LEADER 05337nam 2200673Ia 450 001 9910825115203321 005 20230803025301.0 010 $a1-136-08581-5 010 $a0-240-82152-1 010 $a1-299-13707-5 010 $a1-136-08582-3 035 $a(CKB)2670000000331330 035 $a(EBL)1125227 035 $a(OCoLC)828298601 035 $a(SSID)ssj0000821824 035 $a(PQKBManifestationID)12363515 035 $a(PQKBTitleCode)TC0000821824 035 $a(PQKBWorkID)10879652 035 $a(PQKB)10371031 035 $a(OCoLC)827944780 035 $a(MiAaPQ)EBC1125227 035 $a(OCoLC)860542384 035 $a(OCoLC-P)860542384 035 $a(FlBoTFG)9780240821528 035 $a(UkLoBP)BP9781136085819BFC 035 $a(EXLCZ)992670000000331330 100 $a20231004e20132023 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aDraping period costumes $eclassical Greek to Victorian /$fSharon Sobel 205 $a1st ed. 210 1$aNew York :$cTaylor & Francis Group,$d2013. 210 2$aNew York :$cBloomsbury Publishing (US),$d2023. 215 $a1 online resource (224 p.) 225 0 $aFocal Press costume topics series 300 $aIncludes index. 311 $a0-240-82133-5 327 $aFront 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 327 $aThe 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 327 $aA 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 327 $aChapter 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 327 $aDraping 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 327 $aDraping an 1860s Jacket Bodice 330 $aOne 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 606 $aCostume design 615 0$aCostume design. 676 $a646.30902 676 $a646/.30902 676 $a792.026 700 $aSobel$b Sharon$01712170 801 0$bUkLoBP 801 1$bUkLoBP 906 $aBOOK 912 $a9910825115203321 996 $aDraping period costumes$94104089 997 $aUNINA