacqui Lambie (/wiki/Jacqui_Lambie) , Mark Latham (/wiki/Mark_Latham) , Pauline Hanson (/wiki/Pauline_Hanson) and Tony Abbott (/wiki/Tony_Abbott) [14] (#cite_note-14) have openly advocated for a ban on the burqa, either in public places or in all settings (depending on the person). Several political parties also officially support a ban on the burqa, including the Australian Conservatives (/wiki/Australian_Conservatives) and One Nation (/wiki/Pauline_Hanson%27s_One_Nation) . [15] (#cite_note-15) Public opinion [ edit ] A 2017 poll of 2,832 Australian residents conducted by Sky News Australia (/wiki/Sky_News_Australia) and ReachTEL (/wiki/ReachTEL) found that more than half of respondents either supported or strongly supported banning the burqa in public spaces. [16] (#cite_note-survey-16) Opinion burqa ban (2017) [16] (#cite_note-survey-16) Strongly support (43.6%) Support (12.7%) Undecided (12.5%) Oppose (12.3%) Strongly oppose (18.9%) See also [ edit ] Islam in Australia (/wiki/Islam_in_Australia) Feminism in Islam (/wiki/Feminism_in_Islam) References [ edit ] ^ (#cite_ref-1) Waterfield, Bruno (15 September 2011). "Netherlands to Ban the Burka" (https://www.telegraph.co.uk/news/worldnews/europe/netherlands/8765673/Netherlands-to-ban-the-burka.html) . The Telegraph . Retrieved 10 March 2024 . ^ (#cite_ref-2) Pells, Rachael (21 April 2016). "Islamic face veil to be banned in Latvia despite being worn by just three women in entire country" (https://www.independent.co.uk/news/islamic-muslim-face-veil-niqab-burqa-banned-latvia-despite-being-worn-by-just-three-women-entire-a6993991.html) . Independent.co.uk (/wiki/Independent.co.uk) . Retrieved 10 March 2024 . ^ (#cite_ref-3) Krasimirov, Angel (1 October 2016). "Bulgaria the latest European country to ban the burqa and niqab in public places" (http://www.smh.com.au/world/bulgaria-the-latest-european-country-to-ban-the-burqa-and-niqab-in-public-places-20160930-grss9q.html) . Sydney Morning Herald . Retrieved 10 March 2024 . ^ (#cite_ref-4) "Summary Offences Amendment (Full-face Coverings Prohibition) Bill 2010" (https://web.archive.org/web/20121023080919/http://www.parliament.nsw.gov.au/prod/parlment/nswbills.nsf/0/1b106ecb7420c2a8ca2576d50003dfa6/%24FILE/b2006-609-d07-House.pdf) (PDF) . New South Wales Parliament. Archived from the original (http://www.parliament.nsw.gov.au/prod/parlment/nswbills.nsf/0/1b106ecb7420c2a8ca2576d50003dfa6/$FILE/b2006-609-d07-House.pdf) (PDF) on 23 October 2012 . Retrieved 13 July 2010 . ^ (#cite_ref-5) "Nile moves to ban burqa in NSW" (http://www.theaustralian.com.au/news/christian-democrat-rev-fred-nile-again-moves-to-ban-burqa-in-nsw/news-story/039e1892693f0fe44c9af2b8ed35ab72) . The Australian . ^ (#cite_ref-6) Veiszadeh, Ehssan (11 September 2014). "Fred Nile move to ban burqa 'anti-Islamic' (https://www.smh.com.au/national/fred-nile-move-to-ban-burqa-anti-islamic-20140911-3favq.html) " (https://www.smh.com.au/national/fred-nile-move-to-ban-burqa-anti-islamic-20140911-3favq.html) . The Sydney Morning Herald . ^ (#cite_ref-:3_7-0) Bernardi, Cory (6 May 2010). "For Australia's sake, we need to ban the burqa" (http://www.smh.com.au/opinion/society-and-culture/for-australias-sake-we-need-to-ban-the-burqa-20100506-ubun.html) . The Sydney Morning Herald . Retrieved 6 May 2010 . ^ (#cite_ref-8) Bourke, Latika (/wiki/Latika_Bourke) (29 September 2014). "Jacqui Lambie's attempt to ban the burqa could be unconstitutional, say legal experts" (http://www.smh.com.au/federal-politics/political-news/jacqui-lambies-attempt-to-ban-the-burqa-could-be-unconstitutional-say-legal-experts-20140929-10nd5e.html) . The Sydney Morning Herald . Fairfax Media. Archived (https://web.archive.org/web/20151218174516/http://www.smh.com.au/federal-politics/political-news/jacqui-lambies-attempt-to-ban-the-burqa-could-be-unconstitutional-say-legal-experts-20140929-10nd5e.html) from the original on 18 December 2015 . Retrieved 10 March 2024 . ^ (#cite_ref-9) "Criminal Code Amendment (Prohibition of Full Face Coverings in Public Places) Bill 2017" (http://parlinfo.aph.gov.au/parlInfo/search/display/display.w3p;query=Id%3A%22legislation%2Fbillhome%2Fs1054%22) . Parliament of Australia. 8 February 2017. ^ (#cite_ref-10) Natasha, Bita (9 September 2017). "Should Australia ban the burqa?" (https://www.dailytelegraph.com.au/news/nsw/should-australia-ban-the-burqa/news-story/237c1c058951a0e1e42d8941b9565a48) . Daily Telegraph . Retrieved 10 March 2024 . ^ (#cite_ref-11) "Chapter V. The States" (https://www.aph.gov.au/About_Parliament/Senate/Powers_practice_n_procedures/Constitution/chapter5) . www.aph.gov.au . Parliament of Australia . Retrieved 10 March 2024 . ^ (#cite_ref-12) McGuir, Rod (3 March 2012). "Australia Muslim Veil Law Requires Women To Remove Face-Covering Niqab In New South Wales" (http://web.archive.org/web/20120306211647/http://www.huffingtonpost.com/2012/03/05/australia-veil-law-burqa-ban_n_1320811.html) . Huffington Post . Archived from the original (http://www.huffingtonpost.com/2012/03/05/australia-veil-law-burqa-ban_n_1320811.html) on 6 March 2012. ^ (#cite_ref-13) "Should Australia ban the burqa?" (https://www.adelaidenow.com.au/news/national/should-australia-ban-the-burqa/video/28fdaaf8c2c978b07a27c613fa33d1ad) . The Advertiser (/wiki/The_Advertiser_(Adelaide)) . 11 September 2018 . Retrieved 10 March 2024 . ^ (#cite_ref-14) Grattan, Michelle (6 September 2017). "Tony Abbott: Consider burqa ban in places 'dedicated to Australian values' (https://theconversation.com/tony-abbott-consider-burqa-ban-in-places-dedicated-to-australian-values-83590) " (https://theconversation.com/tony-abbott-consider-burqa-ban-in-places-dedicated-to-australian-values-83590) . The Conversation (/wiki/The_Conversation_(website)) . Retrieved 10 March 2024 . ^ (#cite_ref-15) "Cory Bernardi renews his push for a burqa ban" (https://www.sbs.com.au/news/article/cory-bernardi-renews-his-push-for-a-burqa-ban/yva03mkes) . SBS . 11 September 2018 . Retrieved 10 March 2024 . ^ a b "ReachTEL Survey" (https://powr.s3.amazonaws.com/app_images%2Fresizable%2F8fb90f02-cdc2-4dcd-9d81-7d87d3a9487c%2FSkyNewsReachel24August2017.pdf) (PDF) . 23 August 2017. p. 6. 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Ole Peder Bertelsen (30 November 1930 - 10 July 2018) was a Danish-born oil trader and a London (/wiki/London) fashion (/wiki/Fashion) trade entrepreneur. In 1985, he brought Ralph Lauren (/wiki/Ralph_Lauren) ’s brand to England (/wiki/England) . He was the son of a horse dealer and was born in the seaport of Esbjerg (/wiki/Esbjerg) on the Jutland Peninsula (/wiki/Jutland_Peninsula) on November 30, 1930. [1] (#cite_note-auto-1) [2] (#cite_note-2) He graduated from Copenhagen University (/wiki/Copenhagen_University) with a degree in Economics (/wiki/Economics) and joined the Shell oil company (/wiki/Shell_oil_company) where he worked for 15 years. [1] (#cite_note-auto-1) He made his money in oil in the 1980s. Then, in 1982, he was an investment advisor to an oil company that had, as part of its investments, a Colorado (/wiki/Colorado) ranch. The neighbor of that ranch, Ralph Lauren, wanted to buy the property and, in exchange, Lauren offered his European distribution and his London shop to Bertelsen. [3] (#cite_note-3) [4] (#cite_note-auto1-4) In the 1980’s, Bertelsen was called “the most powerful fashion entrepreneur” by The London Standard (/wiki/The_London_Standard) . His company, Aguecheek (/wiki/Aguecheek) , [5] (#cite_note-5) had many London boutiques including those for Ungaro (/wiki/Emanuel_Ungaro) , Valentino, Katharine Hamnett (/wiki/Katharine_Hamnett) , Krizia (/wiki/Krizia) , Walter Steiger (/wiki/Walter_Steiger) , Giorgio Armani (/wiki/Giorgio_Armani) , Tiffany, Luciano Soprani (/wiki/Luciano_Soprani) and Comme des Garcons Homme Plu. [4] (#cite_note-auto1-4) [6] (#cite_note-6) He opened Gallery 28, a Mayfair outlet with many designers' clothes. He married Prue Hyne in 1960 and they had three sons. [1] (#cite_note-auto-1) References [ edit ] ^ a b c Obituaries, Telegraph (2018-08-13). "Ole Peder Bertelsen, oil trader turned fashion entrepreneur – obituary" (https://www.telegraph.co.uk/obituaries/2018/08/13/ole-peder-bertelsenoil-trader-turned-fashion-entrepreneur-obituary/) . The Telegraph . ISSN (/wiki/ISSN_(identifier)) 0307-1235 (https://www.worldcat.org/issn/0307-1235) . Retrieved 2018-10-22 . ^ (#cite_ref-2) Coleridge, Nicholas (2012-06-30). The Fashion Conspiracy . Random House. ISBN (/wiki/ISBN_(identifier)) 9781448149872 . ^ (#cite_ref-3) "The Danish connection" (https://www.independent.co.uk/life-style/the-danish-connection-1136713.html) . The Independent . Retrieved 2018-10-22 . ^ a b Times, Michael Gross and Special To the New York. "IN LONDON, THE 'DESIGN WARS' (https://www.nytimes.com/1987/01/10/style/in-london-the-design-wars.html) " (https://www.nytimes.com/1987/01/10/style/in-london-the-design-wars.html) . Retrieved 2018-10-22 . ^ (#cite_ref-5) "Christian Lacroix, the heir to Yves St Laurent – fashion archive, 1987" (https://www.theguardian.com/fashion/2017/oct/18/christian-lacroix-profile-1987) . the Guardian . 2017-10-18 . Retrieved 2018-10-22 . ^ (#cite_ref-6) "Galliano - Balkan Fashion Week" (http://balkanfashionweek.eu/galliano/) . balkanfashionweek.eu . Retrieved 2018-10-22 . NewPP limit report Parsed by mw‐api‐int.eqiad.main‐6f5ccb59c8‐hmdcw Cached time: 20240623201952 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1] CPU time usage: 0.144 seconds Real time usage: 0.172 seconds Preprocessor visited node count: 329/1000000 Post‐expand include size: 9586/2097152 bytes Template argument size: 83/2097152 bytes Highest expansion depth: 8/100 Expensive parser function count: 1/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 23028/5000000 bytes Lua time usage: 0.084/10.000 seconds Lua memory usage: 3535877/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 148.279 1 Template:Reflist 100.00% 148.279 1 -total 71.60% 106.163 3 Template:Cite_news 5.67% 8.402 2 Template:Cite_web 4.31% 6.390 1 Template:Cite_book 1.04% 1.536 1 Template:Main_other Saved in parser cache with key enwiki:pcache:idhash:58846227-0!canonical and timestamp 20240623201952 and revision id 1059993902. Rendering was triggered because: api-parse esi <esi:include src="/esitest-fa8a495983347898/content" /> Retrieved from " https://en.wikipedia.org/w/index.php?title=Ole_Peder_Bertelsen&oldid=1059993902 (https://en.wikipedia.org/w/index.php?title=Ole_Peder_Bertelsen&oldid=1059993902) " Categories (/wiki/Help:Category) : 1930 births (/wiki/Category:1930_births) 2018 deaths (/wiki/Category:2018_deaths) 20th-century Danish businesspeople (/wiki/Category:20th-century_Danish_businesspeople) |
