Journal articles: 'Clothing and dress Women'

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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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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.

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Abstract:

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

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

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

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

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

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

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

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

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The phenomenon that afflicts Indonesian society, especially Muslim female students, is a culture of clothing that deviates from the guidance of Islamic law, although there are Muslim women who show how to dress according to Sharia, but the number is relatively small compared to those who are not. The phenomenon of wearing hijab is currently not in accordance with the requirements of Muslim women's clothing where not a few of the clothing models worn by women wearing hijab but still show the shape of the body, made from transparent and so on. Of course this is a problem that must be addressed by parents, educators and those in charge of education, because if it is left unchecked this will become a culture that will continue to develop and eventually become a law that is considered true by future generations. One way to overcome this is to raise awareness among Muslim women about the obligation to cover their genitals by providing sufficient understanding of genitals, the obligation to cover them and the adab of dressing in Islam. This study uses a literature review that synthesizes the theories and concepts of fiqh scholars about the aurat adab dress in Islam which then produces a concept of how to foster awareness of covering one's genitals which can be internalized in the form of dress behavior in Muslim women, especially students.

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Kramkowska, Emilia. "Simmlowska koncepcja mody a ubiór współczesnych seniorek i seniorów. Podejście badawcze." Kultura i Społeczeństwo 64, no. 4 (December 29, 2020): 153–80. http://dx.doi.org/10.35757/kis.2020.64.4.7.

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

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

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

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Poiana, Peter. "Choses d'apparat: The poetics of dress in Michel Leiris's L'Afrique fantôme." International Journal of Francophone Studies 22, no. 3 (December 1, 2019): 213–31. http://dx.doi.org/10.1386/ijfs_00002_1.

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Abstract Michel Leiris's treatment of clothing in L'Afrique fantôme, his diary account of his journey through Africa as part of an ethnographic expedition, demonstrates how dress habits constitute a value-laden system. Clothing belongs to a category of objects, which includes talismans and masks, that Leiris calls 'choses d'apparat' because of their tendency to acquire a ceremonial significance. As such, they mark indelibly the travellers' first impressions of the men and women they encounter. Leiris's substantial body of autobiographical writing shows that his interest in clothing is not limited to his travels but goes back to his most distant childhood memories, in which items of dress acquire a distinct theatrical significance. The present study examines the descriptions of dress in L'Afrique fantôme in terms of what they reveal about the respective attitudes of the European travellers and local populations they meet. It explains also how dress habits function as a bearer of cultural values and as a mediator in situations of intercultural contact. It shows finally how dress plays a key part in Leiris's critique of exoticism and colonial stereotypes, by means of which he engages in a different kind of human exchange than that practiced by his scientifically trained colleagues.

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Edwards, Tim. "Living dolls? The role of clothing and fashion in ‘sexualisation’." Sexualities 23, no. 5-6 (September 6, 2018): 702–16. http://dx.doi.org/10.1177/1363460718757951.

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This article considers the role that clothing and fashion have played, or continue to play, in ‘sexualisation’. It is pointed out that fashion, as in clothing, has often played a very small part in much wider discussions about ‘sexualisation’ much of which fails to problematise the meaning of the clothing concerned. The article thus considers what might constitute ‘sexualised’ clothing or fashion – whether this is simply baring of flesh, too ‘adult’, or somehow ‘pornographic’ in its derivations or connotations. In addition, fashion and dress have a long history of forming heated concern for feminists who have often found themselves caught between seeing it as oppressive and male defined or expressive and somehow empowering. What is often at stake here is the very significance of fashion or dress itself when seen as a wider communicator of status or just personality. Drawing on established feminist and fashion theory, this article unpacks this connection. In addition, the ‘function’ of fashion as display has an equally long history of often unacknowledged gender difference that precedes later feminist resistance yet still informs it. The article also considers the extent to which understandings of fashion may inform or disrupt more contemporary feminist politics on dress, and recent attempts to reclaim ‘sexualised’ clothing and dressing as empowering for young women are questioned. In sum, it is argued that an analysis of fashion and dress per se is needed to develop a more informed understanding of the processes of ‘sexualisation’ and resistance to them.

