Clothing and customers

Clothing alteration hands repair and alter items of clothing for their customers. They can work in dedicated clothing alteration shops, behind the scenes in a dry cleaners, or for clothing retailers. Many also work in specialist shops, such as bridalwear retailers or tailors who offer a fitting service.

As a clothing alteration hand, your work would involve:

·         fitting the customer with a garment and deciding where to make adjustments

·         agreeing alterations and marking them out using chalk or pins

·         deciding what kind of stitching would suit different types of fabric

·         taking up or letting down hemlines

·         adjusting seams, darts or waistbands

·         repairing zips and other fastenings.

You may also stitch by hand or use an industrial-type sewing machine, like an overlocker.

You could combine this work with other roles, such as dressmaking or tailoring, which would involve estimating the cost of a repair and managing accounts.

Hours

You would usually work between 35 and 40 hours a week, which may include evenings and weekends.

You would be based in a shop or workshop, in a dry cleaners or, if you are self employed, you may work from home. Most of your time will be spent sitting at a sewing machine.

Income

Clothing alteration hands can earn between around £12,000 and £16,600 a year, depending on experience.

They may earn more by working on a piecework basis.

Entry Requirements

You may not need any academic qualifications to work as a clothing alteration hand, although employers will normally expect you to have sewing experience. You could start out by working as an assistant to a dressmaker or a tailor, or as a sewing machinist in a clothing factory.

You will need good eyesight, and normal colour vision for matching threads to fabrics.

Larger companies, particularly department stores and clothes retailers, will often prefer you to have a recognised qualification. There is a range of courses available that cover some of the skills needed for this job, for example:

·         City & Guilds Awards, Certificates and Diplomas at levels 1 to 3 in Creative Techniques (Fashion)

·         BTEC Awards, Certificates and Diplomas at levels 1 and 2 in Fashion and Clothing

·         NOCN Certificate at Level 2 in Skills for the Fashion Industries

·         NCFE Awards and Certificates at levels 1 to 3 in Creative Craft (Pattern Cutting, or Dressmaking).

·        

Training and Development

You will usually be trained on the job, working alongside experienced colleagues, learning a variety of sewing techniques.

You could develop your skills further by working towards an ABC Level 2 Certificate in Manufacturing Sewn Products and an ABC Level 3 Certificate in Apparel Manufacturing Technology. Achieving a Level 3 qualification may help you move into areas such as pattern grading, pattern cutting, tailoring and design.

Skills and Knowledge

·         an interest in textiles, colour, fashion, design and trends

·         good sewing skills – both by hand and on a machine

·         an appreciation for detail

·         an understanding of garment construction

·         good communication skills and tact when dealing with customers

·         the ability to work quickly and accurately

·         the ability to work on your own initiative.

seraphine Seraphine Maternity Pants have a comfortable low waist fit and are so stylish that no one will ever guess you are wearing maternity clothes!

fashion outlet

Information sources and clothing

The intention of this article is to do an exploratory approach to consumer attitudes and clothing brands purchasing behavior of young Greeks and Portuguese’s. The article makes a comparative study between Greece and Portugal. Both countries are European, Mediterranean, and entered at the European Union at the same time. The purpose of the study is to analyze the attitudes of Mediterranean young consumers towards the clothing brands from the viewpoint of information sources, shopping behavior and purchasing choice criteria. Academic researches in this field have mainly used quantitative methods. We decided to use a qualitative method – focus groups - because of the richness of information that we could obtain. In this study we used college-age consumers. 

This target group is very sensitive to fashion clothing and a good percentage  of them purchase their own clothing. The focus groups were audio taped and videotaped recorded, transcribed and thematic analysis conducted. A number of themes emerged from the focus groups that were organized and exposed. Some of these elements have close associations within issues raised in the literature. In the first part of this article there is presented a discussion of the literature background about consumer purchasing behavior toward clothes. 

After that is presented the research questions and the description of the methodology used to examine these questions empirically. Finally is presented the major findings of this study and the discussion of the results. Implications for strategy development and areas for further research are presented at the end of the article

Clothing store

Among the factors that influence clothing purchasing is the store environment. The fashion stores were mentioned as important forms of brand communication: “the stores and the shop-windows are a certain form of advertising. . . people pass and see the image the store or the brand wants to give” (Ana, PT). Many brands that do not use traditional advertising use the stores and shopwindows to communicate the brand, for instance: “Zara does not use advertising on mass media, however has a strong identity and everybody knows the brand and the stores” (Marta, PT).