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Brutus Jeans is a British clothing company founded in 1966 by brothers Keith and Alan Freedman, who were 18 and 17 years old at the time, respectively. The company started with one style of sweater (/wiki/Sweater) and kept adding to the range, which eventually included shirts (/wiki/Shirts) and jeans (/wiki/Jeans) (for both men and women). The brand was very popular in the 1960s and 1970s with skinheads (/wiki/Skinhead) , Mods (/wiki/Mod_(subculture)) and the football (/wiki/Football_(soccer)) crowds. They won awards for their TV advertising, and one of their TV jingles, with minor changes, became the hit record " Jeans On (/wiki/Jeans_On) " (performed in both cases by David Dundas (/wiki/Lord_David_Dundas) ). Adrian Lyne (/wiki/Adrian_Lyne) , who later achieved major success in films, made television commercials for the company in the 1970s. [1] (#cite_note-commercials-1) In 1966 they created the Trimfit shirt. The Trimfit had a cult following was documented in numerous books and articles about British fashion. Throughout the late sixties and mid seventies this shirt sold in the millions. [ citation needed ] An original Trimfit shirt can be found in the Museum of London. [ citation needed ] It was revived in 2009. References [ edit ] ^ (#cite_ref-commercials_1-0) "Jets, jeans and Hovis" (https://www.theguardian.com/film/2007/aug/24/1) . The Guardian. 13 June 2015. External links [ edit ] Official website (https://brutus.com/) v t e Skinhead (/wiki/Skinhead) Vintage subcultures Mod (/wiki/Mod_(subculture)) Rude boy (/wiki/Rude_boy) Sharpies (/wiki/Sharpies_(Australian_subculture)) Scooterboy (/wiki/Scooterboy) Soulboy (/wiki/Soulboy) Suedehead (/wiki/Suedehead_(subculture)) Modern subcultures and groups Football hooliganism (/wiki/Football_hooliganism) Gay skinhead (/wiki/Gay_skinhead) Hardcore skinhead (/wiki/Hardcore_skinhead) Friends Stand United (/wiki/Friends_Stand_United) Hardline (/wiki/Hardline_(subculture)) Oi! (/wiki/Oi!) Straight edge (/wiki/Straight_edge) Peckerwood (/wiki/Peckerwood) Aryan Brotherhood (/wiki/Aryan_Brotherhood) Aryan Brotherhood of Texas (/wiki/Aryan_Brotherhood_of_Texas) Aryan Circle (/wiki/Aryan_Circle) European Kindred (/wiki/European_Kindred) Nazi Lowriders (/wiki/Nazi_Lowriders) Public Enemy No. 1 (/wiki/Public_Enemy_No._1_(street_gang)) List of peckerwood gangs Redskin (/wiki/Redskin_(subculture)) Red Action (/wiki/Red_Action) Red and Anarchist Skinheads (/wiki/Red_and_Anarchist_Skinheads) Trojan skinhead (/wiki/Trojan_skinhead) Anti-Racist Action (/wiki/Anti-Racist_Action) Skinheads Against Racial Prejudice (/wiki/Skinheads_Against_Racial_Prejudice) White power skinhead (/wiki/White_power_skinhead) American Front (/wiki/American_Front) Aryan Guard (/wiki/Aryan_Guard) Blood & Honour (/wiki/Blood_%26_Honour) British Movement (/wiki/British_Movement) Combat 18 (/wiki/Combat_18) Creativity (/wiki/Creativity_(religion)) Hammerskins (/wiki/Hammerskins) Heritage Front (/wiki/Heritage_Front) Keystone State Skinheads (/wiki/Keystone_State_Skinheads) Vinlanders Social Club (/wiki/Vinlanders_Social_Club) National Front (/wiki/National_Front_(UK)) National Socialist Movement (/wiki/National_Socialist_Movement_(United_States)) Volksfront (/wiki/Volksfront) White Aryan Resistance (/wiki/White_Aryan_Resistance) Music 2 Tone (/wiki/2_Tone_(music_genre)) Blue Beat (/wiki/Blue_Beat_Records) Caribbean music in the UK (/wiki/Caribbean_music_in_the_United_Kingdom) Hardcore punk (/wiki/Hardcore_punk) Mod revival (/wiki/Mod_revival) Motown (/wiki/Motown) National Socialist black metal (/wiki/National_Socialist_black_metal) Northern soul (/wiki/Northern_soul) Oi! (/wiki/Oi!) Punk rock (/wiki/Punk_rock) Reggae (/wiki/Reggae) Rock Against Communism (/wiki/Rock_Against_Communism) Rocksteady (/wiki/Rocksteady) Ska (/wiki/Ska) Soul (/wiki/Soul_music) Stax Records (/wiki/Stax_Records) Studio One (/wiki/Studio_One_(record_label)) Trojan Records (/wiki/Trojan_Records) Clothing and accessories Alpha Industries (/wiki/Alpha_Industries) Ben Sherman (/wiki/Ben_Sherman) Brogues (/wiki/Brogue_shoe) Brutus Crombie (/wiki/Crombie_(clothing)) Donkey jacket (/wiki/Donkey_jacket) Dr. Martens (/wiki/Dr._Martens) Flat cap (/wiki/Flat_cap) Flight jacket (/wiki/Flight_jacket) Fred Perry (/wiki/Fred_Perry_(clothing_label)) Grinders (/wiki/Grinders_(footwear)) Harrington (/wiki/Harrington_jacket) Levi Strauss (/wiki/Levi_Strauss_%26_Co.) Loafers (/wiki/Slip-on_shoe) Lonsdale (/wiki/Lonsdale_(clothing)) MA-1 (/wiki/MA-1_bomber_jacket) Sweater vest (/wiki/Sweater_vest) Sta-Prest (/wiki/Sta-Prest) Solovair (/wiki/Solovair) Steel-toe boots (/wiki/Steel-toe_boot) Suit (/wiki/Suit_(clothing)) Tredair (/wiki/Tredair) Trilby (/wiki/Trilby) Other topics Skinhead books (/wiki/List_of_skinhead_books) Skinhead films (/wiki/List_of_skinhead_films) Hooligan firms (/wiki/List_of_hooligan_firms) Peckerwood gangs This clothing (/wiki/Clothing) -related article is a stub (/wiki/Wikipedia:Stub) . 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American fashion company This article reads like a press release (/wiki/Wikipedia:What_Wikipedia_is_not#PROMO) or a news article (/wiki/Wikipedia:What_Wikipedia_is_not#NEWS) and may be largely based on routine coverage (/wiki/Wikipedia:Notability_(events)#Routine_coverage) . Please help improve this article (https://en.wikipedia.org/w/index.php?title=Yandy.com&action=edit) and add independent sources (/wiki/Wikipedia:Independent_sources) . ( August 2020 ) Yandy.com of PEI Holdings Industry Women's apparel, lingerie Founded 2007 Founders Chad Horstman (/wiki/Chad_Horstman) Evan Horstman Successor Aras Koktas (CEO) Headquarters Phoenix, Arizona Key people Pilar Quintana (Chief Merchandising Officer) Products Lingerie, Halloween Costumes, Swimwear, Activewear Website www (http://www.yandy.com/) .yandy (http://www.yandy.com/) .com (http://www.yandy.com/) Yandy.com is an American online retailer (/wiki/Online_shopping) and fashion design (/wiki/Fashion_design) company focusing on lingerie (/wiki/Lingerie) , swimwear (/wiki/Swimwear) , Halloween costumes (/wiki/Halloween_costume) , and women's apparel. History [ edit ] Yandy.com is an online women's intimates apparel retailer, originally based out of the residence of its co-founders. [1] (#cite_note-Independent-1) The company was founded in 2007 [2] (#cite_note-2) by Chad Horstman (/wiki/Chad_Horstman) and his brother Evan [3] (#cite_note-3) in Scottsdale, Arizona (/wiki/Scottsdale,_Arizona) . [4] (#cite_note-4) By 2018 the company employed over 80 full-time employees and occupies a 30,000 sq ft (2,800 m 2 ) warehouse. [5] (#cite_note-5) Chad Horstman (/wiki/Chad_Horstman) served as the company's CEO from its founding until 2017 and remains a member of its board of directors. [6] (#cite_note-AZB-6) In October 2017, the company elevated its CTO Aras Koktas and CFO Jeffrey Watton to Co-CEO titles. The firm first sold exclusively lingerie but expanded to Halloween costumes in their first year. In 2010, it began selling its own branded costumes. [7] (#cite_note-7) It now creates lingerie, everyday intimates, [8] (#cite_note-People-8) [9] (#cite_note-9) Halloween costumes, [10] (#cite_note-Thrillist-10) swimwear, [11] (#cite_note-Cosmo-11) and other women's apparel. [12] (#cite_note-12) [8] (#cite_note-People-8) Halloween costumes have included looks inspired by political figures, [13] (#cite_note-Elite-13) celebrities, [14] (#cite_note-14) memes (/wiki/Internet_meme) , [15] (#cite_note-15) [16] (#cite_note-16) cultural events, [17] (#cite_note-17) and popular culture trends, [18] (#cite_note-18) [19] (#cite_note-19) along with conventional Halloween themes. [1] (#cite_note-Independent-1) [20] (#cite_note-20) In December 2019, Yandy was purchased by Playboy Enterprises (/wiki/Playboy_Enterprises) . [21] (#cite_note-21) [ circular reference ] In April 2023, Yandy was acquired by ASP Retail Group led by company's former CEO, Aras Koktas. Koktas has returned to the operation as the chief executive after a 2 year hiatus when he served as Chief Digital Officer at DollsKill. Fashion shows and partnerships [ edit ] Fashion Shows [ edit ] The firm's swimwear collections have been shown at New York Fashion