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S A P P I FIELD S T U D Y :
FASHION
This Sappi Field Study, presented on Lustro, takes a look at the field of fashion, from the stylish to the functional, from fantasies to flops. An industry dedicated to the wearable arts, fashion offers a unique perspective on the culture and social mores. In bringing you this Sappi Field Study, we aim to entertain, educate and provide a useful creative and technical resource. Read it for pure enjoyment, then consider the myriad ways fashion has been depicted in photography and illustrations over the years and how Lustro's exceptional print qualities are woven into the fabric of each layout design.
The great fashion photographs and illustrations that have filled the pages of Vogue, Harper's Bazaar and other style magazines have done far more than communicate the look of the latest clothing and accessories. They purvey glamour and sophistication, romance and mystery, youth and fun. Through provocative poses - avant garde, surreal, documentary, graphic - they connect with readers on a visceral level. They serve as both interpreters and arbiters of personal style, defining what's chic and the current feminine ideal. Interestingly, while fashion itself is transitory, the best fashion imagery endures as its own genre of fine art.
I N T E R P R E T I N G
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HOSPITAL
NURSE
FACE MASK
Face masks come in different levels of filtration, with the most stringent air filtration required when treating patients with communicable diseases.
HAIR NET
During surgeries and sterile procedures, nurses must keep their hair covered.
SHORT SLEEVES
Scrubs are made with short sleeves to make it easier to wash hands and put on fresh gloves between seeing patients.
POCKETS
Nursing uniforms have at least one pocket to provide ready access to pens, tape, scissors, and other frequently needed items.
SCRUBS
Wash-and-wear and comfortable, cotton/poly blend medical scrubs are the preferred attire of hospital nurses. The uniform also identifies the wearer as part of the medical staff. Some hospitals designate that scrubs of a particular color be worn to identify the nurse's assigned unit or function.
WHITE SHOES
White closed-toe/heel shoes are mandatory. Many nurses favor athletic shoes because they are on their feet during much of their work shift.
s are their own category of fashion. Often dictated bv tradition. the outfit is so familiar that people know on sight the job the wearer performs and the industry he/she is in. Most uniforms are not designed purely for style and fashion. The shape and
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color of the garment. The weight of the fabric. The size and position of the pockets. The height of the shoe heel. The types of accessories, caps, holsters and the like, all serve a function and are factored into creating a stvle that looks attracti professional and contemporary.
FLIGHT
ATTENDANT
HAIR LENGTH
Hair must be no longer than shoulder length or worn pulled back to keep from falling across passengers when serving food. Female attendants are also forbidden to wear dangling earrings.
DARK-TAILORED SUITS
Professionalism, competence and authority are communicated in the dark-colored, tailored suits worn by the flight attendants.
Military-style stripes on the sleeve and an insignia lapel pin suggest that the flight attendant is in a trusted authoritative position on the airplane.
Uniforms are made from wool or poly-wool blends that have been treated with fire-retardant chemicals.
HEEL HEIGHT
When greeting passengers or on the ground, female flight attendants must wear three-inch-heel pumps, with no laces, buckles or tassels. Inflight, they may wear low-heels or flats.
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FIREMA
HELMET
The thermoplastic helmet has two inner layers for heat and impact protection. The clear faceshield is optically corrected.
THREE LAYERS
The jacket and pants are made in three layers: A lightweight, flexible, heat-resistant
RADIO POCKET
outer shell; a breathable moisture barrier layer, and a 100% Kevlar inner thermal barrier. Kevlar is chemical, flame, heat and cut resistant and five times stronger than steel on an equal weight basis. It is also a low conductor of electricity.
Shaped to fit a two-way radio, the pocket has a snap enclosure and drain.
REFLECTIVE TRIM
Compression points such as elbows, knees and shoulders are reinforced with padding. The knees are doubly protected with leather patches.
BOOT PROTECTION
Rubber waterproof boots have steel toecaps and a polyurethane midsole to absorb energy and cushion walking impact.
In the world of fashion, there are short-lived fads that last a season and then there are pivotal events that revolutionize the way we dress and present ourselves forever. Brought on by new inventions, social movements and even pop heroes, these fashion upheavals cause us to redefine what we consider chic or sensible. Today these dress styles are so much a part of our lives that we can't imagine how it could have ever been otherwise.
CHANGES
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DOT-COM
ATTIRE
Twentysomething dot-com entrepreneurs did more than challenge the status quo of the Old Economy, they flaunted traditional business dress codes, favoring chinos and open collared shirts to Armani suits and yellow power neckties. Although the dot-com boom went bust, many companies have relaxed their rigid suit-and-tie rules and opted for a professional casual look.
