Draping period costumes : classical Greek to Victorian / / Sharon Sobel

• Record Nr.: UNINA9910463013203321
• Autore: Sobel Sharon <1959->
• Pubbl/distr/stampa: Burlington, Mass., : Focal Press, 2013
• ISBN: 0-240-82152-1; 1-299-13707-5; 1-136-08582-3
• Descrizione fisica: 1 online resource (224 p.)
• Collana: Focal Press costume topics series
• Disciplina: 646.30902; 646/.30902; 792.026
• Soggetti: Dressmaking; Costume - History - Medieval, 500-1500; Clothing and dress - Rome - History; Clothing and dress - Greece - History; Clothing and dress - Europe - History; Dress forms; Electronic books.
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Includes index.
• Nota di contenuto: Front Cover; Draping Period Costumes: Classical Greek to Victorian; Copyright Page; Contents; Acknowledgments; Introduction; Chapter 1. Getting Started; Setting Up; The Proper Dress Form; Measurements; *Adapting the Dress Form; Proper Care of Your Dress Form; Draping Basics; Tools and Equipment; Fabric; Straight of Grain; Listen to What the Fabric is Telling You; Start with a Fitted Sloper; Transferring Your Pattern to Paper; Chapter 2. Early, Unstructured Garments; Ancient Greek Costume; The Greek Doric Chiton (kee-ton); The Greek Himation (hih-mah-tee-on); The Greek Doric Peplos; The Greek Ionic ChitonThe Greek Diplas (or Diplax); Roman Costume; The Roman Tunic; The Roman Toga; Byzantine Costume; The Byzantine Tunic; The Byzantine Paludamentum; Early Gothic Costume; Early Gothic Tunics; Early Gothic Overgarments; Chapter 3. Cut and Shaped ; to Fit: The Gothic Period; The Man's Padded Doublet; The Man's Fitted Cotehardie; The Man's Pleated Jerkin; The Standing Collar; The Woman's Fitted Gown (Cote or Kirtle); The Unisex Houppelande (A-Line Gown); Woman's High-Waisted Gown (Houppelande) with Fitted Bodice; Chapter 4. The Height of Artificial Silhouette; A Woman's Elizabethan BodiceA Man's Elizabethan Doublet with a Padded Peascod Belly; The Man's Elizabethan Jerkin; Chapter 5. The Men Return to Softness...; Draping an Early-Seventeenth-Century (Cavalier); Slashed Doublet with a Waist Seam; Draping an Early-Seventeenth-Century (Cavalier); Doublet without a Waist Seam; The Birth of the Coat and Vest; Draping a Late-Seventeenth-Century Coat; Chapter 6. . . . While the Women Remain Tightly Corseted; Draping the Basque Bodice; Draping the Mid-Seventeenth-Century Bodice; Skirts; Draping the Late-Seventeenth-Century (Restoration) Mantua; Chapter 7. Introduction of Tailoring to the Man's CostumeDraping an Early-Eighteenth-Century Coat; Draping a Mid-Eighteenth-Century Coat; Draping an Eighteenth-Century Vest (Waistcoat); Chapter 8. Variety of Silhouette in Eighteenth-Century Women's Costumes; Draping the Robe a l'Anglaise; Draping the Robe a la Francaise or Watteau-Backed Gown; Draping the Sack (Sacque) Gown; Chapter 9. Neoclassical Elegance; Draping a Chemise Gown; Draping an Open Robe or Over Gown; Draping a Double-Breasted Spencer Jacket; Chapter 10. Revolutionary Menswear; Draping a Late-Eighteenth-Century Coat; Draping an Early-Nineteenth-Century CoatDraping an Early-Nineteenth-Century Waistcoat; Single-Breasted Waistcoat with Collar Cut-in-One with Body; Double-Breasted Waistcoat with Shawl Collar; Chapter 11. Romantic Womenswear; Draping an 1820s Gown; Draping an 1830s Bodice; Draping an 1840s Bodice; Draping a Mid-Nineteenth-Century Bodice; Chapter 12. The Victorian Gentleman; Draping the Mid-Nineteenth-Century Frock Coat; Draping the Mid-Nineteenth-Century Morning Coat; Draping the Mid-Nineteenth-Century Tail Coat; Draping the Sack Coat and the Norfolk Jacket; Chapter 13. The Victorian Lady; Draping an 1860s Jacket Bodice
• Sommario/riassunto: One way of creating a theatrical costume is called flat patterning. This is when a costume designer uses a pattern made to the wearer's measurements to cut out and sew together a costume. In many cases flat patterning is the more appropriate method for creating a period costume - skirts, pants, and sleeves, for example. However, working in two-dimensions often does not translate correctly onto a three-dimensional dress form or person. Often a designer will need to tweak style lines on a garment once they see it worn, or a costume will need a quick adjustment right before going on stage. In