Week, [22] (#cite_note-PhoBiz-22) Miami Swim Week, [23] (#cite_note-23) and Scottsdale Fashion Week. [24] (#cite_note-Biz2-24) It also produced the first Halloween costume fashion show at New York Fashion Week (/wiki/New_York_Fashion_Week) in September 2016, featuring 39 costumes. [25] (#cite_note-Fashion-25) [26] (#cite_note-26) [27] (#cite_note-27) Partnerships [ edit ] In 2017, the firm became the swimsuit sponsor for the 2017 Miss USA Pageant (/wiki/Miss_USA_Pageant) , providing the swimsuits for each of the contestants, later selling each design through its website. The swimsuits were designed by Pilar Quintana-Williams, the company's Director of Merchandising. [11] (#cite_note-Cosmo-11) In July 2017, the company received licensing for their Baywatch swimwear collection. [28] (#cite_note-28) [29] (#cite_note-29) Criticism [ edit ] Brave Red Maiden Costume [ edit ] In September 2018, Yandy.com introduced a costume they called "Brave Red Maiden" which was apparent that it had been designed as a "sexy" knockoff from The Handmaid's Tale (/wiki/The_Handmaid%27s_Tale_(TV_series)) . Several news sources picked up the story and criticized the choice to create and sell this costume. [30] (#cite_note-30) [31] (#cite_note-31) [32] (#cite_note-32) [33] (#cite_note-33) [34] (#cite_note-34) The firm quickly withdrew the costume from their site and issued an apology. Yandy.com has offered Native Americans costumes since it began selling Halloween products and accessories, but does not currently list them on their site. References [ edit ] ^ a b "What the CEO behind those ridiculous 'sexy' Halloween costumes has to say" (https://www.independent.co.uk/news/business/news/yandycom-ceo-chad-horstman-on-why-his-sexy-halloween-costumes-are-so-ridiculous-a6687856.html) . Independent.co.uk (/wiki/Independent.co.uk) . 9 October 2015. Archived (https://ghostarchive.org/archive/20220507/https://www.independent.co.uk/news/business/news/yandycom-ceo-chad-horstman-on-why-his-sexy-halloween-costumes-are-so-ridiculous-a6687856.html) from the original on 2022-05-07. ^ (#cite_ref-2) "We Talked to the CEO Behind Those Ridiculous "Sexy" Halloween Costumes" (https://www.maxim.com/maxim-man/ceo-yandy-chad-horstman-ridiculous-sexy-halloween-costumes-2015-10) . 8 October 2015. ^ (#cite_ref-3) Stampler, Laura (31 October 2013). "Meet the People Who Design the Sexy Pizza Costume and Other Risqué Halloween Gear" (http://newsfeed.time.com/2013/10/31/meet-the-people-who-design-the-sexy-pizza-costume-and-other-risque-halloween-gear/) . Time – via newsfeed.time.com. ^ (#cite_ref-4) Gustafson, Krystina (29 September 2015). "Meet the man behind those sexy Halloween costumes" (https://www.cnbc.com/2015/09/29/meet-the-man-behind-those-sexy-halloween-costumes.html) . CNBC (/wiki/CNBC) . ^ (#cite_ref-5) "How Yandy Made Sexy Halloween Costumes Go Viral" (https://www.cosmopolitan.com/style-beauty/a13043654/this-is-how-your-sexy-halloween-costume-gets-made/) . Cosmopolitan . 2017-10-24 . Retrieved 2018-08-24 . ^ (#cite_ref-AZB_6-0) "Yandy.com names Thom Brodeur CEO" (https://azbigmedia.com/business/business-leaders/thom-brodeur-named-ceo-yandy-com/) . January 23, 2017. ^ (#cite_ref-7) Austin, Christina. "Yandy.com owns the sexy Halloween costume business" (http://fortune.com/2015/10/28/yandy-sexy-halloween-costume/) . Fortune . ^ a b "You Can Get Disney Princess-Inspired Lingerie Sets for $24 (Yes, It's a Whole New World)" (http://people.com/style/yandy-releases-disney-princess-inspired-lingerie/) . 6 April 2017. ^ (#cite_ref-9) "Here's the ~Revealing~ Holiday Lingerie Women Are Buying Like Crazy" (http://www.cosmopolitan.com/style-beauty/fashion/news/a50840/best-selling-holiday-lingerie/) . 15 December 2015. ^ (#cite_ref-Thrillist_10-0) Craggs, Ryan (12 October 2016). "Inevitably, a Sexy Ken Bone Halloween Costume Already Exists" (https://www.thrillist.com/news/nation/sexy-ken-bone-halloween-costume-on-yandycom) . ^ a b Odell, Amy (May 12, 2017). "How Yandy Made Its Sexy Viral Swimwear Appropriate for the Miss USA Pageant" (https://www.cosmopolitan.com/entertainment/a9640577/miss-usa-swimwear-yandy/) . Cosmopolitan . ^ (#cite_ref-12) "JDA Software executive one of 3 Arizona CEO departures in January" (http://www.azcentral.com/story/money/business/2017/02/08/jda-software-executive-one-3-arizona-ceo-departures-january/97657286/) . ^ (#cite_ref-Elite_13-0) "A 'Sexy' Donald Trump Costume Exists, So Maybe Skip This Halloween" (http://elitedaily.com/social-news/sexy-donald-trump-halloween-costume/1619580/) . 22 September 2016. ^ (#cite_ref-14) "Sexy Deadmau5 Costume Is Everything That's Wrong With Halloween" (http://www.huffingtonpost.ca/2014/09/23/sexy-deadmau5-dj-costume_n_5865232.html) . The Huffington Post . 23 September 2014. ^ (#cite_ref-15) O'Connor, Clare. "How Lingerie Site Yandy Will Make $15 Million This Halloween On 'Sexy' Viral Costumes And SEO" (https://web.archive.org/web/20151021023423/http://www.forbes.com/sites/clareoconnor/2015/10/19/how-lingerie-site-yandy-will-make-15-million-this-halloween-on-sexy-viral-costumes-and-seo/#c3d4cbd2ad51) . Forbes (/wiki/Forbes) . Archived from the original (https://www.forbes.com/sites/clareoconnor/2015/10/19/how-lingerie-site-yandy-will-make-15-million-this-halloween-on-sexy-viral-costumes-and-seo/#c3d4cbd2ad51) on October 21, 2015. ^ (#cite_ref-16) Wolff-Mann, Ethan. " (https://money.com/sexy-halloween-costumes-viral-memes/) 'Sexy' Halloween Costumes of Viral Memes Will Make $15 Million This Fall" (https://money.com/sexy-halloween-costumes-viral-memes/) . Money . Archived (https://web.archive.org/web/20151022043035/http://time.com/money/4080443/sexy-halloween-costumes-viral-memes/) from the original on October 22, 2015. ^ (#cite_ref-17) Tschorn, Adam (26 August 2015). "Why dressing like a sexy Cecil the Lion this Halloween isn't a totally bad idea" (http://www.latimes.com/fashion/alltherage/la-ar-sexy-cecil-the-lion-costume-20150826-story.html) – via LA Times. ^ (#cite_ref-18) "24 ridiculous things that shouldn't be sexy costumes" (https://www.indystar.com/story/life/2016/10/21/24-ridiculous-things-shouldnt-sexy-costumes/92430458/) . ^ (#cite_ref-19) LEANNE ITALIE. "Is there an 'ick' factor to Trump, Clinton for Halloween?" (http://www.nwherald.com/2016/10/13/is-there-an-ick-factor-to-trump-clinton-for-halloween/ack4pez/) . Associated Press. ^ (#cite_ref-20) Metro.co.uk, Alison Lynch for (30 September 2015). "There is nothing this Halloween costume company can't make 'sexy' (http://metro.co.uk/2015/09/30/there-is-literally-nothing-this-halloween-costume-company-cant-make-sexy-5413979/) " (http://metro.co.uk/2015/09/30/there-is-literally-nothing-this-halloween-costume-company-cant-make-sexy-5413979/) . ^ (#cite_ref-21) "Playboy Enterprises" (https://en.wikipedia.org/wiki/Playboy_Enterprises#cite_note-MtnCrest_Inv_Pres-23) . ^ (#cite_ref-PhoBiz_22-0) "Yandy-brings-arizona-flair-to-new-york-fashion" (http://www.bizjournals.com/phoenix/news/2017/02/18/yandy-brings-arizona-flair-to-new-york-fashion.html) . www.bizjournals.com . February 18, 2017 . Retrieved 2021-09-05 . ^ (#cite_ref-23) "All You Need To Know From Miami Swim Week" (https://www.yahoo.com/style/all-you-need-to-know-from-miami-swim-week-195553921.html) . 20 July 2016. ^ (#cite_ref-Biz2_24-0) "Yandy-becomes-official-swimwear-sponsor-for-miss" (http://www.bizjournals.com/phoenix/news/2017/05/02/.html) . www.bizjournals.com . March 2, 2017 . Retrieved 2021-09-05 . ^ (#cite_ref-Fashion_25-0) Fashion&Style (11 September 2016). "Yandy.com Presents NYFW's First Halloween Runway Show [Slide Show]" (http://www.fashionnstyle.com/articles/89501/20160911/yandy-com-presents-nyfws-first-halloween-runway-show-slide-show.htm) . ^ (#cite_ref-26) "Fashion puts a twist on Halloween costume trends - Reading Eagle - LIFE" (http://www.readingeagle.com/life/article/fashion-puts-a-twist-on-halloween-costume-trends) . 27 October 2016. ^ (#cite_ref-27) "New York Fashion Week Has Its First Ever Halloween-Themed Show; Yandy.com Bosses Tease Popular Costume Ideas [PHOTOS]" (http://www.ibtimes.com/new-york-fashion-week-has-its-first-ever-halloween-themed-show-yandycom-bosses-tease-2414145) . International Business Times (/wiki/International_Business_Times) . 