Journal articles: 'Clothing and dress – Political aspects'

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Bullock, Katherine. "Pious Fashion: How Muslim Women Dress." American Journal of Islam and Society 35, no. 3 (July 1, 2018): 87–90. http://dx.doi.org/10.35632/ajis.v35i3.486.

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Abstract:

This book is a very welcome addition to the literature on Muslim women’s dress. It is part of a growing trend to treat Muslim women and their sarto- rial choices through sophisticated theories that recognise the agency, even humanity, of Muslim women. We are far from the days when an Ameri- can author would simply read a headscarf as a symbol of oppression, and Muslim women in need of rescue—at least in the academic realm, though certainly not in the political and journalistic realms. Easy to read and en- gaging (but not simplistic) studies like Bucar’s will, hopefully, eventually trickle out of academia and lead to a sea-change in political and popular discourses as well. Bucar, a professor of philosophy and religion, has turned to ethnog- raphy to complement her philosophical explorations of the relationship between dress, aesthetics, and morality. One of the special features of this book, and what I believe distinguishes it and makes its insights possible, is Bucar’s self-reflective nature, and willingness to share that as she writes. The book begins with a preface, which explains how Bucar came to study this topic while in Tehran to study Persian and Islamic women’s groups in 2004. It opens with her very honest discussion of how she was sitting nervously in the airplane, wondering whether or not she would be able to follow the conditions of her visa to observe local laws and wear “proper hi- jab” (vii). A woman sitting in the aisle across from her winks and pulls out her own scarf and overcoat, setting Bucar at ease, who then follows suit. She describes how she spent a few months adjusting to wearing hijab and figur- ing out the various ways women in Tehran adhere to the hijab laws. Flying next to Turkey, and experiencing some unexpected internal reactions to going bareheaded, made her see that “modest dress had a moral effect on me” (ix), altering her sense of public space and the aesthetics of women’s clothing. “I found surprise, pleasure, and delight in pious fashion, as well as an intellectual challenge to the neat boxes I had once put things in: modest dress as imposed on women, fashion as a symptom of patriarchy, and aes- thetics as separate from ethics. This book is an exploration of this delight and challenge” (ix). Following is the introduction, where she lays out her key terms, meth- odology, and research questions. Bucar explains that she prefers the term “pious fashion” to “modest clothing” or “fashion veiling.” This is so because clothing is a cultural practice that is “governed by social forces as well as daily individual choices” (2). “Fashion” allows people to “construct iden- tities, communicate status, and challenge aesthetic preferences.” “Modest” is generally meant to describe clothing that is “decent and demure,” that discourages sexual attention, but she learned that Muslim women’s dress is more than this, as it is connected to “ethical and religious dimensions… such as character formation through bodily action, regulating sexual de- sires between men and women, and creating public space organized around Islamic moral principles” (3). Hence her preference for the phrase “pious fashion.”Next appear country case studies of how Muslim women in different locales take up “pious fashion”. She did fieldwork in three cities—Tehran, Iran (2004 and remotely 2011); Istanbul, Turkey (2004, 2012, 2013); and Yogyakarta, Indonesia (2011)—observing women in a variety of locations, going shopping, and participating in activities related to pious fashion (in- cluding wearing it herself sometimes). She conducted focus groups and interviews with women between ages eighteen and thirty wearing pious fashion. After opening with a brief introduction to the country-specific poli- tics of modest dress, each chapter is divided into two main sections: “style snapshots” and “aesthetic authorities.” The style snapshots are often very detailed descriptions (half a page for a single outfit) of different kinds of dress, including material, stitching, colour, patterns, style cuts, and accesso- ries. These sections can be a challenge for those not that interested in such details of fashion. The book contains twenty color photographs to illus- trate the styles of dress she discusses, but I still found a laptop an essential component to look up images of the stylists she was referring to, or more basic visual aids to know the difference between “chiffon” and “crepe,” or a “manteau” and a “tunic.” Yet it is such intimate details that give life to her book. These details of fashion are not the object of the book, though, for she embeds these discussions in deeper conversations about aesthetics, moral- ity, piety, beauty, and cultural and political aspects of clothing and fashion. The sections on “aesthetic authorities” cover religious authorities, governments, visual images, educators, fashion designers, magazines, and bloggers’ pious fashion discourses in each country. She is able to highlight differences and similarities across countries, as well as the prevalence of different interpretations and debates amongst all these different voices on what does and does not count as “pious fashion.” She includes discussions about what are counted as “bad hijab” or fashion failures, as an important way to understand the delimitations of pious fashion in each country. Chapter Four presents summarizing conclusions. Here she argues that unlike the normal western approach which considers hijab as a “problem” to be solved, it is rather a woman’s decision about what to wear which should be analytically considered: “the duty to dress modestly does not resolve this question: even if certain institutional structures and public norms related to taste, virtue, and femininity set limits and provide guidance, Muslim wom- en have a great deal of choice when they get dressed every day” (171). She explores the intersections between national identity, modernity, femininity, modesty, aesthetic rebellion, women’s agency, materialism, the consumer lifestyle, aesthetic concepts of beauty and its relationship to morality and fashion, and tradition and change. She concludes that the study of pious fashion teaches us that piety…[is] not just about obedience to orthodox interpretations of sacred texts: it also incorporates good taste, personal style, and physical attrac- tiveness. And fashion becomes a key location through which piety can be realized and contested. Piety is not only about being good – it is about appearing to be good as well…[Women who wear pious fashion] are pi- ous because they are using clothing and adornment to cultivate their own characters, to build community, and to make social critiques. (190) The book ends with an epilogue pointing to a sudden interest, since 2016, in “pious fashion” from the mainstream Western ‘secular’ fashion industry. She notes the two different directions this goes politically—ei- ther to celebrate Muslim women’s inclusion in wider society (CoverGirl’s use of first hijabi spokesperson, Nura Afia, 2016, 195) or to criticise Islam’s pollution of secular fashion (designers are encouraging the enslavement of women) (196). One of the main reasons this book works so well is Bucar’s wonderful ability to be empathetic without being an apologist. She does not wear hijab in her life in the United States; the book is not advocating hijab. She does not gloss feminist concerns over patriarchy and pressures to wear hijab, nor the impact of hijab laws that frustrate many women in Tehran. She recognises the complex nature between dress, identity, fashion, and philo- sophical questions like ethics and the nature of being. She normalizes hijiab so that it can be studied, not as some kind of weird, exotic, oppressive, sui generis piece of cloth, but like any other piece of women’s clothing, like mini-skirts, jeans, high heels, or the bra: While modest clothing can indeed be used as a form of social control or as a display of religious orthodoxy, in practice, it is both much less and much more. Much less, because for many Muslim women, it is simply what they wear. Much more, because like all clothing, Muslim women’s clothing is diverse, both historically and geographically, and is connected with much broader cultural systems. (1) Katherine BullockLecturer, Department of Political ScienceUniversity of Toronto at Mississauga

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Bullock, Katherine. "Pious Fashion: How Muslim Women Dress." American Journal of Islamic Social Sciences 35, no. 3 (July 1, 2018): 87–90. http://dx.doi.org/10.35632/ajiss.v35i3.486.

