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Ready Made Silk Draperies

Ready Made Silk Draperies – Dale Tiffany Replacement Shades

Ready Made Silk Draperies

ready made silk draperies

    ready made

  • (esp. of products such as clothes and curtains) Made to a standard size or specification rather than to order
  • cliched: repeated regularly without thought or originality; “ready-made phrases”
  • (of food) Ready to be served without further preparation
  • a manufactured artifact (as a garment or piece of furniture) that is made in advance and available for purchase; “their apartment was furnished with ready-mades”
  • Available straight away; not needing to be specially created or devised
  • made for purchase and immediate use


  • (drapery) cloth gracefully draped and arranged in loose folds
  • Cloth coverings hanging in loose folds
  • Long curtains of heavy fabric
  • (drapery) curtain: hanging cloth used as a blind (especially for a window)
  • The artistic arrangement of clothing in sculpture or painting
  • A curtain (sometimes known as a drape, mainly in the United States) is a piece of cloth intended to block or obscure light, or drafts, or water in the case of a shower curtain. Curtains hung over a doorway are known as portieres.


  • Thread or fabric made from the fiber produced by the silkworm
  • A fine, strong, soft, lustrous fiber produced by silkworms in making cocoons and collected to make thread and fabric
  • A similar fiber spun by some other insect larvae and by most spiders
  • animal fibers produced by silkworms and other larvae that spin cocoons and by most spiders
  • (silks) the brightly colored garments of a jockey; emblematic of the stable
  • a fabric made from the fine threads produced by certain insect larvae

ready made silk draperies – ReadyMade: How

ReadyMade: How to Make [Almost] Everything: A Do-It-Yourself Primer
ReadyMade: How to Make [Almost] Everything: A Do-It-Yourself Primer

A Do-It-Yourself Primer

You need this book. As the stuff of life piles up and things spin out of control, we could all use a little help. These never-before-seen designs and how-tos are full of surprise and wonder. Learn how to turn everyday objects into spellbinding inventions to give away to friends or keep for yourself. Our simple self-improvement techniques will make you smarter, better-looking, and more well-adjusted.


This is the “sales copy” section. Here we will talk about how useful, delight-inducing, and excellently well put together this book is. If things have gone a little flat and you’re searching for inspiration, look no further. ReadyMade is full of fun projects for the whole family. It solves problems, cures dizzy spells, and holds open the door. It has a collegial, ’50s garage tinkerer sensibility. It read Popular Science as a kid and dreamt of building rockets. It launches with fiery trails. It soars. When it falls, it brushes itself off and starts over. It is the Captain of Creativity. Resistance is futile. This book is 100% hope.

First project: Personalize this book and protect it from theft by cutting out this portion of the cover and replacing it with your own photo. (See page 16)

Lord & Taylor Building

Lord & Taylor Building
424-434 Fifth Avenue, Murray Hill, Manhattan, New York City, New York, United States

Lord & Taylor is one of New York City’s oldest retail stores and a recognized innovator in the history of department stores. The store traces its origins to the dry goods store established on Catherine Street in 1826 by Samuel Lord and his partner George Washington Taylor. As residential New York continued its northward momentum, Lord & Taylor, like other retailers, followed, relocating several times before moving to Fifth Avenue and 38th Street.

Starrett & Van Vleck’s 1913-14 building for Lord & Taylor marks a turning point in retail design. The dignified, Italian Renaissance Revival store with its prominent chamfered corner, deep copper cornice, austere limestone base, gray face-brick center section and two-story colonnade was the first “frankly commercial” building along the fashionable Fifth Avenue shopping district then developing above 34th Street. On Fifth Avenue the formal two-story arched entrance, is flanked by two tiers of display windows; those on the lower tier annually showcase the store’s animated holiday displays.

In 1945, Lord & Taylor elected Dorothy Shaver as president of the store, the first woman to hold that position in a prominent retail store. A major force in retailing, Ms. Shaver, during her long tenure with Lord & Taylor (1924-1959), promoted new trends in home decor with the 1928 Exposition of Modern French Decorative Art, designed by Ely Jacques Kahn; fostered American fashion designers like Bonnie Cashin, Claire McCardell and Vera Maxwell; and created entirely new departments offering junior, misses, petite, bridal and maternity fashions. Under her aegis, noted designer Raymond Loewy updated selling floors and was instrumental in the design of the earliest suburban branch stores. Under succeeding administrations Lord & Taylor continued to expand its network of stores nationwide. Lord & Taylor was incorporated by its president Edward Hatch in 1904. In 1910 it became part of United Dry Goods Company, which later became the Associated Dry Goods Company. Lord & Taylor was sold to the private equity firm NRDC Equity Partners in 2006.