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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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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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VanPool, Christine S., Todd L. VanPool, and Lauren W. Downs. "DRESSING THE PERSON: CLOTHING AND IDENTITY IN THE CASAS GRANDES WORLD." American Antiquity 82, no. 2 (April 2017): 262–87. http://dx.doi.org/10.1017/aaq.2017.4.

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Casas Grandes Medio–period (A.D. 1200–1450) human effigies are unique in the North American Southwest in that they depict primary and secondary sexual traits, making determination of sex and gender roles possible. Here, we build on previous discussions by considering the importance of depictions of clothing (e.g., belts and sashes), personal adornments (e.g., necklaces and bracelets), facial decorations, and other aspects of dress. We find that Medio-period symbolism for males and females was based on gender complementary that combined the productive, reproductive, and ritual activities of men and women within a single symbolic and ritual system. Some clothing styles are found on both males and females (e.g., arm bands), but there are also sex-based differences. Women wear low horizontal belts across their hips, whereas men primarily wear sandals and elaborate headbands. Aspects of dress also appear to be continued from previous cultures such as the Classic Mimbres (A.D. 1000–1150) and continued into historic northern Mexican and southwestern groups (e.g., headgear and some sandal types). Ultimately, we find that males have more elaborate dress and are associated with a specific set of ritually important symbols. Females are associated with cloud/fertility symbolism, sternal decorations, and birds.

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Kwon, Yoon-Hee, and Alan Farber. "Attitudes toward Appropriate Clothing in Perception of Occupational Attributes." Perceptual and Motor Skills 74, no. 1 (February 1992): 163–68. http://dx.doi.org/10.2466/pms.1992.74.1.163.

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The objectives of the study were to (a) investigate college students' perceived importance of occupational attributes related to the work of salespersons, clerks, and waiters/waitresses, jobs which students themselves often hold, and (b) explore the perceived role of appropriate dress in enhancement of the perception of occupational attributes associated with these occupations. Statistical analyses of the data from 134 men and 202 women supported the notion that the importance students placed on perceived occupational attributes increased as perceived job status increased; expectations for salesperson were higher than those for clerk or waiter/waitress. The results also support the notion that appropriate dress often enhances perception of occupational attributes and especially reflects the workers' perceived professionalism, intelligence, and competence.

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JACKSON, PHILIPPA. "Parading in public: patrician women and sumptuary law in Renaissance Siena." Urban History 37, no. 3 (November 15, 2010): 452–63. http://dx.doi.org/10.1017/s0963926810000568.

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ABSTRACT:In Renaissance Italy clothing, particularly of women, was strictly regulated; individuals were regularly denounced when walking through the city. Modesty was a virtue in a republican state and dress played a major part in urban identity, reflecting social values and those of the political regime. Sumptuary laws were a major mode of control, particularly of patrician women, whose dress reflected both their own and their family's wealth and status. Despite increased availability of luxurious fabrics encouraged by urban policies, legislation was used to prohibit new forms of dress and raise money for state coffers. At the end of the fifteenth century Pandolfo Petrucci (1452–1512) took control of Siena. The inner elite of his regime, particularly its female members, were given exemptions from the strict legislation and were able to flaunt their elevated status and the new social order.

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NEZLA, ÜNAL, and UTKUN EMINE. "Impacts of female body shapes on patternmaking." Industria Textila 69, no. 06 (January 1, 2019): 519–23. http://dx.doi.org/10.35530/it.069.06.1222.

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Clothing fit is one of the most important factors that affect consumers’ purchasing behaviour and body movement comfort. This study aims to examine the effects of different female body shapes on clothing pattern design. For this purpose, body measurements of 231 women aged between 18 and 25 were taken and classified according to body shapes and sizes. Then the impacts of body shapes were investigated on basic dress pattern drawing with standard dart prepared in Müller&Sohn patternmaking system. Darted basic dress patterns of women who had a body size of 36 and piled up in pear and rectangle body shapes were adjusted, and these adjustments were compared. While pattern adjustments were carried out according to the rectangle and pear body shape, necessary changes were made on the full height, the girths of breasts, waist, hip and front, back and front average length measurements.

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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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Hackett, Lisa J. "‘Biography of the self’: Why Australian women wear 1950s style clothing." Fashion, Style & Popular Culture 00, no. 00 (April 16, 2021): 1–25. http://dx.doi.org/10.1386/fspc_00072_1.

