Should i wear my costume to school?


Only if that is what your school allows.

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The Hallo-Wiener is a children's book by Dav Pilkey. The story's main character is Oscar the Dachshund named after Oscar Mayer. It was published in 1995. The story begins with Oscar, a dachshund who is half-a-dog tall and one-and-a-half dogs long, and tired of the other dogs making fun of him because of his wiener-shaped body. He is happy because it is Halloween, and he cannot wait to get a costume. At obedience school, he daydreams of Halloween. When he comes home from school his mother has a surprise for him: a hot dog bun with mustard in the middle, and Oscar is supposed to fit in the middle! He thought he would get laughed at, but wears the costume anyway, because he does not want to hurt his mom's feelings. He sees the other dogs showing off their costumes and when they see Oscar's costume they howl in laughter. Oscar's costume is so heavy that it slows him down. Meanwhile, the dogs are getting their paws on all the candy and when Oscar comes to the houses there are no more treats left. The dogs go to a graveyard and they hear a noise, scream very loud and run, diving into a river because they see a scary monster. When Oscar comes to see the monster he notices something strange. He bites the cover of the monster, pulls it off with all his might, and discovers two cats hiding underneath! The cats scream and run away. Then Oscar jumps into the water and uses his costume as a life raft, and rescues the other dogs. The dogs thank Oscar by sharing their candy with him. They become friends forever and Oscar is never made fun of again, for he is then known as "Hero Sandwich". 1. Pilkey, Dav. The Hallo-Wiener. New York, NY: The Blue Sky Press, 1995. Print. ISBN 0-439-07946-2.
Cosplay Koromo-chan, known in Japan as Koro Koro Koromo-chan , is a manga by Mook. Koromo, the protagonist, wears cosplay costumes to school after the principal announces that her school has a free dress code. She strives to find better cosplay experiences. A 15-year-old, Koromo loves cosplaying and wearing the clothes that Haoru makes her. However, Koromo likes to refer to her costumes as her regular clothes, and gets angry if people say that it is just a costume. She really does not have any special talents other than cosplaying, and you almost never see her doing anything resembling schoolwork. (Although you do sometimes see a school book in front of her.) Koromo gets all of her costumes through her classmate Haoru. She can get drunk off of eggnog, and got into the high school of her choice through pure luck. The bizarre bear clips on her head are very special to her. At the end of the manga, it is revealed that Koromo was an angel sent from Heaven to experience friendship, which surprises everyone since it was completely out of place. It is unknown if this is serious. She heads back only to show up a few days later as an exchange student. After college, she becomes a professional cosplayer, and films a shoot at Mikoto's shrine. Very skilled at handicrafts, Haoru can make any costume that anyone has ever dreamed of, and then some. She's quite shy about wearing her own creations, and refuses to wear them, even though she has a shapely body. Haoru and Koromo were childhood friends and developed the costume wearer–maker bond at the age of 5 years old. At the end of the manga she has graduated from college, and is pursuing a career as a fashion designer. Nicknamed Miko-Miko (most likely a pun on the Japanese word for shrine maiden, miko), Mikoto is a Japanese shrine maiden and good student. She often does not understand Koromo's passion for cosplay, and is even more confused by people constantly suggesting that her shrine maiden outfit is a costume. Miko-Miko is diligent about her shrine duties. She has a strong sense of right and wrong, which is evidenced in the manga when she purposely gave Koromo the wrong luck charm. Kuromo had wanted a study charm, but got a good birth charm, since Miko-Miko didn't think she should only rely on heavenly intervention and not study. At the end of the manga, she is still managing her family's shrine, and has cut her (sky blue) hair. She is an adorable 7-year-old youngster who is seen as a younger (although much sweeter and calmer) Koromo. She likes to wear full-suit animal cosplay, and can often be seen in the footer of the manga in various theme costumes. She is also the would-be love interest of Kouji Mushano, after he decides that Koromo is too strange for his tastes. Kouji gives her a bag of mushrooms for White day, excitedly, getting them confused with marshmallows, as they are both white and fluffy. She is the photographer who loves to take pictures of cosplay. Turtle is very slow, hence her nickname. She is a lowerclassman of Koromo, Haoru, and Miko-Miko. She has a web