2008年11月29日星期六

Current usage




Colourful wigs for costume parties
In Britain and most Commonwealth nations, special wigs are also worn by barristers, judges, and certain parliamentary and municipal or civic officials as a symbol of the office. The original purpose of the legal wig was said to provide a form of anonymity and safety (i.e. disguise). Today, Hong Kong barristers and judges continue to wear wigs as part of court dress as an influence from their former jurisdiction of the Commonwealth of Nations. In July 2007, judges in New South Wales, Australia voted to discontinue to wearing of wigs in the NSW Court of Appeal. New Zealand lawyers and judges have ceased to wear wigs except for special ceremonial occasions such as openings of Parliament or the calling of newly qualified barristers to the bar.
A number of celebrities, including Dolly Parton and Raquel Welch have popularized wigs. Cher has worn all kinds of wigs in the last 40 years- from blonde to black, and curly to straight. They may also be worn for fun as part of fancy dress (costume wearing), when they can be of outlandish colour or made from tinsel. They are quite common at Halloween, when "rubber wigs" (solid bald cap-like hats, shaped like hair), are sold at some stores.
Orthodox Jewish religious law (Halakha) requires married women to cover her hair for reasons of modesty. Some women wear wigs, known as a sheitel, for this purpose.
Wigs are used in film, theater, and television. In the film and television genre, Jidaigeki, wigs are used extensively to alter the cast's hair styles to reflect the Edo Period when most stories take place. Only a few actors starring in big-budgeted films and television series will grow their hair so that it may be cut to the appropriate hair style, and forgo using a wig.
Today, wigs are worn by some people on a daily or occasional basis in everyday life. This is sometimes done for reasons of convenience, since wigs can be styled ahead of time. They are also worn by individuals who are experiencing hair loss due to medical reasons (most commonly cancer patients who are undergoing chemotherapy or those who are suffering from alopecia areata).
Another use seen in modern day society is for men who crossdress as women, wigs are used to make the men have more feminine hair in all sorts of styles.

Manufacture
There are two major methods of wig manufacture currently in use, traditional and automated. The traditional method produces finer wigs and is used to produce customized wigs, particularly in film and theatrical productions. Machine made wigs are cheaper and are commonly found for novelty use.

Measurement
Making customized wigs starts by taking measurements of the subject's head. Any existing hair is arranged into tight knots against the head and various measurements are taken. Sometimes a copy of the head is made by marking overtop clear plastic wrap placed over the scalp. This allows for the marking of the natural hairline. These measurements are then transferred to a wigform.

Framework
A product called wig lace or sometimes wig netting is placed over the wigform. Wig lace is a fine lace comprised of polygonal cells. It can be made from natural or synthetic fibers. Finer lace is used on the edges to blend imperceptibly into the skin. Heavier lace is used towards the center to provide structual support. The lace is trimmed and sewn into the proper shape.

Hair preparation
Hair used for wigs is assorted by length, color, and source (human, animal, synthetic). The wigmaker selects one or more sources of hair dependant on the intended wig design. The hair is then aligned on a device called a hackle. This straightens the hair so that individual strands may selected quickly and also separates out weaker strands which are left on the hackle. If multiple types of hair are selected, the process also serves to evenly mix the different varieties.

Ventilation
The process of tying strands of hair onto the wig lace is known as ventilation. The hair is folded in half so that strands may be plucked from their center. Wigmakers use a tool called a wig hook to select one or more stands of hair at a time to tie to the lace. The hook is specially bent to facilitate the tying of what is referred to as the ventilation knot. This is effectively the same technique used in the construction of handmade rugs. Because the knot is tied from the midpoint of the strand, the source hair must be at least twice as long as the length of the completed wig; with extra length needed to account for styling. The wigmaker ties the hair onto specific edges of the individual lace cells in order to influence the grain of the wig. In the center of the wig, where high density is needed detail is obfuscated, multiple strands are tied at once. At the edges of the hairline, only one or two strands of hair are applied at a time
Styling
At this point, the hair on the wig is all the same length. The wig must be styled into the desired form in much the same manner as a regular stylist.

