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Dissertations / Theses on the topic 'Traditional Dress'
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1
Wallace, E. Patricia Y. "Traditional Maori dress : rediscovering forgotten elements of pre-1820 practice." Thesis, University of Canterbury. Maori, 2002. http://hdl.handle.net/10092/5911.
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This thesis examines evidence of traditional Maori dress from the mid-seventeenth century to 1820. It focuses on ephemeral and perishable elements of dress which previous research appears to have forgotten, overlooked or dismissed: hairstyle, head adornment, the use of bird and animal skins, and a former method of wearing cloaks.
Twentieth century perceptions of traditional Maori dress were mainly derived from selected images published soon after the voyages of Captain Cook. Other available graphic evidence was deemed unreliable because of the perceived influence of late eighteenth century artistic practices. However, this research validates the work of contemporary graphic artists and establishes that many early European images of Maori, previously un-researched, offer a valuable and largely reliable source of ethnological data. The thesis uses multidisciplinary analysis to re-examine not only the graphic evidence but traditional, textual, and material sources, and brings to bear specialist knowledge of the construction of dress and related technology. The research seeks to employ a holistic perspective and to analyse dress in its cultural context to understand its significance more completely.
The synthesis of these forms of evidence and the introduction of empirical procedures has elicited new information and ascertains that traditional Maori dress was more varied and more complex than formerly perceived.
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Disele, Potlako Lilian Peoesele. "A social and cultural study of traditional dress in contemporary Botswana." Thesis, Manchester Metropolitan University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.593888.
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Yang, Chui Chu. "The meanings of qipao as traditional dress Chinese and Taiwanese perspectives /." [Ames, Iowa : Iowa State University], 2007.
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Tolley, Rebecca. "Review of Encyclopedia of National Dress : Traditional Clothing Around the World." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/5648.
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Taleb, Rabah Yaqub. "Exploring the space of the thawb : the intersection between fashion, traditional dress and Kuwaiti women's identity." Thesis, University of Southampton, 2018. https://eprints.soton.ac.uk/423571/.
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This research examines the identity of Kuwaiti women in the context of dress. Specifically, it investigates the extent to which their lifestyle has been impacted by the recent economic boom stimulated by the oil trade. From a simple life governed by norms and social customs to a sudden influx of wealth and foreign cultural influence, the identity of the typical Kuwaiti woman is being transformed. Nowhere is this transformation more evident than in their dress. Through the lens of fashion, this thesis examines changes in Kuwaiti women’s identity via the traditional thawb over the past 65 years, and how the impact of historical events and economic change is reflected in its changing form. This study proposes that the theory of fashion is grounded in social, behavioural science and economics theories, and it includes aspects of social class and behaviour (e.g. imitation, innovation) concerning disposable income. The researcher employed interviews as the major method for data collection with observation and analysis of visual evidence as supporting methods. Furthermore, the selection strategy was related to case studies and action research. Data was obtained via interviews with prominent Kuwaiti designers and a wholesaler of traditional dress. Thematic analysis was applied to identify the key themes that were then analysed to establish the nature of the relationship between fashion and the cultural identity of Kuwaiti women. The analysis of fashion trends in Kuwait revealed a significant shift in women’s fashion, indicating that a woman is able to utilise fashion to communicate her image and hence build her national and cultural identity. The relationship between fashion and identity manifested itself in two main ways— traditional dress and fashion. The study concludes with original designs for the thawb (the practical design element of this study), which represent and reflect both traditional and modern Kuwaiti female identities.
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Nwokiea, Obinna. "Traditional marriage of the igbo's and it's significance in cultural identity and interaction." Thesis, Вид-во Сум-ДПУ імені А.С. Макаренка, 2016. http://essuir.sumdu.edu.ua/handle/123456789/45196.
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If you are looking for an ideal marriage for the world to emulate, that has value and significance in our today’s culture, then grab a cup of coffee and relax because this article portrays the stages and significance of Traditional Marriage in Igboland located in eastern part of Nigeria.
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Kuma-Kpobee, Mercy Afi. "Determination of a sizing system for mass customisation of Ghanaian women's traditional dress : and a conceptual framework for small and medium scale enterprises." Thesis, Manchester Metropolitan University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.497775.
