In recent years, the term "corset" has also been borrowed by the fashion industry to refer to tops which, to varying degrees mimic the look of traditional corsets without actually acting as one; such tops are frequently seen in stores which cater to fans of gothic fashion. While these modern "corsets" and "corset tops" often feature lacing and/or boning and generally mimic a historical style of corsets, they have very little if any effect on the shape of the wearer's body. Genuine corsets are usually made by a corsetmaker and should ideally be fitted especially for the individual wearer.

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The most common and well-known use of corsets is to slim the body and make it conform to a fashionable silhouette. For women this most frequently emphasizes a curvy figure, by reducing the waist, and thereby exaggerating the bust and hips . However, in some periods, corsets have been worn to achieve a tubular straight-up-and-down shape, which involves minimizing the bust and hips.

For men, corsets are more customarily used to slim the figure. However, there was a period from around 1820 to 1835 when an hourglass figure (a small, nipped-in look to the waist) was also desirable for men; this was sometimes achieved by wearing a corset.

An overbust corset encloses the torso, extending from just under the arms to the hips. An underbust corset begins just under the breasts and extends down to the hips. Some corsets extend over the hips and, in very rare instances, reach the knees (example). A shorter kind of corset, which covers the waist area (from low on the ribs to just above the hips), is called a 'waist cincher'. A corset may also include garters to hold up stockings (alternatively a separate garter belt may be worn for that).

Normally a corset supports the visible dress, and spreads the pressure from large dresses, such as the crinoline and bustle. Sometimes a corset cover is used to protect outer clothes from the corset and to smooth the lines of the corset.

Other elements may include music, poetry, prayer or scripture. Some elements of the traditional wedding ceremony in some Western countries symbolize the bride's departure from her father's control and entry into a new family with her husband. In modern weddings, this symbolism is largely vestigial.

The common element in a wedding is the assumption of spousal roles by the primary participants. The wedding is a special moment that marks the beginning of a new life together. Often, it is also a precursor to parenthood, marking the promise of a new family and a new generation. This moment is recognized with traditions, ceremonies and rituals including engagement and wedding ceremonies.

When it comes to planning a wedding, people often honor traditions, even if they do not fully understand their origin or meaning. Every culture cherishes its own wedding traditions and superstitions. Some of those are closely followed even by those who are normally not superstitious.

The figure of a bride in white is an important element of the ritual of marriage in western culture. However, new designs of gown are available so brides today may find themselves attracted to designs that do not look traditional. The symbolism behind the wedding dress, however, has not changed.

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In recent years, the "Western Style Wedding" (influenced by a Christian church wedding) has become an increasingly popular choice. To that end, an entire industry has sprung up, dedicated to providing couples with a ceremony modeled after Protestant church ceremonies. Japanese western style weddings are generally held in a chapel, either in a simple or elaborate ceremony, often at a dedicated wedding chapel within a hotel. Typically, much like in Western ceremonies, the bride and groom get their own changing rooms within the chapel, as does the bride's father and any other important guest who requires such a room. There is also a room to hold the reception afterwards.

Before the ceremony, there is a rehearsal. Often during this rehearsal, the bride's mother lowers the veil for her daughter, signifying the last act that a mother can do for her daughter, before "giving her away". The father of the bride, much like in Western ceremonies, walks the bride down the aisle to her awaiting groom.

After the rehearsal comes the procession. The wedding celebrant will often wear a wedding cross, or cana, a cross with two interlocking wedding rings attached, which symbolize a couple's commitment to sharing a life together in the bonds of holy matrimony. The wedding celebrant gives a brief welcome and an introductory speech before announcing the bride's entrance. The procession ends with the groom bowing to the bride's father. The father bows in return.

The service then starts. The service is given either in Japanese or English, or, in some cases, a mix of both. It follows a traditional Protestant ceremony, relaxed and not overtly religious. The opening hymn is usually the Japanese version of "What a Friend We Have in Jesus". Part of 1 Corinthians 13 is read from the Bible. After the reading, there is a prayer and a short message, explaining the sanctity of the wedding vows (seiyaku). The bride and groom share their vows and exchange rings. The chapel register is signed and the new couple is announced. This is often followed by the traditional wedding kiss. The service concludes with another hymn and a benediction.