Fitting
The subject's natural hair is again knotted tightly against the head and the wig is applied. Any remaining superfluous wiglace is trimmed away. Hairpins can be used to secure the lace to the hair and occasionally, skin-safe adhesives are used to adhere the wig against bald skin and to better hide any exposed lace. Finishing touches are done to the hair styling to achieve the desired effect.

Wig History

Queen Elizabeth I, pictured in 1588.
Wigs have been worn throughout history, even on the genitals (see merkin).
The ancient Egyptians wore them to shield their shaved, hairless heads from the sun. Other ancient cultures, including the Assyrians, Phoenicians, Greeks and Romans, also used wigs. Wigs are principally a Western form of dress -- in the Far East they have rarely been used except in the traditional theatre of China and Japan. Some East Asian entertainers (Japanese Geisha, Korean Kisaeng) wore wigs (Katsura and gache respectively) as part of their traditional costumes. After the fall of the Roman Empire, the use of wigs fell into abeyance in the West for a thousand years until revived in the 16th century as a means of compensating for hair loss or improving one's personal appearance. They also served a practical purpose: the unhygienic conditions of the time meant that hair attracted head lice, a problem that could be much reduced if natural hair were shaved and replaced with a more easily de-loused artificial hairpiece. Fur hoods were also used in a similar preventative fashion.
Royal patronage was crucial to the revival of the wig. Queen Elizabeth I of England famously wore a red wig, tightly and elaborately curled in a "Roman" style while King Louis XIII of France (1601-1643) and King Louis XIV of France (1638-1715) pioneered wig-wearing among men from the 1620s onwards. King Louis XIV of France was also popularly known as The Sun King (in French "Le Roi Soleil"). During his reign he built the Château de Versailles, a large and extravagant royal residence and moved there the court life from Paris. He created an elaborate court style at Versailles. King Louis XIV was dictating men's fashion at the time with his sophisticated style, and his exuberant taste for luxury. [1] Perukes or periwigs for men were introduced into the English-speaking world with other French styles when Charles II was restored to the throne in 1660, following a lengthy exile in France. These wigs were shoulder-length or longer, imitating the long hair that had become fashionable among men since the 1620s. Their use soon became popular in the English court. The London diarist Samuel Pepys recorded the day in 1665 that a barber had shaved his head and that he tried on his new periwig for the first time, but in a year of plague he was uneasy about wearing it:
"3rd September 1665: Up, and put on my coloured silk suit, very fine, and my new periwig, bought a good while since, but darst not wear it because the plague was in Westminster when I bought it. And it is a wonder what will be the fashion after the plague is done as to periwigs, for nobody will dare to buy any haire for fear of the infection? that it had been cut off the heads of people dead of the plague."
Wigs were not without other drawbacks, as Pepys noted on 27 March 1667:
"I did go to the Swan; and there sent for Jervas my old periwig-maker and he did bring me a periwig; but it was full of nits, so as I was troubled to see it (it being his old fault) and did send him to make it clean."
With wigs becoming virtually obligatory garb for men of virtually any significant social rank, wigmakers gained considerable prestige. A wigmakers' guild was established in France in 1665, a development soon copied elsewhere in Europe. Their job was a skilled one as 17th century wigs were extraordinarily elaborate, covering the back and shoulders and flowing down the chest; not surprisingly, they were also extremely heavy and often uncomfortable to wear. Such wigs were expensive to produce. The best examples were made from natural human hair. The hair of horses and goats was often used as a cheaper alternative.
In the 18th century, men's wigs were powdered in order to give them their distinctive white or off-white color. Contrary to popular belief, women in the 18th century did not wear wigs, but wore a coiffure that we nowadays would call hair-extentions. The top of their natural hair was being enriched by fake hair, or hair not of their own. Women mainly powdered their hair grey, or blue-ish grey, and from the 1770's onwards never bright white like men. Wig powder was made from finely ground starch that was scented with orange flower, lavender, or orris root. Wig powder was occasionally colored violet, blue, pink or yellow, but was most often used as off-white. Powdered wigs (men) and powdered natural hair with extentions (women) became an essential for full dress occasions and continued in use until almost the end of the 18th century. Powdering wigs and extentions was messy and inconvenient and the development of the naturally white or off-white powderless wig (made of horsehair) for men is no doubt what has made the retention of wigs in everyday court dress a practical possibility. By the 1780s, young men were setting a fashion trend by lightly powdering their natural hair, like women already did from the 1770's onwards. Often they would use their own hair and not a wig. After 1790, both wigs and powder were reserved for older more conservative men, and were in use by ladies being presented at court. After 1790 women hardly powdered their hair anymore. In 1795, the English government levied a tax of hair powder of one guinea per year. This tax effectively caused the demise of both the fashion for wigs and powder by 1800.