page devoted to taking pictures of Koromo. Her closest brush with cosplay was showing Koromo how people wearing glasses act. At the manga's end, she manages a professional website surrounding Koromo's cosplay. Not much is known about this girl. She is the head of the rebels (aka a group of her and her lowerclassman, Rio), and is the same age as Koromo. Her name is hard to find in the manga, as Rio always calls her senpai, the Japanese term for upperclassman. Her name is revealed on an illustration of her and Rio on page 107, with their names shown clearly below it. She comes from a wealthy family and has an extremely strong sense of justice. She has a 7-year-old brother, Kouji, who likes Rumi, but Ai thinks is not tough enough. She takes care of the things that happen behind the scenes. She is very sentimental, even though it would seem unlikely at first glance. At the end of the manga, it is revealed that after school she is studying to be a lawyer. It is said that her favorite word is Justice. Rio is a middle schooler who is the other member of the rebels. She tries to be tough, but is a big softie. When she forgets her money, she takes it from another, but they have a 1% interest rate. She is very loyal to Ai, who she dubs "senpai", and always brings her juice from the vending machine without asking, although Ai thinks to herself that she "doesn't really like carbonated drinks". She is short and on a few occasions is shown smoking. She goes on trips with Ai sometimes, and values being assistant of the rebel head. A huge bear that Koromo befriended at her grandmother's house in Hokkaido. He is the design basis for the bizarre clips on Koromo's head. He is seen wearing a bear hat, much to the confusion of Koromo's friends. He offers it to Rumi, which she refuses on the basis that it is too cute even for her.
The Traditional Welsh costume is a costume once worn by rural women in Wales. The costume was identified as being different from that worn by the rural women of England by many of the English visitors who toured Wales during the late 18th and early 19th centuries. It is very likely that what they wore was a survival of a pan-European costume worn by working rural women. This included a version of the bedgown, originally worn by the gentry in the 17th and 18th centuries. The bedgown survived in Wales for longer than elsewhere in Britain. The unique Welsh hat, which first made its appearance in the 1830s was used as an icon of Wales from the 1840s. It is likely that the Welsh costume began as a rural costume (with regional variations in Wales) and became recognized as a traditional costume by the wives and daughters of the better off farmers who wore it for special occasions and when going to market to sell their produce. From the 1880s, when the traditional costume had gone out of general use, selected elements of it became adopted as a National Costume. From then on it was worn by women at events such as Royal visits, by choirs, at church and chapel, for photographs and occasionally at eisteddfodau. It was first worn by girls as a celebration on Saint David's Day just before the First World War. The costume is now recognised as the national dress of Wales. Very little evidence for traditional Welsh costume survives before about 1770 when the first tourists came to Wales and recorded in words and pictures the costumes worn by women in Wales. They noted that the women in rural parts of Wales wore a distinctive costume which varied from place to place. Women in towns and those who lived near the Welsh-English border or near busy ports were already wearing English fashions, often made of cotton. During the 1830s, certain members of the gentry, especially Augusta Hall (later Lady Llanover) of Llanover near Abergavenny, recorded and tried to preserve some Welsh traditions, including costume. The prints of costumes of parts of Wales which she may have commissioned did not have a wide distribution. Some of the prints of Welsh costume ascribed to Lady Llanover were published in an article in 1951. This was the first time that they were published since the 1830s Her apparent influence on Welsh costume was greatly exaggerated following the publication in 1963 of an article on Welsh Peasant costume and this caused the general misapprehension that she was responsible for either inventing or preserving traditional Welsh costume. From then on, many writers assumed that she had a great influence on the wearing of Welsh costume by rural women throughout Wales during the 19th century, which, it was supposed, led to the creation of a National Costume but there is very little evidence for this. Although the traditional costume went out of common use by the middle of the 19th century it was still worn by some women at market and for special events. There were calls for Welsh costume to be revived and used at major national