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This article aims to understand why one cohort of Australian women choose to wear anachronistic clothing, in this case, 1950s inspired and styled clothing, and more so, why they choose to wear this style of clothing as part of their everyday lives. While some wearers of anachronistic clothing, such as civil war re-creators or Jane Austen enthusiasts, dress for particular social events and revert to ‘everyday’ clothing in their daily lives, this research seeks to examine why this cohort of 1950s fashion aficionados maintain this aesthetic in their everyday work and social lives. The research findings are based on in-depth semi-structured interviews with 27 Australian women, aged from their 20s to their 60s, living in urban and regional locations. The purpose of the project was to uncover the psychological and sociological reasons for their sartorial everyday choices. In doing so a number of issues emerged notably interpretations of what constituted 1950s styled clothing. In the discussion of the findings, it was found that the reasons for this fashion choice were complex ranging from personal, psychological, sociological, gendered, nostalgic and political reasons for adopting this style.

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Mutia, Cut, Fitri Arnia, and Rusdha Muharar. "Improving the Performance of CBIR on Islamic Women Apparels Using Normalized PHOG." Bulletin of Electrical Engineering and Informatics 6, no. 3 (September 1, 2017): 271–80. http://dx.doi.org/10.11591/eei.v6i3.657.

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The designs of Islamic women apparels is dynamically changing, which can be shown by emerging of online shops selling clothing with fast updates of newest models. Traditionally, buying the clothes online can be done by querying the keywords to the retrieval system. The approach has a drawback that the keywords cannot describe the clothes designs precisely. Therefore, a searching based on content–known as content-based image retrieval (CBIR)–is required. One of the features used in CBIR is the shape. This article presents a new normalization approach to the Pyramid Histogram of Oriented Gradients (PHOG) as a mean for shape feature extraction of women Islamic clothing in a retrieval system. We refer to the proposed approach as normalized PHOG (NPHOG). The Euclidean distance measured the similarity of the clothing. The performance of the system was evaluated by using 340 clothing images, comprised of four clothing categories, 85 images for each category: blouse-pants, long dress, outerwear, and tunic. The recall and precision parameters measured the retrieval performance; the Histogram of Oriented Gradients (HOG) and PHOG were the methods for comparison. The experiments showed that NPHOG improved the HOG and PHOG performance in three clothing categories.

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Anafarhanah, Sri. "TREN BUSANA MUSLIMAH DALAM PERSPEKTIF BISNIS DAN DAKWAH." Alhadharah: Jurnal Ilmu Dakwah 18, no. 1 (July 7, 2019): 81. http://dx.doi.org/10.18592/alhadharah.v18i1.2999.

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Indonesia is a country whose majority is the largest Muslim in the world, making Muslim clothing the choice of most Muslim women in dress. This makes Muslim clothing in Indonesia continue to grow rapidly following the development of tren and fashions. In a business perspective, there are great opportunities that can be achieved by entrepreneurs in the field of domestic fashion to contribute to this development. Because of the fact, Muslim clothing is currently not only a fashion choice to cover aurat, but has become a life style for some Muslim women. With the many Muslim fashion fashions that are now being produced by domestic and foreign businessmen, this tren is increasingly in demand. Appearing in an Islamic and fashionable style makes Muslim women increasingly choose Muslim clothing. This closed clothing is not only worn by adult women but extends to teenagers and children. In line with this tren, in the perspective of da'wah, one of the aims of da'wah in upholding the amar ma'ruf nahi munkar can be helped as long as Muslim clothing is used in accordance with Islamic law, because basically the clothes that must be worn by Muslim women are clothes that cover their nakedness the limits specified in Islam.

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Ridgway, Jessica L. "The “Use of Lines in Your Clothing Will Work Magic”: Advice to Women From 1914 to 1961 on Using Line to Design an Ideal Body Type." Clothing and Textiles Research Journal 38, no. 4 (February 18, 2020): 270–84. http://dx.doi.org/10.1177/0887302x20905358.