Full text

Abstract:

This book is a very welcome addition to the literature on Muslim women’s dress. It is part of a growing trend to treat Muslim women and their sarto- rial choices through sophisticated theories that recognise the agency, even humanity, of Muslim women. We are far from the days when an Ameri- can author would simply read a headscarf as a symbol of oppression, and Muslim women in need of rescue—at least in the academic realm, though certainly not in the political and journalistic realms. Easy to read and en- gaging (but not simplistic) studies like Bucar’s will, hopefully, eventually trickle out of academia and lead to a sea-change in political and popular discourses as well. Bucar, a professor of philosophy and religion, has turned to ethnog- raphy to complement her philosophical explorations of the relationship between dress, aesthetics, and morality. One of the special features of this book, and what I believe distinguishes it and makes its insights possible, is Bucar’s self-reflective nature, and willingness to share that as she writes. The book begins with a preface, which explains how Bucar came to study this topic while in Tehran to study Persian and Islamic women’s groups in 2004. It opens with her very honest discussion of how she was sitting nervously in the airplane, wondering whether or not she would be able to follow the conditions of her visa to observe local laws and wear “proper hi- jab” (vii). A woman sitting in the aisle across from her winks and pulls out her own scarf and overcoat, setting Bucar at ease, who then follows suit. She describes how she spent a few months adjusting to wearing hijab and figur- ing out the various ways women in Tehran adhere to the hijab laws. Flying next to Turkey, and experiencing some unexpected internal reactions to going bareheaded, made her see that “modest dress had a moral effect on me” (ix), altering her sense of public space and the aesthetics of women’s clothing. “I found surprise, pleasure, and delight in pious fashion, as well as an intellectual challenge to the neat boxes I had once put things in: modest dress as imposed on women, fashion as a symptom of patriarchy, and aes- thetics as separate from ethics. This book is an exploration of this delight and challenge” (ix). Following is the introduction, where she lays out her key terms, meth- odology, and research questions. Bucar explains that she prefers the term “pious fashion” to “modest clothing” or “fashion veiling.” This is so because clothing is a cultural practice that is “governed by social forces as well as daily individual choices” (2). “Fashion” allows people to “construct iden- tities, communicate status, and challenge aesthetic preferences.” “Modest” is generally meant to describe clothing that is “decent and demure,” that discourages sexual attention, but she learned that Muslim women’s dress is more than this, as it is connected to “ethical and religious dimensions… such as character formation through bodily action, regulating sexual de- sires between men and women, and creating public space organized around Islamic moral principles” (3). Hence her preference for the phrase “pious fashion.”Next appear country case studies of how Muslim women in different locales take up “pious fashion”. She did fieldwork in three cities—Tehran, Iran (2004 and remotely 2011); Istanbul, Turkey (2004, 2012, 2013); and Yogyakarta, Indonesia (2011)—observing women in a variety of locations, going shopping, and participating in activities related to pious fashion (in- cluding wearing it herself sometimes). She conducted focus groups and interviews with women between ages eighteen and thirty wearing pious fashion. After opening with a brief introduction to the country-specific poli- tics of modest dress, each chapter is divided into two main sections: “style snapshots” and “aesthetic authorities.” The style snapshots are often very detailed descriptions (half a page for a single outfit) of different kinds of dress, including material, stitching, colour, patterns, style cuts, and accesso- ries. These sections can be a challenge for those not that interested in such details of fashion. The book contains twenty color photographs to illus- trate the styles of dress she discusses, but I still found a laptop an essential component to look up images of the stylists she was referring to, or more basic visual aids to know the difference between “chiffon” and “crepe,” or a “manteau” and a “tunic.” Yet it is such intimate details that give life to her book. These details of fashion are not the object of the book, though, for she embeds these discussions in deeper conversations about aesthetics, moral- ity, piety, beauty, and cultural and political aspects of clothing and fashion. The sections on “aesthetic authorities” cover religious authorities, governments, visual images, educators, fashion designers, magazines, and bloggers’ pious fashion discourses in each country. She is able to highlight differences and similarities across countries, as well as the prevalence of different interpretations and debates amongst all these different voices on what does and does not count as “pious fashion.” She includes discussions about what are counted as “bad hijab” or fashion failures, as an important way to understand the delimitations of pious fashion in each country. Chapter Four presents summarizing conclusions. Here she argues that unlike the normal western approach which considers hijab as a “problem” to be solved, it is rather a woman’s decision about what to wear which should be analytically considered: “the duty to dress modestly does not resolve this question: even if certain institutional structures and public norms related to taste, virtue, and femininity set limits and provide guidance, Muslim wom- en have a great deal of choice when they get dressed every day” (171). She explores the intersections between national identity, modernity, femininity, modesty, aesthetic rebellion, women’s agency, materialism, the consumer lifestyle, aesthetic concepts of beauty and its relationship to morality and fashion, and tradition and change. She concludes that the study of pious fashion teaches us that piety…[is] not just about obedience to orthodox interpretations of sacred texts: it also incorporates good taste, personal style, and physical attrac- tiveness. And fashion becomes a key location through which piety can be realized and contested. Piety is not only about being good – it is about appearing to be good as well…[Women who wear pious fashion] are pi- ous because they are using clothing and adornment to cultivate their own characters, to build community, and to make social critiques. (190) The book ends with an epilogue pointing to a sudden interest, since 2016, in “pious fashion” from the mainstream Western ‘secular’ fashion industry. She notes the two different directions this goes politically—ei- ther to celebrate Muslim women’s inclusion in wider society (CoverGirl’s use of first hijabi spokesperson, Nura Afia, 2016, 195) or to criticise Islam’s pollution of secular fashion (designers are encouraging the enslavement of women) (196). One of the main reasons this book works so well is Bucar’s wonderful ability to be empathetic without being an apologist. She does not wear hijab in her life in the United States; the book is not advocating hijab. She does not gloss feminist concerns over patriarchy and pressures to wear hijab, nor the impact of hijab laws that frustrate many women in Tehran. She recognises the complex nature between dress, identity, fashion, and philo- sophical questions like ethics and the nature of being. She normalizes hijiab so that it can be studied, not as some kind of weird, exotic, oppressive, sui generis piece of cloth, but like any other piece of women’s clothing, like mini-skirts, jeans, high heels, or the bra: While modest clothing can indeed be used as a form of social control or as a display of religious orthodoxy, in practice, it is both much less and much more. Much less, because for many Muslim women, it is simply what they wear. Much more, because like all clothing, Muslim women’s clothing is diverse, both historically and geographically, and is connected with much broader cultural systems. (1) Katherine BullockLecturer, Department of Political ScienceUniversity of Toronto at Mississauga

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Buse, Christina, Julia Twigg, Sarah Nettleton, and Daryl Martin. "Dirty Linen, Liminal Spaces, and Later Life: Meanings of Laundry in Care Home Design and Practice." Sociological Research Online 23, no. 4 (June 8, 2018): 711–27. http://dx.doi.org/10.1177/1360780418780037.

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This article explores the design and practice of laundries and laundry work in care home settings. This is an often-overlooked aspect of the care environment, yet one that shapes lived experiences and meanings of care. It draws on ethnographic and qualitative data from two UK-based Economic and Social Research Council–funded studies: Buildings in the Making, a study of architects designing care homes for later life, and Dementia and Dress, a project exploring the role of clothing in dementia care. Drawing together these studies, the article explores the temporality and spatiality of laundry work, contrasting designers’ conceptions of laundry in terms of flows, movement, and efficiency with the lived bodily reality of laundry work, governed by the messiness of care and ‘body time’. The article examines how laundry is embedded within the meanings and imaginaries of the care home as a ‘home’ or ‘hotel’, and exposes the limitations of these imaginaries. We explore the significance of laundry work for supporting identity, as part of wider assemblages of care. The article concludes by drawing out implications for architectural design and sociological conceptions of care.

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Bugg, Jessica. "Dancing dress: Experiencing and perceiving dress in movement." Scene 2, no. 1 (October 1, 2014): 67–80. http://dx.doi.org/10.1386/scene.2.1-2.67_1.

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Clothing design for dance is an area that has been little documented, particularly in relation to the experience and perception of the dancer. Contemporary dance and clothing can both be understood as fundamentally phenomenological and as such there is further potential to investigate the lived experience of wearing clothing in dance. This article approaches dress in the context of the moving and dancing body, and it aims to develop an understanding of the role of dress in dance by focusing on the sensory, embodied experience and perception of the performer. It addresses questions of how clothing is perceived in movement by the performer, how and if clothing’s design intention, materiality and form motivate physical response, and what conscious or unconscious cognitive processes may be at play in this interaction between the active body and clothing. The intention is to propose developed methods for designers across clothing disciplines to contribute in a meaningful way to the overall dance work. The article draws on an analysis of my practice-led research that employs embodied experience of dress to inform the design and development of clothing as communication and performance. The research has involved close collaboration with a dancer, analysis of recorded interviews, and visual documentation of design and movement. The research has produced data on the dancer’s experience and perception of garments in performance and this is discussed here in relation to writings on perception, performance, the body and cognition. The research is approached through theory and practice and draws on interviews, observation and lived experience. This article is developed from an earlier conference paper that investigated the role and developed potential of clothing in contemporary dance that was presented at the 4th Global Conference: Performance: Visual Aspects of Performance Practice, Inter-Disciplinary.Net, held in Oxford on 17–19 September 2013.

