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Journal articles on the topic 'Dress fashion'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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1

Bullock, Katherine. "Modest Fashion." American Journal of Islam and Society 32, no. 3 (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 s

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Ivanovic-Barisic, Milina. "Dress and fashion." Glasnik Etnografskog instituta, no. 54 (2006): 245–57. http://dx.doi.org/10.2298/gei0654245i.

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Osuanyi, Quaicoo Essel Nyamawero Navei deGraft-Yankson Patrique. ""The President Has Gone Western on Us": Analysis of the 2021 Ghanaian Presidential Inaugural Ceremony Dress Fashion Choice of Nana Addo Dankwa Akufo-Addo." INTERNATIONAL JOURNAL OF INNOVATIVE RESEARCH & DEVELOPMENT 10, no. 6 (2021): 33–38. https://doi.org/10.5281/zenodo.7294331.

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<strong>Abstract: </strong> In contributing to the debate on presidential dress fashion politics and diplomacy in Ghana, the study investigated the views of Ghanaian audience (respondents) on the dress fashion choice of Nana AddoDankwaAkufo-Addo for his 2021 presidential inaugural ceremony. Adopting qualitative enquiry design, interviews and opinionnaires, the study elicited the views of seventeen (17) respondents comprising; fashion and textiles enthusiasts, Ghanaian cultural experts and the general public. The study found that Nana AddoDankwaAkufo-Addo adopted Eurocentric suit for his 2021 p

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Venohr, Dagmar. "Prospering Dress." Fashion Highlight, SI1 (July 14, 2025): 74–83. https://doi.org/10.36253/fh-3220.

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Dress cultures are more extensive than Fashion (Niessen, 2022), and their diverse dimensions are conceptualized here as situated_fashions and textile_knowledges. Drawing on Haraway’s concept of situated knowledges (Haraway, 1988), such dress enables rich belongings with more-than-human worlds, grows interdependent prosperity and sustains intra-active relationships (Barad, 2007). The paper presents and discusses the results of the seminar NatureCultureFashionStudies – Autoethnographic Field Research, which took place in spring 2024 at the Institute of Material Culture, Carl von Ossietzky Univer

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-, Fatonah, Mahdi Bahar, and Hartati M. "Jambi Malay Dance Fashion Aesthetics." Mudra Jurnal Seni Budaya 37, no. 4 (2022): 446–54. http://dx.doi.org/10.31091/mudra.v37i4.2021.

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This research aimed to know the concept of dress aesthetics and art of traditional and creative dance of Jambi Malay, and dress development of Jambi Malay dance could be seen from a dress of traditional dance, creative dance, and contemporary dance. The research result was expected to be one of Jambi Malay culture inventory in social science. The research method used is a descriptive qualitative research method with a symbolic interaction approach. The background of the people of Jambi city which is multicultural makes Jambi city rich in cultural diversity, one of which is dance. Dance dress i

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Mintson, Timothy. "Krobo Dipo Dress Fashion Trends and Culture in Contemporary Ghana from 1950 to 2019." Journal of African Art Education 3, no. 1 (2023): 81–105. http://dx.doi.org/10.59739/jaae.v3i1.062304.

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The study investigated the major fashion trends that have characterised Dipo rite from 1950 to 2019. The narrative and descriptive research designs, under the qualitative approach, were used to investigate the major Dipo dress fashion trends. The sample for the study comprised of four (4) respondents consisting of two (2) traditional rulers knowledgeable in Dipo traditions and customs and have experienced the Dipo rite for at least two decades; one (1) opinion leader, and one (1) photographer who has been a paparazzi during Dipo rites for more than a decade. Interview and non-participant obser

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Parker, Sarah. "Fashion and Dress Culture." Literature Compass 11, no. 8 (2014): 583–91. http://dx.doi.org/10.1111/lic3.12160.

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Essel, Osuanyi Quaicoo. "Dress Fashion Politics of Ghanaian Presidential Inauguration Ceremonies from 1960 to 2017." Fashion and Textiles Review 1 (September 18, 2019): 234–54. http://dx.doi.org/10.35738/ftr.v1.2019.16.

