TITLE PAGE
Pearl Acad
Fashion De
Pareedhi Agrawal, Chitika Dhawan, Ankita Suri, Prat Kumari & Eesha Anc
11th November, 2
TABLE OF CONTENTS Executive summary Letter of acknowledgement Introduction
6
Length Styling Suggestion Pattern Structure Fabric Ask the audience Limitations Conclusion Reference
18
Table of figures
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PUFFED SLEEVE MODERN FASHION
Figure
9
PUFFED SLEEVES TRADITIONAL FASHION
Figure
14
DIFFERENT SLEEVE STYLES
Figure 3
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DIFFERENT SLEEVE STRUCTURES
Figure 5
Table of pie charts
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20
? Would you prefer puffed sleeves in
Pi
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? Puffed sleeves : yes or no
Pi
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? What would be the length of your puffed sleeve
Pi
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? On whom do you prefer puffed sleeve
Pi
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? What fabric would you choose for the puffed sleeve
Pi
EXECUTIVE SUM
This report provides an analysis and evaluation of sleeves, specifically puffed sleeve forms and their evolutio the years as well as their use in women’s gowns. Methods of analysis include primary research and se .
The puffed sleeve form is relevant to our topic sleeve forms since it’s sudden disappearance from the market years of success caused a panic. The topic is to consider and understand the needs of the masses in the .market and how the sleeve forms can be made better and still maintain its place in th
The report finds the prospect of this sleeve form’s current position in the market is not positive. The major .weakness require further investigation and remedial action by man
LETTER OF ACKNOWLEDGEMENT
We would like to express our deepest appreciation to all those who provided us the possibility to complete this special gratitude we give to our teachers, Suhasini Taneja, Kuntal De, Shweta Minocha and Haroop Garang, whose con in stimulating suggestions and encouragement helped us to coordinate our project especially in writing this report .ensuring that the document prepared by us is an original d
A special thanks goes to our teammates, Ankita Suri, Chitika Dhawan, Eesha Anchan, Pareedhi Agrawal and Pratim who helped us to assemble the parts and gave suggestion about the task. We have to appreciate the guidance given supervisors especially in our project presentation that has improved our presentation skills, thanks to their com
INTRODUCTION
.Here is a quick timeline of some of the highlights of sleeves through [wester
Early medieval sleeve designs were generally cut in one with the garment, not set-in however, the early middle ages .were the dolman or batwing sleeve and they have reappeared at inter
The late 1400s displayed hanging sleeves that fell as long tubes nearly to ground level. Later the Renaissance intro infinite variety of sleeves which were banded at intervals creating puffs which in turn were padded and slashed to displ .and unde
In the 1590s sleeves were padded all the way down but diminishing towards the wrist. By 1635 ladies' sleeves were thre .length, very full but unpadded, and were finished by elegant ruffles or
From the late 1600s onwards men's coats were tailored with fitting set-in sleeves which widened towards the large c later in the 1700s sleeves for ladies' gowns were generally fitting to the elbow where they were finished by a deep cuf .as pagoda or funn
In the 1830s the puff sleeves became much larger developing into the leg-of-mutton sleeve, a style which was reintro .
The raglan sleeve, with its sloping shoulder line, was worn for coats and suits from the mid-1800s century . The century were the cap sleeve, just covering the shoulder and the bracelet length sleeve extending to about two inches a .wrist bone were fa
Also fitting at the wrist, and the padded shoulder style. The dolman or batwing sleeve was worn in the early middle age reappeared at intervals since. Dolman was generally used to describe the style in the nineteenth century while bat modern term. This is cut very wide at the armhole, almost to the waist, and diminishes towards the wrist; it was most c cut in one with the garment. The hanging sleeve appeared in many guises. The thirteenth century version was slit in elbow-level and the arm passed through the slit to display the long sleeve of the undergarment. The remainder of hanging sleeve then fell in folds behind the arm. Fifteenth century versions were often padded in hanging bag sleeve .decoratively pleated, as sleeve capes. Hanging sleeves of the late fifteenth century fell as long tubes nearly to gro
The sleeve cut in one with the garment and not set-in was more common in earlier centuries as the set-in sleeve required standard of tailoring to be stylish and comfortable. The kimono style, with a wide sleeve, was one version (see Japane and the Magyar another. The Magyar sleeve stemmed from the Hungarian peasant style and this was usually cut more .at the elbow and widened again towards Puffed sleeves perhaps the most obvious features of the period were the sleeves. The placement of the puff would be a g
