Sashes have deep roots in Western history. Worn most notably by royalty, each sash signifies an order that the wearer belongs to. Ea...

Another idea for May 17th, the Norwegian National Day, and all that flag colored ribbon the stores are offering, is combining a rosette with a sash: This sash is made from 5cm wide ribbon, here mod…

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Finding the right Tartan Sash First things first, you have to get the right sash. Customarily, unless you are a Lady Chief, the wife of a Clan Chief or Chieftan, or the wife of a colonel in the Highland Regiment, then you would always wear your sash over your right shoulder. Clanswomen traditionally wore their sash across the breast and secured by a pin or small brooch on the right shoulder, while ladies who married out of their clan, but who still wish to use their original clan tartan would usually wear their sash secured with a pin and fastened in a large bow on the left hip. Chieftainesses, wives of clan chiefs and wives of the Colonels of Scottish Regiments' sashes are usually rather more full in size and are worn over the left shoulder and secured with a brooch. It is buttoned on at the back of the waist, or is held by a small belt, and is secured at the right shoulder by a pin or small brooch, so that the ends fall backwards from the right shoulder and swing at the back of the right arm. While most agree with reserving the wearing of a sash on the right shoulder unless worn by a chief, it is interesting to note that even the shoulder preference has changed over time. He writes, “It is desirable that ladies who wish to encourage the Scottish National Dress should wear sashes of tartan, with evening dress. Other applications of the tartan in connection with ladies’ costume must be left very largely to personal taste.” If you're struggling to choose a 'circular brooch' to secure your sash we have a selection of traditional style pewter brooches to choose from.

Explore a Single Chain and Knot quilt design. 12 designs. Straight & on-point settings. Border ideas. Free block instructions. Simple quilt. Great results!

A couple of days ago I received this note in an envelope with a check, final payment for a custom order. What a nice reward! I'm glad that he likes it. I also think that the color combination is gorgeous. He wrote "I want something colorful (long winters up here in North Dakota). And I'm wondering if you can weave a tassel on both ends to give it a Metis flair?" So, I looked at some photos of Metis sashes and was inspired by their use of bright primary colors. This is a closeup of the sash which was 3" wide and 108" long. This is the musket strap. 1 1/2" wide and 40" long. The following 2 photos were sent to me by another customer who I've done several pieces for. I've come to refer to him as Tim of Alaska. I really enjoy seeing how these things are used. Tim wanted his colors to be such as would blend into a wooded setting. The colors in the strap are just perfect for this powder horn. This is a nice looking outfit all put together. This sash was even longer at 132"! Here is a closup. Another good color combination.

The shuttle carries the weft between the lifted wool creating the weave of the fabric. Isn't that a brilliant invention??

Vintage Girl Scout Sash 20 Badges, Patches &Wings 1970s/Early 80s Kentucky Kentuckiana Scouting Patches are sewn on

I love Latvian Flower Bands. There's an out-of-print book called "Latviešu Jostas" (in English "Latvian Sashes, Belts and Bands") by Aleksandra Dzērvītis and Lilija Treimanis in Latvian and English where these band patterns are found. I learned how to weave a Latvian Flower Band from a wonderful "Winter Belt WAL" (weave along) in the Knit Like a Latvian Ravelry group, which was so interesting, educational, inspirational, and so much fun. They are really fun to weave. Here's the Latvian flower band I'm working on now. It's #10 from the Latviesu Jostas book. The yarn is size 3/2 weaving cotton from Webs. The pattern threads are doubled. The "flowers" are the red flowers in the center of the band and the yellow flowers with the red center alongside the center. The center of the flower will have the same color as the weft thread that you use, which is usually the same color as the selvage threads. So, my flowers all have red centers. The traditional colors of Latvian bands are red, yellow, blue, and green. Above and below the flowers are doubled threads, or heavier threads, which help decorate the band. Here's a close-up of the flowers: To weave a Latvian band, you pick up the doubled pattern threads, weave 2 shots of tabby, and then push down the doubled threads, and again weave 2 shots of tabby, and repeat these 6 rows. With this band, the flowers aren't side by side--they alternate across the band. So, for a pattern row, you pick up one set of doubled threads and also push down the other set of pattern threads, and vice versa for the other pattern thread. Here's a picture of the band on my Schacht inkle loom. The shuttle on the right is from Stoorstalka. It's very handy for picking up threads. Next time I'll wrap my weft threads around it and use it for weaving. The small shuttle has a really nice edge. It's from Buckmaster Family Farms. I got it from them at the Middle Tennessee Fiber Festival. My notes: Red flower center: red, red, double yellow, red, double yellow, red, red. (red flower, red center) Yellow flower: yellow, yellow, double blue, yellow, double blue, yellow, yellow. (yellow flower, red center) Another Yellow flower: yellow, yellow, double green, yellow, double green, yellow, yellow. (yellow flower, red center)

