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Bian, Xiang Yang, and 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 (September 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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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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Nguyen, Hien Thi Mong, Vy Tuong Ho, and Thao Thi Hoang. "Creating forms for women’s clothing by draping techniques." Science and Technology Development Journal 18, no. 2 (June 30, 2015): 25–36. http://dx.doi.org/10.32508/stdj.v18i2.1056.
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This paper presents research results of techniques of draping on mannequins to create forms for women’s clothing. In the advanced countries, this method is applied very strongly to patternmaking in the field of fashion design. In Vietnam, it is taught for subjects of costume design at the universities, colleges where fashion design and garment technology have been taught. Subjects for draping are blocks to make stitches in cloth with much kind of styles from basic styles to complex styles, such as dress, evening dress and wedding dress. Draping fabric has content 100% cotton using for draping on the mannequin, main fabrics are satin fabrics, drill fabric with many colors from light color to dark color. These fabrics have content spandex fiber and ironed by heat only. The results show process creates 3D blocks and steps draping for dress ??????/on manequin
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Bahri, Saiful. "The Meaning of Communication in Fashion Style of Muslim Student in Institut Agama Islam (IAI) Al-Aziziyah Samalanga Bireuen Aceh." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 3 (August 3, 2020): 2124–41. http://dx.doi.org/10.33258/birci.v3i3.1145.
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Changes in Muslim fashion trends will not be dammed and will continue to experience changes. Different from the previous year, where the trend of Muslim clothing in Indonesia tends to show an experimental trend. This year, the experimental trend has shifted to a long head covering known as the hijab syar’i. The term shari'i used, refers to Muslim women's clothing where the clothes, according to the Islamic Shari'ah guidance. Therefore, many call this ongoing fashion trend with shar'i hijab. Moving on from that thought, the problem to be investigated in this research is the meaning of Muslimah fashion communication style for Al-Aziziyah Samalanga Bireuen Aceh's Islamic Religion Institute (IAI) students. To uncover the problem thoroughly and deeply, this study uses a qualitative descriptive method that is useful for providing data and facts about the meaning of communication in the style of Al-Aziziyah Samalanga Islamic Institute (IAI) student dress style. Then the data were analyzed with the basis of the thought of George Herbert Mead and the principle of George Ritzer, in order to obtain a deep meaning about the student's fashion style. Meaning is produced from religious background, motives, and social environment. After that, meaning is modified through an interpretive process, and then individuals develop self-concepts through interactions with others. Self-concept provides an important motive for behavior and expression in choosing a style of dress. From the results of the study it was found that the meaning of communication style of Muslim female students of the Islamic Religious Institute (IAI) Al-Aziziyah Samalanga was produced from a background of religiosity, motives, and social environment. Then, individuals do the process of self-communication and produce a meaning that is interpreted through clothing. Some of the meanings of communication of Muslim female student fashion styles The Islamic Religious Institute (IAI) Al-Aziziyah Samalanga are produced based on the female Muslim students' fashion styles, namely: The meaning of Muslimah women's fashion styles as self-identities, the meaning of Muslimah women's fashion styles as a lifestyle, and the meaning of Muslim women's clothing styles as a form of obedience. Fashion communication is produced through the use of various symbols and fashion styles, so that the attitudes and behaviors of the user are reflected and generate direct appreciation through the interaction of people around. Several ways of meaning female students of communication style of Islamic clothing Islamic Institute of Islam (IAI) Al-Aziziyah Samalanga communicates Muslim clothing styles: Dressing in one color from top to bottom, fashion that is in accordance with Islamic law and ignores the trend of the times, follows the trend of Muslim fashion at the time that, dress in colors, mix and match the color of clothing.
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Unsworth, Rebecca. "Hands Deep in History: Pockets in Men and Women's Dress in Western Europe, c. 1480–1630." Costume 51, no. 2 (September 2017): 148–70. http://dx.doi.org/10.3366/cost.2017.0022.
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Pockets are now standard and accepted aspects of clothing, but their presence in dress has not always been so assured. This article examines the use of pockets in western Europe from the late fifteenth to the early seventeenth centuries, demonstrating that pockets were adopted into clothing much earlier than has often been believed. It discusses the physical form of pockets in the dress of both genders and the types of garments into which they were inserted. It also explores the possible reasons for the uptake of pockets, the uses to which they were put and the sorts of objects which were kept in pockets, showing that pockets provided the wearer with an individual and personal space which they could use to transport a wide range of goods hands-free.
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Мельник, Л. М., А. С. Конотоп, and О. П. Кизимчук. "ЗАСТОСУВАННЯ ТРАДИЦІЙНИХ НАЦІОНАЛЬНИХ ЕЛЕМЕНТІВ ОЗДОБЛЕННЯ В СУЧАСНОМУ ОДЯЗІ." Art and Design, no. 2 (June 15, 2018): 51–58. http://dx.doi.org/10.30857/2617-0272.2018.2.6.
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The purpose of this work is to establish the possibility of the decorating of modern women's clothes with artistic elements and ornaments of traditional national clothes of Ukraine different regions and their subsequent reproduction in knitwear. Methods of literary-analytical review and visual-analytical research are used.The elements of clothing decoration that are characteristic of ethnic Ukrainian clothing have been defined during the research. The structures of knitted fabrics based on on openwork, plated and interlooping with unrolling, which simulate different merezhka of traditional Ukrainian embroidery, have been developed in this study. The few variants of simple mesh are offered: narrow one made on the basis of the rib 1 + 1 with an unrolling; narrow complex canvas - on the basis of openwork interlooping; wide (more than 2 cm) canvas - on the basis of a plated interlooping. The model of the women's dress is executed in the semi-regular way on two-bar flat-knitted machine, using the developed variants of knitted fabric structures. Taking into account the traditions of an arrangement of the embroidery decoration elements and modern fashion trends, it is proposed to use a narrow simple snap-net to decorate the neck of the product, a wide snap-net, having a plant ornament to knit 2/3 of the bottom of the sleeve. The narrow canvas is also used as a connecting element of the sleeve parts made with various interlooping. The decoration elements of national Ukrainian clothes have been investigated and reproduced in women's knitted dress by new knitted structure creation taking into account modern technology. Research results can be used to expand the range of modern women's clothing
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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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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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Ward, Alex. "Dress and National Identity: Women’s Clothing and the Celtic Revival." Costume 48, no. 2 (June 1, 2014): 193–212. http://dx.doi.org/10.1179/0590887614z.00000000050.
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This paper will focus on an interesting diversion in the history of dress in Ireland: the story of clothing and the Irish cultural revival of the late nineteenth and early twentieth centuries. It will endeavour to address the ideology of so-called Irish costume, and how it was intended to be a visual symbol of an Irish renaissance, one which would help in the effort to counter British influences and establish a strong cultural identity. Although Celtic Revival clothing was worn by both men and women as a signifier of cultural and political sympathies, this paper will look specifically at women’s dress and attempts to promote Irish costume as a tool for nation building, and as a practical solution to the wearing of imported fashions. It will highlight just some examples of where, when and by whom Celtic Revival dress was worn.
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Dewi, Arsy Febrina, Fitri Arnia, and Rusdha Muharar. "Effectiveness of MPEG-7 Color Features in Clothing Retrieval." Bulletin of Electrical Engineering and Informatics 6, no. 2 (June 1, 2017): 166–73. http://dx.doi.org/10.11591/eei.v6i2.619.