10 September 2016. ^ (#cite_ref-28) Yandy.com. "Yandy.com Celebrates Baywatch Movie With Inspired-By Swim Collection" (https://globenewswire.com/news-release/2017/06/28/1030155/0/en/Yandy-com-Celebrates-Baywatch-Movie-With-Inspired-By-Swim-Collection.html) . GlobeNewswire News Room . Retrieved 2018-08-24 . ^ (#cite_ref-29) "Yandy gets official license for Baywatch swimsuit collection" (https://www.bizjournals.com/phoenix/news/2017/07/04/yandy-gets-official-license-for-baywatch-swimsuit.html) . bizjournals.com . Retrieved 2018-08-24 . ^ (#cite_ref-30) "Yandy Made a Sexy Handmaid's Tale Halloween Costume - and People Are Furious" (https://people.com/style/yandy-sexy-handmaids-tale-halloween-costume/) . PEOPLE.com . Retrieved 2018-09-21 . ^ (#cite_ref-31) Gupta, Prachi. "Yandy Is Selling a Sexy Handmaiden's Costume" (https://jezebel.com/i-dont-know-how-to-feel-about-this-sexy-handmaiden-cost-1829204492) . Jezebel . Retrieved 2018-09-21 . ^ (#cite_ref-32) Mercado, Mia. "Sexy 'Handmaid's Tale' Costumes Have Officially Hit The Internet" (https://www.bustle.com/p/sexy-handmaids-tale-costumes-just-hit-the-internet-this-is-your-reminder-to-please-dont-11975813) . Bustle . Retrieved 2018-09-21 . ^ (#cite_ref-33) Santiago, Amanda Luz Henning. "Here's a sexy 'Handmaid's Tale' Halloween costume that no one asked for" (https://mashable.com/article/sexy-handmaids-tale-costume/) . Mashable . Retrieved 2018-09-21 . ^ (#cite_ref-34) "This "sexy" Handmaid's Tale outfit is the first (but probably not the last) problematic costume of Halloween 2018" (https://hellogiggles.com/news/sexy-handmaids-tale-costume/) . HelloGiggles . Retrieved 2018-09-21 . External links [ edit ] Official website (https://www.yandy.com) NewPP limit report Parsed by mw‐web.codfw.main‐6fcf4fdbb9‐99wjj Cached time: 20240716014518 Cache expiry: 2592000 Reduced expiry: false Complications: [vary‐revision‐sha1, show‐toc] CPU time usage: 0.448 seconds Real time usage: 0.565 seconds Preprocessor visited node count: 2592/1000000 Post‐expand include size: 65310/2097152 bytes Template argument size: 1912/2097152 bytes Highest expansion depth: 13/100 Expensive parser function count: 2/500 Unstrip recursion depth: 1/20 Unstrip post‐expand size: 125612/5000000 bytes Lua time usage: 0.293/10.000 seconds Lua memory usage: 9214448/52428800 bytes Number of Wikibase entities loaded: 1/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 527.787 1 -total 45.62% 240.788 1 Template:Reflist 33.05% 174.421 26 Template:Cite_web 19.70% 103.960 1 Template:Infobox_company 17.82% 94.063 1 Template:Infobox 12.61% 66.578 1 Template:Short_description 7.25% 38.265 2 Template:Pagetype 6.32% 33.338 1 Template:Circular_reference 6.30% 33.260 1 Template:Cleanup_press_release 5.85% 30.872 1 Template:Fix Saved in parser cache with key enwiki:pcache:idhash:54341400-0!canonical and timestamp 20240716014518 and revision id 1234768166. 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This article is about the fashion style. For other fashion trend named "Plus-size clothing", see Plus-size clothing (/wiki/Plus-size_clothing) . This article has multiple issues. Please help improve it (/wiki/Special:EditPage/Women%27s_oversized_fashion_in_the_United_States_since_the_1920s) or discuss these issues on the talk page (/wiki/Talk:Women%27s_oversized_fashion_in_the_United_States_since_the_1920s) . ( Learn how and when to remove these template messages (/wiki/Help:Maintenance_template_removal) ) This article is written like a personal reflection, personal essay, or argumentative essay (/wiki/Wikipedia:What_Wikipedia_is_not#Wikipedia_is_not_a_publisher_of_original_thought) that states a Wikipedia editor's personal feelings or presents an original argument about a topic. Please help improve it (https://en.wikipedia.org/w/index.php?title=Women%27s_oversized_fashion_in_the_United_States_since_the_1920s&action=edit) by rewriting it in an encyclopedic style (/wiki/Wikipedia:Writing_better_articles#Information_style_and_tone) . ( October 2012 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) This article needs additional citations for verification (/wiki/Wikipedia:Verifiability) . Please help improve this article (/wiki/Special:EditPage/Women%27s_oversized_fashion_in_the_United_States_since_the_1920s) by adding citations to reliable sources (/wiki/Help:Referencing_for_beginners) . Unsourced material may be challenged and removed. Find sources: "Women's oversized fashion in the United States since the 1920s" (https://www.google.com/search?as_eq=wikipedia&q=%22Women%27s+oversized+fashion+in+the+United+States+since+the+1920s%22) – news (https://www.google.com/search?tbm=nws&q=%22Women%27s+oversized+fashion+in+the+United+States+since+the+1920s%22+-wikipedia&tbs=ar:1) · newspapers (https://www.google.com/search?&q=%22Women%27s+oversized+fashion+in+the+United+States+since+the+1920s%22&tbs=bkt:s&tbm=bks) · books (https://www.google.com/search?tbs=bks:1&q=%22Women%27s+oversized+fashion+in+the+United+States+since+the+1920s%22+-wikipedia) · scholar (https://scholar.google.com/scholar?q=%22Women%27s+oversized+fashion+in+the+United+States+since+the+1920s%22) · JSTOR (https://www.jstor.org/action/doBasicSearch?Query=%22Women%27s+oversized+fashion+in+the+United+States+since+the+1920s%22&acc=on&wc=on) ( October 2012 ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) ( Learn how and when to remove this message (/wiki/Help:Maintenance_template_removal) ) Oversized fashion, distinct from plus-sized fashion (/wiki/Plus-size_clothing) , consists of clothing and other accessories that are larger than normal and reflect some sort of attitude, message, or trend of the period at hand. While oversized fashion trends from the 1920s to the turn of the century vary from decade to decade, there are many overarching themes that have been expressed during the past one hundred or so years. Masculinity (/wiki/Masculinity) , for example, has played a large role in many of the underlying communications of the fashions, although virility is manifested differently in the clothing depending on the era. Oversized fashion production, furthermore, runs largely parallel with the states of the American (/wiki/Economic_history_of_the_United_States) and global economies (/wiki/Economic_history_of_the_world) . Modernly, oversized fashion has taken on a new form - primarily in the realm of oversized accessories (/wiki/Fashion_accessory) . The 1920s [ edit ] Chiffon evening dress, 1921 The 1920s were marked by a post-war aesthetic. After World War I, the fashion world experienced a great switch: from tight corsets and hobble skirts—to shapeless, oversized, and sparsely decorated garments. [1] (#cite_note-1) Women began to wear more comfortable fashions, including blousy skirts and trousers. Further, this era gave birth to sportswear fashion. Sportswear, previously recognized as America's main contribution to fashion, consisted of a casual more relaxed style. [2] (#cite_note-2) Coco Chanel (/wiki/Coco_Chanel) , known as the first modern dressmaker, made one of the greatest contributions to style in the 1920s: the two-piece dress. She created two-piece dresses out of jersey (fabric) (/wiki/Jersey_(fabric)) , a comfortable stretchy fabric. [3] (#cite_note-3) The American public was receptive, embracing this relaxed style, which was perfect for the active woman on the go. The combination of these new ideas yielded this loosely fitted, modernized style. The "boyish figure", moreover, became a prevalent trends of the era, with shapeless silhouettes and dropped waistlines (/wiki/Waistline_(clothing)) giving a more masculine look to the female figure. The emphasis on a flattened chest revolutionized the construction of undergarments. Along with this new silhouette, 1920s fashions were further modernized by the coming of a new generation of sewing-machines, each with an individual electric motor, enabling designers to create more oversized fashions, while saving time and resources. In contrast to the "boyish figure" were the types of hats and accessories women wore in the roaring twenties (/wiki/Roaring_twenties) . [4] (#cite_note-4) Flapper dresses (/wiki/Flapper_dress) were juxtaposed with oversized hats, often trimmed with large bows, feathers, ribbons, or sequins. Furthermore, bold headbands were often worn to complement women's customarily shorter hair lengths. Since a lot of women's fashion from this decade were quite masculine in style, many women adorned them with accessories that were rather feminine. Music also had an influence in the ways in which fashions evolved. The Jazz Age (/wiki/Jazz_Age) saw the popularization of flaps in dresses; and stars such as the entertainer Josephine Baker (/wiki/Josephine_Baker) became known for their semi-translucent flapper frocks. The 1930s [ edit ] The 1930s started in depression and ended with the onset of World War II (/wiki/World_War_II) . With rising unemployment and despair, no industry was left unaffected. In the fashion industry, designers cut their prices and produced new lines of ready-to-wear clothes, along with clothing made of more economical and washable fabrics, such as rayon (/wiki/Rayon) and nylon (/wiki/Nylon) . [5] (#cite_note-5) For example, Coco Chanel (/wiki/Coco_Chanel) showed a collection of evening dresses made of cotton and sold dresses reduced by 50%. The fashions of the 1930s were stylish and elegant, with flowing lines and Paris-based coutures. Since many women could not afford to update their wardrobes, women changed their look by resorting to alterations to exemplify the oversized fashion of the 1930s. [6] (#cite_note-Peacock2007-6) They used lengthening bands of contrasting fabric and added fur to their hems. This inventive way to put together new articles of clothing gave birth to the "Feedsack Dress"; constructed from the material of a sack of animal feed, these frocks were typically cut similarly to shift dresses. This A-line (/wiki/A-line_(clothing)) cuts were boxy and contrasted the slinky and sensual bias (/wiki/Bias_(textile)) -cut dresses that became famous during the same era for their ability to cover the woman's body while clinging to each curve. Furthermore, material was added to collars and sleeves. Another trend rising from the 1930s was the "Banjo Sleeve", created by sewing two rectangular pieces of fabric with the top seam only sewn halfway to allow the arm to flow out. The boxy shape was oversized and blousy. As the era progressed, skirts that flared out fell to the bottom of the calf and sleeves were loosely tied as they fell from the elbow to wrist. From the harsh economic conditions of the time came about the glamorous 1930s in film (/wiki/1930s_in_film) , and the glamorous