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Women have sought and received advice on how to dress for as long as they have been putting clothing on their bodies. One area in which women have received advice on dressing for their body type is the use of line in dress as an illusion to change the way body shape and size is perceived. This study was undertaken to gain a better historical understanding of advice on dressing for different body types between 1914 and 1961. Advice books and textbooks written for women from 1914 to 1961 that included prescriptive information on how to dress for various body types were explored. This time period was selected as it coincides with critical years in the growth and maturity of the home economic movement in the United States. A content analysis of 15 historical texts revealed trends found within the themes of body ideal, line as illusion, and figure types.

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FORNEY, JUDITH CARDONA, and NANCY J. RABOLT. "Contemporary outer dress and clothing market source use of Middle Eastern women." Journal of Consumer Studies and Home Economics 21, no. 1 (March 1997): 55–73. http://dx.doi.org/10.1111/j.1470-6431.1997.tb00269.x.

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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.

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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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Shaheen, Manal, and Chanmi Hwang. "Hijab and modesty: Muslim religious identity expression among Egyptian women in the United States." Clothing Cultures 6, no. 2 (June 1, 2019): 163–77. http://dx.doi.org/10.1386/cc_00010_1.

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This study explored the symbolic meaning of modest dress, generally referred to as hijab, to Egyptian Muslim women living in the United States. In the diaspora, women need to integrate the requirements for religious modesty when shopping for western apparel that is not designed to align with their values of modesty. Face-to-face, in-depth interviews with photo-elicitation were conducted with ten veiled Muslim women to explore the symbolic meaning of hijab and their views on modest clothing as it relates to religiosity. Three themes surfaced as the participants discussed their experiences: (1) intrinsic and extrinsic values of hijab ‐ adapting to US norms, (2) the accessibility and attributes of modest clothing and (3) defining modest hijab based on religiosity ‐ three types. The findings of this study may help non-Muslims understand the symbolic message of hijab and the different types of modest clothing related to religiosity.

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Koca, Emine, and Inci Seda Kivilcimlar Sahin. "Dress Culture-Related Adaptation Problems Faced by Turkish Women Living Abroad." European Scientific Journal, ESJ 13, no. 5 (February 28, 2017): 15. http://dx.doi.org/10.19044/esj.2017.v13n5p15.

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This study, which was carried out in order to identify the problems faced by Turkish women living abroad with respect to dress culture, is a descriptive study based on a scan model. The sample group for this study comprised 394 Turkish women aged 20 and over living in London in the United Kingdom, which is home to many cultures as well as its own specific culture. As a result of an analysis of the data obtained from the survey prepared by the researcher it was determined that people coming to London from the major cities in Turkey encountered fewer problems with respect to dress culture than people coming from towns and villages in Turkey, and that people with an income of less than £1,000 a month experienced more problems than people with a higher level of income. Furthermore, it was also determined that the sample group aged 50 and over experienced more adaptation problems with respect to dress culture, and that these problems were generally due to the length of clothing and how revealing it was.

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Hass, Bat-sheva. "The Burka Ban: Islamic Dress, Freedom and Choice in The Netherlands in Light of the 2019 Burka Ban Law." Religions 11, no. 2 (February 18, 2020): 93. http://dx.doi.org/10.3390/rel11020093.

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This article, part of an evolving and large project, examines the relationship between clothing, freedom and choice, and specifically Islamic dress in shaping the identity of Dutch Muslim women after the Burka Ban that was voted into law on 1 August 2019 in the Netherlands. It discusses the debates before and after this date, as well as the background to the ban. A veil covering the face is a garment worn by some Muslim women to adhere to an interpretation of hijab (modest dress). It can be referred to as a burqa or niqab. In the aftermath of the Burka Ban that prompted considerable public alarm on the part of Muslim men and women, niqab-wearing women, as well as women who do not wear a veil, but are in solidarity with their niqabi sisters, raised a number of questions that form the basis for the analysis presented here: how do Dutch Muslim women shape their identity in a way that it is both Dutch and Muslim? Do they incorporate Dutch parameters into their Muslim identity, while at the same time weaving Islamic principles into their Dutch sense of self? The findings show how Islamic clothing can be mobilized by Dutch Muslim women to serve identity formation and personal (religious) choice in the Netherlands, where Islam is largely considered by the non-Muslim population to be a religion that is oppressive and discriminatory towards women. It is argued that in the context of being Dutch and Muslim, these women express their freedom of choice through clothing, thus pushing the limits of the archetypal Dutch identity and criticizing Dutch society while simultaneously stretching the meaning of Islam to craft their own identity.