Some of the Greek interviewees prefer small stores: “because you can have better relation with the shopkeepers. I like to have contact with the storekeepers; I want them to tell me if the clothes suit me” (Thetis, GR). Another interviewees are expecting for just a “technical support from the staff” (Leon, GR), “you don’t want to have a person always beside you asking if you want help” (Joana, PT). In general the interviewees like to chose the clothes without any help: “I want to have the comfort to look whatever I  want by myself and I try on many things” (Ioanna, GR), “It is dif- ficult to try on clothes and have someone near you all the time” (Leon, GR). On the other hand, interviewees consider big stores “impersonal”.

Fashion involvement and clothing choice criteria

Fashion involvement is associated with differences in sensitivity to social surroundings. Those who are highly motivated to fit into a particular group will need to be aware of the fashion cues not just of that group but also of others less desirable groups, so that the “wrong” cues may be avoided (Auty and Elliot 1998). Clothing has frequently been recognized as a product category likely to induce high involvement. In general terms, involvement is a state of motivation, arousal, or interest. Personal relevance is a key concept in explaining, defining, and operationalizing involvement (Kim, Damhorst and Lee 2002). Seo, Hatchote and Sweaney (2001, p. 210) define clothing involvement as “the amount of time and effort a consumer spends in the selection of clothing”. Some researchers have examined fashion involvement as a multidimensional construct that involves fashion innovativeness and early adoption, interpersonal communication about fashion, fashion knowledge ability, and fashion awareness (Kim, Damhorst and Lee 2002). Consumers vary greatly in their knowledge about a product and their degree of familiarity with it. Knowledge can come from product experiences, such as ad exposure, interactions with salespeople, information from friends or the media, previous consumption and usage experiences (O’Cass 2001b). When consumers form an attitude toward the product they make evaluative associations between the product and its attributes. Some of that attributes may be utilitarian - such as durability or comfort - or hedonic - such as color, fashion ability, or styling (Kim, Damhorst and Lee 2002).

Beaudion, Moore, and Goldsmith (1998) analyzed the attitudes toward buying domestic and imported apparel products using a selection of attributes: good fit, durability, ease of care, good price, comfort, quality, choice of color, attractiveness, fashionableness, brand name, appropriateness for occasion, and choice of styles.

Brand image of the clothing store is particularly critical. Previous studies found that some attributes like fashion and style of clothing, store design and layout, price, quality of the clothes, refund and exchange policy, company reputation, selection of clothes, knowledge and friendliness of staff were particularly important to consumers (Birtwistle and Freathy 1998; Partolese and Dias2003).

When we are talking about fashion clothing consumption we should take some dimensions in consideration: fashion consciousness, individual orientation, status orientation, style opinion leadership, price orientation and shopping habit (Seo, Hathcote and Sweaney 2001, p.210).

Therefore, shopping involves many dimensions, and it is an important function of the consumers’ choice of clothes (Seo, Hathcote and Sweaney 2001). Informational sources, such as print media, commercial broadcast, world of mouth, and store displays,  are generally used to ascertain information about clothing. Mass media has been found to be the dominant information source for the younger age group (Lumpkin 1985; Shim and Kotsiopoulos 1992).

Japanese clothing

The traditional Japanese clothing is the Kimono which has been an international favorite since long ago. Apart from outfits, footwear is also given equal importance in Japan. From the 20 th century fashion and clothing in Japan has gone through amazing changes. Street fashion which was mostly a blend of western and oriental styles was particularly popular among the teenagers. At one point of time, the Victorian style of clothing and make up had also fascinated the Japanese youth. Together with the ever changing fashion the clothing style in Japan also continues to alter itself. Some of the items which come within the traditional Japanese clothing or wafuku are:

• Kimono
• Yukata
• Obi Belt
• Kimono Sash
• Happi coats
• Tabi socks
• Zori sandal
• Geta sandal
• Hakama pants

The Japanese kimono is no less than a national treasure; it is an integral part of the culture and tradition of Japan. Clothing in Japan, especially the traditional ones are inspired by the change in season. Bright and colorful floral prints are very common in Kimonos. In the winter season, designs of pine trees and plum blossoms are common in all the fabrics and in the summer months, maple leaves are a common theme.