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Dress whether traditional or contemporary is a visual symbol that communicates the identity of individuals and groups who share a common background and heritage. This study identified that the usage of traditional dress in the Ghanaian society functions as an important medium for social differentiation in terms of identity construction which is communicated through its symbolic meaning. Traditional dress for women, known as "slit and kaba", previously consists of two pieces of cloth and a semi-fitted blouse which requires no standardised sizing and fit requirements but as this dress has undergone an evolution process into a skirt and blouse with western features, the fit and manufacturing quality has become increasingly important. The usage of this dress for both formal and informal functions and its evolution places importance on its overall production quality and fit.
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Frööjd, Tobias. "When All Comes down to Clothes : An Interpretation of P.G. Wodehouse's The Inimitable Jeeves." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-21134.
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Abstract My aim for this paper is to analyse the character Jeeves' obsession with perfect clothing in P. G. Wodehouse's The Inimitable Jeeves (1923). My method has been to study the historical context of the British aristocracy at the time of the first publication of the book in 1923, as well as the previous four decades during which the author grew up and decisive changes in the British class society took place. This paper studies sources on the significance of clothing in general, and examines its importance at the time in particular. For my analysis I have borrowed elements from new historicism. The norms, traditions and values of the aristocracy lost in importance during this time, and the aristocracy was divided into individuals who were willing to adopt to these changes and others who fought to defy them. My conclusion is that Jeeves considers the strict dress codes to be an important symbol of the old aristocratic values that he has to defend, in order to legitimize his own position, as he is profoundly devoted to his calling of being a first class valet faithful to the old traditions. Wooster, then, acts as Jeeves' opponent on the matter as he embodies the part of the aristocracy willing to embrace the changes instead.
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Будик, А. К. "Регіональні особливості традиційного вбрання українців за музейними колекціями та архівними джерелами." Thesis, Сумський державний університет, 2016. http://essuir.sumdu.edu.ua/handle/123456789/46640.
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Якщо кожен із нас запитає себе, яким уявляє національний стрій України, то
відразу в спогадах виринуть вишиванки, шаровари, віночки з різнобарвними стрічками,
червоні чоботи. Але не все так просто. Національний костюм, перш за все, уособлює
національну самосвідомість, етнічну само ідентифікацію, постаючи водночас і
могутнім засобом історичного формування, історичного утвердження як у
індивідуальній, так і в суспільній свідомості. Будь-який костюм складається протягом
століть, тому обов’язково втілює в собі історію нації, її духовні цінності. Як частка
народної душі, він має велике історичне, культурне та художнє значення.
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Jansson, Isabelle. "Dressed like a bride : Being utklädd - performativity and etiquette in the Swedish wedding dress." Thesis, Stockholms universitet, Modevetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194487.
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This thesis investigates the wedding dress in the 21st century in Sweden. Interviews provided the main material for the analysis of the wedding dress and its connotations. Erving Goffman’s theory on performances in everyday life and Efrat Tsëelon’s thoughts on modesty connected to the female body is used as a theoretical framework in this thesis. The wedding dress is also analyzed as an object, and thoughts from material culture are implemented when discussing the cultural connotations of the dress. The wedding dress is only worn during the wedding ceremony, and it evokes thoughts on performances and identity due to cultural values and expressions that the bride either identifies with or not. Being dressed as a bride is deemed less authentic than being dressed in everyday clothes and is compared to a masquerade garment. The Swedish word utklädd, which means being dressed out in different ways, is a common factor and description of wearing a wedding dress in Sweden in the 21st century.
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Ronald, Emma. "Patterns of identity : hand block printed and resist-dyed textiles of rural Rajasthan." Thesis, De Montfort University, 2012. http://hdl.handle.net/2086/8691.
