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details of fabric patterns, and the luminosity of skin tones. Lustro white in Gloss. Dull and new Patina matte finishes offers 90 brightness for true color clarity. Lustro Dull, micro-embossed to print smooth yet feel supple, also comes in an elegant Cream shade. All are made with 10% post-consumer waste fiber. versatile and dependable it is always in fashion.

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Fashion Fizzles

Zootsuit(1940's)

LUSTRO PATINA 80 LB. TEXT BLACK, MATCH OLIVE

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Sack dress (1960's)

Nehru jacket (1970s)

LUSTRO PATINA 80 LB. TEXT BLACK, MATCH GREEN

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Beehive ratted hairdo (1950s)

Flat-top with duck-tail (1950 s)

Polyester leisure suit (1970s)

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Go-Go hot pants & boots (1970 s)

LUSTRO PATINA 80 LB. TEXT BLACK, MATCH OLIVE

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Fashion Fizzles A Sappi Field Guide

This field guide was printed on Lustro Patina 80 lb. Text

S A P P I FIELD S T U D Y :

FASHION

This Sappi Field Study, presented on Lustro, takes a look at the field of fashion, from the stylish to the functional, from fantasies to flops. An industry dedicated to the wearable arts, fashion offers a unique perspective on the culture and social mores. In bringing you this Sappi Field Study, we aim to entertain, educate and provide a useful creative and technical resource. Read it for pure enjoyment, then consider the myriad ways fashion has been depicted in photography and illustrations over the years and how Lustro's exceptional print qualities are woven into the fabric of each layout design.

The great fashion photographs and illustrations that have filled the pages of Vogue, Harper's Bazaar and other style magazines have done far more than communicate the look of the latest clothing and accessories. They purvey glamour and sophistication, romance and mystery, youth and fun. Through provocative poses - avant garde, surreal, documentary, graphic - they connect with readers on a visceral level. They serve as both interpreters and arbiters of personal style, defining what's chic and the current feminine ideal. Interestingly, while fashion itself is transitory, the best fashion imagery endures as its own genre of fine art.

I N T E R P R E T I N G

Photograph by John Casado, 2001.

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Photograph by Frank Horvat, 1974.

Photograph by Erwin Blumenfeld, 1945.

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LUSTRO GLOSS 100 LB. TEXT FOUR-COLOR PROCESS, VARNISH

Photograph by Alex Ardenti, 2001.

Illustration by Rene Gruau, 1949.

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LUSTRO GLOSS 100 LB. TEXT FOUR-COLOR PROCESS, VARNISH

Photograph by Michele Clement, 2002.

HOSPITAL

NURSE

FACE MASK

Face masks come in different levels of filtration, with the most stringent air filtration required when treating patients with communicable diseases.

HAIR NET

During surgeries and sterile procedures, nurses must keep their hair covered.

SHORT SLEEVES

Scrubs are made with short sleeves to make it easier to wash hands and put on fresh gloves between seeing patients.
POCKETS

Nursing uniforms have at least one pocket to provide ready access to pens, tape, scissors, and other frequently needed items.

SCRUBS

Wash-and-wear and comfortable, cotton/poly blend medical scrubs are the preferred attire of hospital nurses. The uniform also identifies the wearer as part of the medical staff. Some hospitals designate that scrubs of a particular color be worn to identify the nurse's assigned unit or function.

WHITE SHOES

White closed-toe/heel shoes are mandatory. Many nurses favor athletic shoes because they are on their feet during much of their work shift.

s are their own category of fashion. Often dictated bv tradition. the outfit is so familiar that people know on sight the job the wearer performs and the industry he/she is in. Most uniforms are not designed purely for style and fashion. The shape and

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color of the garment. The weight of the fabric. The size and position of the pockets. The height of the shoe heel. The types of accessories, caps, holsters and the like, all serve a function and are factored into creating a stvle that looks attracti professional and contemporary.

