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Today's daily inspiration was #simplicity.
So many things that seem simple, in truth, are very complex. A feather, a flame, a seed.
Because of some complications, the simplicity of a flame alludes me. I am without a cooktop still, so I need to figure out a way to use my order of kumquats before they rot if candied kumquats, marmalade, and cinnamon kumquats are no longer an option.
This seems an excellent opportunity, therefore, to finally try my hand at bitters making. Therefore I will be attempting to make a kumquat bitters, which should go well in the newly concocted house cocktail, titled an "I Beg You Pardon?" I'll let you know how it fares.
Full shot of Simplicity 2215, a full pleated skirt made up in a stretch indigo denim.
More details can be be found at my blog, Idle Fancy.
© 2010 Loren Zemlicka
"In character, in manner, in style, in all things, the supreme excellence is simplicity.”
- Henry Wadsworth Longfellow
Vintage 60s mod A-line dress and coat pattern in maxi or mini length.
I love it for a winter wedding!
Adopted
Simplicity Sewing Pattern
#7407
Child's Dress
Gunne Sax by Jessica
Size 4
Out Of Print
©1986
Simplicity is a luxury few achieve.
I liked the minimalism of this, the two blurred lights in a sea of blackness. I took this at an ISO speed of 800 since I didn't have a tripod. Apart from the text, this is the original photograph.
Simplicity 6528; ©1974; Misses' Jumper, Blouse and Scarf: The blouse with front button closing, notched collar and long set-in sleeves gathered to buttoned cuffs may be worn with or without self fabric scarf. The top-stitched jumper with skirt stitched to lined bodice above normal waistline has low round neckline and back zipper.
Suggested fabrics: Blouse in printed silk, surah, crepe, challis, chintz, cotton broadcloth, sateen, chambray, jersey, matte jersey, lightweight wool. Dress in lightweight wool, wool flannel, tweed, gabardine, double knit, silk linen, poplin, chino, linen. Additional notions required: thread, seam binding or stretch lace. Blouse – eleven ½” buttons. Dress – 22” zipper.
The pattern has 10 pieces and 1 instruction sheet.
Either way, you have to see this home which the architect calls “minimum to the max”. Is it really? You will have to decide it for yourself. Simplicity is the most difficult thing to secure in this world; it is the last limit experience and the last effort of genius.
Minimalism - or, as the sculptor Donald Judd preferred to put it, is the simple expression of complex thought.
Let’s see a few facts about the project. The BSSR House. This is the name of the “Minimum to the max” house. Architect behind the project is Dutch architect Huib van Wijk. As you can already guess, the house is built in the Netherlands, back in 2010. Huib van Wijk designed this minimalist house for me and my family. The house has an abstract art gallery and a studio.
What would general public say about it? I believe 95% of people would say they would never live in a minimalist house like this. And this is exactly what makes it so special and different from other homes.
So, now I would like to hear what you think about this minimalist house. Would you live there? Would you feel comfortable? Let me know.
Simplicity Lisette 2209 made up in a mint green pique. I loved this pattern so much that I made it again! Blogged at Idle Fancy.
Note: Pattern construction notes are detailed in my original rose print version of 2209 at my blog.
Narasimha (Sanskrit: नरसिंह IAST: Narasiṁha, lit. man-lion), Narasingh, Narsingh and Narasingha in derivative languages is an avatar of the Hindu god Vishnu and one of Hinduism's most popular deities, as evidenced in early epics, iconography, and temple and festival worship for over a millennium.
Narasiṁha is often visualised as having a human-like torso and lower body, with a lion-like face and claws. This image is widely worshipped in deity form by a significant number of Vaiṣṇava groups. Vishnu assumed this form on top of Himvat mountain (Harivamsa). He is known primarily as the 'Great Protector' who specifically defends and protects his devotees in times of need. Vishnu is believed to have taken the avatar to destroy the demon king Hiranyakashipu.
