Sewing Patterns, Books and Fabric

DC (1995)
Russian Roots, American Branches: Music in Two Worlds, page 79.
A Russian-American Cultural Exchange, by Richard Kennedy, page 80.
[Pryguny] Molokans and Old Believers in Two Worlds, by Margarita Mazo, page 83.

de Blumenthal, , July 17, 1904.

—  in   (4 miles south-east of Kamennaya Balka), north Stavropol province.

Breyfogle is guest speaker at Kerman dinner on March 7.

November 18, 2010, Thursday 3 pm to 4:45 pm,
Session 2-16: "Fractionalization in Traditional Russian Communities: Case Studies of Old Believers and [Pryguny] Molokans",
42nd Annual Convention of Association for Slavic, East European, and Eurasian Studies,
San Francisco Room, Westin Bonaventure Hotel, 404 South Figueroa Street (at 4th St.), Los Angeles CA.

LOSKUTOFF, 40-year cemetery director, — Saturday-Sunday, June 2-3

Murdock, Missions, June 1912, Vol.3, no.6, page 476
The majority of Russians in Los Angeles are "Holy Jumpers", widespread system of bartering young girls for money.

Simon Ouklev = Semyon Matveevish Uklein.

Pryguny in America transformed into Dukh-i-zhiniki


, Los Angeles Herald, part II, page 2 — November 30, .
, New York Daily Tribune, page 2 — December 2, .
, Los Angeles Herald, page 2 — December 19, .
, Los Angeles Herald, page 1 — March 18, .

"", Argumenty i Fakty, January 27, 2010.

So many legends, so little time. Rick Grefe has asked me to speak briefly on the value of continuity in our profession. Of course one could take that charge to mean the short history of design, perhaps beginning with Peter Behrens, who is credited with invention of identity programs and coordinating graphic and industrial design activities. Or one might consider our history as beginning with the first cave paintings at the dawn of history.

I prefer the longer view that relates our activity to the fundamental needs of the human species. A species whose most distinctive characteristic is making things for a purpose, which turns out to be the actual description of what we do.

Any grandiosity or self-importance that this cosmic description of our activity creates in us will be quickly erased by the discovery that in a typical design class only 30% of the students will have any idea who Paul Rand is and will not be able to identify Eric Nitsche or Lester Beall, let alone Joseph Hoffman, Edward Penfield or Gustav Jensen. Incidentally, Jensen was a mentor to Paul Rand and, Cassandre aside, perhaps the designer he most admired, but I would not be at all surprised if most of us here tonight have never heard of him. – So much for understanding our own history.I have always believed that there is a psychological and ethical difference between those who make things and those who control things. If form making is intrinsic to human beings and has a social benefit, then we can think of the "good" in good design having more than a stylistic meaning. Linking beauty and purpose can create a sense of communal agreement that helps diminish the sense of disorder and incoherence that life creates.

The part of design that is involved in fashion and marketing has the least need to examine and understand our history. Examining what has happened over twenty years seems to provide enough information to meet professional requirements, but if our field aspires to be significant and worthy of respect, it must stand for something beyond salesmanship. Being a legend is an accomplishment that is hard won and sadly ephemeral, but being part of human kind’s desire to make useful and beautiful things links us to a glorious history.

Two weeks ago I developed a sudden, painful wrist condition. I went to a fancy hand doctor who told me I probably had a "gouty" incident. That’s not "Gaudi" the great Barcelonian designer and architect. It’s gout, as in those 18th century engravings of rich, fat men with inflamed big toes. My wrist is fine but while I was in the doctor’s office I noticed a document on his wall called "What A Surgeon Ought to Be" written in the 14th century. I’ve changed a word or two but it seems like good advice for our profession.

What the Designer Ought to Be: Let the designer be bold in all sure things, and fearful in dangerous things; let him avoid all faulty treatments and practices. He ought to be gracious to the client, considerate to his associates, cautious in his prognostications. Let him be modest, dignified, gentle, pitiful, and merciful; not covetous nor an extortionist of money; but rather let his reward be according to his work, to the means of the client, to the quality of the issue, and to his own dignity.

Shown in 5 film festivals. Ealier research clip :  — Doukhobors in Gorelovka, Georgia 2006

, , Zaporozhye State University Vol.

If patterns have been cut, all pieces are present and in good condition unless otherwise noted. Pattern envelopes may have stamped or written marks from stores or previous owners. Pattern envelopes may not be in pristine condition - this is not always noted in pattern description. Photo shown is not always of actual pattern. Only one copy of a pattern is available unless specifically stated otherwise.

2011. 480 old Dukh-i-zhinik houses too dangerous,  (former ), Armenia.

Moore; in Linda Keller Brown, L.K., K.

Kalmakoff,
: Buchnev, Bukharev, Cheremisin, Dvornin, Fadeev, Fetisov, Karetov,
Kholopov, Kudinov, Kulikov, Metchkov, Mokhov, Mokshanov, Molokanov, Morozov, Novikov, Planin, Pluzhnikov,
Prokhorov, Pudov, Samarin, Shchuchin, Shubin, Shvetsov, Slivkov, Sokhryakov, Treglazov, Voronin, Yunkin.

Kargel’s written heritage, PhD thesis, University of Pretoria, Pretoria, South Africa.

Eugene Clay, Arizona State University.

Miller, Missions, July 1912, Vol.3, no.7, page 564
meeting of the shout and clap their hands and dance and jump, windows closed or the Spirit would escape