History of Lord & Taylor

Lord & Taylor traces its founding to 1826 when Samuel Lord, a 23-year-old emigre from Yorkshire, England, opened his first small dry goods store at 47 Catherine Street with $1,000 borrowed from his wife Mary’s uncle, John Taylor, and took into partnership her cousin George Washington Taylor. Catherine Street was then one of New York’s major shopping streets, and the store, which sold fabric, notions, and ready made items such as hosiery and shawls, was enlarged by the end of the year. Through the complementary skills of the two partners, business continued to grow resulting in the annexation of 49 Catherine Street in 1832 and the move into a four-story building at 61-63 Catherine Street in 1838. Ever the entrepreneur, Lord also opened a dry goods store in New Orleans in the 1840s which was operated by his chief clerk Thomas Medley.

With business growing, a new three-story building was erected at 255-261 Grand Street (on the southeast corner of Chrystie Street) in 1853. This building had a domed rotunda and large windows which allowed natural light to flood the interior. By the late 1850s, a large lot at the northwest corner of Grand Street and Broadway had been acquired and on August 29, 1859, 461-467 Broadway, a five-story marble emporium with an arched, two-story main entrance, became the flagship store of Lord & Taylor, the first of the major retailers to move to Broadway after the opening of A. T. Stewart’s department store at Broadway and Chambers Street. Simultaneously, the firm expanded into the wholesale trade, the funding of which required Samuel Lord to withdraw his investment from the store in New Orleans. George W. Taylor had retired to England in 1852 leaving the firm in the hands of Mr. Lord until the latter took as his partners his eldest son John T. Lord and long-time store employee John S. Lyle.

By the mid-1850s New York City handled more than a third of American exports and around two-thirds of the imports and was the financial center of the country. Raw bulk cotton from the south was transshipped through New York to the mills of Europe while New York merchants and banking houses offered southern planters goods and credit. Lord’s investment in a New Orleans dry goods store suggests that he was willing to invest in the South during the antebellum period; however, the extent to which Lord & Taylor’s fabrics were made from slave-produced cotton cannot be definitely established. Throughout the Civil War, Lord & Taylor continued to advertise in New York newspapers the availability of a wide variety of fabrics from silk to poplin, home furnishings (carpets, linens and curtains) and ready-made clothing for women and children on di

Lisboa Ready Made

Lisboa Ready Made
Instrucciones para hacer un ready made sobre Lisboa.

Alquile un atico, preferentemente en Paris (Francia), con una habitacion de techo inclinado por la cual pueda entrar la luz a traves de una ventana. Disponga en esa habitacion los elementos que se detallan a continuacion.

Situe una mesita de noche de madera pegada a una pared de la habitacion. Compre dos latas de fabada asturiana con las que regalen un tazon y situe este obsequio boca abajo sobre la mesita de noche. Adquiera un marco de madera de 30×40 cm y pongalo en vertical sobre la mesita de noche, justo delante del tazon (tenga un poco de paciencia hasta que logre que ambos elementos queden alineados de manera que el marco se mantenga vertical). Tenga amigos que le regalen copas bastante fragiles de Ikea. Con una de esas copas intente hacer una foto de la misma hasta que accidentalmente se rompa. Una vez tenga esta copa ligeramente destrozada situela sobre el tazon. Vaya a Lisboa. Coja una de las piedras del pavimento, preferentemente en el barrio de la Alfama. Una vez que se encuentre de vuelta en la buhardilla situe el adoquin en el interior de la copa de cristal. Hagase con una camara de fotos y dispare varias fotografias a esta composicion valiendose unicamente de luz diurna.

Un consejo: Ayunar antes de realizar las distintas operaciones descritas puede ayudar a vencer la inseguidad latente en todo el proceso.

– Un adoquin del pavimento de Lisboa (Portugal).
– Una copa de cristal rota.
– Un marco de madera de 30×40 cm sin cristal.
– Un tazon de los que regalan con dos latas de fabada asturiana.
– Una mesita de noche de madera.

ready made silk draperies

ready made silk draperies

Ready-Made Democracy: A History of Men's Dress in the American Republic, 1760-1860
Ready-Made Democracy explores the history of men’s dress in America to consider how capitalism and democracy emerged at the center of social life during the century between the Revolution and the Civil War. The story begins with the elevation of homespun clothing to a political ideology on the eve of Independence. Homespun clothing tied the productive efforts of the household to those of the nation, becoming a most tangible expression of the citizen’s attachment to the public’s happiness.
Coarse dress did not long remain in the wardrobe, particularly not among those political classes who talked most about it. Nevertheless, exhortations of industry and simplicity became a fixture of American discourse over the following century of industrial revolution, as the mass-produced suit emerged as a badge of a uniquely virtuous American polity. It is here, Zakim argues, in the evolution of homespun into its ready-made opposite, that men’s dress proves to be both material and metaphor for the rise of democratic capitalism—and a site of the new social arrangements of bourgeois life.

In thus illuminating the critical links among culture, ideology, political economy, and fashion in antebellum America, Ready-Made Democracy will be essential to anyone interested in the history of the United States and the construction of modern life.