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Jin, Jing, Jie Gao, Yu Xiu Yan, and Jian Wei Tao. "Analysis of Performance of the Clothing Modeling in Shaping the Animation Role." Advanced Materials Research 821-822 (September 2013): 794–97. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.794.

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With the continuous development of animation industry, the clothing modeling of the animation character is more and more concerned. This paper found the connection of three aspects, which is that shaping the role determines the vitality, creativity and appealingness of the animation, animation dress help to shape the roles and art image, animation apparel modeling is different from the real clothing modeling by means of analyzing the relation between shaping the animation role and the clothing modeling. Through the research of the performance of the clothing modeling in shaping the animation role, this paper concludes that the functions of the roles dress in the animation works lie mainly in four aspects such as the roles age, occupation, social status, nationality, etc; the extent of role performance; promoting the development of the plot; decorating and beautifying the roles modeling. This research will provide the animation creator with a reference to perfectly sculpture the image of animation role and design the role dress and follow-up related research.

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ROSS, ROBERT. "Cross-continental cross-fertilization in clothing." European Review 14, no. 1 (January 3, 2006): 135–47. http://dx.doi.org/10.1017/s1062798706000123.

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In this article, an attempt is made to explain the homogenization of world dress, particularly for men, and at the same time to understand why – in a number of places – that homogenization has been resisted, and specific forms of supposedly local clothing have been used as markers of identity. The argument revolves around two main themes. First, the development of continent, and later worldwide, systems of manufacturing and distribution of clothing, beginning in New York in the middle of the 19th century, allowed the spread of particular forms of dress. Secondly, this dress was seen as being modern. In some cases this led to its enthusiastic, or to its enforced, adoption, in the hope that it would bring about socio-economic modernization. Elsewhere, it was rejected as being a part of imperial domination.

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VanPool, Christine S., Todd L. VanPool, and Lauren W. Downs. "DRESSING THE PERSON: CLOTHING AND IDENTITY IN THE CASAS GRANDES WORLD." American Antiquity 82, no. 2 (April 2017): 262–87. http://dx.doi.org/10.1017/aaq.2017.4.

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Casas Grandes Medio–period (A.D. 1200–1450) human effigies are unique in the North American Southwest in that they depict primary and secondary sexual traits, making determination of sex and gender roles possible. Here, we build on previous discussions by considering the importance of depictions of clothing (e.g., belts and sashes), personal adornments (e.g., necklaces and bracelets), facial decorations, and other aspects of dress. We find that Medio-period symbolism for males and females was based on gender complementary that combined the productive, reproductive, and ritual activities of men and women within a single symbolic and ritual system. Some clothing styles are found on both males and females (e.g., arm bands), but there are also sex-based differences. Women wear low horizontal belts across their hips, whereas men primarily wear sandals and elaborate headbands. Aspects of dress also appear to be continued from previous cultures such as the Classic Mimbres (A.D. 1000–1150) and continued into historic northern Mexican and southwestern groups (e.g., headgear and some sandal types). Ultimately, we find that males have more elaborate dress and are associated with a specific set of ritually important symbols. Females are associated with cloud/fertility symbolism, sternal decorations, and birds.

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Grigo, Jacqueline. "Visibly Unlike: Religious Dress between Affiliation and Difference." Journal of Empirical Theology 24, no. 2 (2011): 209–24. http://dx.doi.org/10.1163/157092511x603992.

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Abstract This article focuses on the relevance and consequences of visibility of religious identity respectively difference by means of religiously connoted clothing. Based on six case studies it emphasizes the perspective of wearers of religious vestment in the area of Zürich (Switzerland). The project takes account of the fact, that the aspect of visual, respectively embodied (religious) difference is not only of relevance to Muslim headscarf wearers (though, due to eager public discussion, it became here the most obvious, and the main subject of scientific interest), but also for wearers of religious clothing belonging to other religious communities. Regarding the case studies the present article will mainly focus on three aspects of religious clothing: firstly, it will address one important motive (among others) for wearing religious dress. Secondly, the individual perceptions of visual difference based on the specific way of sartorial self-presentation will be thematised — especially regarding their involvement with their social environment. Finally, various individual strategies for coping with tensions based on the experience of visual difference will be demonstrated.

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Lehtinen, Ildikó. "Behind the Scene." Ethnologia Fennica 48, no. 2 (December 22, 2021): 5–40. http://dx.doi.org/10.23991/ef.v48i2.103024.

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In this article, I analyze teacher’s attire as a political phenomenon in the context of the Mari people, a Finno-Ugric minority living in Central Russia. The material for this study is based on observations and interviews made by the author during 1987‒2019 in different places of the Mari region. The Mari teacher’s dress code, a dark dress with a white collar, is usually considered self-evident, but as I argue in this article, in the Soviet Union, and in Russia at the post-socialist time, the Mari female teacher’s dress served two practices. Firstly, clothing represented position and agency of power, the socialist ideal, and later the political trend of the majority. Secondly, clothing represented traditional, everyday Mari life.

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Unsworth, Rebecca. "Hands Deep in History: Pockets in Men and Women's Dress in Western Europe, c. 1480–1630." Costume 51, no. 2 (September 2017): 148–70. http://dx.doi.org/10.3366/cost.2017.0022.

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Pockets are now standard and accepted aspects of clothing, but their presence in dress has not always been so assured. This article examines the use of pockets in western Europe from the late fifteenth to the early seventeenth centuries, demonstrating that pockets were adopted into clothing much earlier than has often been believed. It discusses the physical form of pockets in the dress of both genders and the types of garments into which they were inserted. It also explores the possible reasons for the uptake of pockets, the uses to which they were put and the sorts of objects which were kept in pockets, showing that pockets provided the wearer with an individual and personal space which they could use to transport a wide range of goods hands-free.

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Genova, Carlo. "Participation with Style. Clothing among Young Activists in Political Groups." Societies 10, no. 3 (July 23, 2020): 55. http://dx.doi.org/10.3390/soc10030055.

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Research shows that forms of participation among youth are strongly differentiated and connected with complex meanings and motivations. A growing sector of youth develops political intervention through the adoption of distinctive everyday practices and lifestyles. The article aims to reflect upon dress among young activists involved in political groups. Very little research focuses on this topic, but following studies on everyday politics, the young activists’ clothing could be considered as a form and a field of political participation. This approach, however, seems not to be sufficient to interpret the phenomenon. Taking inspiration from research about youth cultures, the article suggests interpreting youth clothing conjointly as a component of style, as a means for constructing collective identity, and social positioning. The article is based on qualitative interviews collected in Piedmont (Italy). Six main topics have been investigated: 1. Socialization to clothing; 2. clothing of the activists and in their groups; 3. meanings of clothing; 4. relevance of clothing; 5. practices of buying clothes; 6. clothes as consumer goods.

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Suyarkulova, Mohira. "Fashioning the nation: Gender and politics of dress in contemporary Kyrgyzstan." Nationalities Papers 44, no. 2 (March 2016): 247–65. http://dx.doi.org/10.1080/00905992.2016.1145200.

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This article investigates gendered nationalist ideologies and their attendant myths and narratives in present-day Kyrgyzstan through an investigation of clothing items and practices. Clothes “speak volumes,” revealing tensions between gendered narratives of nationhood and various interpretations of what “proper” Kyrgyz femininities and masculinities should be. Clothing thus becomes both a sign and a site of the politics of identity, inscribing power relations and individual strategies of Kyrgyz men and women onto their bodies. Individual clothing choices and strategies take place within the general context of discursive struggles over what authentic and appropriate representations of Kyrgyzness should be. Thus, such clothing items as ak kalpak (conical felt hats) and the practice of Muslim women covering their head (hijab) acquire social and political meanings that stand for wider processes of identity contestations in the country.

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Ward, Alex. "Dress and National Identity: Women’s Clothing and the Celtic Revival." Costume 48, no. 2 (June 1, 2014): 193–212. http://dx.doi.org/10.1179/0590887614z.00000000050.

