Results for " Article Good "

CLOTHING BUDGETS AND BUYING

WHAT AND HOW TO BUY

Income and Income Spending. — Incomes are earned through the labor of the member, or members, of a family upon whom this responsibility falls ; they are spent by the earner, or some member of the family upon whom the business of spending devolves. Planning for wise expenditure of income presents one of the most important economic and household problems of the day.

Woman's Responsibility. — Upon woman, the chief spender, depends the wise or unwise apportionment of the income to the various needs of the family, — shelter, food, clothing, etc. The girl of to-day, whether or not her future sphere of activity shall lie in the field of business, teaching, or home-making, must assume her share of responsibility in the business of spending either her own income, or that of others. Whether or not she performs her part wisely depends somewhat upon the equipment furnished her by home and school.

Woman's Opportunity. — Abundant opportunity to learn to become a wise spender awaits her in the field of clothing. It is

possible for her to provide for herself and others, for whom she may have need to buy, suitable wearing apparel that will not deplete the purse, yet give joy and satisfaction to the wearer. When purchasing ready-to-wear garments, she should be able to judge of them as re- gards their (1) durability and the quality of the materials of which they are made; (2) their suitability to occasion and wearer; (3) the becomingness of color and line, and (4) the price in relation to her allowance. If the allowance permits made-to-order garments, she should be able to make her own selection of materials and de-

signs for the garments, and calculate approximately, at least, the cost of the making, in addition to the price of the materials. The same is true of the young woman who may make, in whole or in part,

the garments she wears.

Her Training. — To become a master workman in the art of

clothing herself and others^ wisely and well, the young woman should have an interest in the industries concerned in the making of women's apparel, in the production and preparation of the fibers of which the materials are made, the manufacture of the fabrics, and the construction of the garments themselves. She should become familiar with the principles of design which relate to clothing, and through the study of artistic forms in sculpture, painting and his-

toric costume, learn to choose for herself and others, colors, lines and shapes that are becoming. Add to this, technical skill in cloth- ing design, in the manipulation of fabrics in draping, or in the cutting of cloth by pattern, and in the use of needles, pins and shears in the construction of garments, and her equipment will be complete.

WHAT CLOTHING SHOULD DENOTE

Clothing and Circumstances. — Well-ordered clothing should, first of all, denote fitness to circumstances. We may dress as richly as our circumstances permit, but should let the keynote of that rich- ness be simplicity. We should choose attractive and suitable gar- ments or stuffs of pleasing colors. There should be evenness of attire; we should nol: sacrifice one garment for lavish expenditure upon another. Extremes of fashion are to be avoided; they are in bad taste, and moreover extravagant. To follow the extreme of fashion, is like chasing a will-o'-the-wisp; the fancy is subject to continual change, the purse to depletion.

READMORE : PDF

Article Good

CLOTHING BUDGETS AND BUYING

ADMIN

Fashion is spinach

THERE are only two kinds of women in the world of clothing. One buys her clothes made-to-order, the other

Buys her clothes ready-made.

The made-to-order lady frequents Molineux, Landin, Piquing, and Chanel, in Paris. In New York she is deposited by

her chauffeur "on the Plaza," at the door of Bergdorf Good- man, or she threads through the traffic of Forty-ninth Street to Hattie Carnegie, less advantageously placed geographically but equally important where fashion is concerned. She may do her shopping out of the traffic, in a gray house on Sixty- seventh Street, Hawes, Inc., or just hit the edge of the mob at the Savoy-Plaza where Valentina holds sway.

In any case, the made-to-order lady can shop and dress to her entire satisfaction. Thousands of skilled craftsmen and women are ready to sew up her clothes. Tens of design- errs in London and Paris and New York and Los Angeles will work out her special sketches. Hundreds of salespeople are on tap at all hours of the day to watch over her fittings, ad- vise her what not to buy, send shoppers to find that special color and material which really should be worn in her dining

Room.

She pays, yes. But it's worth it a thousand times. Her clothes are her own and correspond to her life as she under- stands it. She may spend hours fitting them, but in the end they are right.

Meanwhile, the ready-made lady shops. She too may want a special color to wear in her dining room. She may find that color after two weeks of hunting, or she may never find it, since very possibly "we are not using it this season." She may find a really warm and sturdy winter coat which

will last her for the next six years and only cost $35 or she may discover that the coat she bought last year is not in fashion this year, that the material was, after all, not all wool.