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Clothing is a human used to cover the body. Clothing consist of dress, pants, skirts, and others. Clothing usually consists of various colors or a combination of several colors. Colors become one of the important reference used by humans in determining or looking for clothing according to their wishes. Color is one of the features that fit the human vision. Content Based Image Retrieval (CBIR) is a technique in Image Retrieval that give index to an image based on the characteristics contained in image such as color, shape, and texture. CBIR can make it easier to find something because it helps the grouping process on image based on its characteristic. In this case CBIR is used for the searching process of Muslim fashion based on the color features. The color used in this research is the color descriptor MPEG-7 which is Scalable Color Descriptor (SCD) and Dominant Color Descriptor (DCD). The SCD color feature displays the overall color proportion of the image, while the DCD displays the most dominant color in the image. For each image of Muslim women's clothing, the extraction process utilize SCD and DCD. This study used 150 images of Muslim women's clothing as a dataset consistingclass of red, blue, yellow, green and brown. Each class consists of 30 images. The similarity between the image features is measured using the eucludian distance. This study used human perception in viewing the color of clothing.The effectiveness is calculated for the color features of SCD and DCD adjusted to the human subjective similarity. Based on the simulation of effectiveness DCD result system gives higher value than SCD.
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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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Umarovа, Zuhrohon Mirzoturabovna. "WOMEN’S NATIONAL CLOTHING AS A FORM OF THE ART OF THE PEOPLE." Chronos 6, no. 6(56) (June 13, 2021): 3–5. http://dx.doi.org/10.52013/2658-7556-56-6-1.
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The article presents the invaluable heritage of the culture and traditions of the peoples of Central Asia, which is reflected in their traditional women’s clothing. Women’s clothing of Tajik women combined forms and typical features: cut, decor techniques, way of wearing, which determined its originality until the beginning of the twentieth century. Traditional clothes of Tajik women — mainly consisted of a tunic of a shaped cut of a dress and wide trousers in which color, pattern technique, material, shape and silhouette were combined.
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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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Hackett, Lisa J. "Performing nostalgia: Men’s consumption of 1950s fashion." Critical Studies in Men’s Fashion 7, no. 1-2 (December 1, 2020): 155–75. http://dx.doi.org/10.1386/csmf_00023_1.
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Clothing is an important device by which people establish their identity in society. Men who choose to wear 1950s style clothing are signalling their identity through the established stereotypes of the 1950s despite their temporal distance from the era. This article examines the motivations of three men who choose to use 1950s style clothing in their everyday wardrobe. In doing so, it traces the complex connections between nostalgia, social identity and dress. The development of men’s fashion has followed a different trajectory from women’s, its changes being more conservative and slow-evolving. Flügel argued that men had renounced the tenets of fashion, preferring styles that reflect their rational minds, a position that has been challenged in recent years. This article demonstrates that men can and do use clothing to establish their social identities. This article finds that the clothing not only embodies their taste but also embodies their values.
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RODICA, Harpa, and VISILEANU EMILIA. "From fabric design to the dress manufacturing considering the fabric’s suitability with the end use." Industria Textila 69, no. 06 (January 1, 2019): 434–39. http://dx.doi.org/10.35530/it.069.06.1570.
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This study covers an investigation on two wool-type fabrics selected as suitable for cold season dresses. From the beginning, it was expected that the two fabrics will bear out diverse features in dresses due to the different patterns and structures, yet suitable for the end use. The fabrics were tested following the standards for the properties linked to the actual wearing of dresses, some of the features being related also to the general appearance expected by any clothing customer, regardless of the purchasing way (retailing or e-commerce). This opinion was pointed out by a survey of women’s preferences about buying clothing items. Next, it was achieved the 3D clothing simulation to visualize the cold season dress, by combining the sketch, the fabric (with raw material, pattern, colours, and overall features expected for wearing) and finally, the wearer’s body. This approach allowed stepping forward from the experimental results reached for fabrics’ overall quality after the laboratory testing to the dress simulation, to give customers virtual perceptions on the fabrics’ suitability for particular outfits. Therefore, within the textile value chain, the weaving companies should upgrade the design process by including the benefits of the 3D clothing simulation. This strategy would move towards the reaching of the consumer’s perspective on the fabrics suitability for manufacturing items of clothing as successful products on the market.
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Fülemile, Ágnes. "Social Change, Dress and Identity." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 107–86. http://dx.doi.org/10.1556/022.2020.00007.
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The article, based on extensive ethnographic fieldwork, studies the process of the disintegration of the traditional system of peasant costume in the 20th century in Hungary in the backdrop of its socio-historic context. There is a focused attention on the period during socialism from the late 1940s to the end of the Kádár era, also called Gulyás communism. In the examined period, the wearing and abandonment of folk costume in local peasant communities was primarily characteristic of women and an important part of women’s competence and decision-making. There was an age group that experienced the dichotomy of peasant heritage and the realities of socialist modernisation as a challenge in their own lifetime – which they considered a great watershed. The author interviewed both the last stewards of tradition who continued wearing costume for the rest of their lives and those who pioneered and implemented changes and abandoned peasant costume in favor of urban dress. The liminal period of change, the character and logic of the processes and motivations behind decision-making were still accessible in memory, and current dressing practices and the folklorism phenomena of the “afterlife” of costume could still be studied in real life. The study shows that costume was the focus point of women’s aspirations, attention, and life organization, and how the life paths of strong female personalities were articulated around clothing. It also reveals that there was a high level of self-awareness and strong emotional attachment in individual relationships to clothing in the rural context, similar to – or perhaps even exceeding – the fashion-conscious, individualized urban context. Examining the role of fashion, modernization, and individual decisions and attitudes in traditional clothing systems is an approach that bridges the mostly distinct study of folk costume and the problematics of dress and fashion history research.
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Білей-Рубан, Н. В., Є. В. Сєдоухова, and Л. М. Петрусь. "ХУДОЖНЬО-СТИЛІСТИЧНА РОЛЬ ВИШИВКИ ГУЦУЛЬЩИНИ В ПРОЄКТУВАННІ СУЧАСНОГО ВЕСІЛЬНОГО ОДЯГУ." Art and Design, no. 2 (September 21, 2020): 27–38. http://dx.doi.org/10.30857/2617-0272.2020.2.2.
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The aim is to study the artistic and compositional characteristics of Hutsul’s ceremonial clothing on the basis of a comprehensive analysis of the decor of the Hutsul wedding dress. In the course of research, the methods of visualization and comparative-historical reconstruction of the national order were used in the analysis of Hutsuls clothing. For the transformation of structural and decorative characteristics into the design principles of modern women's ensembles the method of stylization and the method of combinatorics have been used. The work is based on art analysis and the use of a literary-analytical method to analyze the main information sources. Thanks to the analysis of Hutsul’s ritual clothing in combination with modern technologies of its decoration, the ornamentation on the basis of authentic embroidery of Hutsul region for design ethno-ensembles has been improved. The resulting stylized patterns of embroidery are offered for use in the design of wedding dresses in the ethno style. The methodological basis for the artistic design of the collection of modern ensembles of wedding clothing with ethno-elements is theoretically substantiated and created with the use of the stylization of the main decor. Styled embroideries were developed on the base on the characteristics of Hutsul’s casual clothing as well as a collection of modern wedding dresses in ethnic style was created. The proposed ornamentation of wedding clothing is presented in the design of ethno ensemble, which is useful for experts in the methodology of artistic design of industrial products based on ethno motives.
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Bezerra, Leandro Gomez, Álison Pereira da Silva, Felipe Garcia de Medeiros, Jeferson Rodrigo Silva Santos, and Ítalo José de Medeiros Dantas. "Inclusive thinking in fashion design: ergonomic and practical apparel for elderly." Research, Society and Development 9, no. 9 (August 16, 2020): e224996857. http://dx.doi.org/10.33448/rsd-v9i9.6857.