clothing worn seen on the screen grew in popularity. Dresses constructed from Chiffon (/wiki/Chiffon_(fabric)) fabric were rather loose-fitting as they flew away from the body, [7] (#cite_note-7) and embodied the elegance that was maintained throughout the 1930s despite the economic struggles. The 1940s [ edit ] During the first half of the 1940s, many clothing-related commodities were in short supply due to World War II (/wiki/World_War_II) ; the United States Government relinquished numerous products for utilization in warfare. Leather (/wiki/Leather) , for example, was much used in the uniforms of American servicemen—so the material, to a large extent, went out of use in mainstream fashion. [8] (#cite_note-Lansdell-8) As a consequence, oversized fashion utilizing excessive amounts of material was not in style. Designers such as Cristóbal Balenciaga (/wiki/Crist%C3%B3bal_Balenciaga) , Digby Morton, and Norman Hartnell (/wiki/Norman_Hartnell) , however, utilized oversized fashion practices in their early 1940s collections to manifest the consequential happenings of the war. [6] (#cite_note-Peacock2007-6) While men were abroad taking up arms, many women took on their positions in factories and offices. Accordingly, women's fashion became more masculine. Wide-legged slacks and pronounced shoulder pads became all the rage, and most American women embraced the virile style. [8] (#cite_note-Lansdell-8) Not until the second half of the decade, though, with the introduction of Dior's “New Look,” (/wiki/Christian_Dior_S.A.) was oversized fashion widely put to use. Dior's “New Look,” (/wiki/Christian_Dior_S.A.) which first grew in popularity in Europe (/wiki/Europe) , featured full skirts that reached the mid-calves. [8] (#cite_note-Lansdell-8) When Dior initially set in motion this new style, the fashion house received a lot of criticism. Sir Stafford Cripps (/wiki/Stafford_Cripps) , then President of the Britain's Board of Trade (/wiki/Board_of_Trade) , was quoted as saying that the “New Look” was “utterly stupid” and an enormous waste of labor and materials. [9] (#cite_note-9) He was not the only one opposed to the excessive usage of material. In the U.S, legislation was passed that restricted yardage in fabric for clothing, under a policy entitled L-85. Many American citizens resisted the new legislation, with groups being formed such as the “A Little Below the Knee Club” in Texas. However, in the U.S, Dior's "New Look" (/wiki/Christian_Dior_S.A.) was also shaping the trends of the time. Designer Claire McCardell (/wiki/Claire_McCardell) , influenced by Parisian design, created the monastic dress, in jersey, featuring a criss-cross string belt at midriff and a draped full skirt. A few years later, however, once World War II ended, the “New Look” and its oversized flair was relished both within the fashion world and the consumer market. The 1950s [ edit ] The post-war era of the 1950s brought a change to the family dynamic as well as to the fashion world. In 1947, Christian Dior (/wiki/Christian_Dior) launched as the first collection from his fashion house his "Corelle line", [10] (#cite_note-10) which featured oversized designs. The "Corelle line" became the look of the decade, ushering femininity, luxury and grace into the era, and making a great impact on the female silhouette. This change implemented by Christian Dior dominated the decade. [6] (#cite_note-Peacock2007-6) Clothes transformed from boxy styles, with square shoulders, to feminine and luxurious, with soft shoulder lines, corseted waists, round padded hips, and long skirts, leading to the knee-length "sack" dress. The knee-length skirts and dresses were the most oversized items of this 1950s. The introduction of new fabrics, including Terylene (/wiki/Terylene) , Orlon (/wiki/Orlon) , Banlon (/wiki/Banlon) , Acrilan (/w/index.php?title=Acrilan&action=edit&redlink=1) and Poplin (/wiki/Poplin) , allowed for new fashion styles to be both created and introduced. Among these were the "wash-and-wear" sweater, the permanently pleated skirt, and the "drip-dry" skirt. Skirts of this era known as circle skirts were supported by layers of petticoats, creating a circular look that accentuated the waist line. Essentially, the petticoat reinforced the femininity of this period. [11] (#cite_note-11) The 1950s woman also tended to be influenced by the fashions worn by movie stars such as Marilyn Monroe (/wiki/Marilyn_Monroe) and Audrey Hepburn (/wiki/Audrey_Hepburn) . Hepburn in her roles in various movies such as Roman Holiday famously wore an oversized skirt that accentuated her waist, together with a tighter shirt. The 1960s [ edit ] Mrs.Kennedy and President of Tunisia (Mr. Habib Bourguiba) with Wife (Mrs. Bourguiba) The look of the 1960s was in marked contrast to the “New Look” developed in the end of the 1940s that heavily influenced trends of the 1950s with femininity and sensuality. The look of the 1960s reflected the main issue of that time: Civil Rights. The 1960s woman “demanded equal rights and equal pay, wanted to be free, to look young and to have fun”. [12] (#cite_note-12) Oversized fashions were utilized in more subtle ways in this decade, giving rise to trends that revolutionized the working woman and gave a voice to more conservative feminines. To achieve this youthful and flirty look, skirts were shortened, creating a look reminiscent of the 1920s. During this era, in 1965, the miniskirt (/wiki/Miniskirt) was developed. An alternative to this exposed look was in high demand, thus leading to the creation of the midi skirt (/wiki/Midi_skirt) . This new "midi" mainly featured a pleated A-line bodice, which allowed it to flow away from the body. This oversized fashion began to make its way to the workplace as it provided both femininity and formality. Evening wear was also affected, and both long and short dresses could be seen at engagements. Designs embraced the oversized look through more elegant silhouettes, specially in evening wear, which boasted loose forms and fluid fabrics. The change in fashion during this period was also due to international influences such as from London and France, where designers were young. A notable point about this period is that women also began to wear pants-suits and jeans. [13] (#cite_note-13) The materials used for both clothing and accessories changed during this era. Increasingly used were easy-care synthetic fabrics such as Crimplene (/wiki/Crimplene) , Dacron (/wiki/Dacron) and Terylene. The benefits of such synthetic fabrics were that they were crease-resistant, easy to wash, and required little to no ironing. Designers such as Cristóbal Balenciaga (/wiki/Crist%C3%B3bal_Balenciaga) embraced these new types of materials, using them in oversized dolman-sleeve jackets. The pattern for this piece was cut in a rectangular shape forming a boxy blousy look. [14] (#cite_note-14) During this period, synthetic yarns that took dyes easily were used. Leather-look plastic also helped to create a vibrant feel to accessories such as shoes, umbrellas and additional clothing items such as mini-skirts. [15] (#cite_note-15) While in this era, clothing became split along lines of age, there were overriding oversized trends including: midi skirts, Dolman sleeves (/wiki/Dolman_sleeve) , loose jackets and shapeless frocks. Another factor contributing to the trends of this period was the “post-industrial boom” that helped to generate wealth in the United States. Jackie Kennedy (/wiki/Jackie_Kennedy) , wife of President John F. Kennedy, became a model of French fashions and helped to spur the spread of the miniskirt, along with Twiggy (/wiki/Twiggy) , who gained iconic status as the face and body of the era wearing the shapeless mod dresses that were a huge trend. Jackie Kennedy's “beehive” hairstyle also highlighted oversized fashion. The 1970s [ edit ] The 1970s is often referred to as the “Me Decade”, [16] (#cite_note-16) a term originally coined by writer Tom Wolfe (/wiki/Tom_Wolfe) . There were many groups, such as political and extremist groups, wanting a piece of the action. With respect to dress, it was an “anything goes” era, without rules. This manifested in some ways via the production of oversized fashion. Fashion styles were inspired by previous decades, hinting at both nostalgia and an interest in other cultures. The current political and economic situation of the United States, including the civil rights, unemployment levels (/wiki/Unemployment) , war and terrorism, were reflected in the manner in which individuals dressed. With the women's movement of the 1970s, radical feminists could be stereotyped for their anti-high fashion sentiments; these women required low maintenance and made a statement. With regards to high fashion, established fashion houses produced more ready-to-wear collections and casual attire. With nostalgia a big theme of this period, secondhand clothes were key. Similar to the 1950s, 1920s clothing also influenced this decade, along with fashions of the '30s, '40s and '50s. Television and movies such as The Godfather (/wiki/The_Godfather) and Grease (/wiki/Grease_(film)) also played homage to styles of the past. When not inspired by nostalgia, fashion took another turn whereby "the idea was to appear as if your body had been spray painted". To achieve this look, leotards were worn and were accessorized with short frilled skirts, cap sleeves and leg-warmers (/wiki/Leg-warmers) . [17] (#cite_note-17) “ Hot pants (/wiki/Hot_pants) ” or skimpy shorts were also popular in the beginning of the '70s. By the mid-1970s, we see the reemergence of “unstructured design” from the fashion houses. [18] (#cite_note-18) These were considered the simplest cuts, appearing to look as if no skilled cutting was required. Typical of this cut is Issey Miyake (/wiki/Issey_Miyake) ’s wool cowboy look for winter 1978-79, an example of experimentation in textured knitting. The unstructured design of the 1970s highlights the oversized fashion of the decade. The 1980s [ edit ] The beginning of the 1980s was the first time when women assumed high-status roles in the workplace (/wiki/Women_in_the_workplace) . Akin to the 1940s, women's fashion in the 1980s was quite masculine, which was a reflection of women wanting to be taken seriously as working professionals. The three most important designers at the start of this decade, Calvin Klein (/wiki/Calvin_Klein_(fashion_designer)) , Giorgio Armani (/wiki/Giorgio_Armani) , and Ralph Lauren (/wiki/Ralph_Lauren) , were designing clothing that was characterized by broad and square shoulders. [19] (#cite_note-Carnegy-19) This use of oversized shoulders was largely a demonstration of women not wanting to be viewed by their feminine figures, but rather to be viewed equally in their careers. Designers such as Rei Kawakubo (/wiki/Rei_Kawakubo) of Comme des Garçons (/wiki/Comme_des_Gar%C3%A7ons) and Yohji Yamamoto (/wiki/Yohji_Yamamoto) began designing with a Japanese-inspired aesthetics. Clothing became much more oversized to better resemble kimono (/wiki/Kimono) and other flowing Japanese garments. [19] (#cite_note-Carnegy-19) As with oversized shoulders, this Japanese style had the effect of disguising the womanly shape. Donna Karan (/wiki/Donna_Karan) , who became known at the time as "the Queen of 7th Avenue," (/wiki/Donna_Karan) , also began utilizing this Japanese style of dress. Figures both within and outside the fashion world took on this gender-neutral (/wiki/Gender_neutrality) style and made the look ever more popular. Singer, actress, and model Grace Jones (/wiki/Grace_Jones) was a key figure in furthering this type of fashion—keeping her hair short and wearing manly, oversized clothing. Scottish singer Annie Lennox (/wiki/Annie_Lennox) did the same, but had much more of an effect in the musical realm. [19] (#cite_note-Carnegy-19) Another essential person who helped further the style of oversized fashion in the 1980s was Princess Diana (/wiki/Diana,_Princess_of_Wales) , who for her wedding (/wiki/Wedding_of_Charles,_Prince_of_Wales,_and_Lady_Diana_Spencer) to Charles, Prince of Wales (/wiki/Charles,_Prince_of_Wales) in July 1981 wore an oversized wedding dress—making the tailor popular all around the world for the remainder of the decade. The 1990s [ edit ] The 1990s was one of the most diverse eras for fashion. As the fashion world began to experience technological modernization, along with a widespread support from mainstream consumers, the industry felt the need to appeal to different types of audiences. Some of the women's fashion trends included neon and pastel colors, legging and exercise wear, the hippie look, and a hip-hop (/wiki/Hip-hop) style. [20] (#cite_note-20) The last of those examples, hip-hop style, is identifiable as the oversized fashion of the '90s. The influence of hip-hop on urban fashion was overtly strong. Urban fashion was distinctly designed for African-American youth. The 1990s urban style heavily influenced by Black Nationalism (/wiki/Black_Nationalism) and African trends began with the blousy pant sported by famous figures in the rap world such as MC Hammer (/wiki/MC_Hammer) , who popularized oversized " Hammer pants (/wiki/Hammer_pants) ", and fezzes (/wiki/Fez_(hat)) . However, men were not the only ones to embrace this new form of street wear. Women too began to explore the trend. The group TLC (band) (/wiki/TLC_(band)) and R&B singer Aaliyah (/wiki/Aaliyah) created their own urban fashion for women. [21] (#cite_note-21) The trend consisted of wearing oversized pants and big flannel shirts. The hardcore aspect of rap did not fully permit the women to embrace a feminine look that might make them appear weaker. [22] (#cite_note-22) However, some femininity was maintained by the wearing of more fitted shirts, bare midsections and sports bras, while still being hard with the blousy pieces. [23] (#cite_note-23) During the upheaval of the streetwear fashion, models of color began to make their mark in the industry. It was during the 1990s that Tyra Banks (/wiki/Tyra_Banks) found fame. After being rejected by six modeling agency the young Banks was signed by Elite Model Management (/wiki/Elite_Model_Management) , and in her first season as a model she booked 25 shows in Paris Fashion Week (/wiki/Paris_Fashion_Week) . Banks' seductive walk impressed designers and made her a hot commodity. Designers who were influenced by the new oversized streetwear were more likely to book models of color to show their designs. Other famous models of color during the time include Naomi Campbell (/wiki/Naomi_Campbell) and Iman (/wiki/Iman_(model)) . Undoubtedly, oversized fashion marked the beginning of a new trend for urban youth during the 1990s. The 2000s [ edit ] Women's oversized fashion at the turn of the century is largely displayed in various accessories (/wiki/Fashion_accessory) . At the beginning of the 2000s, many designers began using sizable and bulky glasses and jewelry in their lines, and women in the spheres of fashion, music, and film began wearing these oversized decorations. Celebrities such as Nicole Richie (/wiki/Nicole_Richie) and Rachel Zoe (/wiki/Rachel_Zoe) helped to further this wearing of oversized accessories (/wiki/Fashion_accessory) , and assisted in making the items popular in everyday wear. [24] (#cite_note-24) As the decade progressed, the utility of oversized accessories did not wane, but rather became even more widely used. Since the year 2006, three designers have garnered massive amounts of attention for their adoption of oversized fashion: Stella McCartney (/wiki/Stella_McCartney) , Alexander McQueen (/wiki/Alexander_McQueen) , and Marc Jacobs (/wiki/Marc_Jacobs) . In 2006, McQueen (/wiki/Alexander_McQueen) put on a show in which an enormous Pepper's ghost illusion of Kate Moss (/wiki/Illusion_of_Kate_Moss) dressed in yards of rippling fabric adorned the backdrop of catwalk (/wiki/Runway_(fashion)) ; [25] (#cite_note-25) this move furthered the attention of oversized fashion and made Moss (/wiki/Kate_Moss) the poster model for oversized styling. The death of McQueen (/wiki/Alexander_McQueen) in February 2010 led to his style of fashion accruing even more attention, which put oversized fashion even more on the map. [ citation needed ] Another exhibition of the trend is the oversized handbag. Designers such as Balenciaga (/wiki/Balenciaga) , Betsey Johnson (/wiki/Betsey_Johnson) , and Michael Kors (/wiki/Michael_Kors) began producing purses (/wiki/Handbag) and satchel-like bags that were larger than usual and complied with the oversized aesthetic. As a result of the enormous increase in influence of the internet and social media, these bags quickly became very popular after pictures of celebrities carrying them were posted online for many to see and then emulate. [ citation needed ] The reviews of oversized fashion use in the new millennium have been mixed. Some designers and critics have welcomed the utilization of oversized accessories, while others view the trend as prodigal. Young designers and fashion houses such as McCartney (/wiki/Stella_McCartney) , McQueen (/wiki/Alexander_McQueen) , and Jacobs (/wiki/Marc_Jacobs) generally esteem oversized accessories, while older and more established couturiers such as Chanel (/wiki/Chanel) find much oversized accessories (/wiki/Fashion_accessory) distasteful and extravagant. [ citation needed ] See also [ edit ] Fashion accessory (/wiki/Fashion_accessory) Fashion design (/wiki/Fashion_design) Masculinity (/wiki/Masculinity) Index of fashion articles (/wiki/Index_of_fashion_articles) List of fashion topics (/wiki/List_of_fashion_topics) History of Western fashion (/wiki/History_of_Western_fashion) History of fashion design (/wiki/History_of_fashion_design) References [ edit ] ^ (#cite_ref-1) Peacock, J. (1997). The 1920s . London, UK: Thames and Hudson. ^ (#cite_ref-2) Peacock, J. (1993). 20th-Century Fashion: The complete sourcebook . London, UK: Thames and Hudson. ^ (#cite_ref-3) Gold, A., & Gold, A. (1991). 