Millions and millions of women go shopping year after year. They are tall and short, fat and thin, gay and de- pressed. They may clothe their bodies for the simple purr- pose of keeping warm or not going naked. They may choose

Their wardrobes with care for wintering in Palm Beach, or going to the races in Ascot. Their first necessary choice is, can they pay enough to get exactly what they want or are they at the mercy of mass production. Can they buy style or must they buy fashion?

Landin and Chanel, Hawes and Valentina, are fund- mentally occupied with selling style. The manufacturer and the department store are primarily occupied with selling fashion.

I don't know when the word fashion came into being, but it was an evil day. For thousands of years people got along with something called style and maybe, in another thousand, we'll go back to it.

Style is that thing which, being looked back upon after a century, gives you the fundamental feeling of a certain period in history. Style in Greece in 2000 B.C. was delicate outdoor architecture and the clothes which went with it. Style in the Renaissance was an elaborately carved stone cathedral and rich velvet, gold trimmed robes. Style doesn't change every month or every year. It only changes as often as there is a real change in the point of view and lives of the people for whom it is produced.

Style in 1937 may give you a functional house and comfortable clothes to wear in it. Style doesn't give a whoop whether your comfortable clothes are red or yellow or blue, or whether your bag matches your shoes. Style gives you shorts for tennis because they are practical. Style takes away the wasp-waisted corset when women get free and active.

If you are in a position to deal with a shop which makes your clothes specially for you, style is what you can have, the right clothes for your life in your epoch, uncompromised- ingle, at once.

On top of style there has arisen a strange and wonderful creature called fashion. He got started at least as far back as the seventeenth century when a few smart people reclog- nixed him for what he was and is. "See’s thou not, I say, what a deformed thief this fashion is?" Mr. Shakespeare demanded in Much Ado about Nothing. But nobody paid any attention.

Now we have the advertising agency and the maniac- truer, the department store and the fashion writer all here to tell us that the past, present, and future of clothing de- pends on fashion, ceaselessly changing. Manufacturing clothes is the second largest business in the United States. Not one-half of one percent of the pope- lotion can have its clothing made to order or wants to for

That matter.

This means that a large portion of $2,656,242,000 changes hands annually under the eye of that thief, fashion, who becomes more and more deformed with practice. Fashion is a parasite on style. Without style, he wouldn't exist, but what he does to it is nobody's business.

Fashion is that horrid little man with an evil eye who tells you that your last winter's coat may be in perfect physic- call condition, but you can't wear it. You can't wear it because it has a belt and this year "we are not showing belts."

Fashion gets up those perfectly ghastly ideas, such as ac- accessories should match, and proceeds to give you shoes, gloves, bag, and hat all in the same hideous shade of Kelly green which he insists is chic this season whether it turns you yellow or not. Fashion is apt to insist one year that you are nobody if you wear flat heels, and then turn right around and throw thousands of them in your face.

READMORE : PDF

Article Good

Fashion is spinach - Discount Clothing Websites

ADMIN

 

In sheep's clothing

And Irion sat at her bedroom window staring, as she had often stared, at the old grey cas-

tellated building away on the hill-top.

In her happy moods its dreamy poetic loneliness fascinated her; in her troubled moments its desolation frightened her —

because of the ghosts which were said to wander there by night.

To-day she was simply speculative. Where was the owner of those miles of tree-covered hill, the should-be master of that almost ruined house ? Was he alive or dead, that man-rejected alien, who had been driven with whips and scorns away from his people

and from his country ? Even thinking of  him made Irion feel cold and frightened.  A man, the son of a good old English gentle- man, the last of a proud old English family, a man whom the world had called great because of the talents which he possessed, and because of the rich promise of his youth. Such a man, and — a murderer 1

He had not been hanged — not sentenced even; *a quibble of the law and family

interest had saved him,' the people said. But not one man, not one woman in all the

county held him guiltless. Therefore they had driven him out from amongst them, curse

pursued.*

Irion had seen him once— she was quite a chUd then— seen him as he passed her in the street of Rockford, coming out of the justice- court, committed for trial — condemned already by his once friends ! The first stones cast at him, as usual, by those who had fawned upon him prosperous. He had passed by her in the street, and had laid his hand upon her

head, saying to the man with him : ' What a very pretty child,' and looking straight into

Irion's baby eyes. She was only five years old then, but she could remember having started away from his touch, and raced like a hunted animal across the road to the other side of the way, where some village boys and girls shouted to her that he had left blood- stains on her hair. She had never forgotten it. To-day, twenty years afterwards, she

could recall — a boy's face, hairless still, but stern, and hard, and evil, so she had thought

it, trembling under the fear which his touch had brought upon her.

