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Journal articles on the topic 'Wedding dress'

Author: Grafiati

Published: 24 June 2021

Last updated: 28 May 2022

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1

IRENA, FUNDUK, and PAVKO-ČUDEN ALENKA. "Constructional, performance and social characteristics of contemporary Slovenian wedding dress." Industria Textila 68, no. 01 (March 1, 2017): 17–21. http://dx.doi.org/10.35530/it.068.01.1309.

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The white wedding dress is still very popular among today’s brides from many cultures and societies. It is still presented as a magical manifestation of all that is sacred. On the other hand, popular white wedding ideals are strongly advertised and constantly presented in numerous movies and reality shows, magazines and commercials. Contemporary bridal culture and fashions in Slovenia are created in wedding salons with their rental collections, which follow the globally popular trend of Western white weddings. The purpose of the research was to study the symbolic meanings of the white wedding dress in Slovenia, and to explore and identify its constructional, performance and social characteristics. The mixed methods approach was used. First, critical discursive analysis (CDA) was used to identify the symbolic meanings of the white wedding dress in the context of gender relations. Additionally, a quantitative approach was conducted with an aim to evaluate the presence and strength of previously identified elements. In the qualitative research, symbolic elements of the contemporary white wedding dress: entrapment, dependency, slenderness, inauthenticity and exaggerated attributes of brides bodies were identified. The results of the quantitative research proved that all identified symbolic elements are very strongly present in contemporary Slovenian bridal fashion

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2

Giorgio, Grace. "The Wedding Dress." Qualitative Inquiry 15, no. 2 (February 2009): 397–408. http://dx.doi.org/10.1177/1077800408318299.

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3

Staniland, Kay. "Princess Charlotte's Wedding Dress." Costume 34, no. 1 (January 1, 2000): 70–80. http://dx.doi.org/10.1179/cos.2000.34.1.70.

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4

Powell, Cornelia. "Wedding Dress Across Cultures." Journal of American Culture 27, no. 2 (June 2004): 255–57. http://dx.doi.org/10.1111/j.1537-4726.2004.133_31.x.

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Williford, Lex. "My Mother's Wedding Dress." Prairie Schooner 77, no. 2 (2003): 21–26. http://dx.doi.org/10.1353/psg.2003.0059.

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Slavinska, Alla, Tatyana Verzhbyczka, and Oksana Syrotenko. "THE SCREEN-WAY OF FORMING WEDDING GRAPHICS IN THE UKRAINIAN TRADITION." International Conference on Technics, Technologies and Education, ICTTE 2019 (2019): 369–79. http://dx.doi.org/10.15547/ictte.06.022.

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The "screen" way of determining the stylistics of the Ukrainian wedding dress on the basis of the rhythmic structure of an ethnic costume is offered. The modern ensembles of the bride and groom in the Ukrainian style are actually analyzed. The photos plates of ideas for wedding ensembles for the "screen"- survey are developed. The capsules of the traditional Ukrainian ethnic dress in the compositional transformation of the bride’s wedding dress have been explored. A short notation of the geometry of a form of a wedding dress in the Ukrainian style has been developed. The triangle of the compositional dominant of the main part of the embroidery and the identity of the authenticity of the image is determined.

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Walsh, Kristin Harris. "“You just nod and pin and sew and let them do their thing”." Ethnologies 27, no. 2 (February 23, 2007): 239–59. http://dx.doi.org/10.7202/014048ar.

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The bridal gown is perhaps one of the most highly symbolic objects in the contemporary wedding ceremony. Fraught with images of sexuality and femininity, the bride conveys multiple messages with her choice of dress colour, style and adornment. As such, the dress communicates and performs as a significant material culture object within the custom of the wedding. This article examines the wedding dress within the North American context through the experiences of Nancy Harris, a dressmaker. The author discusses the struggles of the bride as she negotiates with family, friends and societal conventions while expressing herself through her choice of dress.

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Mida, Ingrid E. "On Objects and Things: The Wilkie Wedding Dress and the Drawings of Sarah Casey." Museum and Society 17, no. 3 (November 29, 2019): 295–300. http://dx.doi.org/10.29311/mas.v17i3.3213.