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This paper will focus on an interesting diversion in the history of dress in Ireland: the story of clothing and the Irish cultural revival of the late nineteenth and early twentieth centuries. It will endeavour to address the ideology of so-called Irish costume, and how it was intended to be a visual symbol of an Irish renaissance, one which would help in the effort to counter British influences and establish a strong cultural identity. Although Celtic Revival clothing was worn by both men and women as a signifier of cultural and political sympathies, this paper will look specifically at women’s dress and attempts to promote Irish costume as a tool for nation building, and as a practical solution to the wearing of imported fashions. It will highlight just some examples of where, when and by whom Celtic Revival dress was worn.

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Poiana, Peter. "Choses d'apparat: The poetics of dress in Michel Leiris's L'Afrique fantôme." International Journal of Francophone Studies 22, no. 3 (December 1, 2019): 213–31. http://dx.doi.org/10.1386/ijfs_00002_1.

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Abstract Michel Leiris's treatment of clothing in L'Afrique fantôme, his diary account of his journey through Africa as part of an ethnographic expedition, demonstrates how dress habits constitute a value-laden system. Clothing belongs to a category of objects, which includes talismans and masks, that Leiris calls 'choses d'apparat' because of their tendency to acquire a ceremonial significance. As such, they mark indelibly the travellers' first impressions of the men and women they encounter. Leiris's substantial body of autobiographical writing shows that his interest in clothing is not limited to his travels but goes back to his most distant childhood memories, in which items of dress acquire a distinct theatrical significance. The present study examines the descriptions of dress in L'Afrique fantôme in terms of what they reveal about the respective attitudes of the European travellers and local populations they meet. It explains also how dress habits function as a bearer of cultural values and as a mediator in situations of intercultural contact. It shows finally how dress plays a key part in Leiris's critique of exoticism and colonial stereotypes, by means of which he engages in a different kind of human exchange than that practiced by his scientifically trained colleagues.

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Arista Jaya, I. Kadek, Heny Perbowosari, and I. Gede Sedana Suci. "Penyimpangan Nilai-Nilai Etika Dalam Berbusana Adat Ke Pura Di Desa Penarungan Kecamatan Mengwi Kabupaten Badung." Metta : Jurnal Ilmu Multidisiplin 1, no. 1 (July 19, 2021): 7–19. http://dx.doi.org/10.37329/metta.v1i1.1305.

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The development of global currents has an impact on various aspects of life, including community culture. One of them is in terms of clothing which is influenced by foreign cultures. This of course degrades ethical values in the use of clothing, especially clothing used at social events or places of worship such as traditional clothing to temples. The influence of outside culture that is abused certainly causes deviations in ethical values in the use of traditional clothing to the temple, one of the villages affected by the deviation is Penarungan Village. As a tourism destination, the people of Penarungan Village cannot turn a blind eye to outside culture, this causes deviations in ethical values of traditional dress to the temple in Penarungan village. This research uses value theory, behaviorism, and social interaction. The approach used is ethnography. Informants were determined by purposive sampling. The research location chosen was Penarungan Village. Data collection techniques are by observation, interviews, and library techniques. The results of the study show that the forms of deviation from ethical values in traditional attire to the temple in Penarungan Village include: (1) Deviations using kamen, (2) loose hair, (3) transparent and vulgar clothes, (4) T-shirts. the causes of deviations in values. Ethical factors in traditional kepura dress in Penarungan Village include (1) social media, (2) development of the times, (3) economic factors. The strategies of Hindu religious leaders in strengthening ethical values in traditional attire to temples in Penungan Village (1) bring order to the people who violate them, (2) use uniform clothing.

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Stillman, Yedida K., and Nancy Micklewright. "Costume in the Middle East." Middle East Studies Association Bulletin 26, no. 1 (July 1992): 13–38. http://dx.doi.org/10.1017/s0026318400025025.

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Clothing constitutes a cultural statement. It is a manifestation of culture, no less than art, architecture, literature, and music. Like all cultural phenomena, it communicates a great deal of information both on the physical and symbolic level about the society in which it is found. Fashions, or modes of dress, reflect not only the æsthetics of a particular society (what might be called the “adornment factor”), but also its social mores and values (the “modesty/immodesty factor,” or “reveal/conceal factor”). Furthermore, dress is often a clear economic indicator. The fabric, quality of cut, and ornamentation of a garment are commonly badges of socioeconomic status. More subtly and often symbolically, clothing reflects religious and political norms. In Islamic society, clothing has historically been intimately connected with notions of purity and impurity (tahāra and najas), ritual behavior (sunna), and the differentiation of the believer from the unbeliever (ghiyār), as well as the separation of the genders (hijāb). Thus, within Islamic society clothing constitutes a cultural complex, or what Roland Barthes has dubbed a “vestimentary system.” (Barthes 1957).

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Yangzom, Dicky. "Clothing and social movements: Tibet and the politics of dress." Social Movement Studies 15, no. 6 (August 8, 2016): 622–33. http://dx.doi.org/10.1080/14742837.2016.1213163.

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Loren, Diana DiPaolo. "Refashioning a Body Politic in Colonial Louisiana." Cambridge Archaeological Journal 13, no. 2 (October 2003): 231–37. http://dx.doi.org/10.1017/s095977430322014x.

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This article examines the boundaries of clothing and the body in constructions of political identity in French colonial Louisiana. The study situates constructions of political identity among regulatory demands over the bodies of colonial subjects and the practices of taste and social distinction. It is argued that dress allowed colonial subjects to move into political spaces usually occupied by European colonizers. Archaeological, ethnohistoric, and visual data are used to investigate how French colonizers attempted to construct a body politic by regulating dress and the bodies of colonial subjects, while colonial ‘others’ attempted to constitute themselves as political bodies through self-fashioning.

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Ma, Li. "Strategy Study on National Tourism Clothing Cultural of Guilin Region." Applied Mechanics and Materials 411-414 (September 2013): 2335–38. http://dx.doi.org/10.4028/www.scientific.net/amm.411-414.2335.

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For some of the problems that exist in the current the Guilin Tourism Clothing cultural resources product development, In this paper, from the tourist costume culture resources should be associated with other tourism resources development; Increase in Guilin tourism clothing culture and the characteristics of product design and development; Add dress culture involved in tourism products; Make full use of the festival activities and related platform; Strengthen the intermediary function of guide information transmission and channels to strengthen tourism apparel product design and development of these six aspects jointly develop tourism apparel products, And can stand on the height of the global integration, based on its national cultural characteristic, carries on the reasonable and effective protection and development.

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Loewenthal, Kate Miriam, and Lamis S. Solaim. "Religious Identity, Challenge, and Clothing: Women’s Head and Hair Covering in Islam and Judaism." Journal of Empirical Theology 29, no. 2 (December 6, 2016): 160–70. http://dx.doi.org/10.1163/15709256-12341344.

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This qualitative research examined the issues of women’s head covering in Islam and Judaism. It focuses on the role played by head-covering decisions in the development of religious identity. Translated sources of Islamic and Jewish law on modest dress set the context of religious rulings in which women wrestle with decisions about head-covering. Ten practising Muslim and Jewish women were interviewed about their experiences of head/hair covering. Head/hair covering was seen as an expression of identity, and as a way of managing identity. It is a key topic for both Muslim and Jewish women, central in identity development and in decisions relating to identity development, identity threat, acculturation, spirituality, and social relations with men. The role of dress is one of many aspects of ritual deserving closer attention from psychologists of religion, along with the more general topic of the impact of religious practice on religious and spiritual development.

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Egreteau, Renaud. "Fashioning Parliament: The Politics of Dress in Myanmar’s Postcolonial Legislatures." Parliamentary Affairs 72, no. 3 (June 26, 2018): 684–701. http://dx.doi.org/10.1093/pa/gsy026.

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AbstractThis article discusses the significance of dress codes and clothing in postcolonial Myanmar’s successive legislatures. Burmese representatives have since the 1950s been strongly encouraged to wear dignified garb and non-Western dress when carrying out their duties in parliament. What does it tell us? The contribution of this study based on field interviews and the analysis of newspaper reports and parliamentary procedures, is threefold. It first sheds light on Myanmar’s understudied parliamentary history and some of its startling institutional continuities despite decades of military rule. It then shows how the fashioning and reinvention of traditional attires by Burmese parliamentarians has accelerated the pace of decolonisation, while serving as an effective tool of representation. Lastly, it argues that the ritual of dress in parliament has contributed to a persistent reification of identities, thereby reinforcing the politicisation of ethnicity in an already fragmented Myanmar society.

