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Journal articles on the topic 'Costume and clothing'
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1
Georgieva, Desislava. "DESIGN AND MODELING OF LADIES' CLOTHING WITH A STUDY OF THE DECORATIVE FEATURES OF THE BULGARIAN FOLK COSTUME FROM THE RHODOPEAN REGION." International Conference on Technics, Technologies and Education, no. 1 (2018): 83–91. http://dx.doi.org/10.15547/10.15547/ictte.2018.02.004.
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The study of popular clothing, its classification, characterization and exploration gives us valuable information about our ancestors, the traditions, the life and the culture of our ancestors. Part of this cultural heritage is the Bulgarian traditional costume. Trained and analyzed, traditional clothing is a good basis for transforming ideas into the design of contemporary fashion collections - a practice that is enjoyed by all current designers. In this report the characteristic of a Bulgarian traditional costume is made. The purpose of the present work is to trace and explore the historical development of the traditional folk costume in the Rhodopean region and to design modern women's clothing using the decorative elements of the authentic costumes.
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Imparato, Joana. "Relations between body and clothing in performance: Costume as an activator of bodily actions." Studies in Costume & Performance 6, no. 2 (2021): 171–84. http://dx.doi.org/10.1386/scp_00045_1.
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This article reflects upon the relationship between body and costume in the character ‘Woman from the Past’ in the production Life and Times of Carlos & Carlos directed by Emílio Di Biasi in 1987 in São Paulo, Brazil. Drawing on the account of the performer Gaby Imparato about her scenic dress, I investigate the dynamics of body‐costume relationship based on Bodymedia Theory, which reassesses the concept of body concerning design processes and practices in the production of scenic costumes and in the costume design research literature. The theory provides tools to discuss costumes and bodies intertwined in a co-defined relationship while onstage, inviting us to rethink predetermined resources in costume production. The performer’s account helps to verify how the costume designer’s intentions and stimuli offered to the body onstage, predefined in the costume design, find other paths to developing scenic actions. This proposition allows me to discuss the relationship between body and costume onstage when understood as an articulator of perception and action. Thus, I can enunciate costume as an activator of bodily actions in rehearsals and on the scene.
3
Zhang, Jiwen. "An Exploration of the Differences between Chinese and Western Costumes in the Archaeological Archaeology of Clothing Culture in Different Periods of Agriculture." Journal of Environmental and Public Health 2022 (June 15, 2022): 1–12. http://dx.doi.org/10.1155/2022/2491990.
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Countries around the world have different historical development processes in different periods of agricultural economic environment, and have formed different costume culture characteristics. This study analyzes the differences in aesthetic standards in Chinese and Western clothing cultures, as well as the differences between Chinese and Western costumes in color design, structural design, and dress methods, and elaborates the main reasons for the differences between Chinese and Western clothing cultures. The study focuses on the characteristics and differences of traditional clothing art culture in various places, but because of the differences in historical conditions, lifestyles, psychological qualities, and traditional ideas and cultural concepts, there are great differences between the traditional costume art culture concepts in China and the West. Based on this, the study specifically explains the difference between the two through the comparison of the aesthetic characteristics of the traditional costume art culture concepts in the Middle East and the West, and the difference in the expression of the Middle East and Western clothing art.
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Usmanova, S. M. "Problems Associated with Reconstruction of the Bashkir Folk Costume Based on Ethnographic Photographs of the Mid-19th–Early 20th Centuries." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 164, no. 6 (2022): 180–90. http://dx.doi.org/10.26907/2541-7738.2022.6.180-190.
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This article discusses how ethnographic photographs are used for reconstructing the Bashkir national costume and its details. The results obtained show that the historical reconstruction of the Bashkir national costume has developed and advanced through various competitions between folk clothing artists in the Republic of Bashkortostan. The photographs, published both in various print sources and online, of the collections from the museums of St. Petersburg, Moscow, and Ufa, have inspired their reconstructions. Many costume pieces have been reconstructed based on the photographs taken during the 19th–20th centuries by travelers, scholars, and individual persons. Interestingly, the engravings of the 18th century and the written sources have not been used. Some ethnoterritorial variants of the Bashkir costume (southern, northeastern, Demsky, and northwestern) and those of certain age groups (clothes typically worn by girls and boys) have been restored. So far, there have been no reconstructions of the costumes of elderly men and women, city nobility, as well as the clothing traditions of the Bashkir groups in Samara, Sverdlovsk, and Orenburg. It was concluded that historical reconstruction of the folk costume contributes significantly to a better understanding of the ethnic features of the clothing culture.
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Lu, Xueqing, Jing Wen, and Xiaohua Shao. "Pattern Design of Ethnic Clothing Based on Stretchable Nanofiber Fabrics." Advances in Materials Science and Engineering 2022 (August 17, 2022): 1–10. http://dx.doi.org/10.1155/2022/7370958.
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With the rapid development of social economy, people’s material and spiritual living standards have been greatly improved, and the demand for clothing has also increased. Chinese clothing has distinct national characteristics, and it contains rich national culture. Through a lot of research, it will be found that most of the national costume patterns represent some symbols with specific meanings. From the symbols, we can see the status, hobbies, and beliefs of the costume owners. At present, the popularity of traditional ethnic clothing is low, for which stretchable nanofiber fabrics are introduced in this paper. Through the influence of image rotation, scale change, noise interference, and other factors, a method for extracting features of ethnic clothing patterns based on image rotation, scale change, and noise interference is proposed. It uses digital inkjet printing to design patterns on nanofiber fabrics, compares the satisfaction degree of the nanofiber fabric national costumes designed in this paper and traditional national costumes, and divides the satisfaction into four levels: satisfied, relatively satisfied, general, and dissatisfied. The experimental results showed that the satisfaction rate of the ethnic costumes designed in this paper has reached 79.12%, which has been greatly improved compared with the traditional ethnic costumes.
6
GERASYMENKO, O. D., T. V. REMENIEVA, I. V. FROLOV, and T. K. TRUSHYNA T. K. "ARTISTIC AND COMPOSITIONAL FEATURES OF CHILDREN'S COSTUME IN UKRAINE OF THE 20th – EARLY 21st CENTURIES." Art and Design, no. 1 (October 6, 2022): 9–19. http://dx.doi.org/10.30857/2617-0272.2022.1.1.
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Purpose. The study of artistic imagery of children's costume by Ukrainian fashion designers of the 20th – early 21st centuries, establishment of features and patterns in the repetition of artistic and compositional solutions of children's costume, identification of established trends and innovations in the decoration of children's clothing.
 Methodology. Visual-analytical method, morphological, artistic-compositional and retrospective analysis were applied.
 Results. As a result of the analysis of children's clothing models of Ukrainian designers and brands, the artistic and compositional features of children's costumes and current trends in the decoration of children's clothing of the 20th – early 21st centuries are identified. It is determined that during this period, possibilities for the implementation of artistic imagery of clothing for children have expanded due to innovative materials and decoration technologies, but even in our time, traditional types of decoration that have been characteristic of children's costumes for centuries do not lose their relevance.
 The scientific novelty of the research consists in identifying features of artistic and figurative solutions of children's clothing by designers of Ukrainian fashion houses and leading trends in the decoration of children's costumes in Ukraine of the 20th – early 21st centuries.
 Practical significance. The collected materials and their analysis allowed to summarize information about artistic solutions and children's costumes by designers of Ukrainian fashion houses, which can serve as a basis for further research on the history of fashion and children's clothing design, information base for creating new collections of children's clothing.
7
Zhu, Chun, Kaixuan Liu, Xiaoning Li, et al. "Research on Archaeology and Digital Restoration of Costumes in DaoLian Painting." Sustainability 14, no. 21 (2022): 14054. http://dx.doi.org/10.3390/su142114054.