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This work aimed to propose the construction of two clothing products with ergonomic characteristics, to be seen: a men's T-shirt and a women's dress. The study is characterized by exploratory research, in which it addressed the needs of the elderly to clothing and their body-movement interaction. Initially, we sought to empathically understand through the visual analysis of clothing products for the elderly, in addition to an exploratory bibliographic review to understand the state of the art of the subject. The methodology used started from the knowledge provided by Bernard Lobach and Mike Baxter, in their product development proposals. As a result, a common denominator that could be explored was reached: the collar. Thus, it focused on the development of a collar that does not hurt them and at the same time provides independence in the motor act of dressing and undressing when using clothing products. To make the practical collar, the raw materials were used 100% cotton and viscolycra, justified by their composition properties. The proposal of the project is, therefore, to provide consumers of third parties with a product that offers, practically and intelligently, a viable solution that gives autonomy to the experience of the elderly, to the extent that it is also able to facilitate the work actions of their caregiver.
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M.R., Devi Meenakshi. "Women's attire and costumes in the Perungathai." International Research Journal of Tamil 2, no. 3 (June 4, 2020): 106–16. http://dx.doi.org/10.34256/irjt20312.
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Tamil literature is the epitome of the great ideas of our ancient Tamils. Literature is a country's time glass. In which people can connect with them in order to progress. The societal changes in a country's artistic environment are reflected in the local literature. The Epic literature is to highlight the importance of women in their clothing and ornaments. The women’s in the Perungathai are the beautiful women who come before our eyes. The prosperity of a country is determined by the women living in the country. Women’s who lived happily with dresses, ornaments and Savor flowers. Therefore, the dress and costume of the female protagonists in Perungathai are very special and imitated by the present generation.
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Bullock, Katherine. "Pious Fashion: How Muslim Women Dress." American Journal of Islamic Social Sciences 35, no. 3 (July 1, 2018): 87–90. http://dx.doi.org/10.35632/ajiss.v35i3.486.
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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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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 textAbstract:
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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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.
Full textAbstract:
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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Танцюра, К. В., and А. Т. Арабулі. "ОСОБЛИВОСТІ ВИГОТОВЛЕННЯ ПОЯСУ СУКНІ ЖІНОЧОЇ З ПРОГРАМОВАНИМ LED ПРИСТРОЄМ." Fashion Industry, no. 1 (May 25, 2021): 51–55. http://dx.doi.org/10.30857/2706-5898.2021.1.3.
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Development of the technology needed for making women’s dresses with a programmed LED device. Methodology. The used methodology of developing a women’s dress belt with a feature of using a programmed LED device. Results. The technological progress and evolution of innovative technologies have a signifi cant impact on the production of modern clothing. This tendency is seen in the expansion of clothing features with the usage of light eff ects. As of today, manufacturers are proposing diff erent textile materials that have fi ber optics in their structure or use LED stripes and tubes for ornamenting their products. Sewing products that are made of fi ber optic materials require specialized personnel with knowledge of LED systems principals of work because, in the event of failure of such system in the product, it must be eliminated with an urgency. Based on the said study it is proposed to use an LED device that is constructed with the following components: an LED stripe 50cm long 1cm wide, batteries, a board with a microcontroller and capacitor WS2812B RGB, voltage converter, and connectors. Using this in a product will allow it to get the light eff ects by programming a corresponding microcontroller program. With an example of a dress belt, certain studies were made that had shown that the light eff ect is working the best on white or cream-colored clothes. Using such a device brings in the advantage of the ability to repeatedly remove and place it back in the dress’ belt, which will be convenient for the consumer when taking care of the clothing and when servicing the device itself. Scientifi c novelty. For the fi rst time the principle of obtaining light eff ects of garments based to use of a programmable LED device was developed. Practical importance. The technology of manufacturing a women’s dress belt with light eff ects has been proposed, which allowed the placement of a programmed LED device with the elements connected in a certain sequence. Women’s dress with a belt made by this technology can be used for stage performances, photoshoots, and short-term events. Recommendations for the care for such a product have been developed.
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Bachleda, Catherine, Nicolas Hamelin, and Oumaima Benachour. "Does religiosity impact Moroccan Muslim women’s clothing choice?" Journal of Islamic Marketing 5, no. 2 (June 3, 2014): 210–26. http://dx.doi.org/10.1108/jima-05-2013-0038.
Full textAbstract:
Purpose – The purpose of this paper is to explore whether religiosity impacts the clothing style Moroccan Muslim women choose to wear in the public setting. Design/methodology/approach – The framework chosen for this study was the theory of planned behaviour. Data were gathered by a questionnaire administered to 950 Muslim women located throughout in Morocco. Findings – Results indicate that a woman’s religiosity cannot be determined simply by what she wears, with age, marital status and education found to have far greater impact on a woman’s choice of clothing than religiosity. Practical implications – In countries where women have freedom to choose what they wear, Muslims should not be treated homogeneously, but rather as a heterogeneous segment with different social classes, different sects and different ways of expressing and experiencing their faith in daily life. Originality/value – Currently there is limited literature that explores the relationship between religiosity and a woman’s choice of dress, outside of the hijab. Moreover, in spite of the significance of religion in the lives of many individuals, its role in consumer choice is not clear. This research provides some clarity within the context of clothing choice for Moroccan Muslim women.
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Udilawaty, Siska. "VISUAL STUDY OF MOLAPI SARONDE DANCE CLOTHING AND CHOREOGRAPHY IN GORONTALO CITY." ARTic 4 (September 16, 2019): 155–66. http://dx.doi.org/10.34010/artic.2019.4.2416.155-166.
Full textAbstract:
This study aims to examine the Visual Molapi Saronde Dance Dress. The Saronde dance is a typical Gorontalo regional dance that has been inherited and patented as a non-fine heritage. Molapi dance saronde is a dance performed on the engagement night by the groom to see prospective wives. The results of this study are to explain the meaning of the molonde dance clothing starting from materials, clothing colors and motifs as well as the accompanying accessories and explain the meaning of the choreography of the Molapi saronde dance along with creative saronde dance. The approach used in this study is a qualitative descriptive approach. The technique of collecting data is done through observation, interviews, documentation studies and document studies. So, the conclusion of this study is that there is a meaning contained in the molapi saronde dance clothes, one of which is the meaning of headdress, namely Baya lo boute is a special headband for women's hair that gives a symbol, that women who wear it have been bound with a responsibility. As for Saronde dance, it is an innovation from Molapi Saronde dance, but the dance still has meaning or meaning that is maintained and cannot be changed. Although there was a slight change from movement, clothing, and musical accompaniment.
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Udilawaty, Siska. "VISUAL STUDY OF MOLAPI SARONDE DANCE CLOTHING AND CHOREOGRAPHY IN GORONTALO CITY." ARTic 4 (September 16, 2019): 155–66. http://dx.doi.org/10.34010/artic.v4i0.2416.
Full textAbstract:
This study aims to examine the Visual Molapi Saronde Dance Dress. The Saronde dance is a typical Gorontalo regional dance that has been inherited and patented as a non-fine heritage. Molapi dance saronde is a dance performed on the engagement night by the groom to see prospective wives. The results of this study are to explain the meaning of the molonde dance clothing starting from materials, clothing colors and motifs as well as the accompanying accessories and explain the meaning of the choreography of the Molapi saronde dance along with creative saronde dance. The approach used in this study is a qualitative descriptive approach. The technique of collecting data is done through observation, interviews, documentation studies and document studies. So, the conclusion of this study is that there is a meaning contained in the molapi saronde dance clothes, one of which is the meaning of headdress, namely Baya lo boute is a special headband for women's hair that gives a symbol, that women who wear it have been bound with a responsibility. As for Saronde dance, it is an innovation from Molapi Saronde dance, but the dance still has meaning or meaning that is maintained and cannot be changed. Although there was a slight change from movement, clothing, and musical accompaniment.