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Presidential inaugurations are statutory in Ghana, but what a president wears during his inauguration are non-statutory, yet, it is a salient visual communicative apparatus that pulls the strings of patriotism, nationalism and fosters a sense of belongingness. In an attempt to throw light on the dress fashion politics of president-elects, the study examined their chronological inaugural dress fashion choice from 1960 to 2017 in order to establish the trend of dress cultural identity they have portrayed during their respective inauguration ceremonies. Using census sampling technique, the sample

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Akou, Heather Marie. "Tetela amulets: Re-interpreting a medical anthropology collection as a fashion benchmark." International Journal of Fashion Studies 6, no. 2 (2019): 163–80. http://dx.doi.org/10.1386/infs_00002_1.

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In the 1920s and 1930s, missionaries and colonial officials in equatorial Africa collected thousands of amulets – devices worn on the body that were made locally for protection and healing (spiritual and/or physical). One of these collections – assembled in the 1920s by an American pseudo-missionary, Major John White – is now held at the Mathers Museum of World Cultures at Indiana University, which accepted the amulets and other artefacts used by the Tetela people as an example of ‘medical anthropology’. Although they were not made as ‘fashion’ (or even as art), I argue that they can be viewed

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Apriliani, Fatwa Dewi, Widihastuti, Rihab Wit Daryono, Daniel Jesayanto Jaya, and Adilla Desy Rizbudiani. "The Influence of Fashion Knowledge, Fashion Selection Factor, and Dress Etiquette on Dress Look." Jurnal Pendidikan dan Pengajaran 56, no. 1 (2023): 194–207. http://dx.doi.org/10.23887/jpp.v56i1.53677.

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Dharma Wanita members tend to pay less attention to ethics in dress and the use of uniform attributes according to regulations. This is caused by various professions, education, culture, and economy as well as a lack of knowledge about dressing. The purpose of this research is to analyze how the influence of fashion knowledge, clothing selection factors, and dress etiquette on dress appearance. The research was aimed at members of Dharma Wanita with a sample of 60 respondents taken by purposive sampling technique. A combination of factor analysis and regression analysis was used to analyze the

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Navei, Nyamawero. "DECOLONISING GHANAIAN PARLIAMENTARY DRESS CODE." European Journal of Social Sciences Studies 8, no. 3 (2023): 77–100. https://doi.org/10.46827/ejsss.v8i6.1491.

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ABSTRACT: Dress fashion has sociocultural, economic and political expressions. In the political purview, dress fashion remains a viable catalyst capable of provoking dialogue for democratic action as people could proclaim their allegiance to a group or country through their dress fashion. In Ghana, there have been several attempts to decolonise the dress fashion culture. This study sought to deepen the advocacy dialogue through analysis ofFacebook reactions to Right Honourable Alban Sumana Bagbin’s adornment of indigenous Ghanaian royal dress regalia for parliame

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Taylor, Madeline, Kiara Bulley, and Anna Hickey. "Manifesto of dress: Political intersections in fashion lecture-performances." Clothing Cultures 6, no. 2 (2019): 265–80. http://dx.doi.org/10.1386/cc_00016_1.

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This article argues for the consideration of the lecture-performance as a genre that offers rich possibilities for critical fashion discourse, one that is uniquely suited to the material, embodied nature of clothing.The article recounts a lecture-performance by Australian-based design group The Stitchery Collective, which explored moments in history that demonstrate fashion’s capacity to resist, rebel and turn the political into the fabulous. From Amelia Bloomer’s bloomers to the sans-culottes of revolutionary France, fashion has acted as a tool and medium for great social protest and momentum

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Stewart, Imogen. "Selective List of Recent Dress Exhibitions." Costume 45, no. 1 (2011): 124–28. http://dx.doi.org/10.1179/174963011x12978768537816.