events, especially Royal visits. In 1834, Augusta Hall wrote a prize-winning essay for the Monmouthshire and Glamorganshire eisteddfod held in Cardiff but this contains very little about costume, and nothing about National costumes. In the 1840s Hall organised balls at which her friends wore costumes based on the set of fashion plates which she may have commissioned, but they were made of satins, not wool The adoption of the costume coincided with the growth of Welsh Nationalism, where the industrialisation of much of south Glamorgan was seen as a threat to a traditional agricultural way of life. The national costume made from Welsh wool was therefore seen as a visual declaration of a Welsh identity. During an 1881 visit by the Prince of Wales to Swansea, the Welsh costume was worn by a number of young women including members of a choir. From the 1880s both old and modern versions of the costume were worn by performers at concerts and eisteddfodau, by stall holders at fund raising events and for Royal visits. The numbers of women who wore Welsh costume in this way was always small but its use was remarkable enough to mention in reports of such events. Some of those who wore it may have been the younger members of the new middle-class families who could afford the money to buy the costumes and the time to attend such events. Although there was only a little encouragement to wear costumes at these events, those few who did were often spoken of with pride. For some, wearing Welsh costume after the 1880s was an attempt to maintain tradition; for others it was to do with Welsh identity and nationality and possibly an attempt to distinguish themselves from incomers both in what they sold at market and the fact that many of them probably spoke Welsh; for a few it was to do with marketing traditional businesses, especially weaving. There is little evidence to support the suggestion that the Welsh costume was worn just to please visitors, but it possible that this happened. The young women who adopted the costume for special events from the 1880s were seen as the spirit of the new Wales and the costume became associated with success, especially after the Welsh Ladies’ Choir, dressed in Welsh costume, won a prize at the Chicago World Fair Eisteddfod World's Columbian Exposition in 1893 and went on to sing for Queen Victoria and performed at concerts throughout Britain. The modern costume worn by girls on St David’s Day, which used to be made by mothers from old costumes, is now commercially available. The design, colours and use of lace (which was very rarely associated with Welsh costume during the 19th century), may well be derived from costumes made especially for those competing at the International Eisteddfodau at Llangollen (established in 1947) and other events where dancers required a comfortable and practical costume which was distinct from those worn by representatives from other nations. The costume now generally worn by dance teams is based on the tailored gowns originally found in south west Wales. The gown or bedgown The most distinctive feature of the Welsh costume, other than the hat, is the gown, often referred to as a bedgown (spelt in various ways in Welsh, most commonly now as betgwn). There were several sorts based on two forms: (1) a tailored form with a tightly fitted low-cut top and long wide tail These were common in Cardiganshire (Ceredigion) and Carmarthenshire and possibly in parts of mid-Wales and were often made of red and very dark blue or black striped flannel which was sourced locally. A version with a shorter tail in plain fabric was found in Pembrokeshire. (2) a loose T shaped form, rather like a kimono. The T shaped form was found in north-west and south-east Wales; these were often of printed cotton. The skirt and underskirt (pais) These were normally of heavy flannel with vertical or occasionally horizontal stripes in bold colours, often reds and dark blue or black and white. The cape or mantle There were long and often had large hoods (to cover the Welsh hat). Blue woollen cloaks were far more common than red ones in much of Wales. The shawl A variety of shawls were worn in Wales (1) Square Shawl Square shawl of wool in natural colours with a fringe all round. This was worn folded to form either a triangle or a rectangle and worn over the shoulders. (2) Turnovers Some of the finer printed shawls were made with two adjacent edges sewn face up on one face, and the opposite way on the other two edges so that when the shawl was folded diagonally, they both appeared face up. (3) Whittle Large rectangular or square woollen shawls with long fringes were worn around the waist and used to carry bread and other provisions. They were sometimes also worn as a mantle over the shoulders. Many of these were white or cream and occasionally red. They appear to have been more common in south Wales. A small