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Clothing is often cherished long after memories have begun to fade and the inevitable process of decay have begun. Such is the case with the silk wedding dress and bridal veil worn by Evelyn Normand Wilkie (1902-1969) in her 1927 wedding to Douglas Howard in Nova Scotia, Canada. Her homemade dress has now yellowed and the silk is shattered and given its poor condition the dress is an unlikely candidate for acceptance into a museum or study collection. This object biography probes the thingly presence of Wilkie's wedding dress as an object and as the source of creative inspiration for the drawings of artist Sarah Casey that became the focus of a 2019 exhibition at Ryerson University in Toronto.

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Zhang, Lijuan, and Chahyun Kim. "DESIGN PROPOSAL FOR A VARIABLE WEDDING DRESS ACCORDING TO CURRENT KOREAN-CHINESE WEDDING DRESS CONDITIONS." Global Fashion Management Conference 4, no. 9 (June 30, 2015): 635–36. http://dx.doi.org/10.15444/gfmc2015.04.09.19.

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10

이현정. "Wedding Dress Design for Handicapped People." Research Journal of the Costume Culture 18, no. 6 (December 2010): 1254–60. http://dx.doi.org/10.29049/rjcc.2010.18.6.1254.

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Wulandari, Lisa Okta. "Cultural Hegemony: White Gown vs Traditional Dress." Digital Press Social Sciences and Humanities 2 (2019): 00012. http://dx.doi.org/10.29037/digitalpress.42263.

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Traditional dress defines a local identity of a culture, place, tribe, or race. Nowadays, traditional dresses are only worn on some ceremonies such as wedding ceremony and even so, many people do not wear any kind of traditional attire in attending a wedding. Instead, they use the modern one. In this era, women are familiar with the white gown for the wedding. Instead of wearing the traditional dress, they rather choose a white gown for some reasons such as the needs, the condition, efficiency, or interest. However, besides those personal reasons, there are also external factors such as economy, social, and even politics. These all factors happen in one process called globalization. They are connected through the process of globalization. In this process, those factors influence the local identity, which in this case is a traditional dress, in engaged with a white gown. Also, it can be identified whether the traditional dress can survive, or it is replaced by a white gown and what condition in globalization makes traditional dress survive or not.

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12

Zhilisbayeva, R. O., and E. K. Dosanov. "Designing a wedding dress using the transformation method." Journal of Almaty Technological University, no. 3 (January 16, 2021): 9–13. http://dx.doi.org/10.48184/2304-568x-2020-3-9-13.

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The article offers several options for a wedding dress developed using the transformation method. The purpose of this article is the artistic design of a women's wedding set. To achieve this goal, a number of interrelated issues and tasks were considered and solved: the study and use of fashion trends, analysis of creative sources, development of a promising collection of clothing models, and execution of a technical sketch of the model. As a result of the research, a set of wedding dresses was developed.

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Urban-Mead, Wendy. "Negotiating 'Plainness' and Gender: Dancing and Apparel at Christian Weddings in Matabeleland, Zimbabwe, 1913-1944." Journal of Religion in Africa 38, no. 2 (2008): 209–46. http://dx.doi.org/10.1163/157006608x289684.

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AbstractThis article analyzes the phenomena of dancing and wedding apparel in weddings of rural members of an unusual Protestant denomination of Anabaptist origins in Matabeleland, colonial Zimbabwe. The focus is on gendered aspects of African Christian adaptation of mission teaching amongst Ndebele members of the Brethren in Christ Church. The church in North America was firm at home on the matter of dancing (it was forbidden), and internally conflicted regarding men's garb. In the decades preceding World War II, African members of the church embraced fashionable dress for grooms and dancing at wedding feasts as common practice at BICC weddings. However, in a gendered pattern reflecting Ndebele, colonial and mission ideas of women's subjection, African women's bridal wear adhered to church teaching on Plainness, while African men's did not.

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Niu, Li, Tingting Xia, Rongrong Cui, and Jie Lu. "Emergence of Chinese Han Retro Wedding Dress." Asian Social Science 12, no. 7 (June 21, 2016): 42. http://dx.doi.org/10.5539/ass.v12n7p42.