ETYMOLOGY
The word Narasimha means 'lion-man' which usually means 'half man and half lion'. His other names are:
- Agnilochana (अग्निलोचन) - the one who has fiery eyes
- Bhairavadambara (भैरवडम्बर) - the one who causes terror by roaring
- Karala (कराल) - the one who has a wide mouth and projecting teeth
- Hiranyakashipudvamsa (हिरण्यकशिपुध्वंस) - the one who killed Hiranyakashipu
- Nakhastra (नखास्त्र) - the one for whom nails are his weapons
- Sinhavadana (सिंहवदन) - the whose face is of lion
- Mrigendra (मृगेन्द्र) - king of animals or lion
SCRIPTURAL SOURCES
There are references to Narasiṁha in a variety of Purāṇas, with 17 different versions of the main narrative. The Bhagavata Purāṇa (Canto 7), Agni Purāṇa (4.2-3), Brahmāṇḍa Purāṇa(2.5.3-29), Vayu Purāṇa (67.61-66), Harivaṁśa (41 & 3.41-47), Brahma-Purāṇa (213.44-79), Viṣṇudharmottara Purāṇa(1.54), Kūrma Purāṇa (1.15.18-72), Matsya Purāṇa(161-163), Padma Purāṇa(Uttara-khaṇḍa 5.42), Śiva Purāṇa (2.5.43 & 3.10-12), Liṅga Purāṇa (1.95-96), Skanda Purāṇa 7 (2.18.60-130) and Viṣṇu Purāṇa (1.16-20) all contain depictions of the Narasiṁha Avatāra. There is also a short reference in the Mahābhārata (3.272.56-60) and a Gopāla Tapani Upaniṣad (Narasiṁha tapani Upaniṣad), earliest of Vaiṣṇava Upaniṣads named in reference to him.
REFERENCES FROM VEDAS
The Ṛg Veda contains an epithet that has been attributed to Narasiṁha. The half-man, half-lion avatāra is described as:
- like some wild beast, dread, prowling, mountain-roaming.
Source: (RV.I 154.2a).
There is an allusion to a Namuci story in RV.VIII 14.13:
- With waters' foam you tore off, Indra, the head of Namuci, subduing all contending hosts.
This short reference is believed to have culminated in the full puranic story of Narasiṁha.
LORD NARASIMHA AND PRAHLADA
Bhagavata Purāṇa describes that in his previous avatar as Varāha, Viṣṇu killed the asura Hiraṇayakṣa. The younger brother of Hirṇayakṣa, Hiraṇyakaśipu wanted revenge on Viṣṇu and his followers. He undertook many years of austere penance to take revenge on Viṣṇu: Brahma thus offers the demon a boon and Hiraṇyakaśipu asks for immortality. Brahma tells him this is not possible, but that he could bind the death of Hiraṇyakaśipu with conditions. Hiraṇyakaśipu agreed:
- O my lord, O best of the givers of benediction, if you will kindly grant me the benediction I desire, please let me not meet death from any of the living entities created by you.
- Grant me that I not die within any residence or outside any residence, during the daytime or at night, nor on the ground or in the sky. Grant me that my death not be brought about by any weapon, nor by any human being or animal.
- Grant me that I not meet death from any entity, living or nonliving created by you. Grant me, further, that I not be killed by any demigod or demon or by any great snake from the lower planets. Since no one can kill you in the battlefield, you have no competitor. Therefore, grant me the benediction that I too may have no rival. Give me sole lordship over all the living entities and presiding deities, and give me all the glories obtained by that position. Furthermore, give me all the mystic powers attained by long austerities and the practice of yoga, for these cannot be lost at any time.
Brahma said,
Tathāstu (so be it) and vanished. Hiraṇyakaśipu was happy thinking that he had won over death.
One day while Hiraṇyakaśipu performed austerities at Mandarācala Mountain, his home was attacked by Indra and the other devatās. At this point the Devarṣi (divine sage) Nārada intervenes to protect Kayādu, whom he describes as sinless. Following this event, Nārada takes Kayādu into his care and while under the guidance of Nārada, her unborn child (Hiraṇyakaśipu's son) Prahālada, becomes affected by the transcendental instructions of the sage even at such a young stage of development. Thus, Prahlāda later begins to show symptoms of this earlier training by Nārada, gradually becoming recognised as a devoted follower of Viṣṇu, much to his father's disappointment.
