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Artículos de revistas sobre el tema "Western costume"

Autor: Grafiati

Publicado: 27 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Zhang, Jingtong, and Yanchen Liu. "Research on Western Minorities Costume Culture and Innovative Development--Analysis Based on a Sample Questionnaire on Western Minorities National Costume." Journal of Social Science Humanities and Literature 6, no. 6 (2023): 5–12. http://dx.doi.org/10.53469/jsshl.2023.06(06).02.

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Based on analyzing the questionnaire sample on Western Minorities national costumes, this paper comprehensively explores the development trend and innovative direction of Western Minorities costume culture. The study results show that in the context of globalization, traditional Western Minorities costumes are gradually welcomed by the younger generation as a fashion representative. At the same time, traditional Western Minorities costumes have been innovatively applied in modern costume design. In the questionnaire, we learned that more and more consumer groups are interested in Western Minor

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2

Zhang, Jiwen. "An Exploration of the Differences between Chinese and Western Costumes in the Archaeological Archaeology of Clothing Culture in Different Periods of Agriculture." Journal of Environmental and Public Health 2022 (June 15, 2022): 1–12. http://dx.doi.org/10.1155/2022/2491990.

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Countries around the world have different historical development processes in different periods of agricultural economic environment, and have formed different costume culture characteristics. This study analyzes the differences in aesthetic standards in Chinese and Western clothing cultures, as well as the differences between Chinese and Western costumes in color design, structural design, and dress methods, and elaborates the main reasons for the differences between Chinese and Western clothing cultures. The study focuses on the characteristics and differences of traditional clothing art cul

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3

Romanyuk, Ivan, and Tymofiy Herasymov. "Liliya Ivanevych. Traditional Costume of the Ukrainians of Podillia (the Second Half of the 19th – Beginning of the 21st Century): History, Classification, Constructive-Artistic and Regional-Local Features. Monograph. Khmelnytskyi: FOP Melnyk A.A., 2022." Scientific Papers of the Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University. Series: History, no. 41 (2022): 135–37. http://dx.doi.org/10.31652/2411-2143-2022-41-135-137.

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The article reviews the monograph of Lilia Ivanevich, which examines the regional and local specifics of the traditional costume of Ukrainians of the Bukovyna, Western, Eastern and Central Podillia zones of the second half of the 19th and early 21st centuries. The classification of folk costume of the region according to its constructive-artistic and functional-utility characteristics is given. The author revealed national, special regional, specific subregional features of the formation of daily, festive and ceremonial folk costumes of the Podolians.

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4

Puspitasari, Feny. "COSTUME COLOR AS A MEDIUM OF COMMUNICATING THE CHARACTER CHANGES OF WARRIOR ANGGINI IN THE FILM WIRO SABLENG (2018)." New Design Ideas 9, no. 1 (2025): 269–86. https://doi.org/10.62476/ndi.91.269.

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Film costumes are not just aesthetics but also convey subtext, enrich characterization and shape the audience's perception. Color as part of a costume can reflect emotions, social status or character changes. However, color often has more meaning when examined in depth. In action films, costumes appear iconic, both in Western action films and Indonesian martial arts films, one of which is the Wiro Sableng martial arts film, which was re-produced in 2018. Like Western superhero films, the hero in this story has an iconic appearance. However, in the Wiro Sableng film made in 2018, namely, warrio

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5

Loite, Kersti. "Üksikesemest ülikonnani Virumaa rahvarõiva näitel / From a single item to an outfit (on the basis of Viru county folk costume)." Studia Vernacula 6 (November 5, 2015): 42–64. http://dx.doi.org/10.12697/sv.2015.6.42-64.

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In practice, the wearing of folk costume stopped in Viru County at the end of the 19th century, somewhat earlier in the western parts of the area and somewhat later in the eastern parts. Around the same time, people started to collect and preserve folk costumes. Since most of the Viru folk costumes are represented in museum collections as single items, this article examines how the traditional outfits have been assembled from single items and what has been considered important by those doing so. Three main books have been studied: “Estonian Folk Costumes” by Helmi Kurrik (published in 1938), “

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6

Loite, Kersti. "Üksikesemest ülikonnani Virumaa rahvarõiva näitel / From a single item to an outfit (on the basis of Viru county folk costume)." Studia Vernacula 6 (November 5, 2015): 42–64. http://dx.doi.org/10.12697/sv.2015.6.42-64.

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In practice, the wearing of folk costume stopped in Viru County at the end of the 19th century, somewhat earlier in the western parts of the area and somewhat later in the eastern parts. Around the same time, people started to collect and preserve folk costumes. Since most of the Viru folk costumes are represented in museum collections as single items, this article examines how the traditional outfits have been assembled from single items and what has been considered important by those doing so. Three main books have been studied: “Estonian Folk Costumes” by Helmi Kurrik (published in 1938), “

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7

Xue, Mengjie. "The Transmission Effect of Costume Dramas on International Social Media." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 82–85. http://dx.doi.org/10.54097/ehss.v1i.642.

