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Aprons of the 1920s mirror the style of the times: loose and long. Often closed with a button and adorned with needlework, many aprons styles emerged during this era and stores began selling patterns and kits to make and adorn aprons at home. [1] Aprons of this period followed the silhouette of dapper fashions—long, with no waist line.
The aprons are organized by U.S. state, with aprons from Canada and Australia also on display. [1] Similarly to the Museum of Bags and Purses in Amsterdam, the Apron Museum treats its subject as an art form, demonstrating how artists drew their apron patterns out, the period needlework, the stitching and sewing techniques, and how they were ...
[54] [76]: 384–417 Earliest images of nomadic Xianbei-style dress in China tend to be depicted as a knee-length tunic with narrow sleeves, with a front opening, which can typically be collarless, round-collared, and sometimes be V-neck collared; men and women tend to wear that knee-length tunic over trousers for men and long, ground-length ...
It is primarily worn for safety purposes. The apron will take the main impact should hot liquid spill over a pot as the chef is carrying it, and can be quickly removed to get it away from the undergarments and legs. Aprons that are lengthy and cover most of the front side of the body are very useful in restaurants and commercial kitchens.
"the men generally wear grey or drab coloured cloth, manufactured out of the wool of their own country sheep, coarsely and tickly woven" [19] (1807) "The men wear a coarse woollen cloth of a sky blue colour for coat, breeches, and waistcoat, with worsted stockings of the same colour; through in Radnorshire the colour is a drab.
The phrase is recorded in Book 35 of Pliny the Elder's Natural History as ne supra crepidam sutor iudicaret [1] ("Let the cobbler not judge beyond the crepida") and ascribed to the Greek painter Apelles of Kos. Supposedly, Apelles would put new paintings on public display and hide behind them to hear and act on their reception. [2]
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