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This thesis sets out to investigate the changing social significance of the hand-block printed and resist-dyed cottons of Rajasthan. Once a vital part of the region’s everyday rural textile and dress traditions, communicating information about its wearers and demonstrating the craftsmanship of its makers, today block printed textiles are produced primarily for export and tourist markets. In the space of just a few decades the growing effects of globalisation have wrought irrevocable change upon this traditional craft. Under the pressures of new market forces, modern hand block printed textiles bear little resemblance to their traditional counterparts. Drawing on an ethnographic perspective in general, and an ethnomethodological perspective in particular, the main objective of this thesis is to develop a deeper understanding of traditional hand block printed and resist-dyed textiles – with particular focus on the modernisation of traditional forms of hand block printing in Rajasthan, and the various strategies and experiences which the craftspeople have undertaken to deal with the changes to the market for their products. Using the recent history of block printed cloth production in Rajasthan, as told by local artisans, it explores the manner in which such phenomena as modernisation and globalisation are embodied by shifts in production technology, design aesthetics, and market forces. In order to explore the rural roots and chart the dramatic recent modernisation of the craft this thesis identifies and documents the range of textiles traditionally made by the region’s hereditary communities of cloth printers and dyers, and investigates their role in the projection of identity, exploring the changing communicative function of these textiles, notably with the rise of synthetic fabrics, among the rural communities of Rajasthan. In doing so, this thesis investigates how the consumption of hand block printed textiles has changed over the past forty years and considers the impact of the growth of export and tourism on traditions of cloth printing in the region. It is a socially situated study, based on extensive firsthand fieldwork with the Chhipa community of hereditary cloth printers, making use of ethnography, photography, and personal experience of textile dyeing, printing and design. By developing methodologies based on the detailed documentation of the technologies, materials and processes involved in hand block printing this thesis seeks to update and expand upon the existing literature on the craft by providing and analysing contemporary accounts of family traditions and modern developments in use by current generations of artisans. In doing so this thesis also contributes to current discourse on the preservation of craft knowledge as a form of intangible cultural heritage. The study is primarily located within the field of Indian textile and dress studies. It contributes to contemporary ethnographies of textile crafts through the detailed analysis of print and dye technologies, and, by also considering the meanings and values of block printed cloth as clothing, adds to the literature on the social role of textiles and dress with a regionally-specific focus on the role of pattern and colour. By focussing on the communicative functions of pattern and cloth, it also enhances cross-disciplinary attentions to regional identities and intangible cultural heritage. Finally it engages with the very local processes of globalisation and the contemporary values of handcrafted cloth.
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WEI, SHEAU FANG, and 魏小芳. "The color research of womwn's traditional dress collected in Taiwan aera." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/92734164411428619307.
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Lin, Jhe-Yi, and 林哲伊. "Research on Color Image of Taiwan Indigenous People''s Traditional Ritual Dress." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/9v3674.
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碩士國立臺北科技大學
創新設計研究所
99
This study is aimed to probe into the color image of Taiwan indigenous people’s traditional ritual dress. The research samples include Atayal、Bunun、Paiwan、Amis and Yami’s dress. The research process is to calculate the color area of the samples with the software imagej and analysis the colors firstly, and then integrate the color image into color image dispose instruction; secondly to hold a design workshop with the instruction; to estimate the design result, use the questionnaire finally. The research results are as follows： 1.Color analysis of indigenous people’s traditional ritual dress：The main color of Atayal male dress is black, female dress’s are fuchsia and white. Bunun male dress’s main color are black and white, female dress’s is black. Both of Paiwan male and female dress’s main colors are black, and Amis dress’s main color is red. Yami’s male and female dress’s main colors are light blue and white. 2. Color image of indigenous people’s traditional ritual dress：The strongest color images of Atayal male dress is plain, and female dress is jubilant. Bunun male dress’s strongest color image is jubilant, while female is traditional. The color image of Paiwan male and female dress is traditional. Amis male dress’s color brings feeling of eye-catching, and female dress brings feeling of jubilant. The Yami male dress’s main color image is natural, and female dress brings feeling of plain. 3. Estimation of the design result of color image dispose instruction of indigenous people’s traditional ritual dress：The outcome of questionnaire shows that there are over half of the design results which are applied with instruction match with the original dresses’ half color images.
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SU, XU-JUN, and 蘇旭珺. "Taiwan Hok-lo women''s traditional dress (1860-1945) : change, design and modernization." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/18769748158944237439.
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Chun, Su Hsu, and 蘇旭珺. "Taiwan Hok-Lo Women's Traditional Dress (1860-1945): Change, Design and Modernization." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/57560804963241778363.
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Nxumalo, Kwenzekile. "Traditional southern African dress and architecture : towards the design of the Durban Institute of Fashion." Thesis, 2008. http://hdl.handle.net/10413/262.
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LU, YI-HSIN, and 魯亦欣. "A Comparison between Trade Dress and Non-Traditional Trade Mark—the Cases of Taiwan, U.S.A., and Japan." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/m9g8q2.