for this section. At various times, from 1825-1840 the sleeves were puffed at the top with a tapering lower sleeve, puffed
huge billow from shoulder to elbow, puffed only at the elbow, puffed from shoulder to wrist in a tapering billow, and pu
suspension from a dropped shoulder. This dropped shoulder turned into a full epaulette collar or jockey’s around 1839 a .fullness took the place of the puffed sleeve which was not seen again in such proportions until the 1890s
As may be guessed, new terms were coined for each sleeve innovation. (Yes, period detractors really did use the term im
sleeves and gentlemen's' magazines showed drawings of women turned sideways to go through doors.) The sleeves whi very wide at the shoulder and tapered gradually to the wrist were called the gigot sleeves and required their own set of underpinnings. A strip of gathered glazed cotton with whalebone at the
edge usually held out the sleeves although stuffed pads and even hoops on the arms were occasionally used. Costume hi .Nancy Bradfield dates the gigot sleeve being in use from about 1824 to about 1836
Some styles of puffed sleeves billowed most at the upper arm, while others billowed out at the elbow, or even puffed ou
the shoulder and tapered all the way to the wrist – a style dubbed the “gigot sleeve”. In 1880s the usage of puff got decr .and again it came in fashion
FIG-2
From the later seventeenth century onwards men's coats were tailored with fitting set-in sleeves which widened tow .l
All possible permutations of design have been introduced into sleeve styles over the centuries and these have been rev reintroduced into fashion according to their suitability for the current mode of dress. Early medieval sleeve desi generally cut in one with the garment, not set-in. Most usually the sleeve of the outer tunic or gown was cut fully; it short, elbow, three-quarter or full-length. If it was not full-length it displayed the wrist length under sleeve which wa
LENGTH SLEEVES FROM 15 TH TO 17TH CENTURY .Toward the close of the fifteenth century women began to wear very long, wide dresses, with long, wide sleeves
With the seventeenth century came simpler designs. In the early years men wore sleeves with epaulet shoulders. With the 1620s and 1630s came the sleeve slashed vertically from shoulder to wrist displaying the white shirt or che .1635 ladies' sleeves were three-quarter length, very full but unpadded, and were finished by elegant ruffles or Fashionable in the twentieth century, in addition to revivals of past styles, were the cap sleeve, just covering the .shoulder and the bracelet length sleeve extending to about two inches above the w
STYLING
Fabric arm coverings, or sleeves, were an essential part of the clothing ensemble worn by both men and women d renaissance. Although sleeves were sometimes attached directly to men's doubles (overskirts) and jerkins (jackets) bodice of women's gowns, just as often they were made separately and were attached to garments by means of points, ties at the connecting end of both garments. Because these sleeves were interchangeable, they could be worn with a v . garments to create a diffe Sleeves were an essential part of sixteenth-century fashion. Sometimes sleeves were attached directly to the clothing, .times they were made separately and were attached by means of There was a huge variety of sleeve styles that were worn during the sixteenth century and beyond. They all used som several distinctive sleeve styles, including puffs, panes, and padding. Puffs were large bunches of fabric that puffed circle around the arm. They were most common at the top of the sleeve, near the shoulder, but could also appear at the .at One German sleeve of the mid-century featured a series of puffs all the way down the arm. Another common sleeve fea panes. These were panels of fabric that ran the length of the sleeve. They might be in contrasting colors or fabrics sometimes pleated. A popular style of the late century was called rising panes and featured a series of panes caught int puffs. Also late in the century padding and stiffening was added to allow sleeves to hold a rounded melon shape. Al .features were used to add volume to various parts o Most sleeves combined puffs and panels with a length of sleeve that was very close fitting. These features were ado ribbons, jewels, slashing, a decorative technique that involved making small cuts in the outer fabric of a garment, a decoration. Both men and women might also wear false sleeves along with regular sleeves. These attached at the sho hung down behind the arm, often in large billows of fabric. T .had fancy lace or linen cuffs attached to the ends of th All these sleeves were cut straight, and, except the very wide ones, had only one seam. According to taste this seam ra or at the back, or even under the sleeve. The sleeve-hole was usually as small as possible and shaped either like an egg small end up or like an upright oval. The sleeves of the under-dress, which were visible through the open sleeves of dress, were now wide, now tight; in some cases they were so long that they came beyond the hands and in others so they hardly reached the middle of the forearm. Now that wide over-dresses were fashionable the cloak was used protection in rough weather. It was either semi-circular or shaped like a sector or like an arc, and was gathered into n close pleats. It had a broad, smooth, turn-over collar, sometimes stiffened, and was usually more than knee-length. Onl .women wore it. Girls did not wear it till they beca
