Tailoring

There are various cuts and styles that are available at darzimade.com - drop waists, high slits, asymmetrical hemlines, mandarin collar.  We have Tailor Online embodies everything. Shirt dresses are just the right thing if you want to be quirky yet elegant.

Seymen, N., & Aydın Türk, Y. (2018). City and Craft: Trabzon. In H. Arapgirlioğlu, A. Atik, S. Hızıroğlu, R. L.Elliot, & D. Atik (Eds.), The Most Recent Studies in Science and Art (Vol. 2, pp. 1994-2008). Ankara: Gece Kitaplığı. CONCLUSIONS AND RECOMMENDATIONS: Parallel to the globalizing world, due to the acceleration of capital, commerce, population, consumption and increasing product diversity, identity changes and cultural losses are taking place in the cities. Such changes in the texture of the cities are mostly seen in the old city centers where craft spaces are concentrated. Therefore, the crafts and craft spaces, which have an important place in the identity and culture of the city, are gradually decreasing and disappearing. This is an important problem for sustainability of crafts in the future. For this reason, planning approaches should be adopted in order to protect and maintain the craft spaces, which are distinguishable identities and cultural elements of the city. The historical city center of Trabzon, which was selected as the study area, has important traces in the identity and culture of the city. The historical city center and its surrounding urban areas are known for their craft types. For example, Pazarkapı for carpentry, chest-making, ironworking; Kemeraltı for jewellery, copperworking, silversmithing, broommaking; Tabakhane for shoemaking and leatherworking. Today, these craft spaces have either changed places or have gone to a change of function or are completely lost. It is important to be able to maintain these characteristics of the historical city center of Trabzon and traces it has today. Therefore, it is necessary to protect the craft spaces and bring them back to the city. In the planning and conservation works in the city, crafts and craft spaces should be supported by special projects. Cultural spaces where research projects, exhibitions and activities for the crafts can be made should be created and they must be brought together with the city and urbanites. With public, private and NGO cooperation craft-oriented urban policies should be developed. Sectoral models for different craft types in the city should be produced and cooperation should be provided.

Un dandy su misura Massimiliano Mocchia di Coggiola Naturale, ovvio e assolutamente banale è il considerare che l'uomo, dacché perse i peli che molto probabilmente gli ricoprivano il corpo per intero, si sia dato la pena di coprirsi per sane esigenze climatiche, igieniche e (un po' più tardi) di pudicizia. Meno naturale, ovvia o banale è l'idea che tali esigenze possano essere state anche estetiche; se fin dagli esordi dell'umanità è esistita una coabitazione planetaria più o meno pacifica tra uomini e bestie, è indubbio che la scelta della materia prima adatta a produrre abiti con cui coprirsi sia caduta sulle seconde, sebbene le bestie detenessero ufficialmente (così almeno si dice) il primato in ordine cronologico di apparizione terrena rispetto all'uomo. Ora, di bestie ne esistono una quantità ragguardevole, ciascuna ben diversa dall'altra per razza, e quindi per vello, colori, dimensioni, e così via: questo, forse, fu il fattore che scatenò la vanità nell'uomo, una qualità che pare essere tipicamente umana, poiché dipende in gran parte dall'artificio. Insomma, i pollici opponibili aiutano. Che la vanità sia cosa femminile, ossia tipica del gentil sesso, è un'idea di conio recente e suscettibile di parecchie confutazioni, che non staremo a indagare in queste pagine. Ma che la vanità tocchi anche gli uomini, ossia il sesso un po' meno gentile, è comunque un dato certo. Dopo aver constatato che una pelle di leopardo è assai più bella di una pelle di talpa (senza considerare che quest'ultima necessita di battute di caccia meno perigliose, ma di sicuro più frequenti, volendo coprirsene dal collo in giù), gli esseri umani hanno capito che il leopardo non è roba che chiunque può permettersi d'indossare. Dubitiamo che nel paleolitico l'incarnato, il colore degli occhi e dei capelli godessero di una qualche considerazione in rapporto al colore delle pellicce animali; tuttavia, è certo che fu suppergiù in tale periodo (non me ne vogliano gli archeologi, è chiaro che sto pietosamente inventando una giustificazione) che la vanità fece la sua comparsa nell'umano consorzio. Il dandismo, diversamente da ciò che molti possono pensare, non si basa esclusivamente sulla vanità, anche se di certo quest'ultima ne costituisce un solido pilastro (oseremmo dire) filosofico. Accanto a essa troviamo il culto della personalità e dell'individualità esercitato senza i condizionamenti della moda, degli ideali e della politica. Il dandy, quest'essere dalle mille sfaccettature e dalle mille morali, nel suo disperato tentativo di situare un Sé autentico tra eros e thanatos, di conciliare anima e corpo anziché dividerli manicheisticamente, è anche esteta, e trae linfa per la sua dottrina dall'amore per l'Arte, una passione

