Before him, there wasn't a slim option or a tight armhole.
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I loved the clues for ARMHOLE, REIGN, DEF, DHS, EMAILING, DELETE, EDU, TRIOS, DIME and RYE.
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I like to either showcase a bra via the armhole or with a more plunging neckline, but rarely both.
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On something as seemingly simple as Anna's travel dress and accompanying cloak, the creators went through numerous versions, working out everything from fabric colors to armhole placement.
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I think that TAXICAB IKEBANA (17A and 18A) sounds like an exciting and highly dangerous hobby, and that the ARMHOLE ROLAIDS would be a spiffy name for a band.
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Ads for female deodorants played on women's insecurities —"If you long for romance, don't let your dress offend with armhole odor"—but how to make men feel the same anxiety about their natural odors?
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One can imagine him sitting in the front row of Mr. Browne's show as models in white face and wearing outsized boiler suits paraded onto a set resembling a beach of black sand, centered on a palm tree that looked post-apocalypse and — to the ominous opening bars of John Williams's score from "Jaws" — shimmied out of those suits, revealing themselves to be wearing, say, a trompe l'oeil all-in-one wet suit with a red nylon slicker high-armhole Chesterfield overcoat, a white dyed mohair jacket and white pin-cord low-rise skinny trousers.
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Once the main body of the jumper is complete, the armhole steeks are cut open (sometimes these are secured before cutting). Stitches are then picked up around the armhole opening and the sleeve is knitted down toward the cuff in the round. Since the 1990s, the term "Fair Isle" has been applied very generally and loosely to any stranded colour knitting regardless of its relation to the knitting of Fair Isle or any of the other Shetland Islands.
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An all-in-one facing is used to finish the armhole and neckline of a garment together, all at once. Interfacing, grading and clipping the seams are all terms closely associated with facing.
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In sewing, the armscye is the armhole, the fabric edge to which the sleeve is sewn. The length of the armscye is the total length of this edge; the width is the distance across the hole at the widest point.
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In principle, any shaping possible with other increase/decrease method is also possible with short rows. However, such shaping may be more challenging to visualize. Short rows are also useful in making more attractive bound off edges over multiple rows, e.g., in a raglan armhole, in a sleeve cap, or over a shoulder slant.
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There are many types of ornamental embellishments that can modify the overall look of the sweater. Collars and lapels are perhaps the most visually obvious embellishments. They frame the face, neck and shoulders, and complement the neckline and armhole lines. The choice of closures is an important practical consideration and can also help define the sweater's style.
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Dance costumes are designed so that dancers can move in them as required without damaging them. For example, if a dancer will be lifted, the costume will typically be designed in such a way that the lifter's fingers are unlikely to catch on it. In some cases, the armhole is cut unusually high to ensure free movement at the armpit. Costumes frequently have special construction features and may also have accessories such as false sleeves, collars, cuffs, wristbands, and shawls.
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To knit the sleeves the knitter picks up the front half of the armhole stitches on the safety pin, picks up stitches around the sleeve front and sleeve back and then adds the back half of the held stitches. Sleeves are knit on three to five needles depending on the size of the garment. The shaping of the sleeve depends on the needle sizes and the designs. Knitters decrease as needed, mostly in the elbow area and cuff, and cast off at the wrist.
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Darts, on the other hand, are folds sewn into the clothing to shape the resultant garment. The main difference from viennese seams is that princess seams run down from the shoulder, whereas viennese seams run down from the armhole. The princess seam style of dress needs no waistline at all, since it does its shaping without darts, by joining edges of different curvature. The resulting "princess seams" typically runs from the shoulder (or under the arm) curving gently over the bust point and down to the lower hem.
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The development of this specialty trade was favored by a change in men's fashion, with more importance given to the waistcoat and the shirt collar, which called for more propositions for the shirt front and a technical change. Previously, shirts were cut by linen keepers entirely of rectangles and squares. There were no shaping seams and no need for shirt patterns. The new interest for a closer fitting shirt led to curving the armhole and neckline or adding a shoulder yoke, by application to the shirt of tailoring techniques.
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Underwire design in Industries' patent Underwire bras are built with a semi-circular "underwire", "bra wire", or "wire" embedded in the wire channel that circles the bottom and sides of each cup. One end, or head element, of the underwire is close to the front and center of the bra, and the other close to the armhole. The underwire can be made of metal or molded plastic; most are metallic. Plastic underwire has a very small share of the market because it does not provide the same support and rigidity offered by metal underwire.
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A more modern variation is woven Fair Isle, where the unused strand is held in slightly different positions relative to the needles and thereby woven into the fabric, still invisible from the front, but trapped closely against the back of the piece. This permits a nearly limitless variety of patterns with considerably larger blocks of colour. Traditionally, Fair Isle jumper construction involves knitting the body of the jumper completely in the round. Steeks (from the Scottish word meaning 'stitch', 'to close shut', and comprising several stitches) are worked across the armhole openings allowing the body to be completed in the round without interruption.
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Richard James's tailoring has always centred on what has become known in the style press as its 'modern classic' style: one or two-button single-breasted suits with slightly longer, more waisted jackets, incorporating deep side vents and a slightly higher armhole to give a slim, definitive silhouette. The overall design philosophy is to produce classic clothing, but to push the barriers through experimenting with fabrics and making bold use of pattern and, particularly, colour. The British fashion writer and academic Colin McDowell has described James as being 'the best colourist working in menswear in London today'.