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DeCoursey, C. A. "Attitudes of Professional Muslim Women in Saudi Arabia regarding Wearing the Abaya." Asian Culture and History 9, no. 2 (May 10, 2017): 16. http://dx.doi.org/10.5539/ach.v9n2p16.

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Clothing choices create a “semiotic sparkle” for the individual, and convey meaning to viewers. In a global world, interpretations may differ, if wearer and viewer are from different cultures. This is the case for the hijab, or required Muslim dress for women, which has been profoundly ideologised. This study explores how young professional Saudi women understand the abaya, the long outer robe, as a fashionable article of clothing. Corpus data was analysed using Appraisal techniques. Positive results indicate they focus on visual details, appreciate its enabling both comfort and elegance, and perceive design-diversification according to social identities, activities, contexts and roles. They view wearing the abaya as culturally authentic, more than a religious duty. Negative results focused on hot textiles in summer, movement hindrance, and cleanliness.

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Jiang, Xiao Feng, Xiao Xia Zhang, and Guo Lian Liu. "Influence of Color and Style on Clothing Identification." Advanced Materials Research 331 (September 2011): 689–93. http://dx.doi.org/10.4028/www.scientific.net/amr.331.689.

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This study is aimed to investigate how color and style influence clothing identification. 60 undergraduate students participated in this study, and a behavioral experiment was carried out to identify colored / achromatic Formal Dress (FD), Casual Wear (CW) , Sports Wear (SW) and Business Wear (BW). The findings were as follows: (1) while color had no significant influence on clothing identification, the style had an obvious influence on it, which showed that the accuracy of identifying FD was the highest and the accuracy of identifying BW was the lowest; (2) color had little influence on identification speed, but the style had a great influence on it; (3) women performed better in clothing identification than men did.

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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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Klassen, Pamela E. "The Robes of Womanhood: Dress and Authenticity among African American Methodist Women in the Nineteenth Century." Religion and American Culture: A Journal of Interpretation 14, no. 1 (2004): 39–82. http://dx.doi.org/10.1525/rac.2004.14.1.39.

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AbstractScholars of American religion are increasingly attentive to material culture as a rich source for the analysis of religious identity and practice that is especially revealing of the relationships among doctrine, bodily comportment, social structures, and innovation. In line with this focus, this article analyses the ways nineteenth-century African American Methodist women turned to dress as a tool to communicate religious and political messages. Though other nineteenth-century Protestants also made use of the communicative powers of dress, African American women did so with a keen awareness of the ways race trumped clothing in the semiotic system of nineteenth-century America. Especially for women entering into public fora as preachers and public speakers, dress could act as a passport to legitimacy in an often hostile setting, but it was not always enough to establish oneself as a Christian lady. Considering the related traditions of plain dress and respectability within the African Methodist Episcopal (AME) church, this essay finds that AME women cultivated respectability and plainness within discourses of authenticity that tried—with some ambivalence—to use dress as a marker of the true soul beneath the fabric. Based primarily on the autobiographical and journalistic writings of women such as Jarena Lee, Amanda Berry Smith, Hallie Q. Brown, and Frances Ellen Watkins Harper, as well as accounts from AME publications such as the Christian Recorder and the Church Review, and other church documents, the essay also draws on the work of historians of African American women and historians of dress and material culture. For nineteenth-century AME women, discourses of authenticity could be both a burden and a resource, but either way they were discourses that were often remarkably critical, both of selfmotivation and of cultural markers of class, race, and gender in a world that made a fetish of whiteness.

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Lee, Sanghee, and Sookhee Kwon. "A Study on the Dress Form for the Making Dresses: Focusing on the Size Cover Rate and Correction." Family and Environment Research 58, no. 2 (May 21, 2020): 215–28. http://dx.doi.org/10.6115/fer.2020.016.