Japanese traditional dresses can be divided under two broad heads, one having elaborate designs while others are simple in desgn. Uchikakae wedding Kimono and happi coats are the dresses which worn on special occasions. For formal occasions Japanese women choose to wear light colored kimonos with an elegant kimono sash. It is a tradition among young girls in Japan to wear colorful and bright kimonos with long sleeves. Shiro-maku is the name of the kimono worn in traditional Japanese marriages. Though western culture and fashion has made its place in the Japanese hearts, the traditional clothing styles has not lost its importance. The exotic dresses have even made an impression in the western world.

Men's Clothing Fashions From The 20s

Men’s suit Lapels where not very wide during the 1920s, which was a trend that was started during World War I (1914 to 1918). This is also the era in which men began to wear cuffed trousers. 

Flannel also became increasingly popular, and so did two-toned white and tan or white and black shoes for casual wear. Some of the casual shoes that were worn by men were made with fringed tongues, and/or winged tips. 

The black patented leather shoes were still worn for more formal dress. However, the lace-up styled shoe was becoming more and more popular for men. 

Additionally, both men and boys often wore short knee pants (knickers) along with sweaters (i.e. Fair Isle slipovers) or casual shirts. Moreover, the shoes that boys wore usually were made of canvas. 

One other fashion change that was significant of the 1920s is the fact that baby clothing were designed to be more practical. More comfortable outfits such as rompers and short dresses replaced the frilly laced dresses and other formal baby attire. 

For older girls, dress was different as well. They usually were seen wearing items such as cotton frocks, cardigan sweaters, and canvas shoes or sandals. 

Indian Clothing

A historical record of Indian clothing is difficult to trace. While there is an abundance of sculpture and literature dating from the earliest periods of civilization in the Indus Valley (which flourished along the Indus River in modern-day Pakistan) around 2500 B.C.E., scholars have had difficulty dating the changes in clothing styles and naming the variations on certain styles over time. Another problem in identifying trends in Indian clothing is the abundance of different ethnic and cultural groups that have lived and are living in the country; each of which has its own distinctive style. These circumstances make it possible to make generalizations about Indian clothing, but not to make concrete statements about each and every style worn in the country. 

The oldest type of Indian clothing was fashioned out of yards of unsewn fabric that were then wound around the body in a variety of ways to create different, distinct garments. This clothing was woven most commonly out of cotton but could also be made of goat hair, linen, silk, or wool. Some of the most popular garments are a wrapped dress called a sari, a pair of pants called a dhoti, a hat called a turban, and a variety of scarves. These styles of garments have been popular in India since the beginning of its civilization and continue to be worn in the twenty-first century. Changes in the styles worn by Indians reflected their contact with other peoples. As different tribes of people invaded or entered

India to trade or to live, they brought with them distinctive clothing styles. Throughout the different regions of India, the changes in clothing styles can be linked to some contact with other cultures.

For example, Indians knew how to sew long before the sixteenth century when the Moguls, or Muslims, invaded, and they had long adorned their wrapped garments with elaborate embroidery stitches. But when the Moguls took power over the region, the Moguls’ style of sewn clothing became popular among Indians. Sewn jackets and trousers were among the styles popularized by the Mogul leaders, although traditional wrapped clothing remained common. Trade contacts also spread Indian clothing styles and cloth to other parts of the world. The Dutch and the English established trade routes with India in the late 1400s, and by the 1600s Indian cotton was exported to regions throughout Europe and the American colonies, where shawls made of Indian cloth became especially popular. In the twenty-first century India continues to be a major source of finely woven fabrics for garment manufacturers worldwide.

Understanding Women Hijab, Abaya for woman and other Islamic and Muslim Clothing

Muslims follow the religion of Islam. As part of their religion they believe Allah to be their Creator, God and sustainer. Allah revealed the Quran (Islamic religion's holy and noble book) and in it Allah has provided the commandments to all human beings to believe in only one creator (Allah), provided the guidance to live ones life, the concept of life and death, punishment and rewards after death in the next life, and many other such commandments. 