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Tozer, Jane. "Cunnington's Interpretation of Dress." Costume 20, no. 1 (January 1, 1986): 1–17. http://dx.doi.org/10.1179/cos.1986.20.1.1.

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The theme of the 1984 Costume Society Symposium was The Meaning of Dress, and I was asked to give a lecture with the working title Interpreting Dress: Cunnington and After. Cunnington's output is so prodigious, and parts are so little discussed, that there was no time to cover later writers in any depth, and I concentrated on three aspects of Cunnington's work: the methods and philosophy behind the collection, his methods of recording that collection, and finally some parts of his theoretical writings which, though dated, still exert a pervasive influence on costume studies. This article is revised and expanded from that lecture. C. W. and P. Cunnington were fortunate in their collaborators, Alan and Valerie Mansfield, Catherine Lucas, and the illustrators Barbara Phillipson and Mary Gardiner, and their contribution to the standard works should be acknowledged. In discussing work on the psychology of dress, I have concentrated almost entirely on C. Willett Cunnington, to the exclusion of his wife Phillis. The building of the collection and the historical research were a harmonious and fruitful collaboration, but the theories appear to have originated in C. W. Cunnington alone. The major historical works, the twin volumes on English Women's Clothing, the Dictionary and the Handbooks are a great, enduring achievement, to which we are all indebted, and they play little part in my critique of the theoretical writings. Neither have I touched on the pioneering work on men's tailoring, which post-dates the sale of the collection to Platt H all, and the formulation of his psycho-sexual theories.

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BES, LENNART. "Sultan among Dutchmen? Royal dress at court audiences in South India, as portrayed in local works of art and Dutch embassy reports, seventeenth–eighteenth centuries." Modern Asian Studies 50, no. 6 (June 30, 2016): 1792–845. http://dx.doi.org/10.1017/s0026749x15000232.

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AbstractFrom the fourteenth century CE onwards, South Indian states ruled by Hindu kings were strongly influenced by politico-cultural conventions from Muslim-governed areas. This development was, for instance, manifest in the dress and titles of the rulers of the Vijayanagara empire. As has been argued, they bore the title of sultan and on public occasions they appeared in garments fashioned on Persian and Arab clothing. Both adaptations exemplified efforts to connect to the dominant Indo-Islamic world. From Vijayanagara's fragmentation in the sixteenth and seventeenth centuries, new Hindu-ruled kingdoms arose. We may wonder to what extent those succeeding polities continued practices adopted from Islamic courts. With that question in mind, this article discusses royal dress at court audiences in four Vijayanagara successor states, chiefly on the basis of embassy reports of the Dutch East India Company and South Indian works of art. It appears that kings could wear a variety of clothing styles at audiences and that influences on these styles now came from multiple backgrounds, comprising diverse Islamic and other elements. Further, not all successor states followed the same dress codes, as their dynasties modified earlier conventions in different ways, depending on varying political developments.

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Létourneau, Anne, Ellen De Doncker, and Olivier Roy-Turgeon. "A Parade of Adornments (Isa 3:18–23): Daughters Zion in the Light of Gender and Material Culture Studies." Open Theology 8, no. 1 (January 1, 2022): 445–59. http://dx.doi.org/10.1515/opth-2022-0219.

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Abstract This article investigates the list of items of dress worn by the daughters Zion in Isa 3:18–23, as they are simultaneously stripped of them. It considers the poetic aspects of this list before turning to specific items, both jewelry and clothing, worn by the daughters in verses 18 and 22. These objects contribute to the complex characterization of the daughters Zion, as it poetically brings together a thick array of aesthetic, religious and traumatic meanings, and experiences.

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Naven, Lynn, James Egan, Edward M. Sosu, and Sara Spencer. "The influence of poverty on children’s school experiences: pupils’ perspectives." Journal of Poverty and Social Justice 27, no. 3 (October 1, 2019): 313–31. http://dx.doi.org/10.1332/175982719x15622547838659.

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This study examined the potential influence of policies and practices on the ability of children from low-income families to participate fully in the school day. Pupils from six schools participated in 71 focus groups and revealed a range of barriers affecting their school experience: transport costs and limited support; clothing costs, stigma and enforcement of school dress codes; material barriers to learning at school and home; concerns about free school meals; missing out on school trips, clubs and events.Findings on school uniform were an important catalyst towards a recent policy change in Scotland in increasing the school clothing grant.

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WILSON, CHRIS. "Dressing the Diaspora: Dress practices among East African Indians,circa1895–1939." Modern Asian Studies 53, no. 2 (September 27, 2018): 660–89. http://dx.doi.org/10.1017/s0026749x17000075.

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AbstractThis article analyses the dress practices of East African Indians from the late nineteenth century to the middle of the twentieth century, which have failed to attract much scholarly attention. It begins by examining the ways in which very material interactions with items of clothing, while separated from the body, were productive of identities and communities among Indian tailors, shoemakers, Dhobis, and others in East Africa. It then turns away from a specific focus on questions of identity to consider the ways in which dress was incorporated into the diasporic strategies of East African Indians as they sought to negotiate the Indian Ocean world. Finally, it explores how, where, and when Indians adopted particular dress practices in East Africa itself, to illuminate the role of dress in orderings of space, colonial society, and gender. The analytic value of dress, this article contends, lies in its universality, which allows for the recovery of the everyday lives and efforts of ordinary East African Indians, as well as a new perspective on elite diasporic lives.

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Ron, Zvi. "Stripes, Hats, and Fashion." Modern Judaism - A Journal of Jewish Ideas and Experience 40, no. 3 (September 1, 2020): 312–26. http://dx.doi.org/10.1093/mj/kjaa011.

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Abstract This article examines the relationship between fashion and Jewish clothing. Certain clothing elements that are today considered signifiers of Jewish people, even among non-Jews, did not begin as specifically Jewish clothing. They started as the fashion of the general society but were retained by the Jewish community even after the fashions changed in the general world. In this article, we trace the process by which three such elements became associated specifically with Jews and Jewish ritual practice: the striped tallit, Hasidic dress, and black hats. Black hats are the most recent example of this process, and in this case have also developed legal significance in some Orthodox circles. This results in a fashion element being prevented from ever going out of style by virtue of being considered a halachic requirement.

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Candy, Fiona Jane. "The Fabric of Society: An Investigation of the Emotional and Sensory Experience of Wearing Denim Clothing." Sociological Research Online 10, no. 1 (June 2005): 124–40. http://dx.doi.org/10.5153/sro.965.

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This article aims to open up the realms of sensory experience and affect in connection with the wearing of clothing. By creating a visual focus on denim, an ‘ordinary’ everyday style of generic urban dress, my intention is to present a new approach to the study of clothing in general. This approach is concerned with the study of the clothed body and the experiences of wearers, rather than as fashion, which tends to take up only the onlooker's viewpoint. This article intends to establish the need for such an approach, to stimulate the reader's sensibilities in relevant ways and to report on path finding experiments that indicate ways forward for future work.

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JACKSON, PHILIPPA. "Parading in public: patrician women and sumptuary law in Renaissance Siena." Urban History 37, no. 3 (November 15, 2010): 452–63. http://dx.doi.org/10.1017/s0963926810000568.

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ABSTRACT:In Renaissance Italy clothing, particularly of women, was strictly regulated; individuals were regularly denounced when walking through the city. Modesty was a virtue in a republican state and dress played a major part in urban identity, reflecting social values and those of the political regime. Sumptuary laws were a major mode of control, particularly of patrician women, whose dress reflected both their own and their family's wealth and status. Despite increased availability of luxurious fabrics encouraged by urban policies, legislation was used to prohibit new forms of dress and raise money for state coffers. At the end of the fifteenth century Pandolfo Petrucci (1452–1512) took control of Siena. The inner elite of his regime, particularly its female members, were given exemptions from the strict legislation and were able to flaunt their elevated status and the new social order.

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Bethke, Svenja. "How to dress up in Eretz Israel, 1880s–1948: A visual approach to clothing, fashion and nation building." International Journal of Fashion Studies 6, no. 2 (October 1, 2019): 217–37. http://dx.doi.org/10.1386/infs_00006_1.