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Costume restoration is one of the important ways to study costume history and culture. The purpose of this paper is to show the characteristics of Chinese costumes more than 1000 years ago, through the research on the costume in the famous ancient Chinese painting DaoLian painting, and provide strong technical support for the research of Chinese ancient costume culture. DaoLian painting is the work of Xuan Zhang, a famous painter in Tang dynasty (618–907), China. From the perspective of clothing engineering, we analyzed the characteristics of costume style, color, and pattern and used the virtual fitting technology to realize digital restoration of the costume of 12 characters in the painting. The results show that it is a practical method to study costume from paintings. The colors, patterns, and character gestures in the paintings provide sufficient information for the archaeology and restoration of ancient costumes. The research results of this paper can provide a new idea for costume archaeology and a reference for modern fashion design and materials for the VR Museum of Ancient Costumes.
8
Belko, Tatyana V., Tatyana V. Kozlova, and Svetlana Yu Osipova. "Role of jewelry and accessories in traditional women`s Russian costume of the 16th–17th centuries." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 294–306. http://dx.doi.org/10.37816/2073-9567-2021-59-294-306.
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The paper conducts analysis of decor, accessories and jewelry in the context of traditional Russian costume of the 16th–17th centuries; it consists of an introduction and two parts. In the introduction, the authors note the importance of preserving and structuring information about ancient Russian accessories and costume jewelry for modern creative activity. The paper identifies socio-cultural significance of the ensemble of jewelry and costume in traditional Russian society. It examines the clothing of the South Russian and North Russian women's clothing complex, reflecting the specifics of the regions of Russia-from the Volga region to Siberia. The second part addresses the examples of the use of accessories and jewelry in the structure of traditional folk women's costume, depending on the regions of Russia including the clothes of the Orel, Kursk, Voronezh, Ryazan, Tambov, Tula, and Kaluga provinces belonging to the South Russian complex. The North Russian complexes of women's Russian clothing reflect the specifics of the regions. Headdresses, which are traditionally an integral part of women's folk costume, are represented by kokoshniks, kichki, and crowns. Earrings, rings, and chains are introduced by various schools of master jewelers. The characterization of signs by purpose, materials and method of making jewelry, allowed to clarify the order of classification construction of the scheme of using jewelry in the costume system. The main sections of the paper are illustrated with photos depicting costumes and complementary accessories from various regions of Russia. The authors also display costume ornaments that have long been out of use, but are valuable for research. The paper is of interest to ones studying costume design, accessories, and jewelry. It allowed for concluding about the importance of studying the elements of the costume as artifacts made of natural materials that serve as a precious source of information about the unique Russian decorative and applied art and costume.
9
Xie, Yuting. "New Chinese Costume." World Journal of Social Science Research 4, no. 4 (2017): 381. http://dx.doi.org/10.22158/wjssr.v4n4p381.
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<em>At the 2014 APEC meeting, new Chinese costumes became a hot topic, and traditional Chinese elements were favored by insiders at home and abroad. Based on the development of new Chinese costume in recent years and the characteristics of the research, to grasp the contemporary people’s demand for traditional clothing, combined with the fashion trend in inheriting traditional national culture, popular new innovation in new period of contracted type traditional clothing, meet the demand of different levels of people’s wear, which not only promote the development of the apparel industry, have contributed to the prosperity of the cultural industry.</em>
10
Orifjonova, Gulrano R. "PECULIARITIES OF SURKHANDARYA ETHNOCULTURAL CLOTHING." CURRENT RESEARCH JOURNAL OF HISTORY 03, no. 01 (2022): 21–25. http://dx.doi.org/10.37547/history-crjh-03-01-05.
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This article analyzes the peculiarities of ethnocultural costumes of Surkhandarya oasis. National dress is a manifestation of material culture. The bright colors of the nation, the beautiful art of local weavers developed under the influence of national traditions, the artistic ornaments on the fabrics are reflected in the dress, which is based on the unique centuries-old traditions of each region. Like other regions of Uzbekistan, in the late XIX and early XX centuries, the Uzbek national costume was almost formed in the Southern Surkhandarya oasis. It was revealed that women’s clothes are sewn according to their age, differ in color and type of fabric. Each nation has its own national dress, the formation of which depends on the lifestyle of the peoples and the geographical environment is based on scientific analysis.
11
Zhao, Jane. "Analysis on Green Initiative Costume Design Concept." Advanced Materials Research 331 (September 2011): 97–100. http://dx.doi.org/10.4028/www.scientific.net/amr.331.97.
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Through the analysis of the three design performance of green Initiative costume design concept, the thesis interpreted the environmental protection theme, costume’s "ecological cycle" as well as the green Initiative costume show respectively, and accordingly proceeded the future prospect, believing that the new design approach, new material selection and the new aesthetic concept of green clothing will have a significant impact on the green costume design concept which will then generally influence the consumers and provide some reference and guidance to the development of future design of green costume in the meanwhile.
12
Герасименко, О. Д., К. Л. Пашкевич, Г. В. Омельченко, Б. П. Загрійчук та О. М. Колосниченко. "ХУДОЖНЬО-КОМПОЗИЦІЙНІ ОСОБЛИВОСТІ ДИТЯЧОГО КОСТЮМУ У КОЛЕКЦІЯХ ВИСОКОЇ МОДИ ХХ – ПОЧАТКУ ХХІ СТ." Art and Design, № 4 (3 лютого 2020): 21–33. http://dx.doi.org/10.30857/2617-0272.2019.4.2.
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The purpose of the work is to study the artistic and compositional features in children's collections of haute couture houses and determine the patterns of their repetition in the design of children's costumes in the 20th and early 21st century. To achieve this goal, a historical study of materials, a visual-analytical method, morphological and compositional-structural analysis were applied. The evolution of children's costume in the high fashion collections in the and early 21st century is investigated and the main trends in children's fashion for a given period of time are analyzed. The artistic and compositional features of the children's costume are identified, the most characteristic artistic and structural elements of children's clothing are identified: three-dimensional shape, color scheme and fabric pattern, structural and decorative elements and decoration. The regularity of repeating the pattern of fabric in the collections of children's clothing of the Fashion houses in the 20th and early 21st century is established. The collected materials and their analysis made it possible to establish regularity of repeating of artistic and compositional features in a children's costume, such as a fabric pattern and decoration in different years in models of children's clothing of High Fashion Houses. Practical significance lies in the generalization of artistic compositional features and the identification of leading trends in the artistic compositional solution of children's costumes in the high fashion collections in the 20th and early 21st century. The results will make it possible to predict trends in children's fashion, design actual models of clothing for children and can be used in further research on the design of children's clothing.
13
Hai, Ri. "Application of Spatial Neighborhood Fuzzy c-Means Algorithm in 3D Image Segmentation of National Clothing." Wireless Communications and Mobile Computing 2022 (July 19, 2022): 1–10. http://dx.doi.org/10.1155/2022/2786826.
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National costume contains rich patterns and patterns with national characteristics, which is an important part of the study of national costume culture. Neither the traditional protection of national costumes nor the early digital protection can clearly and effectively preserve the details of national costumes, which is not conducive to the development and research of national costume culture. The development of image processing technology provides new technical support for the protection and inheritance of national costumes. This paper proposes the application of spatial neighborhood fuzzy c-means algorithm in 3D image segmentation of national clothing. Based on the traditional fuzzy c-means algorithm, combined with spatial information and gray information, a 3D image segmentation model based on spatial neighborhood fuzzy c-means is constructed. The experimental results show that the 3D image segmentation model based on spatial neighborhood fuzzy c-means has faster convergence speed and better algorithm performance than the improved fuzzy c-means algorithm and has better image segmentation effect in different noise levels. In the 3D image segmentation of national costumes, more detailed information can be retained on the basis of maintaining high accuracy and effect.
