Relevant bibliographies by topics / Clothing and dress Women

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Clothing and dress Women'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Clothing and dress Women"

1

Jerca, Legan Cvikl. "A Pioneer of Women’s Liberation." Academicus International Scientific Journal 24 (July 2021): 174–83. http://dx.doi.org/10.7336/academicus.2021.24.11.

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Gabrielle Bonheur “Coco” Chanel is a creative icon who has freed the ‘new’ woman from the millennium of dictated dress codes, stereotypical behaviors and clichéd sexual and status simplification. The little black dress has become synonymous of sophistication, to the femininity she gave the character flavor of relaxation and empowered women with timeless clothing pieces and equipped them with inspiring pieces of jewelry, distinctive decorative accessories and bold fragrances. Since then, with the Chanel fashion women were able to step sovereignly and freely aside of male. Coco resisted the reservation of clothing and decorative pieces and fabrics as exclusively masculine in order to help revolutionary women on their journey to a more a more useful elegance and a more noticeable fatality. Without any doubt she succeeded. She gave the new woman what she could not have before: practicality, youthfulness, timelessness and freedom, which was often scandalous at the time of her creation. But it has paid off with a revolution in the clothing industry and, more importantly, with a historic step in liberating the modern woman.
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2

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

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

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

Full text
Abstract:
This book is a very welcome addition to the literature on Muslim women’s dress. It is part of a growing trend to treat Muslim women and their sarto- rial choices through sophisticated theories that recognise the agency, even humanity, of Muslim women. We are far from the days when an Ameri- can author would simply read a headscarf as a symbol of oppression, and Muslim women in need of rescue—at least in the academic realm, though certainly not in the political and journalistic realms. Easy to read and en- gaging (but not simplistic) studies like Bucar’s will, hopefully, eventually trickle out of academia and lead to a sea-change in political and popular discourses as well. Bucar, a professor of philosophy and religion, has turned to ethnog- raphy to complement her philosophical explorations of the relationship between dress, aesthetics, and morality. One of the special features of this book, and what I believe distinguishes it and makes its insights possible, is Bucar’s self-reflective nature, and willingness to share that as she writes. The book begins with a preface, which explains how Bucar came to study this topic while in Tehran to study Persian and Islamic women’s groups in 2004. It opens with her very honest discussion of how she was sitting nervously in the airplane, wondering whether or not she would be able to follow the conditions of her visa to observe local laws and wear “proper hi- jab” (vii). A woman sitting in the aisle across from her winks and pulls out her own scarf and overcoat, setting Bucar at ease, who then follows suit. She describes how she spent a few months adjusting to wearing hijab and figur- ing out the various ways women in Tehran adhere to the hijab laws. Flying next to Turkey, and experiencing some unexpected internal reactions to going bareheaded, made her see that “modest dress had a moral effect on me” (ix), altering her sense of public space and the aesthetics of women’s clothing. “I found surprise, pleasure, and delight in pious fashion, as well as an intellectual challenge to the neat boxes I had once put things in: modest dress as imposed on women, fashion as a symptom of patriarchy, and aes- thetics as separate from ethics. This book is an exploration of this delight and challenge” (ix). Following is the introduction, where she lays out her key terms, meth- odology, and research questions. Bucar explains that she prefers the term “pious fashion” to “modest clothing” or “fashion veiling.” This is so because clothing is a cultural practice that is “governed by social forces as well as daily individual choices” (2). “Fashion” allows people to “construct iden- tities, communicate status, and challenge aesthetic preferences.” “Modest” is generally meant to describe clothing that is “decent and demure,” that discourages sexual attention, but she learned that Muslim women’s dress is more than this, as it is connected to “ethical and religious dimensions… such as character formation through bodily action, regulating sexual de- sires between men and women, and creating public space organized around Islamic moral principles” (3). Hence her preference for the phrase “pious fashion.”Next appear country case studies of how Muslim women in different locales take up “pious fashion”. She did fieldwork in three