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Alexeyeff, Kalissa, i Geir Henning Presterudstuen. "Fashioning culture: Transforming perspectives from Oceania". Critical Studies in Fashion & Beauty 12, nr 1 (1.06.2021): 5–24. http://dx.doi.org/10.1386/csfb_00018_2.
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In this introductory article we discuss what might be gained from examining more familiar areas of anthropological research such as cloth, dress or material culture through fashion as an analytical category and, in turn, how insights from Pacific clothing cultures can broaden understandings of fashion. Our aim is to unsettle the ethnographic gaze that is often brought to bear on non-western cultures of fashion, cloth, clothing, style and innovation. Fashion, as we conceive of it, spans from the physical production and design of garments and objects to everyday appearances, the desire to be ‘in vogue’ and the consumption of aesthetic objects that are considered popular. From this starting point we move analyses of fashion from the systemic to the experiential, reflecting ethnographic sensitivity to everyday embodied practice and the constant political and creative negotiation of values and norms that takes place in quotidian social relations. We situate these analyses in a region that is often perceived to be at the very edge of the world economy and invite further discussion about the relationship between fashion and the global flow of people, ideas and commodities.
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Traber, Daniel S. "Clothing and the oceanic identity in Melville’s Redburn". Critical Studies in Men???s Fashion 8, nr 1 (1.10.2021): 29–43. http://dx.doi.org/10.1386/csmf_00029_1.
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Herman Melville’s Redburn approaches the topic of corporeal coding via the outer layer of clothing. Throughout the novel, the young protagonist consciously uses clothing as a means of self-representation and expression, deploying fashion to create and position himself in different contexts; for example, taking pride in his ragged clothes amongst well-dressed ship passengers becomes a form of social protest. But Redburn is also used to comic effect because his choices are often based on incorrect assumptions of propriety, such as his notion of the way a sailor is supposed to dress not matching the onboard reality. The rules of appearance that construct and restrain an identity are paradoxically bolstered at the same time they are broken, which allows Melville the opportunity to explore rebellion alongside the performative aspect of the self as a body constituting both a visible sign and a living vehicle for the mores, beliefs and ideologies that shape a society.
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Nguyen, Mong Hien Thi. "The simulation modeling to choose styles of torso dresses byfuzzy logic". BOHR International Journal of Smart Computing and Information Technology 4, nr 1 (2023): 62–69. http://dx.doi.org/10.54646/bijscit.2023.38.
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This study presents the use of the fuzzy logic technique in choosing Torso dresses for online shopping. Dressstyles are established based on analyzing three factors that prioritize clothing selection using the Pareto chart.These factors include the dress’s form, thickness, and color fabric of the dress. These are the three inputvariables of this model, and each of them has different membership functions. The first input variable is theform of the modeling, and has two membership functions. The second is the fabric type that can be used fordresses, and has five membership functions. The third input variable is the color of the fabric, and has threemembership functions. The output is a type of outfit looked for so the actual survey method is conducted inthe customers-interest-scale of clothing. The fuzzy If-Then rule and Sugeno controller are used in this modeling.There are 30 Torso dress styles coded for application to fuzzy logic modeling. Besides, the theoretical methodis applied in a 2D flat pattern designing a basic Torso pattern and a fuzzy logic model. Additionally, albumsof dress styles are created by the 3D simulation method as well as the model’s feasibility is evaluated by theexpert method.
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Bugg, Jessica. "Dancing dress: Experiencing and perceiving dress in movement". Scene 2, nr 1 (1.10.2014): 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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Zhang, Yu Jing, Ya Nan Liu, Di Tang, Tian Jiao Shao, Xue Chen Wu i Dong Ming Wang. "The Study on the Smart Reference of Movie Arts Applied in Dress Design". Applied Mechanics and Materials 215-216 (listopad 2012): 358–61. http://dx.doi.org/10.4028/www.scientific.net/amm.215-216.358.
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As the starting point of the movie, the invisible art of film and television with visible clothing art to be expressed, this is the perfect combination of art. The inseparable relationship between clothing and movies, as an art form, clothing is a national and regional cultural and aesthetic appeal of the carrier. Dress as important elements of costume elements, which lead the development of garment industry. The purpose of this paper is to dress in reproduction from the montage and the screen even as the story two dress designs innovation of new ideas on dress innovative design.
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Johnston, Lucy. "Clothing in Context — Nineteenth-Century Dress and Textiles in the Thomas Hardy Archive". Costume 52, nr 2 (wrzesień 2018): 261–84. http://dx.doi.org/10.3366/cost.2018.0071.
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This article will consider how dress, textiles, manuscripts and images in the Thomas Hardy Archive illuminate his writing and reveal the accuracy of his descriptions of clothing in novels including Far from the Madding Crowd and Tess of the D'Urbervilles. Rural clothing, fashionable styles, drawings and illustrations will shed new light on his writing through providing an insight into the people's dress he described so eloquently in his writing. The textiles and clothing in the Archive are also significant as nineteenth-century working-class dress is relatively rare. Everyday rural clothing does not tend to survive, so a collection belonging to Hardy's family of country stonemasons provides new opportunities for research in this area. Even more unusual is clothing reliably provenanced to famous people or writers, and such garments that do exist tend to be from the middle or upper classes. This article will show how the combination of surviving dress, biographical context and literary framework enriches understanding of Hardy's words and informs research into nineteenth-century rural dress.
