When woven fabric has been cut or torn and not sewn or hemmed it can begin fraying. This can be a huge problem, especially when a sewing machine is not available. Hand-stitching can stop material from unraveling, but this takes a lot of time and effort. No-sew alternatives are sometimes required because not everyone has the knowledge or the materials to keep it from unraveling. Use these no-sew ways to stop fabric from fraying, and complete any project quickly and easily.
Use Clear Nail Polish to Seal the Edges
To stop fabric from fraying, use clear nail polish to seal the edges. Simply apply the clear polish along the raw edge, and allow it to dry completely before handling the material. This no-sew method of repair will make the edge noticeably stiff if it is applied too heavily, but it will not unravel. In time it might need to be reapplied, but it will last far longer than hairspray or some other no-sew water-soluble option.
Stop Material from Fraying with Fabric Adhesive
Fabric adhesive can be used to create a no-sew bond that will stop fabric from fraying. It is designed to join two pieces of fabric, but it will also seal woven edges. Apply a small amount along the cut edges, and allow it to dry completely before handling. It will dry clear, and it should remain through several washings. Follow product label instructions for warnings and usage directions.
Use a Fray Stopping Product Found in Craft Stores
When looking for no-sew ways to stop fabric from fraying, look for Fray Check. This product is sold in craft stores and sewing supply stores, and it works like a charm. Apply it according to label directions for best results. It is ideal for no-sew projects, and it will work to stop woven fabric from fraying along raw edges.
Stop Fabric from Fraying with Peel and Stick Fuse Tape
Do you want to create a no-sew hem that looks neat and professionally complete? Use no-sew peel and stick fuse tape. Iron the hem and apply the tape according to instructions. It will hold firmly since it literally fuses the fabric and it is by far the very best way to stop raw edges from fraying.
Tuesday 23 April 2013
STENCILLING INTO ADIDAS ORIGINALS
http://www.ebay.co.uk/itm/ADIDAS-VINTAGE-RED-MENS-RETRO-HOODIE-TRACKSUIT-JACKET-TOP-SIZE-S-VGC-/140957187420?pt=UK_Men_s_Hoodies_Sweats&hash=item20d1b3fd5c
sE9swm,1voBRb7df!DWQ~~60_58.JPG)
THE INFLUENCE AND GROWTH OF THE HIP HOP CULTURE
shows the influence of the 1980s around the world in communities which are unlikely to be documented. influence of music, clothing and culture
1980 FASHION AND CULTURE
SHELL TOES/ SUPERSTARS
The Superstar is a basketball shoe manufactured by athletic goods company Adidas since 1969, and it was released as a low top version of the Pro Model basketball shoe.[1] Nicknamed the "shelltoe", "shell shoes", and "shell tops" for their rubber shell toe piece, their iconic design is known as one of the major influences in the sneaker culture. In 1983, from Hollis Queens, NY, came Run-D.M.C., a rap group that refused to conform to pop standards by deciding that they would dress on stage the way they dressed on the streets. The trio was most notable for wearing the Superstars without any laces and pushing the tongue of the shoe out, imitating the fashion inside a prison.
The Superstar received a lot of promotion from the rap group as they went out on tours across the US, increasing adidas' sales on the Superstar shoe. Responding to an anti-sneaker rap song by Jerrald Deas called "Felon Sneakers", the trio released a song of their own called "My Adidas" in 1986.[3] The song paid tribute to the Superstar shoe, and attempted to flip the stereotype of the 'b-boy'. Many years later, Adidas eventually signed an advertising deal with the group for 1 million dollars after realising how much promotion their product received from the trio. The deal made between Run-D.M.C. and Adidas was the first endorsement deal between hip-hop artists and a major corporation, and a Run-D.M.C. endorsed line of clothing from Adidas was subsequently released.[3] The Superstar shoe has become part of popular youth fashion culture and are now worn regularly as casual footwear, rather than for sports.