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This article provides a methodological approach to the integration of Zionist photographs into research on the pre-state Jewish community in Eretz Israel from the end of the nineteenth century until the foundation of the Jewish state in 1948. By focusing on dress, and drawing on visual culture and fashion studies, the article highlights the role of the individual in nation building and foregrounds the influence of various migrant groups in the emergence of a national project. While scholarship has largely ignored the role of dress, and especially male dress, in pre-state settings, the article takes the example of Eretz Israel to show how examining dress in Zionist photographs sheds light on the experimental and transnational character in search of a new Hebrew culture. By examining three photographs of socialist Zionist groups of the second Aliyah, the article shows how male Zionist settlers integrated transnational dressing habits and fantasies about their imagined homeland. They created a new way of dressing as an expression of political agendas that were interconnected with the reinvention of a new image of the male Jew. Looking beyond the case study of Eretz Israel, the article stresses the broader relevance of dress in the negotiations and power struggles at the micro level of a pre-state community and the emergence of national clothing ideals. It concludes by outlining ways of refining the methodological approach, and suggesting future research avenues at the intersection of fashion studies and nation building by shifting the focus towards case studies prior to the existence of national fashion systems.

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Narayanan, Hamsikaa. "A BRIEF STUDY ON THE CORPORATE DRESSING IN CHENNAI, TAMIL NADU, INDIA USING PRIMARY DATA." JBFEM 2, no. 2 (October 26, 2019): 121–26. http://dx.doi.org/10.32770/jbfem.vol2121-126.

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The clothes we wear are the major tool that determines us. In that sense, the dress we wear must be carefully chosen. Clothing has its own power, the power of motivation that is with confidence and determination which helps us to reach our goal. Many studies have proved that the power of dressing can change an individual’s physical and mental behavior and it also has the ability to change the person’s attitude in various aspects. This paper tries to attempt to conduct a survey among the corporate employees and compare the style of clothing they are allowed to wear and the clothing style they chose to wear and the attire’s impact in their workspace. The raw data as such, looks like as though there is no correlation in the data. Only after a talk with the respondents there was clarity found in data. Some corporate companies did not permit employees to wear casual attire. Overall the result was that some people accepted the code of dressing given by the company, but some did not. They wanted a change.

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Tyson, Amy M., Charlotte Perkins Gilman, Michael R. Hill, and Mary Jo Deegan. "The Dress of Women: A Critical Introduction to the Symbolism and Sociology of Clothing." Contemporary Sociology 31, no. 6 (November 2002): 717. http://dx.doi.org/10.2307/3089949.

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Hackett, Lisa J. "‘Biography of the self’: Why Australian women wear 1950s style clothing." Fashion, Style & Popular Culture 00, no. 00 (April 16, 2021): 1–25. http://dx.doi.org/10.1386/fspc_00072_1.

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This article aims to understand why one cohort of Australian women choose to wear anachronistic clothing, in this case, 1950s inspired and styled clothing, and more so, why they choose to wear this style of clothing as part of their everyday lives. While some wearers of anachronistic clothing, such as civil war re-creators or Jane Austen enthusiasts, dress for particular social events and revert to ‘everyday’ clothing in their daily lives, this research seeks to examine why this cohort of 1950s fashion aficionados maintain this aesthetic in their everyday work and social lives. The research findings are based on in-depth semi-structured interviews with 27 Australian women, aged from their 20s to their 60s, living in urban and regional locations. The purpose of the project was to uncover the psychological and sociological reasons for their sartorial everyday choices. In doing so a number of issues emerged notably interpretations of what constituted 1950s styled clothing. In the discussion of the findings, it was found that the reasons for this fashion choice were complex ranging from personal, psychological, sociological, gendered, nostalgic and political reasons for adopting this style.

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Twigg, Julia. "Dress, gender and the embodiment of age: men and masculinities." Ageing and Society 40, no. 1 (August 31, 2018): 105–25. http://dx.doi.org/10.1017/s0144686x18000892.

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AbstractThe study explores the role of clothing in the constitution of embodied masculinity in age, contrasting its results with an earlier study of women. It draws four main conclusions. First that men's responses to dress were marked by continuity both with their younger selves and with mainstream masculinity, of which they still felt themselves to be part. Age was less a point of challenge or change than for many women. Second, men's responses were less affected by cultural codes in relation to age. Dress was not, by and large, seen through the lens of age; and there was not the sense of cultural exile that had marked many of the women's responses. Third, for some older men dress could be part of wider moral engagement, expressive of values linked positively to age, embodying old-fashioned values that endorsed their continuing value as older men. Lastly, dress in age reveals some of the ways in which men retain aspects of earlier gender privilege. The study was based on qualitative interviews with 24 men aged 58–85, selected to display a range in terms of social class, occupation, sexuality, employment and relationship status. It forms part of the wider intellectual movement of cultural gerontology that aims to expand the contexts in which we explore later years; and contributes to a new focus on materiality within sociology.

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Olson, S. Douglas. "Dressing like the Great King: Amerindian Perspectives on Persian Fashion in Classical Athens." Polis: The Journal for Ancient Greek and Roman Political Thought 38, no. 1 (January 14, 2021): 9–20. http://dx.doi.org/10.1163/20512996-12340306.

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Abstract This paper examines the phenomenon of individual Athenians adopting elements of Persian clothing, making use of exotic items such as gold and silver drinking vessels, and the like, by comparison to what I argue is a similar sort of contact and exchange involving the European fabric trade and evolving standards of dress and fashion in the Early Modern Atlantic. The ancient literary and archaeological sources discussed document the reaction of a relatively insignificant, marginal people (the Greeks) to the dress practices of a more powerful and arguably far more sophisticated imperial power (the Persians). I suggest that an appreciation of the character and intentions of the much better documented encounter between the English court and Amerindian ambassadors who visited it in the early 18th century provides a potentially useful corrective to the indigenous perspective of our Athenian sources.

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Harris, Susanna. "Sensible Dress: the Sight, Sound, Smell and Touch of Late Ertebølle Mesolithic Cloth Types." Cambridge Archaeological Journal 24, no. 1 (February 2014): 37–56. http://dx.doi.org/10.1017/s0959774314000031.

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The aim of this article is to investigate the sight, sound, smell and touch of different cloth types in the Late Ertebølle of southern Scandinavia and to argue that such an approach provides stimulating new insights into an area of material culture that has previously been studied by archaeologists in a highly empirical manner. The archaeological evidence drawn together in this article points to this as a time when furs and skin products were of prime importance and plant fibres were the basis for knotted nets, looped cloth and basketry. In the archaeological literature these cloth types are usually treated separately and described according to the species of raw materials, such as pine marten fur, or the technology of their production, such as couched button-hole stitch. Using an experiment where participants are asked to handle modern cloth types and answer structured questionnaires, it is possible to create a sensory description of these cloth types. These descriptive results are then used to reconsider aspects of cloth and clothing in the Late Ertebølle of southern Scandinavia. By moving from the standard technological description to a sensory description, the Mesolithic cloth types investigated in this article are placed within a sensory and phenomenological theoretical framework. The presentation of these results seeks to provide a new description of these materials and allow archaeologists to revaluate the culturally-embedded nature of cloth and clothing at that time.

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Casselman-Dickson, Marsha A., and Mary Lynn Damhorst. "Use of Symbols for Defining a Role: Do Clothes Make the Athlete?" Sociology of Sport Journal 10, no. 4 (December 1993): 413–31. http://dx.doi.org/10.1123/ssj.10.4.413.

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The purpose of this study was to determine whether cyclists at different levels of involvement in the sport differ in their use of cycling clothing for role definition A social psychological model provides the theoretical framework for the study of 56 female bicyclists. Lower involved cyclists did not show a tendency to use dress to compensate for lack of achievement in the sport role. In addition, no differences were found between higher involved and lower involved cyclists in their expression of individuality through dress and conforming behavior to other cyclists. Possible intervening factors, such as gender role socialization, subcultural norms and traditions, experience, and achievement motivation, as evidenced in previous and present research, were discussed as to how they may confound applicability of the model.

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Carbone, Paola. "Fashion in India: Coercion or a Flag for Freedom?" Pólemos 10, no. 1 (April 1, 2016): 81–100. http://dx.doi.org/10.1515/pol-2016-0005.