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HAT I N D U S T R Y G E T S
PLUCKED
The slaughter of millions of birds for feathers to decorate ladies' hats led to the establishment of the Audubon Society and passage of the New York Audubon Plumage Law of 1910 and the Federal Migratory Bird Treaty Act of 1918. Branded as politically incorrect, plumed hats went out of fashion, but not before some feathered species were hunted to near extinction.
OUTFIT
R O S I E THE R I V E T E R
STYLE
The manpower shortage during World War II forced women out of the home into industrial jobs in shipyards, factories and defense plants. They changed out of dresses and into "boiler suits" and tied their hair up in cotton "do-rags" to keep it from snagging on machinery. When the war ended, most women returned to homemaking, but many decided they preferred wearing pants.
ITSY-BITSY
SWIMWEAR
The bikini debuted in 1946, soon after a U.S. H-bomb test on the Bikini Atoll. Designers Jacques Heim and Louis Reard called their creation "the atom," but the name "bikini" stuck. Unlike two-piece swimsuits that had been around since the 1930's, the bikini was viewed as scandalous because it exposed the navel. But after Bridget Bardot immortalized the swimsuit in "The Girl in the Bikini," even nice girls bared their belly buttons.
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We thought we looked cool then, but in retrospect, it was a pretty dumb idea. Our only comfort is that every generation has been susceptible to fads that it would just as soon forget.
Fashion accents - hats, gloves, neckties, scarves, belts, purses, costume jewelry and the like - have long been seen as a. quick and inexpensive way to transform a look from ho-hum to chic. They can dress up an outfit, pull it together or add fresh interest to last year's wardrobe. Accessories personalize a look, revealing
much about the wearer's taste, attitude and aspirations. These i illustrations from "Fashion Accessories: The Complete 20th ! Century Sourcebook" by John Peacock show how accessories have evolved and often returned in new iterations over the decades. Representative of shapes, colors and styles of accessories that were popular in each era, these drawings by Peacock provide a useful historical reference when thinking about fashion.
1900's- 1910's
1940's- 1950's
1960's- 1970's
1980's- 1990's
H A N D B A G S & P U R S E S
Although purse styles have not changed much since about 1930, the content of handbags have. Beepers, cell phones, bank cards, electronic organizers, vitamins, breath mints, and paperback novels are common purse items for women on the go.
39
1900's- 1910's
1920's- 1930's
1940's- 1950's
1960's-1970's
1980's- 1990's
L A D I E S ' S H O E S
As skirt lengths got shorter and shoes became more visible, designers created styles that made legs look shapelier. No style did that better than stilettos, made possible by the invention of a stable metal tube that would support ultrathin, tall heels.
40
1900's- 1910's
1920's- 1930's
1940's- 1950's
W O M E N ' S
H A T S
Large hats, elaborately ornamented with bird's feathers, fruits, flowers and ribbons, complemented the floor-length, corseted look of Edwardian dresses at the start of the 20th century.
By the '20s, the silhouette of women's clothing had become slimmer and more natural, and so did the look of hats. Cloches, angled hats, berets, turbans and brimmed hats came into vogue.
1960's- 1970's
1980's- 1990's
1900's- 1910's
1920's- 1930's
M E N ' S
HATS
In the early 20th century, hats often conveyed social status, with silk top hats and bowlers claimed by upper and middle class men and caps with small visors linked to the lower working classes. By mid-century, brimmed hats became the norm, and styles did not indicate class standing as much as individual preference.
N E C K T I E S
The necktie is the one part of a man's attire that serves no obvious function, except adornment. Through color, texture and pattern, it reveals something about the personality of the wearer. The primary trend that fashion watchers look for is whether this season's neckties are wider or narrower. 1940's-1950's
1960's- 1970's
1980's- 1990's
1 9 0 0 ' s - 1910's
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1 9 6 0 ' s - 1970's
1980's- 1990's
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The pages of this Sappi Field Study on Fashion demonstrate the wonderful qualities of Lustro, the most specified coated sheet of all time. Lustro is offered in three versatile finishes: Gloss, Dull (also available in Cream), and a new Matte named Lustro Patina. All exceptionally printable and elegant.
Pages 18-19
Page 30 Lustro Dull Cream 100 lb./148 gsm Text. Four-color process and overall UV varnish. Printed on a UV press. Snowy Egret illustration from Audubon's Birds of America, published by Cross River Press, Ltd., 1981.