cities—Tehran, Iran (2004 and remotely 2011); Istanbul, Turkey (2004, 2012, 2013); and Yogyakarta, Indonesia (2011)—observing women in a variety of locations, going shopping, and participating in activities related to pious fashion (in- cluding wearing it herself sometimes). She conducted focus groups and interviews with women between ages eighteen and thirty wearing pious fashion. After opening with a brief introduction to the country-specific poli- tics of modest dress, each chapter is divided into two main sections: “style snapshots” and “aesthetic authorities.” The style snapshots are often very detailed descriptions (half a page for a single outfit) of different kinds of dress, including material, stitching, colour, patterns, style cuts, and accesso- ries. These sections can be a challenge for those not that interested in such details of fashion. The book contains twenty color photographs to illus- trate the styles of dress she discusses, but I still found a laptop an essential component to look up images of the stylists she was referring to, or more basic visual aids to know the difference between “chiffon” and “crepe,” or a “manteau” and a “tunic.” Yet it is such intimate details that give life to her book. These details of fashion are not the object of the book, though, for she embeds these discussions in deeper conversations about aesthetics, moral- ity, piety, beauty, and cultural and political aspects of clothing and fashion. The sections on “aesthetic authorities” cover religious authorities, governments, visual images, educators, fashion designers, magazines, and bloggers’ pious fashion discourses in each country. She is able to highlight differences and similarities across countries, as well as the prevalence of different interpretations and debates amongst all these different voices on what does and does not count as “pious fashion.” She includes discussions about what are counted as “bad hijab” or fashion failures, as an important way to understand the delimitations of pious fashion in each country. Chapter Four presents summarizing conclusions. Here she argues that unlike the normal western approach which considers hijab as a “problem” to be solved, it is rather a woman’s decision about what to wear which should be analytically considered: “the duty to dress modestly does not resolve this question: even if certain institutional structures and public norms related to taste, virtue, and femininity set limits and provide guidance, Muslim wom- en have a great deal of choice when they get dressed every day” (171). She explores the intersections between national identity, modernity, femininity, modesty, aesthetic rebellion, women’s agency, materialism, the consumer lifestyle, aesthetic concepts of beauty and its relationship to morality and fashion, and tradition and change. She concludes that the study of pious fashion teaches us that piety…[is] not just about obedience to orthodox interpretations of sacred texts: it also incorporates good taste, personal style, and physical attrac- tiveness. And fashion becomes a key location through which piety can be realized and contested. Piety is not only about being good – it is about appearing to be good as well…[Women who wear pious fashion] are pi- ous because they are using clothing and adornment to cultivate their own characters, to build community, and to make social critiques. (190) The book ends with an epilogue pointing to a sudden interest, since 2016, in “pious fashion” from the mainstream Western ‘secular’ fashion industry. She notes the two different directions this goes politically—ei- ther to celebrate Muslim women’s inclusion in wider society (CoverGirl’s use of first hijabi spokesperson, Nura Afia, 2016, 195) or to criticise Islam’s pollution of secular fashion (designers are encouraging the enslavement of women) (196). One of the main reasons this book works so well is Bucar’s wonderful ability to be empathetic without being an apologist. She does not wear hijab in her life in the United States; the book is not advocating hijab. She does not gloss feminist concerns over patriarchy and pressures to wear hijab, nor the impact of hijab laws that frustrate many women in Tehran. She recognises the complex nature between dress, identity, fashion, and philo- sophical questions like ethics and the nature of being. She normalizes hijiab so that it can be studied, not as some kind of weird, exotic, oppressive, sui generis piece of cloth, but like any other piece of women’s clothing, like mini-skirts, jeans, high heels, or the bra: While modest clothing can indeed be used as a form of social control or as a display of religious orthodoxy, in practice, it is both much less and much more. Much less, because for many Muslim women, it is simply what they wear. Much more, because like all clothing, Muslim women’s clothing is diverse, both historically and geographically, and is connected with much broader cultural systems. (1) Katherine BullockLecturer, Department of Political ScienceUniversity of Toronto at Mississauga
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4

