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Journal articles on the topic 'Traditional Dress'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 May 2022

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1

Shan, Xiao Hong, Xiakeer Saitaer, Jin Lian Liu, and Aierxiding Ruozi. "A Study of Traditional Uyghur Headwear." Advanced Materials Research 627 (December 2012): 563–66. http://dx.doi.org/10.4028/www.scientific.net/amr.627.563.

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Uyghur is one of the oldest ethic groups which enjoy a long history. Uyghur people are noted for their diligence, enthusiasm, expert in singing and dancing. In the long historical development, Uyghur people have created profound and extensive art and culture. Gorgeous clothing is a necessary part of Uyghur dress culture. Dress and adornment in Uyghur is featured by clear style, diversified pattern and vivid color. Especially, with distinctive ethnic characteristics, the headwear is the product of Uyghur dress culture and is the most obvious attribute of Uyghur dress.

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2

Wilton, Paula. "Traditional uniform dress is best." Nursing Standard 10, no. 49 (August 28, 1996): 10. http://dx.doi.org/10.7748/ns.10.49.10.s26.

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Wulandari, Lisa Okta. "Cultural Hegemony: White Gown vs Traditional Dress." Digital Press Social Sciences and Humanities 2 (2019): 00012. http://dx.doi.org/10.29037/digitalpress.42263.

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Traditional dress defines a local identity of a culture, place, tribe, or race. Nowadays, traditional dresses are only worn on some ceremonies such as wedding ceremony and even so, many people do not wear any kind of traditional attire in attending a wedding. Instead, they use the modern one. In this era, women are familiar with the white gown for the wedding. Instead of wearing the traditional dress, they rather choose a white gown for some reasons such as the needs, the condition, efficiency, or interest. However, besides those personal reasons, there are also external factors such as economy, social, and even politics. These all factors happen in one process called globalization. They are connected through the process of globalization. In this process, those factors influence the local identity, which in this case is a traditional dress, in engaged with a white gown. Also, it can be identified whether the traditional dress can survive, or it is replaced by a white gown and what condition in globalization makes traditional dress survive or not.

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Wang, Da Wei. "Study of the Traditional Daur Dress." Advanced Materials Research 332-334 (September 2011): 1769–72. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.1769.

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The daur in China is a typical of a few people northern minorities. Now, daur nationality in the production and living on the way people basic anointed by the localization, the traditional costume culture, social concern by serious loss very little. This papers to the dress culture of the daur nationality as the research object, and through field investigation and understanding, and analyzing the dress, which subdivided, aims to preserve and inheritance of the daur nationality traditional clothing culture.

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Na, Wei. "Chinese Traditional Costumes of Class Consciousness." Advanced Materials Research 821-822 (September 2013): 746–49. http://dx.doi.org/10.4028/www.scientific.net/amr.821-822.746.

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The artifacts design and usage have been evolving since preliminary civilization period from to satisfy pure physical needs gradually to also meet psychological needs. As the evolution result, some artifacts are designed and produced not only with practical or decorative value, but also with purpose to demonstrate the consciousness of rank difference. This article, from social class consciousness perspective, with the analysis on decoration methods, clothing color and materials, demonstrates the explicit and implicit class ideological connotation in Chinese traditional dress. The dress color and pattern are strictly defined for and associated with social classes, where any violation is prohibited. As a conclusion, most artifacts especially Chinese traditional dresses which clearly represent all social classes are the intended product by ruling class.

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Ebere Nwazonobi, Patricia, Edwin O. Izuakor, Isaac Attah Edeh, Innocent Aliama, Loveth Ogbonne Ogudu, Beatrice Ogonna Ogbonna, and Victor Chinedu Ogbozor. "Religious and Ethical Dress Code Dynamics in Africa : Igbo Traditional Society in Focus." African Journal of Religion Philosophy and Culture 2, no. 1 (June 1, 2021): 5–22. http://dx.doi.org/10.31920/2634-7644/2020/v2n1a1.

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Dress can be a reflection of the social world order, which is bound by a tacit set of rules, customs, conventions, and rituals that guide face-to-face interaction as observed in Africa and among people of Igbo descent. Africans are known for their cultural values and norms which their dress codes are significantly recognised in line with their national identity and symbols. The method adopted in this research work is qualitative to dissect these negative attitudinal changes in dressing that have led to increase in promiscuity, less zeal in education, crime and corruption. Findings showed that ‘riot’ in dress code are a reflection of lack of family values and orientations, parental negligence and irresponsibility. From late twentieth century to this twenty first century, there is a twist in the ethics of dressing that have defiled moral values, class, status, religiosity and cultural identity. For instance, before the above mentioned period in any gathering, one can easily differentiate the married from the singles, celebrities from other members of the society, the affluence from the poor, masquerades from human beings, the prostitutes, and gigolos from the decent. Today, there is ‘riot’ in dress code that some people dress like traditional priests and lunatics in the name of fashion or ‘fashion in vogue’. Women, both married and single dress alike which makes it difficult to differentiate the married from the single; this is also applicable to men. The focus of this research work on Igbo of Southeast Nigeria is for effective investigation. Again, Igbo people are adventurers which brings the globe as a village to them be it negative or positive including dressing. People ought to adhere to religious and social differentiations in dress code which recognise regional groups, classes, occupation, majority and minority groups, educational levels, persons of different ages, men and women.