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Buse, Christina, i Julia Twigg. "Clothing, Embodied Identity, and Dementia". Age, Culture, Humanities: An Interdisciplinary Journal 2 (1.01.2015): 71–96. http://dx.doi.org/10.7146/ageculturehumanities.v2i.130611.
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Clothes are central to how we perform our identities. In this article, we show how these processes continue to operate in the lives of people with dementia, exploring the ways in which dress offers a means of maintaining continuity of self at a material, embodied level. The article thus contributes to the wider cultural turn in aging studies, showing how material objects are signifcant in meaning-making, even for this mentally frail group. The article draws on the Economic and Social Research Council (ESRC)-funded study “Dementia and Dress,” which examined the implications of clothing for people with dementia, carers, and care workers, using ethnographic and qualitative methods. It showed, despite assumptions to the contrary, that dress remained signifcant for people with dementia, continuing to underwrite identity at both the individual level of a personal aesthetic and the social level of structural categories, such as class, gender, and generation. The article explores how identity is performed through dress in social interaction, and the tensions that can arise between narrative and embodied enactment and around the “curation” of identity. Dress provides a lens for understanding the lives of people with dementia, while at the same time, focusing on dementia expands discussions of fashion, consumption, and cultural meanings of aging.
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Indarti, Indarti, i Asri Setyo Harini. "Dayak Tribe Talawang Motif as a Variety of Bridal Fashion Decoration with Laser Cutting Technique". TEKNOBUGA: Jurnal Teknologi Busana dan Boga 11, nr 1 (2.07.2023): 15–23. http://dx.doi.org/10.15294/teknobuga.v11i1.43280.
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Talawang is a traditional shield belonging to the Dayak tribe. This research aimed to describe the results of the finished Talawang motif as a wedding dress decoration. The method used a double diamond consisting of 4 stages: discover, define, develop, and deliver. The results of applying the Talawang motif on bridal clothing were analyzed descriptively using the FEA (function, aesthetic, expressive) model. The laser cutting technology could detail the Talawang motif as a modern wedding dress decoration. Making the Talawang motif of the Dayak tribe uses a particular machine for laser cutting using synthetic leather. The bride's clothing follows the design concept using a mermaid silhouette, applying the Talawang motif on the dress and part of the sleeves. The finished men's clothing is under the design concept using a classic formal dress silhouette in a suit consisting of a shirt, vest, trousers, and coat, applying the Talawang motif on the right side of the suit's body. Based on the analysis of the function of the clothing created is a wedding dress, while in terms of aesthetics by applying decorations in the form of stylized Talawang motif with laser cutting techniques. This wedding dress expresses the uniqueness and beauty of the Talawang motif, expressing a modern wedding dress with a touch of local cultural values.
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Oberhagemann, Lola. "Clothing As Window to the Soul". COMPASS 3, nr 1 (29.09.2023): 28–36. http://dx.doi.org/10.29173/comp70.
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Individuals’ interaction with the external world is almost always influenced by their clothing, whether through personal choice, their “habitus”, dress codes, etc., through shaping how other view/interact with them, influencing their understanding of their identity, and conversely of influencing how others view them though how they dress. As a result of this, different clothing styles can evoke different connotations based on the viewers assumption of the ideals of the groups or contexts that the wearer’s clothing connects them to, such as formal office dress and LGBTQ+ fashions, whether by choice or by pressure. Also, through dress individuals can internalize these ideals of the group, to influence their view of themselves, and in turn how they interact with the outside world. Furthermore, clothing can also highlight a person’s individuality through failure to conform, evoking a different individual-world interaction. Regardless, an individual’s desire to express themselves and externalize the internal can lead to clothing construction or altering to better represent themselves, and/or their relationship to a group.
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Hapsari, Aprilia Putri. "The Dialectic of Muslim Clothing". JURNAL PENELITIAN KEISLAMAN 20, nr 1 (30.06.2024): 61–78. http://dx.doi.org/10.20414/jpk.v20i1.9748.
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In today’s era, diverse clothing trends disseminate widely via social media, establishing new fashion norms. One prominent trend is jilboobs, which has sparked concern among researchers due to its divergence from Islamic dress codes for women. This raises questions about the relevance of Quranic verses and hadith on attire in the age of globalization. Researcher investigates whether the jilboobs trend, contrary to legal dress norms, correlates with heightened incidents of sexual harassment. Employing phenomenological research with qualitative methods including surveys and interviews, this study finds: (1) Islamic dress laws based on Quranic principles and hadith are timeless and universally applicable, serving to safeguard Muslim women from harassment. (2) The jilboobs trend significantly increases the risk of sexual harassment against Muslim women.
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Orifjonova, Gulrano R. "PECULIARITIES OF SURKHANDARYA ETHNOCULTURAL CLOTHING". CURRENT RESEARCH JOURNAL OF HISTORY 03, nr 01 (1.01.2022): 21–25. http://dx.doi.org/10.37547/history-crjh-03-01-05.
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This article analyzes the peculiarities of ethnocultural costumes of Surkhandarya oasis. National dress is a manifestation of material culture. The bright colors of the nation, the beautiful art of local weavers developed under the influence of national traditions, the artistic ornaments on the fabrics are reflected in the dress, which is based on the unique centuries-old traditions of each region. Like other regions of Uzbekistan, in the late XIX and early XX centuries, the Uzbek national costume was almost formed in the Southern Surkhandarya oasis. It was revealed that women’s clothes are sewn according to their age, differ in color and type of fabric. Each nation has its own national dress, the formation of which depends on the lifestyle of the peoples and the geographical environment is based on scientific analysis.