Cieśla, Katarzyna, Iwona Frydrych, Sybille Krzywinski, and Yordan Kyosev. "Design workflow for virtual design of clothing for pregnant women." Communications in Development and Assembling of Textile Products 1, no. 2 (December 13, 2020): 148–59. http://dx.doi.org/10.25367/cdatp.2020.1.p148-159.

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The purpose of this study is to investigate pregnant women’s maternity dress in relation to their body image at each stage of pregnancy. Firstly, in order to create pregnant body Blender software is used. Then Lectra ModarisV8R2 allows to create a pattern. Finally, Lectra 3D Fit simulate and visualize projects. The paper explains, how to gain pregnant body in Blender and how to prepare a project for visualization in Lectra. The result is pregnancy dress project in 4 sizes and tailored to each stage of pregnancy.
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5

Kramkowska, Emilia. "Senior citizens’ clothing in a “youthing” polish society. The perspective of elderly women and men." Acta Universitatis Lodziensis. Folia Sociologica, no. 72 (March 30, 2020): 45–65. http://dx.doi.org/10.18778/0208-600x.72.03.

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The way the modern-day senior citizens dress may be determined by their functioning in a “youthing” society, together with the legacy of the Polish People’s Republic and the dress codes prevailing at that time. This article provides an analysis of the abovementioned issue in a gender context, as the described age-ordering of clothes in this text concerns women and men differently. The analysis was based on a diagnostic survey, conducted among people over sixty years old, who gave their opinions on their own and their peers’ dress sense. The responses given suggest that the trends characteristic for a “youthing” society contribute to rejuvenating the way Polish senior citizens dress. According to them, the elderly dress fashionably, tastefully and colorfully – which was stated more often by the women than the men. The survey results also confirm that the dress codes relevant to PPR times are deeply rooted in the seniors’ minds. This was reflected more often in men’s opinions than in women’s. The preliminary results presented in this article indicate that the way elderly people in Poland dress is beginning to be reshaped. The results require greater depth, and this could be facilitated through the use of qualitative techniques that might complement the collected material.
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6

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

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This article investigates gendered nationalist ideologies and their attendant myths and narratives in present-day Kyrgyzstan through an investigation of clothing items and practices. Clothes “speak volumes,” revealing tensions between gendered narratives of nationhood and various interpretations of what “proper” Kyrgyz femininities and masculinities should be. Clothing thus becomes both a sign and a site of the politics of identity, inscribing power relations and individual strategies of Kyrgyz men and women onto their bodies. Individual clothing choices and strategies take place within the general context of discursive struggles over what authentic and appropriate representations of Kyrgyzness should be. Thus, such clothing items as ak kalpak (conical felt hats) and the practice of Muslim women covering their head (hijab) acquire social and political meanings that stand for wider processes of identity contestations in the country.
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7

Hass, Bat Sheva, and Hayden Lutek. "Fashion and Faith: Islamic Dress and Identity in The Netherlands." Religions 10, no. 6 (May 30, 2019): 356. http://dx.doi.org/10.3390/rel10060356.

