Sewing patterns have been the principle blueprint for making garments in the home for centuries. From their origins in the tailoring manuals of the 16th century to the widely produced pamphlets of the 18th and 19th centuries, through to the full size packet patterns of today, their history and development has reflected major changes in technology (such as the advent of the sewing machine), retailing and marketing practices (the fashion periodical), and shifts in social and cultural influences. This accessible book explores this history, outlining innovations in patternmaking by the companies who produced patterns and how these reflected the fashions and demands of the market. Showcasing beautiful illustrations from original pattern pamphlets, packets and ads, as well as 9 complete patterns from which readers can reproduce vintage garments of different eras, the book provides a unique visual guide to homemade fashions as well as essential exploration of the industry that produced them.

Introduction: This unit explores the history of the paper pattern industry. In order to create the tailored and styled designs of Western clothing, fabric needed to be specifically cut to fit the shape of the body. Guides were created and the paper pattern evolved. By realizing the importance of the commercial pattern and the companies that produced and marketed them in illustrated envelopes together with instructions, it is possible to analyze an aspect of European and American popular culture and social history from the late nineteenth century through to the present day. Furthermore, surviving patterns provide a detailed and unique record of construction techniques and everyday styles, which also reveal the development and influence of new fabrics. This unit examines the growth, adaptation, and significance of the commercial paper pattern industry. Students will gain an understanding of the relevance and importance of the commercial paper pattern industry. Key historical shifts in time and fashion are flagged with reference to both style and construction. Additionally, students will gain an insight into the struggles and successes of the burgeoning fashion, garment, and media businesses of the nineteenth and twentieth centuries.

From the author and designer of "ROY G. BIV," a delightful, fully illustrated new volume on patterns, from polka dots to plaid: their histories, cultural resonances, and hidden meanings.

Containing 2,729 entries, Kevin L. Seligman’s bibliography concentrates on books, manuals, journals, and catalogs covering a wide range of sartorial approaches over nearly five hundred years. After a historical overview, Seligman approaches his subject chronologically, listing items by century through 1799, then by decade. In this section, he deals with works on flat patterning, draping, grading, and tailoring techniques as well as on such related topics as accessories, armor, civil costumes, clerical costumes, dressmakers’ systems, fur, gloves, leather, military uniforms, and undergarments. Seligman then devotes a section to those American and English journals published for the professional tailor and dressmaker. Here, too, he includes the related areas of fur and undergarments. A section devoted to journal articles features selected articles from costume- and noncostumerelated professional journals and periodicals. The author breaks these articles down into three categories: American, English, and other. Seligman then devotes separate sections to other related areas, providing alphabetical listings of books and professional journals for costume and dance, dolls, folk and national dress, footwear, millinery, and wigmaking and hair. A section devoted to commercial pattern companies, periodicals, and catalogs is followed by an appendix covering pattern companies, publishers, and publications. In addition to full bibliographic notation, Seligman provides a library call number and library location if that information is available. The majority of the listings are annotated. Each listing is coded for identification and cross-referencing. An author index, a title index, a subject index, and a chronological index will guide readers to the material they want. Seligman’s historical review of the development of publications on the sartorial arts, professional journals, and the commercial paper pattern industry puts the bibliographical material into context. An appendix provides a cross-reference guide for research on American and English pattern companies, publishers, and publications. Given the size and scope of the bibliography, there is no other reference work even remotely like it.

Why does the West rule? In this magnum opus, eminent Stanford polymath Ian Morris answers this provocative question, drawing on 50,000 years of history, archeology, and the methods of social science, to make sense of when, how, and why the paths of development differed in the East and West — and what this portends for the 21st century. There are two broad schools of thought on why the West rules. Proponents of "Long-Term Lock-In" theories such as Jared Diamond suggest that from time immemorial, some critical factor — geography, climate, or culture perhaps — made East and West unalterably different, and determined that the industrial revolution would happen in the West and push it further ahead of the East. But the East led the West between 500 and 1600, so this development can't have been inevitable; and so proponents of "Short-Term Accident" theories argue that Western rule was a temporary aberration that is now coming to an end, with Japan, China, and India resuming their rightful places on the world stage. However, as the West led for 9,000 of the previous 10,000 years, it wasn't just a temporary aberration. So, if we want to know why the West rules, we need a whole new theory. Ian Morris, boldly entering the turf of Jared Diamond and Niall Ferguson, provides the broader approach that is necessary, combining the textual historian's focus on context, the anthropological archaeologist's awareness of the deep past, and the social scientist's comparative methods to make sense of the past, present, and future — in a way no one has ever done before.

You can use this book to design a house for yourself with your family; you can use it to work with your neighbors to improve your town and neighborhood; you can use it to design an office, or a workshop, or a public building. And you can use it to guide you in the actual process of construction. After a ten-year silence, Christopher Alexander and his colleagues at the Center for Environmental Structure are now publishing a major statement in the form of three books which will, in their words, "lay the basis for an entirely new approach to architecture, building and planning, which will we hope replace existing ideas and practices entirely." The three books are The Timeless Way of Building, The Oregon Experiment, and this book, A Pattern Language. At the core of these books is the idea that people should design for themselves their own houses, streets, and communities. This idea may be radical (it implies a radical transformation of the architectural profession) but it comes simply from the observation that most of the wonderful places of the world were not made by architects but by the people. At the core of the books, too, is the point that in designing their environments people always rely on certain "languages," which, like the languages we speak, allow them to articulate and communicate an infinite variety of designs within a forma system which gives them coherence. This book provides a language of this kind. It will enable a person to make a design for almost any kind of building, or any part of the built environment. "Patterns," the units of this language, are answers to design problems (How high should a window sill be? How many stories should a building have? How much space in a neighborhood should be devoted to grass and trees?). More than 250 of the patterns in this pattern language are given: each consists of a problem statement, a discussion of the problem with an illustration, and a solution. As the authors say in their introduction, many of the patterns are archetypal, so deeply rooted in the nature of things that it seemly likely that they will be a part of human nature, and human action, as much in five hundred years as they are today.

An essential fashion industry resource, this new book presents a century of fashion illustrations from dress pattern envelopes ranging from the 1890s to the 1990s. References the popular shapes, silhouettes, and fashions through nearly 350 patterns for evening wear, lingerie, sportswear, and more. This detailed presentation illustrates cultural, social, and economic changes influencing women's fashions and the stylized illustrations used to capture the mode and ideal body styles of the day. As more design processes go digital, this book offers hundreds of skillful renderings done by hand. This is an ideal collection for fashion industry professionals, design students, and costume historians.

Summary: "The perfect introduction to the core principles of garment construction, "How Patterns Work" simplifies and explains the relationship between pattern making and the body." -- Back cover.

Throughout its long history, homedressmaking has been a formative experience in the lives of millions of women. This volume is an account of the significance of homedressmaking as a form of American and European material culture.

Presented in a new edition that adds updated pattern industry news and revised rules for selecting pattern size, this easy and practical fitting system requires no measuring, no drafting skills, no muslin mock-ups--and it works with all brands of tissue paper patterns. Real people of all ages are featured in photographs that explain the steps of cutting out pattern pieces, pinning them together, and adjusting the fit. Special attention is paid to tricky challenges such as accommodating a full bustline, adjusting sleeves, or reworking a garment to make it more flattering, as well as alternative fitting methods such as draping and computer design. Metric conversion charts, charts for comparing pattern company bodice measurements, and a history of American dress design ( Just where did size 10 come from?) make this book a versatile reference.