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Millinery - This vintage book on hat making by Jane Loewen is easily the most complete millinery instructions from the 1920's! This book has 217 pages of step-by-step instructions with numerous illustrations on timeless hat making techniques. Jane Loewen is a Formerly Millinery Instructor at the University of Chicago; Originator of Jane Hedden Hat Patterns; Author of Numerous Works and Articles on Millinery and Designing. This book is a reprint of the classic Millinery book by NovusVintage.com. Learn how to make wire frames; molded frames; pattern frames; crowns; fabric hats; braid hats; transparent hats; draped hats; tailored trimmings; dress-hat trimmings; and remodeled hats.
Issues for 1965- include "Recent publications on theatre architecture," no. 13/14-
Issues for 1965- include "Recent publications on theatre architecture," no. 13/14-
Hats finish an outfit; they make a statement, provide panache and lift your spirits. This book explains how to make your own hats, using traditional construction methods with both specialist millinery foundation materials and a range of fabrics and trimmings. It showcases twenty-six hats and headpieces, each with step-by-step photographs and instructions, some using ready-made elements, others that are made from scratch. Celebrating the versatility of hats, it introduces the wide range of styles and shapes that modern millinery has embraced. Explains the anatomy of the hat and how to fit a hat, and gives general millinery tips. Suggests sources of inspiration and design ideas. Introduces a range of hats and hat styles, from small, fun and fast headpieces to special occasion hats. Superbly illustrated with 534 colour step-by-step photographs.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.