Since the creation of the heavens and the earth, Allah has revealed his message to prophets and messengers. Some of the prophets included Jesus (son of Mary), Jacob, Joseph and Muhammad. Allah revealed his message on his prophets and messengers in the form of scriptures and holy books. These books include Bible, Torah and the Quran. Overtime, Allah's message was changed by the people for various reasons. Allah sent Muhammad (saws) as the last prophet and revealed his last book, the Quran (also referred to as Koran) on Muhammad. The Quran has remained unchanged since its revelation more than 1500 years ago as Allah has promised that it would be free from any human changes until the day of judgment.

The foundations regarding Islamic Clothing are mentioned in the Quran and through Prophet Muhammad's (saws) teachings and practices. The primary purpose of Islamic Clothing is to cover a man and a woman's body as prescribed by Islamic law. This article briefly delineates the various forms of Islamic Clothing worn by Muslims across the world. 

The common Islamic teachings require women to cover all their bodies with the exception of the front part of the face and hands (from the wrist area to the fingers). All other areas are required to be covered. 

Understanding the concept of "Islamic Clothing" also requires an understanding of the term mahram and non-mahram. Although Muslim men and women are required to dress modestly at all times, a Muslim women is usually not subject to the same Islamic teachings in front of mahram men. Mahram men include husbands, brothers, fathers, fathers-in-law, sons and certain other close relationships. Everyone else not permitted in Islamic religion fall under the category of non-mahram.

History of Sean John Clothing

Owned by Sean "P. Diddy" Combs's Bad Boy Entertainment Group, Sean John Clothing, Inc. is a designer and marketer of men's, boy's, and women's apparel. Sean Jean Clothing caters to customers aged between 12 and 45, selling its apparel through retailers such as Bloomingdale's, Macy's, Belk's, Carson Pirie Scott, Bernini, and Fred Segal. The company also operates its own store in New York City, the first of what is expected to be a chain of company-owned retail outlets.

Origins

Sean John Combs's eponymous apparel company represented one facet of a business empire that ranked the hip-hop mogul as the wealthiest entertainer under 40 in the United States. Combs's rise in the business world was exceptionally quick and boundless in scope, beginning with an internship that, a decade later, evolved into annual salary of more than $300 million. Sean John Clothing represented a sizeable portion of that fortune. The company was an expression of the personality and vision of its founder, and, as such, the history of Sean John Clothing was one part of the story of Sean John Combs's remarkable rise in the business world.

Combs was born in Harlem in 1969, the son of Melvin and Janice Combs. Melvin Combs was killed when Sean was two years old, the victim of a homicide, which prompted Janice Combs to take Sean and his sister Keisha to a safer environment. Janice Combs moved the family to Mt. Vernon, New York, where she worked three jobs to support her two children. Sean Combs attended Mount Vernon Montessori School and Mount Saint Michael Academy, where he earned a nickname that millions of music fans would come to know a decade later. When he was playing football, Combs had a tendency to expand his chest in an effort to intimidate others, a habit that led his teammates to call him "Puffy."

After leaving Mount Saint Michael, Combs enrolled at Howard University in Washington, D.C. He began pursuing a business degree, but an internship at Uptown Records in New York City diverted his attention away from his studies, prompting him to leave Howard University after two years. Combs now focused entirely on making a name for himself at Uptown Records, and in the process he quickly becoming a driving force in the city's hip-hop scene. One year, after starting as an intern at the company, Combs served as Uptown Records' director of A&R (Artists and Repertoire), a position that made him responsible for scouting, signing, and promoting music talent. At 21 years old, he was charged with ensuring that the debut albums of artists Jodeci and Mary J. Blige were hits. Combs succeeded, lending his vision of urban youth to help create a new niche within the hip-hop genre, making Jodeci and Mary J. Blige the new stars of hip-hop soul.

Combs left Uptown Records in 1993, ready to start his own business in the music industry. He signed an exclusive agreement with Clive Davis of Arista Records to distribute the recordings of artists signed to his newly formed record label, Bad Boy Entertainment, a business that began in Combs's home. Starting out, Combs had two artists, Craig Mack and his friend and frequent collaborator Christopher Wallace. Craig Mack's album was the first recording released by Bad Boy Entertainment and sold more than one million copies. However, the breakthrough moment for Combs's record label arrived with the introduction of Wallace's monikers to the record-buying public. Ready to Die marked the debut release by "Notorious B.I.G.," one of the names ("Biggie Smalls" was the other) used by Wallace. This release sold well over one million copies, earning the "multi-platinum" distinction used by the recording industry.