Pages 36-37
Page 44 Lustro Patina 100 lb./148 gsm Text. Four-color process, match red touchplate and gray and spot UV varnish. Printed on a UV press. Photograph by Terry Heffernan.
Photograph by George
Hoyningen-Huene Vogue,
September, 1931. Page 31 Lustro Gloss 100 lb./148 gsm Text. Four-color process, match gray and spot gloss varnish. Photographs by Barry Robinson. Fashion Fizzles Lustro Patina 80 lb./118 gsm Text. Cover Process black, double-hit semi-dull fluorescent orange and overall dull varnish. Pages 32-33 Lustro Gloss 100 lb./148 gsm Text. Four-color process, black and match gray duotones, double-hit match silver and overall satin varnish. Hat, stockings, James Dean and Beatles photographs Getty Images, Inc. All other photographs by Barry Robinson. Page 38 Fashion Accents Lustro Dull 100 lb./148 gsm Text. Process black with match black undercolor, magenta, yellow, gray and overall UV varnish. Printed Page 34 Lustro Gloss 100 lb./148 gsm Text. Four-color process and spot gloss varnish. The Saturday Evening Post 1943 SEPS: licensed by Curtis Publishing, Indianapolis, IN. www. curtispublishing. com. P a g e s 41-42 Lustro Dull Cream Page 35 Lustro Dull 100 lb./148 gsm Text. Four-color process and overall UV varnish. Printed on a UV press. Photograph Corbis. 100 lb./148 gsm Text. Four-color process and dot-for-dot UV varnish. Printed on a UV press. Illustrations on pages 39-43 by John Peacock, from his book Fashion Accessories: The Complete 20th Century Sourcebook, pubon a UV press. Text Process black, match red, blue, green and olive. Illustrations by Everett Peck.
Page 20
Photograph by Michele
Clement, 2002.
Page 21
varnish over inked areas helps prevent inks from rubbing off onto facing pages. Varnishes and metallic inks may lose some reflective qualities.
Page 22
Functional Fashion
Pages 23-27
photographs Corbis.
Page 28
Fashion Changes
Page 29
Pages 18-19 Lustro Gloss 100 lb./148 gsm Text. Process quadtone with match silver highlights and overall satin varnish. Photograph by George Hoyningen-Huene Vogue, Conde Nast Publications, Inc. "Vionnet Gown" Vogue, September, 1931.
Page 30 Lustro Dull Cream 100 lb./148 gsm Text. Four-color process and overall UV varnish. Printed on a UV press. Snowy Egret illustration from Audubon's Birds of America, published by Cross River Press, Ltd., 1981.
Pages 36-37
Page 44 Lustro Patina 100 lb./148 gsm Text. Four-color process, match red touchplate and gray and spot UV varnish. Printed on a UV press. Photograph by Terry Heffernan.
Page 31 Page 20 Lustro Gloss 100 lb./148 gsm Text. Four-color process and overall gloss varnish. Photograph by Michele Clement, 2002. Pages 32-33 Lustro Gloss 100 lb./148 gsm Text. Page 21 Lustro Dull 100 lb./148 gsm Text. Four-color process and overall satin varnish. Photograph by John Casado, 2000. Four-color process, black and match gray duotones, double-hit match silver and overall satin varnish. Hat, stockings, James Dean and Beatles photographs Page 22 Getty Images, Inc. All other photographs by Barry Robinson. Lustro Gloss 100 lb./148 gsm Text. Four-color process, match gray and spot gloss varnish. Photographs by Barry Robinson.
Fashion Fizzles Lustro Patina 80 lb./118 gsm Text. Cover Process black, double-hit semi-dull fluorescent orange and overall dull varnish. Text Process black, match red, blue, green and olive. Illustrations by Everett Peck.
Page 38 Fashion Accents Lustro Dull 100 lb./148 gsm Text. Process black with match black undercolor, magenta, yellow, gray and overall UV varnish. Printed
varnish over inked areas helps prevent inks from rubbing off onto facing pages. Varnishes and metallic inks may lose some reflective qualities.
Functional Fashion
Lustro Dull 100 lb./148 gsm Text. Process black with three-color I under screen, match gray and | overall satin varnish.
Page 34 Lustro Gloss 100 lb./148 gsm Text. Four-color process and spot gloss varnish.
on a UV press.
Pages 23-27 JLustro Dull 100 lb./148 gsm Text. Four-color process, match gray and spot satin varnish. Hospital nurse photograph Getty Images, Inc. All other photographs Corbis.