Hiraṇyakaśipu furious at the devotion of his son to Viṣṇu, as the god had killed his brother. Finally, he decides to commit filicide. but each time he attempts to kill the boy, Prahlāda is protected by Viṣṇu's mystical power. When asked, Prahlāda refuses to acknowledge his father as the supreme lord of the universe and claims that Viṣṇu is all-pervading and omnipresent.
Hiraṇyakaśipu points to a nearby pillar and asks if 'his Viṣṇu' is in it and says to his son Prahlāda:
O most unfortunate Prahlāda, you have always described a supreme being other than me, a supreme being who is above everything, who is the controller of everyone, and who is all-pervading. But where is He? If He is everywhere, then why is He not present before me in this pillar?
Prahlāda then answers,
He was, He is and He will be.
In an alternate version of the story, Prahlāda answers,
He is in pillars, and he is in the smallest twig.
Hiraṇyakaśipu, unable to control his anger, smashes the pillar with his mace, and following a tumultuous sound, Viṣṇu in the form of Narasiṁha appears from it and moves to attack Hiraṇyakaśipu. in defence of Prahlāda. In order to kill Hiraṇyakaśipu and not upset the boon given by Brahma, the form of Narasiṁha is chosen. Hiraṇyakaśipu can not be killed by human, deva or animal. Narasiṁha is neither one of these as he is a form of Viṣṇu incarnate as a part-human, part-animal. He comes upon Hiraṇyakaśipu at twilight (when it is neither day nor night) on the threshold of a courtyard (neither indoors nor out), and puts the demon on his thighs (neither earth nor space). Using his sharp fingernails (neither animate nor inanimate) as weapons, he disembowels and kills the demon.
Kūrma Purāṇa describes the preceding battle between the Puruṣa and demonic forces in which he escapes a powerful weapon called Paśupāta and it describes how Prahlāda's brothers headed by Anuhrāda and thousands of other demons were led to the valley of death (yamalayam) by the lion produced from the body of man-lion avatar. The same episode occurs in the Matsya Purāṇa 179, several chapters after its version of the Narasiṁha advent.
It is said that even after killing Hiraṇyakaśipu, none of the present demigods are able to calm Narasiṁha's wrath.So the demigods requested Prahlada to calm down the Lord,and Narasimha,who had assumed the all-powerful form of Gandaberunda returned to more benevolent form after that. In other stories,all the gods and goddesses call his consort, Lakṣmī, who assumes the form of Pratyangira and pacifies the Lord. According to a few scriptures, at the request of Brahma, Shiva took the form of Sharabha and successfully pacified him. Before parting, Narasiṁha rewards the wise Prahlāda by crowning him as the king.
NARASIMHA AND ADI SANKARA
Narasiṁha is also a protector of his devotees in times of danger. Near Śrī Śailaṁ, there is a forest called Hatakeśvanam, that no man enters. Śaṅkarācārya entered this place and did penance for many days. During this time, a Kāpālika, by name Kirakashan appeared before him.
He told Śrī Śaṅkara that he should give his body as a human-sacrifice to Kālī. Śaṅkara happily agreed. His disciples were shocked to hear this and pleaded with Śaṅkara to change his mind, but he refused to do so saying that it was an honor to give up his body as a sacrifice for Kālī and one must not lament such things. The Kāpālika arranged a fire for the sacrifice and Śaṅkara sat beside it. Just as he lifted his axe to severe the head of Śaṅkara, Viṣṇu as Narasiṁha entered the body of the disciple of Śaṅkarācārya and Narasiṁha devotee, Padmapada. He then fought the Kāpālika, slayed him and freed the forest of Kapalikas. Ādi Śaṅkara composed the powerful Lakṣmī-Narasiṁha Karāvalambaṁ Stotram at the very spot in front of Lord Narasiṁha.