Marie Antionette wearing the distinctive pouf style coiffure: her own natural hair is being extended on the top by fake hair.
Among women in the French court of Versailles in the mid-to-late 18th century, large, elaborate and often themed (such as the stereotypical "boat poufs") were in vogue for women. These combed up hair-extentions were often very heavy, weighted down with pomades, powders, and other ornamentation. In the late 18th century these coiffures (along with many other indulgences in court life) became symbolic of the decadence of the French nobility, which helped to fuel the French Revolution(although it's influence is highly exaggerated.
During the 18th century, men's wigs became smaller and more formal with several professions adopting them as part of their official costumes. This tradition survives in a few legal systems. They are routinely worn in various countries of the Commonwealth. Until 1823, bishops of the Church of England and Church of Ireland wore ceremonial wigs. The wigs worn by barristers are in the style favoured in the late eighteenth century. Judges' wigs are, in everyday use as court dress, short like barristers' wigs (although in a slightly different style) but for ceremonial occasions judges and also senior barristers (QCs) wear full-bottomed wigs.
The wearing of wigs as a symbol of social status was largely abandoned in the newly created United States and France by the start of the 19th century, although it persisted a little longer in the United Kingdom.
Women's wigs developed in a somewhat different way. They were worn from the 18th century onwards - although at first only surreptitiously - and full wigs in the 19th and early 20th century were not fashionable. They were often worn by old ladies who had lost their hair. In the film Mr. Skeffington (1944), when Bette Davis has to wear a wig after a bout of diphtheria, it is a moment of pathos and a symbol of her frailty.

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Wig




A wig, from the French "(per)ruque", is a head of hair made from horse-hair, human hair, wool, feathers, buffalo hair, or synthetic, worn on the head for fashion or various other aesthetic and stylistic reasons, including cultural and religious observance. The word wig is short for periwig and first appeared in the English language around 1675.
Some people wear wigs to disguise the fact that they are bald. Actors, on the other hand often wear costume wigs in order to better portray the character they are playing.

Wig




A wig, from the French "(per)ruque", is a head of hair made from horse-hair, human hair, wool, feathers, buffalo hair, or synthetic, worn on the head for fashion or various other aesthetic and stylistic reasons, including cultural and religious observance. The word wig is short for periwig and first appeared in the English language around 1675.
Some people wear wigs to disguise the fact that they are bald. Actors, on the other hand often wear costume wigs in order to better portray the character they are playing.

Heated clothing

Most heated clothing is designed for cold-weather sports and activities, such as motorcycle riding, downhill skiing, winter biking, and snowmobiling, and for outdoor workers such as construction workers and carpenters. Normal insulation works by trapping body heat, so if it gets wet from sweat or rain, or if a person stops exercising, the insulation may not keep them warm. With heated garments, a person can keep warm even if they are resting and not producing heat, or if their coat is damp from sweat
Types

By function
The most widely-available types of heated clothing are products for the extremities- the hands and feet. These body parts are the most likely to suffer frostbite or frostnip in severe cold. As such, many manufacturers make heated gloves, mittens, socks, and boot liners, and they can be purchased at workers' supply stores (serving construction workers) and motor sports stores. Heated torso coverings (vests or jackets) or leggings are available from specialty retailers that cater to motorcyclists and downhill skiiers.
A related product is heated seat covers, throws, and seating pads. Heated seat covers for snowmobiles, motorcycles, and cars and heated "throw blankets" typically use electrical 12 volt heating elements. Heated seating pads for hunting, canoeing, and stadium use either have rechargeable batteries or they use a reheatable gel pack.