And this was all she had known of Ulric Aylmer, except — that he was a mur- derer 1

A boy of twenty years, and a slayer of human life 1 The horror of it had fallen upon her then with unnatural intensity, and it had never left her. When as a child she dreamed bad dreams, they were always of this blood- stained man (for to a child of five, twenty is manhood) clutching at her throat, and holding a knife over her. Even now in her woman- hood, she dreamed the same dream sometimes, after she had sat staring at the old grey

towers, speculating as to the present of Ulric Aylmer — ^if he were yet alive.

It was the most striking object before Irion's bedroom window, this house, and the park, and the woods. A grand old family estate, let to the ghosts inside, and to the rooks and the owls outside. Irion intended to write a romance about it some day, when she should have learnt the fate of the owner. Some day she would tell the world that story which Rockford alone knew in detail. The story of the last of the Aylmers, who loved a village girl and in cold blood slew the man who stood in his way ; the village swain who would have been so true to his lass, only he was laid low by * the squire's son.'

Every one in Rockford knew the truth, — but the law, they said, blinded its own eyes, and stopped its own ears, and refused to hear the voice of the people crying out for justice. They were poor, all of them, and ignorant ; but the Aylmers were rich, and wise in their generation. . In London, who knew Jim Hobb, the gamekeeper's son, or his village lass ? who cared that he was mur-

dered ? He would leave no blank amongst them. In London, who did not know the Aylmers of Aylmer ? Who would not have felt ashamed that a murderer should have lived and moved amongst them ? The voice of respectability is loud to convince, the arm of prosperity is strong to compel — and so Ulric Alymer was set free.

But the people of Rockford knew more, a great deal more, and they said amongst them that * If ever a blackguard and a devil in man's clothing were walking the earth, un- punished, it was Ulric Aylmer.' And this, Irion also had told herself, shuddering always at the remembrance of him.

Nevertheless, the deserted house, and the gloomy woods, with the cloud-shadows float- ing over them ; smiling sometimes, frowning sometimes, but ever changing, ever suggesting, had a charm for Irion which was all their own.

Her life was somewhat lonely, somewhat eventless, passing away with a monotonous,

meaningless cadence, echoed only by the hills of sleepy Devon. Now and again, indeed, stray sun-rays had

come and warmed it into a new life. These had taught the girl that there is something beyond charity schools and crops, somewhere out in the world, and that it was possible she might have a share in this something. Once before she had tasted of life, and again to-morrow she should revive the sweetness. Once she had been to London 1 to-morrow she was going again. Going on a visit for ' all the spring months. Going to friends whose world was so different from her world, whose life so apart from her life, that they might have been another form of creation alto- gether, instead of men and women such as she had been taught to understand manhood and womanhood in her country ignorance of worth.

Readmore : Ebooks PDF

Article Good

Discount Clothing Websites : In sheep's clothing

ADMIN

As you buy clothing

AS YOU BUY CLOTHING 

Clothes are a basic need of all people. Different people give differ- 
ent value to clothing. For some, its most important function is to 
protect them from the weather or just to meet the needs of modesty. 
Others choose clothing to match the demands of a job. Some people 
may use clothing to fit a mood, to build self-confidence, or to play a 
social role. Choosing and making clothing are often outlets for creative 
expression. 

Meeting both the physical and the psychological clothing needs of 
each family member requires thought and planning. This booklet will 
consider plans for family clothing expenses, the clothing needs of fam- 
ily members, and things to consider when buying clothes. It will also 
discuss stores that sell clothes, the methods they use in selling, and ways 
of paying for clothes.

PLAN FAMILY CLOTHES SPENDING 


People often look for a set formula to determine how much of their 
family's money should be spent for clothing. But just as individuals 
place different importance on clothes, families will spend different 
amounts of their incomes on clothes. Some things that influence how 
much of the family income will be spent on clothes are the amount of 
money the family has, the number of people in the family who are 
earning money, where the family lives, and the needs and desires of 
different family members. 

