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Arnold, Janet: Patterns of Fashion: the cut and construction of clothes for men and women 1560–1620, Macmillan 1985. Revised edition 1986. (ISBN 0-89676-083-9) Arnold, Janet: Patterns of fashion 4: The cut and construction of linen shirts, smocks, neckwear, headwear and accessories for men and women c.1540-1660.
A linen handkerchief A lace handkerchief Morris dancers with handkerchiefs in Oxford. A handkerchief (/ ˈ h æ Å‹ k É™r tʃ ɪ f /; also called a hankie or, historically, a handkercher or a fogle [1]) is a form of a kerchief or bandanna, typically a hemmed square of thin fabric which can be carried in the pocket or handbag for personal hygiene purposes such as wiping one's hands or face, or ...
Marcel Tolkowsky found that if a diamond was cut too deep or shallow then light would escape out the sides or bottom of the diamond, resulting in a loss of brilliance (white light reflected up through the top of a diamond), fire (colored light reflected from within a diamond), and sparkle (combination of fire and brilliance). [4]
Satin silk was the preferred fabric for embroidered fukusa, which often made extensive couched gold- and silver-wrapped thread. As paste-resist dyeing became popular, crepe silk (chirimen or kinsha) was favored. Tapestry-weave fabrics such as tsuzure-ori were also popular, as was the use of weft brocade (nishiki).
"Kesi" means "cut silk," as the technique uses short lengths of weft thread tucked into the textile. Only the weft threads are visible in the finished fabric. Unlike continuous weft brocade, in kesi, each colour area was woven from a separate bobbin, making the style both technically demanding and time-consuming.
Silk was a common offering by the emperor to these tribes in exchange for peace. Silk is described in a chapter of the Fan Shengzhi shu from the Western Han period (206 BC–9 AD), and a surviving calendar for silk production in an Eastern Han (25–220 AD) document. The two other known works on silk from the Han period are lost.
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