Nothing epitomizes the look of the 1950s more for women than the hour-glass silhouette of the tightly fitted bodice and full skirt. This ubiquitous style - first introduced in 1947 with Dior's New Look - was so widely adopted by the mid-50s that it came to define the decade. This practical book introduces and explores the styles and construction techniques used in the 1950s. Step-by-step instructions and photographs demonstrate how to achieve a well-finished and authentic look using equipment easily obtainable at home. Chapters explain the processes from fabric selection, cutting out and preparation through to garment assembly using traditional techniques for creating the silhouette of the day. There are photographs and analysis of original pieces from private collections and museum archives and scaled patterns that have been standardized to a modern size 12 and can be graded up and down in size. With patterns and instructions for making your own bullet bra and girdle, each project includes a materials and equipment list and a section on specialist stockists and suppliers. Additional chapters include practical advice on measuring and fitting, and how to create the 1950s look. Aimed at students, teachers of costume, re-enactment societies and costume designers for TV, theatre and film and superbly illustrated with 300 colour photographs and 14 patterns.

This is the 26th Edition of Debbies Book®. Now, after the release of our Android version of our iPhone App in Janurary 2014, it’s time to release our 26th print edition. You now have 3 ways to experience Debbies Book®! • A physical book for users who want to hold it in their hands • A printable book for users who want to print certain pages • A tablet-friendly eBook for users who love their iPads and eReaders The book is organized by categories in alphabetical order. Listings for Prop Houses and Costume Rental Houses are shortened to one or two lines to save space. Their full contact information is located within the Prop House and Costume Rental Houses categories only.

Armed with three decades of feminism, men and women are coming to college with different ideas and expectations about sexual freedom and violence than did their parents. Since the early 1980's, a student movement has emerged from the belief that sexual violence is neither inherent nor inevitable. Just Sex: Students Rewrite the Rules on Sex, Violence, Equality and Activism chronicles the move to end to all forms of sexual violence and to mold a new sexual paradigm where explicitly consensual sex and sexual autonomy are the norm. Based on ten years of collaborative research and national organizing, Gold and Villari have compiled the writings of leading student activists and young scholars wrestling with complex issues of power inequities, free speech, and societal constructions of gender and sexuality in accessible and mainstream dialogues. Authors also examine the generationally specific style of student activism which emphasizes peer education and institutional collaboration. Just Sex—the first ever gathering of primary documents including university policies, personal testimonies, position papers and scholarly essays—offers a glimpse of the "working papers" of a student movement which has altered the sexual landscape of our campuses and communities forever. This valuable volume will be of interest to student activists, administrators, and anyone interested in ending violence on and off of campus.

From a Daughter’s Perspective Once I learned that this book was being dedicated to me, I insisted that I have something to say about the author, my dad. I would like to introduce his work simply by way of experience and by what I feel has contributed to its making. I am an avid dance person and he has always referred to me as his “poetry in motion,” a well-known phrase for dance, but I had never really read much of his poetry until lately. He was not very open with his writings because he thought his children would not be interested. He would often use phrases that seemed to have a poetic flare. That, to me, was just dad’s way. He would sometimes say a line and then stop and take note of your reaction. This was what he termed as a “hang line.” I later saw these lines in his poems with the dot, dot, dot at the ends. I later learned that dad had his own theory about poetry writing and was not easily taken to trends or reading the works of others who would be looked upon as setting the standard. In his own way, he was insistent with some degree or order or structure citing that it makes poetry more readable and understandable. He totally rejected the idea that structure hinders the creative process but saw it as a tool to preserve it. I remember how displeased he was when I used a stanza of verse that he had helped me with to do an “on stage response” during a pageant. The response was marked down because it was too structured. With dad, poetry was not only dance but it was also music as well. He once related to me how the mechanics of music and poetry paralleled. I’ve concluded that his “theory of poetry writing” relates to his current teaching background as a math professor and his former physics teaching background, especially as I remember the way he tutored me when I was pursing my engineering degree. He perceived that poetry has volume and pitch that is controlled by use of stanza, line-length, and other structural devices that need to be worked with just as music. Rhyme gives a sense of rhythm to poetry as beat does to music. This is the “body and soul connection,” he would say. “I don’t like the trend in avoiding rhyme.” With this insistence comes POETRHYME, a work totally dedicated to rhyme in whatever he experienced. In his way of writing poetry, he was always kindred to nature, a partaker of love, a friend of wisdom, a caretaker of gardens and vineyards that always captured his smiles and personification in a most practical and simple style. Courtney Dockery