MODE OF WORSHIP
Due to the nature of Narasiṁha's form (divine anger), it is essential that worship be given with a very high level of attention compared to other deities. In many temples only lifelong celibates (Brahmācārya) will be able to have the chance to serve as priests to perform the daily puja. Forms where Narasiṁha appears sitting in a yogic posture, or with the goddess Lakṣmī are the exception to this rule, as Narasiṁha is taken as being more relaxed in both of these instances compared to his form when first emerging from the pillar to protect Prahlāda.
PRAYERS
A number of prayers have been written in dedication to Narasiṁha avatāra. These include:
- The Narasiṁha Mahā-Mantra
- Narasiṁha Praṇāma Prayer
- Daśāvatāra Stotra by Jayadeva
- Kāmaśikha Aṣṭakam by Vedānta Deśika
- Divya Prabandham 2954
- Sri Lakshmi Narasimha Karavalamba Stotram by Sri Adi Sankara
THE NARASIMHA MAHA-MANTRA
- oṁ hrīṁ kṣauṁ
- ugraṁ viraṁ mahāviṣṇuṁ
- jvalantaṁ sarvatomukham ।
- nṛsiṁhaṁ bhīṣaṇaṁ bhadraṁ
- mṛtyormṛtyuṁ namāmyaham ॥
O' Angry and brave Mahā-Viṣṇu, your heat and fire permeate everywhere. O Lord Narasiṁha, you are everywhere. You are the death of death and I surrender to You.
NARASIMHA PRANAMA PRAYER
namaste narasiṁhāya,
prahlādahlāda-dāyine,
hiraṇyakaśipor vakṣaḥ,
śilā-ṭaṅka nakhālaye
I offer my obeisances to Lord Narasiṁha, who gives joy to Prahlāda Mahārāja and whose nails are like chisels on the stone like chest of the demon Hiraṇyakaśipu.
ito nṛsiṁhaḥ parato nṛsiṁho,
yato yato yāmi tato nṛsiṁhaḥ,
bahir nṛsiṁho hṛdaye nṛsiṁho,
nṛsiṁhaṁ ādiṁ śaraṇaṁ prapadye
Lord Nṛsiṁha is here and also there. Wherever I go Lord Narasiṁha is there. He is in the heart and is outside as well. I surrender to Lord Narasiṁha, the origin of all things and the supreme refuge.
DASAVATARA STOTRA BY JAYADEVA
tava kara-kamala-vare nakham adbhuta-śrṅgaṁ,
dalita-hiraṇyakaśipu-tanu-bhṛṅgam,
keśava dhṛta-narahari-rūpa jaya jagadiśa hare
O Keśava! O Lord of the universe. O Hari, who have assumed the form of half-man, half-lion! All glories to You! Just as one can easily crush a wasp between one's fingernails, so in the same way the body of the wasp-like demon Hiraṇyakaśipu has been ripped apart by the wonderful pointed nails on your beautiful lotus hands. (from the Daśāvatāra-stotra composed by Jayadeva)
KAMASIKHA ASTAKAM BY VEDANTA DESIKA
tvayi rakṣati rakṣakaiḥ kimanyaiḥ,
tvayi cārakṣāti rakṣākaiḥ kimanyaiḥ ।
iti niścita dhīḥ śrayāmi nityaṁ,
nṛhare vegavatī taṭāśrayaṁ tvam ॥8॥
O Kāmaśikhā Narasiṁha! you are sarva śakthan. When you are resolved to protect some one, where is the need to seek the protection of anyone else? When you are resolved not to protect some one, which other person is capable of protecting us?. There is no one. Knowing this fundamental truth, I have resolved to offer my śaraṇāgatī at your lotus feet alone that rest at the banks of Vegavatī river.
DIVYA PRABANDHAM 2954
āḍi āḍi agam karaindhu isai
pāḍip pāḍik kaṇṇīr malgi engum
nāḍi nāḍi narasingā endru,
vāḍi vāḍum ivvāl nuthale!
I will dance and melt for you, within my heart, to see you, I will sing in praise of you with tears in joy, I will search for Narasiṁha and I am a householder who still searches to reach you (to attain Salvation).
