论文代写：不同世纪的蕾丝和现代蕾丝的制作方法
论文代写：不同世纪的蕾丝和现代蕾丝的制作方法
蕾丝被称为常数驱动用于创建好修剪使衣服更有吸引力(Kurella,1998)。花边是一个古老的工艺,使用自16世纪以来,也使用亚麻布料、颜色的线程,是每个几何图案(Kurella,1998)。
16、17世纪以来,花边的主要项目通常被用作时尚,时尚业和仍然使用(Kurella,1998)。的确,在过去,蕾丝并不那么受欢迎,但现在有很多时装设计师是谁起诉花边的集合。有各种各样的装饰技术使布有吸引力,比如shibori制花边,摩尔,转移印花,更多(注意& Voysey,2002)。蕾丝制作的艺术是称为一种或另一种形式存在很久。它还包括圣经引用在不同网像面料粗鲁的建设,以及他们的特点和现代的生产技能,这被称为花边年龄(Kurella,1998)。
直到16世纪,开放工作是流行的刺绣最喜欢的装饰,通过其有形的花边,起源似乎派生(莉莉安,1922)。首先,最好的蕾丝来自热那亚、威尼斯和米兰。意大利人也声称对针花边的发明,但根据威尼斯的角度来看,蕾丝是过去的产物,在其它地方,法国和英国供应最漂亮蕾丝花边在当前时间(莉莉安,1922)。
论文代写：不同世纪的蕾丝和现代蕾丝的制作方法
Lace is known as the constant drive that is used for making clothes even more attractive for creating fine trimming (Kurella, 1998). Lace is an ancient craft, and is used since the 16th century, and also uses flax cloth, colored threads, and works as per geometric designs (Kurella, 1998).
Since 16th and 17th century, lace is popularly used as the main item of fashion, and is still used in the fashion industry (Kurella, 1998). It is true that, in the past, lace is not so popular, but nowadays there are many fashion designers who are suing the lace in their collections. There are various decorative techniques for making cloth attractive such as shibori, lace-making, molar, transfer printing, and many more (Toomer & Voysey, 2002). The art of lace making is referred as one form or another having existed for ages. It also includes the scriptural references in different webs like fabrics that were of rude construction, and their characteristics were identical to the production of modern skills, which is known as lace for ages (Kurella, 1998).
Till 16th century, the embroidery of open work was popular as favorite decoration and through its tangible lace, origin seems to be derived (Lillian, 1922). Firstly, the best lace came from the Genoa, Venice, and Milan. The Italians have also claimed about the invention of needle-made lace, but according to the Venetian point of view, lace is the product of the past, where else, France and England supply most fine lace in the present period of time (Lillian, 1922).