This project offers the development of a menswear collection, using production techniques applied in tailoring and ergonomic modeling. The aim set for the project is to create a fashion collection for the music industry, using fashion as a favorable tool in the costume during the artist's performance. To corroborate it, field and public studies were carried out during concerts of a few specific artists - recurring environment and personal passion of the author. Considering this, a hybrid production methodology was developed, composed by the authors Bonsiepe (1984), Choklat (2012), Jones (2005) and Treptow (2003), adapting the production steps of their work in an appropriate way to the demands of the collection. Thus, according to the needs in research with the public, market analyzes were carried out to deepen the valuable characteristics and sensory experience. Right after, topics as the theme of the collection, palettes, and alternatives were defined. Using ergonomic modeling studies, the clothing pieces were made, achieving the base objective of the collection: sensorial comfort. Along with the inspiration, the final designs and the aesthetic of the collection were created, and, now conceived, the collection owns ergonomic menswear looks with aesthetic appeal and visual identity.

How to make a tailored jacket with full lining. For tailored jacket block refer to 'A Technical Foundaion' both Women's and Men's have detailed construction information on how to make the jacket. ISBN numbers at the end of the presentation on how to make the jacket.

The clothes sported by young Italian men in the 1340s—tunics cropped at the pelvis, slouchy hoods, large bags hanging from metallic belts—were as daring as their emergence was sudden and mysterious. Scholars have generally associated their appearance with Italy’s rampant mercantilism and even regarded them as the first occurrence of fashion; yet, as this essay notices, their descriptions mostly draw from the language of size, thus encouraging the exploration of fashion as a metric construct. Reading chronicles of late medieval tailoring through measuring practices help us identify the “new look” of the 1340s as a product of the communes, the governments of the Italian city-states, which carefully controlled both the production of clothes and the application of standards. By inserting tailoring within the cities' disciplinary procedures and discourses, this essay reveals the overlooked activism of the preaching orders who, in their roles as chroniclers, moral arbiters, advisors to law-makers and, especially, measurement checkers, established size as the perceptual filter for determining the respectability of clothing.

Keywords: Intangible cultural heritage, Gieves & Hawkes, Savile Row

UNESCO recognizes local craft knowledge and skills in its global system of ‘Intangible Cultural Heritage’ which has been adopted by Shanghai and Hong Kong to recognize their tailoring traditions (Legco, 2014). In London’s Mayfair, Savile Row has long been the physical and spiritual home of men’s tailoring; the street having such a strong resonance with the trade practiced there that the Japanese word for tailoring is ‘Savile Row’ (背広) (Cress, 2011). Savile Row has faced an uncertain future against the threats of fast fashion and off-shoring, but is currently enjoying a renaissance with new businesses opening and the forming of trade associations such as the Savile Row Bespoke Association (http://www.savilerowbespoke.com) to protect and promote the tailoring craft as practiced on this most famous of addresses.