LUSTRO DULL 100 LB. TEXT FOUR-COLOR PROCESS, VARNISH

FLIGHT

ATTENDANT

HAIR LENGTH

Hair must be no longer than shoulder length or worn pulled back to keep from falling across passengers when serving food. Female attendants are also forbidden to wear dangling earrings.
DARK-TAILORED SUITS

Professionalism, competence and authority are communicated in the dark-colored, tailored suits worn by the flight attendants.

OFFICIAL STRIPES FABRIC

Military-style stripes on the sleeve and an insignia lapel pin suggest that the flight attendant is in a trusted authoritative position on the airplane.

Uniforms are made from wool or poly-wool blends that have been treated with fire-retardant chemicals.

HEEL HEIGHT

When greeting passengers or on the ground, female flight attendants must wear three-inch-heel pumps, with no laces, buckles or tassels. Inflight, they may wear low-heels or flats.

26

FIREMA

HELMET

The thermoplastic helmet has two inner layers for heat and impact protection. The clear faceshield is optically corrected.

THREE LAYERS

The jacket and pants are made in three layers: A lightweight, flexible, heat-resistant
RADIO POCKET

outer shell; a breathable moisture barrier layer, and a 100% Kevlar inner thermal barrier. Kevlar is chemical, flame, heat and cut resistant and five times stronger than steel on an equal weight basis. It is also a low conductor of electricity.

Shaped to fit a two-way radio, the pocket has a snap enclosure and drain.

REFLECTIVE TRIM

Strategically placed yellow Scotchlite reflective trim glows in the dark

REINFORCED PADDING

for visibility at night and in cavernous conditions.

Compression points such as elbows, knees and shoulders are reinforced with padding. The knees are doubly protected with leather patches.

BOOT PROTECTION

Rubber waterproof boots have steel toecaps and a polyurethane midsole to absorb energy and cushion walking impact.

In the world of fashion, there are short-lived fads that last a season and then there are pivotal events that revolutionize the way we dress and present ourselves forever. Brought on by new inventions, social movements and even pop heroes, these fashion upheavals cause us to redefine what we consider chic or sensible. Today these dress styles are so much a part of our lives that we can't imagine how it could have ever been otherwise.

CHANGES

29

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DOT-COM

ATTIRE

Twentysomething dot-com entrepreneurs did more than challenge the status quo of the Old Economy, they flaunted traditional business dress codes, favoring chinos and open collared shirts to Armani suits and yellow power neckties. Although the dot-com boom went bust, many companies have relaxed their rigid suit-and-tie rules and opted for a professional casual look.

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HAT I N D U S T R Y G E T S

PLUCKED

The slaughter of millions of birds for feathers to decorate ladies' hats led to the establishment of the Audubon Society and passage of the New York Audubon Plumage Law of 1910 and the Federal Migratory Bird Treaty Act of 1918. Branded as politically incorrect, plumed hats went out of fashion, but not before some feathered species were hunted to near extinction.

A WATCH FOR EVERY

OUTFIT

stwatches from pr accessories, r n c e d in the range ( watch plastic analog watcl

d. The broad choice of styles and affordable

R O S I E THE R I V E T E R

STYLE

The manpower shortage during World War II forced women out of the home into industrial jobs in shipyards, factories and defense plants. They changed out of dresses and into "boiler suits" and tied their hair up in cotton "do-rags" to keep it from snagging on machinery. When the war ended, most women returned to homemaking, but many decided they preferred wearing pants.

ITSY-BITSY

SWIMWEAR

The bikini debuted in 1946, soon after a U.S. H-bomb test on the Bikini Atoll. Designers Jacques Heim and Louis Reard called their creation "the atom," but the name "bikini" stuck. Unlike two-piece swimsuits that had been around since the 1930's, the bikini was viewed as scandalous because it exposed the navel. But after Bridget Bardot immortalized the swimsuit in "The Girl in the Bikini," even nice girls bared their belly buttons.

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We thought we looked cool then, but in retrospect, it was a pretty dumb idea. Our only comfort is that every generation has been susceptible to fads that it would just as soon forget.