SYMBOLISM
Narasiṁha indicates God's omnipresence and the lesson is that God is everywhere. For more information, see Vaishnav Theology.
Narasiṁha demonstrates God's willingness and ability to come to the aid of His devotees, no matter how difficult or impossible the circumstances may appear to be.
Prahlāda's devotion indicates that pure devotion is not one of birthright but of character. Prahlāda, although born an asura, demonstrated the greatest bhakti to God, and endured much, without losing faith.
Narasiṁha is known by the epithet Mṛga-Śarīra in Sanskrit which translates to Animal-Man. From a philosophical perspective. Narasiṁha is the very icon of Vaiṣṇavism, where jñāna (knowledge) and Bhakti are important as opposed to Advaita, which has no room for Bhakti, as the object to be worshipped and the worshipper do not exist. As according to Advaita or Māyāvāda, the jīva is Paramātma.
SIGNIFICANCE
In South Indian art – sculptures, bronzes and paintings – Viṣṇu's incarnation as Narasiṁha is one of the most chosen themes and amongst [[Avatar] |Avatāra]]s perhaps next only to Rāma and Kṛṣṇa in popularity.
Lord Narasiṁha also appears as one of Hanuman's 5 faces, who is a significant character in the Rāmāyaṇa as Lord (Rāma's) devotee.
FORMS OF NARASIMHA
There are several forms of Narasiṁha, but 9 main ones collectively known as Nava-narasiṁha:
Ugra-narasiṁha
Kroddha-narasiṁha
Vīra-narasiṁha
Vilamba-narasiṁha
Kopa-narasiṁha
Yoga-narasiṁha
Aghora-narasiṁha
Sudarśana-narasiṁha
Lakṣmī-narasiṁha
In Ahobilam, Andhra Pradesh, the nine forms are as follows:
Chātra-vata-narasiṁha (seated under a banyan tree)
Yogānanda-narasiṁha (who blessed Lord Brahma)
Karañja-narasiṁha
Uha-narasiṁha
Ugra-narasiṁha
Krodha-narasiṁha
Malola-narasiṁha (With Lakṣmī on His lap)
Jvālā-narasiṁha (an eight armed form rushing out of the pillar)
Pavana-narasiṁha (who blessed the sage Bharadvaja)
Forms from Prahlad story:
Stambha-narasiṁha (coming out of the pillar)
Svayam-narasiṁha (manifesting on His own)
Grahaṇa-narasiṁha (catching hold of the demon)
Vidāraṇa-narasiṁha (ripping open of the belly of the demon)
Saṁhāra-narasiṁha (killing the demon)
The following three refer to His ferocious aspect:
Ghora-narasiṁha
Ugra-narasiṁha
Candā-narasiṁha
OTHERS
Pañcamukha-Hanumān-narasiṁha, (appears as one of Śrī Hanuman's five faces.)
Pṛthvī-narasiṁha, Vayu-narasiṁha, Ākāśa-narasiṁha, Jvalana-narasiṁha, and
Amṛta-narasiṁha, (representing the five elements)
Jvālā-narasiṁha (with a flame-like mane)
Lakṣmī-narasiṁha (where Lakṣmī pacifies Him)
Prasāda/Prahlāda-varadā-narasiṁha (His benign aspect of protecting Prahlad)
Chatrā-narasiṁha (seated under a parasol of a five-hooded serpent)
Yoga-narasiṁha or Yogeśvara-narasiṁha (in meditation)
Āveśa-narasiṁha (a frenzied form)
Aṭṭahasa-narasiṁha (a form that roars horribly and majestically strides across to destroy evil)
Cakra-narasiṁha, (with only a discus in hand)
Viṣṇu-narasiṁha, Brahma-narasiṁha and Rudra-narasiṁha
Puṣṭi narasiṁha, (worshipped for overcoming evil influences)
EARLY IMAGES
In Andhra Pradesh, a panel dating to third-fourth century AD shows a full theriomorphic squatting lion with two extra human arms behind his shoulders holding Vaiṣṇava emblems. This lion, flanked by five heroes (vīra), often has been identified as an early depiction of Narasiṁha. Standing cult images of Narasiṁha from the early Gupta period, survive from temples at Tigowa and Eran. These sculptures are two-armed, long maned, frontal, wearing only a lower garment, and with no demon-figure of Hiraṇyakaśipu. Images representing the narrative of Narasiṁha slaying the demon Hiraṇyakaśipu survive from slightly later Gupta-period temples: one at Madhia and one from a temple-doorway now set into the Kūrma-maṭha at Nachna, both dated to the late fifth or early sixth century A.D.