As a balance to the large puffed sleeves, collars were also enormous at various times from 1825 to 18 pelerine en ailes d'oiseau collar covered the sleeves like a bird's outstretched wing. Sometimes the collars w at the top of each sleeve and often there were two layers of a collar. The bertha whose name and look .familiar became popular near the end of the period. Lace and embroidered collars were widely made a
Due to its enhancing looks bridal costumes also started to use this sleeve in ceremonial dresses. Button up shirt .features detailing such as pleating which pucker the fabric at shoulder and creates the puf The popularity of movie Pirates of Caribbean contributed to grow the interest of puffed sleeves as it got famous world.reached ma
SUGGE
Puff sleeve in fashion: balloon at the top of arms which create puff at the shoulder line is called puff sleeve. This sleeve any length and ideal for pear-shaped and square-shaped body type. Puff sleeve always liked by everyone, it add an ext
.to kurti. This type of sleeve found on long & s
PATTERN
.If it was long it was often very wide and flaring at the wrist, decorated by embroidered banding there and hanging down The later middle ages, from about 1350 onwards, displayed great variety in sleeve styles, many of which were revive periods. In the fourteenth century the tightly-fitting sleeve was fashionable, that of the outer tunic often ending at the e cuff and hanging tippets, while the under sleeve was decorated by a row of buttons from elbow to wrist and extended to row of knuckles on the hand. With the houppelande came the very wide loose sleeve, its edges cut into daggers. F century styles included the bishop sleeve, full and long and gathered into a tight wristband, which had been worn inter since sixth century byzantine dress, the fuller bag or bagp
FIG 3 &4
FIG 5&6
STRUCTURE The greatest change in the sleeves were these were mostly long and pendent, but sack sleeves and long, open, wing-shaped sleeves with or without points were also fashion These points appeared not only at the edges, but also along the sleeve-seam. The shape of women’s sleeves was .similar to that of the sleeves of men’s coats The cloak still served as a gown for special occasions. It was worn then, however, only by women of the upper classes , who were distinguished by the simple cut and tasteful colour of their clothing from the middle classes, .who were still fond of garish dress Toward the middle of the century the long, pendent sack sleeves went quite out of fashion, except those with the hand-opening near the wrist. More popular than these, however, were the long, open, hanging sleeves called flügel (wings). Frequently so long that they trailed on the ground, they were splendidly finished with fur and points. Near the end of the century appeared sleeves that extended beyond the hand. They were rather tight at the top, but so wide lower down that the width at the foot was nearly equal to their length. At the same period slashed sleeves came more and more into favour. Some were slashed the whole length at the back, and tied with cords drawn not quite taut over the dainty, puffed white under-sleeves. Some sleeves were so long that they extended beyond the hands and had to be turned back when the hands were to be us
Especially typical of women's dress in the years 1530-55 was the bell sleeve to the gown displaying a false sleeve beneath. The outer sleeve was fitting on the upper arm and opened out into a wide bell shape. The material was then t and fastened to the sleeve of the upper arm so displaying the lining of contrasting colour and fabric. The false sleeve wa of a third colour and material and was padded, embroidered and jewelled and was slashed to display the white chemise .slashes. In the 1560s and 1570s an upstanding puff sleeve was
During the late 1700s to early 1800s, the puff sleeve was a diminutive design often featured on dresses with empire wai the regency gown. From t
about 1840, the volume of the puff sleeve varied at different points along the arm, and was held up with elaborate ma as hoops, stuffing, and whalebone. Some styles of puffed sleeves billowed most at the upper arm, while others billowe elbow, or even puffed out from the shoulder and tapered all the way to the wrist – a style dubbed the “gigot sleeve.” A during the 1800s, the fullness of the puff sleeve was so extravagant that it was named the “imbecile sleeve.” The sty parodied in cartoon publications of the nineteenth century, which depicted women unable to fit through doorways
The puffed sleeve was a hyper feminine style that would go through many transformations. The puff sleeve was eithe lengths or full length sleeve gathered at the top or bottom. How were the puffs achieved? The sleeves would be .stiff