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Almila, Anna-Mari. "From Protestant Peasant Dress to Gay Pride T-Shirt: Transformations in Sartorial Strategy Amongst the körtti Movement in Finland." Religions 10, no. 6 (2019): 351. http://dx.doi.org/10.3390/rel10060351.

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This paper looks into the 200-year history of a particular Christian dress form in Finland, namely the körtti dress. Emerging from a declining peasant dress style, this supposedly unchanging and fossilised signifier of a revivalist Protestant movement has in fact gone through numerous transformations influenced by both socio-political and religious trends as well as fashion-driven and materially-ordained factors. From the analysis emerge four key factors that influence how dress strategies are formulated and enacted within a religious movement: (1) how vulnerable or institutionalised the movem

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Stewart, Imogen. "Selective List of Recent Dress Exhibitions." Costume 47, no. 1 (2013): 106–12. http://dx.doi.org/10.1179/0590887612z.00000000020.

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This list includes temporary exhibitions and new permanent displays mounted in UK museums and galleries during 2012. Each display contained at least some items of dress or dress fabrics, fashion plates or fashion photography.

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Stewart, Imogen. "Selective List of Recent Dress Exhibitions." Costume 48, no. 1 (2014): 103–9. http://dx.doi.org/10.1179/0590887613z.00000000043.

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This list includes temporary exhibitions and new permanent displays mounted in UK museums and galleries during 2013. Each display contained at least some items of dress or dress fabrics, fashion plates or fashion photography.

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Romadhona Chusna Tsani and Indriani Oktavia. "Traditional Charm in Luxury: Cathedral Train Dress With Gajah Oling Batik." An International Journal Tourism and Community Review 1, no. 3 (2024): 09–18. https://doi.org/10.69697/tourcom.v1i3.170.

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The Cathredral Train dress is a formal dress that has a long tail on the back of the dress. This dress has a luxurious and magnificent impression and is commonly used for important occasions such as weddings and other formal events. Cathredral Train dress tends to use plain luxury fabrics without patterns with elegant sequin embellishments. The innovation of the Cathredral Train dress using traditional fabrics has become a new inspiration for fashion enthusiasts. Combining the traditional concept of batik with a luxurious modern fashion style, reflecting the fusion of culture and contemporary

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Eck, Carly. "Headlines Make Fashion: The Use of Newsprint Fabric and Newspaper Clippings in Fashion and Fancy Dress." Costume 43, no. 1 (2009): 138–49. http://dx.doi.org/10.1179/174963009x419773.

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This article explores the use of newspaper-printed fabric in nineteenth- and twentieth-century fancy dress costumes, as well as its employment by fashion designers such as Elsa Schiaparelli and John Galliano. It examines the use of authentic newspaper clippings and paper applied to fancy dress and fashion, and discusses Viktor and Rolf's innovative method of using real newspaper within their conceptual framework.

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Rahmi, Rahmi, Rosmala Dewi, Nurasiah Nurasiah, Fitriana Fitriana, and Abdul Azis. "Consept Analysis: Acehnese Ethnic Style Party Fashion Design." International Journal of Multicultural and Multireligious Understanding 8, no. 10 (2021): 276. http://dx.doi.org/10.18415/ijmmu.v8i10.3056.

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In general, this research is an effort to preserve culture, especially the culture of dress, by digging deeper into the current Acehnese ethnic clothing, then using it as a source of ideas to create a party dress design with Acehnese ethnic nuances. The research approach used is qualitative, with ethnographic methods. There are currently 5 ethnic Acehnese clothing, namely coastal Aceh, inland Aceh, mountainous Aceh, Aneuk Jame, and Tamiang. Of the five types of Acehnese ethnic clothing that exist today, there are several differences, namely in the type of material, color of material, form of d

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Spearman, Lequez. "Making pastel pop on dark skin: How fashion stylists dress Black NBA players." International Review for the Sociology of Sport 55, no. 7 (2019): 884–99. http://dx.doi.org/10.1177/1012690219860116.