version in red wool was worn round the shoulders in north Pembrokeshire and are said to have been worn by women who helped to repel the French during the Last invasion of Britain. (4) Nursing shawl A large square shawl with long fringes on all sides, made of natural white or cream wool was worn around the shoulder and waist to hold a baby, freeing the hands to do other tasks. These seem to have been restricted to south Wales, but were occasionally found in Welsh expatriate communities (5) The Paisley shawl Medium to large shawls of wool, silk or printed cotton were decorated with bright Paisley patterns. Many were fringed. Although these are thought to have been an essential part of Welsh costume, most were expensive and probably only worn for very special occasions. The handkerchief (sometimes now referred to as a fishu) was a square piece of fabric, normally of printed cotton or linen, which was worn around the neck and tucked into the top of the gown, or worn over the head like a head scarf. The apron was often of natural colours (white through cream and grey to black) in chequered patterns. Many women spent a lot of time knitting stockings but most were sold for export. Before about 1850 many rural women walked barefoot to and from market, or wore footless stockings. The cap (or mob cap) was a linen or cotton head cover with goffered folded fabrics around the face. Some had long lappets which hung down the front below shoulder level. The Welsh hat The distinctive feature of Welsh hats is the broad, stiff, flat brim and the tall crown. There were two main shapes of crown: those with drum shaped crowns were worn in north-west Wales and those with slightly tapering crowns were found in the rest of Wales. They were probably originally made of felt (known as beaver, but not necessarily made of beaver fur), but most surviving examples are of silk plush (also sometimes known as beaver) on a stiffened buckram base. A third type of hat, known as the cockle hat, was worn in the Swansea area. The costume worn by men and boys in Wales was rarely illustrated or described because it was very similar to that worn by men in England. It consisted of a waistcoat (often of bright colours); a jacket often of blue or grey wool; a neckerchief; a pair of breeches; woollen stockings and a black felt hat, either like a bowler or one with a low, drum-shaped crown with a broad floppy brim. Most gentry would have worn the latest fashions which they bought either via agents from Paris and London or from local tailors who read the articles on the latest fashions which most newspapers published. Written descriptions Over 40,000 words of descriptions of Welsh costumes were written during the 18th and 19th centuries, mostly by English middle-aged, middle-class men, but with a few exceptions – the descriptions by women tend to be lengthy and detailed and probably reliable. There are few descriptions in Welsh or by Welsh people in English (but see T.J. Llewelyn Pritchard’s descriptions in his novel Twm Sion Catti). Almost no records of what the women who wore the traditional costumes thought about them have been found. Much of what was written about Welsh costume was influenced by the observer’s preconceptions: many of the visitors to Wales at the end of the 18th century came in search of the picturesque and of an Eden or Arcadia and this may have coloured what they recorded. They were often delighted to find that many of the women they saw were healthy, happy and pretty and wore a costume which was distinct from that of English maids. Pictures and photographs There are about 700 images dated 1770–1900 in which Welsh costume is clearly depicted and there are a similar number of early 20th century photographs, mostly postcards, some based on earlier photographs while others were comic. Many of these images of Welsh costume were marketed as souvenirs of Wales and they helped to preserve the concept that there was something unique about Welsh costume. Most of the photographs were 'staged' by the photographers and the women often wore their own old costumes or borrowed a set from the photographer. Surviving costume There is some surviving Welsh costume in museums and private collections (mostly at St Fagans National History Museum, near Cardiff and Ceredigion Museum, Aberystwyth) but much is very difficult to date, and the source of the original fabrics is often unknown. Dolls About eighty 19th century dolls dressed in Welsh costume are known. Many have genuine Welsh costume fabrics which may be the oldest surviving fabrics of their kind. Almost every female member of the Royal family since Princess (later Queen) Victoria’s visit in 1832 was given a doll dressed in Welsh costume when they visited Wales. This shows that even at this early date, the Welsh costume was considered something special, and was being marketed along with costume prints.