The Saturday Evening Post 1943 SEPS: licensed by Curtis Publishing, Indianapolis, IN. www.curtispublishing.com.
programs include @Issue: Journal of Design and Business, the Annual Report Show, Ideas that Matter, Printer of the Year, and sponsorship of design and printing trade events. To learn more, visit us at www.sappi.com or www.ideaexchange.sappi.com.
Page 35 Lustro Dull 100 lb./148 gsm Text. Four-color process and overall UV
100 lb./148 gsm Text. Four-color process and dot-for-dot UV varnish. Printed on a UV press. Illustrations on pages 39-43 by John Peacock, from his book Fashion Accessories: The Complete 20th Century Sourcebook, pub-
[Page 28 Fashion Changes Lustro Dull 100 lb./148 gsm Text. Process black with three-color underscreen, match gray and
[Page 29 [Lustro Dull Cream 100 lb./148 gsm Text. [Four-color process and overall UV garnish. Printed on a UV press. [Photograph Getty Images, Inc.
Production Notes
Page 5 Lustro Gloss 100 lb./148 gsm Text. Four-color process, match red touchplate and overall gloss varnish. Photograph by Frank Horvat. UOfficiel Magazine, 1988.
Page 11 Lustro Gloss 100 lb./148 gsm Text. Process black, match black and gray tritone and overall gloss varnish. Photograph by Barry Lategan. "Twiggy" 1966.
Design Pentagram
Four-color process and overall dull aqueous coating. "Twiggy" photograph by Barry
Lategan, 1966. Tuxedo mannequin photograph Photonica. Needle and thread photograph
Pages 6-7 Lustro Gloss 100 lb./148 gsm Text. Process black, match
Pages 12-13 Lustro Gloss 100 lb./148 gsm Text. Four-color process, match gold touchplate and overall satin varnish. Photograph by John Casado, 2001.
Cover Gatefold
Printing Eight-unit 4 0 " press and eight-unit 40" UV press with inter deck drying. Page 1 All images are varnished in-line. Lustro Dull 100 lb./148 gsm Text. Four-color process, process quadtone, match gray and spot UV varnish. Printed on a UV press. Shoe illustration by John Peacock, from his book Fashion Accessories: The Complete 20th Century Double-hit match black, match brown and overall dull aqueous coating.
black and gray tritone and overall satin varnish. Photograph by Frank Horvat. Stern, 1974.
Page 8 Lustro Gloss 100 lb./148 gsm Text. Four-color process, match red and black touchplates and overall gloss varnish. Photograph by Erwin Blumenfeld Vogue, Conde Nast Publications, Inc. "Red Cross Drive" Vogue, March, 1945.
Four-color process and overall gloss varnish. Photograph by Alex Ardenti, 2001.
Page 15 Lustro Patina 100 lb./148 gsm Text. Four-color process, match red touchplate and spot UV varnish. Printed on a UV press. Illustration by Rene Gruau.
Sourcebook, published by Thames and Hudson Inc., New York, 2000. Photograph by Clifford Coffin Vogue, Conde Nast Publications. "Christian Dior dress," Vogue, September 1948.
Page 9 Lustro Dull Cream 100 lb./148 gsm Text. Process black, match black and brown tritone and overall UV
Page 16 Lustro Patina 100 lb./148 gsm Text. Four-color process and overall UV varnish. Printed on a UV press. Photograph by Michele Clement, 1998.
Page 2 Interpreting Fashion Lustro Dull 100 lb./148 gsm Text. Process black with match black undercolor, magenta, yellow, gray and overall UV varnish. Printed on a UV press.
varnish. Printed on a UV press. Photograph by Man Ray. 2 0 0 2 Man Ray Trust/Artists Rights Society (ARS), NY/AD AGP, Paris. "Undress with Backlighting," 1922.
Four-color process, match red touchplate and overall gloss varnish. Photograph by Frank Horvat. Italian Vogue, 1983.
Page 3 Lustro Dull 100 lb./148 gsm Text. Four-color process and overall UV varnish. Printed on a UV press. Photograph by John Casado, 2001.
100 lb./148 gsm Text. Process black, match black and gray tritone and dot-for-dot UV varnish. Printed on a UV press. Photograph by Edward Steichen Vanity Fair, Conde Nast
Page 4 Lustro Dull 100 lb./148 gsm Text. Process black, match black and gray tritone and overall UV varnish. Printed on a UV press. Photograph by Frank Horvat. Harper's Bazaar, 1962.
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