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Zeitschriftenartikel zum Thema „Wedding dress“

Autor: Grafiati

Veröffentlicht am 24. Juni 2021

Zuletzt aktualisiert am 26. Juli 2025

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1

Liu, Fanxi. "The Importance of Garment Specification on Formal Dress: The Application of a Perfect Wedding Dress." Art and Society 1, no. 2 (2022): 41–55. http://dx.doi.org/10.56397/as.2022.10.07.

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Garment specification plays a critical role in the processing of manufacturing formal dress today, particularly wedding dress. However, wedding dress is usually white for the sake of purity, but today it is free to choose the form of color for wedding dress based on users’ life, status and preferences. Hence, the aim of this study is to illustrate the critical role that fabric and garment specification plays in pursuing practical and aesthetic value of a perfect wedding dress. This study critically reviews the prior studies on the garment specification application in making wedding dress for t

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IRENA, FUNDUK, and PAVKO-ČUDEN ALENKA. "Constructional, performance and social characteristics of contemporary Slovenian wedding dress." Industria Textila 68, no. 01 (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

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

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Mitina, E. I. "Russian court dress at the Royal wedding: visualization of ethnicity in the matrimonial policy in the second half of the 18th - the first half of the 19th century." Herald of Omsk University. Series: Historical studies 9, no. 2 (34) (2022): 38–46. http://dx.doi.org/10.24147/2312-1300.2022.9(2).38-46.

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The article considers the cases of usage of the Russian court dress at the royal weddings in the second half of the 18th - the first half of the 19th century. The article analyzes perception by contemporaries of Russian court dress and based on portrait paintings and memoirs. The Russian court dress initially appears in the middle of the 18th century and was regulated during the reign of Nicholas I. Wearing of Russian court dress by European princesses on the weddings with Russian Grand Dukes shows the change of their identities; after the wedding they have to position themselves as Russian Gr

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Wang, J. "The change of color of female wedding dress in Chinese ancient times." ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ 104, no. 4 (2023): 126–29. http://dx.doi.org/10.18411/trnio-12-2023-219.

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The paper provides a comparison of color changes in female wedding dress in different periods in China. The wedding dress emerged at the presence of Zhou dynasty‘s dress, the main color of it is cyan. In the Tang and Song Dynasties, women wore wedding dress with a large area of cyan. This phenomenon was depicted in combination with handed-down portraits, which gradually proved that traditional women showed ―advocating cyan‖ phenomenon in the choice and inheritance of wedding dress color. However, since the Hongwu period of the Ming Dynasty, the color image of women‘s marriage dress was changed

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

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

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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 compos

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Indarti, Indarti, and 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, no. 1 (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 u

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Walsh, Kristin Harris. "“You just nod and pin and sew and let them do their thing”." Ethnologies 27, no. 2 (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 convent

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Dan, Wang, and Supachai Singyabuth. "Collective Memory of Tuyao Wedding Costumes Through Physical Practice of Wedding Ceremony Theater at Hezhou, China." Journal of Law and Sustainable Development 12, no. 1 (2024): e2080. http://dx.doi.org/10.55908/sdgs.v12i1.2080.

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Introduction: Tuyao Wedding Costumes are an important part of the traditional culture of Tuyao, as well as an important embodiment of Tuyao unique characteristics and unique culture. The costume culture of Tuyao contains an important way of transmission and development of the history and culture of the Tuyao ethnic group. The memory of Tuyao Wedding Costumes is stored in the minds of generations of Tuyao people who have experienced the wedding ceremony, forming a collective memory. This collective memory guides the generations of Tuyao people to inherit and develop the ethnic costumes. Objecti

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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 (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 drawi

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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 (2015): 635–36. http://dx.doi.org/10.15444/gfmc2015.04.09.19.

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JI, YANBO, YING WANG, KAIXUAN LIU, et al. "3D interactive design of wedding dress." Industria Textila 74, no. 01 (2023): 42–48. http://dx.doi.org/10.35530/it.074.01.2021111.