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Micklewright, Nancy. "London, Paris, Istanbul, and Cairo: Fashion And International Trade in the Nineteenth Century." New Perspectives on Turkey 7 (1992): 125–36. http://dx.doi.org/10.15184/s0896634600000534.
Full textAbstract:
This paper is an examination of the relationship between the Anglo-Turkish Convention of 1838 and the transformation in Ottoman women's dress which took place during the nineteenth century. Until now, there has been a tendency to assume a direct cause-and-effect relationship between the Anglo-Turkish Convention and other economic treaties of the period, and fashion. The argument has been that the substantial increase in the volume of imported textiles and other goods led to a change in clothing styles, and indeed to changes in Ottoman taste generally, but my study of Ottoman women's dress indicates that the situation was much more complex. It is clear that the transformation in dress was well under way by the time of the Anglo-Turkish Convention, proceeding at its own rate, tied to events other than the treaty. In this context, fashion represents one of a whole complex of components of culture which, although affected by economic developments, are primarily social phenomena. Examining an area such as fashion (or painting or theater, for instance) will lead to a richer understanding of the period of the Anglo-Turkish Convention.
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Carbone, Paola. "Fashion in India: Coercion or a Flag for Freedom?" Pólemos 10, no. 1 (April 1, 2016): 81–100. http://dx.doi.org/10.1515/pol-2016-0005.
Full textAbstract:
Abstract The essay examines how fashion mediates our knowledge of human relationships in Indian English literature from an anthropological perspective of the value of clothing in Indian culture. The first part of the essay analyses the importance that Gandhi’s khadi had for the independence of India and the role it plays in Mulk Raj Anand’s novel Untouchable (1935). The second part illustrates how sari and salwaar kameez shape Indian femininity and women’s dignity. Dress is viewed as a situated bodily practice which makes social and cultural values visually intelligible. In the study, I do not refer to clothing as “fashion”, but rather as dignity, human rights, discrimination, and justice. The purpose is to underline how a piece of garment can be highly identitarian of a single individual and highly identitarian of a political ideal.
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Loewenthal, Kate Miriam, and Lamis S. Solaim. "Religious Identity, Challenge, and Clothing: Women’s Head and Hair Covering in Islam and Judaism." Journal of Empirical Theology 29, no. 2 (December 6, 2016): 160–70. http://dx.doi.org/10.1163/15709256-12341344.
Full textAbstract:
This qualitative research examined the issues of women’s head covering in Islam and Judaism. It focuses on the role played by head-covering decisions in the development of religious identity. Translated sources of Islamic and Jewish law on modest dress set the context of religious rulings in which women wrestle with decisions about head-covering. Ten practising Muslim and Jewish women were interviewed about their experiences of head/hair covering. Head/hair covering was seen as an expression of identity, and as a way of managing identity. It is a key topic for both Muslim and Jewish women, central in identity development and in decisions relating to identity development, identity threat, acculturation, spirituality, and social relations with men. The role of dress is one of many aspects of ritual deserving closer attention from psychologists of religion, along with the more general topic of the impact of religious practice on religious and spiritual development.
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Shafee, Wafaa H. "Approaches to the wardrobe challenges of Muslim women in the west." Journal of Islamic Marketing 11, no. 5 (November 23, 2019): 1155–73. http://dx.doi.org/10.1108/jima-10-2018-0199.
Full textAbstract:
Purpose This study aims to identify the challenges of Muslim women in terms of their dress code in Western society by including their clothing needs in the strategies of the fashion industry and marketing. The study focuses on wardrobe choices that have helped overcome these challenges and facilitated Muslim women’s integration into western society. Design/methodology/approach Descriptive statistics were used in this study through a questionnaire that was distributed among 265 randomly selected Muslim women in London, UK. The results have been presented in charts showing the percentages and frequencies of the different behaviors and challenges that were faced by Muslim women in the west. Findings The majority of the study sample preferred to use a variety of modern fashion trends from global brands to integrate with the community. The essential criteria for the Muslim women’s clothing choices include head hair cover and conservative full-length clothes that are non-transparent that cover the neck and chest area. Originality/value A study has investigated the clothing needs and behaviors of Muslim women in the west for their community integration. It analyzed the results and linked them with the role and contributions of designers, producers and fashion marketers in accepting the western society of Muslims and their integration with its members.
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King, Emerald L. "La Robe à la Française et la Robe l’Odalisque: Wearing women’s clothing in The Rose of Versailles." Studies in Costume & Performance 6, no. 1 (June 1, 2021): 29–47. http://dx.doi.org/10.1386/scp_00034_1.
Full textAbstract:
The androgynous heroine of Ikeda Ryoko’s manga The Rose of Versailles (1972‐73), Oscar Françoise de Jarjayes, is usually depicted in masculine, specifically military, attire. The sixth daughter of an important military colonel during the reign of Louis XV and Louis XVI, Oscar is raised as a son and follows her father into the military. Oscar is only ever depicted in one dress, known as the robe l’odalisque ‐ a gown that is adopted at a pivotal moment of character development. It is while wearing this dress, which Ikeda intended to serve as a wedding dress, that Oscar comes to terms with her unrequited love for Marie Antoinette’s lover, Count Axel von Fersen. In doing so, Oscar places more importance on her allegiance to France than to romance. This article investigates the complicated gender and social politics that are symbolized by the choice to wear women’s clothing in The Rose of Versailles.
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Tozer, Jane. "Cunnington's Interpretation of Dress." Costume 20, no. 1 (January 1, 1986): 1–17. http://dx.doi.org/10.1179/cos.1986.20.1.1.
Full textAbstract:
The theme of the 1984 Costume Society Symposium was The Meaning of Dress, and I was asked to give a lecture with the working title Interpreting Dress: Cunnington and After. Cunnington's output is so prodigious, and parts are so little discussed, that there was no time to cover later writers in any depth, and I concentrated on three aspects of Cunnington's work: the methods and philosophy behind the collection, his methods of recording that collection, and finally some parts of his theoretical writings which, though dated, still exert a pervasive influence on costume studies. This article is revised and expanded from that lecture. C. W. and P. Cunnington were fortunate in their collaborators, Alan and Valerie Mansfield, Catherine Lucas, and the illustrators Barbara Phillipson and Mary Gardiner, and their contribution to the standard works should be acknowledged. In discussing work on the psychology of dress, I have concentrated almost entirely on C. Willett Cunnington, to the exclusion of his wife Phillis. The building of the collection and the historical research were a harmonious and fruitful collaboration, but the theories appear to have originated in C. W. Cunnington alone. The major historical works, the twin volumes on English Women's Clothing, the Dictionary and the Handbooks are a great, enduring achievement, to which we are all indebted, and they play little part in my critique of the theoretical writings. Neither have I touched on the pioneering work on men's tailoring, which post-dates the sale of the collection to Platt H all, and the formulation of his psycho-sexual theories.
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Twigg, Julia. "Dress, gender and the embodiment of age: men and masculinities." Ageing and Society 40, no. 1 (August 31, 2018): 105–25. http://dx.doi.org/10.1017/s0144686x18000892.
Full textAbstract:
AbstractThe study explores the role of clothing in the constitution of embodied masculinity in age, contrasting its results with an earlier study of women. It draws four main conclusions. First that men's responses to dress were marked by continuity both with their younger selves and with mainstream masculinity, of which they still felt themselves to be part. Age was less a point of challenge or change than for many women. Second, men's responses were less affected by cultural codes in relation to age. Dress was not, by and large, seen through the lens of age; and there was not the sense of cultural exile that had marked many of the women's responses. Third, for some older men dress could be part of wider moral engagement, expressive of values linked positively to age, embodying old-fashioned values that endorsed their continuing value as older men. Lastly, dress in age reveals some of the ways in which men retain aspects of earlier gender privilege. The study was based on qualitative interviews with 24 men aged 58–85, selected to display a range in terms of social class, occupation, sexuality, employment and relationship status. It forms part of the wider intellectual movement of cultural gerontology that aims to expand the contexts in which we explore later years; and contributes to a new focus on materiality within sociology.