14
Raud, Inna. "Vändra kihelkonna naiste traditsioonilised rahvarõivad: komplektide koostamine ja valmistamine tänapäeval. TÜ Viljandi Kultuuriakadeemia pärandtehnoloogia magistritöö 2014 / The traditional folk costumes of the women of Vändra parish." Studia Vernacula 5 (November 5, 2014): 169–71. http://dx.doi.org/10.12697/sv.2014.5.169-171.
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The Master’s thesis entitled “Traditional folk costumes of the women of Vändra parish: assembling and preparing ensembles in the present day" aimed to introduce the variational nature of folk costumes in one region to rid ourselves of a rigid pattern of treatment of folk costume.
 As part of the research, the individual components of women’s folk costumes in Vändra parish were described, technological and pattern-related developments were pinpointed in time and material and colour use and changes in ways in which the costume was worn were observed. In addition to the description, the author put together folk costume ensembles of her own, based on the status of the wearer and the situation in which the clothing was to be worn (everyday, festive, summer and winter) as well as possibilities for putting together folk costume ensemble variants at the municipal level today.
 The drawings made in the course of the description form part of the practical part of the thesis and a precondition for making the components part of the Vändra woman’s folk costume ensemble. The making of folk costumes as a whole is a broad field, encompassing familiarity with the materials and ten different techniques. As part of the thesis, the author produced 59 items belonging to a folk costume ensemble, which are combined in period-appropriate fashion in nine different Vändra female folk costume ensembles.
 The author hopes that the work will help readers understand the changes that have taken place over time in folk costumes and the importance of the integrity of the entire costume, and to avoid conflicts in future selections. The experience in putting these costumes together can serve all Estonian rural areas both in choosing between the many available items and in seeking solutions in the absence of items.
 Keywords: folk costumes, regional variations
15
Raud, Inna. "Vändra kihelkonna naiste traditsioonilised rahvarõivad: komplektide koostamine ja valmistamine tänapäeval. TÜ Viljandi Kultuuriakadeemia pärandtehnoloogia magistritöö 2014 / The traditional folk costumes of the women of Vändra parish." Studia Vernacula 5 (November 5, 2014): 169–71. http://dx.doi.org/10.12697/sv.2014.5.169-171.
Full textAbstract:
The Master’s thesis entitled “Traditional folk costumes of the women of Vändra parish: assembling and preparing ensembles in the present day" aimed to introduce the variational nature of folk costumes in one region to rid ourselves of a rigid pattern of treatment of folk costume.
 As part of the research, the individual components of women’s folk costumes in Vändra parish were described, technological and pattern-related developments were pinpointed in time and material and colour use and changes in ways in which the costume was worn were observed. In addition to the description, the author put together folk costume ensembles of her own, based on the status of the wearer and the situation in which the clothing was to be worn (everyday, festive, summer and winter) as well as possibilities for putting together folk costume ensemble variants at the municipal level today.
 The drawings made in the course of the description form part of the practical part of the thesis and a precondition for making the components part of the Vändra woman’s folk costume ensemble. The making of folk costumes as a whole is a broad field, encompassing familiarity with the materials and ten different techniques. As part of the thesis, the author produced 59 items belonging to a folk costume ensemble, which are combined in period-appropriate fashion in nine different Vändra female folk costume ensembles.
 The author hopes that the work will help readers understand the changes that have taken place over time in folk costumes and the importance of the integrity of the entire costume, and to avoid conflicts in future selections. The experience in putting these costumes together can serve all Estonian rural areas both in choosing between the many available items and in seeking solutions in the absence of items.
 Keywords: folk costumes, regional variations
16
Kosinkova-Stoeva, Angelina. "DESIGN AND MODELING OF LADIES' CLOTHING WITH A STUDY OF THE DECORATIVE FEATURES OF THE BULGARIAN FOLK COSTUME FROM THE PIRIN REGION." International Conference on Technics, Technologies and Education, no. 1 (2018): 76–82. http://dx.doi.org/10.15547/10.15547/ictte.2018.02.003.
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For many centuries the Bulgarian costumes have been one of the main objects of Bulgarian artistic creativity. High artistic embroidery, types of fabrics, patterns, shapes are a source for revealing the ethnic unity and diversity of traditional Bulgarian culture. The great wealth of decorative elements of the folk costume in the Pirin region, distinguished by its inimitable variety and color, are the basis for the creation of designs and designs for modern ladies' garments. The aim of the present work is to trace and explore the historical development of the traditional folk costume in the Pirinan region and to design modern women's clothing using the decorative elements of the authentic costumes.
17
Hariana, Hariana, G. R. Lono Lastoro Simatupang, Timbul Haryono, and SP Gustami. "ASPECTS UNDERLYING THE MODIFICATION OF BRIDAL COSTUME IN GORONTALO AT THE WEDDING RECEPTION." Jurnal Kawistara 7, no. 3 (2018): 297. http://dx.doi.org/10.22146/kawistara.33951.
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The visualization of the Gorontalonese bridal costume worn at the wedding reception is increasingly diverse in terms of the modification forms. The modification can be seen in the design elements including shape, texture, color, material, and accessory. Furthermore, the modification of the current costume makes the functional value of the bridal costume different from the already patterned one, which can be seen from its social, symbolic, and economic values of the Gorontalo community. The data in this study was collected through the review of books and previous studies related to the wedding clothing, the interviews, and the observation of bridal costumes and analyzed using the qualitative data analysis approach. The observation of unmodified bridal costume objects was done at the Dulahopa Traditional House in Gorontalo, while that of modified bridal costume objects was conducted on the widely used bridal costumes within the last two years in Gorontalo. The purpose of this study was to find out the aspects underlying the modification of bridal costume in Gorontalo. The results show that Gorontalo people tend to choose modified wedding dresses in the wedding party. Moreover, this study suggests that the bridal costume modification is influenced by the family’s social status in Gorontalonese community, migratory Gorontalonese people (staying outside the area of origin), and technological advancement.
18
Stillman, Yedida K., and Nancy Micklewright. "Costume in the Middle East." Middle East Studies Association Bulletin 26, no. 1 (1992): 13–38. http://dx.doi.org/10.1017/s0026318400025025.
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Clothing constitutes a cultural statement. It is a manifestation of culture, no less than art, architecture, literature, and music. Like all cultural phenomena, it communicates a great deal of information both on the physical and symbolic level about the society in which it is found. Fashions, or modes of dress, reflect not only the æsthetics of a particular society (what might be called the “adornment factor”), but also its social mores and values (the “modesty/immodesty factor,” or “reveal/conceal factor”). Furthermore, dress is often a clear economic indicator. The fabric, quality of cut, and ornamentation of a garment are commonly badges of socioeconomic status. More subtly and often symbolically, clothing reflects religious and political norms. In Islamic society, clothing has historically been intimately connected with notions of purity and impurity (tahāra and najas), ritual behavior (sunna), and the differentiation of the believer from the unbeliever (ghiyār), as well as the separation of the genders (hijāb). Thus, within Islamic society clothing constitutes a cultural complex, or what Roland Barthes has dubbed a “vestimentary system.” (Barthes 1957).
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Juan, Hu. "Research on Embroidery Feature Recognition Algorithm of Traditional National Costumes Based on Double-Layer Model." Security and Communication Networks 2021 (November 12, 2021): 1–10. http://dx.doi.org/10.1155/2021/4620814.
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In order to improve the visual communication ability of traditional national costume patterns, it is necessary to carry out image texture intelligent matching processing. A traditional national costume embroidery feature recognition algorithm based on a double-layer model is proposed. The traditional national costume pattern texture intelligent information acquisition model under the double-layer model is constructed to carry out texture imaging and feature segmentation of traditional national costume patterns, extract the texture histogram of traditional national clothing pattern and national design language, carry out texture segmentation and automatic matching under the two-layer model according to the histogram distribution, enhance and optimize the texture information of traditional national clothing pattern, extract the edge contour feature points of traditional national clothing pattern, and complete the embroidery feature recognition of traditional national clothing. The experimental results show that the designed recognition algorithm has high integrity and accuracy.