The fashion industry has seen the prevalence of rebrands, relaunches and revivals and London Collections Men has drawn the fashion media’s attention to London’s cultural heritage as embodied in the bespoke suits of the Savile Row tailor. Heritage brands such as Burberry and Dunhill found success internationally, highlighting heritage and craftsmanship and placing this at the centre of marketing strategies facilitated by digital media. Fashion is often defined as ephemeral (Craik, 1993) yet heritage and authenticity are key drivers for fashion consumers (Kapferer and Bastien 2012); brand positioning around artisanship, ingredient branding and country of origin are central to fashion marketing strategies (Anholt, 2004). Brand storytelling highlighting history, associations and archives adds value for heritage brands (Hancock 2009; Lindstrom 2010).

Gieves & Hawkes is located at Number One Savile Row – arguably the most prestigious address in tailoring – and is using its 240-year history to inform a product and promotional makeover, which includes developing new lines, creating fashion films to showcase its history and displaying iconic items from the brand’s archive in-store. The brand’s three royal warrants act as a heritage calling card in Asia where Gieves & Hawkes has focused its international expansion responding to luxury consumers’ interest in heritage brands (2008).

This paper is based on field research in Hong Kong, Shanghai and London, interviews with key marketing and creative staff at Gieves & Hawkes as well as a review of brand marketing materials to analyze how intangible cultural heritage informs the contemporary fashion marketing practices of the Savile Row tailor as they expand from West (End) to East.

Anholt, S. (2004), ‘Nation-brands and the value of provenance’, in N. Morgan, A. Pritchard and R. Pride (eds), Destination Branding, Oxford: Elsevier, pp. 26–39.
Craik, J. (1993). The face of fashion: Cultural studies in fashion. London: Routledge
Cress, M. (2011, 25 October). The Routes of Savile Row. New York Sartorialist. http://www.nysartorialist.com/2011/10/feature-routes-of-savile-row.html
Hancock, J. (2009), Brand Story, New York: Fairchild Books.
Kapferer, J. N. and Bastien, V. (2012), The Luxury Strategy: Break the Rules of Marketing to Build Luxury Brands, London: Kogan Page.
Legco (2014), ‘Legislative Council Panel on Home Affairs promulgation of the First Intangible Cultural Heritage Inventory of Hong Kong’ 13 June, http://www.legco.gov.hk/yr13-14/english/panels/ha/papers/ha0617cb2-1719-4-e.pdf. Accessed 15 July 2014.
Lindstrom, M. (2010), Brand Sense, New York: Free Press.
Lu, P. X. (2008), Elite China: Luxury Consumer Behavior in China, Singapore: Wiley.

"Humanity needs a global reset because the unjust, pre-pandemic world is not worth going back to. Return to normal would also mean a return to old social structures inspired by self-sufficiency, nationalism, protectionism, isolation, individualism, and excluding our poorest brothers and sisters. Is this a future we can choose?" 1 -  P. Francesco