An image of Narasiṁha supposedly dating to second-third century AD sculpted at Mathura was acquired by the Philadelphia Museum of Art in 1987. It was described by Stella Kramrisch, the former Philadelphia Museum of Art's Indian curator, as "perhaps the earliest image of Narasiṁha as yet known". This figure depicts a furled brow, fangs, and lolling tongue similar to later images of Narasiṁha, but the idol's robe, simplicity, and stance set it apart. On Narasiṁha's chest under his upper garment appears the suggestion of an amulet, which Stella Kramrisch associated with Visnu's cognizance, the Kauṣtubha jewel. This upper garment flows over both shoulders; but below Hiranyakasipu, the demon-figure placed horizontally across Narasiṁha's body, a twisted waist-band suggests a separate garment covering the legs. The demon's hair streams behind him, cushioning his head against the man-lion's right knee. He wears a simple single strand of beads. His body seems relaxed, even pliant. His face is calm, with a slight suggestion of a smile. His eyes stare adoringly up at the face of Viṣṇu. There is little tension in this figure's legs or feet, even as Narasiṁha gently disembowels him. His innards spill along his right side. As the Matsya purana describes it, Narasiṁha ripped "apart the mighty Daitya chief as a plaiter of straw mats shreds his reeds". Based on the Gandhara-style of robe worn by the idol, Michael Meiste altered the date of the image to fourth century AD.
Deborah Soifer, a scholar who worked on texts in relation to Narasiṁha, believes that "the traits basic to Viṣṇu in the Veda remain central to Viṣṇu in his avataras" and points out, however, that:
we have virtually no precursors in the Vedic material for the figure of a man-lion, and only one phrase that simply does not rule out the possibility of a violent side to the benign Viṣṇu.
Soifer speaks of the enigma of Viṣṇu's Narasiṁha avatāra and comments that how the myth arrived at its rudimentary form [first recorded in the Mahābhārata], and where the figure of the man-lion came from remain unsolved mysteries.
An image of Narasiṁha, dating to the 9th century, was found on the northern slope of Mount Ijo, at Prambanan, Indonesia. Images of Trivikrama and Varāha avatāras were also found at Prambanan, Indonesia. Viṣṇu and His avatāra images follow iconographic peculiarities characteristic of the art of central Java. This includes physiognomy of central Java, an exaggerated volume of garment, and some elaboration of the jewelry. This decorative scheme once formulated became, with very little modification, an accepted norm for sculptures throughout the Central Javanese period (circa 730–930 A.D.). Despite the iconographic peculiarities, the stylistic antecedents of the Java sculptures can be traced back to Indian carvings as the Chalukya and Pallava images of the 6th–7th centuries AD.
CULTURAL TRADITION OF PROCESSION (SRI NRSIMHA YATRA)
In Rājopadhyāya Brahmins of Nepal, there is a tradition of celebrating the procession ceremony of the deity Narasiṁha avatar, in Lalitpur district of the Kathmandu Valley in Nepal. The Lunar fifth day of the waning phase of the moon, in the holy Soli-lunar Śrāvaṇa month i.e. on Śrāvaṇa Kṛṣṇa Pañcamī of the Hindu Lunar Calendar is marked as auspicious day for the religious procession, Nṛsiṁha Yātrā. This tradition of the holy procession has been held for more than a hundred years. This is one of the typical traditions of the Rājopadhyāya Bramhins, the Hindu Bramhans of the locality.