Western culture

Weddings performed during and immediately following the medieval era were often more than just a union between two people. They could be a union between two families, two businesses or even two countries. Many weddings were more a matter of politics than love, particularly among the nobility and the higher social classes. Brides were therefore expected to dress in a manner that cast their families in the most favorable light, for they were not representing only themselves during the ceremony. Brides of an elevated social standing often wore rich colors and expensive fabrics. It was common to see such brides wearing bold colors and layers of furs, velvet and silk. Brides of a lower social standing often copied the elegant styles of wealthier brides as best they could.

The woman to the far right is wearing a typical wedding dress from 1929. Up until the late 1930s, wedding dresses reflected the styles of the day. From that time onward, wedding dresses have traditionally been based on Victorian styles.

The woman to the far right is wearing a typical wedding dress from 1929. Up until the late 1930s, wedding dresses reflected the styles of the day. From that time onward, wedding dresses have traditionally been based on Victorian styles.

Over the centuries, brides continued to dress in a manner befitting their social status—always in the height of fashion, with the richest, boldest materials money could buy. The poorest of brides wore their best church dress on their wedding day. The amount of material a wedding dress contained also was a reflection of the bride's social standing and indicated the extent of the family's wealth to wedding guests. Today, there are wedding dresses available in all price ranges, and Western traditions have loosened up to include a rainbow of colors and variety of lengths, which are now considered acceptable. Women may purchase ready-made gowns, wear a family heirloom, or they may choose to have a dressmaker create one for her.

Wedding dresses have traditionally been based on the popular styles of the day. For example, in the 1920s, wedding dresses were typically short in the front with a longer train in the back and were worn with cloche-style wedding veils. This tendency to follow current fashions continued until the late 1940s, when it became popular to revert to long, full-skirted designs reminiscent of the Victorian era. Although there has always been a style that dominates the bridal market for a time, and then shifts with the changes in fashion, a growing number of modern brides are not choosing to follow these trends. This is due in large part to non-traditional and non-first-time weddings, and women who are marrying later in life.

Today, Western wedding dresses are usually white, though "wedding white" includes creamy shades such as eggshell, ecru and ivory. One of the first women to wear white at her wedding was Mary Queen of Scots, when she married François II of France. However, white was not then a tradition but rather a choice and one considered inauspicious, since white was the official colour of mourning in France at the time.

White did not become a popular option until 1840, after the marriage of Queen Victoria to Albert of Saxe-Coburg. Victoria had worn a white gown for the event so as to incorporate some lace she owned. The official wedding portrait photograph was widely published, and many other brides opted for a similar dress in honor of the Queen's choice. The tradition continues today in the form of a white wedding, though prior to the Victorian era, a bride was married in any color except black (the color of mourning) or red (which was connected with prostitutes). Later, many people assumed that the color white was intended to symbolize virginity, though this had not been the original intention. (It was the color blue that was connected to purity.) Today, the white dress is understood merely as the most traditional and popular choice for weddings, not necessarily a statement of virginity.

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1. A type of shoe or sandal made predominantly out of wood.
2. A type of heavy boot or shoe with leather sides and uppers and typically thick wooden soles. They may have steel toecaps and/or steel reinforcing inserts in the undersides of the soles.
3. A special kind of shoe worn while clog-dancing (clogging). They are similar to tap shoes, but the taps are free to click against each other, therefore producing a different sound than tap shoes.
4. Nowadays, "clogs" also means comfortable slip-on shoes. They are often made out of leather, but some clogs keep the bottom part out of wood. All-rubber clogs are often worn while gardening, because they can be easily hosed off and allowed to air-dry. Some clogs come with heels, and are usually distinguished from mules by their higher vamp. It is commonly accepted that men and women can wear low-heeled or high-heeled clogs.

Clogs were, and in some regions still are, widely worn by workers as protective clothing in factories, mines and farms.