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The National Basketball Association is as popular as ever. A league dominated by Black players is in the midst of a fashion renaissance. The purpose of this paper is to explore how fashion stylists dress Black National Basketball Association players. Using a semi-structured interview protocol, the author interviewed 18 fashion stylists to investigate how they service Black National Basketball Association clients. After reviewing the transcripts and going through three rounds of coding, three themes were identified: The Black Body Is Different, It Should Be This Way, and Dress For Yourself And

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Ikaonaworio, Eferebo PhD. "EFFECT OF FOREIGN FASHION ON STUDENTS DRESSING IN NIGERIAN UNIVERSITIES: TOWARDS A CULTURAL SYNCHRONIZATION." EFFECT OF FOREIGN FASHION ON STUDENTS DRESSING IN NIGERIAN UNIVERSITIES: TOWARDS A CULTURAL SYNCHRONIZATION 6, no. 4 (2022): 92–103. https://doi.org/10.5281/zenodo.7682237.

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The paper examines the effect of foreign fashion on students dressing in Nigerian universities, for being fashionable and remains trending. Fashion expresses personal beauty, style, and glamour with which culture is examined with goodness and change within specific time limit and is constant only for minutes; as a social phenomenon. Although centuries back fashion was an elite thing which, globalization of fashion is fast eroding among non-western cultures such as Africa, especially those of Nigeria. The paper employs both primary and secondary sources of data collection to quarry the nature a

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Denisova, Olga I., and Evgeny Yа Surzhenko. "CULTURAL ANALYSIS OF THE EVOLUTION OF BUSINESS CORPORATE FASHION." Technologies & Quality 57, no. 3 (2023): 56–60. http://dx.doi.org/10.34216/2587-6147-2022-3-57-56-60.

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Based on modern concepts of fashion theory, the analysis of evolutionary changes in the corporate business dress code of the period 1906-2020 from the standpoint of the influence of political and foreign economic factors is carried out. Ambivalent reactions from the participants of the dress code to the change of corporate style at each stage of evolution are revealed. It is established that the tightening of the corporate dress code is characteristic of the stages of macroeconomic recovery and is due to the increased intensity of competition, which confirms the consideration of examples of th

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

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Yim, Eunhyuk, and Cynthia Istook. "Typology of Dress in Contemporary Fashion." Journal of the Korean Society of Clothing and Textiles 41, no. 01 (2017): 98–115. http://dx.doi.org/10.5850/jksct.2017.41.1.98.

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Bullock, Katherine. "Pious Fashion: How Muslim Women Dress." American Journal of Islamic Social Sciences 35, no. 3 (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

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Wilson, Laurel. "American Cowboy Dress: Function to Fashion." Dress 28, no. 1 (2001): 40–52. http://dx.doi.org/10.1179/036121101805297680.

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Rinaldo, Rachel. "Pious Fashion: How Muslim Women Dress." Contemporary Sociology: A Journal of Reviews 48, no. 1 (2019): 41–43. http://dx.doi.org/10.1177/0094306118815500e.

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Gill, Alison. "Dress Code: Are You Playing Fashion?" Fashion Theory 25, no. 1 (2020): 141–48. http://dx.doi.org/10.1080/1362704x.2020.1733277.

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Campbell, Timothy Patrick. "Arts of Dress: Rancière and Fashion." Critical Inquiry 44, no. 4 (2018): 619–40. http://dx.doi.org/10.1086/698188.

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Manthey and Windsor. "Dress Profesh: Genderqueer Fashion in Academia." QED: A Journal in GLBTQ Worldmaking 4, no. 3 (2017): 202. http://dx.doi.org/10.14321/qed.4.3.0202.

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Yang, Jingxuan. "The Influence of Chinese Traditional Costumes on Contemporary Trends --Taking Horse-face Skirts as an Example." Communications in Humanities Research 14, no. 1 (2023): 174–79. http://dx.doi.org/10.54254/2753-7064/14/20230448.