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碩士國立臺北科技大學
智慧財產權研究所
107
The theme of the essay is a comparison among the trademark laws and trade dress protections of Taiwan, Japan, and the United States of America (the U.S.A.). With fast growing markets in recent years, the types of “trademark,” being unexpected by the lawmakers of the old days, are becoming more various than the original definition of “trademark” in the trademark law of each country. The member nations, for the purpose of resolving the issue, have legislated to protect non-traditional trademarks by distinguishing the new types of trademarks from “traditional trademark” under the articles set forth in multilateral agreements such as “Trade-Related Aspects of Intellectual Property Rights, TRIPs,” or under the conventions by which the member nations of World Intellectual Property Organization (WIPO) are obligated to abide. Such laws stipulate the objects of non-traditional trademark and the elements for registrations. Take “U.S.A. Trademark Law” (widely known as “Lanham Act”) as an example, the legal term “trademark” in the law refers to “any word, name, symbol, or device, or any combination…” being able to “identify and distinguish the services of one person from the services of others…” and a registerable trademarks must include the three elements below: “distinctiveness,” “non-functionality” and “secondary meaning.” Although the laws to protect non-traditional trademarks are widely stipulated in most of the countries, there are still many marks used in the markets, such as packaging of goods or a decoration of a store, not protected by the laws, especially those do not possess inherent distinctiveness, or have not yet acquired secondary meanings in market. When these marks are not defined within the scope of “trademark,” the owners may assert a “trade dress” right to prevent “dead copying” and “free riding,” the infringements upon a potentially valuable but non-registerable object, from other competitors. The scopes of “non-traditional trademark” and those of “trade dress” are differentiated among each nation; the two scopes sometimes overlap and are proven contradictory. Due to globalization and fast-developing industries today, trademark-owners have considerable needs to register trademarks among different countries. This essay specializes in the differences between the scopes of “non-traditional trademark” and those of “trade dress,” since different laws define how a mark should be protected in different countries. This essay also focuses on the analyses of practical cases of trademark laws and the protections of trade dress in Taiwan, Japan, and the U.S.A.. As the author of this research, I hope this work could function as a reference for the trademark owners who need a registration.
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Truong, Tuyet-Anh, and 張雪瑛. "Application of cultural images - "One-pillar Pagoda" and" Vietnamese girl in four-panel traditional dress" – into Vietnam fashion." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/74127338807907289633.
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碩士樹德科技大學
應用設計研究所
99
The development of human society always associates with the development of fashion. The costume of an ethnic group shows the characteristic features of its culture matching with the specific conditions of its history, geography, and social habits. The historical development of fashion always accompanied with the development and combination between modern fashion and traditional one, in which the images of cultural features are applied to modern costume designs. In Viet Nam, images of cultural features are now used mainly in designs of Ao Dai -the national and traditional long dress for women and festival costumes. They are rarely used in fashion designs for the Vietnamese youth. Therefore, this research is to study how to apply cultural images to design new fashion styles for the Vietnamese youth. It is comprised of 5 objectives: (1) Choosing cultural images for design pattern: “One-pillar Pagoda” and “Vietnamese girl in four-panel traditional dress”; (2) Selecting design colors for the collection; (3) Selecting fabrics that is trendy and suitable to modern printing technology and (4) Testing, reviewing, evaluating samples, and completing the collection.
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HUANG, SZU-YIN, and 黃詩尹. "A Study of Taiwan Traditional Hakka Woman's Dress and Self-identity : Taking Jinshui Village in Miaoli Country as Example." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/65495v.
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碩士輔仁大學
織品服裝學系碩士班
106
This research aims to discover the change of a hundred years of women’s fashion history of JinShui village in Miaoli County. By ethnographic field work, I collect 14 informants’ oral history and photos. In order to explore the fashion timeline, this research uses photos as analysis material. By combining oral memories, this research illustrates the change of fashion style in this timeline, it also understands that Hakka women’s self-identity. Most of the villagers in JinShui village in Miaoli County are farmers. The economic income is relied on agricultural production. Before 1943, only girls from rich family could afford to take education. However, after 1943, the “National Compulsory Education” was distributed in Taiwan, so Hakka women had chance to attend elementary school. This provided Hakka women an opportunity to gain higher education. From 1950’s, Hakka women started to work outside their rural community, and since that time, Hakka women’s dress was changed from traditional style to western one. Moreover, women’s self-identity was also changed from collected representation into individualized identity. As the traditional Hakka family’s etiquette, women should stay tranquil, tender, obey parent’s order. For dressing, Hakka women should not show their body, stay conservative and understated. They should keep voice down when they speak and could not using offensive terms. Nevertheless, 1980’s, Hakka women dress the same as the mainstream style in Taiwan, however, they still carry on traditional Hakka social norm. Conservative and understated are still valuable for Hakka women’s behaviour and self-identity.
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Hsu, Tzu Han, and 徐子涵. "The Study on the Distinctiveness of Trade Dress in American Law-a Compression with the Practice of Non-traditional Trademarks in Taiwan." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/6sxz2z.