Buying clothes can be part of an overall spending plan or budget. 
Ways of developing such a plan are discussed in Illinois Extension Cir- 
cular 996, How Your Family Can Live Within Its Income. 

The most useful kind of spending plan seems to be the one which 
is made up by the family that will use it. Each family sets the upper 
limit for the major areas of family spending (food, rent, clothing, etc.) . 

Within these major areas, you will need to do more planning as 
you go along. The budget is really a long-run spending plan to allow 
you freedom of choice and adjustment in the short run. 

In developing the part of the master plan that deals with clothing, 
a record of the kind of clothes your family needs and buys will be help- 
ful. In most families, these expenses are different from season to season. 
You may need to purchase major items, such as coats and suits, only 
once every two or three years. 



You may wish to plan so that expensive items like suits and coats 
will not all have to be bought at the same time of year (or during 
the same year). You might plan to save ahead for purchases that are 
very expensive and will require a large amount of money. Your plan 
needs to allow for emergencies (such as having a child outgrow his 
shoes before you thought he would) and for special events such as 
weddings and vacation trips. 

It is a help if all family members who buy family clothing take 
part in planning how to use the family's money. Having everyone 
plan and agree together in advance will help prevent arguments later 
about conflicting desires of the various family members. 

To decide how the clothing dollars will be assigned, it is necessary 
to determine the needs of the individual family members.

ANALYZE FAMILY CLOTHING NEEDS 


KNOW WHAT IS ALREADY ON HAND 

At least once a year, each family member's clothing should be in- 
spected. A good time to do this is at the changing of two seasons (such 
as summer into fall ) when some garments are being taken from storage 
and others are ready to store. Teenage children can try on and exam- 
ine their own clothes, but may need to consult with parents in making 
final decisions as to what to keep and what to discard. Young chil- 
dren can have their clothing needs decided for them. 

As garments are checked for fit and state of repair, they can be 
sorted into three stacks. One stack will consist of clothing that is wear- 
able as is. The second will be clothing that can be made wearable by 
cleaning, alteration, or repair. In the third stack will be clothing that 
cannot be worn and should be thrown out or given away. 

PLAN WHAT TO BUY 

Make a list of the wearable clothing belonging to each family 
member, and think of various ways in which those things can be worn 
together to make different outfits. Then determine what additional 
items are needed for each person. The clothing budget can be 
stretched by gifts of clothing, by hand-me-downs, and by making 
clothes at home. 



Consider the possibility of making some clothing as a way of cut- 
ting costs. A seamstress should be skillful enough so that family mem- 
bers will find her work attractive and will wear the clothes she makes. 
Some items, such as pajamas and children's play wear, can be bought 
for about as much as it costs to make them, so if time is short these 
garments may as well be purchased. 

Suggest to relatives and friends that certain items be given as gifts 
on the occasions when they might be giving presents to a member of 
the family. They will probably appreciate some help with their gift 
shopping, and this is another way to meet both clothing needs and 
clothing wants beyond the basic level of need. 

When planning what must be purchased, be sure to remember 
articles of clothing that will be handed down from one child to another 
within the family. This clothing reduces the need to purchase new 
items. Often some clothes come into the family from outside, but the 
kind or amount can't be counted on ahead of time. 

We have been talking about how to decide what the clothing needs 
for each family member are, and how to plan for clothing purchases. 
Does this mean that you can never buy something you happen to see 
when you are shopping, or substitute another kind of purchase for the 
one in your plan? 

Sometimes spur-of-the-moment buys may meet a need that can't 
really be defined, but you know it would make you feel happy or self- 
confident to have that particular item of clothing. This type of buying 
may be the result of a need you didn't foresee or can't explain. As long 
as the purchase is used later, and no one is deprived of a more basic 
need because of it, an occasional quick decision to change your plan 
can be made.

KNOW HOW TO BUY CLOTHING 



FASHION AND FAD 

After the decisions are made as to what articles of clothing will be 
purchased, it is time to begin shopping. To be an effective shopper, 
every consumer should be familiar with the terms fashion and fad, and 
be able to recognize the apparel that falls into each of these groups. 