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Rahmi, Rahmi, Rosmala Dewi, Nurasiah Nurasiah, Fitriana Fitriana i Abdul Azis. "Consept Analysis: Acehnese Ethnic Style Party Fashion Design". International Journal of Multicultural and Multireligious Understanding 8, nr 10 (15.10.2021): 276. http://dx.doi.org/10.18415/ijmmu.v8i10.3056.
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In general, this research is an effort to preserve culture, especially the culture of dress, by digging deeper into the current Acehnese ethnic clothing, then using it as a source of ideas to create a party dress design with Acehnese ethnic nuances. The research approach used is qualitative, with ethnographic methods. There are currently 5 ethnic Acehnese clothing, namely coastal Aceh, inland Aceh, mountainous Aceh, Aneuk Jame, and Tamiang. Of the five types of Acehnese ethnic clothing that exist today, there are several differences, namely in the type of material, color of material, form of decoration (motif), color of decoration, technique of application of decoration and fashion model. Each ethnic dress has a characteristic that distinguishes one ethnic dress from another, which is said to be an identity.
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Wild, Benjamin Linley. "Critical reflections on cultural appropriation, race and the role of fancy dress costume". Critical Studies in Fashion & Beauty 11, nr 2 (1.12.2020): 153–73. http://dx.doi.org/10.1386/csfb_00014_1.
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Cultural appropriation in fashionable dress has become an increasingly urgent subject within scholarly and generalist discussions. Few weeks now pass without a news story criticizing a fashion brand for producing and promoting culturally insensitive clothing. A form of clothing most frequently and controversially associated with cultural trespass, but generally marginalized within academic enquiries, is fancy dress costume. This article seeks, first, to promote a critical and continuous academic engagement with fancy dress costume and contribute to a growing body of scholarship that recognizes its cultural and social importance. Second, I complicate discussions about the causes of cultural appropriation within fancy dress costume by reflecting on the circumstances and motives in which people perform, dressed very differently to their conventional appearance. Addressing these points, the article makes a unique contribution to clothing studies and discussions about cultural appropriation by advocating a more nuanced understanding of people’s self-awareness when they participate in fancy dress costume, and suggests how this might be achieved.
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Keen, Suzanne. "QUAKER DRESS, SEXUALITY, AND THE DOMESTICATION OF REFORM IN THE VICTORIAN NOVEL". Victorian Literature and Culture 30, nr 1 (marzec 2002): 211–36. http://dx.doi.org/10.1017/s1060150302301104.
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WHY ARE JANE EYRE AND DOROTHEA BROOKE clad by their creators in “Quakerish” garb? The oppositional plainness and simplicity of Quakerish heroines have often been read as signs of classlessness and sexlessness.1 Plain and simple clothing seems, to both Victorian and contemporary eyes, part of the package of reticence, reserve, and repression associated with the evangelical wing of nineteenth-century dissenting sects.2 The typical sociological view of the function of dress within conservative religious groups holds that “strict dress codes are enforced because dress is considered symbolic of religiosity. Hence dress becomes a symbol of social control as it controls the external body” (Arthur 1). The control of female sexuality and the restraint of desire would seem to be the core function of modest clothing. Then the plain dress of some of the liveliest heroines of Victorian fiction presents a puzzle that can be solved only by recuperating the meaning of that clothing for Victorians. As fashion historian Anne Hollander points out, nineteenth-century novels testify to the way that clothes “always correctly express character” (Feeding the Eye 12), but the meaning of particular articles of clothing or styles can slip away. Accurately reading the characters of Charlotte Brontë and George Eliot thus requires careful interpretation of their dress, in this case reversing the conventional reading of their plain, modest, and simple style. This essay argues that Quakerish clothing expresses both a promise of spirited sexuality and an admonition about the class-crossing potential of the respectable female contained within it.
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Lukavsky, Julie, Sara Butler i Amy J. Harden. "Perceptions of an Instructor: Dress and Students' Characteristics". Perceptual and Motor Skills 81, nr 1 (sierpień 1995): 231–40. http://dx.doi.org/10.2466/pms.1995.81.1.231.
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This study examined the influence of a female instructor's clothing style on students' perceptions of an instructor's characteristics. Social perception provided the theoretical framework. Formality of clothing style, students' clothing interest, and students' gender were the independent variables. Perception of the instructor's characteristics was the dependent variable. A 25-item questionnaire was administered to 216 college students from three universities. Perceptions of the instructor's characteristics varied significantly with formality of clothing style. The students' clothing interest influenced perceptions to some extent; gender of students did not.
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Spahiu, Tatjana, Eriseta Canaj i Ermira Shehi. "3D printing for clothing production". Journal of Engineered Fibers and Fabrics 15 (styczeń 2020): 155892502094821. http://dx.doi.org/10.1177/1558925020948216.
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3D printing is a well-known technology for creating 3D objects by laying down successive layers of various materials. Among the wide range of applications, fashion industry has adapted these technologies to revolutionize their brands. But due to the unique characteristics of textiles like comfort, flexibility, and so on, attempts have been made to create similar structures as textiles. The work presented here is part of a project to create garments using fused deposition modeling as 3D printing technology. Structures with various geometries are designed and tested with different materials starting from rigid to flexible. As a result, a fully 3D printed dress is created. Selecting this dress as a model, consumer acceptance for 3D printed garments is evaluated realizing an online survey containing 100 respondents. The data gathered show that respondents have knowledge of 3D printing, its advantages and the majority of them would accept wearing a 3D printed dress.