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Abstract The essay examines how fashion mediates our knowledge of human relationships in Indian English literature from an anthropological perspective of the value of clothing in Indian culture. The first part of the essay analyses the importance that Gandhi’s khadi had for the independence of India and the role it plays in Mulk Raj Anand’s novel Untouchable (1935). The second part illustrates how sari and salwaar kameez shape Indian femininity and women’s dignity. Dress is viewed as a situated bodily practice which makes social and cultural values visually intelligible. In the study, I do not refer to clothing as “fashion”, but rather as dignity, human rights, discrimination, and justice. The purpose is to underline how a piece of garment can be highly identitarian of a single individual and highly identitarian of a political ideal.

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Yuan, Ying, and Jun-Ho Huh. "Customized CAD Modeling and Design of Production Process for One-Person One-Clothing Mass Production System." Electronics 7, no. 11 (October 23, 2018): 270. http://dx.doi.org/10.3390/electronics7110270.

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Following the development of the Industrial Revolution 4.0, many new types of systems are being designed, introduced, or attempted, even in almost every traditional industry. The clothing industry is no exception. The use of continuously developing production equipment and Information and Communication Technology (ICT) has a single objective, providing a customized service to all customers. Thus, in this study, the primary research task was to identify ill-balanced aspects or disadvantages of the services previously analyzed to construct a more complete online customized service. This was accomplished by analyzing an automated Computer-Aided Design (CAD) output file containing customer requirements regarding individual clothing items. The secondary research task was to plan and design a clothing manufacturing process to which a one-person one-item mass production system has been applied to achieve a customized service. As a result, for the primary research task, the customers’ requirements for each dress were reflected in attributes, such as color, pattern, or size, and it was possible to obtain an automated CAD output file for each element. Such CAD output files can be used in the production process directly. To find the possibility of upgrading the existing dressmaking process and implement the one-person one-item system, the entire manufacturing process was simulated for the test.

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Klassen, Pamela E. "The Robes of Womanhood: Dress and Authenticity among African American Methodist Women in the Nineteenth Century." Religion and American Culture: A Journal of Interpretation 14, no. 1 (2004): 39–82. http://dx.doi.org/10.1525/rac.2004.14.1.39.

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AbstractScholars of American religion are increasingly attentive to material culture as a rich source for the analysis of religious identity and practice that is especially revealing of the relationships among doctrine, bodily comportment, social structures, and innovation. In line with this focus, this article analyses the ways nineteenth-century African American Methodist women turned to dress as a tool to communicate religious and political messages. Though other nineteenth-century Protestants also made use of the communicative powers of dress, African American women did so with a keen awareness of the ways race trumped clothing in the semiotic system of nineteenth-century America. Especially for women entering into public fora as preachers and public speakers, dress could act as a passport to legitimacy in an often hostile setting, but it was not always enough to establish oneself as a Christian lady. Considering the related traditions of plain dress and respectability within the African Methodist Episcopal (AME) church, this essay finds that AME women cultivated respectability and plainness within discourses of authenticity that tried—with some ambivalence—to use dress as a marker of the true soul beneath the fabric. Based primarily on the autobiographical and journalistic writings of women such as Jarena Lee, Amanda Berry Smith, Hallie Q. Brown, and Frances Ellen Watkins Harper, as well as accounts from AME publications such as the Christian Recorder and the Church Review, and other church documents, the essay also draws on the work of historians of African American women and historians of dress and material culture. For nineteenth-century AME women, discourses of authenticity could be both a burden and a resource, but either way they were discourses that were often remarkably critical, both of selfmotivation and of cultural markers of class, race, and gender in a world that made a fetish of whiteness.

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Rahmah Bt. Ahmad H. Osman, Mohamad Firdaus Mansor Majdin, Fauziah Fathil, Md Salleh Yaapar, and Saleh Al Zuheimi. "Revisiting Omani Legacy in Malaya through the Royal Kedah Dress: Reassessment." Journal of Islamic Thought and Civilization 12, no. 1 (June 12, 2022): 48–74. http://dx.doi.org/10.32350/jitc.121.03.

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This paper seeks to examine the legacy of the Omani presence in the states of Malaysia, which arguably has made itself apparent in the royal dress of the Kedah Sultanate. This discovery indeed calls for further investigation, especially on how the Omani dress later became a model for Kedah royal dress which is famously known as Baju Muskat. Further analysis is essential to determine to what extent did the Kedah Sultanate adopted the Omani dress of the Muscati style and what aspects of the Kedah royal dress resemble the Omani dress substantially. Preliminary research indicates that there are few similarities that one can find between the Omani dress with that of the Kedah royal dress, which is said to be worn by the latter since the 17th century. Reading through the existing literature in the field also reveals one interesting picture that points to the underrepresentation of Omani individuals, merchants, and scholars in the Malay texts as the former tends to describe them, often as Arab traders, or Persian traders. In short, this paper has attempted to explore and examine the above-mentioned circumstances for a better understanding of the subject matter under study through a method of content analysis. Keywords: Well-being, Happiness, Subsistence, Ethical Principles, Arab-Muslim Thought

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Ignatenko, Galina. "Clothing Design and Ornament Function in the Constructivist Fashion of the 1920s-1930s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (June 10, 2020): 56–69. http://dx.doi.org/10.36340/2071-6818-2020-16-2-56-69.

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The development of clothing of the 1920s-1930s and its role in the formation of new productivist art are considered in the article. At the beginning of the 20th century, the world underwent not only enormous changes but also the loss of self-identification, both on a personal level and on a social level. The Russian Avant-Garde of the early 20th century became the prototype of not only new art but also claimed to have created a unified system of values. Artists turned their attention to clothing as a new widespread form of language. At the same time, finding a functional application to their creativity was the task. Reconstructing the role of clothing in human life was part of the "life building" concept of the early 20th century. The implementation of this idea was seen in the creation of a universal formula not only for creative work but also for life. The utopian idea of the unification of clothing formed the basis for the creation of anti-class functional working clothes. The project of creating universal clothing for mass production is a vivid example of the practical embodiment of the new productivist art. The search for a new form of dress, as a new cultural code, seemed an extremely attractive idea both from an ideological and artistic point of view. The new concept of universal clothing for work and sports transmitted the idea of creating a person of a new world - the builder of a new life. At the same time, denying fashion as a gender-oriented art form, constructivists tried to use concise forms, avoiding decoration and deliberate embellishment. The creation of innovative clothing for mass production also brings up the subject of the appearance of a new canon of the image of a woman, which changed not only the idea of an aesthetic ideal but also its role in society. At the same time, laboratories, which in their work synthesized the trends and challenges of the new time already existing in the world of Western fashion, were working. An attempt to unite Western fashion trends, national traditions, and mass production can be traced both in the practices of constructivist artists and in the works of artists who collaborated with Atelier of Fashion. New interpretations of folk traditions, as part of the search for self-identity, influenced the inclusion of a number of ornamental techniques in the artistic practices of the early 20th century. On the example of the creative work of V. Stepanova, L. Popova, and N. Lamanova’s design, different approaches to the formation of new dress are compared. The article analyzes how the transformation of the approach to clothing design becomes an indicator of sociocultural, political, and ideological changes.

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Kannangara, Nisar. "The politics of clothing in postcolonial Indian democracy." Clothing Cultures 6, no. 2 (June 1, 2019): 237–47. http://dx.doi.org/10.1386/cc_00014_1.

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Since colonial times, clothing has had a phenomenal and perhaps complex political implication in Indian politics. The political leaders Mahatma Gandhi, B. R. Ambedkar, Jawaharlal Nehru and others had used their attire to exhibit their politics and ideology. In postcolonial India, the ideological battle between different political parties and the various ideological movements have often used clothing as one of the most effective medium to express their loyalty, identity and differences. However, the politics of clothing, its colours and the style of wearing in the democratic Indian context have received little academic attention. This article attempts to explore some aspects of clothing in postcolonial Indian democracy through an in-depth study. The researcher engages in an ethnographic investigation to understand the ways in which different political ideologies are exhibited through clothing and how it is used to display their political identity in public spaces. The article argues that beyond a system of governance, democracy contributes to shaping people’s imagination of clothing, create meaning for specific colours, style of wearing and pave the way for physical and symbolic forms of violence and conflict.