Fashion consists of the prevailing styles or designs at any given 
time ( for example, pleated skirts, A-line skirts, or gathered skirts ) . New 
styles are introduced constantly by fashion designers, and when a style 



is widely accepted and followed it becomes the current fashion. A 
fashion usually lasts for at least three years, then it may be replaced 
by a new one. 

A fad is a "mini-fashion." It may begin as some novelty which 
arouses interest or surprise. Fads last only a few months and are 
adopted by only a small group of people. 

The length of time you expect to wear a garment is an important 
factor in deciding how much to spend for it. Most people would pre- 
fer to invest more money in a dress or suit that will be fashionable for 
several years than in a faddish item that will be outdated after one 
short season. 

QUALITY IN CLOTHING 

The quality that you will need in a particular garment is deter- 
mined by how many times it will be worn, the occasions for which 
it will be worn, and how durable the garment must be to take the use 
it will get. 

Individuals in your family will want to wear some garments (such 
as coats or suits) as long as possible. For such items, you need to buy 
the best quality available at the price you can afford. Some specific 
points which indicate quality in apparel are : the design of the garment, 
the fabric used, the construction of the garment, and the suitability of 
the garment to the wearer. 

Design 

Look for a garment which fits your needs and is attractive, but 
which is also in a style that will stay in fashion for the life of the 
article. Newness of design is not a sure guide to excellence. A garment 
should be chosen with regard to color, texture, and design lines that are 
becoming to the individual who will wear it.

WHAT'S ON THE LABEL? 

For many years, the law did not require garment manufacturers 
to state the fiber content of a garment on its label or hangtag. Also, 
the many synthetic fibers and blends of fibers we have today were not 
available. The consumer learned through experience to select ready- 
to-wear clothes by the feel and appearance of the fabric used in the 
garment. Today, because of the variety of fabrics available, those guides 
are not enough. The best guides are the tags and labels which give in- 
formation about the articles to which they are attached. Some of the 
facts that should be listed on a label are : 

fiber content shrinkage control 

finishes used colorfastness 

care requirements size 

manufacturer's name and address 

Fiber Content 

The Textile Fiber Products Act makes it mandatory for all major 
apparel textiles to have a label stating the percentage of each fiber 
that makes up 5 percent or more of the total fiber weight. 

A general, or generic, name is given to all members of a fiber 
family. A label must tell the generic name of each fiber present. The 
specific trade name given a fiber by the manufacturer may not appear 
on a label without the generic name, and it may not be in larger print 
than the generic name. An example of this is Dacron (trade name) 
Polyester ( generic name ) . 

If the item is imported, the country of origin must appear on the 
label unless the product is changed. An example of change in product 
would be a dress made in the United States of Italian silk. In such case 
the origin of the fabric doesn't have to be given. 

The Act also includes the following provisions about labeling 
clothing : 

• If a garment has two or more parts, information showing the 
fiber content of each part can appear on only one label. 

• The face and back of pile fabrics must be labeled separately, 
and the proportion of face to back must be stated. For example, the tag 
may say: "100% acrylic pile, 100% cotton back. The back is 60 per- 
cent of the fabric and the pile is 40 percent." 

• Articles, such as girdles, which are made in sections of different 
fabrics, may have one label identifying the fiber content of all sections. 



• If the trim is 1 5 percent or less of the surface of the garment, its 
fibers need not be identified. 

• Piece goods must be labeled on the end of the bolt or on the 
hangtag, but remnants do not have to be labeled as to fiber content. 

• Generic names of fibers used in advertising of textile products 
do not need to be listed if no reference to fiber content is made. If an 
assortment of items are advertised together and space is limited and 
doesn't permit a complete listing, generic names need not be given. If 
generic names do appear in ads, they must be listed in order of weight 
at least once. 

• Deceptive use of fur names or symbols used in labeling or adver- 
tising non-fur textile products is prohibited. 

Care Requirements 

Directions should be given about how to care for the garment, 
whether it can be laundered (and if so, the appropriate method to use) 
or whether it should be dry cleaned only. Information about care is 
complete and well presented on some labels, but consumers do not al- 
ways keep labels. 