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<p>Social changes led to the gradual disappearance of traditional Han costume. While in the context of national cultural revival, the "Chinese Hanfu movement" has given rise to the appearance and commercialization of Han Retro Wedding Dress, which including "Zhou style", "Han style", "Tang style", "Song Style" and "Ming style." Chinese history and culture, social democratic environment, economical market promotion and diverse aesthetic needs give the soil for these dresses. While contemporary wedding dresses in China are mostly westernized, and these retro dresses bring certain "reverse cultural shock" to Chinese marriage custom. The key of dealing with the "reverse cultural shock" and reviving Chinese costume culture should be following the market rules with sufficient cultural consciousness of the whole Chinese nation.<strong></strong></p>

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15

Saranzaya, 김정실, and 오순. "Wedding Dress Design based on Body Type." Journal of Korea Design Forum ll, no. 52 (August 2016): 179–90. http://dx.doi.org/10.21326/ksdt.2016..52.016.

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16

Finnane, Antonia. "Framing the Bride: Globalizing Beauty and Romance in Taiwan's Bridal Industry. By Bonnie Adrian. [Berkeley: University of California Press, 2003. xiii +297 pp. Hard cover £36.95; $55.00, ISBN 0-520-23833-8; paperback £14.95; $21.95, ISBN 0-520-23834-6.]." China Quarterly 180 (December 2004): 1118–19. http://dx.doi.org/10.1017/s0305741004360765.

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In this engaging study of weddings in contemporary Taiwan, anthropologist Bonnie Adrian documents a rite of passage recognizable across the world from its major visual representation: the wedding photograph. Photographs prompted her early questions and provided her with the point of departure for her research. Why do couples have so many wedding photos? Why do they wear so many different costumes in the photos? Where are the photos of family members? What precisely is the cultural content of such photos, overtly Western – the bride usually in white dress and veil, the groom in morning or evening suit – yet puzzlingly different?Answers to these questions are suggested in the course of many small journeys through the strange, theatrical world of the Taipei wedding: the bridal salons, which rent out the clothes and take the photographs; the wedding rites and wedding banquet, where the bride changes from one gown to another; the marital home, where the massive photo album is kept, to be drawn out for the admiration of guests or, in later years, for a woman to recall her youth and beauty at the moment she passed from single to married life. The typical photo session is described in fascinating detail. The session occurs before the wedding, and usually takes a whole day. At the wedding banquet guests can look at the photos, which typically contain an astonishing range of images of bride and groom in a variety of poses, places and costumes. Thousands might be spent on a good collection of wedding photos, none of which record the actual wedding.

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kamicheril, rohan. "A Kodava Wedding." Gastronomica 12, no. 4 (2012): 55–60. http://dx.doi.org/10.1525/gfc.2012.12.4.55.

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The Kodavas have traditionally lived in the Kodagu precinct of the southern Indian state of Karnataka. Their mode of dress, rituals, and physical appearance differ in many ways from that of many of their other neighbors in the south. Traditionally a community that subsisted on farming (rice and later coffee, among other crops), many of the ceremonies of the Kodavas revolve around the harvest calendar. Their wedding rituals, in particular, provide a fascinating look into the agricultural underpinnings of this unique group of people. This article documents the details of a two-day wedding ceremony held outside Madikeri, the capital of Kodagu, with a special emphasis on the culinary traditions on display.

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18

Kim, Kyeong-Hwan, and Tae-Il Kwon. "Hanbok wedding dress and wedding nail art design utilizing Pantone’s fashion color trend." Journal of Korean Traditional Costume 22, no. 1 (March 31, 2019): 137–48. http://dx.doi.org/10.16885/jktc.2019.03.22.1.137.

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Yeon Soo Kim, LEEINSEONG, and 김동은. "Analysis of the wedding dress design factor align with value consumption wedding culture." Journal of the Korea Fashion & Costume Design Association 20, no. 2 (June 2018): 1–16. http://dx.doi.org/10.30751/kfcda.2018.20.2.1.