When we talk about fashion and design, we take for granted the concept of contemporaneousness. Starting out by studying traditions before producing new objects could come across as a paradox and, very probably, to a certain extent, it is indeed in this paradox that the very charm of studying tradition lies. This study has investigated how the men's tailoring industry has found in the south of Italy, and more, precisely in Sicily, its own characteristic expression and well-defined identity, fruit of the meeting between the particular historical and social context and the uniform of the middle-class man, codified by the England of the 1800s. In this way, differentiating itself from the other Italian tailoring traditions, the tradition of the south generated a characteristic product and a way of wearing it that was just as distinctive, but always in line with the context in which it was introduced. With a view to analyzing the local traditions, the study has also identified the use of hand-sewing techniques as another typical element, which today persists in Sicily. At the end of this study, we will understand the approach of a design that, based on the strong points of the local traditional heritage, no longer aspires to create artisanal products, but products of design, unique objects capable of telling a story, promoting the past and the spirit of the period. The suit as the uniform of the middle-class man. I f we think about how the western man dresses, we immediately think about a uniform that is always the same and has undergone few substantial variations through time. And the expression " uniform " is even more fitting if we think that the men's suit as we know it today dates back to when the middle class of the nineteenth century decided to clearly distinguish the differences in terms of social class and therefore distance themselves from the fanciful, bizarre fashions of the Ancien Régime. The roots of this phenomenon lie in the ascent of the middle class, which, from the 1700s on, became the modern social class and the mirror of the changing times; gentlemen whose wealth often came from a profession and not from an inherited noble title. The suit composed of tails, long sleeved waistcoat, shirt and trousers, remained unchanged and was made in plain coloured fabrics, usually black, leaving aside velvet and silk, which were symbols of another social class, and favouring wool and cotton with no decorations or embroidery. It was a conscious form of sobriety chosen by those who wished to distinguish themselves from the lavish spending of the aristocrats and courtiers, countering their idleness with a productive and cultural commitment that modelled itself on that of landowning tradition and ecclesiastic intellectuals1. In the same period, a middle-class aesthetic model of clothing was also invented for women, consistent with the men's design, and in stark contrast to that of the cynical and amoral courtiers. However, as we will see, the middle-class women's model, which also paid tribute to the concepts of moderation, virtue and comfort, would change as fashions changed, whereas the men's version would become an institution. In his " Treatise on elegant living " , Balzac not only tackles the theme of the middle-class suit, but most of all, that of the concept of elegance, " the great prestige that most people assign to education, purity of language, good manners, […] the perfection of what derives from the person ". The problem that the " new " man has to resolve in a changing society is therefore one of " moral superiority ". In the same text, Lord Brummel, the highest authority on elegance during that period, conveyed man's elegant thought in his material expressions, such as the way he spoke, his gait, his manners; as these were elements directly descended from the interior essence of man, they were therefore subject to elegance.

Tailoring business, although facing a fierce competition from the rapidly grown ready-made clothing stores, are still continuing a slow but steady growth. Ferdous Custom Made Tailors Fabrics Fashions (hereinafter referred to as Ferdous Tailors) is a privately owned custom made tailoring chain-shop in Bangladesh. It has been successfully operating and designing bespoke clothing since its inception more than three decades ago. This case study identifies the business nature and strategies of Ferdous Tailors, their growth, current competitors, and challenges they are facing to ensure a sustainable business practice. It had several competitive advantages that resulted in an exponential trajectory of growth, but gradually it slowed down for the big challenges it is currently facing. The case further demonstrates that even though Ferdous Tailors was a pioneer in this business, success is extremely hard to sustain unless the focus is not given on where it plans to go and how it will go ther...

There has been a lot of see-through fabric in high-end men’s fashion in recent years: voiles, gauze, and diaphanous jersey. These vaporous, veil-like, translucent cloths can be seen as a metaphor for the fluid, hybrid, complex, and porous nature of identity today, and have been used by menswear designers such as Rick Owens, Craig Green, Feng Chen Wang, Munn Seoul, and Ludovic de Saint Sernin to articulate ambiguous, hybrid aesthetics that evoke a liminal space between the masculine and the feminine, the East and the West, the contemporary and the nostalgic, and the natural and the man-made. The gaps between these polarities are the spaces through which we navigate contemporary life: Shifting geographies of power, the changing nature of work, evolving discourses of gender, and the existential challenges posed by climate change. It’s perhaps unsurprising that in such a radically unsettled cultural and political context, practitioners of menswear should propose designs that are simultaneously outré and enigmatic, and while such utopian re-imaginings are hardly likely to be adopted wholesale by most consumers, they nevertheless offer intriguing visions of a possible future.

By 1700 tailors no longer dominated England’s garment marketplace, as stay-makers, mantua-makers and seamstresses now produced key items of female dress. The demise of the tailoring monopoly was a complex process involving many factors. This article examines an aspect of this transition that has been previously overlooked in histories of garment production: farthingale-makers and body-makers. These trades emerged at the start of the seventeenth century to make foundation garments that shaped the fashionable silhouettes of England’s women. This article presents a case study of the number, location, reputation and eventual demise of farthingale-makers and body-makers in the Drapers’ and Clothworkers’ Companies of London from 1600 to 1700. The story of these trades shows a growing diversification within garment-making during the seventeenth century, where both demand and opportunity allowed entrepreneurial tradesmen to break away from traditional systems of production, ultimately paving the way for the diverse textile marketplace of the eighteenth century.