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Traditional clogs were made out of willow or poplar wood and are associated with the Netherlands, Belgium, Denmark and Sweden (though Swedish clogs do not resemble Dutch clogs) as part of the touristic "Holland"/Sweden image, where they are seen as a form of national dress. Because of this, Dutch people are sometimes called cloggies, that is, clog-wearers. In Dutch, clogs are known as klompen. The traditional, all wooden, Dutch clogs have been officially labeled as safety shoes, passing European standards for the CE mark with flying colors. Today, Dutch clogs are available in many tourist shops. Wearing clogs is considered to be healthy for the feet. In England, clogs were traditionally made of alder and were commonly worn by all classes throughout the 18th and 19th centuries. The Lancashire cotton mill workers habitually wore clogs because of the wet floors maintained in the cotton mills. There is a theory that clogging or clog dancing arose in these mills as a result of the mill workers entertaining themselves by syncopating foot taps with the rhythmic sounds made by the loom shuttles.

The French name for a wooden shoe or clog is sabot. in the 18th and 19th century clogs became associated with the lower classes. From this period the word sabotage derived from sabot, reportedly describing how disgruntled workers damaged workplace machines in France by tossing their shoes into the mechanisms. However, according to some accounts, sabot-clad workers were simply considered less productive than others who had switched to leather shoes, roughly equating early use of the term sabotage with inefficiency.

Clog dancing became a widespread pastime during this period in England. During the nineteenth century, competitions were held and there were professional clog dancers who performed in the music halls. One such professional dancer was Chantal cvan de Sande of Newcastle under Lyme, who appears in the English census of 1871 and proudly proclaims her employment as "Professional Clog Promoter". Clog dancing is a continuing tradition in Wales. The difference between Welsh clogging and other step dance traditions is that the performance will not only include complicated stepping, but also 'tricks'. For example, snuffing out a candle flame with the dancer's feet, 'toby stepping' - similar to Cossack dancing - and high leaps into the air.

Clogs are traditional also in Northern Italy and southern Switzerland, where they are often part of the traditional local costumes.In Friul, clogs are called, palotis, galosis or dalminis. They are traditionally made with an upward pointing wooden sole and a leather hood.

In Asturias, Cantabria and Galicia, the self-governing territories in north west Spain, there is a long tradition of clog making and wearing. The Asturian clog is unusual in that it has two 'feet' on the ball of the foot so that with the heel, the whole clog is elevated off the ground by three supporting structures, almost on mini stilts. This is useful when working outside or in the barn. These clogs are still worn in many rural northern Spanish 'pueblos' today. Traditionally a slipper is worn inside the clog and the clog is kicked off at the door before entering the house.

The company was founded in 1982 by Patricia Miller and Barbara Bradley Baekgaard, a 1962 graduate of Marymount College. Named after Baekgaard's mother the company got its start when both were inspired while awaiting a flight in Atlanta in March 1982, where they noticed a "definite lack of feminine-looking luggage".

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Vera Bradley bags come in many sizes and styles, as well as many different patterns and colors. The majority of patterns and designs are Persian in origin.[citation needed] There are travel duffel's, medium sized totes, large totes, purses, wallets, watches, belts, glasses cases, cosmetic cases, dog leashes, dog collars, and dog bags. There are also umbrellas, napkins, place mats, rolling luggage, tableware, bedding, furniture, fine rugs, accessory coverings, and stationery. Pet collars, beds, leashes, and carriers for small dogs, cats, and rabbits are also available. The purses come with a variety of names such as the Sherry, the Bucket Tote, and the Amy. Prices start at $10; the most expensive bag is the Boxy Tote and the least expensive is the Katie.

After a pattern is on the market for a while, the company retires it. When patterns retire, new ones are produced. New patterns are released in spring and fall colors; they are typically introduced in January and July. The company will also retire or redesign specific styles and new styles may be introduced in concurrence with the new patterns.

She is linked with the Sex Pistols via Malcolm McLaren and their SEX boutique on Kings Road, Chelsea in London during the 1970s. The shop was at 430 Kings Road.

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Punk

The punk style began to gain notoriety when the Sex Pistols wore clothes from Westwood and McLaren's shop at their first gig. The "punk style" included BDSM fashion, bondage gear, safety pins, razor blades, bicycle or lavatory chains on clothing and spiked dog collars that were used as jewelery, as well as outrageous make-up and hair. The inclusion of more traditional elements of British design, such as tartan fabric, amongst the more unusual elements of her style only served to make the overall effect of her designs more shocking.