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Cosbey, Sarah. "CLOTHING INTEREST, CLOTHING SATISF ACTION, AND SELF-PERCEPTIONS OF SOCIABILITY, EMOTIONAL STABILITY, AND DOMINANCE". Social Behavior and Personality: an international journal 29, nr 2 (1.01.2001): 145–52. http://dx.doi.org/10.2224/sbp.2001.29.2.145.
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The purpose of this study was to examine clothing interest as a mediating factor in self-perceptions of sociability, emotional stability, and dominance when either satisfaction or dissatisfaction with clothing was specified. A questionnaire was designed to measure five dimensions of clothing interest as well as each of the three traits both with, and without, a “clothing satisfaction variable,” or reference to whether the subject felt satisfied or dissatisfied with her dress. A MANOVA analysis revealed that specific dimensions of clothing interest suggesting a risk-avoiding orientation toward dress were most likely to mediate self-perceptions of sociability, emotional stability, and dominance when one was either satisfied or dissatisfied with one's clothing.
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Rahmanidinie, Anitia, i Astri Irtiani Faujiah. "Adaptasi Busana Muslimah Era Millenial: Antara Trend dan Syariat". Islamika : Jurnal Ilmu-Ilmu Keislaman 22, nr 01 (30.06.2022): 82–95. http://dx.doi.org/10.32939/islamika.v22i01.1116.
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Muslimah clothing is faced with the challenges of developing fashion trends that are developing in this millennial era. This paper intends to understand and explain how the findings of adaptation of Muslim clothing occurred in the millennial era. The method used is a survey method as well as library research where this survey method is carried out randomly on Muslim women aged 15-30 years to answer about understanding the adaptation of Muslim clothing that occurs in the millennial era and understanding clothing that is in accordance with Islamic law. The results of this study indicate that Muslim women in the millennial era already understand how to dress in accordance with Islamic rules and recommendations but are still unable to practice or carry out these rules and recommendations. Millennial-era Muslim women still dress according to trends in the environment and have not used clothing in accordance with Islamic rules and recommendations. This research is able to describe the development of Muslim clothing in the millennial era. So that it can measure how well Muslim women understand trends and the Shari'a in dress.
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Horton, Laurel, i Paul Jordan-Smith. "Deciphering Folk Costume: Dress Codes among Contra Dancers". Journal of American Folklore 117, nr 466 (1.10.2004): 415–40. http://dx.doi.org/10.2307/4137718.
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Abstract For many schorlars, "folk costume" is an outmoded term that refers to a narrow range of ethnic, sectarian, and occupational clothing traditions. At the same time, folklorists tend to overlook some kinds of clothing choices because they seem merely to reflect "everyday dress." In this article, the authors examine how and why contra dancers choose what they wear to dance events as an example of how semiotic approaches introduced by Bogatyrev and others can reveal underlying clothing traditions-dress codes-applied to a subset of so-called everyday dress. Two instances of clothing behavior in particular, namely, the use of tee-shirts by dancers of both sexes and the growing use of skirts by male dancers, serve to "unpack" the complex communicative resources available to participants and suggest that folkloric research in this relatively unexplored area may produce rich results.
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Yang, Rong, i Xiaoming Yang. "Literature Review of Taoism Dress Culture in China". Asian Social Science 16, nr 1 (31.12.2019): 49. http://dx.doi.org/10.5539/ass.v16n1p49.
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Religious dress is a special kind of dress, which often embodies the thoughts and cultural ideas of a certain religion, but it is also likely to show the deeply cultural deposits of a certain national culture. Taoist clothing is a kind of clothing and accessories with obvious Taoism cultural connotation formed by absorbing, integrating and extending Taoism doctrines on the basis of Chinese traditional dress, which is of great significance to study of Chinese traditional culture and worth in-depth study in further.
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Lessard, F. Dennis, i Ronald P. Koch. "Dress Clothing of the Plains Indians". American Indian Quarterly 16, nr 2 (1992): 273. http://dx.doi.org/10.2307/1185441.
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Pranoto, Pranoto, Srinata Dwijaningtyas, Angel Livansyah, Kusnul Khotimah, Raviendo Trisnanda i Najmuddin Najmuddin. "ISLAMIC FASHION TREND PHENOMENON IN SEMARANG OLD CITY AREA". International Journal Mathla’ul Anwar of Halal Issues 4, nr 1 (31.03.2024): 60–66. http://dx.doi.org/10.30653/ijma.202441.105.
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Tourism in Semarang's Old Town is a phenomenon that has a significant impact on tourists' dress preferences. This article presents an observational analysis of how age, economy, and culture influence tourists' dress choices in the context of Semarang's Old Town. The research method used is an ethnographic approach involving in-depth observations, interviews, and active participation in the traveller community. The results revealed age variations among tourists, with young people and older generations visiting. The implications of age are reflected in dress preferences, with the younger generation being more experimental in Islamic fashion styles, while the older generation is more conservative. Economic characteristics also play an important role, with high-income travellers opting for luxury clothing while low-income ones opt for more modest clothing. The influence of Islamic values creates diversity in clothing choices, with visitors who identify themselves as Muslims more likely to choose clothing in accordance with Islamic teachings. A sense of respect for a particular culture also influences clothing choices. In conclusion, tourists' dress preferences in Semarang's Old Town are reflected through a complex interaction between age, economy, Islamic values, and culture. Knowledge of these factors is important in the development of inclusive and sustainable tourism experiences.