The Superstars, like the Converse Chuck Taylor All-Stars, easily made the transition from the basketball court to street as it was sported by hip-hop aficionados. In the late 1980s, 'b-boys' wore the shoes with extra thick laces called "fat laces", usually matching the color of the laces with the color of the three stripes on their shoe.
The Superstar is a basketball shoe manufactured by athletic goods company Adidas since 1969, and it was released as a low top version of the Pro Model basketball shoe.[1] Nicknamed the "shelltoe", "shell shoes", and "shell tops" for their rubber shell toe piece, their iconic design is known as one of the major influences in the sneaker culture. In 1983, from Hollis Queens, NY, came Run-D.M.C., a rap group that refused to conform to pop standards by deciding that they would dress on stage the way they dressed on the streets. The trio was most notable for wearing the Superstars without any laces and pushing the tongue of the shoe out, imitating the fashion inside a prison.
The Superstar received a lot of promotion from the rap group as they went out on tours across the US, increasing adidas' sales on the Superstar shoe. Responding to an anti-sneaker rap song by Jerrald Deas called "Felon Sneakers", the trio released a song of their own called "My Adidas" in 1986.[3] The song paid tribute to the Superstar shoe, and attempted to flip the stereotype of the 'b-boy'. Many years later, Adidas eventually signed an advertising deal with the group for 1 million dollars after realising how much promotion their product received from the trio. The deal made between Run-D.M.C. and Adidas was the first endorsement deal between hip-hop artists and a major corporation, and a Run-D.M.C. endorsed line of clothing from Adidas was subsequently released.[3] The Superstar shoe has become part of popular youth fashion culture and are now worn regularly as casual footwear, rather than for sports.
The Superstars, like the Converse Chuck Taylor All-Stars, easily made the transition from the basketball court to street as it was sported by hip-hop aficionados. In the late 1980s, 'b-boys' wore the shoes with extra thick laces called "fat laces", usually matching the color of the laces with the color of the three stripes on their shoe.
BRITISH STYLE GENIUS
http://www.bbc.co.uk/britishstylegenius/content/22248.shtml
Soulboys
"Soulboys formed a working class English youth culture of the late 1970s and early 1980s. Fans of US soul and funk music, the culture emerged in the south of England when people started gravitating towards more modern Soul artists such as Roy Ayers rather than the obsessive interest in obscure 1960s records that characterised the Northern Soul scene. The culture emerged around certain clubs in the south east of England such as The Royalty in Southgate. The Caister Soul Weekenders became the main event in the Soulboy scene and still exist today. Norman Jay remains an enduring icon on the soul scene, bringing his own take on the fashion and music of the day to sold-out clubs across the world.
Much of the casual scene that emerged in the 1980s was borrowed from Soulboys, not least the sideways fringed wedge haircut. Although the Soulboy scene was huge by the early 1980s it received little media coverage, and was overshadowed by the more dramatic exhibitionism of the decade's New Romantics.
Norman Jay is a pioneering MBE awarded DJ is a legend on the funk and soul scene and has always dressed every part the Soulboy. He first came to prominence in the 1980s playing at unlicensed warehouse parties and has a diverse and deep rooted knowledge of the Casual scene."
JAMES VAN DER ZEE
James Van Der Zee was an African American photographer best known for his portraits of black New Yorkers. He was a leading figure in the Harlem Renaissance. Aside from the artistic merits of his work, Van Der Zee produced the most comprehensive documentation of the period. Among his most famous subjects during this time were Marcus Garvey, Bill "Bojangles" Robinson and Countee Cullen.
BACK IN THE DAYS
Jamel Shabazz's collection of photography is my main inspiration for this project as his work captures an insight of a youth culture and life that would otherwise be hidden from the rest of the world. Not only does it show you whats going on on the otherside of the world in a relitavely small area but it uncovers the similarities and influences that have travelled not only across land but also through time.
Subscribe to:
Posts (Atom)