Ultimately, a One-Skein Wonders® booklet only for crocheters! Edie Eckman and Judith Durant supply one hundred and one intriguing crochet initiatives — together with jewellery, scarves, baggage, hats, attire, and residential decor goods — that every use only one skein of yarn. With initiatives geared up by means of yarn variety and weight, you’ll be crocheting lacy shrugs for the springtime and heavy-duty beanies for the snowy wintry weather months. no matter what your adventure point, you’re bound to discover a delightfully moveable venture that fits your personal style.
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Extra info for Crochet One-Skein Wonders: 101 Projects from Crocheters around the World
In August 1936, the shop transferred to the Avenue Matignon, which became the registered address of Jacques Heim’s many publications, notably the Revue Heim, followed by the Gazette Matignon. His work is generally considered a model of classic elegance. He was the first to utilize cotton in haute couture in 1934 and dreamed up a beach ensemble inspired by the Tahitian pareo (skirt or loincloth). In 1946, he created the twopiece Atome – since unjustly forgotten – which might certainly be regarded as the immediate precursor to the bikini.
Every unwarranted use of the name of that style registered under the patent number 19431 – even if it was merely a mention in some newspaper article, such as the one in which the name bikini was applied to a two-piece outfit that came up as high as the navel – was followed by immediate legal action. It may well have been this extraordinary effort to protect his “copyright” that took Réard beyond the barrier, as far as the world of high fashion was concerned. It may also have contributed greatly to the curious fact that after 1946 – when the name bikini had become a word of virtually universal familiarity – the name Réard dropped out of sight altogether.
It was first featured on June 19, 1962 in Deauville, on the occasion of the International Cotton Convention. A Réard bikini, 1949. It is in this form that we now perceive what was a blind enthusiasm for the burgeoning atomic age, was equally blind to the potentially cataclysmic effects of releasing such energies. That is the kind of role depicted as an image of her painted on the rounded outer-casing of an atomic bomb or on the hot sands of an island in the Southern Seas. A Réard bikini, May 1, 1956.