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This paper focuses on the relationship between clothing and identity—specifically, on Islamic dress as shaping the identity of Dutch Muslim women. How do these Dutch Muslim women shape their identity in a way that it is both Dutch and Muslim? Do they mix Dutch parameters in their Muslim identity, while at the same time intersplicing Islamic principles in their Dutch sense of self? This study is based on two ethnographies conducted in the city of Amsterdam, the first occurring from September to October 2009, and the second took place in August 2018, which combines insights taken from in-depth interviews with Dutch Muslim women and observations in gatherings from Quranic and Religious studies, social gatherings and one-time events, as well as observations in stores for Islamic fashion and museums in Amsterdam. This study takes as its theme clothing and identity, and how Islamic clothing can be mobilized by Dutch Muslim women in service of identity formation. The study takes place in a context, the Netherlands, where Islam is largely considered by the populous as a religion that is oppressive and discriminatory to women. This paper argues that in the context of being Dutch and Muslim, through choice of clothing, these women express their agency: their ability to choose and act in social action, thus pushing the limits of archetypal Dutch identity while simultaneously stretching the meaning of Islam to craft their own identity, one that is influenced by themes of immigration, belongingness, ethnicity, religious knowledge and gender.
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8

Alawiyah, Syarifah, Budi Handrianto, and Imas Kania Rahman. "Adab Berpakaian Wanita Muslimah Sesuai Tuntunan Syariat Islam." Rayah Al-Islam 4, no. 02 (October 28, 2020): 218–28. http://dx.doi.org/10.37274/rais.v4i02.338.

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The phenomenon that afflicts Indonesian society, especially Muslim female students, is a culture of clothing that deviates from the guidance of Islamic law, although there are Muslim women who show how to dress according to Sharia, but the number is relatively small compared to those who are not. The phenomenon of wearing hijab is currently not in accordance with the requirements of Muslim women's clothing where not a few of the clothing models worn by women wearing hijab but still show the shape of the body, made from transparent and so on. Of course this is a problem that must be addressed by parents, educators and those in charge of education, because if it is left unchecked this will become a culture that will continue to develop and eventually become a law that is considered true by future generations. One way to overcome this is to raise awareness among Muslim women about the obligation to cover their genitals by providing sufficient understanding of genitals, the obligation to cover them and the adab of dressing in Islam. This study uses a literature review that synthesizes the theories and concepts of fiqh scholars about the aurat adab dress in Islam which then produces a concept of how to foster awareness of covering one's genitals which can be internalized in the form of dress behavior in Muslim women, especially students.
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Kramkowska, Emilia. "Simmlowska koncepcja mody a ubiór współczesnych seniorek i seniorów. Podejście badawcze." Kultura i Społeczeństwo 64, no. 4 (December 29, 2020): 153–80. http://dx.doi.org/10.35757/kis.2020.64.4.7.

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The purpose of this article is to draw attention to the undiscussed and yet very interesting issue of fashion and the clothing of senior citizens. The issue is analyzed here in relation to Georg Simmel’s concept of fashion and specifically his idea of imitation and distinctiveness inscribed in the fashion system. Simmel seems to indicate that the social order determined by fashion is more often respected by women than by men. Therefore, the issue of fashion and clothing is discussed in relation to the gender of the individual. Age is also important. In her own research among people aged 60 and over (a diagnostic survey and interviews), the author of the article sought answers to the following questions: what do seniors think about the clothing of today’s older people? Do they think they dress fashionably – in the sense of following the spirit of modern times, which promotes youth? What determines the way seniors dress in contemporary Poland? The respondents were aware of a change in how seniors dress today and view the change positively. The fashion behavior of seniors is more often approved by women than by men and by younger seniors rather than older ones.
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10

Belkaïd, Leyla. "Investigating the Blusa: The Cultural and Sartorial Biography of an Algerian Dress." Costume 48, no. 1 (January 1, 2014): 60–81. http://dx.doi.org/10.1179/0590887613z.00000000038.