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FORSTER, PHYLLIS. "Traditional Mourning Dress of the Akans of Ghana." Matatu 41, no. 1 (2013): 277–91. http://dx.doi.org/10.1163/9789401209151_018.

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Geum, Key-Soak, and Marilyn Revell DeLong. "Korean Traditional Dress as an Expression of Heritage." Dress 19, no. 1 (January 1992): 57–68. http://dx.doi.org/10.1179/036121192805298337.

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9

Yang, Rong, and Xiaoming Yang. "Literature Review of Taoism Dress Culture in China." Asian Social Science 16, no. 1 (December 31, 2019): 49. http://dx.doi.org/10.5539/ass.v16n1p49.

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Religious dress is a special kind of dress, which often embodies the thoughts and cultural ideas of a certain religion, but it is also likely to show the deeply cultural deposits of a certain national culture. Taoist clothing is a kind of clothing and accessories with obvious Taoism cultural connotation formed by absorbing, integrating and extending Taoism doctrines on the basis of Chinese traditional dress, which is of great significance to study of Chinese traditional culture and worth in-depth study in further.

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10

Jayasooriya, U. G. L. B., Saliya De Silva, and Wanigasundera Appuhamillage Don Padmasiri Wanigasundera. "IMPACT OF FEMALE SCHOOL TEACHERS’ DRESS CODE ON JOB PERFORMANCES: A CROSS-SECTIONAL STUDY IN SAGA CITY, JAPAN." Indonesian Journal of Social Research (IJSR) 2, no. 3 (December 12, 2020): 170–82. http://dx.doi.org/10.30997/ijsr.v2i3.62.

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The dress is an integral part of a profession. The research focuses on the dress codes of school teachers in Japan. Japan has relaxed the dress norms of school teachers over the years from a traditional/formal dress to a casual dress. We intended to examine if this change has a significant effect on the self-perceived job performance among school teachers in Japan with the purpose of seeking recommendations for many Asian countries like Sri Lanka in which traditional dress norms applied to teachers have not changed much or at all. A combined qualitative and quantitative study was conducted with three chosen prefectural schools in the Saga city, Japan. The qualitative study was a thematic analysis based on in-depth interviews with five selected school teachers. The quantitative study (n=30) was a descriptive cross-sectional study. A culturally validated, self-administered questionnaire was used to collect data on socio- demographic characteristics and dress code from the study sample. Self-perceived comfort level and effect of the dress code on performing their jobs were assessed on a set of given scenarios related to their profession. The responses were recorded on a five-point Likert scale. The subjects aged from 26 to 61 years old (mean =44±8 years). Wilcoxon Signed- Rank test indicated that the self-reported mean comfort score for casual dress of 25.75 is significantly higher than that of Kimono (mean score =10.77, p=.000). Most respondents believed that their job performance could be affected by the way they dress. According to the in-depth interviews, it was revealed that, compared to the traditional Kimono, the casual dress is convenient and comfortable for the duties they perform. Thus, the study reveals that Japan sets an example for the countries that are more concerned about embodying cultural symbols in the appearance of teachers rather than their convenience and efficiency: Japan has been successful in relaxing dress norms while sustaining the quality of education and cultural values.

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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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Lu, Ziqi. "Digital Image Art Style Transfer Algorithm and Simulation Based on Deep Learning Model." Scientific Programming 2022 (March 10, 2022): 1–9. http://dx.doi.org/10.1155/2022/8409459.

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In order to solve the problems of poor region delineation and boundary artifacts in Chinese style migration of images, an improved Variational Autoencoder (VAE) method for dress style migration is proposed. Firstly, the Yolo v3 model is used to quickly identify the dress localization of the input image, then, the classical semantic segmentation algorithm (FCN) is used to finely delineate the desired dress style migration region twice, and finally, the trained VAE model is used to generate the migrated Chinese style image. The results show that, compared with the traditional style migration model, the improved VAE style migration model can obtain finer synthetic images for dress style migration and can adapt to different Chinese traditional styles to meet the application requirements of dress style migration scenarios. We evaluated several deep learning-based models and achieved a BLEU value of 0.6 on average. The transformer-based model outperformed the other models, achieving a BLEU value of up to 0.72.

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Kuma-Kpobee, Mercy Afi. "The Evolution and Current Manufacturing Practice Applied to the traditional Dress of Women in Ghana." International Journal of Technology and Management Research 1, no. 2 (March 12, 2020): 56–66. http://dx.doi.org/10.47127/ijtmr.v1i2.24.

