TAILORING GOLD GUIDE : SPICE GOLD LEGAL : LONDON GOLD MARKET FIXING.
Tailoring: The Classic Guide to Sewing the Perfect Jacket
Tailoring is the complete photo guide to sewing jackets and coats. Written by sewing professionals, this book teaches the trusted, proven methods for sewing tailored jackets with impeccable details and perfect fit. Written for the intermediate sewer who wants to move on to more challenging projects, this book ensures success with detailed, step-by-step instructions, more than 400 photos, in-depth discussions about products and how to use them. Tailoring offers guidance for every aspect of tailoring a jacket: fitting and pattern alteration, fabrics and tools, interfacings, interlinings, seams and finishes, hand stitches, collars, pressing, topstitching, shaping shoulders, setting in sleeves, sewing pockets, vents, and making perfect buttonholes.89% (7)
Albanians are descendant of Illyrians
Why do we call Greece while it is Albanian land? The purpose of this collection is to show that what we call wrongly as Greece it is Albanian land. Please, spread everywhere these quotes! 1. “The [Greek] claim to southern Albania rests entirely on the assumption that the majority of the population is Greek. The Greeks are stated to number 120,000 and Albanians 80,000. But who are the ?Greeks?? At least five sixths of them, if not more are Christian Albanians of the Orthodox faith, Albanians in sentiment and language, who because they acknowledge the Patriarch of Constantinople are declared to be Greek in point of ?national consciousness?.” (”The Nineteenth Century and After XIX-XX a Monthly Review”, founded by James Knowles, Vol. LXXXVI, July-December 1919, page 645.) 2. “Did the Greeks constitute a race apart from the Albanians the Slavs and the Vlachs? Yes and no. High school students were told that the ?other races?, i.e. the Slavs the Albanians and the Vlachs ?having been Hellenized with the years in terms of mores and customs, are now being assimilated into the Greeks?.” (”Greece in the 20th Century”, Editors Theodore A. Couloumbis, Theodore Kariots, Fotini Bellou, page 24.) 3. “The Turkish village which formally clustered around the base of the Acropolis [old Athens] has not disappeared: it forms a whole quarter of the town. An immense majority of the population in this quarter is composed of Albanians.” (”Greece and the Greeks of the Present Day”, by Edmund About, page 160.) 4. “Through the end of the revolution in 1830, Greeks, including most of the nineteenth-century nationalists, seemed to have had a vague but firm sense of continuity from ancient to modern Greece, though this was not articulated in racial terms but on the basis of a common language, history and consciousness. In effect at this time, whoever called themselves a Greek was a Greek. It is because of this that many Greek-speaking Albanians, Slavs, Rumanians and Vlachs were easily assimilated and indeed became important players in Greek patriotism at the time.” (”The Empty Cradle of Democracy”, by Alexandra Halkias, page 59.) 5. “The first Greek who had a plan for insurrection and for a liberated Greece was Rhigas of Valestino. Rhigas was the author of poems, revolutionary proclamations and a constitution… In this document he spoke of a sovereign people of the proposed state as including ?without distinction of religion and language – Greeks, Albanians, Vlachs, Armenians, Turks and every other race?. It seems that in their minds the distinction between ?Greek? and ?Orthodox? was still blurred.” (”Appleton?s Annual Cyclopedia and register of important events 1901?, Third Series Volume VI, page 113.) 6. “There cannot be an Athenian alive today who can trace a direct line of descent from classical times to the present day without leaving Athens. Because of numerous and protracted foreign occupations, true Athenians were a relatively small minority even in the Age of Pericles. In a later period, the city was suffering from severe depopulation and was re-stocked with Albanians. At the time of Greek independence in 1834, Athens was a miserable village with a population of only 6,000.” (”Insight Guides Athens Greece Series”, page 42.) 7. “It is one of a group made famous in the Greek revolution of 1821 by the bravery of its Albanian settlers, in defense of a country which they had never adopted for their own till this moment of danger came. They brought to it moreover, the hoarded wealth of many years. Albanian captains, Albanian ships and Albanian gold became the strength of the Greek and the dread of the Turk. The successful close of the revolution found them as firmly allied with the Greek nationality as they have been previously alien to it, and there are now no names more honoured and beloved in Athens, no families more influential in its polite circles, than those of the Albanian leaders in the war of 1821, the Tombazis, the Miaulis the Condouriottis.” (”The Atlantic Monthly: A magazine of literature, science, art and politics Vol. XLIX, January 1882, page 31.) 8. “Among the numerous islands of the Egian, arise several barren rocks, some of which are however gifted by nature with small and commodious heavens. Of this number are Hydra, Spezzia and Ipsara, the first two close to the Eastern shore of the Peloponnesus, and the latter not far from Scio, on the Asiatic coast. Tyranny and Want had driven some families, whose origin, like that of nearly all the peasants, who inhabited proper Greece, was Albanian, to take refuge on these desolate crags, where they built villages and sought a precarious existence by fishing.” (”The Greek Revolution; in origin and progress”, by Edward Blaquiere Esq., page 21.) 9. “In reality however, just before the Greek war of independence, most Greeks still referred to themselves as ?Romans. Vlachavas, the priest rebel leader who rose against the Ottomans, declared, ?A Romneos I was born a RJapanese Kimono (T685), 1920-1935 (front)
Medium: Painted and stenciled silk satin. Woman’s satin kimono in alternating stripes of purple and cream with brightly-colored stenciled butterflies evenly distributed across the garment. Lined in crimson silk. Within the purple and cream stripes, there are smaller stripes subtly denoted by their shine. Upon close examination with a 20-power microscope, it was discovered that alternating strips of plain weave and satin weave created the different sheens. Furthermore, the subtle stripes are in most cases separated by a single warp thread of gilded paper, a very delicate fiber. By calculating the thread count of the fabric, it was found that there are approximately 120 warps per inch; according to the pattern, there is one gilded paper warp for every 330 silk threads. The level of difficulty and amount of care that went into producing this pattern made this an expensive garment to own. Slight water damage reveals that the purple stripes were painted or blow-painted on after the cream fabric was woven. The butterflies were hand-painted with care from a stencil guide, with each insect displaying unique markings and color combinations. Some of the butterflies are also decorated with thin lines of gold paint and couched gold thread. Contrary to many kimonos in the Scripps collection, the butterflies are split down the back seam of the kimono, indicating that the fabric was decorated before being sewn into one robe. Due to the bright colors and the presence of fluttering butterflies, this kimono would have been worn by a young, unmarried woman from a wealthy family. The long, 28 in. sleeves point to the wearer’s unmarried status. It is too light to be a winter dress or and outer jacket, and too heavily decorated to be an under-dress, so it is likely that it was worn during warm weather. Like other kimono, this garment was meant to be worn with an obi, and therefore the robe was tailored without concern for subtlety in the lower torso, the area covered by the obi. Written by Rebecca Yankes, Monserrat '11, Fall 2008 for ARHI186C.
Good fit improves the comfort and appearance of any garment and is the reason many people sew their own clothes. However, it's common to worry about ruining a pattern when you cut it apart to make a fitting adjustment. The Perfect Fit makes pattern alterations easy with proven methods illustrated step-by-step. This complete guide includes analyzing a figure, measuring the body, customizing the pattern, and fine-tuning the fit with small adjustments like moving buttons and reshaping darts. The Perfect Fit shows how to change a commercial pattern sized for millions of women into a sewing blueprint sized to fit your figure alone.Related topics:
Altering patterns has never been easier, thanks to the help of 400 step-by-step photographs!
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