90 Years of Fashion . New York, NY: Fairchild Fashion Group. ^ (#cite_ref-4) Milbank, C. R. (1989), 90 Years of Fashion . New York, NY: Fairchild Fashion Group. ^ (#cite_ref-5) Costantino, M., & Price, R. (1992), Fashions of a Decade: The 1930s . New York, NY: Facts on File. ^ Jump up to: a b c Peacock, J., & Peacock, J. (2007), Fashion Since 1900: The complete sourcebook . London, UK: Thames & Hudson. ^ (#cite_ref-7) Peacock, J. (1997). The 1930s . London, UK: Thames & Hudson. ^ Jump up to: a b c Lansdell, A. (1999). Everyday Fashions of the 20th Century . Pembrokeshire, UK: Shire Publications, Ltd. ^ (#cite_ref-9) Kennett, F. (1983), The Collector's Book of Fashion . New York, NY: Crown Publishers, Inc. ^ (#cite_ref-10) Peacock, J. (1997). The 1950s . London, UK: Thames & Hudson. ^ (#cite_ref-11) Milbank, C. R. (1989). New York Fashion: The evolution of American style . New York, NY: Abrams. ^ (#cite_ref-12) Peacock, J. (1998). The 1960s . London, UK: Thames & Hudson. ^ (#cite_ref-13) Connikie, Y. (1990). Fashions of a Decade: The 1960s . New York, NY: Facts on File. ^ (#cite_ref-14) Rasche, A., & Ringena, H. (2010). Sixties Fashion: Modefotografie & -illustration = fashion photography & illustration . Cologne, GR: Walther Konig. ^ (#cite_ref-15) Smith, D. (1998), Fashionable Clothing from the Sears' Catalogs: Late 1960s . Atglen, PA: Schiffer Publications. ^ (#cite_ref-16) Herald, J. (1992). Fashions of a Decade: The 1970s . New York, NY: Facts on File. ^ (#cite_ref-17) Smith, D. (1998), Fashionable Clothing from the Sears' Catalogs: Early 1970s . Atglen, PA: Schiffer Publications. ^ (#cite_ref-18) Peacock, J. (1997), The 1970s . London, UK: Thames & Hudson. ^ Jump up to: a b c Carnegy, V. (1990), Fashions of a Decade: The 1980s . New York, NY: Facts on File. ^ (#cite_ref-20) Feldman, R., Cumming, V., & Price, R. (1992). Fashions of a Decade: The 1990s . New York, NY: Facts on File. ^ (#cite_ref-21) Romero, E. (2012). Free Stylin': How hip-hop changed the fashion industry . Santa Barbara, CA: Praeger. ^ (#cite_ref-22) Light, A. (1999), The Vibe History of Hip-Hop , New York, NY: Three Rivers Press. ^ (#cite_ref-23) Welters, L., & Cunningham, P. A. (2005). Twentieth-Century American Fashion . Oxford, UK: Berg. ^ (#cite_ref-24) "Rachel Zoe Will Have a Fashion Line — and Then a Child, If Her Schedule Allows". nymag.com. June 2010. ^ (#cite_ref-25) Foley, B. (2008). "Hail McQueen". W magazine . Archived from the original on 20 November 2008. Retrieved 25 September 2012. 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English journalist, 1912–1997 Alison Adburgham Born Majorie Vere Alison Haig ( 1912-01-28 ) 28 January 1912 [1] (#cite_note-The_Guardian_Horwell-1) Yeovil, Somerset, England Died 23 May 1997 (1997-05-23) (aged 85) Truro, Cornwall, England Occupation(s) Journalist, author and social historian Alison Adburgham (28 January 1912 – 23 May 1997) was an English journalist, author and social historian, best known for her work as fashion editor of The Guardian (/wiki/The_Guardian) newspaper, a position she held for 20 years. [2] (#cite_note-Guardian_record-2) Along with Prudence Glynn (/wiki/Prudence_Glynn) of The Times (/wiki/The_Times) and Alison Settle (/wiki/Alison_Settle) of The Observer (/wiki/The_Observer) , she pioneered British fashion journalism in a broadsheet (/wiki/Broadsheet) national newspaper; as a bylined columnist, influencing public perception of trends in clothing, the industry itself. [3] (#cite_note-How_Fashion_Works_Waddell-3) She also wrote several books on social history. Early life and career [ edit ] Adburgham was born Marjorie Vere Alison Haig on 28 January 1912 in Yeovil, Somerset, as the daughter of a doctor and an "unnervingly educated mother". [1] (#cite_note-The_Guardian_Horwell-1) She was educated at home before winning a scholarship to Roedean (/wiki/Roedean_School) , an independent girls' school outside Brighton (/wiki/Brighton) . [1] (#cite_note-The_Guardian_Horwell-1) Her first job was as an advertising copywriter, while contributing articles on manners and style to Clever Night & Day magazine. [1] (#cite_note-The_Guardian_Horwell-1) She took a break from writing after marrying a copywriter, with whom she had four children. [1] (#cite_note-The_Guardian_Horwell-1) Fashion journalism [ edit ] After the Second World War (/wiki/World_War_II) , Adburgham began contributing to Punch (/wiki/Punch_(magazine)) and later through The Guardian women's editor Mary Stott (/wiki/Mary_Stott) . She began to cover fashion collections at a time when newspaper fashion journalism was in its infancy in the UK, becoming an expert in the fashion industry of post-war Europe and in fashion history. [1] (#cite_note-The_Guardian_Horwell-1) Adburgham's earliest bylined fashion piece, in December 1954, approached the wider relevance of fashion: "Over the last half-century there has been a complete change of attitude towards dress. Intelligent women no longer feel it is only the unintelligent who are interested in clothes; highbrows no longer ignore high fashion. When the question is asked, 'What has Dior done to us this season?' that pronoun refers to all women; and not least to those who sit on platforms, who are guests at literary luncheons, or who catch the Speaker's eye in the House." [4] (#cite_note-The_Guardian-4) Adburgham could be disapproving of the foibles of fashion. Writing about the latest collection of hats by Reed Crawford (/wiki/Reed_Crawford) in 1964, she said they "beggar description, especially his cocktail confections: high-standing exclamation pieces stuck through with monstrous hat-pins. Funnier hats have appeared in pantomimes, but not much funnier." [5] (#cite_note-The_Guardian_Adburgham_230764-5) In a 1967 interview with Mary Quant (/wiki/Mary_Quant) , reprinted in 2005, Adburgham grilled the " Swinging London (/wiki/Swinging_London) " designer on the line between fashion and vulgarity, questioning some more permissive elements of the 1960s look and asking Quant, "Would you agree that just as there is brutalism in architecture... there is an element of brutalism in fashion today?" [6] (#cite_note-The_Guardian_(reprint)-6) Adburgham's 1997 obituary in The Guardian by Veronica Horwell stated she was not given to fashion excesses herself – describing her as wearing "rather Design Council style" clothes. A letter in response from Fiona MacCarthy (/wiki/Fiona_MacCarthy) said "Design Council approved" was an unfair description of her style, adding, "She turned up at a party of mine in the 1960s looking rather like a dissolute exiled Polish countess in claret-red velvet with cascading ruffles at the neck." [7] (#cite_note-The_Guardian_MacCarthy-7) Alongside her career reporting on trends in clothing, Adburgham worked with the fashion industry, serving as a governor of the London College of Fashion (/wiki/London_College_of_Fashion) . [1] (#cite_note-The_Guardian_Horwell-1) Writing [ edit ] Adburgham wrote several books of social history, in later life from her home in North Cornwall. Her obituary recalled that the chapter on Liberty of London (/wiki/Liberty_of_London) she included in her first book, Shops and Shopping , was later expanded into a biography of the store for its 1975 centenary, while Women in Print was seen as one of the standard reference works for media studies and for women's studies. [1] (#cite_note-The_Guardian_Horwell-1) Partial bibliography [ edit ] Details as they appear in the British Library catalogue: [8] (#cite_note-8) A Punch History of Manners and Modes, 1841–1940 (London: Hutchinson, 1961) Shops and Shopping 1800–1914 (London: George Allen and Unwin, 1964) [9] (#cite_note-F&F-9) Women in Print (London: George Allen and Unwin, 1972) [1] (#cite_note-The_Guardian_Horwell-1) [10] (#cite_note-Faber_WiP-10) Liberty's: A Biography of a Shop (London: Allen and Unwin, 1975) Shopping in Style. London from the Restoration to Edwardian Elegance (London: Thames and Hudson, 1979) Silver Fork Society: Fashionable Life and Literature from 1814–1840 (London: Constable, 1983) [11] (#cite_note-Faber_SFS-11) A Radical Aristocrat: the Rt. Hon. Sir William Molesworth, Bart., PC, MP of Pencarrow and his wife Andalusia . (Padstow: Tabb House, 1980) References [ edit ] ^ Jump up to: a b c d e f g h i Horwell, Veronica (27 May 1997). "An Outsider's Eye". The Guardian . ^ (#cite_ref-Guardian_record_2-0) "Adburgham, Alison" (http://guardian.calmview.eu/CalmView/Record.aspx?src=CalmView.Persons&id=DS%2fUK%2f1989) . guardian.calmview.eu . Guardian Observer archive . Retrieved 2 August 2015 . ^ (#cite_ref-How_Fashion_Works_Waddell_3-0) Waddell, Gavin (2004). How Fashion Works: Couture, Ready-to-Wear and Mass Production . Oxford: Blackwell Science. p. 157. ISBN (/wiki/ISBN_(identifier)) 9780632057528 . Retrieved 2 August 2015 . ^ (#cite_ref-The_Guardian_4-0) "Dior...Semi-Dior...Demi-Semi Dior". The Guardian . 3 December 1954. ^ (#cite_ref-The_Guardian_Adburgham_230764_5-0) Adburgham, Alison (23 July 1964). "Winter and autumn collections: London Fashion". The Guardian . ^ (#cite_ref-The_Guardian_(reprint)_6-0) Adburgham, Alison (14 May 2005). "The Shock of the New" (https://www.theguardian.com/books/2005/may/14/featuresreviews.guardianreview5) . The Guardian . Retrieved 2 August 2015 . ^ (#cite_ref-The_Guardian_MacCarthy_7-0) MacCarthy, Fiona (28 May 1997). "Letters". The Guardian . ^ (#cite_ref-8) Retrieved 9 November 2015 (http://explore.bl.uk/primo_library/libweb/action/search.do?dscnt=0&frbg=&scp.scps=scope%3A%28BLCONTENT%29&tab=local_tab&dstmp=1447025373680&srt=rank&ct=search&mode=Basic&vl(488279563UI0)=any&dum=true&tb=t&indx=11&vl(freeText0)=Alison%20Adburgham&vid=BLVU1&fn=search) ^ (#cite_ref-F&F_9-0) "Shops and Shopping" (http://www.faber.co.uk/9780571296019-shops-and-shopping-1800-1914.html) . faber.co.uk . Faber . Retrieved 2 August 2015 . ^ (#cite_ref-Faber_WiP_10-0) "Women in Print" (http://www.faber.co.uk/9780571295241-women-in-print.html) . faber.co.uk . Faber . Retrieved 2 August 2015 . ^ (#cite_ref-Faber_SFS_11-0) "Silver Fork Society" (http://www.faber.co.uk/9780571295906-silver-fork-society.html) . faber.co.uk . Faber . Retrieved 2 August 2015 . 