Technology

Electrical
Heated clothing designed for use on vehicles such as motorbikes or snowmobiling typically use 12 volt electrical current, which is the standard voltage on motorsports or powersports batteries. While a single heated garment, such as heated gloves will not usually adversely affect the charge on the battery, riders have to be careful about attaching several heated garments, such as a heated boot liners, gloves, and a heated vest, because the battery may not be able to handle the load. The heated garments are usually attached directly onto the battery of the bike. Some heated garments have cigarette lighter plugs, so that the clothing can be plugged into a car's cigarette lighter. While the least expensive models can only be turned on or off, the more expensive models sometimes provide a heating level control.
For downhill skiing or winter biking, rechargeable batteries are generally used, either nickel metal hydride battery technology or lithium batteries. If not recharged properly, "battery memory" will shorten the battery's capability to recharge. With lithium batteries, there are two types: Li-ion & Li-Polymer. There are several heating technologies employed including copper wire, nichrome wire, metal "mesh' systems, carbon-embedded fabric and carbon fibers. The most reliable systems have technologies that have redundancy in case of a heating element breakage. If the weather is a little warmer, in many models the controller and battery can be detached, so that the garment can be worn as a regular garment.

Non-electrical
Non-electrical heated garments produce heat either using a pre-heated gel or by a chemical reaction. Garments that use gel have cloth pouches or pockets where plastic packages of gel can be inserted in the garment. Prior to going outdoors, the gel is heated up in a microwave. Once outdoors, the gel pack retains its heat for between 30 minutes and two hours, depending on the size of the gel pack, the thickness of the insulation protecting the gel pack from the outdoor temperatures, and the outdoor temperature and wind conditions.
Chemical reaction-based garments have cloth pouches or pockets where single-use packages of chemical "handwarmers" can be inserted. These "handwarmers" are about the size of a package of cards, and they contain chemicals which produce heat upon exposure to air (i.e., when the package is ripped open). While the products are commonly called "handwarmers", they can be placed in boots or, with special garments such as vests, in cloth pockets on the inside of the garment.

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cotton embroidered blouse


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badges and emblems


adult cloth diapers


Scrolling Belt Buckle


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burberry golf shirt


crocodile skin belt


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Flame Retardant Apparel


exclusive jordan sneakers


baby blanket fleece


cotton lace blouse


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battery heated jacket


fake fur vest


bathing ape t-shirts


hand tied wig


Patchwork Quilt Set


Lingerie Body Shapers


Throwback Football Jerseys


industrial cotton jeans

Karl Kani

Brand name
Carl Williams represents the “American Dream”. Son of a Costa Rican mom and Panamanian dad, Karl comes from a modest family from Brooklyn, New York.Young Karl dreamt of combining his passion for Hip Hop music and fashion. He didn’t know how to do that, but he believed in himself.
During Karl’s initial rough start in Los Angeles the question that had obsessed him for years, “Can I do it?”, remained unanswered. He kept asking himself: “Can I do it? Can I build a fashion empire? Can I become the ‘Ralph Lauren of the streets’?” Karl didn’t have the answer for all these questions but it did provide the basis for his new name, Kani, a variation on "Can I?". With a stylish "K" replacing the "C" in his first name, he ventured his own optimistic reply, Karl Kani.
The Godfather of Urban fashion
Carl Williams was the first black man to launch a Hip Hop Fashion brand and became one of the 100 richest African-Americans in 1996 according to People Magazine. He created the baggy pants and inspired many other to follow into his footsteps. Karl paved the way for many black designers and is the true ‘Godfather of Urban Fashion’.