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Underlying dress forms for high coverage patterns are very important in the dress industry. Size 9 from brand D was chosen according to the analysis that it was the best option because a dress should have a large allowable range in one size. The criteria for selection were the dress form with a waist circumference of 63.50 centimeters, which is close to the standard size of women in Korea. Brassieres for dresses were included to enhance the aesthetic value of the correction process in producing a basic dress pattern. An experimental torso pattern was applied to evaluate the fit and suitability of the dress form that was also later verified in the process of the dress works. Three dresses were produced and presented on the chosen study dress form.<br/>The research procedures are as follows. First, the sell-through rates and feedbacks were collected from the dress form vendor. Second, a literature survey on dresses and a dress company investigation were conducted. Third, the amount of body dimension changes due to the use of a bra in the dresses were examined. Fourth, after the correction of the dress form, the torso pattern was made by draping. Fifth, the torso experimental clothing made of muslin material was evaluated. Sixth, the dress works of the top design were presented using the size 9 basic pattern developed by brand D.

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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.

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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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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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Odhaib, Samih A., Nassar T. Y. Alibrahim, Ibrahim A. Zaboon, and Abbas A. Mansour. "Dress-Style Effect on Vitamin D3 Metabolic Profile." Journal of the Endocrine Society 5, Supplement_1 (May 1, 2021): A273—A274. http://dx.doi.org/10.1210/jendso/bvab048.555.

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Abstract Background and Objectives:Conservative clothing like niqab and hijab dress-style may affect the vitamin D metabolic parameters even in the predominantly sunny areas of the world, with adequate sunlight exposure throughout the year. Our objective is to evaluate the effect of wearing the niqab or hijab style on different vitamin D3 metabolic parameters in a sample of premenopausal women from Basrah. Methods: This was a cross-sectional observational study on premenopausal women who wore a niqab (n=64), with a comparable age-matched group of women who wore the hijab dress-style (n=60). Biochemical evaluation of the vitamin D3 metabolic profile involved 25-OH-vitamin D, corrected serum calcium, parathyroid hormone, phosphorus, and alkaline phosphatase estimation. Statistical comparison of these parameters was made using the independent sample t-test and Mann-Whitney-U test. Results: The two groups of women were age- and weight-matched, with a median age was 39 years, and median body mass index (BMI) of 31.8 kg/m2. Overall, age, marital status, and BMI of women in both groups had no significant relationship to the vitamin D3 metabolic parameters (low 25-OH-vitamin D, low corrected calcium, and high parathyroid hormone). The subgroup analysis for women with the niqab showed the same results. Conclusions: Wearing niqab or hijab dress-style by the premenopausal women was not associated with any significant statistical relationship or difference in vitamin D3 metabolic parameters.

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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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Couturier, Myriam. "Exhibition Review: Gender Bending Fashion." Fashion Studies 2, no. 2 (2019): 1–9. http://dx.doi.org/10.38055/fs020202.

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The Boston Museum of Fine Arts’ recent 2019 exhibition, Gender Bending Fashion, explored some of the ways in which designers and wearers in European and American contexts have challenged traditional ideas around dress and gender over the last century. This included the rejection of conventional dress codes (in the form of men wearing skirts and women wearing suits); the blurring of gender lines in fashion (the combination of “masculine” and “feminine” design elements and the construction of unisex clothing); as well as attempts to transcend the idea of gendered dress altogether (through the creation of new forms of genderless clothing). This review highlights key objects featured in the exhibition, with special attention paid to everyday ensembles and personal narratives that effectively communicated ideas of embodiment, cultural experience, and fashion storytelling that were missing from some of the high fashion garments on display. The deliberately critical and academic approach taken by the curatorial team is discussed, as are some of the tensions and material challenges inherent in representing different bodies and expressions of gender in the context of a major museum fashion exhibition. This exhibition addresses themes that are of critical importance to fashion curators, scholars, and anyone interested in fashion studies more generally.

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AZHER, NAHEED, SAMIA KALSOOM, and MUHAMMAD SAEED. "ARTHRITIS IMPAIRMENT;." Professional Medical Journal 20, no. 06 (December 15, 2013): 938–47. http://dx.doi.org/10.29309/tpmj/2013.20.06.1569.