It has been proposed that the Federal Trade Commission pass a 
rule on permanent (sewn in) care labels for textile products. This rule 
would require proper instructions for the laundering and cleaning of 
such a product, as well as any other instruction about the product, 
which, if not followed may impair its utility or appearance. At this time 
the FTC has not issued the final rule, but consumers should be aware 
of this legislation and request such labeling. 

Finishes and Shrinkage Control 

A label should tell if a special finish has been used, the performance 
to be expected from that finish, how permanent it is, and how to care 
for the garment in order to protect the finish and get full benefit 
from it. 

Each manufacturer gives a special name to the finish used on his 
fabric, which is why there are so many names for the same kind of 
finish. 

Some of the finishes which make fabrics wrinkle-free are Koratron, 
Permanent Press, Durable Press, Penn-Prest, Machine Wash 'N Wear, 
Perma-Prest, Dan-Press, and Sta-Prest.

Readmore : PDF

Article Good

Discount Clothing Websites : As you buy clothing

ADMIN

WOMEN'S CLOTHING

There were many different styles popular in the 18th Century, but all the styles had a few basics in common. Low scooped or squared off necks, sleeves just past the elbow, waists emphasized, the layered look, and very full skirts were universal traits of 18th Century women's dress. Although a few children's garments fastened in the back,women's clothing usually fastened in the front. The layers of clothing included a shift, petticoats, a jacket bodice or overgown, and bonnets and caps. Kerchiefs, shawls, and neckerchiefs (sometimes called "fichus" by the fashion elegants of the period) were optional, and aprons always topped work dresses. Farm wear for New England women was comfortable and nonre-stricting. A simple drawstring shift, a full skirt ending above the an-kles, a jacket bodice with rolled up sleeves and laced in front, a cap and an apron were the basic articles of clothing. Women and girls often went barefoot in the house and yard. Rough leather shoes were worn when protection from cold or terrain was needed. Scarlet cloaks (sometimes called cardinals) were most often worn by farm and mer-chant women. These cloaks, commonly referred to as "red riding hoods" (which will of course incur quite a bit of teasing from mod-ern-day wits), were regarded as country middle-lower class wear by the elegants of Boston. In her diary Anna Green Winslow, a twelve-year-old school girl just becoming aware of fashion, is horrified at the thought of wearing her red cloak in the streets of Boston. She fears it will identify her as a market woman or, as the British soldiers called country folk, a country pumpkin. A town woman would usually wear a fancier gown over a shift and petticoats. A bonnet or a straw hat worn over a mobcap might be added. Often a fashionable pelisse or capuchin, hip-length capes with friar-like hoods, would be worn with the dress. These capes might be blue, grey, scarlet, or green in color and made of silk or wool.

THE ESSENTIAL UNDERGARMENT: THE SHIFT

The chief woman's undergarment for any type of dress was the shift (called "chemise" by elegant Bostonians). This was a rather shapeless slip-with-sleeves. Usually it ended around the knees, looking much like a long peasant blouse. A low scooped neck and sleeves ending below the elbows are important. The neck edge and the sleeve edges often showed beneath the overdress, so the style and the fabric of the shift varied accordingly. Please see the diagrams and note the variations. The best way to make the shift is as the 18th Century woman made hers: no pattern. This shift not only looks accurate, but is easy once the concept of 18th Century clothing construction is understood. Use drawstrings. Elastic had not been developed yet. The shift was the major undergarment for an 18th Century woman. It can be made relatively easily with about 3V6 yards fabric and a yardstick. The length of fabric for the body is twice the distance be-tween your shoulder and your knees (average is 72"). The sleeve length is the distance from your top shoulder to ^4" below your elbow. Cut a squarish neck hole, about 10" wide and 10" long (again, aver-age size). Mark off with ruler ^8" on each side of center of the shift body. The sleeve (widest end) is to be attached here, using tiny pleats to fit. After both sleeves are attached, fold shift so that you can sew in a continuous seam the length of the sleeve, underarm, and shift sides. To finish neck: First, try the garment on. If the neck if far too big, fold edge over and sew: insert drawstring and pull to adjust. If the neck is just a little too big, take in a few tucks here and there, creating a pretty ruffled effect. Lace, ruffling, etc. can be added to dress the shift up.

To finish the sleeves: Add either cuffs, or drawstrings, or ruffles, all ending just below the elbow.

Readmore : PDF

*Dowload will be easier to read .

Article Good