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Sneha, S., i Rajeev Kumar. "Importance of Style and Dressing in Business World". International Journal of Research Publication and Reviews 03, nr 12 (2022): 838–44. http://dx.doi.org/10.55248/gengpi.2022.31219.
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Clothes can be used to create an identity. Clothing can also enhance the existing identity and is therefore an important part of establishing a professional status. In creative professions dress codes were minimal or did not exist. The strictest dress codes were in conservative professions such as banks. Trust could be created with professional clothing. On the other hand, people wearing casual dress were seen more approachable. Companies, who have dress codes as a part of their policy, can use it to monitor their employees. In business world looking professional is an important factor. Busy prints, bright colors and extravagant outfits draw an attention, but it does not mean that they are seen professional in the business field. Colors have different meanings and associations in different cultures, but the colors used in the business world were generally acknowledged almost everywhere. Certain items of clothing are also associated with being a professional.
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Wang, Shanshan, Lei Zhang i Jinlong Zhao. "Study on the Protection path of Intangible Cultural Heritage of Chinese Traditional Dress -- Taking Tang Dynasty Dress as an Example". SHS Web of Conferences 162 (2023): 01015. http://dx.doi.org/10.1051/shsconf/202316201015.
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China has been known as the “big country of clothing” and “the country of silk” since ancient times, and has a very rich heritage of traditional clothing culture. But now these traditional costumes are declining. In order to promote the cultural development of traditional Chinese clothing and protect and inherit China’s intangible cultural heritage, this study first takes the traditional Chinese clothing of Tang Dynasty as an example, reviews the culture and value of traditional Chinese clothing, then introduces the protection and development of intangible cultural heritage at home and abroad, and then analyzes the difficulties and necessity of the protection of traditional Chinese clothing intangible cultural heritage. Finally, combining with the reality, the protection path of traditional intangible cultural heritage is proposed to realize the protection and inheritance of Chinese traditional costume culture. This study will promote the protection of Chinese intangible cultural heritage to a certain extent.
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ROSS, ROBERT. "Cross-continental cross-fertilization in clothing". European Review 14, nr 1 (3.01.2006): 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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Andersson, Eva I. "Swedish Burghers' Dress in the Seventeenth Century". Costume 51, nr 2 (wrzesień 2017): 171–89. http://dx.doi.org/10.3366/cost.2017.0023.
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This article discusses dress, and the consumption of clothing among the burghers of seventeenth-century Stockholm. Clothing was one of the most important ways in which early modern people displayed and claimed their position in society. Through fine materials and fashionable cut, wealth and status, as well as the less tangible capital of knowledge of style and trends, could be expressed in a way that was visible to all. Clothing was therefore also a way that society was made comprehensible.
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Martin, Phyllis M. "Contesting Clothes in Colonial Brazzaville". Journal of African History 35, nr 3 (listopad 1994): 401–26. http://dx.doi.org/10.1017/s0021853700026773.
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The significance of dress in mediating social relations was deeply rooted in the Central African experience. In pre-colonial times, clothing, jewellery and insignia conveyed identity, status, values and a sense of occasion. Those with access to European trade cloth and second-hand clothes integrated them into their dress. Central Africans had a strong sense of the “politics of costume” long before new sources and ideas of clothing arrived with colonialism.Brazzaville, the capital of French Equatorial Africa, then became the scene of opportunity, experimentation and choice. Foreign workers from West Africa, the French Antilles and the Central African coastal regions pioneered new styles which were quickly appropriated and adapted by other townspeople. Europeans, in their attire, also seemed to confirm the importance of dress and were a model for those who considered themselves évolués. In handing out clothing, European employers and missionaries had their own agenda, which was rejected by many townspeople as an autonomous fashion sense developed in Bacongo and Poto-Poto, the African districts of Brazzaville. With an entrenched monetary economy, cloth and clothing became widely available to all with cash. Styles, costs and values became issues of contention. Clothing not only symbolized change but became a vehicle for change.In the late colonial period, the sources allow a deeper understanding of the relationship of dress to controversial social issues. Clothing became an arena for contesting and asserting class, gender and generational roles.
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Presley, Ann Beth, i Whitney Upchurch Campassi. "Measuring Clothing Color and Design Symbolism Preferences and Purchase Intentions of Asian Indian Females at Different Levels of Acculturation". ISRN Textiles 2013 (18.07.2013): 1–8. http://dx.doi.org/10.1155/2013/859419.
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The purpose of this study was to develop a reliable and valid instrument to measure color, design clothing preferences, and purchase intentions of Asian-Indian female consumers; secondarily, to determine if westernized clothes with Asian-Indian ethnic dress elements might be purchased more often than westernized clothing with design attributes primarily symbolic of American culture at different levels of acculturation. The instrument included a modified acculturation scale, limited demographics, and the developed Clothing Preferences and Purchase Intention Instrument. The instrument consisted of four components: Color Symbolism and Purchase Intention, Design Symbolism and Purchase Intention, Symbolic Attributes Scale, and Clothing Preference and Purchase Intention for Mainstream American versus Asian-Indian Inspired. All of the scales had high reliability. Of the 30 colors in the instrument, red, magenta, orange gold, yellow, cobalt blue, and purple were symbolic of Asian-Indian dress; hunter green, navy blue, baby blue, and blue were considered western colors. Neutral colors were eliminated. Nine of the 27 tunics in the instrument were highly indicative of Asian-Indian clothing; 11 were indicative of westernized clothing. Secondarily, Asian-Indians preferred and showed intent to purchase westernized clothing with colors and designs associated with their native country’s traditional dress regardless of acculturation.