Video game play research and recent statistics reveal that 155 million players in America alone contribute to the 23 billion dollar industry; worldwide, it is a 71 billion dollar industry. Behavioral change theory has been intertwined with apps and games, building on players’ emotions with the game environment. The new, albeit limited, literature demonstrates the positive effect that electronic games have facilitating behavioral change. Medical research also correlates game use to improve patients’ health outcomes. This research project builds on the existing research to examine a conceptual prototype of a serious game with behavioral change knowledge in its design. The researcher takes a human centered design approach to ask, how can the game mechanics communicate to the player for behavior change?
This thesis research designed a conceptual prototype connecting habit formation with fantasy JRPG battle system for players to setup their own habit formation that would connect the virtual world with the real world. Testing of the conceptual prototype reveals general interest and a diverse range of applications. Further design and research is needed to fully complete this model within a complete video game. And findings support of the future development.

UNESCO recognizes local craft knowledge and skills in its global system of ‘Intangible Cultural Heritage’ which has been adopted by Shanghai and Hong Kong to recognize their tailoring traditions (Legco, 2014). In London’s Mayfair, Savile Row has long been the physical and spiritual home of men’s tailoring; the street having such a strong resonance with the trade practiced there that the Japanese word for tailoring is ‘Savile Row’ (背広) (Cress, 2011). Savile Row has faced an uncertain future against the threats of fast fashion and off-shoring, but is currently enjoying a renaissance with new businesses opening and the forming of trade associations such as the Savile Row Bespoke Association (Savile Row Bespoke Association, 2015) to protect and promote the tailoring craft as practiced on this most famous of addresses. The fashion industry has seen the prevalence of rebrands, relaunches and revivals and London Collections Men has drawn the fashion media’s attention to London’s cultural h...

The aesthetic of a dress, the techniques of its construction, the understanding of its meanings concern the research of material and immaterial culture and it makes clear that, yesterday as today, the dress was a powerful expression of individuality and identity, no choice being really casual.
In this essay, I will analyze three portraits of the early 16th century, by Raphael and artists of his circle, elaborating three working hypotheses of tailor-made reconstructions of their upper garments to better understand the message contained in the choice of the dress by each portrayed person.
Therefore, I will use the study on half scale tailoring mannequins with the aim to propose a research methodology which combine data of different sources, with the concrete possibility to identify the various elements from a sartorial point of view. The research has the added value not to misconfuse the reconstructive hypothesis with “copies” nor “stage costumes”, keeping a distance with the original object but helping to define its tridimensionality and tailoring assets.

This research explores how innovators within the fashion and textile art realms engage concepts of cultural identity and community through craftsmanship.  In the 19th century, New York City was a port of entry that served as home for thousands of immigrants, many whom had arrived with important knowledge and skills in their own native crafts.  Today, in the 21st-century, the role of maker has flattened traditional hierarchies and escaped rigid categories of production through post-disciplinary practices and the innovative application of skills and techniques.  In our increasingly materialist world and in reaction to ethical issues related to mass-production, building sustainable systems is crucial.  Re-skilling needs to take place across both digital and craft practices; and in both, the creation and production of fashion products.

This project focuses on exploring the intersections between traditional craftsmanship, technology, cultural identity and creativity.  Through a series of interviews of different artists and designers and studio visits, this on-going study explores the ways craftsmanship brings new modes of thinking and engaging within the New York City community.  It considers the importance of collaboration by witnessing how traditional craftsmanship interlaced with technology can benefit humanity, society, and the environment, when tools and savoir-faire are exchanged.  For the first phase of this research, I have interviewed ten New York based artists, designers, artisans and students.

This series of case studies allowed for a new understanding of making as an active way of thinking.  For a bespoke tailor in Brooklyn, craftsmanship is about perfection, for another it is about emotion.  A knitwear designer may explain that craft is a lifestyle, or an artist from Chelsea describes it as a kind of therapy—meditative, relaxing and calming.  Tools may be the most important foundations for a 3D printing designer, while a crocheter in Queens believes that the most important device is the hand; the physical labor of repetitive work.  For fashion students, craftsmanship may represent the final frontier of luxury, especially in today’s fast fashion system of production.