Gigot sleeve - the sleeves, though fashionable, could be impractical, so marilla was definitely onto something. Lots was require to keep the puff sleeves puffy, and it could make the sleeves hard to move in, leading some fashion critic !sleeves “imbecile sleeves”. Some women couldn’t even fit through the doorway the sleeves Wedding dresses often had this style, and you may recall Diana Barry’s dress having puffed sleeves (though .(certainly not as puffy as Anne’s The Victoria sleeve was actually not much favored by queen Victoria who knew her build was not enhanced by
tight shoulder and wrist fittings with volume in the mid sleeve section. No matter where the puff was placed armh
.small and high, so despite the volumes of material used arm movement was
FABRIC
Types o
.Silk Carmeuse, satin, or chiffon are all rich, subtle shimmery, soft and will dra
.Silk: silk is captivating classic choice. It is shimmery, elegant and alway .Organza: feels much like silk, but is light weight due to blend of silk, polyester and nylon that comprise
.Taffeta: taffeta is a stiffer fabric choice and makes the puff sleeve form look delightfully
Satin: satin is not as durable as silk and when the fibers are mixed with cotton, the fabric is called sateen and is a lig
.Chiffon: it makes a beautiful statement and flows nicely over the
.Charmeuse: it has a floaty appearance which drapes beautifully making it an excellent choice f
.Tulle: it is a material that ballerina tutus are made of. It is a net like fabric used in layers to add bulk and volume to t
ASK THE AUDIENCE
Ask the audience is the primary research that we conducted to know what are the opinions that others have. So w .them a questionnaire and plotted a few graphs based on
ALL ABOUT SLEEVE FORMS :NAME:
DEPART
?Which sleeve form do you prefer to wear? Why
_____________________________________________ ?Do you like puffed sleeve form Yes No
__________________________________________:R Puffed sleeve form looks better in Tops Gowns Ethnic wear ________________ Other ?What length puffed sleeve form do you prefer Half sleeve 3/4th sleeve Full sleeve ?Where would you most likely to wear puffed sleeve form to
_____________________________________________ Puffed sleeve looks better on Men Women Both ?Which fabric would you prefer for puffed sleeve
_____________________________________________ ?Where do you get your puffed sleeve form clothing from
_____________________________________________
?How much are you willing to pay for a puffed sleeve top
_____________________________________________ ___/__/__ :Signature:
:Recommendations discussed include
Making the puffed sleeve form to be mad
.women tend to find it causing a bloating effect makin Use of good fabric
.Adjust the form to fit i
LIMITATIONS
The report also investigates the fact that the analysis conducted has limitations. Some of the limitations include
.The research could not be made considering a huge m
Forecasting figures are not provided nature and type of sleeve form is not known nor the current economic condit .data limitations as not enough information is provided or enou
CONCLUSION The result of the data analyzed shows that masses of today don’t like or prefer puffed sleeve form due to its show of extreme feminine appearance. Puffed sleeve form were quite famous due to its fame in the Victorian era. The puffed sleeve form were worn with gowns and tops, even the Indian masses adapted it in their sari blouse or shirt. But, after decades of success the puffed sleeve form went for a toss and quite drastically lost its acceptance and it vanished from the fashion market. Recently, people .have understood fashion and how they can create illusions such as a slimming effect or a broad shoulder effect
Having an hour glass figure is the aim for most and they create this effect by the cloth types they wear. Puffed .not create a slim effect and have caused the ‘body-conscious’ custom
REFERENCE
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Tempus' Sewing & Garb Accessories Weeb Site (2006) A History Of Sleeves. Av
http://www.theweebsite.com/sewing/sleeves/history.html, 25
Abigailwestover94 (2012) Influence Of the Tudors. History of Costume. March 9. Av
http://historyofeuropeanfashion.wordpress.com/category/renaissance-1450-1650/, 25-
Ana.rs (2011) Puff Sleeve. Av
http://4.bp.blogspot.com/_oavfc2u886a/tnlqprpit1i/aaaaaaaaaau/ew4mmz4y_qc/s400/puff+sleeve.jpg 25-
Saloni International (2009) Latest Collection. Available from: http://s1.hubimg.com/u/5173548_f520.jpg, 25-
Fashion Encyclopedia (2014) Sleeves. Available from: http://www.fashionencyclopedia.com/fashion_costume_cultu
culture-16th-century/sleeves.html#ixzz3eilqfyji, 25-
Les Chapeaux du Tres Parisien (2014) German Women’s Costume History 15th century. Costume Fashion History
Available from: http://world4.eu/costume-history-15th-century/ les chapeaux du très parisien 25-
Sullivan Entertainment (2014) The Unofficial History of the Puff Sleeve. Sullivan Entertainment. September 9. Av
http://anne.sullivanmovies.com/articles/the-unofficial-history-of-the-puff-sleeve/, 25-
In a conversation on 2010 Stargazer confirmed that. Available from: http://answers.yahoo.com/qu
qid=20110112050529aawcvpu, 26-
Lining Yao (2014) Sleeves. Pinterest. Available from: http://www.infovisual.info/06/img_en/048%20sleeves%204.jp
Lining Yao (2014) Sleeves. Pinterest. Available from: http://www.infovisual.info/06/img_en/045%20sleeve.jpg, 25-
Lining Yao (2014) Sleeves. Pinterest. Available from: http://www.infovisual.info/06/img_en/047%20sleeves%203.jp