Weare Middle School is a coeducational public middle school in Weare, New Hampshire, United States, serving the community of Weare. It is part of School Administrative Unit (SAU) 24, and is administered by the Weare School District. It is a rural 5th through 8th grade school - a learning institution whose charge is a commitment to maintaining a positive school climate, ensuring a consistent connection to the families it serves, and embedding literacy in all of its academic programs. The school currently serves 510 students (as of 2010) one building. In March, 2005, voters (by a vote of 1,452 to 560) [1] approved an $18 million bond for the construction of a new middle school building, following reports of disrepair at the old building. The new, 2-story 135,000-square-foot (12,500 m2) school building was being constructed next to the existing school buildings, which would eventually be torn down to make room for new athletic fields and parking. Construction was completed around August of 2007. In 2006, the Weare Middle School Team America Rocketry Challenge (TARC) team placed 24th at the national championship, and submitted a proposal to NASA to build a very large rocket. Their proposal was accepted.][ The 2007 Weare Middle School TARC team not only qualified for nationals, but got the best score in New England, and was the only team in the top 100 from New Hampshire.][ The school is currently using aides and volunteers to cover shifts at the school library, and school officials are cutting back in other places following the failure of the school district's $11.9 million budget in March, 2006. [2]
Robert Fletcher (born August 23, 1922 in Cedar Rapids, Iowa) is a costume and set designer. Fletcher's first ambition was to become an archeologist. Prior to graduating from Harvard University, Fletcher was an aspiring actor. While performing in New York, he chose to became a costume designer. He is best known designing costumes for major ballet and opera companies in addition to films, television specials, and New York stageplay. In 1960, Robert Fletcher designed costumes for "The Tempest" in Stratford, CT starring Katharine Hepburn at the American Shakespeare Theatre. Fletcher had a long association with the science fiction franchise Star Trek. He served as costume designer for the first four Star Trek feature films—Star Trek: The Motion Picture, The Wrath of Khan, The Search for Spock, and The Voyage Home. In 2008, Fletcher received a Theatre Development Fund/Irene Sharaff Lifetime Achievement Award for his set design. He has also received three Tony Award nominations for his work.Fletcher’s three Tony Award nominations were for Little Me in 1963, High Spirits in 1964 and Hadrian VII in 1969. He also received a Drama Desk Award Nomination for Outstanding Costume Design for Othello in 1982.
Michael Kaplan is an American costume designer for film. Born in Philadelphia, Pennsylvania, Kaplan has been working in the Hollywood film industry since 1981. He won the British Academy of Film and Television Arts Award for Best Costume Design in 1983 for his costume design work on Blade Runner, the first theatrically-released film he had worked on as costume designer. He went on to become a nominee in the Costume Designers Guild Awards 1999 and the Costume Designers Guild Awards 2005 in the category of Excellence in Costume Design for Film - Contemporary for his costume designs for Fight Club and Mr. & Mrs. Smith, respectively. Besides Fight Club, Kaplan has worked on three other films for director David Fincher: Seven, The Game, and Panic Room. He also reunited with Blade Runner director Ridley Scott on Matchstick Men. Kaplan's other credits include two films for Michael Bay, Armageddon and Pearl Harbor. He also worked on Flashdance, Clue, National Lampoon's Christmas Vacation, Malice, The Long Kiss Goodnight, Gigli, Miami Vice, I Am Legend starring Will Smith, J.J. Abrams' Star Trek, The Sorcerer's Apprentice for director Jon Turteltaub, and Burlesque, starring Christina Aguilera and Cher. His contribution to Burlesque resulted in a Costume Designers Guild Award nomination for "Excellence In Contemporary Film".
Marden is an urban area between the towns of North Shields and Cullercoats in Tyne & Wear. It consists of a housing estate built in the 20th century. St Hilda's Church (Church of England) is in Marden, and has existed since 1955, moving to its current site in 1966. The area has a secondary school, Marden High School on Hartington Road.

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