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This template does not require a rating on Wikipedia's content assessment (/wiki/Wikipedia:Content_assessment) scale. It is of interest to the following WikiProjects (/wiki/Wikipedia:WikiProject) : Fashion (/wiki/Wikipedia:WikiProject_Fashion) Fashion portal (/wiki/Portal:Fashion) This template is within the scope of WikiProject Fashion (/wiki/Wikipedia:WikiProject_Fashion) , a collaborative effort to improve the coverage of Fashion (/wiki/Fashion) on Wikipedia. If you would like to participate, please visit the project page, where you can join the discussion (/wiki/Wikipedia_talk:WikiProject_Fashion) and see a list of open tasks. Fashion Wikipedia:WikiProject Fashion Template:WikiProject Fashion fashion articles __DTSUBSCRIBEBUTTONDESKTOP__{"headingLevel":2,"name":"h-Antique_Rose-2007-05-01T03:15:00.000Z","type":"heading","level":0,"id":"h-No_Nonsense-2007-05-01T03:15:00.000Z","replies":["c-Antique_Rose-2007-05-01T03:15:00.000Z-No_Nonsense"],"text":"No Nonsense","linkableTitle":"No Nonsense"} No Nonsense [ edit ] __DTELLIPSISBUTTON__{"threadItem":{"headingLevel":2,"name":"h-Antique_Rose-2007-05-01T03:15:00.000Z","type":"heading","level":0,"id":"h-No_Nonsense-2007-05-01T03:15:00.000Z","replies":["c-Antique_Rose-2007-05-01T03:15:00.000Z-No_Nonsense"]}} __DTLATESTCOMMENTTHREAD__{"id":"c-Daniel_Case-2007-05-01T14:28:00.000Z-Antique_Rose-2007-05-01T03:15:00.000Z","timestamp":"2007-05-01T14:28:00.000Z"}__ __DTCOMMENTCOUNT__2__ __DTAUTHORCOUNT__2__ __DTSUBSCRIBEBUTTONMOBILE__{"headingLevel":2,"name":"h-Antique_Rose-2007-05-01T03:15:00.000Z","type":"heading","level":0,"id":"h-No_Nonsense-2007-05-01T03:15:00.000Z","replies":["c-Antique_Rose-2007-05-01T03:15:00.000Z-No_Nonsense"],"text":"No Nonsense","linkableTitle":"No Nonsense"} Is "No Nonsense" a well-known brand? Does it deserve its place in this template? Antique Rose (/wiki/User:Antique_Rose) 03:15, 1 May 2007 (UTC) (https://en.wikipedia.org/wiki/Template_talk:Hosiery#c-Antique_Rose-2007-05-01T03:15:00.000Z-No_Nonsense) [ reply ] __DTELLIPSISBUTTON__{"threadItem":{"timestamp":"2007-05-01T03:15:00.000Z","author":"Antique Rose","type":"comment","level":1,"id":"c-Antique_Rose-2007-05-01T03:15:00.000Z-No_Nonsense","replies":["c-Daniel_Case-2007-05-01T14:28:00.000Z-Antique_Rose-2007-05-01T03:15:00.000Z"]}} It's as common as L'eggs on US drugstore and supermarket shelves. Daniel Case (/wiki/User:Daniel_Case) 14:28, 1 May 2007 (UTC) (https://en.wikipedia.org/wiki/Template_talk:Hosiery#c-Daniel_Case-2007-05-01T14:28:00.000Z-Antique_Rose-2007-05-01T03:15:00.000Z) [ reply ] __DTELLIPSISBUTTON__{"threadItem":{"timestamp":"2007-05-01T14:28:00.000Z","author":"Daniel Case","type":"comment","level":2,"id":"c-Daniel_Case-2007-05-01T14:28:00.000Z-Antique_Rose-2007-05-01T03:15:00.000Z","replies":[]}} __DTSUBSCRIBEBUTTONDESKTOP__{"headingLevel":2,"name":"h-Exploding_Boy-2007-06-29T16:45:00.000Z","type":"heading","level":0,"id":"h-Image-2007-06-29T16:45:00.000Z","replies":["c-Exploding_Boy-2007-06-29T16:45:00.000Z-Image"],"text":"Image","linkableTitle":"Image"} Image [ edit ] __DTELLIPSISBUTTON__{"threadItem":{"headingLevel":2,"name":"h-Exploding_Boy-2007-06-29T16:45:00.000Z","type":"heading","level":0,"id":"h-Image-2007-06-29T16:45:00.000Z","replies":["c-Exploding_Boy-2007-06-29T16:45:00.000Z-Image"]}} __DTLATESTCOMMENTTHREAD__{"id":"c-Daniel_Case-2007-08-14T13:43:00.000Z-SiobhanHansa-2007-08-14T09:36:00.000Z","timestamp":"2007-08-14T13:43:00.000Z"}__ __DTCOMMENTCOUNT__3__ __DTAUTHORCOUNT__3__ __DTSUBSCRIBEBUTTONMOBILE__{"headingLevel":2,"name":"h-Exploding_Boy-2007-06-29T16:45:00.000Z","type":"heading","level":0,"id":"h-Image-2007-06-29T16:45:00.000Z","replies":["c-Exploding_Boy-2007-06-29T16:45:00.000Z-Image"],"text":"Image","linkableTitle":"Image"} The image is way too big. It looks grossy out of place on, for example, the Tabi (/wiki/Tabi) article, which is about traditional Japanese footwear. Exploding Boy (/wiki/User:Exploding_Boy) 16:45, 29 June 2007 (UTC) (https://en.wikipedia.org/wiki/Template_talk:Hosiery#c-Exploding_Boy-2007-06-29T16:45:00.000Z-Image) [ reply ] __DTELLIPSISBUTTON__{"threadItem":{"timestamp":"2007-06-29T16:45:00.000Z","author":"Exploding Boy","type":"comment","level":1,"id":"c-Exploding_Boy-2007-06-29T16:45:00.000Z-Image","replies":["c-SiobhanHansa-2007-08-14T09:36:00.000Z-Exploding_Boy-2007-06-29T16:45:00.000Z"]}} I agree. It looks out of place on the sock article too. Could we get a smaller and more neutral image? It used to have this image - image:Pile_of_pantyhose.jpg (/wiki/File:Pile_of_pantyhose.jpg) - which while not perfect, doesn't have the same distraction quality of the current image. -- SiobhanHansa (/wiki/User_talk:SiobhanHansa) 09:36, 14 August 2007 (UTC) (https://en.wikipedia.org/wiki/Template_talk:Hosiery#c-SiobhanHansa-2007-08-14T09:36:00.000Z-Exploding_Boy-2007-06-29T16:45:00.000Z) [ reply ] __DTELLIPSISBUTTON__{"threadItem":{"timestamp":"2007-08-14T09:36:00.000Z","author":"SiobhanHansa","type":"comment","level":2,"id":"c-SiobhanHansa-2007-08-14T09:36:00.000Z-Exploding_Boy-2007-06-29T16:45:00.000Z","replies":["c-Daniel_Case-2007-08-14T13:43:00.000Z-SiobhanHansa-2007-08-14T09:36:00.000Z"]}} I liked it so much more too ... I thought it conveyed the appearance of a pile of socks perfectly. Here's the discussion (/wiki/User_talk:Antique_Rose/Archive#Hosiery_picture) that led me to keep the current image, if you want to understand what I was thinking. But if there's a separate consensus emerging for another image, or the original image, let's do it. Daniel Case (/wiki/User:Daniel_Case) 13:43, 14 August 2007 (UTC) (https://en.wikipedia.org/wiki/Template_talk:Hosiery#c-Daniel_Case-2007-08-14T13:43:00.000Z-SiobhanHansa-2007-08-14T09:36:00.000Z) [ reply ] __DTELLIPSISBUTTON__{"threadItem":{"timestamp":"2007-08-14T13:43:00.000Z","author":"Daniel Case","type":"comment","level":3,"id":"c-Daniel_Case-2007-08-14T13:43:00.000Z-SiobhanHansa-2007-08-14T09:36:00.000Z","replies":[]}} __DTSUBSCRIBEBUTTONDESKTOP__{"headingLevel":2,"name":"h-Daniel_Case-2013-06-29T13:58:00.000Z","type":"heading","level":0,"id":"h-Additional_items-2013-06-29T13:58:00.000Z","replies":["c-Daniel_Case-2013-06-29T13:58:00.000Z-Additional_items","c-Daniel_Case-2013-06-29T13:58:00.000Z-Additional_items-1"],"text":"Additional items","linkableTitle":"Additional items"} Additional items [ edit ] __DTELLIPSISBUTTON__{"threadItem":{"headingLevel":2,"name":"h-Daniel_Case-2013-06-29T13:58:00.000Z","type":"heading","level":0,"id":"h-Additional_items-2013-06-29T13:58:00.000Z","replies":["c-Daniel_Case-2013-06-29T13:58:00.000Z-Additional_items","c-Daniel_Case-2013-06-29T13:58:00.000Z-Additional_items-1"]}} __DTLATESTCOMMENTTHREAD__{"id":"c-Daniel_Case-2013-06-29T13:58:00.000Z-Additional_items","timestamp":"2013-06-29T13:58:00.000Z"}__ __DTCOMMENTCOUNT__2__ __DTAUTHORCOUNT__1__ __DTSUBSCRIBEBUTTONMOBILE__{"headingLevel":2,"name":"h-Daniel_Case-2013-06-29T13:58:00.000Z","type":"heading","level":0,"id":"h-Additional_items-2013-06-29T13:58:00.000Z","replies":["c-Daniel_Case-2013-06-29T13:58:00.000Z-Additional_items","c-Daniel_Case-2013-06-29T13:58:00.000Z-Additional_items-1"],"text":"Additional items","linkableTitle":"Additional items"} and/or some definitions: Over-the-Calf (OTC) / Executive Mid-calf / Crew (don't exceed largest part of the calf) Quarter / Anklets (cover the ankle bone) Ped (touch bottom of ankle) FYIY, I've never heard this term before Liner (don't show above the shoe) No Show (hide inside the shoe) Also, you're missing Sandal socks (ninja socks) aka: the oldest known type of socks. If you'd like, start an article on it. Daniel Case (/wiki/User:Daniel_Case) ( talk (/wiki/User_talk:Daniel_Case) ) 13:58, 29 June 2013 (UTC) (https://en.wikipedia.org/wiki/Template_talk:Hosiery#c-Daniel_Case-2013-06-29T13:58:00.000Z-Additional_items) [ reply ] __DTELLIPSISBUTTON__{"threadItem":{"timestamp":"2013-06-29T13:58:00.000Z","author":"Daniel Case","type":"comment","level":1,"id":"c-Daniel_Case-2013-06-29T13:58:00.000Z-Additional_items","replies":[]}} Also, the socks article doesn't have this template :P ~ender 2013-06-28 10:47:AM MST Yes it does. Look again. Daniel Case (/wiki/User:Daniel_Case) ( talk (/wiki/User_talk:Daniel_Case) ) 13:58, 29 June 2013 (UTC) (https://en.wikipedia.org/wiki/Template_talk:Hosiery#c-Daniel_Case-2013-06-29T13:58:00.000Z-Additional_items-1) [ reply ] __DTELLIPSISBUTTON__{"threadItem":{"timestamp":"2013-06-29T13:58:00.000Z","author":"Daniel Case","type":"comment","level":1,"id":"c-Daniel_Case-2013-06-29T13:58:00.000Z-Additional_items-1","replies":[]}} NewPP limit report Parsed by mw‐api‐ext.eqiad.main‐5795bc6b8c‐klhh5 Cached time: 20240721083358 Cache expiry: 864000 Reduced expiry: true Complications: [vary‐revision‐sha1] DiscussionTools time usage: 0.009 seconds CPU time usage: 0.139 seconds Real time usage: 0.289 seconds Preprocessor visited node count: 149/1000000 Post‐expand include size: 8554/2097152 bytes Template argument size: 0/2097152 bytes Highest expansion depth: 10/100 Expensive parser function count: 7/500 Unstrip recursion depth: 0/20 Unstrip post‐expand size: 7430/5000000 bytes Lua time usage: 0.098/10.000 seconds Lua memory usage: 1608161/52428800 bytes Number of Wikibase entities loaded: 0/400 Transclusion expansion time report (%,ms,calls,template) 100.00% 247.372 1 Template:WikiProject_banner_shell 100.00% 247.372 1 -total 73.98% 183.005 1 Template:WikiProject_Fashion 0.99% 2.452 1 Template:Pagetype Saved in parser cache with key enwiki:pcache:idhash:10995125-0!canonical and timestamp 20240721083358 and revision id 1231804619. 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