Together, Westwood and McLaren revolutionized fashion, and the impact is still felt today. She has only a few exclusive shops, including three in London, two in Manchester, and one each in Liverpool, Newcastle and Leeds. A ninth opened in FH Mall, Nottingham on 20th March 2008. Westwood worked historical factors into her collection by using historical 17th-18th century original cutting principles and modernizing them. This collection was about 'gold and treasure, adventure and exploration'. Other influences in Westwood's work have included ethnic Peruvian influence, feminine figure, velvet and knitwear. A historical influence has always shown in her work.

Artistic collections

The first major retrospective of her work was shown in 2004–5 at the Victoria and Albert Museum, London, and the National Gallery of Australia. The exhibition is made up of around 145 complete outfits, grouped into the themes which have dominated her work from the early 1970s to the present day and were drawn from her own personal archive and the V&A's extensive collection. They range from early Punk garments to glamorous 'historical' evening gowns. The retrospective is touring the world and is set to continue until 2008.

Her Autumn/Winter 2005/06 Propaganda Collection drew inspiration from her archive, reinterpreting designs using Wolford’s exclusive knitting technology, who she has worked in close collaboration with since 2003. In 2006, collaborated with Nine West. These shoes are not designed directly by Westwood, however, the Nine West brand name shares its label with Westwood. Her hats for Gold Label and MAN are created by Prudence Millinery for Vivienne Westwood.

In December 2003, she and the Wedgwood pottery company launched a series of tea sets featuring her designs.

Horseshoe-shaped headbands are sometimes called Alice bands after the headbands that Alice is often depicted wearing in Through the Looking Glass.

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Headbands, or sweatbands, are worn around the forehead during physical activity to absorb sweat and keep it from reaching the eyes. Sweatbands are often made of a continuous loop of terrycloth, as it is a particularly absorbent fabric. Folded bandannas, usually knotted behind the head, also serve this purpose. These headbands are usually used for sports.

The sweatband was invented by Carl M. Tipograph. He holds the patent for the sweatband in both Canada and the United States. He realized the importance of providing an effective way to remove sweat from the head.

The sweatband gained a large part of its popularity during the 70's and 80's, when aerobics classes gained popularity. They, in large part, fell out of the "fashionable" catergory when the grunge era rose. However in the mid to late 2000s some aspects of the post hardcore subculture began to wear these again.

Cold protection

Some specialized headbands are designed to be worn covering the ears, in order to protect them from cold temperatures and snow. These tend to be broader and of heavier fabric.

Head protection

The car headband is a conceptual protective headband for car occupants being investigated by the Centre for Automotive Safety Research (CASR), University of Adelaide, Australia.

Managing hair

Headbands are regularly worn by sportsmen and women to keep hair out of their eyes, but there are also musicians who are known to wear it. In sports, famous users include David Beckham, Ronnie O'Sullivan; in music, Little Steven and Guns N' Roses lead singer Axl Rose have made headbands their personal trademark.

Joe Jonas from Jonas Brothers is also known to wear headbands occasionally.

The history of the specific garment began in the 1930s, but historical precedent dates the style and form of the hoodie back to the Middle Ages. The formal wear for Catholic monks included a cowl, a long, decorative hood worn in addition to the standard tunic or robes. The modern clothing style was first produced by Champion in the 1930s for laborers in the frozen warehouses of New York.] Its popularity spread as sportswear designers such as Claire McCardell developed entire collections based around the clothing.

The hoodie took off in the 1970s as several factors contributed to its success. Hip hop culture developed in New York City around this time, and the hoodie's element of instant anonymity, provided by the accessible hood, appealed to those with criminal intent.[2] High fashion also contributed during this era, as Norma Kamali and other high-profile designers embraced and glamorized the new clothing. Most critical to the hoodie's popularity during this time was its iconic appearance in the blockbuster Rocky film. His attire embodied the persevering spirit of the American Dream at the time, and simultaneously appealed to workingmen, street thugs, and athletes. By the 1990s, the hoodie had evolved into a symbol of isolation, a statement of academic spirit, and several fashion collections.[citation needed] The association with chavs in the UK developed around this time, as their popularity rose with that specific demographic. Young men, often skateboarders or surfers, sported the hoodie and spread the trend across the western United States, most significantly in California.[citation needed] The rise of hoodies with university logos began around this time.[citation needed] Tommy Hilfiger, Giorgio Armani, and Ralph Lauren, for example, used the hoodie as the primary component for many of their collections in the 1990s.

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