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Nguyen, Hien Thi Mong, Vy Tuong Ho i Thao Thi Hoang. "Creating forms for women’s clothing by draping techniques". Science and Technology Development Journal 18, nr 2 (30.06.2015): 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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Jin, Jing, Jie Gao, Yu Xiu Yan i Jian Wei Tao. "Analysis of Performance of the Clothing Modeling in Shaping the Animation Role". Advanced Materials Research 821-822 (wrzesień 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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HARINI, LUH PUTU IDA, KARTIKA SARI i MADE SUSILAWATI. "ANALISIS FAKTOR PERSEPSI AKADEMISI TERHADAP PENGGUNAAN BUSANA ADAT DI LINGKUNGAN SEKOLAH". E-Jurnal Matematika 10, nr 3 (17.09.2021): 179. http://dx.doi.org/10.24843/mtk.2021.v10.i03.p340.
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Traditional Balinese clothing is a typical Balinese clothing that is characterized by Balinese customs used as a form of cultural protection that reflects the nature of politeness, shade, peace, and pride for the wearer. The Governor of Bali in the Regulation of the Governor of Bali Number 79 of 2018, concerning the Day for the Use of Balinese Traditional Clothing states that one of the objectives of using Balinese traditional clothing is to maintain and maintain the preservation of Balinese Traditional Clothing in order to strengthen identity, character and character, to recognize the values the aesthetic, ethical, moral, and spiritual values ??contained in Balinese culture and encourage increased use of local Balinese fashion products and industries. The purpose of this study was to determine the factors that influence academic perceptions of the use of traditional clothing in the school environment. This research was conducted in high schools in Denpasar, using the factor analysis method. The sample in this study were 181 respondents. The sampling technique used was purposive sampling. The results showed that the factors that influenced students' perceptions of the use of traditional clothing in the school environment were comfort in traditional clothing, knowledge of the rules of traditional dress, knowledge of traditional clothing, ethics of Balinese traditional dress and tourists and Balinese traditional clothing. These five factors can explain the diversity of students 'perceptions of 58.742 percent, with the dominant factor affecting students' perceptions of the use of traditional clothing in the school environment is comfort in traditional dress.
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Bian, Xiang Yang, i Ting Rong. "Sihouette and Structure of Huatouyao Women's Dress - Set Huatouyao Women's Dress in Naliang Town, Dongxing City, Guangxi as an Example". Advanced Materials Research 821-822 (wrzesień 2013): 685–93. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.685.
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Yao is a nationality with multiple branches and colorful clothes. Researches on clothing of Yao Nationality are mainly on descriptions of culture and superficial characteristics of their clothes. Few of them carefully research on sihouette,structure and craftsmanship, so are the researches on Huatouyao Clothing. This article has made detailed record and research on Huatouyao Women's Dress at Fangchenggang, Guangxi from sihouette,structure and craft of dress through field investigation and actual measurement. It helps to make people know what Huatouyao Clothing looks like and it provides operable reference while recovering inheritance clothes.
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AS, Nasruddin. "Pergeseran Budaya Masyarakat Perlak Asan: Studi Kasus tentang Pakaian Adat". Jurnal Adabiya 20, nr 1 (16.04.2020): 1. http://dx.doi.org/10.22373/adabiya.v20i1.6775.
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The shift of traditional clothing in society is very common to happen because of an attempt to adapt with new need. The happening of shift in traditional clothing of marriage in Perlak Asan village, Sakti Sub-dis- trict, Pidie Regency focus more on the clothes during religious rite and cultural rite of marriage. This research is using qualitative method which is observation, interview and documentation. The result of research show that traditional clothing for marriage is changing from traditional into modern. But the shift is about the mod- ernization of the clothes which show the process of social culture transformation as the urge of society to be up to date with global world. Traditional clothing that is being used consists of values or messages that want to be delivered by the brides. Traditional clothing for example is Acehnese clothing, Seloyor. And modification of modern clothing is Acehnese clothing Duyung, Indian wedding dress, Barbie dress, Kebaya gown and Kebaya robe.
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Edwards, Tim. "Living dolls? The role of clothing and fashion in ‘sexualisation’". Sexualities 23, nr 5-6 (6.09.2018): 702–16. http://dx.doi.org/10.1177/1363460718757951.
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This article considers the role that clothing and fashion have played, or continue to play, in ‘sexualisation’. It is pointed out that fashion, as in clothing, has often played a very small part in much wider discussions about ‘sexualisation’ much of which fails to problematise the meaning of the clothing concerned. The article thus considers what might constitute ‘sexualised’ clothing or fashion – whether this is simply baring of flesh, too ‘adult’, or somehow ‘pornographic’ in its derivations or connotations. In addition, fashion and dress have a long history of forming heated concern for feminists who have often found themselves caught between seeing it as oppressive and male defined or expressive and somehow empowering. What is often at stake here is the very significance of fashion or dress itself when seen as a wider communicator of status or just personality. Drawing on established feminist and fashion theory, this article unpacks this connection. In addition, the ‘function’ of fashion as display has an equally long history of often unacknowledged gender difference that precedes later feminist resistance yet still informs it. The article also considers the extent to which understandings of fashion may inform or disrupt more contemporary feminist politics on dress, and recent attempts to reclaim ‘sexualised’ clothing and dressing as empowering for young women are questioned. In sum, it is argued that an analysis of fashion and dress per se is needed to develop a more informed understanding of the processes of ‘sexualisation’ and resistance to them.