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This essay describes the evolution of the garment known as a blusa, worn by urban women in north-western Algeria. The blusa, a full-length dress with short sleeves, was conceived and developed in the cities of Tlemcen and Oran. It incorporates locally meaningful traditions as well as fashion styles in conjunction with different cultures. Its transformation illustrates how Algerian women resisted cultural assimilation through dress while creatively appropriating western European textiles, techniques and aesthetics in their clothing, during the French colonial period (1830–1962) and its aftermath. The exploration of the contemporary blusa variations reveals how the relationship between clothing and identity is still highly complex in Algerian cities. To date, the invention, the rituals, the design, and the production of the blusa dress has been little studied. This paper reconstitutes an historical puzzle based on recent object-based research and anthropological investigations. It seeks to interpret the blusa as an interface between tradition and modernity.
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Dissertations / Theses on the topic "Clothing and dress Women"

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Bailey, Claire Simone. "Petite women: the reflection of confidence for petite women through dress." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1341.

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Thesis (BTech (Fashion Design))--Cape Peninsula University of Technology, 2010
Petite women face many difficulties when purchasing clothing (Kam, 2006). This has been the common reaction expressed by a number of petite women all over the globe (Kam, 2006). Although there have been efforts made to accommodate petite women in South Africa( National Textiles Research brief, 2007) regarding clothing such as Edgars in particular there is still a large amount of petite women who feel dissatisfied. To test whether poorly fitted clothing does have a psychological effect on the petite women, interviews will be conducted with students attending CPUT and UCT. Research on theories revolving around the human mind and how the perception of other people influence our own perceptions of our self image were covered and the product of this research will be a new sizing system for petite women and a range of smart wear which allows women to express themselves age appropriately. The apparel industry has been growing and has worked side by side with technology to address many problems concerning fit and have succeeded in many departments. The fashion industry has in fact paid little attention to petite individuals not recognizing the psychological effect it has on the consumer and could largely benefit if the industry concentrates more on fit, aesthetic and design problems.
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2

Rainer-Jeanes, Earline. "Clothing interest, leisure activity continuity and their association to clothing fit satisfaction for women 55 years and older." Thesis, This resource online, 1994. http://scholar.lib.vt.edu/theses/available/etd-07102009-040413/.

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Leung, Ka-kie. "Dress and gender power." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262063.

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Park, Jae Ok. "Clothing style preference of working women related to self- image/clothing-image congruity and public self-consciousness." Diss., This resource online, 1990. http://scholar.lib.vt.edu/theses/available/etd-07282008-140007/.

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Almila, Anna-Mari. "Hijab as dress : Muslim women's clothing strategies in contemporary Finland." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=211282.

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This thesis concerns female Islamic dress, the hijab, in contemporary urban Finland. The hijab is not merely a symbol or an inevitable embodiment of either female oppression or agency, but rather is a form of dress that is simultaneously social, mental, material, and spatial. The approach developed here captures the multiple dimensions of the hijab as it is lived and experienced. The thesis draws upon ideas from a range of social theorists, including Bourdieu, Lefebvre, Goffman, and Gramsci. These ideas are deployed to understand the conscious and semi-conscious dress strategies and practices that veiling Muslim women use to manage various everyday issues and challenges. I investigate questions concerning how social, material and spatial relations both impact upon, and are negotiated by, the wearing of the hijab. The research was conducted in Helsinki using ethnographic methods, such as semi-structured interviews and participant observation. The main groups of informants were Finnish converts to Islam, Somalis, and Shi'a Muslims from Iran, Afghanistan and Iraq, and the sample covered women of various ages, educational backgrounds, and professional positions. The empirical chapters are organised according to four major themes: Politics, Materiality, Performance, and Visibility in Public Space. According to the findings, Muslim women in Finland negotiate their dress strategies with reference to Finnish ‘mainstream' society, religious doctrine and the demands of their particular ethnic communities. Dress strategies and practices are found to be bound up in complex but identifiable ways with factors such as fashion markets and dress availability, diverse modes of embodiment and habituation, and the socio-spatial relations which produce and are produced by the Finnish built environment. In sum, by focussing on the lived experience of wearing the hijab, many of the more simplistic politicised understandings of Muslim women and their characteristic forms of dress can be challenged and superseded.
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Harps-Logan, Yvette. "Clothing values and clothing buying practices of black and white middle income women." Diss., Virginia Tech, 1990. http://hdl.handle.net/10919/39907.