Simplicity 8507; ©1969; Misses' Jiffy® Top, Pants and Sash: The collarless top gathered with elastic casing under bustline has "V" shaped neckline and long "kimono" type sleeves gathered at lower edges with elastic casing. The pants have elastic waistline casing. Pants V. 1 have leg edges gathered with elastic casing. V. 1 is worn with a sash wrapped around bare midriff. [insert your photos of this pattern made up] [insert your username, and make sure your preferences allow for people to contact

494 p. ; ill. ; 26 cm. ; trade catalog

Finding the right Tartan Sash First things first, you have to get the right sash. Customarily, unless you are a Lady Chief, the wife of a Clan Chief or Chieftan, or the wife of a colonel in the Highland Regiment, then you would always wear your sash over your right shoulder. Clanswomen traditionally wore their sash across the breast and secured by a pin or small brooch on the right shoulder, while ladies who married out of their clan, but who still wish to use their original clan tartan would usually wear their sash secured with a pin and fastened in a large bow on the left hip. Chieftainesses, wives of clan chiefs and wives of the Colonels of Scottish Regiments' sashes are usually rather more full in size and are worn over the left shoulder and secured with a brooch. It is buttoned on at the back of the waist, or is held by a small belt, and is secured at the right shoulder by a pin or small brooch, so that the ends fall backwards from the right shoulder and swing at the back of the right arm. While most agree with reserving the wearing of a sash on the right shoulder unless worn by a chief, it is interesting to note that even the shoulder preference has changed over time. He writes, “It is desirable that ladies who wish to encourage the Scottish National Dress should wear sashes of tartan, with evening dress. Other applications of the tartan in connection with ladies’ costume must be left very largely to personal taste.” If you're struggling to choose a 'circular brooch' to secure your sash we have a selection of traditional style pewter brooches to choose from.

Simplicity 3512; ©1951; Misses' One-Piece Dress, Reversible Bolero and Sash: The princess dress may be worn with or without straps. The princess dress may be worn with or without straps. In Style 1 bias fold trim decorates the upper edge. Style 2 has a contrast sash. The bolero is very short and lined with contrast fabric. In Style 1 it is short sleeved. In style 2 is has three quarter sleeves. cemetarian on Flickr [insert your photos of this pattern made up] [insert your username, and make sure

Thai Fisherman’s Pants These are one-size fits-all pants that wrap around and tie with a sash. Very comfy and stylish, too. You can use alm...

The details of a 16th century Inglenook fireplace are reinterpreted in clothing form. The Inglenook has old world character with a bit of quirk that is completely relevant and comfortable for everyday modern wear.

This is a guide to making DIY wedding accessories. Learn how to make wedding accessories at home with this fun tutorial.

Shop this Look Eleanora Jacket in Central Park Stretch Plaid Knit Eleanora Frock in Central Park and Uptown Plaid Linen Eleanora Sash in Central Park and Uptown Plaid Linen Cape Frock in Central Park Washed Linen Select a design below to order as shown in this look or see more fabric options. Ivey Abitz bespoke […]

Circa early 1940s wide leg loungewear ensemble. Featuring a classic button down blouse in short of long sleeve lengths. Palazzo pants have generous gathers and a fitted waistband. They may be loose with long or short length; or fitted at the ankle in harem-style. Ribbon sash belt adds a finishing touch. Please see second photo in listing for fabric suggestions and all corresponding body measurements and yardage requirements. ★ ★ ★ ★ ★ ★ ★ ★ You will receive a high quality reproduction with full scale pattern pieces printed on white paper. This is a clean, computer drafted file printed to actual size. Instructions are included. Lady Marlowe 2022. All rights reserved. ★ ★ ★ ★ ★ ★ ★ ★ Please keep in mind that these patterns are printed on white paper which is heavier than tissue, but I always offer the most reasonable shipping rates for domestic and international orders. Multi item purchases are automatically adjusted for combined shipping. ★ ★ ★ ★ ★ ★ ★ ★ Thank you for looking and please add me to your favorites to see updates! https://www.etsy.com/shop/LadyMarlowePatterns

Explore priithalberg's 8113 photos on Flickr!