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Atanasova, Radka. "Women’s clothing with eco design features". E3S Web of Conferences 207 (2020): 03005. http://dx.doi.org/10.1051/e3sconf/202020703005.
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In the paper, women’s wear with eco design features is created and manufactured. The object of the study is a dress in a semi-slim silhouette. The patterns of the garment are constructed automatically using a specialized CAD system. Algorithms for geometric construction of pieces and production patterns have been developed. The technology for manufacturing the dress has been composed. Markers for robotic cutting of the articles are planned. Three dresses are sewn. Each dress is decorated differently with elements cut from the fabric waste. The result of the proposed approach is three styles of clothing with three different unique looks with minimized textile waste. The artistic design of clothing with eco features demonstrates creative approach and good textile knowledge on the various methods of design and technological processing of materials. Using the fabric waste after cutting requires innovative thinking in order to make the garment attractive and to be preferred by a wider range of consumers. The production and successful sale of eco-friendly clothing occupies a worthy niche in the market.
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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, nr 3 (1.12.2019): 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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Cai, Xiaofeng. "Gender Stereotypes in Female Contemporary Dress Aesthetics". Lecture Notes in Education Psychology and Public Media 5, nr 1 (17.05.2023): 290–95. http://dx.doi.org/10.54254/2753-7048/5/20220537.
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People always follow trends that are preferred by the mass, and stereotypes are generated as the trends spread out. Stereotypical aesthetics is somehow dominating society, because of the so-called norms of clothing and requirements. There are some potential problems with stereotypical aesthetics in females dress codes. The paper discusses the stereotypes of females dress code in the workplace, in daily fashionable wearing, and for different ages. The stereotype can be revealed from the clothes design, the brand concepts, and the emphasis on design. It is found that the stereotypes of female dress codes in the workplace have some negative impacts on the females body and their work. Furthermore, the stereotype of popular fashionable dress codes has been affected by social media and popular brands as well, and the socially moral judgments on females dress codes have contradicted what is prevailing in the real world. Last, the stereotypical impression of females of different ages has limited the creativity and diversity of clothing styles and aesthetics.
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FUJII, MIEKO. "Dress Design HCS(Human Clothing Science) System." Japanese journal of ergonomics 34, Supplement (1998): 410–11. http://dx.doi.org/10.5100/jje.34.supplement_410.
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Barnes, Ruth, Emma Tarlo i Hildi Hendrickson. "Clothing Matters: Dress and Identity in India." Journal of the Royal Anthropological Institute 4, nr 3 (wrzesień 1998): 606. http://dx.doi.org/10.2307/3034217.
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Franklin, Alex. "Phenomenal dress! A personal phenomenology of clothing". Clothing Cultures 1, nr 1 (1.10.2013): 83–91. http://dx.doi.org/10.1386/cc.1.1.83_1.
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Tynan, J. "Dress Behind Bars: Prison Clothing as Criminality". Journal of Design History 24, nr 1 (22.02.2011): 92–94. http://dx.doi.org/10.1093/jdh/epq051.
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TWIGG, JULIA. "Clothing, age and the body: a critical review". Ageing and Society 27, nr 2 (15.02.2007): 285–305. http://dx.doi.org/10.1017/s0144686x06005794.
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Clothes are central to the ways older bodies are experienced, presented and understood within culture, so that dress forms a significant, though neglected, element in the constitution and experience of old age. Drawing on a range of secondary literature, this article traces how clothing intersects with three key debates in social gerontology, concerning the body, identity and agency. It examines the part played by clothing in the expression of social difference, and explores the role of age-ordering in determining the dress choices of older people, and its enforcement through moral discourses that discipline their bodies. Dress is, however, also an arena for the expression of identity and exercise of agency, and the article discusses how far older people are able to use clothing to resist or redefine the dominant meanings of age. Lastly the paper addresses questions of the changing cultural location of older people, and the role of consumer culture in the production of Third Age identities.
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McLean, Ian. "Thinking Australia in Oceania: Old Metaphors in New Dress". Thesis Eleven 55, nr 1 (listopad 1998): 1–13. http://dx.doi.org/10.1177/0725513698055000002.
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Hajdú, Noémi, i László Molnár. "Teacher Attire and Student Impressions: A Closer Look". Theory, Methodology, Practice 20, nr 1 (22.02.2024): 13–20. http://dx.doi.org/10.18096/tmp.2024.01.02.
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Our choice of clothing has a great impact on how we are perceived by others. The official dress code of the university has changed a lot. From a more formal and exquisite dress code to a range of informal styles, such as business casual and smart casual. This change raises the question of whether dress has an impact on how students develop first impressions and opinions in our campus community. This study, which took place in November and December 2022, involved 414 individuals from a heterogeneous sample who responded to an online questionnaire provided on campus. The basis of this study is the sample, which was carefully selected to represent the age and gender distribution of the university. The main objective of this study is to investigate how students' perceptions and opinions are influenced by lecturers' dress. The results show a complex relationship between what people wear and the perceptions they create. Specifically, a preference for athletic or informal clothing is associated with qualities such as flexibility and directness, while a preference for more elegant and formal clothing conveys qualities such as care and attention to detail. These findings highlight the complexity associated with our assessment and interpretation of teachers' classroom dress codes and shed light on the different facets of first impressions in a university setting.