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Liu, Kaixuan, Hanhan Wu, Yanbo Ji, and Chun Zhu. "Archaeology and Restoration of Costumes in Tang Tomb Murals Based on Reverse Engineering and Human-Computer Interaction Technology." Sustainability 14, no. 10 (2022): 6232. http://dx.doi.org/10.3390/su14106232.
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This paper takes the tomb murals as the research object, and realizes the development of the costume patterns of the Tang tomb murals and the 3D simulation restoration of the costumes through 3D interactive clothing pattern-making technology and virtual simulation technology. Firstly, the 3D garment model is constructed in the virtual environment according to the costume outline of the Tang Dynasty tomb mural costume. Then, the structural curves of the garment are drawn on the 3D garment according to the characteristics of the Tang Dynasty tomb mural garment style, the 3D surface is expanded and surrounded by these curves into the 2D garment plane, and the expanded surface is adjusted to obtain the 2D garment plane pattern. We use 3D virtual simulation technology to sew the patterns of Tang Dynasty tomb mural costumes and realize the virtual simulation restoration of Tang Dynasty tomb mural costumes. Finally, we create a fuzzy comprehensive evaluation of the restoration effect of the restored costumes. Compared with the traditional costume restoration methods, the method proposed in this paper reduces the technical requirements for operators in the restoration process without destroying cultural relics, and provides a new method for the rapid simulation and restoration of ancient Chinese costumes.
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Molchanova, Lyudmila Anatolyevna. "UDMURT CLOTHES IN TRADITIONAL CEREMONIES." Yearbook of Finno-Ugric Studies 14, no. 1 (2020): 131–37. http://dx.doi.org/10.35634/2224-9443-2020-14-1-131-137.
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This article discusses the role of traditional clothing in Udmurt ritual practices. The way garments are worn, the use of items and rites and, most of all, the semantics of costume patterns tell us about the inseparable connection between costumes and ritual ceremonies, and about the deep symbolic significance attributed to the costumes by the participants of the ritual. The main familial cult of the Udmurts is vorshood. The vorshood complex is multifaceted and polysemantic. It is embodied in the area, in poetry, in prayers, in legends and in rituals. The vorshood family tree has the highest sacral significance to Udmurts. Tree symbols prevail in items of embroidery and decorations. One can see embroidered trees on the śulyks (kerchiefs), belts, headscarves, sleeves of a shirt and on breastplates. The holistic woman figure in the costume is compared to the world tree not only in the Udmurt traditions. The costume, with its ’magic’ symbolism, in a traditional society is inseparable from ritual activities, whereas costume patterns act like ‘guides’ for human beings to the supreme powers of nature. It is vividly seen by the example of Udmurt costume ornaments.
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Сангаджиева, Д. В. "On the transformation of the Kalmyk costume in the second half of the 20th century – the beginning of the 21st century." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 10–25. http://dx.doi.org/10.46748/arteuras.2021.04.001.
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Исследование посвящено изучению специфики бытования калмыцкого костюма во второй половине ХХ века – начале XXI века в Калмыкии, сравнению элементов кроя и способов декорирования в традиционных образцах народного костюма и в сценических национальных костюмах, а также в художественной стилизации авторских моделей одежды в этническом стиле. Материалом для исследования послужили костюмы из собраний и архивов российских музеев и частных коллекций. Объектом исследования является калмыцкий костюм, его эстетическая и смысловая доминанта как маркер национальной идентичности и ретранслятор традиционных ценностей. Целью исследования является выявление трансформационных процессов в бытовании калмыцкого народного костюма во второй половине ХХ века – начале XXI века. Впервые зафиксированы изменения технологических особенностей в создании декора и примеры внедрения инокультурных элементов в структуру повседневного и сценического народного костюма, которые несут с собой видоизменение смыслов и функциональности элементов национального костюма. Статья вводит в научный оборот новые данные о народных мастерах, художниках, дизайнерах, работающих в сфере народного костюма, зафиксированы созданные ими образцы национальной одежды и ее вариации. The research is devoted to the study of the specifics of the existence of the Kalmyk costume in the second half of the 20th century – the beginning of the 21st century in Kalmykia, comparing the elements of cut and methods of decoration in traditional samples of folk costume with the design and decor in scenic national costumes and in the artistic stylization of author's clothing models in ethnic style. The material for the study was the costumes from the collections and archives of Russian museums and private collections. The object of the study is the Kalmyk costume, its aesthetic and semantic dominant, as a marker of national identity and a repeater of traditional values. The aim of the study is to identify transformational processes in the existence of the Kalmyk folk costume in the second half of the 20th century – the beginning of the 21st century, as well as for the first time recorded changes in technological features in the creation of decor and examples of the introduction of foreign cultural elements into the structure of everyday and scenic folk costume, which carry with them a modification of the meanings and functionality of elements of the national costume. The author fixes the process of substitution of traditional crafts in the manufacture of elements of folk costume, in the context of the development of scientific and technological progress, using modern technologies for creating clothing decor, in the author's collections of ethnic fashion in Kalmykia. The article introduces into scientific circulation data on folk masters, artists, designers working in the field of folk costume, recorded samples of national clothing created by them and its variations.
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Teng, Zhang Zhi. "Transformation And Reactivation: The Research Of YuGur Women’s Clothing Under The Digital Media Ecology." E3S Web of Conferences 189 (2020): 03012. http://dx.doi.org/10.1051/e3sconf/202018903012.
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National Culture is always embedded with specific space, which supports the field value of cultural. The evolution of minority culture has always been tightly around the specific regional space. The costumes of southern Yugur nationality in GanSu province have always been the most obvious symbol of their culture in the history of their development. In recent years, with the continuous evolution of the mode of spread, especially the digital media-based media ecological intervention in daily life, so that our traditional perception of the habit has quietly shifted. It is urgent to find a new way for the dissemination and re-activation of Yugur people costume culture in southern Yugur nationality in GanSu province under the digital media ecology. Focusing on the dilemma, transformation of Yugur people costume culture with VR take it re-activation, trying to find a new way to the costume culture of Sunan Yugur People in Gansu Province under the digital media ecology, making theoretical expiorations.
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Kjellmer, Viveka. "Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915‐18)." Studies in Costume & Performance 4, no. 2 (2019): 179–91. http://dx.doi.org/10.1386/scp_00003_1.
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In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915‐18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.
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Setiawan, Deni. "MAKNA DAN STRUKTUR PAKAIAN KARNAVAL JOGJA FASHION WEEK DI YOGYAKARTA 2007-2014." Paramita: Historical Studies Journal 25, no. 2 (2016): 196. http://dx.doi.org/10.15294/paramita.v25i2.5139.