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Wang, Xue Qin, and Zi Min Jin. "A Study on Silk Full-Fashioned Weaving for Women’s Wear." Advanced Materials Research 175-176 (January 2011): 1035–39. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.1035.
Full textAbstract:
A thrust of the study is to compare different design principles for advanced creation of full-fashioned weaving. According to the present integrated design mode, three technical elements of weaving design have been identified in the course of creation, i.e. mixed yarns, integrated structures, and integrated patterns. The design process is the key to successful integrated design, including allocation of materials of warp and weft, different interlacing locations that suitable for clothing structures, and the method of patterning in the current CAD digital processing. The entire design mode is different from the previous laminar woven textile designs. Experiments have shown that, with the shapeable materials, the fine silk yarns are perfect to weave and mould the three dimensional dress for women. Besides, rich and novel textures can be embellished inherently on the surfaces of the full-fashion woven clothing. The expanded creative dimensions of woven textiles contributed an added value to silk products produced by current machines. Meanwhile the new features of Seamless Woven Fashion (SWF) further widened the creative scope of fashion design. The study has contributed to the future research and development of advanced woven textiles as the end products.
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Asmunah, Siti. "Pengembangan model pembelajaran berbasis visual dengan pendekatan komunikasi total membuat pola dasar busana wanita untuk tunarungu." JPK (Jurnal Pendidikan Khusus) 14, no. 1 (May 27, 2019): 9–17. http://dx.doi.org/10.21831/jpk.v14i1.25162.
Full textAbstract:
Abstrak: Penelitian ini dilatarbelakangi oleh kegiatan pembelajaran membuat pola dasar busana wanita di SLB-B Dharmawanita Kab. Sidoarjo berlangsung tidak teratur. Untuk mengatasi masalah tersebut difokuskan pada masalah model pembelajaran tata busana membuat pola dasar busana wanita yang diberikan guru di sekolah. Sehingga perlu dikembangkan model pembelajaran berbasis visual dengan pendekatan komtal membuat pola dasar busana wanita, untuk guru dalam memberikan pembelajaran materi membuat pola dasar busana wanita pada siswa kelas X. Penelitian ini bertujuan untuk mendeskripsikan tahapan, hasil produk dan kelayakan model pembelajaran berbasis visual dengan pendekatan komtal pada pokok bahasan membuat pola dasar busana wanita pasa anak tunarungu. Penelitian ini menggunakan pendekatan kuantitatif dan kualitatif dengan jenis penelitian research and development (R&D) dengan mengadaptasi model pengembangan Thiagarajan atau dikenal dengan Four D yang terdiri atas empat tahapan yaitu (1) define, (2) design, (3) develop, dan (4) disseminate. Bentuk pengadaptasian model ini dengan hanya melakukan 3 tahapan saja, yaitu (1) define, (2) design, dan (3) develop. Pada tahap define dilakukan 5 langkah pokok yaitu : (a) analisis awal akhir, (b) analisis anak, (c) analisis tugas, (d) analisis konsep, dan (e) spesifikasi tujuan program. Pada tahap design dilakukan 3 langkah pokok, (a) pemilihan media, (b) pemilihan format, dan (c) perancangan awal. Sedangkan pada tahap develop, dilakukan validasi ahli dari segi pembelajaran dan materi. Hasil penelitian ini berupa panduan mengenai tahap pelaksanaan model pembelajaran berbasis visual membuat pola dasar busana wanita dengan pendekatan komtal yang dituangkan melalui sintaks-sintaks. Kelayakan panduan mengenai tahap pelaksanaan model pembelajaran tersebut menurut ahli pembelajaran tunarungu, memperoleh nilai 3 artinya program ini berada pada kategori baik dari segi pembelajaran dan layak digunakan dan menurut ahli materi tata busana, memperoleh nilai 3,75 artinya program ini berada pada kategori baik dari segi materi dan layak digunakan.Uji terbatas menunjukkan (1) kemampuan guru mengelola pembelajaran pada pertemuan pertama telah menemui kesesuaian dengan kategori baik dengan prosentase keterlaksanaan 97,8%. Pertemuan kedua dengan kategori baik dengan prosentase keterlaksanaan 99%, dan pertemuan ketiga juga mencapai kategori baik dengan prosesntase keterlaksanaan 99%. (2) Unjuk kerja siswa selama pembelajaran, inisial Su mencapai prosentase 100%; inisial Fi mencapai prosentase 100%; inisial Ya mencapai prosentase 99,33; inisial Al mencapai prosentase 98,67%; inisial Na mencapai prosentase 98%; dan inisial Dy mencapai prosentase 99%. Disimpulkan bahwa model pembelajaran berbasis visual dengan pendekatan komtal secara konsep maupun secara empirik layak dan efektif.Kata Kunci: Model Pembelajaran Berbasis Visual, Pendekatan Komunikasi Total, Pola Dasar Busana WanitaAbstract: The background of this research was the activity that ran irregularly in SLB-B Dharmawanita Sidoarjo to make the basic pattern of women's clothing. The focus of the problem was the fashion learning model given by teacher in school to make the basic pattern of women's clothing. Thus, it is necessary to develop a visual-based learning model with total communication approach to make the basic pattern of women's clothing, for teachers, in providing learning material to make the basic pattern of women's clothing in students of tenth class. This study was aimed to describe the stages, product results, and feasibility of visual-based learning model with total communication approach on the subject to make the basic pattern of women's clothing for the hearing impairment child. This research used quantitative and qualitative approach using research and development (R & D) adapting Thiagarajan development model known as Four D consisting of four stages: (1) define, (2) design, (3) develop, and (4) disseminate. The 3 stages were conducted, namely (1) define, (2) design, and (3) develop. In the define phase were five main steps, as follows (a) preliminary analysis, (b) child analysis, (c) task analysis, (d) concept analysis, and (e) program objectives specification. In the design stage were 3 (three) basic steps taken, (a) media selection, (b) format selection, and (c) preliminary design. In the stage of develop was validation of experts in forms of learning and material. The result of this research was guidance on the stage of implementation of visual-based learning model to make the basic pattern of women's clothing using total communication approach in the form of syntax. The feasibility of the guidance on the implementation stage for learning model according to expert got 3 meaning that the program was categorized as good in terms of learning and appropriate to use and according to the material expert of the dress code was 3.75 meaning that the program was categorized as good in terms of material and feasible to use. The limited test shows (1) the ability of the teacher to manage the learning process at the first meeting was suitable and categorized as good, in which the percentage of implementation was 97.8%. The second meeting was categorized as good with the percentage of 99% in implementation. The third meeting was categorized as good with the 99% implementation procession. (2) in the students’ performance while learning, The initial Su was 100%; The initial Fi was 100% percent; The initial Ya was 99.33; The initial Al was 98.67%; The initial Na was 98%; And The initial Dy was 99%. It was concluded that visual-based learning model using total communication approach and was empirically feasible and effective.Keywords: Visual Based Learning Model, Total Communication Approach, Basic Pattern of Women's Clothing
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Krems, Jaimie Arona, Ashley M. Rankin, and Stefanie B. Northover. "Women’s Strategic Defenses Against Same-Sex Aggression: Evidence From Sartorial Behavior." Social Psychological and Personality Science 11, no. 6 (November 20, 2019): 770–81. http://dx.doi.org/10.1177/1948550619882028.