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A bodice with a viennese seam Viennese seams are long, rounded seams, used in figure-hugging or tailored fit outerwear. They begin in the middle of the armscye and lead in an arc over the chest (or the shoulder blade) to the waist or hem of the garment. The main difference from princess seams is that princess seams run down from the shoulder, whereas viennese seams run down from the armhole. Viennese seams are distinct from darts in that they form a continuous line and are a full seam, but they fit around the bust like darts.
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A wide armhole, which extended to the waist, was left open and the sleeves were cut in order to, as the Cunningtons state, "slope off to a narrow tight cuff at the wrist".. The super tunic of the 11th century continued to be worn by the less fashionable, the lower classes of society, and the girdle was optional. Five new styles of the super tunic were introduced in this era. The first consisted of a front and back panel which extended from the shoulders to the calf level. The two panels were sewn together or clasped together near the waist, where they were met by a slit up the front.
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It has distinctive decoration: three rows of tassels are found on the flap above each armhole, with another three rows below, and a nine-inch slit upwards from the back midline hem. The streamers may be considered the remnants of closed sleeves, as can still be seen on the laced gowns of the higher faculties. Scholars (both those on the Foundation and non-Foundation) wear the same gown as bachelors. Fellow Commoners / Nobles; these were historically enrolled in a special, shorter, intensive course (three years as opposed to four, as they did not want to neglect their estates for too long) and had a particular gown.
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In the early 20th Century, tailoring was softened by Frederick Scholte, a Dutchman, when he developed the English drape for the Prince of Wales (later Edward VIII). Scholte's "dress soft" style was developed into the "London cut", the house style of A&S;, by Peter Gustav Anderson a protégé of Scholte. The "London cut" is a high, small armhole with a generous upper sleeve that permits the jacket to remain close to the neck while freeing the arm to move with comfort. In 1906, Peter Gustav, also known as Per Anderson, founded A&S; at No. 30, Savile Row. In 2004, A&S;' lease at No.30 expired, and the building's landlords wanted to raise its rent.
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Richard James was founded in 1992 and was the first of the 'New Establishment' or New Bespoke Movement tailors of Savile Row. Richard James's tailoring has always centred on what has become known as its 'modern classic' style: one or two-button single-breasted suits with slightly longer, more waisted jackets, incorporating deep side vents and a slightly higher armhole to give a slim, definitive silhouette. The overall design philosophy is to produce classic clothing, but push the barriers through experimenting with fabrics and making bold use of colour. Indeed, the British fashion writer and academic Colin McDowell has described James himself as being "the best colourist working in menswear in London today".
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On the right, let it not be readily > forgotten that all the pleats turn strongly forward, so that they pass the > centerline of the stele, marked by the high, triumphant flower and the > mingled group of hands. For the maiden on the left, although the cascade of > pleats is generally much more direct—as appropriate to a standing > posture—some of them, curiously arched, turn forward as well, for example at > the left armhole. They can scarcely be understood without again invoking the > supporting effect produced by the leg of the seated woman. The folds of > Kore’s sleeve, which in 1939 I drew a little too short in the descent, carry > on to Demeter’s lap, where they spread out.
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The general custom in Albania was to dip the white skirts in melted sheep-fat for the double purpose of making them waterproof and less visible at a distance.. Usually, this was done by the men-at-arms (called in Albanian trima). After being removed from the cauldron, the skirts were hung up to dry and then pressed with cold irons so as to create the pleats. They then had a dull gray appearance but were not dirty by any means. The jacket, worn with the fustanella in the Albanian costume, has a free armhole to allow for the passage of the arm, while the sleeves, attached only on the upper part of the shoulders, are thrown back.
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The Bug's first victims are square record moguls Lawrence Milk and Jive Davis, who are hypnotized or otherwise prodded into killing themselves, and bandleader 'Scream' Dorsey, whose car is booby trapped and then run off a cliff. The Bug, his henchmen and henchwomen (including the villainess Sombra) are opposed by the J-Men, a group of government agents hired by the legendary J. Eager Believer. Besides the Chief and his bumbling sidekick, Agent Barton, the J-Men include Agents Spike, Claire and Lance, Buzz Cufflink, Yank Smellfinger, James Armhole, Rocket Jock (clips of Commando Cody from Radar Men from the Moon), the Lone Star (clips from Captain America), the Caped Madman (clips of Captain Marvel from Adventures of Captain Marvel; who transforms by using the phrase "Sh-Boom"), Spy Swatter (clips from Spy Smasher), Sleeve Coat, Juicy Withers, and Admiral Balzy. Many of them appear to die horrible, inescapable deaths in the course of the film.
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Scholte's "dress soft" style was developed into the "London cut", the house style of Anderson & Sheppard, by Per Anderson, a protégé of Sholte. The "London cut" is a high small armhole with a generous upper sleeve that permits the jacket to remain close to the neck while freeing the arm to move with comfort. Gieves & Hawkes at 1 Savile Row Though the reputation of tailoring on Savile Row is for bespoke suits, ready-to-wear clothes were introduced by Gieves & Hawkes, a company formed in 1974 by the merger of two separate businesses who both date from the late 19th century: Gieves, a Royal Navy tailor founded in Portsmouth; and Hawkes, a London-based cap-maker and tailor to the British Army. Hardy Amies Ltd further broadened the scope and appeal of tailoring in Savile Row: in 1961, he staged the first men's ready-to-wear catwalk shows, at the Ritz Hotel in London, he designed costumes for the 1966 England World Cup team, and for the 1968 film 2001: Space Odyssey, and dressed the Queen, designing the gown used for the Silver Jubilee portrait in 1977.
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