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Traditional dress for women in Ghana, known as “slit and kaba”, previously required no standardised sizing and fit, but as this dress has undergone an evolution and taken on more western features, the fit and manufacturing quality have become increasingly important. This paper evaluates the effect of the evolution of the slit and kaba on the current manufacturing processes adopted by the micro and small scale enterprises in Ghana. A qualitative approach was adopted to collect data in three metropolitan centres in Ghana from dressmakers of the traditional dress. An inductive approach through the grounded theory technique was utilised to analyse the data and the findings revealed that the traditional dress has undergone a considerable change in fit and form. The over reliance on trainee apprentices as workers has affected the quality of garments produced in relation to standardisation. It is also evident that most of the dressmakers rely on domestic equipment which is rudimentary in terms of technological development. This paper highlights the importance of skills and adequate equipment in the achievement of fit and quality in the area of garment manufacture in Ghana. Keywords: Garmentmanufacture;Qualitystandards;Fit;Traditionaldress;Evolution.

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14

Roberts, D. "Traditional dress style is a power trip for some." Nursing Standard 16, no. 23 (February 20, 2002): 30. http://dx.doi.org/10.7748/ns.16.23.30.s45.

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Fouze, Abu Qouder, and Miriam Amit. "Ethnomathematics and Geometrical Shapes in Bedouin Women’s Traditional Dress." Creative Education 10, no. 07 (2019): 1539–60. http://dx.doi.org/10.4236/ce.2019.107112.

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Katz, Richard E. "Encyclopedia of National Dress: Traditional Clothing around the World." Journal of Geography 114, no. 1 (August 4, 2014): 37. http://dx.doi.org/10.1080/00221341.2014.909870.

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17

Zhang, Chao, Xiao Jun Zhu, Lin Guo, and Ren Ping Xu. "The Raw Material Development and Application for Shui Nationality Traditional Costumes." Advanced Materials Research 952 (May 2014): 145–48. http://dx.doi.org/10.4028/www.scientific.net/amr.952.145.

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According to the traditional decorative materials of Guizhou Shui Nationality traditional costumes as the starting point, this paper explores the effect of traditional dress decoration materials faced by the current situation as well as new decorative materials development and application of the traditional culture, the conflict and decorations visual effect. Therefore, proposed in the new environment of market economy, it is necessary to make the development and application of dress traditional materials in order to meet the ever-changing market demand, and also to the protection and inheritance of traditional techniques and characteristics of the Shui Nationality decoration visual aesthetic of art and decoration materials contained in the folk culture. The purpose is to express its application value for the diversified development of world culture and art.

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18

Easterling, Cynthia R., Judith E. Leslie, and Michael A. Jones. "Perceived Importance and Usage of Dress Codes among Organizations That Market Professional Services." Public Personnel Management 21, no. 2 (June 1992): 211–19. http://dx.doi.org/10.1177/009102609202100208.

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A survey was conducted to investigate the nature and use of employee dress codes of organizations that market professional services. The study sample consisted of personnel administrators employed in selected service organizations that are members of the American Society of Personnel Administrators; the total sample included 1000 administrators. The analysis of responses revealed that dress is important in marketing services and that compliance to a dress code is a criterion for employee performance evaluation. While most administrators agreed that dress is a significant factor in their companies' success, few organizations had formal written dress codes; dress codes are most often communicated orally. Traditions in the professions, the expectations of customers, Chief Executive Officers of the organizations, and past experiences were the factors that dominate the development of dress codes. On the question of dress code requirements for male vs. female employees, the study revealed that more service organizations specify dress for males than for females. For traditional business attire, comparing the dress codes of the different service organizations revealed several significant relationships.

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BRAHMA, MANAJ KUMAR. "The Inter-Relation Of Dress And Culture In Bodo Society." Think India 22, no. 3 (September 20, 2019): 506–13. http://dx.doi.org/10.26643/think-india.v22i3.8317.

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Dress and culture is play very important role in Bodo society. From the primitive age to modern, the traditional dresses and ornaments have played a very important role in molding the socio-cultural life of the Bodos. They have their own culture, tradition, belief and customs, etc. The women still wear their traditional dress like- Dokhna, Gamacha, Jwmgra Phali, Sadri and Aronai. The Bodo people weave traditional hand woven dresses such as Dokhna, Sadri, Gamsa and Aronai. The Bodo women are bestowed with expertise in weaving their own traditional dresses. The Bodo women wear Dokhna and Sadri, while men wear Gamsa and Aronai.

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A. A., Olaoye, and Yekeen BELLO. "Nigerian Dress Culture: an Anthropo-Linguistic Communication Tool." Nile Journal of English Studies 2, no. 2 (December 1, 2016): 12. http://dx.doi.org/10.20321/nilejes.v2i2.67.