Here is a step-by-step tutorial on DIY harem pants with slits on side. These are so cute on their own, or layer them with overskirts, hip scarves or circle skirts. :)

Add even more to your wedding by dressing up your wedding chairs - we've got 27 stylish ideas to inspire you

jo morton chocolate stars

Eind oktober publiceerde ik De Kleurenuitdaging: een opzetschema met alleen nummertjes met daarbij de uitdaging om je te laten inspireren door iets in je omgeving en vijf kleuren te kiezen. De inze…

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Explore Sewn Wild Oaks' 32 photos on Flickr!

Build your own relatively easy-to-make inkle loom and start weaving!

Hello All, I am sorry that i have not been able to post for a while due to computer problems and a heavy work load. Lithuania is Latvia's neighbor to the south and speaks a distinct, albeit related language. Lithuania ruled a large area after the decay of the Mongol Empire in the area, including all of Belarus and a good portion of Ukraine. The royal line intermarried with the kings of Poland, and around 1400, the Lithuanian king also became king of Poland. This had the result of Lithuania becoming subordinate to Poland, and the Lithuanian gentry becoming Polonized. This has happened several times in history. Scotland became subject to England when King James of Scotland took over the throne of England as the closest heir of the royal line. Manchuria conquered China, and became assimilated by the Chinese. During the partition of Poland, Lithuania became part of the Russian Empire, except for the westernmost region which was part of the Prussian Empire [which was really German, the Prussians having been assimilated by the Germans by the beginning of the 18th cent.] Like the Ukrainians and the other Baltic States, the Lithuanians attempted to establish an independent state during the final part of WWI. Like Latvia and Estonia, and unlike Ukraine, the Lithuanians succeeded. They were annexed by the Soviet Union in 1940, and only regained their independence in 1991. For further detail see this article. http://en.wikipedia.org/wiki/Lithuania Culturally, Lithuania is divided into between 4 and 7 regions, depending on which source you consult.The simplest categorization is to divide the country with more or less straight lines east-west and north-south which intersect a little to the northwest of the city of Kaunas. The northwest quadrant is called Samogitia, Žemaitija, or Lower Lithuania, the northeast is called Aukštaitija or Upper Lithuania, the southeast is called Dzūkija or Dainava, the land of song, and the southwest quadrant is called Suvalkija or Sūduva. Here is a map showing this. Most sources would include a fifth region, Lithuania Minor, Mažoji Lietuva, or Klaipeda, after its largest city. The reason that some authorities do not include it is because most of the territory of Lithuania Minor is outside the present day borders of the state of Lithuania except for a narrow strip along the coast as you can see above. Here is a map of the five regions. This map shows the historic range of the Lithuanian people. Much of the territory outside the current borders was of mixed population, especially in the south. In the 20th cent. many of these populations have been moved. Some sources will split the region of Suvalkija into two regions which vary somewhat in costume. dialect and culture. They also point out that the city of Suvalkai after which the region is named is now in Poland. The northern half is called Zanavykia, and the southern half Kapsai. Finally, some authorities in the mid 20th cent. considered the area around Vilnius to constitute a distinct region as pertaining to costume. Thus we are now up to 7 regions. There are some distinctive features of the costumes of the various regions, but they tend to be in the details of the color schemes, cut of bodice, weaving techniques, type of ornamentation and suchlike. Lithuanian costume forms a quite distinct whole, and it is quite possible to construct a costume made of pieces which lack the distinctive features and is difficult or impossible to assign to any region. There are two tendencies currently seen in the presentation of Lithuanian Folk Costume. The first is a continuation of the tradition began around the beginning of the 20th cent. This was the time of the development of National Identity in many countries. In Lithuania, as in other places, city people began to recognize National dress as a symbol of their nation, and as an expression of Native Art. They began to wear National dress as a symbol of their identity on special occasions. Scholars began to collect rural clothing, and analyzed them for those characteristics which were most unique to Lithuania, and for the elements which were most decorative and impressive. Items of clothing which resembled those of the Polish or Belorussians were downplayed. The most impressive techniques were copied and developed. Urban women were encouraged to learn to weave on hand looms. This became seen as a patriotic mode of expression. Much artistic effort and creativity went into the development of weaving techniques. The result is the spectacularly beautiful type of costume seen worn by Lithuanians on cultural and political occasions, and at the mass dance gatherings which continue to this day. Here is a typical example. Here is a link to a local Lithuanian dance group website. You can see the variety of patterns and colors within the basic costume structure. http://www.lithaz.org/arts/costume/saule.html This might fairly be considered a National Costume rather than a folk costume. There was at some level an attempt to preserve the differences in the regional costumes while developing each of them. I have, however, seen many amateur groups in which pieces from various regions are combined in one ensemble. I myself once purchased a skirt and apron which, upon arrival, were obviously from different regions. Many times however, the color schemes are different enough to not allow regions to be mixed. This type of costume is depicted in the illustrations of Vitautas Palaimas, which were popular in the 1950's. These types of costumes often take center stage at Museum Exhibitions. Here is a link to the Lithuanian Museum of Art in Lemont, Illinois in the Chicago Area, showing exceptionally artistic variants of the costumes of different regions. http://www.lithaz.org/museums/ldm/fabric/index.html The second current