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Based on the human torso point cloud, this paper proposes a method from the 3D design of the corset to the 2D pattern expansion. The point cloud of the human body is obtained through 3D scanning. The human body model for research is constructed, and the 3D basic style design of the corset is carried out, based on the same style and different structural line design, and through the curved surface flattening platform to convert 3D into 2D patterns. The verification was made through a virtual simulation platform and physical production methods. This study enriches the application prospect of digi

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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 econom

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Zainuddin, Nasaie, Asliza Aris, Najua Tulos, Muhammad Hisyam Zakaria, and Nor Idayu Ibrahim. "The Aesthetic of Bridal Songket in Malay Traditional Wedding Attire." International Journal of Art & Design 4, no. 1 (2021): 41–46. http://dx.doi.org/10.24191/ijad.v4i1.2595.

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Songket is one of the valuable traditional Malay weaving fabrics which is often used as a Malay wedding dress. The term Songket is derived from a Malay word “menyungkit” (leverage) using “gimpal” thread (gold and silver). However, nowadays its usage is beginning to decline due to the presence of foreign fabrics such as Thai silk and the fact is that many Malay brides and grooms are beginning to favor foreign fabrics to dress up at their wedding.This situation eventually would disrupt the production of Songket and affect its reputation as the popular traditional fabric of Malay weddings. Hence,

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Lytvynenko, Nataliia, Oleksandra Penchuk, Olha Lavreniuk, and Anastasiia Morozova. "Women's Wedding Dress in Tradition and Today." Bulletin of KNUKiM. Series in Arts, no. 45 (December 17, 2021): 241–48. https://doi.org/10.31866/2410-1176.45.2021.247402.

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The purpose of the article is to identify the special features of women's wedding dresses based on research on the transformation of fashion trends in women's clothing of the 1920s and the present, taking into account the national characteristics inherent in Ukrainian dresses and modern trend formation in the design of clothing and accessories. The presented wedding dresses synthesise modern trends of a straight silhouette, oversize, and variable ethnic elements, which focus on the mental individuality of the bride, who lives in the spirit of the times, but shows respect for the nation

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Nathania, Stella. "Sistem Buku Tamu Pernikahan Berbasis Web." Jurnal Indonesia Sosial Teknologi 3, no. 11 (2022): 1205–18. http://dx.doi.org/10.36418/jist.v3i11.533.

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The registration of guests who attend weddings often encounters a number of problems. Starting from a crowded queue at certain hours or invited guests whose writings are difficult to read. Physical books to record wedding guests can only be kept by one party. These problems can certainly be overcome by designing a Web-Based Wedding Guest Book System Design. Web-Based Wedding Guest Book System is designed with MySQL database system and uses PHP programming language. Guests can choose to enter personal information including name and origin, or ask the reception staff to enter data. Guests are al

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Han, Eunkyoung, and Ji Young Lim. "Analysis on Sales Products and Consumer Preference Design for Small Wedding Dresses Planning." Korean Society of Culture and Convergence 44, no. 11 (2022): 489–507. http://dx.doi.org/10.33645/cnc.2022.11.44.11.489.

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The purpose of this thesis is to consider the wedding dress designs preferred by the Generation MZ who are the core consumers of wedding market, in order to suggest wedding dresses suitable for the changed small wedding culture. For this, this study analyzed the designs of small wedding dresses currently sold in shopping malls, and then conducted a survey on the preferred designs of small wedding dresses targeting the Generation MZ, especially the unmarried women in their 20s-30s. The results showed the necessity to have the designs with practical image besides the dresses with elegant or clas

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

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Pigozne, Ieva. "Clothing of Bride and Groom in Eastern Latvian Weddding Traditions of the 19th Century." Acta Humanitarica Universitatis Saulensis, T.25 (2017) (March 1, 2018): 141–53. https://doi.org/10.5281/zenodo.3893919.

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Latvian Folklore Archives store a data base of Latvian customs and traditions that also contains descriptions of wedding traditions. These descriptions date back to the 19<sup>th</sup> century and often mention use of textiles and sometimes describe the clothing of the bride and the groom. This study presents what can be learned from these descriptions and compares the results with the folk dress collection of the National History Museum of Latvia, original drawings of the 18<sup>th</sup> and 19<sup>th</sup> century that depict people wearing traditional clothing, and Latvian folk songs. The a

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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

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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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Arina Haq and Anita Shofiyunada. "Utilization Of Songket Fabric As A Wedding Dress With The Application Of Aesthetic Principles." An International Journal Tourism and Community Review 1, no. 3 (2024): 01–08. https://doi.org/10.69697/tourcom.v1i3.169.