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<p>This paper tries to put forward an anthropo-linguistic approach to the promotion of Nigerian dress culture in corporate institutions. Linguistic anthropology is a twin discipline which is concerned with the study of human society. It examines culture in its totality – traditions, customs, languages, dress, artifacts and technology, together with human social behaviour and relationships. Dress culture belongs to the sub-division of anthropology called ethnology, which looks at cultures in their traditional forms, and in their adaptation to the changing conditions in the modern world. Dress culture is therefore seen in this paper as a system of communication that functions just like any language functions. For instance, the related subject of Semiotics – the science of signs and significations, i.e. the study of symbols and their communicative meanings – has made dress culture an interesting and intriguing mode of communication. Dress is symbolic, iconic and symptomatic, and it is open to diverse interpretations and meanings. Dress code in corporate institutions just like any symbolic language, speaks volume. The authors therefore explore dress culture in its ramification – ethnic / national ceremonial dress, occasional/ festival dress, corporate/professional dress, religious / ritual dress, political dress, etc., the interpretations of colours, and the role of dress culture in the promotion of national identity. It is suggested that Nigerian dress culture must be sensitive to people’s taste, convenience, style, sex, religious belief, and must consider climatic or weather conditions and modernity if it is to serve as a veritable communication tool.</p>

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HARINI, LUH PUTU IDA, KARTIKA SARI, and MADE SUSILAWATI. "ANALISIS FAKTOR PERSEPSI AKADEMISI TERHADAP PENGGUNAAN BUSANA ADAT DI LINGKUNGAN SEKOLAH." E-Jurnal Matematika 10, no. 3 (September 17, 2021): 179. http://dx.doi.org/10.24843/mtk.2021.v10.i03.p340.

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Traditional Balinese clothing is a typical Balinese clothing that is characterized by Balinese customs used as a form of cultural protection that reflects the nature of politeness, shade, peace, and pride for the wearer. The Governor of Bali in the Regulation of the Governor of Bali Number 79 of 2018, concerning the Day for the Use of Balinese Traditional Clothing states that one of the objectives of using Balinese traditional clothing is to maintain and maintain the preservation of Balinese Traditional Clothing in order to strengthen identity, character and character, to recognize the values the aesthetic, ethical, moral, and spiritual values ??contained in Balinese culture and encourage increased use of local Balinese fashion products and industries. The purpose of this study was to determine the factors that influence academic perceptions of the use of traditional clothing in the school environment. This research was conducted in high schools in Denpasar, using the factor analysis method. The sample in this study were 181 respondents. The sampling technique used was purposive sampling. The results showed that the factors that influenced students' perceptions of the use of traditional clothing in the school environment were comfort in traditional clothing, knowledge of the rules of traditional dress, knowledge of traditional clothing, ethics of Balinese traditional dress and tourists and Balinese traditional clothing. These five factors can explain the diversity of students 'perceptions of 58.742 percent, with the dominant factor affecting students' perceptions of the use of traditional clothing in the school environment is comfort in traditional dress.

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Marcus, Lauren. "Sources: Encyclopedia of National Dress: Traditional Clothing Around the World." Reference & User Services Quarterly 53, no. 2 (December 1, 2013): 197–98. http://dx.doi.org/10.5860/rusq.53n2.197c.

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Jung, Yangsook, and Younhee Lee. "A wedding dress design that applies the traditional dang-ui." Research Journal of the Costume Culture 27, no. 2 (April 30, 2019): 140–53. http://dx.doi.org/10.29049/rjcc.2019.27.2.140.

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Heidari, Ahmad, and B. K. Ravindranath. "Traditional Dress patterns and Clothing among Kodavas: Issues and Prospects." Afro Asian Journal of Anthropology and Social Policy 5, no. 2 (2014): 58. http://dx.doi.org/10.5958/2229-4414.2014.00006.4.

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Carlson, Marvin. "The Eighteenth Century Pioneers in French Costume Reform." Theatre Survey 28, no. 1 (May 1987): 37–47. http://dx.doi.org/10.1017/s0040557400008966.

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In the middle years of the eighteenth century a major shift took place in France concerning the idea of appropriate stage costume. The traditional dress of high classicism, with its helmets and high plumes for the men, large hoop skirts for the women, and elegant, symmetrical, and highly artificial dress for both began to be challenged by leading critics and artists, who sought—for greater realism, greater historical accuracy, or greater ease and beauty of movement on stage—a more relaxed and informal approach to stage dress.

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Slavinska, Alla, Tatyana Verzhbyczka, and Oksana Syrotenko. "THE SCREEN-WAY OF FORMING WEDDING GRAPHICS IN THE UKRAINIAN TRADITION." International Conference on Technics, Technologies and Education, ICTTE 2019 (2019): 369–79. http://dx.doi.org/10.15547/ictte.06.022.

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The "screen" way of determining the stylistics of the Ukrainian wedding dress on the basis of the rhythmic structure of an ethnic costume is offered. The modern ensembles of the bride and groom in the Ukrainian style are actually analyzed. The photos plates of ideas for wedding ensembles for the "screen"- survey are developed. The capsules of the traditional Ukrainian ethnic dress in the compositional transformation of the bride’s wedding dress have been explored. A short notation of the geometry of a form of a wedding dress in the Ukrainian style has been developed. The triangle of the compositional dominant of the main part of the embroidery and the identity of the authenticity of the image is determined.

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Dowling, William A. "The Impact Of Faculty Apparel In The Classroom." College Teaching Methods & Styles Journal (CTMS) 4, no. 1 (August 3, 2011): 1. http://dx.doi.org/10.19030/ctms.v4i1.5042.