tendency in Lithuanian Costumes, which might give rise to some confusion to those who peruse the existing material, started around 1990. [I am informed by one of my readers that it in fact dates back to the period between the two World Wars, and was fueled in part by pro-Soviet and anti-Soviet camps.] It is typified by a couple of excellent books, Both entitled 'Lithuanian National Costume' one by Terese Jurkuviene, published in 2004, and the other by Vida Kulikauskiene et al in 1994. The watercolor illustrations of the second are typical of this new school. [If someone who reads Lithuanian can tell us the artist's name, i would be very grateful, as i cannot make out which of the names cited is the artist]. This movement has gone back to the 19th century and emphasizes reconstruction of the clothing actually worn at that time. It has abandoned the artistic elaboration of the 20th cent, in part, i believe, because hand work in general is no longer as accepted a part of our daily lives in the same way that it was a century ago. This school may be considered to be more concerned with 'Folk Costume' as opposed to 'National Costume'. There is more emphasis on simpler clothing, on bought materials, such as brocades and damasks, rather than on the elaborate artistic weavings emphasized in the 20th cent. The 20th cent. interpretations emphasized nagines [moccasins], or clogs, whereas this new school emphasizes shoes and boots. Here is an excellent website which typifies this school of thought. It includes several illustrations by the same artist as in the book cited just above. http://ausis.gf.vu.lt/eka/EWG/ewgtitulinis.htm It would seem to me that both can be considered equally 'authentic', as both are expressions of the art of Lithuanian costume. Embroidery does of course, exist in Lithuanian Costume, but the larger emphasis by far is on woven ornament. Basic Lithuanian costume consists of: Chemises, Marškiniai The chemise has relatively narrow shoulder pieces, as in most Latvian costume, Typically the collar, cuffs, sometimes the front opening and shoulder pieces, and especially the LOWER sleeves were decorated with designs woven into the linen. The concentration of ornament on the lower sleeves is unusual and typically Lithuanian. The lower part, from the waist down were typically made of a coarser linen. As in many places, starting in the 1950's the upper part of the chemise was sometimes cut off so as to be able to wear it with modern clothing. Skirts, Sijonai, Skirts were usually worn at ankle length, of wool or linen, generally 3.5 to 4 meters/yards around. Plaids are more common in the East, and Stripes, [usually vertical] in the West, Horizontal bands of ornament are also known, and greatly emphasized in the 20th cent. elaborations. Aprons, Prijuostes, Unlike Latvia, in Lithuania the apron is considered to be an indispensable part of female costume. There is an extremely wide variety, short, long, wide, narrow, linen, wool, brocade, plaid, plain, striped, horizontal ornament, vertical ornament. There isn't space to go into this here, i will return to this subject. Bodices, Liemeneles, The costume could be worn without the bodice, but when dressing for a special occasion, it was considered necessary. The exact cut varied with the region, but generally was hip length, included a peplum or large lappets, had woven designs finer than those found in the apron or skirt, and fastened in front. Examine the various photos here in this posting. Headcoverings, Karunas There is a wide variety of these, most commonly seen in dance groups is one of the variants of the crown-shaped open topped headdresses proper to unmarried girls. These generally have woven ornament and ribbons hanging down the back. There are various names depending on which exact type one is referring to. Married women traditionally used forms of headdress which covered the hair. Sashes, Juostos, The sash is considered the single most important piece of the national costume. It tends to be 3 to 4 inches wide, circles the waist twice and hangs down quite a bit. It is usually inkle woven, although other techniques are also used. There are many elaborate designs used. One of the most common types of folk art sold as souveniers or displayed in the home are the sashes, sometimes with a place name or phrase woven into the design. They always end in fringes, and usually have supplemental fringes inserted between the weft at both ends. Even when the men abandoned traditional wear for contemporary city clothing, the sash was the last piece of the costume retained. This has been just a general introduction, and is far from complete. I will be preparing posts on each of the seven regions, and on some of the individual costume pieces and ornamentation techniques. There are many exceptions to most of what i have stated here. I will end this post with a photo of an exceptional costume in the 20th cent style. This was given to Princess Diana by the Lithuanian community of Great Britain. It was designed and woven by Anastazija Tamošaitienė, sash woven by Aldona Veselkienė, and silver brooches crafted by Antanas Tamošaitis. Thank you all for reading. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. Rkozakand@aol Source Material: AntanaTamošaitis and Anastazija Tamošaitienė, 'Lithuanian National Costume', Toronto, 1979 Vida Kulikauskienė et al, 'Lithuanian National Costume', Vilnius, 1994, Kati Reeder Meek, 'Reflections from a Flaxen Past, For Love of LIthuanian Weaving', Alpena, Michigan, 2000 Teresė Jurkiuvenė, 'Lithuanian National Costume', Vilnius, 2006 Mikalina Glemžaitė, 'Lietuvių Tautiniai Drabužiai', [Lithuanian National Clothing] Vilnius, 1955 Stasė Bernotienė, 'Lietuvių Liaudies Moterų Drabužiai XVIII a XX pr.' [Lithuanian Women's Folk Clothing from the XVIII to the XX cent], Vilnius, 1974, Stasė Bernotienė, 'Lietuvių Valstiecių Išeiginės Prijuostės XIX a. - XX a. pradžia' [Lithuanian Aprons of the 19th and 20th cent], Vilnius, 2007 J. Grigienė et al, 'Lietuvių Liaudies Menas - Drabužiai' [Lithuanian Folk Art - Clothing], Vilnius, 1974 Elena Matulionienė, 'Klaipėdos Krašto Tautiniai Drabužiai' [Folk Clothing of the Klaipeda Region], Klaipeda, 2005 V. Palaimas, artist, set of postcards, 'Lithuanian Folk Costume', 1961 R. Paknys, photographer, set of postcards, 'Lietuvių Tautiniai Drabužiai', 1991 Tatyana Razina et al, 'Folk Art in the Soviet Union', Leningrad, 1990 Irma šidiškienė, 'Buti LIetuve', Vilnius, 2004