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碩士國立交通大學
科技法律研究所碩士在職專班
105
The purpose of this article is to elaborate the distinctiveness of trade dress in American law. While trade dress has the characters of trademark, it concerned particularly with the product presentation(the overall impression of the product). Both trade dress and trademark serve an identification function, as well as a marketing function. But trade dress covers various combinations of concrete and abstract subjects, which a trademark doesn't have. Do all the normal trademark rules apply to trade dress? The U.S. Supreme Court gave their opinions first in Two Pesos and later on in Wal-Mart case, both of which are not clear enough to fully address the issue of the distinctiveness of trade dress. The only guidance offered by the Supreme Courts on the issue of distinctiveness of trade dress is that the rules for trademarks may not be entirely applicable to trade dress. The focus of this paper are how the Supreme Court's decision affect trade dress law. What remains problematic is how case law has recently began to develop concerning the protection of new type of trade dress. The concept of non-traditional trademark in our Trademark Act is similar to trade dress in the US. What are the differences between the opinions of courts in the U.S. and those in Taiwan. The protection of trade dress in American law is mainly formed by the case, the opinion of the court has great influence on the significance of trade dress and the clarification of the protection connotation. Therefore, the author would like to find standards for the distinctiveness of trade dress through the analysis of cases regarding the meaning of trade dress distinctiveness, relevant factors, the point of time for determination. The author would like to address the impacts the opinions of the U.S. Supreme Court has on the lower courts, and make a compression with the practice of non-traditional trademark in Taiwan.
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Yang, Shun-Yun, and 楊舜云. "From tradition to innovation: The transition and reconstruction of Taiwan's Hakka dress culture in contemporary society." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/55516954149675916667.
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碩士輔仁大學
織品服裝學系
96
This study is about tradition-innovation and culture reconstruction. Based on the grounded theory, this study reexamined the development of Hakka dress from tradition to innovation by using documents analysis, participant observation and in-depth interview. The purposes were to explore the characteristics of Hakka dress culture, and to find out the strategies to transform and reconstruct it in the contemporary society. This study began from the social psychological perspective of clothing that how humans in various contexts use appearance management to shape self-identity. On the analysis, Hakka dress was considered as “the sign system that Hakka choose collectively to create Hakka culture and to express ethnic identity in specific contexts.” The researcher analyzed the material characteristics of dress which were already regarded as “tradition of Hakka” first, and then explored the social meanings and cultural spirits of these dress within historical and social contexts of Hakka, and found that Hakka women's succinct, plain and functional traditional dress reflects and supports the establishment of Hakka social structure and social order, and also express and enhance Hakka's industrious and frugal cultural spirit, and then develop the dress idea of“emphasizing economy and utility, deemphasizing flauntiness and luxury”，and aesthetic preferences toward simple, natural, rational, and plain. After that, the researcher observed the phenomenon of changing and developing of Hakka dress culture in the contemporary society and investigated the reasons why traditional and remade Hakka dress fail to keep on using or being identified and widely accepted. Finally, the researcher put forward the reconstruction strategies that Hakka image dress and Hakka fashion dress working along with each other according to people’s real clothing needs within the contemporary social context. Moreover, the researcher suggested refining and establishing the cultural spirits, aesthetic concepts of Hakka dress into Hakka aesthetic style, and transformed it into the fashionable dress brand spirit and managed it over a long period of time in order to achieve the goal of reconstructing and continuing the vitality of Hakka dress culture.
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Aziz, Rookhsana. "Hijab – the Islamic dress code: its historical development, evidence from sacred sources and views of selected Muslim scholars." Diss., 2011. http://hdl.handle.net/10500/4888.
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The issue of a Muslim woman‟s dress code has been debated for centuries. This is of great importance as it is widely used as a criterion to measure the extent of a woman‟s piety or devotion to Allah.
A study of the religious texts on the issue is essential. Therefore, Qur‟anic text, Prophetic Traditions and Qur‟anic exegesis of both classical and modern scholars would have been used in determining the correct dress code for Muslim women.
While all research indicates that women dress conservatively, in order not to attract the attention of the opposite sex. The extent to which a woman must be covered has not been agreed upon. Even if what has to be covered is established by scholars, the manner in which this is to be done and the type of colours and fabric to be used needs further clarification.
The issue of the female dress code needs to be presented from a female perspective.Religious Studies and Arabic
M.A. (Islamic Studies)