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20

Kim, Young Joo, and Sun Nye Lim. "Hair Up-styling Techniques by Wedding Dress Image." Journal of Industrial Convergence 18, no. 3 (June 30, 2020): 63–72. http://dx.doi.org/10.22678/jic.2020.18.3.063.

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21

Huk, Romana. "“A Single Liturgy”: Fanny Howe's the Wedding Dress." Christianity & Literature 58, no. 4 (September 2009): 657–93. http://dx.doi.org/10.1177/014833310905800417.

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22

Iriani, Zora. "MALAM BAKURUANG (BERKURUNG) DALAM PERKAWINAN ALEK GADANG DI KENAGARIAN SALAYO KECAMATAN KUBUNG KABUPATEN SOLOK." Humanus 11, no. 1 (December 18, 2012): 12. http://dx.doi.org/10.24036/jh.v11i1.619.

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This research is conducted in the Salayo Nagari (local state), Kubung District, Solok Regency. There, the traditional wedding Perkawinan Alek Gadang includes the interesting ceremony of Malam Bakuruang, which is celebrated by slaughtering cow and water buffalo. There are several activities in the wedding; pulang dahulu (the groom comes home after the akad nikah (marriage contract), before the wedding ceremony), maanta nasi patang (the bride’s family presents foods for the groom’s family in the afternoon after the groom’s home), manurunkan marapulai (dress the groom), maanta marapulai (escort the groom to the bride’s house), malam bakuruang (the slaughtering ceremony), and arak-arakan (parade). Key words: Minangkabau traditional wedding, Alek Gadang, Malam Bakuruang

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23

Gadzhalova, Fatima Amirbekovna. "MODERN KUBACHI WEDDING (ACCORDING TO FIELD MATERIAL OF 2017-2018)." History, Archeology and Ethnography of the Caucasus 18, no. 1 (March 31, 2022): 167–95. http://dx.doi.org/10.32653/ch11167-195.

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The paper is based on the field ethnographic material, collected in the village of Kubachi, Dakhadaevsky district of Dagestan. The method of participant observation was used for obtaining the material, while the source base for the study consisted of the interviews with the residents of the village and urban Kubachins. The Kubachi wedding is a complex of specific customs and rituals, which last for three days in a certain sequence within the context of the mountain village. Local features and key points of a modern rural wedding are described. The author considers the traditional festive women’s costume as part of the whole wedding ceremony: these are dresses of a bride and closest married women of the family. Features of a collective wedding procession, which carries a certain function for each of the three days of the ceremony, are discussed: the rite of matchmaking with gifts on the first day, the relocation of the bride with relatives to the groom’s house on the second day, and the transfer of dowry on the third day of the wedding. The custom of the wedding ritual-show in the open air, accompanied with food and music, dances and mummers’ games is revealed. The material on the types of wedding food, traditions of its cooking is considered. The paper also discusses the custom of good-wishing and magic rituals, performed during the wedding, as well as the symbolism and their function. Among these rituals are: showering the bride with sweets, concealing the face with a veil, honey treating; features of popular magic beliefs on even numbers are also mentioned. The study also proposes material on city weddings of the Kubachins, their traditional rites, performed in an urban setting: women’s festive dress, traditional dances, etc.

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Gadzhalova, Fatima Amirbekovna. "MODERN KUBACHI WEDDING (ACCORDING TO FIELD MATERIAL OF 2017-2018)." History, Archeology and Ethnography of the Caucasus 18, no. 1 (March 31, 2022): 167–95. http://dx.doi.org/10.32653/ch11167-195.