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Women’s intrasexual competition has received significant attention only in the last decades, with even less work investigating women’s defenses against such aggression. Yet, we should expect that women can (a) grasp which perceptually-salient cues evoke same-sex aggression and (b) strategically damp the display of (some of) those cues when aggression risk is greatest, thereby avoiding the potentially high costs of victimization. Women selectively aggress against women displaying cues of sexual permissiveness (e.g., revealing dress) and/or desirability (e.g., physical attractiveness). We find that (a) women (and men) anticipate greater intrasexual aggression toward women dressed revealingly versus modestly, especially if targets are attractive. Employing behavioral and self-report measures, we also find (b) women create outfits baring less skin, select more modest clothing, and intend to dress less revealingly to encounter other women, flexibly damping permissiveness cues depending on individual features (physical attractiveness) and situational features (being a newcomer) that amplify aggression risk.
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Prasti, Evi. "Pandangan Etika Kristen tentang Berbusana bagi Wanita Kristen." Jurnal Teologi Berita Hidup 1, no. 2 (March 20, 2019): 109–20. http://dx.doi.org/10.38189/jtbh.v1i2.12.
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In dressed placement there are special situations that require the wearer to dress in formal situations, namely government agencies, schools, offices and worship. In a semi-formal or causal situation that is a semi-formal situation but there is a limit of politeness also in non-formal situations such as in the market, at home. This situation has no rules that bind it from the three situations we must be able to choose clothing according to the provisions of the event we are going to attend. Christian women's clothing must be different, because it manifests the person of the Lord Jesus the Great and holy so that the appearance of dressed in Christianity especially prioritizes God rather than appearance. Because God is holy and holy, in practice daily life glorifies God through our bodies. In a position as a student, the clothes that are used are dress that is polite, not sexy, does not wear a T-shirt, does not wear a tight shirt, mini skirt, transparent clothes but can choose clothes that are reasonable and appropriate in the campus situation. AbstrakDalam penempatan berbusana ada situasi khusus yang menuntut si pemakai berbusana sapan dalam situasi formal yaitu instansi pemerintahan, sekolah, kantor dan beribadah. Dalam situasi semi formal atau causal yaitu situasi setengah formal tetapi ada batas kesopanan juga dalam situasi non formal seperti di pasar, dirumah. Situasi ini tidak ada peraturan yang mengikatnya dari ketiga situasi tersebut kita harus dapat memilih busana sesuai ketentuan acara yang kita akan hadiri. Busana wanita Kristen harus berbeda, karena mewujudkan pribadi Tuhan Yesus yang Agung dan kudus sehingga penampilan dalam berbusana orang Kristen terlebih mengutamakan Tuhan dari pada penampilan. Sebab tuhan adalah suci dan kudus maka dalam praktek kehidupan sehari hari memuliakan Tuhan melalui tubuh kita. Dalam posisi sebagai mahasiswa maka busana yang dipakai adalah busana yang sopan, tidak seksi, tidak memakai kaos oblong,tidak memakai kaos ketat,rok mini, baju transparan melainkan dapat memilih busana yang wajar dan pantas dalam situasi kampus.
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ÖNDER, SYLVIA WING. "ELISABETH ÖZDALGA, The Veiling Issue, Official Secularism and Popular Islam in Modern Turkey, Nordic Institute of Asian Studies Report Series, No. 33 (Richmond, Surrey: Curzon Press, 1998). Pp. 125. $45.00 cloth." International Journal of Middle East Studies 33, no. 2 (May 2001): 305–7. http://dx.doi.org/10.1017/s0020743801282063.
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Elisabeth Özdalga's book is an important introduction to one of the issues that has been front-page news in Turkey since the 1980s. The most visible and controversial sign of the increasing participation in public discourse of Islamic revivalists has been the marked increase in numbers of women in urban spaces and institutions who wear the particular form of dress called tessetür, a public symbol of a personal commitment to a certain form of Islamic values. Özdalga's focus is timely and of interest to both a Turkish audience and a Western one, although it speaks mainly to the latter. The banning of the Islamist Welfare Party (Refah Partisi) from Turkish politics since the publication of the book, as well as the internationally noted furor surrounding the election to, and subsequent dismissal of, a headscarf-wearing woman in Parliament, show that what the author calls Turkey's “large-scale attempt to integrate Islam within the institutions of a modern, liberal democratic polity” (p. viii) continues to be a vitally important and controversial subject. Her book attends both to the symbolic power and legal status of women's clothing in public debate and to women's actual participation in the re-formations of public and private definitions of citizenship.
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KERPICS, JUDIT. "“WHAT FOREIGN FASHION MAGAZINES ARE NOT ABLE TO GIVE” THE POLITICALLY MOTIVATED LANGUAGE OF FASHION IN THE MAGAZINE NŐVILÁG IN 1859–1860." Hungarian Studies 33, no. 2 (December 2019): 217–33. http://dx.doi.org/10.1556/044.2019.33.2.2.
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In the turn of the 1850’s and 1860’s a topic – which generated serious disputes in the reform era – flamed again in Hungary: it was the national clothing. With the slackening political rigour, the traditional Hungarian dress as a symbol of national togetherness was on the agenda yet again in Hungarian-language fashion magazines of Pest.The Nővilág [Woman’s World] edited by János Vajda aimed to work on women’s aesthetical education since the start of the magazine in 1857. The column named Original Fashion Report was written by the leader contributor of the magazine Júlia Jósika, who has been corresponded up to date French and Belgian fashion from Brussels. Popularity of her articles was unbroken until 1860. The Original Fashion Report in this name was published for the last time in the february of 1860; then the column was renamed, and of results of a slow process until the end of the year Júlia Jósika’s fashion reports frayed from the Nővilág. Her place was taken by a young writer with increasing publicity, Lenke Bajza, who made a stand for national fashion. She – likewise Júlia Jósika – worked for the magazine as fictionist and fashion professional.This change can be associated not with aesthetical but political decisions. Because of a delicate international political situation in the year 1859 Hungarian revisionists started to hope again in a new revolution for independence from Austria. With a press being stricktly supervised by the police, traditional Hungarian fashion became part of the language of national solidarity.In my paper I will confer the competition of French fashion and traditional Hungarian clothing through Júlia Jósika’s and Lenke Bajza’s confronting fashion reports and the alteration of Nővilág in the context of the politically charged alternative language of clothing.
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Bullock, Katherine. "Modest Fashion." American Journal of Islam and Society 32, no. 3 (July 1, 2015): 121–23. http://dx.doi.org/10.35632/ajis.v32i3.996.
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Finally it seems the academic study of hijab has come of age. The contributorsto this collection neither treat it as an object of curiosity or derision, nor wonderat Muslimahs’ “false consciousness”; rather, they treat this “piece of cloth” andthe accompanying dress code as a “normal” object of academic enquiry. Forexample, they expand the investigation to include attire for modest Jewish andChristian women, as well as for secular women who dress in similar ways albeitfor different reasons. The title captures this broad focus by using modest, ratherthan limiting the focus to the hijab. While some Jewish and Christian womenalso dress modestly, discursive politics only label the hijab as oppressive.It is refreshing to read academic studies that treat the hijab with the samerespect that they do modest Jewish or Christian dress codes. This is not to saythat the book necessarily endorses or advocates modest dress, which it mostcertainly does not, but only that its contributors (e.g., a journalist and a paneldiscussion with bloggers, designers, and entrepreneurs) study in a sociologicalway the different meanings behind religious dress while maintaining respectfor those they study. Even Elizabeth Wilson’s “Can We Discuss This?,” whichfinds secular women’s recourse to modest dress depressing (“the human body,clothed or unclothed, is a cause for celebration” [p. 171]) and asks secular feministsto “fight their corner” (p. 171), respectfully summarizes the rationale behindmodest dress in order to argue against that very rationale.The contributors also link the study of modest dress with the concept of“fashion,” which is a matter of women who want to dress modestly but haveto look long and hard for nice, fashionable clothing that meets their standards.But as Lewis (“Introduction”) and others, like arts journalist Liz Hoggard(“Modesty Regulators: Punishing and Rewarding Women’s Appearances inMainstream Media”) note, the mainstream fashion industry does not treatmodest dress as “fashion.” Therefore, some Jewish, Christian, and Muslimwomen entrepreneurs have opened stores as well as designed and sold theirown creations to those who want to dress modestly and yet be stylish and fashionable.By investigating the link between fashion and modest dress moreclosely, the book provides a very refreshing analysis of modest dress. Afterall, we receive the obfuscations of “oppressed” or “false consciousness”through the mainstream fashion lens.Lewis argues that the Internet has allowed this niche market to blossom ...