Contemporary Craftsmanship contributes to new interdisciplinary fields, personalization of techniques, develops a collective consciousness and creates new aesthetics.  At Parsons, our students are more than designers producing clothes; they are innovators and thinkers.  Using technology and learning a craft is vital to the creation of innovative fashion / material systems.  The intent of this project, in the context of education, is to promote the infusion of creativity and advance concepts that will have a long-term impact on the curriculum.

The RION project (financed by BMBF) aims at improving Computer & Law (C&L) teaching in Germany while implementing Web-based media. For the fluid and interdisciplinary field of C&L, educational material is very scarce. Furthermore, educational cultures differ according to the divers affiliations of C&L. Therefore, the RION platform will present a variety of documents online, which have not been accessible on the Web before. However, publishing law collections online can only be one step to improve C&L teaching. Therefore, RION is trying to develop a didactical conception for the new platform, the main focus being on cooperative, practice-oriented learning and gender mainstreaming. Due to the diversity and the constraints given in the project, the RION team does not look for the "ideal platform", but instead tries to tailor promising elements of possible C&L online learning. In this text, the example of JurMOO, which we tested in C&L teaching, is used to demonstrate this.

Tailoring business, although facing a fierce competition from the rapidly grown ready-made clothing stores, are still continuing a slow but steady growth. Ferdous Custom Made Tailors Fabrics Fashions (hereinafter referred to as Ferdous Tailors) is a privately owned custom made tailoring chain-shop in Bangladesh. It has been successfully operating and designing bespoke clothing since its inception more than three decades ago. This case study identifies the business nature and strategies of Ferdous Tailors, their growth, current competitors, and challenges they are facing to ensure a sustainable business practice. It had several competitive advantages that resulted in an exponential trajectory of growth, but gradually it slowed down for the big challenges it is currently facing. The case further demonstrates that even though Ferdous Tailors was a pioneer in this business, success is extremely hard to sustain unless the focus is not given on where it plans to go and how it will go ther...

ABSTRACT The final mechanical properties of hot stamped components are affected by many process and material parameters due to the multidisciplinary nature of this thermal-mechanical-metallurgical process. The phase transformation, which depends on the temperature field and history, determines the final microstructure and consequently the final mechanical properties. Tailored hot stamping parts–where the cooling rates are locally chosen to achieve structures with graded properties–has been increasingly adopted in the automotive industry. In this case, the robustness of final part properties is more critical than in the conventional hot stamping parts, where the part is fully quenched. In this study, a wide range of input parameters in a generalized hot stamping model have been investigated, examining the effect on the temperature history and resulting final material properties. A generic thermo-mechanical finite element model of hot stamping was created and a modified phase transformation model, based on Scheil's additive principle, has been applied. The comparison between modeling and experiments show that the modified phase transformation model coupled with the incubation time provides higher accuracy on the simulation of transformation kinetics history. The robustness of four situations relevant to tailored hot stamping were investigated: heated tooling (with low and high tool conductance), air cooling, and conventional hot stamping. The results show the high robustness of the conventional hot stamping compared to tailored hot stamping, with respect to the stamped component's final material properties (i.e. phase fraction, hardness). Furthermore, tailored hot stamping showed higher robustness when low conductivity tools are used relative to high conductivity tools.