‘The Originator’
Kani is also known as ‘The Originator’. Karl was the first to set the trend of merging hip-hop with fashion. He spotted an area in the market that previously was ignored and paved the way for other Hip Hop Fashion brands. Being the first African-American man to launch a Hip Hop Fashion brand, Karl inspired many others to follow in his footsteps. His many achievements earned him the title of the ‘Originator’.

The White House
Kani’s work didn’t remain unnoticed. In 1999 Karl had the honor to present his latest collection at The White House to President Bill Clinton during an informal fashion show.In 1996 Karl’s company was rewarded by Black Enterprise Magazine and in 2002 he received an ‘Urban Fashion Award'.

Awards
Kani is known as one of the most influential black designers of urban fashion in the United States. With such acclaimed success Black Enterprise Magazine named Karl Kani-Infinity Corporation the most successful African American owned firms worldwide in 1996. And this was just the tip of the iceberg.
In 2002 Carl was honored with an ‘Urban Fashion Pioneer Award’ for his lifetime achievements during the Urban Fashion Awards.

Celebrities
Throughout the early 1990s, Karl Kani set the tone for much of urban fashion, especially in the music industry. Rocking Kani clothing became both a symbol of success and a fashion statement. Karl Kani became a well known brand and many known Hip Hop and R&B artists like Tupac, Aaliyah, Baby, Cash Money, Heavy D, Kelly Clarkson, Lil’ Kim, N Sync, Nas, Dr. Dre, Ice T, P Diddy, Kool G Rap, Ed Lover, Mike Tyson, Heavy D, Big Daddy Kane, Pete Rock, CL Smooth, Notorious B.I.G., Next, 112, Redman, Tatyana Ali, Snoop Dogg, Three 6 Mafia, Tyson Beckford and Will Smith have rocked Karl Kani clothing. As well as Tom Kaulitz

Tupac Shakur
Karl Kani and Tupac Shakur are ultimately credited with being the co-founders of the Hip-Hop clothing world. Together, the two embarked upon a journey to bring some of the millions of dollars mionrities spent on fashion, back to the urban communities. Tupac wore a lot of Karl Kani clothing. We can see many pictures of him in sweats and tee’s all bearing the Karl Kani logo. .When Karl Kani met Tupac he told him he appreciated him wearing his clothing line and said that he would give Tupac cloths to wear since he was reppin for him. Tupac said that he was a black business man and he wanted to support his efforts so he would pay for all his cloths.
Celebrity quotes

P Diddy
“You know one of the reasons why I always praise this industry is because you can be a self-taught clothing designer and still make millions or even billions of dollars! (…) Karl Kani is self-taught, but a lot of people don’t know that.” He paid further homage to Karl Kani, who paved the way for him. Diddy stated that he celebrated the path he carved for me, this couldn’t have happened without him.

Baby
“Karl Kani's clothes speak like our music does; he combines street with bling in the same way we do. Karl wants his clothing line to be where the trends are and where things are happening and that's where Cash Money is. Where things are happening big time."

Jay-Z
“I had the Karl Kani shit on. If you looked at my clothes you could see I was out of there.”