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Zhang, Yang, i Xuetao Wang. "A Comparative Study of Heilongjiang Minority Costumes and Customs (taking Oroqen and Manchu as examples)." Historical and social-educational ideas 13, nr 1 (28.02.2021): 79–92. http://dx.doi.org/10.17748/2075-9908-2021-13-1-79-92.
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National clothes and jewelry, one might say, are the symbol of a particular nation. Such factors of influence as, different living conditions, culture, history and others, lead to their great diversity. Each nation has its own unique clothing and jewelry, exploring them you can even deeper understand the national culture and see the unique cultural value. Using the analytical method, and taking as an example the small peoples of Heilunjiang, let us compare the national dress, jewelry and customs, study the clothing and jewelry of the Manchus and Orochon. Analyzing from the point of view of clothing, we will study its functions even more and determine the factors of difference at this stage. Through the analysis of clothing, we will clearly define the distinctive features of clothing of various small nations and the factors of their difference. Then, we will pro-pose a rational development strategy to promote the long-term development of national dress in China.
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Butler, Sara, i Kathy Roesel. "Students' Perceptions of Male Teachers: Effects of Teachers' Dress and Students' Characteristics". Perceptual and Motor Skills 73, nr 3 (grudzień 1991): 943–51. http://dx.doi.org/10.2466/pms.1991.73.3.943.
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The purpose of this study was to explore the effects of a male teacher's clothing and selected students' characteristics on students' perceptions of teachers' characteristics. The sample consisted of 152 male and female high school students. Respondents selected one of four photographs of a male teacher model dressed in four different clothing styles for each of 20 teachers' characteristic statements. The mediating effects of students' gender, formality of clothing, and perceptions of the importance of clothing were also investigated. Significant differences among the four clothing styles were found for all 20 statements. Students' gender and rated importance of clothing had some influence on this relationship. The results supplement previous research on female teachers by suggesting that different types of clothing also influence students' perceptions of male teachers and that students' characteristics have some mediating effect.
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Farli, Vina Febria, Mega Kencana i Wirma Surya. "BUSANA CASUAL DAN GAUN PESTA MALAM INSPIRASI BUNGA RAFFLESIA ARNOLDII". Style : Journal of Fashion Design 3, nr 1 (27.12.2023): 20. http://dx.doi.org/10.26887/style.v3i1.4115.
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The work report entitled "Casual Clothing and Evening Party Dresses Inspired by Rafflesia Arnoldii Flowers" in the form of casual clothes and evening party dresses. Casual clothing means relaxed and simple where this clothing is worn in everyday life and in informal events. Evening party dress clothing is clothing that is used on the occasion of a party event at night. This fashion work was inspired by the Rafflesia Arnoldii flower. The Rafflesia Arnoldii flower, the largest flower, reaches 70 to 110 in diameter with a height of 50 cm consisting of five large, thick and leathery petals which are orange and maroon in color, with white irregular spots, stamens, sharp and thin in the middle hole. flower. Making casual clothes and evening party dresses through a process of preparation, design and implementation. Using bridal satin, basurek, balotelli batik, velvet satin, hero, Swarovski pearl tille, and sand / crinkle organza. The works created are clothing, Rafflesia Arnoldii casual 1, Rafflesia Arnoldii 2, Rafflesia Arnoldii casual 3, Rafflesia Arnoldii party dress.
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Lehtinen, Ildikó. "Behind the Scene". Ethnologia Fennica 48, nr 2 (22.12.2021): 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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King, Donald. "Roman and Byzantine Dress in Egypt". Costume 30, nr 1 (1.01.1996): 1–15. http://dx.doi.org/10.1179/cos.1996.30.1.1.
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Singh, Garima. "Impact of dress on human psychology". ASIAN JOURNAL OF HOME SCIENCE 15, nr 2 (15.12.2020): 424–28. http://dx.doi.org/10.15740/has/ajhs/15.2/424-428.
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Clothes have a strong influence over the way other people perceive us; you may be talented and qualified, but sweatpants at a job interview probably won’t communicate your ambition to a potential boss. “The formality of clothing might not only influence the way others perceive a person, and how people perceive themselves, but could influence decision making in important ways through its influence on processing style.” Fashion trend today does not give precedence to comforts and practicality. Sometimes the dress, that goes beyond modesty and simplicity, which does not allow someone to sit or walk properly, is attracted by youth. This growing trend of self awareness for one’s look has influenced every aspect of generation individual behaviour and is reflected in every sphere starting from social media platforms to real life purchase decisions. Colour can carry important meaning and can have an important impact on people’s affect, cognition, and behaviour. Clothes have systematic influence on wearer’s psychological processes. Minor clothing manipulations can give rise to significantly different inferences. Even small changes in clothing choice can communicate different information to a perceiver. Dress affects one’s ideas about the self (e.g., attitudes, values, beliefs) as well as selfdirected behaviours. This growing trend of self awareness for one’s look has influenced every aspect of new generation individual behaviour and is reflected in every sphere starting from social media platforms to real life purchase decisions.