Will be shipped from US. Used books may not include companion materials, may have some shelf wear, may contain highlighting/notes, may not include CDs or access codes. 100% money back guarantee.

This book traces the evolution of the style of men's dress through a sequence of diagrams accurately scaled down from patterns of actual garments, many of them rare museum specimens. The plates have been selected with the same purpose. Some are photographs of suits for which diagrams have also been given; others, reproduced from paintings and old prints, show the costume complete with its accessories. Quotations from contemporary sources--from diaries, travelers' accounts and tailors' bills--supplement Norah Waugh's text with comments on fashion and lively eyewitness descriptions.

The Early Stuart Masque: Dance, Costume, and Music studies the complex impact of movements, costumes, words, scenes, music, and special effects in English illusionistic theatre of the Renaissance. Drawing on a massive amount of documentary evidence relating to English productions as well as spectacle in France, Italy, Germany, and the Ottoman Empire, the book elucidates professional ballet, theatre management, and dramatic performance at the early Stuart court. Individual studies take a fresh look at works by Ben Jonson, Samuel Daniel, Thomas Carew, John Milton, William Davenant, and others, showing how court poets collaborated with tailors, designers, technicians, choreographers, and aristocratic as well as professional performers to create a dazzling event. Based on extensive archival research on the households of Queen Anne and Queen Henrietta Maria, special chapters highlight the artistic and financial control of Stuart queens over their masques and pastorals. Many plates and figures from German, Austrian, French, and English archives illustrate accessibly-written introductions to costume conventions, early dance styles, male and female performers, the dramatic symbolism of col... [Read More]

Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period's stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin's new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed.Four of the chapters of Costuming the Shakespearean Stage address 'categories of seeing': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton's A Game at Chess, to show how costumes signified across the categories of seeing to establish a play's distinctive semiotics and visual aesthetic.

This book examines the ways in which costumes were acquired and used in conjunction with the repertory of the principal London acting companies, mainly during the years 1594-1621.

Carried during the 1600's and 1700's, this type sword was also called a hanger. (The term cutlass wasn't used as an exclusive term for the sailor's fighting sword until the 1800's.) It was frequently used by officers as a close quarters battle weapon because of its compact dimensions. This replica has a tough, tempered high carbon steel blade and a solid brass heart shaped guard characteristic of the period. Leather scabbard with brass throat and tip. Made by Windlass Steelcrafts with the same care and attention to detail lavished onto the swords crafted for government defense contracts all over the world. Hand forged, high carbon steel blade.

Each period in the history of costume has produced its own characteristic line and silhouette, derived from a cut and construction which varies considerably from age to age. Here are patterns taken from actual dresses, many of them rare museum specimens, illustrated by sketches of the dresses. There are notes on the production of women's dress, with references to early technical books and journals, together with diagrams from some of them. Numerous illustrations show the dresses as worn complete with their hairstyles, jewelry, decorations and accessories.

The electrical fences and advanced technology of Jurassic World didn't stop the dinosaurs from escaping and terrorizing the visitors, just like nothing is going to stop you from having the best Halloween yet when you dress in this one-piece inflatable T-Rex suit. A built-in fan will keep you cool all night, so whether you're trick or treating through Jurassic World or you're going to a fun party with your friends, you'll be comfortable! You can also don this costume to the premiere of the upcoming film; you'll look so great, people will forget all about the movie and all eyes

This Paw Patrol Chase Child Halloween Costume can add fun to the holiday celebration with a favorite from the hit television show. It is made with 100 percent polyester, providing a softness that kids can enjoy all day long. The Paw Patrol Halloween costumes include a jumpsuit, headpiece and backpack, so children can have a complete style for party fun. It comes in a small size (4-6) offering an optimal fit for a little

 Police OfficerBoys Small 4-6 Costume includes:ShirtHatHolster