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<p>Costume exhibition show, Jogja Fashion Week Carnival, was intended to progress clothing industry, to lessen the imported clothes, and to raise the selling value of the traditional clothes in Indonesia. Throughout 2007-2014, the costume exhibition show was adequately effective to introduce the products of traditional culture becoming local characteristics to public. The research on carnival costume was made to find out the periods of the clothing style by applying art historic approach, to explain the issue of interpretation and social interaction, I used art sociological approach. The resulted conclusion was that every style of carnival costumes reflected several meanings, such as: clothing imagery, designer, and trademark. The costume structure consists of physical and non-physical ones. The physical structure was related to the issues of style, shape, and visual appearance; while the non-physical one comprised interpretation regarding the concepts of creation, social conditions, and history. The creation of carnival costumes was influenced by social condition referring to legends, fairy tales, and the myths. In addition, the designer played essential parts, i.e. creating and constructing new fashion of carnival costume in Yogyakarta.</p><p> </p><p>Acara pameran pakaian Karnaval Jogja Fashion Week, dimaksudkan untuk memajukan industri pakaian menekan jumlah impor pakaian asing, dan meningkatkan nilai jual kain-kain tradisi-onal di Indonesia. Sepanjang tahun 2007-2014, acara pameran pakaian cukup efektif memperkenalkan produk budaya tradisional yang menjadi ciri khas daerah kepada masyarakat. Penelitian pakaian karnaval dilakukan untuk mengetahui periodisasi gaya pakaian dengan menggunakan pendekatan sejarah seni; untuk menguraikan persoalan pemaknaan dan interaksi sosial masyarakat, digunakan pendekatan sosiologi seni. Kesimpulan yang dihasilkan adalah setiap gaya pakaian karnaval mencerminkan beberapa makna, seperti: pencitraan kain, perancang, dan merk dagang. Struktur pakaian terdiri atas fisik dan nonfisik, struktur fisik menyangkut persoalan gaya, bentuk, dan tampilan visual, sedangkan nonfisik meliputi pemaknaan yang terkait dengan konsep penciptaan, kondisi sosial, dan sejarah. Penciptaan pakaian karnaval dipengaruhi oleh kondisi sosial yang mengacu pada legenda, dongeng, dan mitos-mitos. Selain itu terdapat peran perancang yang menciptakan dan mengkreasikan bentuk baru pakaian karnaval di Yogyakarta.</p><p> </p>
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Qi, Jingran. "The Importance of Body Language in Costume Shows." Advances in Higher Education 3, no. 3 (2019): 220. http://dx.doi.org/10.18686/ahe.v3i3.1507.
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<p align="justify">With the development of the times, costume show has become a common art form. As the core of the fashion show, the fashion model not only shows the characteristics of the clothing itself, but also represents the fashion trend. There are also many categories of clothing models, depending on the style of clothing. As an art show, clothing models need to present the intrinsic qualities and perfect external image. Beautiful appearance is not enough just for models. If models don't have the right body language to show the unique temperament vividly, the clothing models will not have new attainments in clothing for the performing arts. In view of this situation, this paper fully discusses the necessity of the body language of the fashion model in the fashion show and the way of personalized emotion expression.</p>
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Luo, Qiong, Xubing Xu, and Han Gao. "Research on the Inheritance of Miao Costume Culture Based on Digital Wireless Communication Technology." Mobile Information Systems 2022 (April 26, 2022): 1–7. http://dx.doi.org/10.1155/2022/4052341.
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The protection of the popular culture of local ethnic minorities is an inevitable requirement for building a multicultural system. Through the latest digital technology, through the Internet, digital images, and other technologies, traditional cultural resources are classified and integrated, so that they can be inherited. The purpose of this study is to study the cultural heritage of digitized Miao costumes. This paper introduces the background and importance of the digital protection of Miao costume culture, analyzes in detail the current situation of Miao costume culture, the application of digital protection technology at home and abroad, and analyzes and organizes the research content that introduces the importance of digital protection of Miao costumes. Provide real data support for clothing culture protection. Collect relevant data through questionnaire survey, conduct quantitative statistical analysis, and study the impact of modern cultural communication tools such as television, mobile phones, and the Internet on the inheritance of Miao costume culture under the digital background. The results showed that only 5 of the 216 people were reluctant to use digital dissemination of Miao costumes.
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Luo, Qiong, Xubing Xu, and Han Gao. "Research on the Inheritance of Miao Costume Culture Based on Digital Wireless Communication Technology." Mobile Information Systems 2022 (April 26, 2022): 1–7. http://dx.doi.org/10.1155/2022/4052341.
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The protection of the popular culture of local ethnic minorities is an inevitable requirement for building a multicultural system. Through the latest digital technology, through the Internet, digital images, and other technologies, traditional cultural resources are classified and integrated, so that they can be inherited. The purpose of this study is to study the cultural heritage of digitized Miao costumes. This paper introduces the background and importance of the digital protection of Miao costume culture, analyzes in detail the current situation of Miao costume culture, the application of digital protection technology at home and abroad, and analyzes and organizes the research content that introduces the importance of digital protection of Miao costumes. Provide real data support for clothing culture protection. Collect relevant data through questionnaire survey, conduct quantitative statistical analysis, and study the impact of modern cultural communication tools such as television, mobile phones, and the Internet on the inheritance of Miao costume culture under the digital background. The results showed that only 5 of the 216 people were reluctant to use digital dissemination of Miao costumes.
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Cherciu, Ion. "Fondul iconografic al Atlasului Etnografic Român." Anuarul Muzeului Etnograif al Transilvaniei 33 (December 20, 2019): 149–55. http://dx.doi.org/10.47802/amet.2019.33.10.
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In this work, the author analyses, from the perspective of the history of the Romanian folk costume and of the Court costume, a photograph from the Collection of the anthropologist Francisc Rainer, entered in the Iconographic Collection of the Romanian Ethnographic Atlas. The clothing of the group of peasants from Câmpulung Muscel ethnographic area reveals an archaic phase of the folk costume in this part of Țara Românească province and the influence of the costume worn at the princely courts from the 15th-17th centuries on peasant clothing; we can notice the simplicity of the skirts decoration, the cut of the traditional blouse of Carpathian type with a wide embroidery on the top of the sleeves; and, related to head covering, the adoption of the hat specific to the ruling classes clothing. It is worth mentioning that, in the folk costume outside the Carpathian Arch, Muscel area was the only one that kept, until the beginning of the 20th century, the hat as an accessory in women's celebration outfit.
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Lahoda, Oksana, Zoya Alferova, and Vladyslava Hurdina. "Clothing displayed in museums: from conservation to innovative design representations." Muzeológia a kultúrne dedičstvo 10, no. 4 (2022): 47–62. http://dx.doi.org/10.46284/mkd.2022.10.4.3.
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The presentation in museum exhibitions of samples of historical clothing, fashionable costumes from different periods and conceptual costumes of our time has acquired particular relevance. The development of exhibition design has attracted the attention of gallery owners, curators and representatives of the scientific community. The general cultural significance of the practices of preserving the heritage of material and artistic cultures and their representations synthesises traditional and innovative approaches to reconstruction, conservation and perception of costume, while remaining poorly studied. The strategies of contemporary curatorial practices form alternative approaches to fashion exhibitions and their organisation. In the information society, fashion exhibitions have become self-sufficient art projects that require careful scientific consideration.
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Wild, Benjamin Linley. "Critical reflections on cultural appropriation, race and the role of fancy dress costume." Critical Studies in Fashion & Beauty 11, no. 2 (2020): 153–73. http://dx.doi.org/10.1386/csfb_00014_1.
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Cultural appropriation in fashionable dress has become an increasingly urgent subject within scholarly and generalist discussions. Few weeks now pass without a news story criticizing a fashion brand for producing and promoting culturally insensitive clothing. A form of clothing most frequently and controversially associated with cultural trespass, but generally marginalized within academic enquiries, is fancy dress costume. This article seeks, first, to promote a critical and continuous academic engagement with fancy dress costume and contribute to a growing body of scholarship that recognizes its cultural and social importance. Second, I complicate discussions about the causes of cultural appropriation within fancy dress costume by reflecting on the circumstances and motives in which people perform, dressed very differently to their conventional appearance. Addressing these points, the article makes a unique contribution to clothing studies and discussions about cultural appropriation by advocating a more nuanced understanding of people’s self-awareness when they participate in fancy dress costume, and suggests how this might be achieved.
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Wu, Xue Ping, and Yue Xi Zhou. "Analyze of Traditional Clothing Manufacturing Technology and Five Traditional Colors Based on Management Principle." Advanced Materials Research 323 (August 2011): 99–102. http://dx.doi.org/10.4028/www.scientific.net/amr.323.99.
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Traditional costume color research of the new age dress creation has far-reaching influence. With the development of our national economy architects reinforced, about clothing on a traditional symbol of topic more and more attention by people, compatriots on traditional costume culture scan again and thinking. This paper attempts using the principles of management analyze the Chinese traditional clothing manufacturing technology and five traditional colors.