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The paper is based on the field ethnographic material, collected in the village of Kubachi, Dakhadaevsky district of Dagestan. The method of participant observation was used for obtaining the material, while the source base for the study consisted of the interviews with the residents of the village and urban Kubachins. The Kubachi wedding is a complex of specific customs and rituals, which last for three days in a certain sequence within the context of the mountain village. Local features and key points of a modern rural wedding are described. The author considers the traditional festive women’s costume as part of the whole wedding ceremony: these are dresses of a bride and closest married women of the family. Features of a collective wedding procession, which carries a certain function for each of the three days of the ceremony, are discussed: the rite of matchmaking with gifts on the first day, the relocation of the bride with relatives to the groom’s house on the second day, and the transfer of dowry on the third day of the wedding. The custom of the wedding ritual-show in the open air, accompanied with food and music, dances and mummers’ games is revealed. The material on the types of wedding food, traditions of its cooking is considered. The paper also discusses the custom of good-wishing and magic rituals, performed during the wedding, as well as the symbolism and their function. Among these rituals are: showering the bride with sweets, concealing the face with a veil, honey treating; features of popular magic beliefs on even numbers are also mentioned. The study also proposes material on city weddings of the Kubachins, their traditional rites, performed in an urban setting: women’s festive dress, traditional dances, etc.

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Henderson, J., H. Budd, and J. Wimhurst. "Bare below the… What do patients want their doctor to wear?" Bulletin of the Royal College of Surgeons of England 91, no. 7 (July 1, 2009): 246–48. http://dx.doi.org/10.1308/147363509x452876.

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In January 2008 NHS trusts adopted a new dress-code policy for doctors as part of a series of initiatives set out by the secretary of state for health to reduce hospital-acquired infections. Generally referred to as 'bare below the elbows,' the dress code forbids long sleeves, long neckties, white coats, wristwatches and jewellery except for a single plain (wedding) band from all clinical areas, including outpatient clinics.

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26

Chil Soon Kim and 양희순. "Selective Behavior of Wedding Dress according to women's lifestyle." Journal of Korea Design Forum ll, no. 35 (May 2012): 373–82. http://dx.doi.org/10.21326/ksdt.2012..35.033.

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Lee, Seoyun, Kyuwha Cho, and Jiyoung Kim. "A Development of Wedding Dress Design by Digital Clothing." Fashion business 18, no. 2 (June 30, 2014): 166–82. http://dx.doi.org/10.12940/jfb.2014.18.2.166.

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Lee, In Ae, and Ju Hee Park. "A Study on Characteristics of Wedding Dress DesignAccording to the Change of Domestic Wedding Culture." Korean Society of Fashion Design 18, no. 3 (September 30, 2018): 21–40. http://dx.doi.org/10.18652/2018.18.3.2.

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Pan, Ge, Hey-Ryung Park, Eun-Ha Kim, and Chang-Seek Lee. "Wedding Perspective and Preference for Wedding Dress Design of Korean and Chinese Female University Students." Journal of Industrial Convergence 18, no. 2 (April 30, 2020): 77–86. http://dx.doi.org/10.22678/jic.2020.18.2.077.

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Jenkins, Claire. "‘You’re just some bitch who broke my heart and cut up my mom’s wedding dress’: Reading the wedding dress in Hollywood’s romantic comedies." Film, Fashion & Consumption 2, no. 2 (June 1, 2013): 159–73. http://dx.doi.org/10.1386/ffc.2.2.159_1.

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31

Evans, Grace. "Marriage à la Mode, An Eighteenth-Century Wedding Dress, Hat and Shoes Set from the Olive Matthews Collection, Chertsey Museum." Costume 42, no. 1 (June 1, 2008): 50–65. http://dx.doi.org/10.1179/174963008x285188.

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A rare and important group of items, a set consisting of a wedding dress, hat and shoes, form part of the Olive Matthews Collection at Chertsey Museum. This paper looks in detail at the construction of each of these garments. It also provides an account of how key aspects of provenance were uncovered. Other examples of contemporary wedding dresses are discussed. Finally it goes on to demonstrate how the newly uncovered facts about these garments, reviewed alongside contemporary social and economic contextual details, can further enhance our understanding of these and similar surviving pieces.

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Hong, Geun-Hye, and Jeong-Ah Jang. "The Development of Torso ＆ Sleeve Basic Pattern for Wedding Dress." Journal of the Korean Society for Clothing Industry 13, no. 4 (August 31, 2011): 614–23. http://dx.doi.org/10.5805/ksci.2011.13.4.614.

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O, Ji-Hye, and In-Seong Lee. "Study about Utilizing the Wedding Dress Virtual Fitting Application Content." Korean Society of Costume 62, no. 6 (September 30, 2012): 139–53. http://dx.doi.org/10.7233/jksc.2012.62.6.139.