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In addition to imbuing students with traditional field based knowledge, faculty in colleges of business administration have increasingly been asked to instill a sense of professionalism in students. Faculty members are, at the least, expected to bring a sense of professionalism to the classroom, and it is understood that this starts with professional dress on the part of faculty. A concomitant assumption with the expectation of professional behavior and dress on the part of faculty, is the belief that faculty dress has a positive impact on the classroom environment thus on learning

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Miller, Margaret. "Clothes and Identity: The Case of the Greeks in Ionia c. 400 BC." Antichthon 47 (2013): 18–38. http://dx.doi.org/10.1017/s0066477400000241.

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AbstractThe capacity of the individual to maintain several identities concurrently is well established, as is the ability of dress to reflect (passively) or to announce (actively) the social identities of its bearer. Within a multi-national structure such as the Achaemenid Persian Empire the semiosis of dress is especially complex. Since dress functions as a form of non-verbal communication, study of the language of dress of past cultures must appeal to the widest possible range of literary and visual sources.Analysis of the visual arts within the Persian sphere shows careful attention to vestimental definition of the Iranian ‘dominant ethno-class’ and its separation from the dress of the subject peoples in the western empire. Artistic and literary evidence for the Greek and West Anatolian experience of the Persian Empire testifies to the extent of the Persian presence in the west. It also shows the cultural flexibility of the local populations, who might occasionally emulate the Persian model by adopting Persian dress while retaining the traits of their traditional cultures.

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Fülemile, Ágnes. "Social Change, Dress and Identity." Acta Ethnographica Hungarica 65, no. 1 (November 11, 2020): 107–86. http://dx.doi.org/10.1556/022.2020.00007.

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The article, based on extensive ethnographic fieldwork, studies the process of the disintegration of the traditional system of peasant costume in the 20th century in Hungary in the backdrop of its socio-historic context. There is a focused attention on the period during socialism from the late 1940s to the end of the Kádár era, also called Gulyás communism. In the examined period, the wearing and abandonment of folk costume in local peasant communities was primarily characteristic of women and an important part of women’s competence and decision-making. There was an age group that experienced the dichotomy of peasant heritage and the realities of socialist modernisation as a challenge in their own lifetime – which they considered a great watershed. The author interviewed both the last stewards of tradition who continued wearing costume for the rest of their lives and those who pioneered and implemented changes and abandoned peasant costume in favor of urban dress. The liminal period of change, the character and logic of the processes and motivations behind decision-making were still accessible in memory, and current dressing practices and the folklorism phenomena of the “afterlife” of costume could still be studied in real life. The study shows that costume was the focus point of women’s aspirations, attention, and life organization, and how the life paths of strong female personalities were articulated around clothing. It also reveals that there was a high level of self-awareness and strong emotional attachment in individual relationships to clothing in the rural context, similar to – or perhaps even exceeding – the fashion-conscious, individualized urban context. Examining the role of fashion, modernization, and individual decisions and attitudes in traditional clothing systems is an approach that bridges the mostly distinct study of folk costume and the problematics of dress and fashion history research.

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AS, Nasruddin. "Pergeseran Budaya Masyarakat Perlak Asan: Studi Kasus tentang Pakaian Adat." Jurnal Adabiya 20, no. 1 (April 16, 2020): 1. http://dx.doi.org/10.22373/adabiya.v20i1.6775.

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The shift of traditional clothing in society is very common to happen because of an attempt to adapt with new need. The happening of shift in traditional clothing of marriage in Perlak Asan village, Sakti Sub-dis- trict, Pidie Regency focus more on the clothes during religious rite and cultural rite of marriage. This research is using qualitative method which is observation, interview and documentation. The result of research show that traditional clothing for marriage is changing from traditional into modern. But the shift is about the mod- ernization of the clothes which show the process of social culture transformation as the urge of society to be up to date with global world. Traditional clothing that is being used consists of values or messages that want to be delivered by the brides. Traditional clothing for example is Acehnese clothing, Seloyor. And modification of modern clothing is Acehnese clothing Duyung, Indian wedding dress, Barbie dress, Kebaya gown and Kebaya robe.

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Na, Wei, and Yan Hui Wang. "Practical and Decorative Aesthetic Function of Clothes Edge in Chinese Traditional Costumes." Advanced Materials Research 627 (December 2012): 536–40. http://dx.doi.org/10.4028/www.scientific.net/amr.627.536.

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Edging is Chinese traditional border processing mode. The new symbol meaning and spirit function accumulated in the long development history of the garment trimming culture, have the rich cultural connotation. The edging of women’s common dress is actually used to demonstrate the functional attributes and aesthetic attributes.

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Quye, Anita, and Hugh Cheape. "Rediscovering the Arisaid." Costume 42, no. 1 (June 1, 2008): 1–20. http://dx.doi.org/10.1179/174963008x285151.

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The stereotype of 'traditional' Highland dress is the kilted male figure. The National Museums Scotland (NMS) and other museums have long included a category 'Arisaids' in their collections; research reveals that this was a female version of 'traditional' Highland dress, a finely-made and high status garment which was going out of fashion in the eighteenth century, though leaving some material evidence. This essay looks at evidence within the textiles themselves, using results from dye analysis, and places the results against sparse but telling historical and literary evidence to rediscover a 'lost' fashion. In the Highlands and Islands of Scotland, this was high colour, high quality and high fashion.