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Струмінська, Т. В., С. І. Прасол, О. С. Гальчинська та О. І. Ровенець. "ХУДОЖНЬО-КОМПОЗИЦІЙНІ ОЗНАКИ ЖІНОЧОГО КОСТЮМУ 1940-Х РР. ЯК ТВОРЧЕ ДЖЕРЕЛО РОЗРОБКИ СУЧАСНОЇ КОЛЕКЦІЇ ОДЯГУ". Art and Design, № 4 (4 березня 2019): 129–38. http://dx.doi.org/10.30857/2617-0272.2018.4.12.
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Determination of the peculiarities of the shape, structure and color of a women's costume of the 40's of the twentieth century. for designing collections of modern women's clothing. The methodological basis of the article form a comparative-historical method, which allowed to reveal the dynamics of the development of artistic and constructive solutions of silhouettes; a method of figurative and stylistic analysis in the study of artistic compositional features of women's costume; structural-functional method of analysis in determining the recommendations for designing a collection of women's clothing in costume stylistics of the 40's of the twentieth century.
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Колосніченко, М. В., Н. В. Чупріна, Т. Ф. Кротова та Т. М. Олішевська. "ПРОЕКТУВАННЯ МОДНОГО ОДЯГУ НА ОСНОВІ ПРИНЦИПІВ ПАРАМЕТРИЧНОГО ДИЗАЙНУ". Art and Design, № 1 (3 червня 2020): 129–41. http://dx.doi.org/10.30857/2617-0272.2020.1.10.
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The purpose of this article is to define and characterize design and composite solutions of objects of parametric design, their adaptation to the formation of tectonic structure of clothing models and the development of a fashionable costume collection.In the study of basic concepts of parametric design, a comparative analysis was conducted, visual-graphic means of artistic and stylistic generalization and interpretation in various fields ofdesign and architecture were applied.The analysis of collections of designer brands' clothing was carried out by using composite analysis and method of systems design. The system-structural approach and graphical modeling of the form were applied to determine the conceptual decisions, to form the project image of the costume collection and to develop clothing models. The principles and peculiarities of shaping in parametric design, as well as the means of their implementation in the objects of architecture, sculpture, in the design of costume and accessories, are investigated. The development of parametric design in the formation of actual models of clothing, taking into account world trends in the modern market is investigated in the paper. The design and compositional means and structural elements of the parametric design in the project image creating and the development of the clothing collection are characterized. Theoretical substantiation of artistic and stylistic modifications of the project image with the use of parametric elements of forms determined the ways of their transfer and transformation in the development of fashionable clothing of mass demand. Based on the analysis of the creativity of fashion designers in this area, the relevance of the costume design on the basis of parametric characteristics of architectural objects has been revealed. It describes 3D printing tools, sophisticated articulation and repetition of form elements as the guiding principles of parametric design embodied in clothing design. The study for the first time comprehensively considered the means of adapting the features of parametric design objects in the formation of tectonic structure of actual costume models.
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Horton, Laurel, and Paul Jordan-Smith. "Deciphering Folk Costume: Dress Codes among Contra Dancers." Journal of American Folklore 117, no. 466 (2004): 415–40. http://dx.doi.org/10.2307/4137718.
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Abstract For many schorlars, "folk costume" is an outmoded term that refers to a narrow range of ethnic, sectarian, and occupational clothing traditions. At the same time, folklorists tend to overlook some kinds of clothing choices because they seem merely to reflect "everyday dress." In this article, the authors examine how and why contra dancers choose what they wear to dance events as an example of how semiotic approaches introduced by Bogatyrev and others can reveal underlying clothing traditions-dress codes-applied to a subset of so-called everyday dress. Two instances of clothing behavior in particular, namely, the use of tee-shirts by dancers of both sexes and the growing use of skirts by male dancers, serve to "unpack" the complex communicative resources available to participants and suggest that folkloric research in this relatively unexplored area may produce rich results.
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Bogordayeva, A. A. "Female festive costume of the Khanty and Mansi in the late 20th — early 21st century: dynamics and functions." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 4(55) (December 23, 2021): 162–72. http://dx.doi.org/10.20874/2071-0437-2021-55-4-13.
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In order to determine dynamics and causes of transformation of everyday dress into a festive costume, specifics and functions of the women’s costume of the Khanty and Mansi have been studied. Towards this, the comparative-typological method was employed to study the costume composition, its local features, and differences with respect to the traditional everyday dresses, and the functions of the costume were determined. The study is based upon the materials of ethnographic expeditions carried out in the 1990s–2010s in the regions occupied by the Ob Ugric population (North-West Siberia and Northern Trans-Urals). It has been ascertained that the festive costume commonly comprised a dress, a breast decoration, and a shawl, and in its local variants it was complemeted by other items. The costume was all-season and had common and local elements. The common elements include multi-completeness (it consists of several items), variability according to weather conditions, use of silk and woolen fabrics and beads. The local specifics are manifetsed in the costume composition, silhouette variability, and techniques of decoration. In the end of the 20th — beginning of the 21st century, traditional clothing of the Khanty and Mansi changed in the appearance due to the use of modern synthetic materials (it changed the colour, sillhuette, means and techniques of decoration) and became merely festive. To the large extent those changes were caused by the industrial development on the territory occupied by the Ob Ugric population in the last quarter of the 20th century, and later by the cultural, social, and economic transformations in Russia. The range of use of the traditional clothing shrank due to the spread of factory-made clothing. The growing interest to the ethnic culture stimulated demand for the national costume. It has become made from import synthetic fabrics, because the home-produced cotton fabrics disappeared from the shops. New fabrics changed the appearance of the clothing and its function, as it became merely festive.
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Geraffo, Monica. "No tights, no flights: Constructing the wardrobe of television superheroes." Film, Fashion & Consumption 10, no. 1 (2021): 233–50. http://dx.doi.org/10.1386/ffc_00022_1.
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Superheroes have always been defined by their dual lives, but analysis of the ways dress has informed characterization is often limited to just their superhero costumes, despite qualitative evidence that comic book heroes are depicted in civilian clothes at least half as often. Contemporary depictions of superheroes on television spend an even greater percentage of time dressed in civilian garments. This article combines both adaptation studies and industry studies approaches to discuss the overlooked influence of civilian clothing in conceiving the television superhero ‐ examining both comic book source materials and the process of costume design through the intrinsic constraints of industry television production. Through case studies into the DC comics Arrowverse, a series of interconnected programmes aired on the CW Network, and Marvel’s Runaways, the Hulu adaptation about teenage superheroes without costumes, as well as interviews with costume designers and actors, this article recognizes strong visual similarities across programmes between pseudo-character archetypes, and presents a de facto formula for analysing civilian superhero costume design. The resulting narrative reveals a struggle within superhero civilian costume design: finding the balance between serving semiotics or characterization, and building a sense of realism and individual choice within costuming choices from within hegemonic structures.
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Zamaziy, O. S., and V. A. Maltseva. "FORMATION OF DESIGN THINKING OF DESIGNER- STUDENTS BY THE METHOD OF COMPARATIVE ANALYSIS (ON THE MATERIAL OF THE HISTORICAL AND TRADITIONAL COSTUME OF XVII-XVIII CENTURIES RUSSIA AND GERMANY)." Educational Psychology in Polycultural Space 55, no. 3 (2021): 73–83. http://dx.doi.org/10.24888/2073-8439-2021-55-3-73-83.