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Hauff, Caitlyn R. "Dress to Impress or Dress to Sweat? Examining the Perceptions of Exercise Apparel Through the Eyes of Active Women." Women in Sport and Physical Activity Journal 24, no. 2 (October 2016): 99–109. http://dx.doi.org/10.1123/wspaj.2015-0015.
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Objectification theory postulates that societal norms influence women to internalize cultural standards of beauty and thinness as their own. The consequences of objectification experiences include body shame, anxiety, body surveillance, and internalization of the thin ideal. Self-presentation theory suggests that individuals attempt to control and manage impressions when they perceive they are being evaluated by others. Previous research has documented the role of apparel in objectification of women and how women use apparel to create particular impressions. Research has also documented how objectification and self-presentation mediates reasons and motivations for exercise. However, qualitative explorations of women’s thoughts and feelings regarding exercise apparel as a motivator or deterrent for physical activity within these frameworks are lacking. In the current study, twelve recreationally active women were interviewed to understand their perceptions of exercise apparel in relation to their exercise environment and motivation to exercise. Two higher order themes emerged: exercise apparel as a tool for the optimal exercise experience (lower order themes: comfort, functionality of clothing, and reciprocal relationship between motivation and affect) and societal influences shaping exercise apparel choices (lower order themes: social influence and social comparison within the exercise setting, the cultural standard, and past experiences of evaluation). For the women in our study, exercise apparel serves as both a motivator and deterrent for exercise and certain exercise apparel contributes to self-presentation concerns within the exercise setting.
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Presta, Ana María. "Undressing the Coya and Dressing the Indian Woman: Market Economy, Clothing, and Identities in the Colonial Andes, La Plata (Charcas), Late Sixteenth and Early Seventeenth Centuries." Hispanic American Historical Review 90, no. 1 (February 1, 2010): 41–74. http://dx.doi.org/10.1215/00182168-2009-090.
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Abstract This essay addresses the specific indigenous identity of Indian women resettled in colonial La Plata, particularly those associated with mercantile trades and consequently involved in the creation of colonial markets. The search for Indian women’s urban identities rests upon the material culture associated with labor activities and social standing among those recently settled in the Spanish urban milieu. Objects and places, goods and spaces can be manipulated, reappropriated, and reinterpreted by new social actors on their road to history. Things have meaning and are bound to culture and identity. In this way, indigenous women’s dress and adornment are associated with the dramatic changes brought about by the new mercantile economy introduced by the Spaniards. Indian women who resettled in the city and gained economic success pursuing mercantile trades adopted distinctive components of female dress. These styles evoked both the recent Inca past and certain elements of Spanish attire and adornment that forged a specific identity associated with a specific trade, asserting a newly acquired status in the emerging colonial society
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ADHIKARI, HARASANKAR. "Why So Much Sexual Violence Against Women In Globalized India?" Gender Studies 13, no. 1 (December 1, 2014): 201–7. http://dx.doi.org/10.1515/genst-2015-0014.
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Abstract This paper attempts to discuss the causes of violence against women in India in relation to their body-revealing dress and conditional consent to sexual relations. Historically, women in Indian society have been victims of gender practices under the typical patriarchy. Culturally, women are treated as sex objects and their status is bounded within the periphery of feminine role-relations as housekeepers and pro-creators of generation. Women's education and participation in the workforce are not bringing with them the expected changes in gender stereotyped-ness. Even the work done on gender justice and women's human rights has failed to establish their status as anything more than sex objects. The rampant sexual violence against women is a reminder that the problem is deeply rooted in Indian society. In such a situation we may not be able to avoid considering the responsibility of women. Their body-revealing clothing and conditional consent to sexual relation are significant in provoking men into treating them as sex objects. So we should think about how to bring about a change in gender practices and this should start in each and every family. The family as a correctional institution should teach its offspring about gender equality and their behavior and attitude towards gender should regard the physical and physiological differences between the sexes as minor. This might perhaps be a step towards reducing violence against women.
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Walkowiak, Natalia. "Rynek prasy kobiecej we Francji w XXI wieku. Charakterystyka na podstawie wybranych tytułów – wstęp do badań." Media Biznes Kultura, no. 2 (9) (2020): 23–33. http://dx.doi.org/10.4467/25442554.mbk.20.015.13179.
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Women’s press market in France in 21st century based on selected titles. Introduction to research Reading magazines is still one of the favourite activities of French society. Despite the general decline in press readership, they have a relatively stable market position. Women’s press, which is a huge segment of the magazine market, deserve a special attention. There are both exclusive and fashion magazines as well as tip magazines, which show French women how to live, dress, cook, raise children or make money. These types of magazines achieve such high sale, that many information newspapers (such as “Le Figaro”) have decided to create women’s addition to the newspaper to increase their entire print – run. The women’s press is also attractive for advertisers, because many global companies in the clothing or cosmetics industry are from France. It all makes up the magazines addressed to the female customer are still an attractive sector of the media market, bringing profits to their owners and constituting an important source of knowledge for their readers.
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Walkowiak, Natalia. "Rynek prasy kobiecej we Francji w XXI wieku. Charakterystyka na podstawie wybranych tytułów – wstęp do badań." Media Biznes Kultura, no. 2 (9) (2020): 23–33. http://dx.doi.org/10.4467/25442554.mbk.20.015.13179.
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Women’s press market in France in 21st century based on selected titles. Introduction to research Reading magazines is still one of the favourite activities of French society. Despite the general decline in press readership, they have a relatively stable market position. Women’s press, which is a huge segment of the magazine market, deserve a special attention. There are both exclusive and fashion magazines as well as tip magazines, which show French women how to live, dress, cook, raise children or make money. These types of magazines achieve such high sale, that many information newspapers (such as “Le Figaro”) have decided to create women’s addition to the newspaper to increase their entire print – run. The women’s press is also attractive for advertisers, because many global companies in the clothing or cosmetics industry are from France. It all makes up the magazines addressed to the female customer are still an attractive sector of the media market, bringing profits to their owners and constituting an important source of knowledge for their readers.
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Пташкина, Г. М., О. В. Кузнецова, and В. А. Степанов. "Novice Craft and Technology Teachers’ Competence Formation through Research Activities." Психолого-педагогический поиск, no. 2(58) (July 9, 2021): 78–91. http://dx.doi.org/10.37724/rsu.2021.58.2.007.