Fashion accents - hats, gloves, neckties, scarves, belts, purses, costume jewelry and the like - have long been seen as a. quick and inexpensive way to transform a look from ho-hum to chic. They can dress up an outfit, pull it together or add fresh interest to last year's wardrobe. Accessories personalize a look, revealing

much about the wearer's taste, attitude and aspirations. These i illustrations from "Fashion Accessories: The Complete 20th ! Century Sourcebook" by John Peacock show how accessories have evolved and often returned in new iterations over the decades. Representative of shapes, colors and styles of accessories that were popular in each era, these drawings by Peacock provide a useful historical reference when thinking about fashion.

1900's- 1910's

1940's- 1950's

1960's- 1970's

1980's- 1990's
H A N D B A G S & P U R S E S

Although purse styles have not changed much since about 1930, the content of handbags have. Beepers, cell phones, bank cards, electronic organizers, vitamins, breath mints, and paperback novels are common purse items for women on the go.
39

1900's- 1910's

1920's- 1930's

1940's- 1950's

1960's-1970's

1980's- 1990's
L A D I E S ' S H O E S

As skirt lengths got shorter and shoes became more visible, designers created styles that made legs look shapelier. No style did that better than stilettos, made possible by the invention of a stable metal tube that would support ultrathin, tall heels.
40

1900's- 1910's

1920's- 1930's

1940's- 1950's

W O M E N ' S

H A T S

Large hats, elaborately ornamented with bird's feathers, fruits, flowers and ribbons, complemented the floor-length, corseted look of Edwardian dresses at the start of the 20th century.

By the '20s, the silhouette of women's clothing had become slimmer and more natural, and so did the look of hats. Cloches, angled hats, berets, turbans and brimmed hats came into vogue.

1960's- 1970's

1980's- 1990's

1900's- 1910's

1920's- 1930's

M E N ' S

HATS

In the early 20th century, hats often conveyed social status, with silk top hats and bowlers claimed by upper and middle class men and caps with small visors linked to the lower working classes. By mid-century, brimmed hats became the norm, and styles did not indicate class standing as much as individual preference.

N E C K T I E S

The necktie is the one part of a man's attire that serves no obvious function, except adornment. Through color, texture and pattern, it reveals something about the personality of the wearer. The primary trend that fashion watchers look for is whether this season's neckties are wider or narrower. 1940's-1950's

1960's- 1970's

1980's- 1990's

1 9 0 0 ' s - 1910's

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1920's-1930's

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1 9 6 0 ' s - 1970's

1980's- 1990's

43

The pages of this Sappi Field Study on Fashion demonstrate the wonderful qualities of Lustro, the most specified coated sheet of all time. Lustro is offered in three versatile finishes: Gloss, Dull (also available in Cream), and a new Matte named Lustro Patina. All exceptionally printable and elegant.

Pages 18-19

Page 30 Lustro Dull Cream 100 lb./148 gsm Text. Four-color process and overall UV varnish. Printed on a UV press. Snowy Egret illustration from Audubon's Birds of America, published by Cross River Press, Ltd., 1981.

Pages 36-37

Page 44 Lustro Patina 100 lb./148 gsm Text. Four-color process, match red touchplate and gray and spot UV varnish. Printed on a UV press. Photograph by Terry Heffernan.

Lustro Gloss 100 lb./148 gsm Text.

What Were We Thinking?!!

Lustro Dull 100 lb./148 gsm Text. Cyan, magenta, yellow and fluorescent pink touchplate (pink fur), fluorescent green and process black duotone (green fur) and overall UV varnish. Printed on a UV press. Photograph by Barry Robinson.

Process quadtone with

match silver highlights and

overall satin varnish.