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The purpose of this study was to determine if there were differences in clothing values between Black and White middle-income women patronizing the primary and second-order markets, and to determine if there were differences in the clothing buying practices between these groups in the two markets. A self-administered questionnaire was distributed to a purposive sample of 250 Black and White women residing in three metropolitan areas. The clothing values measured were economic, political, religious, and conformity. Eighteen clothing buying practices were included in this study. N1ne practices were speclfical1y directed toward the second-order market shoppers. Variations were found in the rank order of clothing values within the two groups. Blacks ranked the religious value higher and conform1ty lower than the Whites. Blacks scored higher on the economic and re1igous clothing values while Whites scored higher on conformity. Significant differences between Black and White middle-income women in their clothing buying practices were found in: (1) the method used to acquire the majority of clothing; (2) the percentage of personal clothing items purchased in primary stores; and (3) buying pattern for a dress costing more than $50.00. Significant differences between Black and White middle-income women who used the second-order market were found in: (1) length of time respondents had purchased used-clothing; (2) satisfaction with price when making used-clothing purchases; (3) shopping the Salvation Army, Goodwill, and thrift stores; purchasing of (4) pants; and buying used-clothing to wear for (5) work and (6) school. Middle-income women who used the primary market exclusively scored higher on the conformity clothing value than did those who used the second-order market. Black consumers who used the second-order market held higher religious clothing values and lower conformity values than did the White women.
Ph. D.
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Huckabay, Dabney A. "Perceived body cathexis and garment fit and style proportion problems of petite women." Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-10062009-020234/.

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Larmour, Margaret Swisher 1946. "A study of body measurements relating to the fit of clothing for 65 to 74 year old women." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276729.

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Survey questionnaires were utilized to solicit information from women between the ages of 65 and 74 who were in attendance at senior citizens' meetings. Primary objectives of the survey questionnaire were (1) to identify an optimum size range (most frequently occurring size) on which to base the measurement portion of the study, (2) to solicit information regarding the fit of clothing, and (3) to seek information regarding garment alterations required by these women. From the eighty-eight respondents, a purposive sample of twenty-one women between the ages of 65 and 74, and falling within optimum size identified in Phase I of the study, was selected for measurement. Fifty-six measurements were made on each subject. The measurements were statistically analyzed and compared with the standard size 12 used by pattern companies and the ready-to-wear industry. The women in this study, by and large, were heavier and shorter than the reference size twelve to which they were compared.
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Chang, Ya-Ting. "Taiwanese consumers perceptions of American versus Taiwanese apparel brands." Online access for everyone, 2006. http://www.dissertations.wsu.edu/Thesis/Spring2006/y%5Fchang%5F050306.pdf.

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Leung, Ka-kie, and 梁嘉琪. "Dress and gender power." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953621.

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Books on the topic "Clothing and dress Women"

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Stone, Jeff. Chic Simple Dress Smart Women. New York: Grand Central Publishing, 2008.

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Rahman, Abdullah Abdul, ed. Islamic dress code for women. Riyadh, Saudi Arabia: Darussalam, 1999.

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Stehlin-Alzadjali, Julia M. The traditional women's dress of Oman. Edited by Cross Kelly J and Centre for Omani Dress. Ruwi, Sultatnate of Oman: Muscat Press & Publishing House, 2010.

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Jutta, Ittner, ed. Women and clothes. Austin, TX: Host Publications, 2011.

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1953-, Stone Jeff, and Zimbalist Kristina, eds. Dress smart--women: Wardrobes that win in the new workplace. New York: Warner Books, 2002.

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Janice, Steinberg, ed. Petite style: The ultimate fashion guide for women 5'4" and under. New York, N.Y: New American Library, 1988.