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Collins, Lucy. "‘What’s far fetch’d, and dearly bought’: The Politics of Clothing in Poetry from Eighteenth-Century Ireland." Review of Irish Studies in Europe 2, no. 1 (March 19, 2018): 124–38. http://dx.doi.org/10.32803/rise.v2i1.1714.

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This essay examines the representation of clothing in eighteenth-century poetry from Ireland, and the implications of this representation for our understanding of the interwoven character of individual subjectivity and commodity culture. The sourcing and consumption of textiles played an important role in the economics of individuals and households in Ireland, and may be linked in turn to an increase in overseas trade, and to the political impact of these developments. In addition to its practical effects, the depiction of dress in verse texts offers symbolic readings, and is linked to questions concerning representation itself and to the process of self-fashioning in times of social change.

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Middlemiss, Sam. "Not what to wear? Employers’ liability for dress codes?" International Journal of Discrimination and the Law 18, no. 1 (February 18, 2018): 40–51. http://dx.doi.org/10.1177/1358229118757867.

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This article argues that in the United Kingdom currently there is a lack of an effective legal basis for challenging the imposition by employers of unfair or discriminatory dress codes in the workplace on employees or workers. Given the breadth of this topic, it will not be possible to also consider appearance or grooming standards such as outlawing beards or banning piercings or tattoos. Also consideration will be restricted to the aspects of discrimination which are contentious or most affected by dress codes or have not been dealt with in detail elsewhere namely sex and transgender discrimination. It is sadly the case that there is often uncertainty on the part of both employers and employees about when dress codes are acceptable or not and this should be addressed. There have been a number of research studies and legal cases highlighted recently which make this article timely. The cases tend to support the employers managerial prerogative to impose dress restrictions. Of recent interest is an incident where a woman was sent home from work on her first day for not wearing high heels which caused a public outcry, of which, more later. Clearly dress codes are often contentious and can lead to the discontent of employees and workers. In the absence of adequate legal protection in the United Kingdom, this article will examine what steps should be taken by management and legislators to deal with the problem of dress codes.

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Pazzini, Claudia. "L’abito immaginato. Abbigliamento e identità nell’albo illustrato moderno." Journal of Literary Education, no. 3 (December 12, 2020): 160. http://dx.doi.org/10.7203/jle.3.17235.

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The essay focuses on the examination of a selection of children’s picture books on the theme of clothing as an element of identity and as a means of personal and social transformation. The gender stereotype has always deprived children of the freedom to imagine themselves different from the imposed social model. Modern quality literature aims to free childhood from these constraints through stories that encourage the free expression of one's personality. "Clothing and childhood" is one of the binomial in which these themes appear most evident. While developing different plots, each selected book tells a story enriched by several levels of reading, more or less evident, and this is also due to particularly accurate illustrations, capable of adding further nuances to the text. Furthermore, even if characterized by the symbolic presence of clothes, these picture books do not make them the narrative fulcrum. In each of these case studies, clothing becomes a pretext for a journey of self-discovery and affirmation of one's individuality in the world. These case studies are a concrete example of the potential of the picture book as a vehicle of complex concepts and stratifications of complementary or parallel meanings that emerge from the dynamic relationship of the text with the image. Each double page opens multiple, free interpretative paths that can be taken at each reading, as the eye catches new aspects and the thought opens up to new discoveries. The imaginary dress is therefore one of the many parallel topics that it was possible to address through these books, with which the possible interpretations of clothing in children's literature have been explored, highlighting above all how much garments are objects charged with metasignification or with projections of a identity in formation such as the one of children.

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Sun, Peidong. "The Collar Revolution: Everyday Clothing in Guangdong as Resistance in the Cultural Revolution." China Quarterly 227 (June 13, 2016): 773–95. http://dx.doi.org/10.1017/s0305741016000692.

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AbstractScholars have paid little attention to Maoist forces and legacies, and especially to the influences of Maoism on people's everyday dress habits during the Cultural Revolution. This article proposes that people's everyday clothing during that time – a period that has often been regarded as the climax of homogenization and asceticism – became a means of resistance and expression. This article shows how during the Cultural Revolution people dressed to express resistance, whether intentionally or unintentionally, and to reflect their motivations, social class, gender and region. Drawing on oral histories collected from 65 people who experienced the Cultural Revolution and a large number of photographs taken during that period, the author aims to trace the historical source of fashion from the end of the 1970s to the 1980s in Guangdong province. In so doing, the author responds to theories of socialist state discipline, everyday cultural resistance, individualism and the nature of resistance under Mao's regime.

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Barry, Ben. "(Re)Fashioning Masculinity: Social Identity and Context in Men’s Hybrid Masculinities through Dress." Gender & Society 32, no. 5 (May 30, 2018): 638–62. http://dx.doi.org/10.1177/0891243218774495.

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Modern Western society has framed fashion in opposition to hegemonic masculinity. However, fashion functions as a principal means by which men’s visible gender identities are established as not only different from women but also from other men. This article draws on the concept of hybrid masculinities and on wardrobe interviews with Canadian men across social identities to explore how men enact masculinities through dress. I illustrate three ways men do hybrid masculinities by selecting, styling, and wearing clothing in their everyday lives. The differences between these three hybrid masculine configurations of practice are based on the extent to which men’s personal and professional social identities were associated with hegemonic masculine ideals as well as the extent to which those ideals shaped the settings in which they were situated. Although participants had different constellations of gender privilege, they all used dress to reinforce hegemonic masculinity, gain social advantages, and subsequently preserve the gender order. Failing to do so could put them personally and professionally at risk. My research nuances the hybrid masculinities framework by demonstrating how its enactment is shaped by the intersection between men’s social identities and social contexts.

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Apriani, Dini, and Ansori Ansori. "UPAYA PENGELOLA LKP SRIKANDI DALAM MENINGKATKAN KOMPETENSI PROFESIONAL PESERTA TATABUSANA MELALUI PENDEKATAN ANDRAGOGI." Comm-Edu (Community Education Journal) 1, no. 2 (May 27, 2018): 7. http://dx.doi.org/10.22460/comm-edu.v1i2.591.

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LKP Srikandi located in Padasuka Cimahi Tengah village, LKP is organizing a superior course program that is the culinary and clothing arrangement. The study aimed to find out whether there is an increase in professional competence of fashion course participants. This research includes qualitative research. The research method used a qualitative method with Andragogy approach. The independent variable is the effort of LKP Srikandi management. While the dependent variable is the improvement of professional competence of course dress participants. The population in the study were all participants of fashion in LKP Srikandi with a sample of 5 dresses course participants. The results of this study (1) show the existence of more pleasing conditions in learning sewing (2) managers are more innovative in providing direction, skills improvement (3) improvement of professional competence of learners in the field of fashion in the form of knowledge progress and understanding of skills gained as well as improvement The three aspects are cognitive, psychomotor and affective.

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Getz-Salomon, Rachel. "Outskirt: The skirt as a queer object." Fashion, Style & Popular Culture 00, no. 00 (July 20, 2022): 1–10. http://dx.doi.org/10.1386/fspc_00141_1.

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The queer thought supports identities that blur the boundaries between social categories, blending them through different hybrids. In this article, the queer involvement with the subject world is projected on the world of objects, focusing on clothing objects. Unlike the tight, western wardrobe organized in an upright logic, the skirt is an object with diverse, free and hybrid possibilities for cultural definition, calling upon a discussion for identity aspects. These are embodied in the possibilities for identity performance while presenting protection and concealment or as self-expression and exposure. In this article, the view on the skirt is paused, creating de-automatization in its regard; the article examines the skirt’s material qualities using ‘anthropology of the object’, in which the material aspects are examined while considering its history understanding its sociological and cultural role. The article claims that the skirt’s changing, contradictory and fluid characterizations mark it as a different, unusual dress in the modern wardrobe array. Therefore, it is a free and ‘other’ factor, the wardrobe’s queer. The article states that it is an object containing diverse, free and hybrid possibilities for cultural definition, gender fluidity and the ability to undermine the binary division of wearable objects.

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Journal articles on the topic 'Clothing and dress – Political aspects'

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