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Jung, Yangsook, and Younhee Lee. "A wedding dress design that applies the traditional dang-ui." Research Journal of the Costume Culture 27, no. 2 (April 30, 2019): 140–53. http://dx.doi.org/10.29049/rjcc.2019.27.2.140.

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35

Nguyen, Hien Thi Mong, Vy Tuong Ho, and Thao Thi Hoang. "Creating forms for women’s clothing by draping techniques." Science and Technology Development Journal 18, no. 2 (June 30, 2015): 25–36. http://dx.doi.org/10.32508/stdj.v18i2.1056.

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This paper presents research results of techniques of draping on mannequins to create forms for women’s clothing. In the advanced countries, this method is applied very strongly to patternmaking in the field of fashion design. In Vietnam, it is taught for subjects of costume design at the universities, colleges where fashion design and garment technology have been taught. Subjects for draping are blocks to make stitches in cloth with much kind of styles from basic styles to complex styles, such as dress, evening dress and wedding dress. Draping fabric has content 100% cotton using for draping on the mannequin, main fabrics are satin fabrics, drill fabric with many colors from light color to dark color. These fabrics have content spandex fiber and ironed by heat only. The results show process creates 3D blocks and steps draping for dress ??????/on manequin

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Laskey, Brenda, and Lesley Stirling. "The dress: Theme and self-presentation in online Australian wedding planning fora." Convergence: The International Journal of Research into New Media Technologies 26, no. 1 (September 1, 2017): 55–81. http://dx.doi.org/10.1177/1354856517721800.

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This investigation of the discourse of Australian women in the ‘new media’ context of online special interest advice fora contributes to theory about the ways in which language encodes cultural practices and mediates the social construction of identity. The linguistic self-presentation of participants in 588 asynchronous written posts to wedding planning fora was analysed. Prevalent themes were identified inductively and the degree to which each identified theme was evident in the data was measured. The study uncovered ways in which group membership criteria were expressed and found that traditional ideals of feminine perfection were reinforced. A focus of the investigation was the ways in which the participants spoke about the wedding dress. At times, it was referred to using personification as though it were a proxy for a lover. On other occasions, it appeared to function as a representation of the writer’s idealized bridal self. It emerged as a highly significant cultural object which conferred a special but temporary identity.

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Jeon, Mi-Jin, Sun-Jeong Moon, and Sham-Ho Chung. "A Study for the Development of a Variable Wedding Dress Design." Fashion & Textile Research Journal 15, no. 5 (October 31, 2013): 694–703. http://dx.doi.org/10.5805/sfti.2013.15.5.694.

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Willing, Meg. "Instructions for Sweet Sister on How to Make My Wedding Dress." Colorado Review 42, no. 1 (2015): 161. http://dx.doi.org/10.1353/col.2015.0019.

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Safronova, I. N., and T. V. Balland. "WEDDING DRESS IN RUSSIA OF THE XX CENTURY: HISTORICAL ASPECTSAND MODERNITY." Design. Materials. Technology, no. 1 (2021): 9–15. http://dx.doi.org/10.46418/1990-8997_2021_1(61)_9_15.

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40

Chou, Ting-Jui, Qi Dai, En-Chung Chang, and Veronica Wong. "Replacement between Conformity and Counter-Conformity in Consumption Decisions." Psychological Reports 112, no. 1 (February 2013): 125–50. http://dx.doi.org/10.2466/01.07.09.pr0.112.1.125-150.