Tailor Industries Maker of Mens Motorcycle Leather Jackets Womens Motorcycle Leather Jackets Men's Leather Motorcycle Vests Women's Leather Motorcycle Vests Motorcycle Leather Pants/Chaps Motorcycle Leather Racing Suits Motorcycle Bags Motorcycle Gloves Motorcycle Boots Motorcycle Textile Mens Textile Jackets Ladies Textile Jackets Textile Pants Off Road Gloves Winter Gloves Rain Suits Mens Motorcycle Jackets Ladies Motorcycle Jackets Motorcycle Vests Motorcycle Pants Motorcycle Gloves Motorcycle Rain Suits MotorBike Ware Fashion Garments Men Leather Jackets Men Leather Coats Men Leather Vest Men Leather Pants Women Leather Jackets Women Leather Coats Women Leather Vest Women Leather Pants Leather Vests Leather Jackets Trachten Garments Men Bavarian Garments Women Bavarian Garments Children Bavarian Garments Men Bavarian Garments Lederhosen Kniebundhosen Trachten Shirts Trachten Jackets Trachten Vests Trachten Socks Trachten Shoes Women Bavarian Garments Short Lederhosen Kniebund lederhosen Mini Dirndl Midi Dirndl Long Dirndl Dirndl Aprons Trachten Shirts Trachten Blouses Dirndl Blouses Trachten Bag Trachten Shoes Children Bavarian Garments Kinder Lederhosen Kinder Dirndl Trachten Shirts Trachten Socks Trachten Shoes Western Wears Garments Cowboy Jackets Cowboy Vests Cowgirl Jackets Cowgirl Vests Cowgirl Poncho Cowgirl Skirts Cowgirl Coats Cowgirl Bags Cowgirl Belts Western Hats . All Products are Made of Premier Quality Materials By Tailor Industries Sialkot Pakistan.
Tailor Industries
Haji Pura Bun Road,
Sialkot-51310 Pakistan.
http://www.tailorind.com
WhatsApp: +92-311-7857727
Email: industriestailor@gmail.com
https://www.facebook.com/TailorIndustries
https://www.pinterest.com/TailorIndustries

Robustness studies for relevant process conditions of tailored hot stamping.Thermal–mechanical–metallurgical modelling of the hot stamping process.Conventional hot stamping is highly robust relative to tailored hot stamping.Tailored hot stamping process is highly sensitive to input process parameters.Tailored hot stamping is more robust using low conductive tooling.The final mechanical properties of hot stamped components are affected by many process and material parameters due to the multidisciplinary nature of this thermal–mechanical–metallurgical process. The phase transformation, which depends on the temperature field and history, determines the final microstructure and consequently the final mechanical properties. Tailored hot stamping parts – where the cooling rates are locally chosen to achieve structures with graded properties – has been increasingly adopted in the automotive industry. In this case, the robustness of final part properties is more critical than in the conventional hot stamping parts, where the part is fully quenched. In this study, a wide range of input parameters in a generalized hot stamping model have been investigated, examining the effect on the temperature history and resulting final material properties. A generic thermo-mechanical finite element model of hot stamping was created and a modified phase transformation model, based on Scheil's additive principle, has been applied. The comparison between modeling and experiments shows that the modified phase transformation model coupled with the incubation time provides higher accuracy on the simulation of transformation kinetics history. The robustness of four conditions relevant to tailored hot stamping was investigated: heated tooling (with low and high tool conductance), air cooling, and conventional hot stamping. The results show the high robustness of the conventional hot stamping compared to tailored hot stamping, with respect to the stamped component's final material properties (i.e. phase fraction and hardness). Furthermore, tailored hot stamping showed higher robustness when low conductivity tools are used relative to high conductivity tools.

During the sixteenth and seventeenth centuries the female silhouette underwent a dramatic change. This period saw the frequent addition of solid materials such as whalebone, wood, and metal into European wardrobes, and clothing was intentionally distorted as ideas of form, size and structure were artfully explored. The desirable body during this period was achieved by using two main foundation garments: bodies and farthingales. Accounts and bills reveal that tailors often made foundation garments; however, these records also show that two separate, specialised branches of tailoring –bodymaking and farthingalemaking –were also established in the late sixteenth century. Scarcely any scholarly investigation of these trades has been conducted and so we know very little about their significance to England’s textile industries. Utilising guild records, household accounts and artisans’ bills this paper explores the origins, scale, organisation and reputation of these trades in the seventeenth century. It seeks to recover these artisans from historical obscurity and put them back into the bustling textile landscape that characterised the craft trades of early modern London.