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Park, Saet Byul, and Marilyn Delong. "What is the Meaning of Black in Korean Traditional Mourning Dress?" International Journal of Costume and Fashion 14, no. 2 (December 31, 2014): 81–96. http://dx.doi.org/10.7233/ijcf.2014.14.2.081.

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Petrova, O. L. "Traditional Indonesian Clothing and Modernity. Batik and kebaya." South East Asia: Actual problems of Development, no. 1(46) (2020): 483–93. http://dx.doi.org/10.31696/2072-8271-2020-1-1-46-483-493.

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Indonesia is the largest island state, each of the provinces has their unique traditional costumes. Indonesian culture has been influenced by many religions, including Christianity, Islam, Confucianism, Buddhism, and Hinduism for centuries. Despite foreign influence, various regions have retained their indigenous cultures. Different ethnic groups still wear their historical outfits and practice ethnic rituals. Styles of traditional dress are still inseparably connected with the prestige and power. Traditional clothing has not remained unchanged in design, but reflects an individual choice in aesthetics and lifestyle, in the face of rapid changes.

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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 (May 29, 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 movement is; (2) how it is viewed by those external to it; (3) how the members of the movement want themselves to preserve or change the movement and its public image; (4) and how external fashion processes infiltrate the tastes and sensibilities of the members. It is concluded that elements considered ‘traditional’, ‘modern’, ‘secular’ and ‘religious’ may all be present at the same time in a dress phenomenon, indicating that fashion’s association with modern secularity is not as clear-cut as is sometimes thought.

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Peter, Oni, and Sharomi Abayomi. "Appearances and Cultural Symbols as Formal Functional Symbols: on the Hermeneutics and Recognition of Yorùbá Dress Code." Uchenie zapiski Instituta Afriki RAN, no. 2 (June 30, 2021): 80–89. http://dx.doi.org/10.31132/2412-5717-2021-55-2-80-89.

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This paper argues that Yorùbá dress codes (fondly called traditional dress) ought to be symbols of both cultural and formal identity. As part of the being of the Yorùbá, dressing represents more than covering human nakedness, it defines the individual just as it symbolizes different things and moods. Colours, designs and functions all serve as symbols. Unfortunately, within these symbolisms the Yorùbá dresses are not generally welcomed as symbols of formal environments (especially nongovernmental corporate offices). Such outfits at best may be allowed as a dress-down. Formal symbolisms of Yorùbá dresses are restricted to political office holders or government functionaries, beyond which cultural attires are reserved for social functions. In other words, corporate dress codes do not give room for normative or psychological recognition of Yorùbá cultural dressing. Although in recent years Africans have given life to very rich indigenous identities, which have begun to re-affirm the functionality of our arts, yet not many people today have tried to relate these to questions of corporate dressing. It is believed that African cultural symbols are better reflected as traditional symbols. The methods of exposition, hermeneutics, conceptual analysis and critical evaluative reasoning are used in this paper to expose on the one hand Yorùbá dress symbolisms and on the other hand to submit that Yorùbá costumes are as formal as wearing a tie and suit to the office. This lends a voice to the recognition and incorporation of Yorùbá garments (and other African cultural dresses) into general formal symbols.

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Saitaer, Xiakeer. "Brief Analysis of Uyghur Atlas." Advanced Materials Research 627 (December 2012): 594–97. http://dx.doi.org/10.4028/www.scientific.net/amr.627.594.

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Uyghur atlas plays important roles in Uyghur dress and adornment. Atlas silk is an embodiment of the wisdom and civilization of Xinjiang ethnic groups. The main value of the traditional atlas silk lies in its unique colors and patterns, dying technique and cultural connotation. The use of atlas silk as dress material is the favorite for Xinjiang ethnic women, especially Uyghur women. The legend, classification and knitting process as well as some protective measures are introduced in this paper.

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Fayemi, Ademola Kazeem. "African Sartorial Culture and the Question of Identity: Towards an African Philosophy of Dress." Uchenie zapiski Instituta Afriki RAN, no. 2 (June 30, 2021): 66–79. http://dx.doi.org/10.31132/2412-5717-2021-55-2-66-79.

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This paper is a critical interrogation of the apparel culture as a marker of African identity in traditional and contemporary Africa. The article philosophically discusses the sartorial culture of sub-Saharan Africans in the light of its defining elements, identity, and non-verbal communicative proclivities. Focusing on the Yoruba and the Ashanti people, the author argues that African dress expresses some symbolic, linguistic, and sometimes hidden, complex and immanent meaning(s) requiring extensive interpretations and meaning construction. With illustrative examples, he defends the position that the identity of some cultural regions in Africa can be grouped together based on the original, specific techniques and essence of dress that they commonly share. Against the present absence of an African philosophy of dress in the African sartorial culture and knowledge production, he argues the imperativeness of an African philosophy of dress, its subject matter, and connections to other cognate branches of African philosophy, and the prospects of such an ancillary African philosophy.