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Maheswari, C. S. Uma. Dress and jewellery of women: Sātavāhana to Kākatīya. Madras: New Era Publications, 1995.

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Clues to American dress. Washington, D.C: Starrhill Press, 1994.

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Ayesha, Banu, and University of Dhaka. Department of Women and Gender Studies, eds. Shifts and changes in women's dress in contemporary Dhaka: Some preliminary observations. Dhaka: Department of Women and Gender Studies, University of Dhaka, 2009.

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Woodward, Sophie. Why women wear what they wear. Oxford: Berg, 2007.

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Book chapters on the topic "Clothing and dress Women"

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Lemire, Beverly. "Disorderly Women and the Consumer Market: Women’s Work and the Second-Hand Clothing Trade." In Dress, Culture and Commerce, 95–120. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230372757_5.

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Lemire, Beverly. "Redressing the History of the Clothing Trade: Ready-Made Apparel, Guilds and Women Outworkers, 1650–1800." In Dress, Culture and Commerce, 43–74. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230372757_3.

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Lemire, Beverly. "Margins and Mainstream: Jews in the English Clothing Trades." In Dress, Culture and Commerce, 75–94. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230372757_4.

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Batchelor, Jennie. "Re-clothing the Female Reader: Dress and the Eighteenth-Century Magazine." In Dress, Distress and Desire, 83–119. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230508200_4.

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Lemire, Beverly. "Bobby Shafto’s Shirt and Britches: Contracted Clothing and the Transformation of the Trade." In Dress, Culture and Commerce, 9–41. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1057/9780230372757_2.

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Snyder, Janet. "From Content to Form: Court Clothing in Mid-Twelfth-Century Northern French Sculpture." In Encountering Medieval Textiles and Dress, 85–101. New York: Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-08394-4_6.

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Métraux, Guy P. R. "14. Prudery and Chic in Late Antique Clothing." In Roman Dress and the Fabrics of Roman Culture, edited by Alison Keith, 271–94. Toronto: University of Toronto Press, 2008. http://dx.doi.org/10.3138/9781442689039-019.

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Anderson, Linda. "“As Proud as a Dog in a Doublet”: The Importance of Clothing in The Shoemaker’s Holiday." In Encountering Medieval Textiles and Dress, 223–31. New York: Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-08394-4_14.

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Yanson, Margarita. "“Christ as a Windblown Sleeve”: The Ambiguity of Clothing as Sign in Gottfried von Straßburg’s Tristan." In Encountering Medieval Textiles and Dress, 121–36. New York: Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-08394-4_8.

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Joly, Danièle, and Khursheed Wadia. "Islamic Dress, the War on Terror, Policing Muslim Women." In Muslim Women and Power, 231–59. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-48062-0_8.

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Conference papers on the topic "Clothing and dress Women"

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Taro, Koyama. "KIMONO (TRADITIONAL JAPANESE DRESS) AS LUXURY CLOTHING." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.05.03.01.

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Ma, Qianli, Jinlong Yang, Anurag Ranjan, Sergi Pujades, Gerard Pons-Moll, Siyu Tang, and Michael J. Black. "Learning to Dress 3D People in Generative Clothing." In 2020 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2020. http://dx.doi.org/10.1109/cvpr42600.2020.00650.

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Yang, Liu, and Long Jiang. "The Study of Women Dress in Zhang Daqian Beauty Paintings." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.200.

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Guo, Jing. "Aesthetic Characteristics of Shanghai Qipao in Chinese Women s Dress Culture." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.128.

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Price, J. Mark. "Making the Optimal Decsion in Selecting Protective Clothing." In The 11th International Conference on Environmental Remediation and Radioactive Waste Management. ASMEDC, 2007. http://dx.doi.org/10.1115/icem2007-7135.