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Songket fabric is one of the traditional fabrics originating from South Sumatra, songket fabric has been used as a subordinate of traditional clothing, it can be in the form of bodo clothes, tunics. The development of fashion that continues to rotate so that the preservation of this songket fabric is maintained, innovation is needed, to provide innovation so that songket fabric can be processed into fashion for wedding occasions with more modern models. The principle of aesthetics is a reference in creating innovations so that the results of innovation are in accordance with the intentions and

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Lee, Sanghee, and Sookhee Kwon. "Dress Design Analysis and Pattern Making Techniques for Increasing the Efficiency of Dress Production." Family and Environment Research 61, no. 1 (2023): 53–71. http://dx.doi.org/10.6115/her.2023.005.

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Dressmaking is a high value-added sector of the fashion industry in which the individuality and skills of designers play a prominent role. The appropriate use of the draping and the flat pattern techniques in the dressmaking process also play an important part in perfecting the finished product. The purpose of this study was to improve the understanding of dress design and identify a pattern production technique to enhence efficiency in each of the three elements of the dress manufactureing process. For this purpose, analysis of the design of 1,389 wedding dress photographs published in <i&

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Rosalina, Desi, and Moh Arif Jati Purnomo. "AN INQUIRY OF BATIK MOTIF FOR WEDDING CLOTHES: EDELWEISS FLOWER BATIK MOTIF." Runtas : Journal Of Arts And Culture 2, no. 1 (2024): 1–17. http://dx.doi.org/10.33153/runtas.v2i1.4809.

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The purpose of this art creation is to apply edelweiss motive on party dress suitable for wedding party dress. The method of this artwork creation method consists of expression, technique, and creation. Batik creation process is conducted through combination of handmade and expressive technique by using brush and the proceeded with staining using covering and dying technique. This works consists of two clothing work title, namely “Endless Love” and “This Love” with the motif names for each work being “Edel” and “Weiss”, respectively. The meaning behind the combination of title endless love whi

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Akbar, Taufik, Desra Imelda, Nadia Sigi Prameswari, and Selfi Mahat Putri. "Pengaruh Nilai Islam pada Visual Pakaian Pengantin Adat Minangkabau Koto Gadang." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 8, no. 02 (2022): 215–30. http://dx.doi.org/10.33633/andharupa.v8i02.5268.

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Abstrak Pakaian pengantin tradisional Koto Gadang merupakan salah satu produk seni budaya Minangkabau yang identik dengan nilai Islam. Walaupun bukan sebagai tempat masuknya Islam di Minangkabau dan Sumatera Barat tetapi masyarakat Koto Gadang mampu mencerminkan nilai Islam yang kuat pada visual pakaian pengantin yang khas. Penelitian ini adalah sebuah pengamatan visual tentang nilai-nilai Islam yang diwakili melalui pakaian pengantin Koto Gadang. Pengamatan dilakukan dengan pendekatan etnografis Spradley melalui analisis elemen dan komponen visual pakaian pengantin Koto Gadang serta didukung

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Pavković, Marijana. "Changes in wedding customs in Gornja Poljica in the hinterland of Split, Croatia, in the last hundred years." St open 3 (December 22, 2022): 1–27. http://dx.doi.org/10.48188/so.3.13.

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Aim: To examine how wedding customs have acquired unwritten rules over time and how much they have changed in the last hundred years.Methods: Semi-structured interviews with three respondents from Gornja Poljica (Split city hinterland) and a secondary analysis of sources with the aim of analyzing the course and customs of weddings over three generations in Gornja Poljica.Results: As in the past, there is a wedding procedure consisting of the gathering of wedding guests, the pick-up of the bride at her home, the wedding ceremony, the celebration, and the visit of the bride’s family to her new h

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

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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 (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

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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 eveni

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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 ceremo

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Knuts, Eva. "Forskaren i provrummet." Kulturella Perspektiv – Svensk etnologisk tidskrift 14, no. 3 (2005): 35–42. http://dx.doi.org/10.54807/kp.v14.29125.