Photograph by George

Hoyningen-Huene Vogue,

Conde Nast Publications,

Inc. "Vionnet Gown" Vogue,

Printing on Soft Finishes

Soft-finished papers have their own set of production needs. The very surface and finish qualities that make them attractive - including their good opacity, bulk, and readable/writable non-glare surface - also make marking a concern. Using inks formulated with hardeners, Teflon or scuff resistors will reduce the problem. Applying dull or gloss

September, 1931. Page 31 Lustro Gloss 100 lb./148 gsm Text. Four-color process, match gray and spot gloss varnish. Photographs by Barry Robinson. Fashion Fizzles Lustro Patina 80 lb./118 gsm Text. Cover Process black, double-hit semi-dull fluorescent orange and overall dull varnish. Pages 32-33 Lustro Gloss 100 lb./148 gsm Text. Four-color process, black and match gray duotones, double-hit match silver and overall satin varnish. Hat, stockings, James Dean and Beatles photographs Getty Images, Inc. All other photographs by Barry Robinson. Page 38 Fashion Accents Lustro Dull 100 lb./148 gsm Text. Process black with match black undercolor, magenta, yellow, gray and overall UV varnish. Printed Page 34 Lustro Gloss 100 lb./148 gsm Text. Four-color process and spot gloss varnish. The Saturday Evening Post 1943 SEPS: licensed by Curtis Publishing, Indianapolis, IN. www. curtispublishing. com. P a g e s 41-42 Lustro Dull Cream Page 35 Lustro Dull 100 lb./148 gsm Text. Four-color process and overall UV varnish. Printed on a UV press. Photograph Corbis. 100 lb./148 gsm Text. Four-color process and dot-for-dot UV varnish. Printed on a UV press. Illustrations on pages 39-43 by John Peacock, from his book Fashion Accessories: The Complete 20th Century Sourcebook, pubon a UV press. Text Process black, match red, blue, green and olive. Illustrations by Everett Peck.

Page 20

Lustro Gloss 100 lb./148 gsm Text.

Four-color process and

overall gloss varnish.

Photograph by Michele

Clement, 2002.

Page 21

Lustro Dull 100 lb./148 gsm Text.

Four-color process and

overall satin varnish.

varnish over inked areas helps prevent inks from rubbing off onto facing pages. Varnishes and metallic inks may lose some reflective qualities.

Photograph by John Casado, 2000.

Page 22

Functional Fashion

Lustro Dull 100 lb./148 gsm Text.

Process black with three-color

Sappi Industry Support

Sappi Fine Paper N.A. supports the industry through a wide range of education-oriented venues intended to raise awareness of the value of good design. Some of our specific programs include @Issue: Journal of Design and Business, the Annual Report Show, Ideas that Matter, Printer of the Year, and sponsorship of design and printing trade events. To learn more, visit us at www.sappi.com or www.ideaexchange.sappi.com.

underscreen, match gray and

overall satin varnish.

Pages 39-40 and 43

Lustro Patina 100 lb./148 gsm Text. Four-color process and dot-for-dot UV varnish. Printed on a UV press.

Pages 23-27

Lustro Dull 100 lb./148 gsm Text.

Four-color process, match

gray and spot satin varnish.

Hospital nurse photograph

Getty Images, Inc. All other

photographs Corbis.

Page 28

Fashion Changes

Lustro Dull 100 lb./148 gsm Text.

Process black with three-color

underscreen, match gray and

lished by Thames and Hudson Inc., New York, 2000.

overall satin varnish.

Page 29

Lustro Dull Cream

100 lb./148 gsm Text.

Four-color process and overall UV

varnish. Printed on a UV press.

Photograph Getty Images, Inc.

Pages 18-19 Lustro Gloss 100 lb./148 gsm Text. Process quadtone with match silver highlights and overall satin varnish. Photograph by George Hoyningen-Huene Vogue, Conde Nast Publications, Inc. "Vionnet Gown" Vogue, September, 1931.

Page 30 Lustro Dull Cream 100 lb./148 gsm Text. Four-color process and overall UV varnish. Printed on a UV press. Snowy Egret illustration from Audubon's Birds of America, published by Cross River Press, Ltd., 1981.

Pages 36-37

Page 44 Lustro Patina 100 lb./148 gsm Text. Four-color process, match red touchplate and gray and spot UV varnish. Printed on a UV press. Photograph by Terry Heffernan.