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This study assessed, in a Chinese context, how self-esteem interacts with perceived similarity and uniqueness to yield cognitive dissonance, and whether the dissonance leads to self-reported conformity or counter-conformity behavior. Participants were 408 respondents from 4 major Chinese cities ( M age = 33.0 yr., SD = 4.3; 48% men). Self-perceptions of uniqueness, similarity, cognitive dissonance, self-esteem and need to behave in conformity or counter-conformity were measured. A theoretical model was assessed in four situations, relating the ratings of self-esteem and perceived similarity/uniqueness to the way other people at a wedding were dressed, and the resultant cognitive dissonance and conformity/counter-conformity behavior. Regardless of high or low self-esteem, all participants reported cognitive dissonance when they were told that they were dressed extremely similarly to or extremely differently from the other people attending the wedding. However, the conforming/counter-conforming strategies used by participants to resolve the cognitive dissonance differed. When encountering dissonance induced by the perceived extreme uniqueness of dress, participants with low self-esteem tended to say they would dress next time so as to conform with the way others were dressed, while those with high self-esteem indicated they would continue their counter-conformity in attire. When encountering dissonance induced by the perceived extreme similarity to others, both those with high and low self-esteem tended to say they would dress in an unorthodox manner to surprise other people in the future.

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King, Emerald L. "La Robe à la Française et la Robe l’Odalisque: Wearing women’s clothing in The Rose of Versailles." Studies in Costume & Performance 6, no. 1 (June 1, 2021): 29–47. http://dx.doi.org/10.1386/scp_00034_1.

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The androgynous heroine of Ikeda Ryoko’s manga The Rose of Versailles (1972‐73), Oscar Françoise de Jarjayes, is usually depicted in masculine, specifically military, attire. The sixth daughter of an important military colonel during the reign of Louis XV and Louis XVI, Oscar is raised as a son and follows her father into the military. Oscar is only ever depicted in one dress, known as the robe l’odalisque ‐ a gown that is adopted at a pivotal moment of character development. It is while wearing this dress, which Ikeda intended to serve as a wedding dress, that Oscar comes to terms with her unrequited love for Marie Antoinette’s lover, Count Axel von Fersen. In doing so, Oscar places more importance on her allegiance to France than to romance. This article investigates the complicated gender and social politics that are symbolized by the choice to wear women’s clothing in The Rose of Versailles.

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Petersemi, Robert S. "“The Island on the Middle” The Domains of Wayang Golek Menak: The Rod-Puppetry of Central Java." Theatre Survey 34, no. 2 (November 1993): 77–94. http://dx.doi.org/10.1017/s0040557400009972.

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Before my performance of wayang golek menak (a rod-puppet performance of Islamic legends) Pak Narto, my teacher in Central Java, was trying to dress me for the role of a dhalang, the puppeteer of a wayang. He tugged down on the batik sarong, already wrapped low about my waist, and pulled at the dress hat and jacket that pinched my head and bound my shoulders, as if he could have concealed that I was anything more or less than a large American in Javanese dress. That evening, in the village of Gombong on the South coast of Central Java, I would perform a demonstration of wayang golek menak. I had only arrived a few months before to undertake my research with Pak Narto and was hastily prepared to perform for a celebration surrounding the wedding of his wife's cousin. After my brief demonstration, there would be an all night wayang performance by Pak Narto's brother, Pak Kuswanto.

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Lee, Sun-Min, and In-Seong Lee. "Development of Wedding Dress Designs on the Analysis of Chinese Consumer Preferences." Journal of the Korean Society of Clothing and Textiles 36, no. 7 (July 31, 2012): 714–26. http://dx.doi.org/10.5850/jksct.2012.36.7.714.

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장연아 and Kim Hye Kyun. "Analysis of Style Preference for The Wedding Related Hair and Dress Design." A Journal of Brand Design Association of Korea 13, no. 3 (September 2015): 163–72. http://dx.doi.org/10.18852/bdak.2015.13.3.163.

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Pesetskaya, Aleksandra Aleksandrovna. "CLOTHING AS A PART OF THE MARI WEDDING GIFT EXCHANGE (THE LATE 19TH AND EARLY 20th CENTURIES)." Yearbook of Finno-Ugric Studies 13, no. 2 (June 25, 2019): 312–24. http://dx.doi.org/10.35634/2224-9443-2019-13-2-312-324.