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This study explores the influence of traditional Chinese dresses on contemporary fashion trends using the Horse-face skirt as an example. In ancient China, the Horse-face skirt was one of the notable skirts for women and maintained its typical style of womens dress during the Ming and Qing dynasties. With the passage of history and the revival of traditional Chinese culture, it has begun to arouse interest in traditional Chinese dress. Among them, Hanfu, including the Horse-face skirt, has attracted significant attention in modern dress, where ancient design elements are combined with modern d

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Edwards, Tim. "Living dolls? The role of clothing and fashion in ‘sexualisation’." Sexualities 23, no. 5-6 (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 fe

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FAIRCHILDS, CISSIE. "Fashion and freedom in the French Revolution." Continuity and Change 15, no. 3 (2000): 419–33. http://dx.doi.org/10.1017/s0268416051003650.

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On 8 Brumaire, year II (29 October 1793), the Convention decreed that freedom of dress was a basic human right: ‘Everyone is free to wear whatever clothing and accessories of his sex that he finds pleasing.’ This was an odd decree in many ways. It decreed as a right something we take for granted, the freedom to wear what we choose, and it was passed during the Terror, when individual rights were routinely curtailed. It also contradicted itself, for if its first article guaranteed freedom of dress, its second stated that all previous laws on dress remained in force, and these included one which

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Xepoleas, Lynda May, and Emily Hayflick. "Curating costumes from many lands: Addressing the colonial gaze in two university dress collections through digital curation." Critical Studies in Fashion & Beauty 13, no. 1 (2022): 21–43. http://dx.doi.org/10.1386/csfb_00036_1.

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In this article we reflect on our engagement with a broad spectrum of dress- and textile-related artefacts housed within the Cornell Fashion + Textile Collection and Department of Anthropology Collections at Cornell University. In recent years, fashion critics and scholars have begun to address the biases and prejudices that continue to inform the collection and display of fashion within museums and academic institutions. In addition to museums of art, design, anthropology and history, universities have contributed to and influenced the public’s perceptions of fashion as an embodied material p

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Ademtsu, James, Justine Adjuri, and Aidam Yayra. "From Concept to Creation: The Role of Creating Miniature Fashion Design Prototypes in Accelerating the Production Process." American Journal of Art and Design 10, no. 2 (2025): 58–66. https://doi.org/10.11648/j.ajad.20251002.16.

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The study explores miniature dress forms for prototyping fashion design in Ghana to determine their benefits for efficiency together with sustainability and creative processes. This study based its methodology on interviews with 65 professionals and studio observations of 8 fashion studios and designer experiments involving 25 participants to identify key benefits of operating with miniature prototypes. Using miniature dress forms enables fashion professionals to cut projectile development duration by 57.1% and decrease resource consumption by 68.4% through enhanced design exploration capabili

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Olsson, Pia. "Inherited Fashion." Ethnologia Fennica 45 (December 25, 2018): 112–14. http://dx.doi.org/10.23991/ef.v45i0.76341.

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Seija Johnson 2018. I den folkliga modedräktens fotspår. Bondekvinnors välstånd, ställning och modemedvetenhet i Gamlakarleby socken 1740–1800. [In the footsteps of a common folk fashionable dress. The wealth, social position, and fashion awareness of farmers’ wives in Gamlakarlebyparish 1740–1800.] Jyväskylä Studies in Humanities 339. Jyväskylä: University of Jyväskylä. 269 pp. ISBN 978-951-39-7368-1. Permanent link: http://urn.fi/URN:ISBN:978-951-39-7368-1

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Afrian, Tyas, Edial Rusli, and Adya Arsita. "FOTO PRODUK AMANDA GRIYA KEBAYA DENGAN ELEMEN PENDUKUNG BANGUNAN CAGAR BUDAYA DI YOGYAKARTA." spectā: Journal of Photography, Arts, and Media 2, no. 1 (2019): 69–80. http://dx.doi.org/10.24821/specta.v2i1.2469.