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В статье раскрыта роль предмета «Технология» для школьников и студентов не только в формировании соответствующих навыков и умений в области материаловедения, трехмерного проектирования и технологий изготовления женской одежды, но и развития творческих способностей и активности. Описаны процессы воссоздания древнерусского исторического костюма; поиска и освоения новых материалов (домотканый лен), технологии шитья и порядок сборки (соединения) деталей; конструирования платья из коллекции красивой женской одежды «Рязанская акварель» для различных возрастных групп; последовательность процессов и технология, включая инструменты и приспособления (набивная доска, молоток и др.) художественной обработки тканей набойкой. Представлены результаты деятельности студентов — будущих учителей, обучающихся по направлению «Педагогическое образование» (профиль «Технология и физика»), по реконструкции и изготовлению древнерусского женского костюма Старой Рязани; конструированию нарядного женского платья из коллекции «Рязанский аквариум»; художественной обработке (набойкой) тканей и изделий из них; использованию «бросовых» (бумага, фольга, картон, пластиковая и стеклянная тара) конструкционных материалов для декоративно-прикладного творчества. Приведены фрагменты тканей и платьев, изготовленных студентами. Сформированные у студентов компетенции в области материаловедения, трехмерного проектирования и технологий изготовления женской одежды могут быть успешно использованы ими в будущей педагогической деятельности в школе при организации образовательного процесса по технологии швейного дела, кружков и внеурочной деятельности, а также осуществлении исследовательских проектов с одаренными учащимися. The article treats the craft and technology education curriculum in secondary and higher education institutions. It treats the role of the subject both in the development of creative abilities and in the formation of skills required for 3d-modelling, women’s clothes designing. The article describes the process of creating old-Russian historical costumes, the process of searching for new materials (homespun linen) the technology of modelling, designing, and sewing of articles from the collection of female clothing “Ryazan aquarelle” for different age groups, tools and equipment (wooden board, hammer, etc.) required for hammer printing. The article presents old-Russian traditional women’s clothing (Old Ryazan) made by students, novice Craft, Technology and Physics teachers. It also presents a dress form the “Ryazan aquarium” collection. It deals with hammer printing and the use of such materials as paper, foil, cardboard, plastic and glass for art and craft activities. It presents fabrics and clothing made by students. Students’ competencies of 3d-modelling, women’s clothes designing and their knowledge of fabrics and materials can be successfully used in classroom activities, extracurricular activities and research work with gifted students.
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Nurul hidayah, Laila. "KONSEP MUHAMMAD SHAHRU TENTANG AURAT PEREMPUAN." Al-Adabiya: Jurnal Kebudayaan dan Keagamaan 14, no. 02 (January 11, 2020): 216–39. http://dx.doi.org/10.37680/adabiya.v14i02.211.
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In Islam, clothing does not only function as jewelry and body armor from heat and cold, but more importantly is to cover the nakedness. Al-Qur'an al-Karim shows the obligation of women to cover their bodies in His words, "And let them not show their jewels, except those which (normally) appear from them,". Parts of female limbs that are not allowed to be seen by others are aurat. Islamic scholars agree that all women's bodies are aurat, in addition to the face and two palms. What is meant by the jewelry that appears is the face and two palms. While what is meant by khimar is a headgear, not a face covering like a veil, and what is meant by jaib is chest. The women have been ordered to put a cloth over his head and spread it to cover her chest. By doing library research, that is, research whose main object is books or other sources of literature, meaning that data is sought and found through literature review of books relevant to the discussion, a minimum limit of aurat according to Muhammad Shahrur is that dress cover the juyub, while the maximum limit is dressing which covers all parts of the body besides the face and palms.
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Ahmad, Fauzia. "Rethinking Muslim Women and the Veil." American Journal of Islam and Society 19, no. 4 (October 1, 2002): 121–25. http://dx.doi.org/10.35632/ajis.v19i4.1901.
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Much has been written about Muslim women, dress, hijabs, veils, and, more recently, burqas. Bullock's book, based on her doctoral work with 16Muslim women in Canada, critically examines the western media's representations and perceptions of the veil. What perhaps marks this book as different from many others focusing on the "ubiquitous veil" is not just that Bullock converted to Islam during the course of her study, but her embed dedness in the material as she describes her conversion and adoption of the hijab. Her personal responses to much western journalistic writing is reflected in her clear fustration at the almost overwhelming refusal of western commentators to acknowledge and respect the concept of choice Muslim women make when regarding dress. As Algerian sociologist Marnia Lazreg noted in 1988, Muslim women are denied the authority to define their own lives by having to satisfy frames of reference dictated and inserted by "Outsiders." This theme surfaces throughout the book, which seeks to challenge "the popular western stereotype that the veil is oppressive" and to stress the multiple meanings and heterogeneity behind Muslim women's choices in covering. Bullock argues that such misconceptions are social constructions that do not necessarily reflect the lives of those under discussion. She carefully avoids generalizing and presenting an overly positive angle on Muslim women's lived experiences. She acknowledges that for some Muslim women, in certain sociopolitical and historical contexts, enforced veiling is a reality. Thus marked by an absence of choice and the denial of basic rights, the veil can symbolize oppression. The Taliban's restrictions on women are presented as a prime example. Bullock differentiates between populist views on Muslim women and clothing practices and those of western or westernized feminists. She argues two main schools of thought. The first comprises feminists who believe and stress that religions like Islam are patriarchal, and therefore are inherently oppressive toward women and deny them opportunities for ''true" liberation. This school of thought, which Bullock calls "liberal feminism," remains suspicious of arguments advanced by Muslim women who speak positively of their faith and their choices to cover, believing them to be inflicted with a form of "false consciousness." ...
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Arjana, Sophia Rose. "Islamic Fashion and Anti-Fashion." American Journal of Islam and Society 32, no. 2 (April 1, 2015): 104–7. http://dx.doi.org/10.35632/ajis.v32i2.973.
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This volume of scholarship surrounding Islamic fashion presents a counternarrativeto a dominant story: that Muslim women in the West are subjugatedby the oppressive and patriarchal yoke of Islam. Islamic Fashion and Anti-Fashion: New Perspectives from Europe and North America offers a freshnew look at veiling, its intersection with religious piety, family, community,religious authority, fashion, and commoditization through sixteen distinct stud-104 The American Journal of Islamic Social Sciences 32:2ies ranging from clothing items like the burqini and the pardosu to larger issuessurrounding identity and politics, such as North American Islamophobia andits impact on Canadian Muslims. This book represents a large field of researchon Muslim women’s lived experiences, one that reveals the complexities inherentin these religious actors whose choices of dress reveal a large set ofcompeting values, desires, and commitments.The book is organized into five sections: location and encounter, historyand heritage, the marketplace, fashion and media, and fashion and anti-fashion.Two of its attractive features are the numerous black and white images runningthrough many of the chapters, as well as the two groups of stunning, provocativecolor photographs showing the richness of Islamic fashion, from “hijabistreet style” to London Muslim hipster style ...
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Rabinovitch-Fox, Einav. "Fabricating black modernity: Fashion and African American womanhood during the first great migration." International Journal of Fashion Studies 6, no. 2 (October 1, 2019): 239–60. http://dx.doi.org/10.1386/infs_00007_1.
Full textAbstract:
The early twentieth century was a time of great influx in America. Shifting demographics in the 1910s and 1920s, most notably the migration of thousands of African Americans from the rural South to the urban centres of the North, opened economic and leisure possibilities that provided new spaces to define black modernity and its role in shaping American identity. Debates over black women’s bodies, clothing, hair, and general appearance stood at the centre of public attention and political discourse over gender and race equality, forming a realm where African Americans could challenge white racist stereotypes regarding black femininity and beauty, as well as a means through which they could claim new freedoms and achieve economic mobility. Middle-class reformers, young black migrants, as well as new role models such as female performers and blues singers, all used dress and appearance to redefine notions of beauty, respectability and freedom on their own terms. For these women, fashions became intertwined with questions of racial progress and inclusion in American society, offering a way to lay claims for equal citizenship that moved beyond individual expressions and preferences. This article highlights the place of fashion as a critical political realm for African Americans, who were often barred from access to formal routes of power in the era of Jim Crow. Shifting the perspective beyond official forms of civil rights activism, it argues that fashion enabled black women to carve new positions of power from which they could actively participate in gender and racial politics, demanding their equal place in American society.