In this Nṛsiṁha Yātrā, each year one male member of the Rājopadhyāya community gets the chance to be the organizer each year in that particular day. He gets his turn according to the sequence in their record, where the names of Rājopadhyāya bramhins are registered when a brahmāṇa lad is eligible to be called as a Bramhan.
WIKIPEDIA
From the collection of Alexander B. Tecoma.
Date: 1955
Misses and Women's Apron with Matching Mitt
Bib apron is styled with full length center front panel, crossed straps and tie ends. View 1 has ruffles over the shoulder. Apron and mitt are of one fabric; bias trim is contrasting. Bows, view 2, are also of bias. Views 1, 2 and 3 feature two handy pockets. Tea apron has bias and rick-rack trim, view 3; bias and lace trim, view 4. These versions have a waistband.
Sewing Notions -- View 1, 2, 3 and 4: 1 spool of thread; 1 spool of contrasting thread. View 1 and 2: 4 packages of double fold bias tape. View 3: 3 packages of single fold bias tape; 3 packages of rick-rack. View 4: 2 packages of single fold bias tape.
Suggested Fabrics -- View 1: cottons, chintz, calico, percale, plisse, gingham, linen, nylon, rayon, butcher rayon, taffeta. View2 : Even plain or plain cottons, rayon, nylon, taffeta. View 3 and 4: cottons, organdy, dotted swiss, calico, eyelet. View 4: also in rayon, taffeta, nylon.
Misses Designer Fashion Dress with "Designer Touch" Leaflet. The lined dress with front seam interest has slit opening in the raised neckline and optional top-stitching. View 1 has long set-in sleeves. View 2 is sleeveless.
Maker: Simplicity
Pattern #: 8537
Date of Pattern: 1969
Cost of Original Pattern: $1.00
Pattern Pieces: cut and complete
Pattern Envelope: yellowing and brittle due to age, some tears on envelope but still readable.
Pattern Instructions:Included
Size of Pattern: 16
Bust: 38
Waist: 29
Hip: 40
This pattern is totally awesome! I don't know if I have ever known of a skirt pattern that has a sweep of 193"... but this one does (per another website listing)!!!
This pattern will not only sew this awesome 8-gored skirt but also has a blouse with a front button closing, a fab collar and long raglan sleeves that are gathered at buttoned cuffs, with an optional cute ribbon bow. The ankle-length bell-bottom pants have a side zipper closing and waistband. The skirt has optional embroidered eyelet edging trim.
Maker: Simplicity
Pattern #: 5310
Copywright of Pattern: 1972
Pattern Price New: $1.00
Size: 8
Bust Size: 31.5&
Waist: 24
Hip: 33.5;
Pattern Pieces: cut and complete
Pattern Envelope: brittle and yellowing due to age. tear on front of envelope and back of envelope
Simplicity Sewing Pattern
#7071
Misses', Men's Or Teen Boys'
Nightshirt & Long Or Short Pajamas
Easy Essentials
Size XS 30 - 32, S 34 - 36, M 38 - 40, L 42 - 44, XL 46 - 48
Out Of Print
©1990
"Life is as simple as putting the cookie in the jar, but some people tend to make it complicated.. :)"
This Shot Taken By Canon 60D with Carl Zeiss Red MC Electric 34mm f/2.4
- Focal Length: -
- Manual Focus.
- Exposure time: 1/100
- Aperture: f/5.6
- Exposures: 1 exposures.
- ISO Speed: 400
- Location: Home.
- Edited by using: DPH.
** I Hope You Like It, Comments are really apprecited to improve my skills and to see your opinions to encourage me.
"Things to remember:
1) The worth of character;
2) The improvement of talent;
3) The influence of example;
4) The joy of origination;
5) The dignity of simplicity;
6) The success of perseverance."
Marshall Field
Simplicity 3808 again
This time i lengthened the 6-12 month size and it fits so much better.
Lightweight denim and Moda polka dots with red top stitching and wood buttons.
How the garment looks if you just throw it on without adjusting all the bits and pieces. Shoulder seams are too wide, collar turns up, detail bow is all over the place. May be less of an issue with, say, a nice wool felt.