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The article examines one of the aspects of the formation of design thinking in designer-students. This professionally significant personality trait is the basis for the competence model of the future costume designer. Using the method of comparative analysis in the study of basic, historical and cultural subjects, designer-students, according to the results of the study, successfully master the historical and ethnic features of cut elements, the principles of shaping and decorating a costume. The article presents the experience of conducting a comparative analysis within the study of “History of the costume” on the example of the traditional costumes of Germany and Russia of the 17th – 18th centuries. The step-by-step work, organized as a part of the laboratory workshop and course design, included the study of traditional costumes in Germany and Russia in a historical retrospective, an analysis of the characteristics of costumes and their design features, the implementation of a large-scale mock-up doll for the selected historical period and the source of creativity and development based on a comparative analysis of fore-sketches of the author's modern collection of clothing models. The main emphasis was placed on the analysis of traditional costumes of the selected historical period in order to study the main forms of the costume, we compare the design features and decorative solutions, the materials used and color combinations in the costume and the ways of wearing it. The historical diversity of the costumes of the aforementioned countries allowed students, using the method of comparative analysis, not only to identify and systematize both common features and differences in the use of structural elements, accessories, materials and colors, but also to get positive motivation to study the history and culture of the peoples of the world, to realize their creative abilities in the field of design, to develop professional skills and abilities.
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Song, Wanchen. "Structure and Patterns of Changtian-Style Costume of Miao Nationality." Journal of Contemporary Educational Research 5, no. 9 (2021): 71–74. http://dx.doi.org/10.26689/jcer.v5i9.2545.
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The emergence and development trend of the clothing worn by Miao people are closely related to their social lifestyles and folk customs. At the same time, the changes in the structures and patterns of their clothing have an indicative function to distinguish each branch, defining the range of age, marriage status, and so on. As a result, their clothing styles are diverse, and the patterns used for their clothing continuously evolve on the basis of earlier patterns.
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Ніколаєва, Т. В., І. В. Давиденко, А. І. Баранова та Т. Ф. Кротова. "ІННОВАЦІЇ ПРАКТИЧНОЇ ПІДГОТОВКИ ФАХІВЦІВ З ДИЗАЙНУ ОДЯГУ НА ОСНОВІ ДОСЛІДЖЕННЯ ФОРМОУТВОРЕННЯ ІСТОРИЧНОГО КОСТЮМА". Art and Design, № 3 (5 грудня 2019): 125–35. http://dx.doi.org/10.30857/2617-0272.2019.3.13.
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Determination of the components of practical aspect of the development of design education in order to form the professional competences in the learning process, which will contribute to the development of the creative direction in the solution of design problems, and due to an innovative approach, focused on practical skills development as one of strategic directions of development and modernization of professional creative education in the basis of historical and cultural heritage. Methodology. The literary, analytical, historiographic, analytical-associative, problem-design and system-structural analysis of the formation of the tasks of practical training for clothing designers based on the study of the shaping of historical costume of the XX century has been used; system analysis and classification of original means of constructing a form of clothing designed by famous couturiers of the 20th century; structuring of optimal design tools for the forms of a modern suit, with a view to using it in practical training of specialists. Results. The introduction of innovative means of formation of the modern costume in the practical training of clothing designers, based on the study of the principles of shaping of the historical clothing by famous couturiers of the XX century and implementation of original artistic and structural tools in the reconstruction and design of promising collections of costume, will contribute to the development of creative abilities of future specialists and a significant increase in the level of professional and creative education. Scientific novelty. The analysis of the innovative means of costume shaping based on the study of the artistic and compositional features of the design activity well-known fashion designers of the twentieth century, in order to include the tasks of reconstruction of costume forms in a program of practical training for future clothing designers. Practical significance. The results of the research are used in the development of programs for practical training of future specialists in the field of clothing design, organization and structuring of the practices task and the creation of promising collections for presentation at international and national competitions for young stylist designers.
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Mainy, Shenne B., and Maria S. Kukhta. "SACRED SEMANTICS OF TUVAN TRADITIONAL COSTUME." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 242–49. http://dx.doi.org/10.17223/22220836/40/22.
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The relevance of the work is due to the need to study the features of the cut and decoration of the Tuvan costume, which are, on the one hand, a bright unique ethnic image, and on the other hand, carry the universal laws of the Universe inherent in the cultures of all the peoples of the Earth. The traditional costume is included in the “cultural core” of the Tuvan people and contributes to the preservation of its national identity. The aim of the work is to study the sacred semantics of a traditional costume. The object of research is the Tuvan folk costume, the subject is the sign-symbolic nature of the traditional Tuvan costume. The study uses a cultural-historical analysis that reveals the specifics of the Tuvan national clothing and its types, as well as the structural-semiotic method, which allows you to explore the features of the symbolic and symbolic nature of national clothing. National clothing is a complex structure that includes numerous types of upper and lower clothes, hats, shoes, jewelry, personal items and hairstyles. Tuvan clothes are classified according to their age and sex and eight traditional types are distinguished: children’s, girls’s suits, boys’s suits, bridesmaids suits, women’s suits, men's suits, and older’s suits. The traditional costume of Tuvans is a ritual object that has rich sacred semantics. The Tuvan costume is considered not only as a thing, but also as a symbolic sacred form, a sign in the context of culture. This semantic status of folk clothes was to be read and understood both by its owner and other members of traditional cultural communities, as a “sign (symbol, code, artistic image), composed of clothing, shoes, accessories, external behaviors, characteristics of the figure and human personality. The costume language is an image of the real world, the accumulated spiritual experience of people, the practical and aesthetic values of previous generations. Each element of the traditional costume had both functional significance and sacred semantics. The forms of cut and elements of the traditional Tuvan costume acquired particular semantic significance and translated the unity of the “earthly” and “sacred” worlds of mythological consciousness. The traditional Tuvan costume as the most important element of the material culture of the Tuvan people is a “mirror of myth”, reflecting various spheres of life, both material and spiritual. The traditional costume captures the diversity of all aspects of human life, the complexity of social relations and human behavior patterns in material embodiment. The entire costume complex is an integral system of ordered and interconnected signs and symbols, through which the accumulation, organization and transfer of cultural experience is carried out. The result of the study is the systematization of the cultural types of costume and the identification of their symbolic sound in a specific material expression (form, cut, decoration elements).
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Liu, Kaixuan, Sha Lu, Jiayu Zhao, et al. "Research on Archaeology and Digital Restoration of Costumes in Spring Outing Painting of Madam Guo." Sustainability 14, no. 19 (2022): 12243. http://dx.doi.org/10.3390/su141912243.
Full textAbstract:
Spring Outing Painting of Madam Guo is one of the representative works of Zhang Xuan, a famous Chinese court painter of the Tang dynasty (618–907), who was the “leader” of the trend of figure painting in the Tang dynasty and had a great influence on later figure painting. The costumes of the characters in the paintings not only show the artistic aesthetics of the prosperous Tang dynasty, but also reflect the rich cultural connotation. At present, the research on this painting is mainly about character discrimination and painting appreciation. There are few studies involving the costumes in this painting. With the rapid development of digital clothing technology, it provides a new way and path for the restoration of ancient costumes. Based on the costume archaeology of Spring Outing Painting of Madam Guo, this paper uses 3D virtual simulation and reverse engineering technology to restore the costume style of the characters in the picture, realize the digital restoration and protection of the style drawing, paper pattern, and 3D simulation drawing of the characters’ costumes in the picture. Finally, we introduce the fuzzy analytic hierarchy process (FAHP) to comprehensively evaluate the costume restoration effect. Our proposed method solves the problem of the constraints of time and space on the presentation of ancient traditional costumes, promotes the excellent historical culture of China, and provides a certain reference for the modern redesign of ancient costumes.
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Будяк, В. В. "ОСОБЛИВОСТІ ФОРМОУТВОРЕННЯ ГЛАМУРНОГО КОСТЮМА 1930–1950-х РОКІВ". Art and Design, № 3 (11 грудня 2018): 65–74. http://dx.doi.org/10.30857/2617-0272.2018.3.6.