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The article considers using clothing items during the traditional Mari wedding gift exchange ceremony. In addition to its emblematic function represented by a dress as a whole, the Mari wedding clothing has always been a part of the wedding gift exchange ritual. Though, it rarely was an object of research in this respect. The rite of exchange of the clothing items takes an important place in the Mari wedding procedure, because it pinpoints social relations of different levels, of both individual and group levels. Items of exchange serve as communication mediators and form a pattern of the rite. The research is based on the archival exhibits and written sources of the Russian museum of ethnography. Apart from that, the author’s field materials for the period from 2009 to 2018 obtained through own expeditionary work in various regions of the Mari El were used. Based on the sources, the article analyses information on the extent of the clothing’s significance and usage as an object of the gift exchange ceremony, considers different types of clothing items used for the exchange as well as their possible equivalents, discloses relevant features of these items. The paper specifies levels of the wedding ceremony with an exchange of the clothing items fixed. In particular, a primary secret agreement, marriage proposal, gifting guests with a bride are crucial components of the rite with a public agreement present. The study of the Mari wedding gift exchange seems to be promising, as, despite a transformed wedding ceremony, the procedure itself remains unchanged, being one of the most sustainable mechanisms of the public regulation.

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O, Ji-Hye, and In-Seong Lee. "Study on Designing Wedding Dress Considering Wedding Culture in Korea - Focus on Body Shapes and Image of the Korean Women -." Research Journal of the Costume Culture 20, no. 3 (June 30, 2012): 363–77. http://dx.doi.org/10.7741/rjcc.2012.20.3.363.

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Wei, Soh Wan. "PEERING BENEATH THE VEIL PERCEPTIONS OF THE IDEAL WEDDING DRESS HELD BY SINGAPOREAN BRIDES WHO DO NOT ATTEND WEDDING FAIRS." Global Fashion Management Conference 6, no. 1 (June 30, 2015): 852–56. http://dx.doi.org/10.15444/gfmc2015.06.01.02.

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오지혜 and LEEINSEONG. "Study on Designing Wedding Dress Considering Wedding Culture in Korea- Focus on Body Shapes and Image of the Korean Women -." Research Journal of the Costume Culture 20, no. 3 (June 2012): 363–77. http://dx.doi.org/10.29049/rjcc.2012.20.3.363.

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Toplis, Alison. "Wedding Dresses 1775–2014CatalogueThe Wedding Dress: 300 Years of Bridal Fashions.Edwina EhrmanLondon: V&A Publishing, 2014.208 pp.Paperback, £25ISBN 9781851777839." West 86th: A Journal of Decorative Arts, Design History, and Material Culture 22, no. 1 (March 2015): 102–5. http://dx.doi.org/10.1086/683087.

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Woelandhary, Ayoeningsih Dyah. "UNSUR RUPA DAN MAKNA PADA BUSANA PENGANTIN BETAWI." Jurnal Budaya Nusantara 3, no. 1 (October 23, 2019): 1–11. http://dx.doi.org/10.36456/b.nusantara.vol3.no1.a2109.

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Bridal dress is found in all cultures in the archipelago, its existence is often used as a focal pointfor invited guests, so it is not surprising that fashion is one of the elements that most brides payattention to. Variety of designs and modifications are made by designers and brides to wear,but ingeneral the basic form is not removed, it is manifested in maintaining the spirit of culturalvalues embedded in it. The focus of this research is the Betawi regional wedding dress. ThisBetawi tribe is a tribe whose majority of the population used to be people who lived and settledin this region since the time of the formation of Batavia, they grew up and developed as a largeethnic group, the result of intermarriages and mixed marriages of various ethnic migrants.The form of acculturation can be seen in the designation of the clothes worn by the bride andgroom, namely the wedding dress 'haji care' for the bride and groom, and the "rias besar dandanancare none pengantin cine" for the bride. In this study will reveal a lot of the elements of formand symbolic meaning embedded in it, then the method in this research is descriptive analysiswith qualitative methods, the analysis process uses visual art review theory, descriptive in nature,where data and pictures will be broken down and explanations about various things relating tothe visual elements in the object of research that have been redrawn with illustration techniques.The most interesting finding in this study is the existence of different absorption elements, inthis Betawi bridal costume is in the bride costume thick with Chinese culture, but in the malecostume, thick with nuances of Arabic culture, and as we know that in history two this culturereally has a strong influence on the development and growth of Betawi people.

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