The success of Ready to Die confirmed Combs's reputation as a skillful producer, arranger, and manager in the recording industry. Soon after, he was inundated with requests from other artists to lend his touch to their work. Mariah Carey turned to Combs for production help, as did TLC, Lil Kim, and Usher, fanning the legitimacy and expansion of Bad Boy Entertainment. Combs's growing reputation and power gave his company the leverage to negotiate a 1996 joint venture with Arista Records that resulted in a rarely heard of 50-50 split between the two labels. Continuing to rise in professional stature, Combs signed, developed, and produced albums for a string of artists such as Faith Evans, the female trio Total, and the male vocal group 112, all of which earned the platinum designation. Combs then began a recording career himself, releasing his first single, Cant Nobody Hold Me Down, in January 1997 under the name "Puff Daddy." His next venture involved forming an apparel company that operated under the corporate umbrella of Bad Boy Entertainment Group, the corporate entity that governed all of Combs's business ventures.

18th Century Clothing Tips

Let me introduce myself. My name is Lauri Shillings. I have been creating 18th century costume for over 6 years now. I have been a seamstress for an even longer period of time. I have been coming to Ft. Ouiatenon in Lafayette, IN as a participant or spectator for more than 15 years.

Most recently, I have been working from my home for myself, my clients and contracting my sewing and design services to a local sutler, Ghost Forge. I wish to thank them for their kindness in letting me use their reference library. When not sewing I constantly study reference books, period art and scour the Internet for accurate, usable reference material. While the information I give you will be helpful in attaining a general 18th century period look, nothing compares to a well-thought out persona you have researched yourself. I supply a reading list and references used at the end of this article.

How to choose and assemble a basic clothing kit for women

I will focus on the mid-18th century, common, “working class” or “Goodwife” woman’s attire. I will give you this information with the consideration that we are in a French occupied fort. I will try to give you the period correct description and how it was created, then give you an “acceptable” modern equivalent.

Essential, basic clothing items are:

1.     Chemise

2.     Petticoat preferably 2+

3.     Some sort of sleeved top

4.     Cap

5.     Other Accessories to add onto the basic 4

The Chemise

The chemise (French) or the shift (English) was usually made of white linen. Less commonly found in Cotton or hemp fabrics. This was an all purpose garment and a woman would have had several of them. This garment goes on first under all layers of clothing next to the skin. The sleeves were elbow length or longer, quite full and fitted to a narrow band at the elbow or a simple drawstring casing. The length is mid calf or just above. The neck opening is fitted to the gown neckline and does NOT fall off the shoulders easily. There might be a narrow drawstring casing around the neckline. These garments can be tailored to the individual, but usually come in youth and adult. White cotton muslin can be used, you will need about 3-1/2 to 4 yards fabric.

Noted differences in design: a chemise for the nursing mother or wet nurse at times had a small slit at center front to ease nursing. Fancy/decorated chemises that have lace or ruffles at neckline or cuffs were for the rich. They would have been applied to the same basic chemise after it’s creation, and removed for laundering.

Petticoats

Petticoats (English) or Jupe (French) are the skirts of the 18th century woman. These have a full skirt (approximately 120” wide), gathered to fit a waistband of fabric tape. These are tied front and back, or would the petticoat could have a drawstring waistband. Usually 2 or more are layered on for warmth. French women were noted for having shorter skirts than their English counterparts. Skirt length is around the mid calf. The shorter skirt offers ease in labor and movement and helps keep the skirts cleaner. Who wants to trip on their skirts while carrying a heavy load or baby? Also worn short to show off pretty clocked stockings and shoes.

Fabric choices for skirts were commonly of wool, linen and silk or blends there of. Less common is cotton and hemp. Solid colors predominated. Vertical stripes are noted of the women in New France. I recommend that prints be used only when matching your top garment. Skirts are constructed with selvage edges on the sides. Raw edges were hemmed narrowly at bottom.

Quilted petticoats were seen by all classes, the wealthier the person, the more luxurious the fabrics and trims.

The Sleeved Gown, Jacket or Bedgown

Even the poorest sort of women were known to have at least one gown for finer wear. See and research published period runaway articles for had on/took with items.