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To analyze the costumes of Hollywood actresses in the period 1930 – 1950's, which became the basis for the formation of typical structures of a glamor costume in the XX century; to establish the peculiarities of their formation and to determine their place in the structure of a fashionable costume of the beginning of the XXI century. The stylistic and associative methods of studying the artistic compositional features of the glamorous outfit of actresses as a creative source in contemporary design practice have been used, the comparative-historical method and the method of system-comparative analysis have been applied, which allowed to carry out the general typology of structures of a glamor suit of a certain period and to establish the peculiarities of its formation. The research shows how in 1930 – 1950's designers of American film studios developed stylistics of a glamorous suit, focusing on the individual characteristics of the body of the structure and appearance of the actresses, their role in the film industry. The results obtained concerning the structures of costumes of actresses and the peculiarities of their formation make it possible to characterize the artistic and compositional features of a glamorous costume and to show that they became the basis for the formation of typical images, and eventually – the typological structures of a glamor style suit, which before that time remain relevant and practically unchanged in the design of promising forms of clothing in stylistics of glamor. The peculiarities of the formation of a glamor suit in a certain period are established; outlined the formative searches of the designers of the cinema industry in the development of stylistics of glamor, which was reflected, first of all, in the formation of typical costume structures, its silhouette forms, constructive-compositional solution, the application of materials and their decorating; the basic means of embodiment of typical figurative-stylistic and formal-compositional signs of style of glamor in modern design practice are established. The practical significance of the work lies in the fact that the main results of the study may be useful for the development and production of clothing collections in the style of glamor; Provide capacious information on figurative-stylistic and formally-constructive characteristics of the typical glamor style of costume structures, silhouette forms and methods of shaping in general. The results can be used in the professional training of designers in order to improve the quality of design and art solutions in the development of collections of fashionable clothing that meet the aesthetic demands of contemporaries.
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Zhang, Xiao Hui, and Xu Bing Xu. "Study on the Main Factors of Marketable Costume." Advanced Materials Research 175-176 (January 2011): 987–92. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.987.
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Information technology which takes the Internet as representative swifts development, more and more people who are pursuing more interesting and better tasting lifestyle pay more attention to the personality, emotion and originality of the product. Now, consumer market enters a new period which is characterized by fast, changing and personality. Under this complex background, how Designer organize production, sale and other clothing enterprise resources well, provide very markeTable design, is very important to promise the achievement of clothing enterprise, take full advantage of all the enterprise resources and adapt market changing. All these are to promise that a costume brand can possess core competitiveness. From the Influence of product, price, environment and publicity on a good clothing market design point of departure, preparation before design, process of design, evaluation of design, result and verification of design, these elements of design activity were analyzed in this paper. The results show that it is important for designer to cultivate the sensibility to the clothing market; to master the relation among design ,market and popular ,to guarantee design promote the sell, to achieve the goal that design can meet demand that people want to look for better lifestyle.
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Fülemile, Ágnes. "Social Change, Dress and Identity." Acta Ethnographica Hungarica 65, no. 1 (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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Zhang, Heng. "The Evolution History of Han Costume and Aesthetic Value." World Journal of Social Science Research 5, no. 2 (2018): 167. http://dx.doi.org/10.22158/wjssr.v5n2p167.
Full textAbstract:
<em>Han Costume, traditional costume of Han nationality, has carried thousands years of clothing and manner system. Han Costume has been developed by every generation or ruler in ancient China. What’s more, Han Costume is a cultural system full of beauty value, practical value and research value, connected with national spirit and culture in many ways. Because of the blending of cultures of other nationalities, the style and system have been changed. In this paper, the changing history of Han costume is introduced with the line of Chinese history, and the aesthetic value of Han costume is also discussed.</em>
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Ніколаєва, Т. В., І. В. Давиденко та І. О. Ляпкало. "ДОСЛІДЖЕННЯ ФОРМИ, СТРУКТУРИ ТА КОЛОРИТУ КОСТЮМА 50-Х РОКІВ XX СТОЛІТТЯ З МЕТОЮ РОЗРОБКИ КОЛЕКЦІЇ ЖІНОЧОГО ОДЯГУ". Art and Design, № 2 (15 червня 2018): 59–65. http://dx.doi.org/10.30857/2617-0272.2018.2.7.
Full textAbstract:
Investigation of the tectonic structure and artistic-compositional features of the stylistics and forms of the costume of the 50's of XX century, to introduce the results of analysis in the design process of a modern collection of women's clothing. Modern methods of historiographic, literary-analytical, system-structural and morphological analysis were used in the work, as well as studying the opinions of consumers by means of questioning and statistical processing of research results. The relevance of the choice of the research topic and the object of research is analyzed and justified. A series of research methods has been used to solve scientific problems. Based on the research results, a draft of a collection of modern women's clothing. The methods of system-structural analysis of forms, structure and proportional-rhythmic construction of original models of the selected period were used at first for scientific analysis of the stylistic features of the construction of the costume of the 50's of XX century. The leading tectonic characteristics of the costume forms, the features of the artistic and compositional elements in the decoration of clothes, the formation of style and the image of the corresponding historical period are determined and structured. From the scientific point of view, the process of design-designing of modern costume forms has been adjusted. Because of scientific research, it is certain that the original costume forms of the 50's of XX century represent an actual creative source for constructing the process of associative design of modern costume forms, the formation of original ideas and a new aesthetics in the creation of modern women's clothing. Studies of the tectonic structure of the costume of the selected historical period made it possible to create a collection of a female costume with new original forms, types of finishes and stylistic characteristics. The collection was made in the material and was presented at the International competition "Pechersky chestnuts" (Ukraine, KNUTD).
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Chi, Rui Qin. "Research on Pattern Design of Clothing Plaits Based on Plane Cut-Out and Expansion Method." Advanced Materials Research 821-822 (September 2013): 681–84. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.681.
Full textAbstract:
Plane cut-out and expansion method is used for clothing structure, based on clothing pattern design through paralleled expansion method and revolved expansion method. Plait is an important element of clothing design with strong 3D effects which mainly includes natural plait and regular plait. Plane cut-out and expansion method should be used flexibly in order to design different styles of clothing plaits. The conclusion provides reference for costume styling designer.
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Kumpikaitė, Eglė, and Rimvydas Milašius. "Lithuanian National Costume in the 19th Century and in the 2nd Half of the 20th Century: Cultural Pollution and Remains of Authenticity." Societies 11, no. 1 (2021): 17. http://dx.doi.org/10.3390/soc11010017.
Full textAbstract:
Lithuanian authors, authors abroad, and artists have presented Lithuanian folk clothes in their works. However, the oldest examples of these representations are not very reliable, because the authors painted them according to the descriptions of other people or copied works among each other. In the 20th century, the national costume of Lithuania changed considerably. Attention was not given to ethnographic regional peculiarities; instead, similar materials were chosen without any analysis. This article performs a comparative analysis of folk (the 19th century to the first half of the 20th century) and national (the second half of the 20th century) Lithuanian costumes to establish signs of cultural pollution and remaining authenticity. Over 500 articles of clothing with different purposes are collected from Lithuanian museums. Fabric parameters, such as raw materials, weaving technique, weave, pattern, decoration elements, etc., are established. The research results show that authentic folk clothes of the 19th century differ from the national costume of the second half of the 20th century in their cut, decoration, and patterns. No differences between ethnographic regions survived in the national costumes. Thus, at present, we must preserve our tangible heritage and re-create, as authentically as possible, national costume for folk songs and dance ensembles, folk restaurants, and rural tourism homesteads.
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Ren, Chunguang, and Xiaoming Yang. "Research on Costume Ideology of the Pre-Qin Period from Perspective of Chu Ci." Asian Social Science 16, no. 4 (2020): 59. http://dx.doi.org/10.5539/ass.v16n4p59.
Full textAbstract:
Chu Ci is a collection of poems created by Qu Yuan. It combines the folk songs of the ancestors of the Yangtze river valley with ancient myths and legends, and has a strong local color and unique artistic style. Through the description of costumes in Chu Ci, we can find the formation, development and connection between costume ideology in the pre-Qin period and the ancient Chinese conception of nature, which has a significant influence on the formation of ancient Chinese philosophy and traditional clothing culture.