What Were We Thinking?!!

Lustro Dull 100 lb./148 gsm Text. Cyan, magenta, yellow and fluorescent pink touchplate (pink fur), fluorescent green and process black duotone (green fur) and overall UV varnish. Printed on a UV press. Photograph by Barry Robinson.

Printing on Soft Finishes

Soft-finished papers have their own set of production needs. The very surface and finish qualities that make them attractive - including their good opacity, bulk, and readable/writable non-glare surface - also make marking a concern. Using inks formulated with hardeners, Teflon or scuff resistors will reduce the problem. Applying dull or gloss

Page 31 Page 20 Lustro Gloss 100 lb./148 gsm Text. Four-color process and overall gloss varnish. Photograph by Michele Clement, 2002. Pages 32-33 Lustro Gloss 100 lb./148 gsm Text. Page 21 Lustro Dull 100 lb./148 gsm Text. Four-color process and overall satin varnish. Photograph by John Casado, 2000. Four-color process, black and match gray duotones, double-hit match silver and overall satin varnish. Hat, stockings, James Dean and Beatles photographs Page 22 Getty Images, Inc. All other photographs by Barry Robinson. Lustro Gloss 100 lb./148 gsm Text. Four-color process, match gray and spot gloss varnish. Photographs by Barry Robinson.

Fashion Fizzles Lustro Patina 80 lb./118 gsm Text. Cover Process black, double-hit semi-dull fluorescent orange and overall dull varnish. Text Process black, match red, blue, green and olive. Illustrations by Everett Peck.

Page 38 Fashion Accents Lustro Dull 100 lb./148 gsm Text. Process black with match black undercolor, magenta, yellow, gray and overall UV varnish. Printed

varnish over inked areas helps prevent inks from rubbing off onto facing pages. Varnishes and metallic inks may lose some reflective qualities.

Functional Fashion
Lustro Dull 100 lb./148 gsm Text. Process black with three-color I under screen, match gray and | overall satin varnish.

Page 34 Lustro Gloss 100 lb./148 gsm Text. Four-color process and spot gloss varnish.

on a UV press.

Sappi Industry Support

Sappi Fine Paper N.A. supports the industry through a wide range of education-oriented venues intended to raise awareness of the value of good design. Some of our specific

Pages 39-40 and 43

Lustro Patina 100 lb./148 gsm Text. Four-color process and dot-for-dot UV varnish. Printed on a UV press.

Pages 23-27 JLustro Dull 100 lb./148 gsm Text. Four-color process, match gray and spot satin varnish. Hospital nurse photograph Getty Images, Inc. All other photographs Corbis.

The Saturday Evening Post 1943 SEPS: licensed by Curtis Publishing, Indianapolis, IN. www.curtispublishing.com.

P a g e s 41-42 Lustro Dull Cream

programs include @Issue: Journal of Design and Business, the Annual Report Show, Ideas that Matter, Printer of the Year, and sponsorship of design and printing trade events. To learn more, visit us at www.sappi.com or www.ideaexchange.sappi.com.

Page 35 Lustro Dull 100 lb./148 gsm Text. Four-color process and overall UV

100 lb./148 gsm Text. Four-color process and dot-for-dot UV varnish. Printed on a UV press. Illustrations on pages 39-43 by John Peacock, from his book Fashion Accessories: The Complete 20th Century Sourcebook, pub-

[Page 28 Fashion Changes Lustro Dull 100 lb./148 gsm Text. Process black with three-color underscreen, match gray and

varnish. Printed on a UV press. Photograph Corbis.

lished by Thames and Hudson Inc., New York, 2000.

loverall satin varnish.

[Page 29 [Lustro Dull Cream 100 lb./148 gsm Text. [Four-color process and overall UV garnish. Printed on a UV press. [Photograph Getty Images, Inc.

Production Notes

Cover LustroGloss Cover 1201b./325gsm.

