The way they dressed was elegant and the way they wore their hair was feminine. This book shows how to create so many of those hairstyles by taking hairstyles from the 1930s, 40s, 50s, and 60s and breaking them down into simple, easy-to-follow instructions. It uses brand new photographs and detailed directions. Not only a manual, it is also fun to read. The Finished Styles chapter of the book contains coffee table book quality images of models with their finished hairstyles. Sprinkled in introductions and throughout the book are interesting facts about the history of hairstyling, origins of styles, and information about starlets and performers who made the styles popular. This 200-page full-color book has 6 main chapters. The book begins with the basics of styling and works its way back to advanced techniques. It also provides information on makeup, nails, and accessories for a finished look.

    Focusing at first on the spinning wheel, emphasis is placed on the importance of adjusting and customizing the wheel for best results. Instructions on core spinning and less traditional techniques lead off the beaten path to novelty yarns. Each type of yarn is explored in detail with instructions on how to make them.

    Here, Lisa Lloyd explores the different qualities of handspun yarns and presents projects that show them to their best advantage. Each of the 26 projects shows the finished item knitted with both a handspun and a commercial yarn.

    There are more than 400 line drawings and 121 patterns.

    It was the most naked period since Ancient Greece and before the 1960s, and for the first time England became a fashion influence, especially for menswear, and became the toast of Paris. With the ancient regime deposed, court dress became secondary and the season by season flux of fashion as we know it came into being, aided and abetted by the proliferation of new ladies' magazines. Such an age of revolution and innovation inspired a flood of fashions taking influence from everything including the newly discovered treasures of the ancient world, to radical new ideas like democracy. It was an era of contradiction immortalized by Jane Austen, who adeptly used the newfound diversity of fashion to enliven her characters, Wickham's military splendor, Mr. Darcy's understated elegance, and Miss Tilney's romantic fixation with white muslin.

    More than a thousand illustrations, based on surviving garments and contemporary paintings and photographs, demonstrate the astonishing changes in men’s and women’s clothing over the centuries—from the simple tunics and gowns of the eleventh century to the petticoat breeches and ostrich-plumed hats of Charles II’s reign to the T-shirts and shorts of today.Clear and detailed drawings, plus notes that pinpoint specific features such as fabric, decoration, accessories and cut, make each costume immediately comprehensible.Completely up to date, and with a new chart showing the main changes in fashion through the centuries, this is an essential reference for students of theatrical design and fashion, drama groups and anyone interested in the history of costume.

     In trunks, under floorboards, in remote ravines — even in their own beds — the bodies of those for whom their lovers’ passion proved fatal have been found, and often through the stench of decay. One ingenious killer boiled down his wife’s remains in a vat at his sausage factory. Another throttled and incinerated a perfect stranger in order to stage his own death and thus escape the charge of bigamy. Then there were the lesbian schoolgirls who bludgeoned to death the mother of one of them with a brick in a stocking. Her crime: she had tried to keep them apart. Whilst one woman kept her lover in a secret attic for years until he shot her husband dead. A dark narrative, Adrian Vincent expertly brings together some of the world’s most notorious killer. In sixteen fascinating case histories, Fatal Passions tells the true stories of those who have literally loved someone to death. Praise for Adrian Vincent ‘A skilfully written account’ – Kirkus Reviews. Adrian Vincent worked in Fleet Street for twenty-seven years, becoming managing editor of IPC’s educational magazines. He is the author of many books on art and antiques, novels and true crime.

    The pleasures to be had from slowing down can be many, with connections to sustainability, simplicity, reflection, and tuning into traditional and other multicultural textile traditions.Slow Stitch is a much-needed guide to adopting a less-is-more approach, valuing quality over quantity, and bringing a meaningful and thoughtful approach to textile practice.Claire Wellesley-Smith introduces a range of ways in which you can slow your textile work down, including:Using simple techniques inspired by traditional practice (including hand-stitch rhythms)Reusing and re-inventing materials (reuse even old textile projects)Limiting your equipmentMending revisited (practical and decorative techniques)Project ideas and resources that help towards making a more sustainable textile practiceRichly illustrated throughout, and showcasing work from the best textile artists who work in this way, this is a truly inspirational book for those looking to reconnect with their craft and to find a new way of working.

    This book will be of interest to anyone professionally or educationally involved in costume history as it includes many detailed drawings and studies of dresses and accessories based on research from private collections.