Many environmental campaigns highlight both the environmental and financial benefits of behaviour change, in the hope of motivating a broad audience. But are such mixed appeals more persuasive than separate appeals? We argue that messages tailored to match recipient's prioritised values are more persuasive than combined appeals. We conducted a questionnaire study to assess the persuasiveness of economic, environmental, and mixed appeals (N ¼ 210). As expected, individual differences in values moderated the persuasive power of the different appeals. Importantly, we found that appeals that matched the recipients' values were more persuasive than the combined appeal. Interestingly, personal norms also acted as a moderator. These findings suggest that environmental campaigns aimed to induce behavioural change can benefit from tailoring persuasive messages to idiosyncratic characteristics of their target group, rather than employing a one-size-fits-all message.

Sourced from some of the finest fabric providers in the world and manufactured using state-of-the-art technology, the collection of fabric we carry is reflective of the people we cater to and their journey in life.For over 160 years, A. Moosajee Sons has been rewriting history with a tasteful line of fabrics that you can personalize in any way imaginable. After all, the only limit we have is our imagination.

This essay shows that middle-class men engaged with fashion often and openly in nineteenth-century Spain. Through a survey of previously unstudied archival materials, it also recasts Spanish men’s fashion as part of a larger, interconnected system of producers, distributors and consumers. By historicizing textual and visual evidence (e.g., paper garment patterns, fashion plates) printed in professional tailoring journals, the following study challenges the notion that fashion was an exclusively feminine and feminizing pursuit during the second half of the nineteenth century. Apprentices, journeymen, master cutters and their professional journals, such as El Arte Español (1871–1878), El Genio y el Arte (1881–1888) and La Moda de Madrid (1884–1887), identified fashionable ecosystems as fertile ground for the flourishing of an aspirational national image that cohered around sartorial craftsmanship and intellectual capital, pride in Spanish métiers and the cultivation of male homosocial bonds of confidence and trust.

PDF available at:

https://www.tandfonline.com/eprint/E9ZVEADXGEQMVHEERAAD/full?target=10.1080/14636204.2020.1801283

CONFERENZA/WORKSHOP "Ateliers di forbice e incudine. Botteghe sartoriali e fabbrili nel Tardo Medioevo italiano". Organizzata dall'Associazione Culturale IMAGO ANTIQUA (www.imagoantiqua.it), con il patrocinio del Comune di Rimini, in data 23 Febbraio 2019, ore 16:15, presso la Sala del Giudizio del Museo della Città di Rimini in Via Tonini 1. Per ulteriori dettagli: http://imagoantiqua.it/conferenza-workshop-ateliers-di-forbice-e-incudine-23-02-2019/

Chiarina la modista (Chiarina the Milliner) is a 1919 film by Elvira Notari, probably inspired by Carolina Invernizio’s novel Storia di una sartina (A Dressmaker’s Story, 1892), published in a feuilleton. The plot’s location is Naples. Since the film is lost, we are not sure of its fidelity to that novel as an intersemiotic translation. We aim to interpret the lost film by quoting diversified sources in order not to study the film philologically, but to understand the tensions and themes of the coeval female narrative. In fact, both the film and the novel were addressed to a female reception of the popular narrative, in which fashion appears as a typical trait of the female characters. Notari herself had been a milliner, so her interest in fashion was genuine. The phenomenon of the working woman had not often been considered in Italian cinema until then, and women’s consumption of such stories defined them as a real perspective on social practices and habits.

La cour de Savoie, de part la qualité de ses sources comptables, est un formidable point d’observation des activités des tailleurs des princes. Suivre pas à pas Pierre de Chignin, tailleur au service du duc Amédée VIII sur presque trente ans, permet de cerner dans quelles conditions administratives et financières il exerce son métier et de mettre en lumière ses différentes occupations. Être tailleur au sein de l’hôtel savoyard ne se limite pas seulement à la confection des vêtements : le tailliatori domini est également en charge de l’approvisionnement en matières première, de l’organisation de la production et même du bien être du prince, puisqu’il occupe la fonction de chambrier.