Page 5 Lustro Gloss 100 lb./148 gsm Text. Four-color process, match red touchplate and overall gloss varnish. Photograph by Frank Horvat. UOfficiel Magazine, 1988.

Page 11 Lustro Gloss 100 lb./148 gsm Text. Process black, match black and gray tritone and overall gloss varnish. Photograph by Barry Lategan. "Twiggy" 1966.

Design Pentagram

Four-color process and overall dull aqueous coating. "Twiggy" photograph by Barry

Text Delphine Hirasuna

Lategan, 1966. Tuxedo mannequin photograph Photonica. Needle and thread photograph

Separations Images are scanned at 175-line screen.

Masterfile. Face photograph by Rico Schwarzberg.

Pages 6-7 Lustro Gloss 100 lb./148 gsm Text. Process black, match

Pages 12-13 Lustro Gloss 100 lb./148 gsm Text. Four-color process, match gold touchplate and overall satin varnish. Photograph by John Casado, 2001.

Cover Gatefold
Printing Eight-unit 4 0 " press and eight-unit 40" UV press with inter deck drying. Page 1 All images are varnished in-line. Lustro Dull 100 lb./148 gsm Text. Four-color process, process quadtone, match gray and spot UV varnish. Printed on a UV press. Shoe illustration by John Peacock, from his book Fashion Accessories: The Complete 20th Century Double-hit match black, match brown and overall dull aqueous coating.

black and gray tritone and overall satin varnish. Photograph by Frank Horvat. Stern, 1974.

Page 14 Lustro Gloss 100 lb./148 gsm Text.

Page 8 Lustro Gloss 100 lb./148 gsm Text. Four-color process, match red and black touchplates and overall gloss varnish. Photograph by Erwin Blumenfeld Vogue, Conde Nast Publications, Inc. "Red Cross Drive" Vogue, March, 1945.

Four-color process and overall gloss varnish. Photograph by Alex Ardenti, 2001.

Page 15 Lustro Patina 100 lb./148 gsm Text. Four-color process, match red touchplate and spot UV varnish. Printed on a UV press. Illustration by Rene Gruau.

Sourcebook, published by Thames and Hudson Inc., New York, 2000. Photograph by Clifford Coffin Vogue, Conde Nast Publications. "Christian Dior dress," Vogue, September 1948.

Page 9 Lustro Dull Cream 100 lb./148 gsm Text. Process black, match black and brown tritone and overall UV

UOfficiel Magazine, 1949.

Page 16 Lustro Patina 100 lb./148 gsm Text. Four-color process and overall UV varnish. Printed on a UV press. Photograph by Michele Clement, 1998.

Page 2 Interpreting Fashion Lustro Dull 100 lb./148 gsm Text. Process black with match black undercolor, magenta, yellow, gray and overall UV varnish. Printed on a UV press.

varnish. Printed on a UV press. Photograph by Man Ray. 2 0 0 2 Man Ray Trust/Artists Rights Society (ARS), NY/AD AGP, Paris. "Undress with Backlighting," 1922.

Page 17 Lustro Gloss 100 lb./148 gsm Text.

Page 10 Lustro Dull Cream

Four-color process, match red touchplate and overall gloss varnish. Photograph by Frank Horvat. Italian Vogue, 1983.

Page 3 Lustro Dull 100 lb./148 gsm Text. Four-color process and overall UV varnish. Printed on a UV press. Photograph by John Casado, 2001.

100 lb./148 gsm Text. Process black, match black and gray tritone and dot-for-dot UV varnish. Printed on a UV press. Photograph by Edward Steichen Vanity Fair, Conde Nast

Page 4 Lustro Dull 100 lb./148 gsm Text. Process black, match black and gray tritone and overall UV varnish. Printed on a UV press. Photograph by Frank Horvat. Harper's Bazaar, 1962.

Publications, Inc. "Gloria Swanson" Vanity Fair, February, 1928.

Sappi Fine Paper North America S.D. Warren Services Company 225 Franklin Street, Boston; MA 02110 '.sappi.corr 2002 S.D. Warren ServiceslCompany

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