     Packed full of expert advice on all aspects of quilting, patchwork and applique it holds the answer to all your quilting questions. This is the most comprehensive book on the market for patchwork, quilting and applique techniques and is ideal for both the beginner looking for trustworthy advice in a single volume and the committed quilter searching for authoritative reference for seldom-used techniques. It presents essential advice and instructions alongside a wide range of inspirational samples of work collected from international top-name quilters. It also features over 15 quilt projects including cot quilts, bed quilts, lap quilts, bags, cushions, wall hangings, table mats and runners, and other beautiful projects for the home. Easy-to-follow step-by-step instructions, clear diagrams and stunning photography combine to create this must-have resource for quilters of all abilities. Techniques covered include quilting basics such as making a quilt sandwich, hand and machine quilting, basting and binding a quilt. Other techniques include big stitch, sashiko, free motion, corded and stuffed (trapunto) quilting. There are instructions for over 100 different patchwork blocks, with detailed instructions for different kinds of piecing such as English paper piecing, foundation piecing and strip piecing. Techniques for applique are also included which cover different types of applique such as needle-turn; reverse, inlaid and shadow applique as well as using freezer paper and fusible web.

    

    This book takes a detailed look at the background and impact of The Ambassador. Driven by the vision of founder Hans Juda and his wife, Elsbeth, who was responsible for much of the magazine’s striking photography, the magazine created ambitious photo shoots to showcasing the latest couture fashions, promoted fine art as an inspiration for design, and commissioned artists such as John Piper and Henry Moore for their covers. The Ambassador Magazine brings this trove of art, textiles, and fashion to a new generation.

    Included are innovative patterns and tips for knitting socks with customized fit--even for all ten toes. Safe and easy directions are given on dyeing yarn from pour-dyeing methods to dyeing with Kool-Aid. With photos and illustrations of finished examples, sock patterns such as newborn socks and magic genie toe socks, and advice on how to create one-of-a-kind projects, it will appeal to all levels of knitters and spinners.

    ‘I can’t do it!’ I sulked. Mother sighed and shook her head. My heart sank. Of course, I’d seen the mill hundreds of times before, but now it was different – now, I was going in. I’d never seen a place so depressing; I wanted to cry.'With tales from hardworking Audrey and mischievous Maureen to high-spirited Doris and dedicated Marjorie, The Mill Girls is an evocative story of hardship and friendship from when cotton was still king. Through the eyes of these northern mill girls, we are offered a fascinating glimpse into the lives of ordinary women who rallied together, nattered over the beamers and, despite the difficult conditions, weaved, packed and laughed to keep the cotton mills spinning.

    At my home, the mailman would walk up towards the front porch, and I saw it just as clear as if he's standing beside me—I see his blue jacket and the blue cap and the leather mailbag. Here he goes up to the house, but he doesn’t turn. He goes right up the front steps. This happened so fast, probably a matter of seconds, but the first thing that came to mind, that's the way my folks would find out what happened to me. The next thing I know, I kind of come to, and I'm in the push-up mode. I'm half up out of the underwater depression, and I'm trying to figure out what the hell happened to those prone figures on the beach, and all of a sudden, I realized I'm in amongst those bodies!” —Army demolition engineer, Omaha Beach, D-Day Dying for freedom isn’t the worst that could happen. Being forgotten is. — “My last mission was the Bastogne mission. We were being towed, we're approaching Bastogne, and I see a cloud of flak, anti-aircraft fire. I said to myself, ‘I'm not going to make it.’ There were a couple of groups ahead of us, so now the anti-aircraft batteries are zeroing in. Every time a new group came over, they kept zeroing in. My outfit had, I think, 95% casualties.” —Glider pilot, D-Day and beyond Maybe our veterans did not volunteer to tell us their stories; perhaps we were too busy with our own lives to ask. But they opened up to a younger generation, when a history teacher taught his students to engage. — “I was fighting in the hedgerows for five days; it was murder. But psychologically, we were the best troops in the world. There was nobody like us; I had all the training that they could give us, but nothing prepares you for some things. You know, in my platoon, the assistant platoon leader got shot right through the head, right through the helmet, dead, right there in front of me. That affects you, doesn’t it?” ” —Paratrooper, D-Day and beyond As we forge ahead as a nation, do we owe it to ourselves to become reacquainted with a generation that is fast leaving us, who asked for nothing but gave everything, to attune ourselves as Americans to a broader appreciation of what we stand for? This is the fifth book in the masterful WWII oral history series, but you can read them in any order. — “Somebody asked me once, what was the hardest part for you in the war? And I thought about a young boy who came in as a replacement; the first thing he said was, ‘How long will it be before I'm a veteran?’ I said, ‘If I'm talking to you the day after you're in combat, you're a veteran.’ He replaced one of the gunners who had been killed on the back of the half-track. Now, all of a sudden, the Germans were pouring this fire in on us. He was working on the track and when he jumped off, he went down, called my name. I ran over to him and he was bleeding in the mouth… From my experience before, all I could do was hold that kid’s hand and tell him it’s going to be all right. ‘You'll be all right.