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Objective: The purpose of this study was to explore physical limitations and clothing problems among women withRheumatoid arthritis and designing functional clothing according to their needs. Design: This study is designed to be qualitative in nature,where the researcher explores case studies of adult female with rheumatoid arthritis. Therefore qualitative methods were used, employingdata collection by in-depth interviews and observations. Period: The study was conducted in 2010- 2012 in Lahore. Material &Methods: The present study gives a clear picture about clothing problems while donning and doffing, of adult females with rheumatoidarthritis and the need for adaptive clothing. Research process comprised of assessing clothing needs, providing comfort while donningand doffing through co-designing and evaluating comfort of an adaptive garment after wear trail of three weeks. The researcher did adetailed thematic analysis using predetermined codes to aid analysis, of all the information gathered from three female participants of thestudy. The researcher found what was missing in the clothing that the participants wore in their regular lives, and worked with them to findout what they wanted in the adaptive clothing that provides them comfort. Results: The adaptive clothing was a successful mean tosatisfy the participant’s needs and preferences in a better way. It was also found that the co-designing of the final product was a veryeffective means of doing so; adaptive clothing can offer arthritis women an easy, time saving and pain free way to dress.

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Waterhouse, Harriet. "A Fashionable Confinement: Whaleboned Stays and the Pregnant Woman." Costume 41, no. 1 (June 1, 2007): 53–65. http://dx.doi.org/10.1179/174963007x182336.

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For around 400 years fashion and decency required a neatly boned body, yet at the same time many women spent much of their adult lives pregnant. How women were able to dress would affect their role in public society, yet letters and diaries show little reduction in their daily activities. Evidence of what was actually worn is scarce, perhaps because the dilemma was not so great as we imagine — whenever clothing is mentioned or depicted we see women wearing normal garments adapted with the addition of one or two items. Front-lacing stays could be adapted with stomachers, and some back-lacing ones exist with additional side-lacing; both styles would suit the pregnant and non-pregnant state alike. It is not until the nineteenth century that specific maternity corsets and clothing begin to appear, when general corset design and fashion styles became impossible to adapt without structural alteration.

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Tyson, Amy M., Charlotte Perkins Gilman, Michael R. Hill, and Mary Jo Deegan. "The Dress of Women: A Critical Introduction to the Symbolism and Sociology of Clothing." Contemporary Sociology 31, no. 6 (November 2002): 717. http://dx.doi.org/10.2307/3089949.

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Hipple, Patricia C. "Clothing their Resistance in Hegemonic Dress: The Clothesline Project's Response to Violence Against Women." Clothing and Textiles Research Journal 18, no. 3 (June 2000): 163–77. http://dx.doi.org/10.1177/0887302x0001800305.

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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.

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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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Kim, Jeong Ha. "Development of a Dress Form for Customizing Clothing of Middle-Aged Women with Abdominal Obesity and Evaluation of Clothing Fit." Journal of Basic Design & Art 22, no. 1 (February 28, 2021): 95–108. http://dx.doi.org/10.47294/ksbda.22.1.8.

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Kennedy, Jessica, and Megan Strickfaden. "Entanglements of a Dress Named Laverne: Threads of Meaning between Humans and Things (and Things)." Fashion Studies 2, no. 1 (2019): 1–35. http://dx.doi.org/10.38055/fs020102.

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This is a narrative about a dress named Laverne and a woman named Elizabeth told through Ian Hodder’s proposition about entanglements. Elizabeth Withey wrote a blog called Frock Around the Clock about her lived experience of wearing the black dress “Laverne” every day for one year. Through Hodder’s three themes of entanglement — humans depend on things, things depend on things, and things depend on humans — the interdependencies between a woman and a dress are uncovered. Laverne is a thread within a web of other threads of entanglement driven by her relationship with a person. This is demonstrated through Hodder’s illustration of sequential staging and the vast network of things required for Laverne’s existence. Laverne and Elizabeth’s interdependent relationship is further developed through a close examination of their interactions, including how Laverne is reliant on Elizabeth to acquire and maintain agency. In turn, Elizabeth finds comfort during a tumultuous year by constructing and reconstructing her identity with Laverne as a kind of transitional object. Our discussion concludes by offering three general insights into the entangled and complex human-clothing relationship. The complexities of a human relationship and interactions with a dress are exposed in this case study through an in-depth dive into slow fashion that reveals significant insights into the entangled relationships and interactions people have with clothing.