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AbstrakKebaya yang dulu mendapat sorotan sebagai pakaian kuno kini menjadi pakaian yang modern dan modis. Melalui media fotografi fashion, akan menarik apabila baju kebaya modifikasi dapat divisualisasikan dengan latar belakang bangunan cagar budaya di Yogyakarta sebagai elemen pendukung sehingga memberikan kesan tersendiri bagi para penikmat seni. Fotografi fashion dipilih karena mampu menampilkan produk yang dijual. Dalam karya ini, tantangan yang menarik adalah eksekusi dengan menyatukan kebaya yang modern dengan latar pemotretan berupa bangunan cagar budaya di Yogyakarta, terlebih apabila

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Gilvin, Amanda. "Games of Seduction and Games of History: Alioum Moussa’s Fashion Victims in Niamey, Niger." African Studies Review 58, no. 1 (2015): 55–89. http://dx.doi.org/10.1017/asr.2015.4.

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Abstract:In his November 2011 solo art exhibition, Fashion Victims, held in Niamey, Niger, the Cameroonian artist Alioum Moussa launched a critique of global participation in the industrial fashion system by employing secondhand garments as his primary medium. The show had special resonance in a city attempting to cultivate both industrial and artisanal production of dress and fashion for global markets. Moussa demanded that viewers reckon with their own consumerist dress practices and potential fashion victimization in what he described as “global games of seduction,” and he offered tributes

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Jarvis, Anthea. "The Dress Must Be White, and Perfectly Plain and Simple: Confirmation and First Communion Dress, 1850–2000." Costume 41, no. 1 (2007): 83–98. http://dx.doi.org/10.1179/174963007x182354.

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The basis for this article was a paper given at the Annual Symposium of the Costume Society in Norwich in 1998, on the theme of religious dress. It has been expanded with further research. This article traces the history and development of special dress worn for the sacraments of confirmation and first communion in the Church of England and the Roman Catholic Church. Before the 1850s no special dress was required; the growth of the fashion for increasingly elaborate white dresses and veils post-1850 seems to have been fostered by the growing affluence of the middle classes and by the fashion p

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Lazaro, David E. "Getting the Sack: The Controversial Late 1950s Fashion." Costume 58, no. 2 (2024): 226–54. http://dx.doi.org/10.3366/cost.2024.0307.

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This article analyses the 1950s sack dress within the context of American and English fashion. The garment, featuring an undefined waistline and a shorter, more constricted hemline, was by all accounts as popular (and controversial) as the changes in women’s fashion in the years after the Second World War. While the sack’s zenith can be clocked to the autumn of 1957 and spring of 1958, this article contextualizes this moment against the trajectory of less figure-defining fashions throughout the 1950s. The uproar against the style has become legendary, centred around expectations of how a woman

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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 cr

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Okasaki, Aymê. "Fashion in Așǫs." English Language Notes 60, no. 2 (2022): 121–43. http://dx.doi.org/10.1215/00138282-9890813.

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Abstract This article discusses the concept of Afro-Brazilian fashion in Candomblé, considering their transatlantic symbolic exchanges in an aesthetics of dress, based on the four vectors proposed by Cunnington—fabric, color, shape, and mobility—through which fashion is expressed. In the eighteenth and nineteenth centuries, Brazil received ships from the African coast with așǫ oke, a handwoven fabric created by the Yorùbás to be used as head wraps or to be sewn and worn as shawls by Black women. This and other fabrics, such as wax prints, enter the terreiros as a search for aesthetic identity

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Alfitrah, Fauzan, Deny Arifiana, Imami Arum Tri Rahayu, and Agus Wiyono. "Fashion Trend Forecasting Spirituality as an Inspiration in Creating Evening Party Dress Design Illustration Titled De Valeur." Jurnal Riset Multidisiplin dan Inovasi Teknologi 2, no. 03 (2024): 569–78. http://dx.doi.org/10.59653/jimat.v2i03.1000.