Gowns are fitted garments consisting of an upper bodice section and lower skirt section reaching low calf to floor length. They have set in sleeves and often have cuffs. They are worn over stays. Two basic gown styles for our period are the “Sack” gown. ( “sacque” or “robe á la Française”) It is distinguished by the full, loose pleats falling from the back and shoulders of the gown to the floor or hem of the garment. Shorter mid-thigh length versions of this gown are known as the “pet-en-l’air”, or “short sack”. The bodice of this gown is fitted by the inner lining that is laced close and tight to the body.

The other style is the so-called “English” gown (“robe a l’angaise”). Has a fitted back done in 2 different methods: 1) by stitched down pleats in the center back section that flows in one long piece into the skirt (“en fourreau”), or 2) by separately cut pieces that are seamed to the skirt. The en fourreau style is first half to 3rd quarter and the pieced method comes in to fashion in the 1770’s.

Styling details: Robings that look like turned back lapels on a gown front are seen on the majority of gowns up to mid century (1750’s and 1760’s). They pin or lace over a “stomacher” that concealed the stays beneath. The style trend after mid century is the front and side pieces are being stitched together, resulting in a smoother, tighter fitting front.

Jackets are fitted, sleeved garments of widely varying styles. They nearly always have set in sleeves. Sometimes they have cuffs. Jackets generally have skirts that vary in length from hip high to much lower, but not as low as a full gown. A good stopping point is below hip, above knee. Ladies of New France were noted to have worn a “mantelet” also known as: a woman’s waistcoat, fitted bodice, juste. It is a woman’s garment; it has sleeves, occasionally with cuffs. It closes in front with hooks and eyes or with lacing in front or in back. If you have seen the painting “the Chocolate Girl” The jacket style shown is what I am describing. Other jacket styles are caraco, cassaquin, and Riding habits.

Bedgowns or shortgowns are unfitted or loose fitted (via stitched down back pleating) garments that are open at the center front. They are t-shaped and have large roomy sleeves that are cut in one piece with the body of the garment. These garments are undress or work wear. Undress does not necessarily mean “at-home” It means anything less than a formal occasion. Common women might have worn these all the time. This garment is very utilitarian and comfortable. I have grouped the style shortgown in this area. Some evidence shows that the shortgown is peculiar to the mid-Atlantic region, perhaps even to CT or PA.

Choose your fabrics carefully. Heavier weight cotton can be used in place of linen, unless you can get good linen. Silk blends and wool blends can be used. Acceptable period prints are hard to find unless you know what you are looking for. Stick with solids, or vertical stripes until you are more comfortable with textiles of the time. Gowns take about 8-10 yards of fabric, Jackets and bedgowns around 4 yards.

If you don’t have stays or do not want to wear them, I recommend that you wear a less fitted bedgown or jacket. It is less obvious that you are not wearing stays with these choices.

Caps

A peasant in France or a habitante in New France always covered her hair with some kind of a cap. It was the rule based on religious customs. There were many possible head-dress. And styles were changing constantly. The basic Cap was of white linen, had a larger piece of cloth called the crown, and was pleated to a band or brim. Some had decoration of ruffles, ribbon or lace added. White muslin is an acceptable substitute. Lappet caps were noted among the woman of New France, along with a style of turban noted as being a square of blue check cloth wrapped around the head then tied afore with the two square ends hanging in back. More research is needed on this item, how it is worn, and by whom.

Other Accessories

Items to add to the basic 4 as interest and money allow: Kerchief, Apron, pockets, stays, cloak, stockings and shoes. Shoes should be black or brown leather with a low heel, closed toe and preferably a buckle type closure. Heeled “mules” are acceptable. Wooden shoes or “clogs” could be worn. Aprons can be white if you are portraying a better sort. Wool in a color is better for work., especially if around a fire. Pockets are necessary if you are going to carry anything personal, not period correct. Like a cell phone, modern watches wallet, etc. Stays are expensive, for good reason. If you are serious about your hobby, invest in a well-made set from someone you know, or have good references for. Ill-fitting stays are not worth any price. Stockings are thigh high and are gartered below the knee.

How to choose and assemble a basic clothing kit for men

I will focus on the mid-18th century, common man attire. Once again, with the consideration that we are in a French occupied fort, I will try to give you the period correct description and how it was created, then give you an “acceptable” modern equivalent.

Essential, basic clothing items are:

1.     Shirt

2.     Breeches

3.     Breechclout

4.     Leggings

5.     Headgear

6.     Accessories to add later