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Lehtinen, Ildikó. "Behind the Scene." Ethnologia Fennica 48, no. 2 (December 22, 2021): 5–40. http://dx.doi.org/10.23991/ef.v48i2.103024.

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In this article, I analyze teacher’s attire as a political phenomenon in the context of the Mari people, a Finno-Ugric minority living in Central Russia. The material for this study is based on observations and interviews made by the author during 1987‒2019 in different places of the Mari region. The Mari teacher’s dress code, a dark dress with a white collar, is usually considered self-evident, but as I argue in this article, in the Soviet Union, and in Russia at the post-socialist time, the Mari female teacher’s dress served two practices. Firstly, clothing represented position and agency of power, the socialist ideal, and later the political trend of the majority. Secondly, clothing represented traditional, everyday Mari life.

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Lu, Wenli, and Xiangyang Bian. "Application of Cheongsam Display in the Museum Based on Virtual Reality Technology." MATEC Web of Conferences 227 (2018): 02002. http://dx.doi.org/10.1051/matecconf/201822702002.

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The wide application of Virtual Reality technology has realized the virtualization of display in the museum and created a new form of interaction between visitors and exhibits. Cheongsam is the product of innovative integration of Chinese traditional dress and Western dress. In this paper, we take “Orange silk Qipao with velvet pattern” which exhibits in Shanghai Museum of textile and costume as an example, take the immersive Virtual Reality System as the carrier to introduce the construction process of Cheongsam Virtual Reality System.

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Zubair, Maria, Wendy Martin, and Christina Victor. "Embodying Gender, Age, Ethnicity and Power in ‘the Field’: Reflections on Dress and the Presentation of the Self in Research with Older Pakistani Muslims." Sociological Research Online 17, no. 3 (August 2012): 73–90. http://dx.doi.org/10.5153/sro.2667.

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In recent years, there has been an increasing interest in researching people growing older in the South Asian ethnic minority communities in the UK. However, these populations have received comparatively little attention in wide-ranging discussions on culturally and socially appropriate research methodologies. In this paper, we draw on the experiences of a young female Pakistani Muslim researcher researching older Pakistani Muslim women and men, to explore the significance of gender, age and ethnicity to fieldwork processes and ‘field’ relationships. In particular, we highlight the significance of dress and specific presentations of the embodied self within the research process. We do so by focusing upon three key issues: (1) Insider/Outsider boundaries and how these boundaries are continuously and actively negotiated in the field through the use of dress and specific presentations of the embodied ‘self’; (2) The links between gender, age and space - more specifically, how the researcher's use of traditional Pakistani dress, and her differing research relationships, are influenced by the older Pakistani Muslim participants’ gendered use of public and private space; and (3) The opportunities and vulnerabilities experienced by the researcher in the field, reinforced by her use (or otherwise) of the traditional and feminine Pakistani Muslim dress. Our research therefore highlights the role of different presentations of the embodied ‘self’ to fieldwork processes and relationships, and illustrates how age, gender and status intersect to produce fluctuating insider/outsider boundaries as well as different opportunities and experiences of power and vulnerability within research relationships.

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Egreteau, Renaud. "Fashioning Parliament: The Politics of Dress in Myanmar’s Postcolonial Legislatures." Parliamentary Affairs 72, no. 3 (June 26, 2018): 684–701. http://dx.doi.org/10.1093/pa/gsy026.

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AbstractThis article discusses the significance of dress codes and clothing in postcolonial Myanmar’s successive legislatures. Burmese representatives have since the 1950s been strongly encouraged to wear dignified garb and non-Western dress when carrying out their duties in parliament. What does it tell us? The contribution of this study based on field interviews and the analysis of newspaper reports and parliamentary procedures, is threefold. It first sheds light on Myanmar’s understudied parliamentary history and some of its startling institutional continuities despite decades of military rule. It then shows how the fashioning and reinvention of traditional attires by Burmese parliamentarians has accelerated the pace of decolonisation, while serving as an effective tool of representation. Lastly, it argues that the ritual of dress in parliament has contributed to a persistent reification of identities, thereby reinforcing the politicisation of ethnicity in an already fragmented Myanmar society.

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Arana, Ana Balda. "Cristóbal Balenciaga. Explorations in Traditional Spanish Aesthetics." Costume 53, no. 2 (September 2019): 161–85. http://dx.doi.org/10.3366/cost.2019.0119.

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This article investigates how the traditional attire and religious iconography of Cristóbal Balenciaga's (1895–1972) country of origin inspired his designs. The arguments presented here build on what has already been established on the subject, provide new data regarding the cultural context that informed the couturier's creative process (with which the Anglo-Saxon world is less familiar) and conclude by investigating the reasons and timing of his exploration of these fields. They suggest why this Spanish influence is present in his innovations in the 1950s and 1960s and go beyond clichéd interpretations of the ruffles of flamenco dress and bullfighters’ jackets. The findings derive from research for the author's doctoral thesis and her curatorial contribution to the exhibition Coal and Velvet. Balenciaga and Ortiz Echagüe. Views on the Popular Costume (Balenciaga Museum, Getaria, Spain, 7 October 2016–7 May 2017).