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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.

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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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Storey, Matthew, and Lucy Worsley. "Queen Victoria: An Anatomy in Dress." Costume 53, no. 2 (September 2019): 256–79. http://dx.doi.org/10.3366/cost.2019.0123.

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This object-based study of Victoria's surviving wardrobe uses dress as material evidence for the changes that took place to the Queen's physical body. Our exploration of the Queen's attitude towards clothing combined with her physical measurements as recorded in surviving items from her wardrobe allow us to nuance the conventional biographical narrative of a woman who consistently gained weight over her lifetime. We challenge the perception that she immediately became rotund after her husband's death as a consequence of grief and argue that her later-life mourning clothes were a distinctive, comfortable and rational response to her physical body and her status as a widow.

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Crane, Diana. "Clothing Behavior as Non-Verbal Resistance: Marginal Women and Alternative Dress in the Nineteenth Century." Fashion Theory 3, no. 2 (May 1999): 241–68. http://dx.doi.org/10.2752/136270499779155078.

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Na, Youngjoo, and Jisu Kim. "Abuse of empire style robe to thermal insulation and body discomfort (part 2)." International Journal of Clothing Science and Technology 29, no. 3 (June 5, 2017): 436–50. http://dx.doi.org/10.1108/ijcst-06-2016-0068.

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Purpose Women in Western Europe wore empire style robes which were made with a light and thin fabric revealing their body. To stress the silhouette of their body, they applied oil to it or sprayed water on the robe so that it would cling to the body, and most women suffered from muslin disease, meaning flu and tuberculosis of the lungs in winter season. The purpose of this paper is to examine the thermal insulation of the robe with spencer jacket in dry and wet environment through thermal manikin experiments. Design/methodology/approach Three kinds of spencer jacket were made based on historical evidence and data, and experimental work for thermal insulation was conducted using a thermal manikin. The study measured the total thermal resistance of dress-jacket set: weight of the clothing before and after wetting, thermal insulation of the spencer jackets and set of clothing in dry and wet conditions, electric power consumption of the set of clothing in the wet condition and temperature inside the clothing and surface temperature of the wet set of clothing. Findings The thermal insulation of the robe with spencer jacket in the wet condition was in the range of 0.135-0.144 clo, which was about 80 percent lower than the range of values of 0.73-0.79 clo measured in the dry condition. This means that women felt uncomfortable in wetting condition or raining environment even when wearing the robe with a spencer jacket. Thermal insulation of clothing was dependent to the air gap under garment, clothing layers, ventilation through fabric and body part. Originality/value In this study, the thermal insulation of an empire style robe with spencer jacket in wet condition was measured using a dry thermal manikin, not with the sweating manikin. The authors measure the electric power consumption according to drying time of the clothing set at the body parts. In order to study the effect of different materials and clothing wetting, comparison experiments were conducted in dry and wet conditions using the rinse cycle of washing machine.

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Lullo, Sheri A. "Trailing Locks and Flowing Robes: Dimensions of Beauty during China's Han dynasty (206 bc–ad 220)." Costume 53, no. 2 (September 2019): 231–55. http://dx.doi.org/10.3366/cost.2019.0122.

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This inquiry explores images of women from mortuary contexts of China's Han dynasty (206 BC–AD 220). These early images are generally regarded as static illustrations that served to frame deceased individuals and define their social position and moral values. Recent research, however, has suggested that artisans were also interested in conveying images for visual pleasure, and were thus attentive to details, particularly of hairstyle and dress, that expressed ideals of female beauty. Close study of a hairstyle common to images of Han women, which comprised a bun with a single lock of hair trailing out, alongside changes in clothing styles across the period's historical divisions indicate a growing preference for volume and fluidity in presentations of the adorned body. It is demonstrated that the trailing lock is visually and figuratively aligned with clothing styles to enhance silhouette. Moreover, the stylistic dialogue between hairstyle and clothing served as a significant indicator of a woman's grace and comportment, facets of beauty that are often overlooked for early China. Finally, such changes are understood against an historical atmosphere where a more fluid and dynamic aesthetic was increasingly favoured.

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Journal articles on the topic 'Clothing and dress Women'

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