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De Valeur comes from the French word which means "Precious" and is the title of a work of evening dress design illustration which take an inspiration from by 2021/2022 fashion trend forecasting theme : Spirituality. Spirituality being depicted by the use of Indonesian traditional fabric which is woven fabric that becomes one of the idea for creating evening party dress design illustration. This is based on the fact that the Spirituality theme has characteristics such as classic and elegant impression, colors that tend to be earth tones, the use of natural materials, or even the use of traditio

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Ambrosio, Alberto Fabio. "Invisible Dress: Weaving a Theology of Fashion." Religions 10, no. 7 (2019): 419. http://dx.doi.org/10.3390/rel10070419.

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This article establishes the framework for a (Christian) theology of fashion, the development of which comes under a research project set up between Luxembourg (Luxembourg School of Religion & Society) and Paris (Collège des Bernardins). The text is structured around three areas: the first reveals how theology can accommodate in its field of thought both the idea of dress (also viewed in terms of its materiality) and the way in which modern society experiments with it: fashion. For as much as theological discourse, particularly Christian, might have shown itself to be critical regarding mo

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Prof., Shusmita Kumari, and Bhavya Gunashekhar Prof. "Unveiling Trade Dress: The Art of Branding Beyond Trademarks in the Fashion Industry." Annual International Journal of Vaikunta Baliga College of Law (AIJVBCL) 2 (May 13, 2025): 554–66. https://doi.org/10.5281/zenodo.15398024.

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<em>There are two types of property rights one is tangible and the other one is considered to be intangible. Intellectual property rights have been considered to be an intangible asset whose concepts are still booming. Thus, in this paper, the authors delve into the aspect of trade dress which enumerates the product's overall appearance and is considered the subset of trademark. Hence, the concept of trademark is used to differentiate between one product from another product but when it comes to trade dress it just does not speak about the brand name, logo, signature, etc but it also delves in

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Grela-Chen, Magdalena. "Antithesis versus Inspiration: Chinese Clothing in the Eyes of Western Theorists and Fashion Designers." Intercultural Relations 4, no. 2(8) (2021): 81–95. http://dx.doi.org/10.12797/rm.02.2020.08.05.

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Dress is a part of Chinese cultural heritage that has fascinated Western audiences for centuries. On the National List of Intangible Cultural Heritage of China, there are items related to textiles, embroideries and certain examples of Chinese clothing. This article analyses issues connected with the different uses of Chinese dress in the West. To fashion theorists such as Bell, Wilson, Sapir and Veblen, Chinese dress was the opposite of modern Western clothing and did not deserve to be called fashion. However, researchers such as Welters, Lillethun and Craik have opposed viewing fashion theory

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Kramkowska, Emilia. "Simmlowska koncepcja mody a ubiór współczesnych seniorek i seniorów. Podejście badawcze." Kultura i Społeczeństwo 64, no. 4 (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

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Rahman, Priyanggo Karunia, and Misesa Misesa. "The Teacher's Role in Fostering Dress Ethics Students." LENTERNAL: Learning and Teaching Journal 3, no. 3 (2022): 27–32. http://dx.doi.org/10.32923/lenternal.v3i3.2913.

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This study examines Islamic religious education teachers' influence on student dress. The school's code of conduct emphasizes ethical behavior and dress. Some kids wore long, flowy, non-transparent outfits, while others did not. Students are told to dress appropriately for Muslim students, but reality differs. This study examined how Islamic religious education and morality teachers at SMA Negeri 1 Bangka promote dress ethics. This study used qualitative research. Semi-structured Islamic religious education teacher interviews provided the data. Descriptive analysis followed. Field notes, docum

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Briggs, Adam. "The Fashioned Body: Fashion, Dress and Modern Social Theory, Joanne Entwistle." Fashion Theory 5, no. 2 (2001): 225–28. http://dx.doi.org/10.2752/136270401779108581.

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Tennent, Emma. "The fashioned body: Fashion, dress & modern social theory Joanne Entwistle." Feminism & Psychology 28, no. 2 (2016): 292–96. http://dx.doi.org/10.1177/0959353516682662.

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