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Rijken, Hanna, Martin, J. M. Hoondert, and Marcel Barnard. "Dress in Choral Evensongs in the Dutch Context – Appropriation and Transformation of Religiosity in the Netherlands." Temenos - Nordic Journal of Comparative Religion 53, no. 2 (December 29, 2017): 219–42. http://dx.doi.org/10.33356/temenos.54198.

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This article studies the appropriation of Anglican choral evensong, and more specifically, dress at choral evensong, in the Netherlands outside the context of the Anglican Church to gain more insight into religiosity in the Netherlands. The authors explore the dress worn at choral evensong in the Netherlands and the meanings participants attribute to it. The concepts of denotational and connotational meanings are used as an analytical tool. In analysing their interviews, the authors came across three categories of meaning and function participants attribute to dress at choral evensong. The first category was the reference to ‘England as a model’. By wearing Anglican dress, choirs indicate they belong to the high-quality sound group of English cathedral choirs. At the same time, by changing the Anglican ‘dress code’, choirs emphasise their unicity and individuality, independent of church traditions. The second category was the marking of identity: choirs copy the dress from the English tradition, but add some elements to mark their own identity. Besides this marking of identity, aspects of unicity, uniformity, group identity, and gender-marking also play a part. The third category was metamorphosis and transcendence. Choir members refer to unarticulated transcendental experiences by wearing ritual liturgical dress. On the one hand the authors noted a ‘cathedralisation’ or ‘ceremonialisation’ of the singers’ dress, and on the other a de-institutionalisation, for example, in the dress of the minister, if present. The article’s main conclusion is that the fieldwork data reveal that dress at choral evensong in the Netherlands points to changing religiosity at two different levels. First, the authors observe a transformation in the way religion is expressed or ritualised in Reformed Protestant churches in the Netherlands. The popularity of evensong suggests a longing for other forms of worship, with a focus on ceremonies and Anglican-like vesture for the singers. Second, they observe a mix of concert practices and Anglican-like rituals, which the interviewees in our research refer to as a new form of religiosity. In both practices the traditional dress of the Anglican Church is used, whether copied exactly or adapted. A new phenomenon may be observed: choirs wear Anglican-like vesture decoupled from the Anglican Church as they are longing for transcendental experiences which they find in the musical-ritual form and high musical quality of choral evensong.

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Niu, Li, Tingting Xia, Rongrong Cui, and Jie Lu. "Emergence of Chinese Han Retro Wedding Dress." Asian Social Science 12, no. 7 (June 21, 2016): 42. http://dx.doi.org/10.5539/ass.v12n7p42.

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<p>Social changes led to the gradual disappearance of traditional Han costume. While in the context of national cultural revival, the "Chinese Hanfu movement" has given rise to the appearance and commercialization of Han Retro Wedding Dress, which including "Zhou style", "Han style", "Tang style", "Song Style" and "Ming style." Chinese history and culture, social democratic environment, economical market promotion and diverse aesthetic needs give the soil for these dresses. While contemporary wedding dresses in China are mostly westernized, and these retro dresses bring certain "reverse cultural shock" to Chinese marriage custom. The key of dealing with the "reverse cultural shock" and reviving Chinese costume culture should be following the market rules with sufficient cultural consciousness of the whole Chinese nation.<strong></strong></p>

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Goncharova, Natalia N. "Pair Images on the Painted Chests of the 17th and 18th Centuries from the Russian North." Observatory of Culture, no. 2 (April 28, 2015): 69–73. http://dx.doi.org/10.25281/2072-3156-2015-0-2-69-73.

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Is devoted to one of the typical themes in folk arts. The images of lads and lasses, ladies and gentlemen in the picturesque compositions, their clothes, accessories, and other items allow tracing the transition from the Old Russian traditional dress to European costume.

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Liu, Xiang, and Chu-Yeon Suh. "A Study of Chinese Women"s Traditional Wedding Dress Preference and Purchasing Behavior." Journal of Korean Traditional Costume 23, no. 2 (June 30, 2020): 81–97. http://dx.doi.org/10.16885/jktc.2020.06.23.2.81.

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Lee, Kyung-Mee. "Study on the Evolution of the Traditional-Style Soryebok in Korean Modern Dress." Journal of the Korean Society of Costume 64, no. 4 (June 30, 2014): 162–75. http://dx.doi.org/10.7233/jksc.2014.64.4.162.

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김인경. "A Study on the Modern Accomodation of Formative Beauty of Traditional Dress Styles." Research Journal of the Costume Culture 15, no. 4 (August 2007): 713–25. http://dx.doi.org/10.29049/rjcc.2007.15.4.713.

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Jirousek, Charlotte A. "From "Traditional" to "Mass Fashion System" Dress Among Men in a Turkish Village." Clothing and Textiles Research Journal 15, no. 4 (October 1997): 203–15. http://dx.doi.org/10.1177/0887302x9701500402.

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