Fashion coffee elastic waist Sashes Asymmetrical Skirts Spring Fabric: Cotton Blended Size & Fit: This garment fits true to size. Length: Size S measures 27.69"from waist to hem. Waist:Fitted - elastic waist allows stretch Hip: Loosely Fitted. room for hips. Hand Wash Cold.

How to make a fabric sash in 20 minutes. All you need is some scar fabric and a sewing machine or needle and thread.

DIY step by step tutorial. Quilat as you go with wonky sashing. Combine the log cabin block design with a wonky sashing. Free pattern.

Alva Mac Gowan explores Ireland's traditional woven belt, the Crios. These colourful bands were normally worn with a waistcoat or bástchóta, and home-spun tweed trousers.

Wrapunzel's Ruffled Waves Sash is so simple to add and makes your headscarf instantly formal. Take a look! We love how it cascades down, and each color is simply divine! You can try layering it, or tucking the ends, or tying it into a bow! If you want the flat look on the top of your head, just bunch it up in your hands beforehand (you can even give it a few twists for good measure) and then lay it on your head. Try pairing it with a solid color scarf like a Solid Pashmina, or with the Cornerstone Scarf like our model Atara!

Hello Kitty 10229 - Lip Gloss and Eyeshadow in Mobile Phone Format : Amazon.de: Beauty

Extra Small to Extra Large. This wrapped jumper has a centuries-long history in Tibet. It is traditionally worn with added layers of aprons, woolen sashes, and a panel coat (like our 118 Tibetan Panel Coat). Worn alone or with a blouse (like our 111 Nepali Blouse), the Chupa is a beautiful contemporary garment. The Chupa features an asymmetrical wrap front, front and back shaping darts, wide neckband, and simple faced armholes, and unique side extensions that wrap around the back to tie in front. The resulting silhouette is slim, yet the extensions enable enough leg room to make walking easier than most wrap skirts. Both the Chupa and Chupa inspired wrap skirt can be made in the traditional ankle length or below the knee length. Suggested fabrics: Medium-weight cottons and blends such as denim, corduroy, velveteen, and poplin; medium-weight linen; medium-weight wool such as flannel, gabardine, and tweeds; medium-weight silk such as noil or tussah.

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Window weight ropes, also known as sash cords, are common on homes with older windows....