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badges and emblems


adult cloth diapers


Scrolling Belt Buckle


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burberry golf shirt


crocodile skin belt


esprit kids shoes


Flame Retardant Apparel


exclusive jordan sneakers


baby blanket fleece


cotton lace blouse


karl kani clothes


battery heated jacket


fake fur vest


bathing ape t-shirts


hand tied wig


Patchwork Quilt Set


Lingerie Body Shapers


Throwback Football Jerseys


industrial cotton jeans

Karl Kani

Karl Kani (Brooklyn, New York City, 1968) (real name Carl Williams) is the fashion designer, founder and CEO of the Hip Hop fashion brand Karl Kani. Karl Kani was launched in 1989 as a fashion forward and Hip Hop influenced clothing line. Inspired by his passion for Hip hop music and fashion, Karl designed clothes that appealed to a large public, including friends and celebrities from his hometown Brooklyn, New York.
History
At age 16, Carl Williams started designing clothes after learning the essential handcraft at his father’s company. Karl never studied tailoring or design, but he had flair for coming up with unusual, stylish concepts. He would buy material and tell a tailor exactly how he wanted his garments to look like. "For a relatively small sum, as he put it, "I had a fresh outfit that nobody had."
Karl’s customized outfits were so “fresh” that soon they were in demand. After seeing him on the scene in local clubs, men started asking for a Carl Williams’ outfit of their own. Soon Karl was taking his first orders in his car. The death of one of his close friends inspired some deep contemplation. “It made me think about life differently”, he added “ I thought I should really do something positive."
In 1989 Karl headed to Los Angeles where he and a good friend opened a clothing shop on Crenshaw Boulevard. They made no profit at this location and after the shop was robbed, they moved to Hollywood where Karl started selling catalogs for $2 that he and his partner had put together. They only made profit off the catalog sales and didn’t actually sell any clothes. He decided to take out an advertisement in Right On!Magazine but even that didn’t help jumpstart sales.
Karl Kani the success
After watching ‘The Today Show’ Karl had an idea. He paid a friend in New York to make a sign with his label’s name on it and hold it up during the taping of the show. The idea worked. People started calling and orders began to come in.
Upon his arrival in California he knew that he had to put a foot in an established fashion corporation before trying to establish his own sole proprietorship. When Karl met Carl Jones in 1990, co-founder of Threads 4 Life Corp, during a Cross Colours fashion show, Karl saw his chance. The partnership with Carl Jones lasted 2 years.
Karl's stylistic innovations were successful. In addition to working with a mainstream color selection he modified the baggy pants that became the basis of street fashion. According to Karl black people never liked tight fitting jeans. They would always buy a bigger size but then the waist would be too big, therefore Karl decided to increase the pant size.
In 1994 Karl used $500,000 in profits to launch his company Karl Kani Infinity In addition to his old partners, Kani now faced a marketing onslaught from hip-hop entrepreneur Russell Simmons’ Phat Pharm and a number of mainstream clothiers who now smelled profits in an area they had previously been ignored. Kani also had reason to worry that his involvement in Cross Colours might taint his operation in the minds of retailers. "I expected some resistance," Kani himself averred. "A major turning point for me was when retailers accepted us back into the market."According to Karl Kani, the hardest part of this business is predicting what the consumer will want next. Karl Kani knew the importance of staying in touch with his core public and staying open for new ideas.

Karl Kani Big & Tall
The idea for the Big & Tall line came to Kani after numerous conversations with NBA stars, who complained that they could not fit into much of his merchandise. Big and tall people are just as fashion-conscious so Karl launched his line in mid-1995 in Big & Tall stores around the country
Staying ahead of fashion counterfeiters who aped his signature and sold cheaper versions of his clothes, Karl began fastening a metal-and-leather plate to his product. After some initial resistance from the people who made the plates, Karl Kani decided to go ahead with it and it turned out to be his best-selling jeans ever.
Karl Kani used the metal plate to spread his positive message to others.
"Inspired by the vitality of the streets of Brooklyn New York. Karl Kani, the young African-American designer of Karl Kani Jeans, encourages you to follow your dreams and accomplish your goals. Wear the clothing that represents the knowledge of African-American creativity and determination. Recognize the signature that symbolizes African-American unity and pride... peace, Karl Kani."

armani man suit


rainbow leather sandals


backless wedding dress


cotton embroidered blouse


baby embroidery blanket


badges and emblems


adult cloth diapers


Scrolling Belt Buckle


burberry rain coat


burberry golf shirt


crocodile skin belt


esprit kids shoes


Flame Retardant Apparel


exclusive jordan sneakers


baby blanket fleece


cotton lace blouse


karl kani clothes


battery heated jacket


fake fur vest


bathing ape t-shirts


hand tied wig


Patchwork Quilt Set


Lingerie Body Shapers


Throwback Football Jerseys


industrial cotton jeans