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Protective Clothing plays a major role in the decommissioning and operation of nuclear facilities. Literally thousands of employee dress-outs occur over the life of a decommissioning project and during outages at operational plants. In order to make the optimal decision on which type of protective clothing is best suited for the decommissioning or maintenance and repair work on radioactive systems, a number of interrelating factors must be considered, including: – Protection; – Personnel Contamination; – Cost; – Radwaste; – Comfort; – Convenience; – Logistics/Rad Material Considerations; – Reject Rate of Laundered Clothing; – Durability; – Security; – Personnel Safety including Heat Stress; – Disposition of Gloves and Booties. In addition, over the last several years there has been a trend of nuclear power plants either running trials or switching to Single Use Protective Clothing (SUPC) from traditional protective clothing. In some cases, after trial usage of SUPC, plants have chosen not to switch. In other cases after switching to SUPC for a period of time, some plants have chosen to switch back to laundering. Based on these observations, this paper reviews the “real” drivers, issues, and interrelating factors regarding the selection and use of protective clothing throughout the nuclear industry.
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Takahashi, Haruko. "Acculturation of the Clothing Life in Japan Seen from Digital Archives of Dress, Fashion and Behavior." In 2013 International Conference on Culture and Computing (Culture Computing). IEEE, 2013. http://dx.doi.org/10.1109/culturecomputing.2013.59.

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Joyse Barbosa Rocha, Hemilis, Evandro de Barros Costa, Emanuele Tuane Silva, Natalia Caroline Lima, and Juliana Cavalcanti. "A Knowledge-based Approach for Personalised Clothing Recommendation for Women." In 19th International Conference on Enterprise Information Systems. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0006337306100617.

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Mataraarachchi, R., N. Seram, S. Maduwage, and T. I. Galgamuwage. "An investigation of clothing related barriers faced by women with disabilities." In World Disability & Rehabilitation Conference. The International Institute of Knowledge Management (TIIKM), 2019. http://dx.doi.org/10.17501/25132687.2018.3101.

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Hamsagayathri, P., and K. Rajakumari. "Machine learning algorithms to empower Indian women entrepreneur in E-commerce clothing." In 2020 International Conference on Computer Communication and Informatics (ICCCI). IEEE, 2020. http://dx.doi.org/10.1109/iccci48352.2020.9104111.

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Zhang, Yuanmei. "Study on Design Method of Chinese Han Embroidery in Silk Modern Women Clothing." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.124.

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Reports on the topic "Clothing and dress Women"

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Reddy-Best, Kelly L. LGBTQ Women, Workplace Dress Codes, and Appearance Negotiations. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-167.

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Jaffe, Hilde. Development of Patterns and Clothing Prototypes for Navy Women's Dress Uniforms. Fort Belvoir, VA: Defense Technical Information Center, April 1991. http://dx.doi.org/10.21236/ada238715.

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Bissonnette, Anne. Re-assessing Late Directoire Dress for Women in 1797–1799 Paris. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-608.

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Miller-Spillman, Kimberly, and Kwaku Addo. Organizing Clothing and Textiles Outreach to Ghanaian Women and Girls. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-535.

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Reddy-Best, Kelly L., and Elaine Pedersen. Fashioning Queer Bodies: Intersections of Dress, Identity, and Anxiety for Queer Women. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-814.

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Saeidi, Elahe, and Amanda Thompson. Using Clothing to Unify a Country: The History of Reza Shah’s Dress Reform in Iran. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-621.

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Chae, May. A Needs Assessment for Adaptive Clothing: Women with Chronic Neurological Disorders. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8250.

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Brown, Victoria, and Nancy Hodges. An Exploration of Dress and Identity among New Mothers: The Implications of Breastfeeding for Clothing Choice. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-164.

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Vuruskan, Arzu, and Susan Ashdown. Development of Half Scale Dress Forms in Active Body Positions for Bicycle Clothing Design and Fit. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-10.

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Rossol, Evelyn. Knot My Shirts: Women�s Wear Dress from Post-consumer Men�s Wear. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8853.

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