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Simplicity 4032
I really liked the idea of this pattern. It's nice to have something that's easy to care for, made of fleece but doesn't look like you just walked out of the gym. The pattern has 4 jacket versions and a (rather hideous) vest option. I've never sewn with fleece before so I bought some less expensive mint colored fleece and a slightly more expensive fleece in a deep plum shade. My plan was to sew my second choice jacket designs with the green to get my feet wet with fleece, before cutting into the purple fabric.
I don't hate the end result but it's definitely not as nicely designed as I would have liked. My biggest issues are that it's just plain fussy to put on, the collar is a single, unfaced layer and rolls if it's not laying just so, the little accent bow does the same thing. The inner facings are all over the place. You really have to put it on and check that everything is in order instead of just tossing the jacket on and going.
My other issue is that the cross back measurement is too wide for my taste, by probably a full 2"/5cm. Jackets are generally cut like this to give room for layering, but I'm a hussy and wear mostly slim fitting clothing. On me, the shoulder seams fall off my shoulders and the look is a little sloppy.
The other thing to be aware of, which has more to do with my crappy skills than the pattern, is you really need to know which seams will be unfinished in the final product so you don’t cut those edges like you were a few sheets to the wind before you started. Fleece isn’t very forgiving in that sense.
I may still sew the other version of this jacket that I like a little better. If I do, I'll narrow the front and back pieces, mid shoulder (so I don't have to monkey with the fit of the collar or sleeves) and I may find a better way to keep the inner facings in line. I'm not an expert enough seamstress to go too crazy with mods but I think the pattern is salvageable.
...is ultimately a matter of focus.”
- Ann Voskamp, One Thousand Gifts: A Dare to Live Fully Right Where You Are -
www.goodreads.com/quotes/tag/focus
Backgrounds are tricky. They can make a subject stand out or distract from it. Make a photo with a good background today. www.todaysposting.com/TPAssignment.php?TP=374
MISSES’ DRESS IN TWO LENGTHS (APPROXIMATE LENGTH OF SHORT DRESS IS 33”) … YOUNG CONTEMPORARY FASHION:
The dress with gored skirt stitched to bodice at waistline has front button closing, “V” shaped neckline, notched collar, tie ends and short set-in sleeves with cuffs. V. 1 with contrasting collar and cuffs is mini length. V. 2 is short length.
Adopted
Simplicity Vintage Sewing Pattern
#7329
Misses' Jumpsuit In Two Lengths
Transfer For Embroidery Included
"How To Sew" Pattern
Size 12
©1976
Date: 1941
Misses and Women's Two-Piece Dress.
The collarless blouse is made with shoulder yokes which extend to form front and back panels. Smart-looking patch pockets are included in the side fronts and underarm seams. The jacket may be made with long or short sleeves. A narrow belt is buttoned at the waistline. The well-cut skirt is finished at the top with a belt and closes at the left side.
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Width around lower edge of skirt about 1 5/8 yards; size 14. (32B, 27W, 35H)
Finished back length from Base of Neck to hem of blouse 24 3/4"; size 14.
Finished length from waist to hem of skirt 26"; size 14.
Notions --
Style I-II: Slide fastener OR snap fasteners, hooks and eyes; 5 buttons (35 lines--7/8" diam.); prong-type buckle; seam binding (optional); shoulder pads (optional); buttonhole twist; shields.
Style I: Matching thread (100 yds.); contrast thread (50 yds.).
Style II: Matching thread (150 yds.)
Suggested Fabrics --
Style I: Cottons, silks, jersey, woolens, prints.
Style II: Velveteen, silk, jersey, light tweeds, wool crepe.
From the collection of Jessica H. Jaeger.
Bust 30"
Simplicity Designer's Pattern: 1 piece afternoon or informal dinner dress. The top has a surplice effect. The skirt front consists of 2 sections, and the back, of 4 sections forming godets at the lower part. In Version A the yoke and long sleeves are cut in one. A high V Version B features wide shoulder bands which are gathered and cross in back.