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When it comes to weddings, the subject of the author's forthcoming thesis, verbal and textual material is not enough to understand the feelings around choosing and wearing the wedding dress. Trying on the dresses was a methodological experiment to correct this and theoretically the approach owes to the actor network theory of Bruno Latour. As the author and her "bride's maid" entered the wedding gown boutique they had to take off their shoes before browsing through the racks of dresses. There was a vast amount of white, long and expensive dresses to select from. In the article, some of the bod

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Handayani, Mery, I. Made Sukanadi, and Aruman Aruman. "PENCIPTAAN MOTIF BATIK DARI LEGENDA PULAU KEMARO PADA BUSANA PENGANTIN WANITA." Style : Journal of Fashion Design 3, no. 1 (2023): 44. http://dx.doi.org/10.26887/style.v3i1.4117.

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The creation of this Final Project is entitled Creation of Batik Motifs from the Legend of Kemaro Island on the Bride's Dress. The legend of Kemaro Island is an archipelago legend originating from Palembang. This legend tells of the love story of a Chinese merchant and Princess Sriwijaya who are the origins of Kemaro Island. The legend of Kemaro Island is visualized in the bride's attire. This work of clothing can be enjoyed as a whole, both in use and beauty. The making of this work aims to introduce the Legend of Kemaro Island to the public through the art of batik which is designed with wed

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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 (2018): 1–16. http://dx.doi.org/10.30751/kfcda.2018.20.2.1.

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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 (2019): 137–48. http://dx.doi.org/10.16885/jktc.2019.03.22.1.137.

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

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

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Iriani, Zora. "MALAM BAKURUANG (BERKURUNG) DALAM PERKAWINAN ALEK GADANG DI KENAGARIAN SALAYO KECAMATAN KUBUNG KABUPATEN SOLOK." Humanus 11, no. 1 (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 t

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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 (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

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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 (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

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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 (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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Fatminingrum, Susiana, and Yulistiana Yulistiana. "Penerapan Bordir Motif Bukang Marege dan Epaulettes pada Gaun Pengantin." BAJU: Journal of Fashion & Textile Design Unesa 3, no. 1 (2022): 11–19. http://dx.doi.org/10.26740/baju.v3n1.p11-19.

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Tujuan penelitian ini adalah untuk mendeskripsikan proses penerapan bordir motif bukang marege dan epaulettes pada gaun pengantin, dan untuk mendeskripsikan hasil jadi penerapan bordir motif bukang marege dan epaulettes pada gaun pengantin. Metode yang digunakan adalah Double Diamond Model, yang terdiri dari 4 tahapan yaitu discover, define, develop, deliver. Proses pembuatan bordir motif bukang marege menggunakan mesin bordir dengan desain yang telah di stilasi dari motif bukang marege yang asli. Proses pembuatan epaulettes ada dua tahap, tahap pertama membuat padding bahu yang berfungsi seba

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Chil Soon Kim and 양희순. "Selective Behavior of Wedding Dress according to women's lifestyle." Journal of Korea Design Forum ll, no. 35 (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 (2014): 166–82. http://dx.doi.org/10.12940/jfb.2014.18.2.166.

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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 (2020): 77–86. http://dx.doi.org/10.22678/jic.2020.18.2.077.

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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 (2018): 21–40. http://dx.doi.org/10.18652/2018.18.3.2.

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Nisak, Aminatun, and Yulistiana Yulistiana. "Pengembangan Desain Busana Pengantin Dengan Tema "The Bentenan Is Asmaralaya Of Tondano"." BAJU: Journal of Fashion & Textile Design Unesa 2, no. 2 (2022): 69–77. http://dx.doi.org/10.26740/baju.v2n2.p69-77.

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Tujuan penelitian adalah untuk mengetahui pengembangan busana pengantin dengan tema “the Bentenan is asmaralaya of Tondano”. Terinspirasi dari cerita rakyat legenda danau Tondano dan motif tenun Bentenan. Metode yang digunakan yaitu Double Diamond Design Prosses, yang terdiri dari 4 tahap yaitu tahap discover merupakan tema yang dibahas pada penelitian ini adalah “the Bentenan is asmaralaya of Tondano” yang memiliki arti motif tenun Bentenan adalah surga dari pulau Danau Tondano yang disesuaikan dengan inspiration picture. Tahap define merupakan hasil yang diperoleh dari penerapan suatu sumber

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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 (2013): 159–73. http://dx.doi.org/10.1386/ffc.2.2.159_1.

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