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C-dramas are launched on YouTube platform, and the update speed overseas is the same as that at home. Overseas audiences can understand costume dramas through language symbols, star symbols, and they love costume dramas more than modern dramas. They have the ability to share joys and sorrows with film and television characters. The viewing of costume dramas leads to Chinese fever and star chasing behavior. In order to better spread costume drama, it can create contact opportunities for overseas audiences within the acceptable range of culture, reduce the cultural inaccuracy part of costume dra

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8

Schiffner, Hannah Sophie. "Superhero uniforms: Challenging and redefining heroic identity." Clothing Cultures 10, no. 1 (2023): 53–64. http://dx.doi.org/10.1386/cc_00068_1.

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It is through superhero costumes that heroic identity is established. Superhero clothing, such as masks, capes and bright colours, not only establishes the superhero narrative but also plays a vital role in the superhero’s identity as distinct from other superheroes, but also from the general public. It is through costume that superheroes are distinguished with many immediately recognized across and on multi-platforms. However, in recent years, western societies have been described as transitioning into a post-heroic era. This article will analyse how superhero costumes of the Marvel Cinematic

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9

Wilson, Verity. "Western Modes and Asian Clothes: Reflections on Borrowing Other People's Dress." Costume 36, no. 1 (2002): 139–57. http://dx.doi.org/10.1179/cos.2002.36.1.139.

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10

Mangesti, Rahayu, Gede Mugi Raharja I, Agung Gede Rai Remawa Anak, and Istri Ratna Cora Sudharsana Tjok. "Acculturation in Sie Jin Kwie's Performance Costumes, Teater Koma Production in Jakarta." International Journal of Social Science and Human Research 08, no. 04 (2025): 2246–55. https://doi.org/10.5281/zenodo.15227192.

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Costumes in theater performances are very important in building the characters in the script. According to Teater Koma, the costumes in the Sie Jin Kwie theater performance are the best and most magnificent costumes of all Teater Koma productions. The Sie Jin Kwie play is set in Chinese history during the Tang Dynasty. This study examines the costumes of the Sie Jin Kwie Fights the Western Ghost theater produced by Teater Koma with an acculturation approach through qualitative methods. In the process of making theater costumes, costume makers need to understand the script to be able to build t

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11

Артеменко, М. П., та І. С. Агаджанян. "ХУДОЖНЬО-ОБРАЗНІ ОСОБЛИВОСТІ ГЕРОЇВ КОСПЛЕЮ В КОНТЕКСТІ ДОСЯГНЕННЯ ТУРИСТИЧНОЇ АТРАКЦІЇ". Art and Design, № 3 (11 грудня 2018): 41–53. http://dx.doi.org/10.30857/2617-0272.2018.3.4.

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The study seeks to systematize artistic-figurative features of cosplay heroes in the context of achieving tourist attraction taking into account the cultural traditions of the eastern (Japanese) and western (American-European) directions of this subculture.The research includes a critical analysis of publications on selected topics, analytical processing and systematization of the collected information base of the study with photo-illustrative material, in which examples of costumes for cosplay are recorded. Also, the visual-graphic methods of data processing were used in the work, which allow

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12

Khairedinova, Elzara. "Children’s Burials with a Great Buckle from the South-western Crimea." Stratum plus. Archaeology and Cultural Anthropology, no. 4 (August 29, 2023): 305–23. http://dx.doi.org/10.55086/sp234305324.

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In the burial ground near the village of Luchistoe, in vaults 104 and 268, two unique children’s burials of the turn of the 6th—7th century were revealed, in which a complete set of metal accessories of clothing and jewelry characteristic of the costume of adult women of the Crimean Goths was recorded. The article describes the inventory of burials, discusses the features of the use of individual parts of the costume and jewelry. According to the state of things fixed in situ on the bones, a children’s suit with a large buckle is reconstructed. Placing things of adults in children’s burials is

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13

Fordham, Douglas. "Costume Dramas: British Art at the Court of the Marathas." Representations 101, no. 1 (2008): 57–85. http://dx.doi.org/10.1525/rep.2008.101.1.57.

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Arriving at the Maratha court of Poona in the 1790s, British artists struggled to integrate metropolitan aesthetics into the business of imperial expansion. "Costume" lay at the heart of this conflict, pitting an aesthetic concept against an early ethnographic tool of the East India Company. By focusing on British representations of the Maratha durbar, this essay argues that "costume" tested the ideological limits of Western aesthetics and imperial representation at the turn of the century.

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14

Adeyemo, Peter Adewole. "An Evaluation of Cultural Symbolism of Selected Items on the <i>Lomolehin</i> Masquerade Costume." African Journal of Humanities and Contemporary Education Research 15, no. 1 (2024): 235–47. http://dx.doi.org/10.62154/n2h5bw29.

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The masquerade culture is so significant and usually well celebrated annually among the Yoruba of South-western Nigeria that, just like their counterparts in the Eastern part and some areas in the former Middle Belt of the country, they cannot do without honouring their departed ancestors in costumed figures. This is a sequel to their strong belief in life after death and that these departed individuals have pivotal roles they play in the lives of the living. It is against this backdrop that the veneration of the dead via ancestral worship is taken seriously among the aforementioned ethnic gro

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15

Osmond, Suzanne, and Madeline Taylor. "Finding common threads: The future of costume pedagogy and practice." Studies in Costume & Performance 9, no. 2 (2024): 105–14. https://doi.org/10.1386/scp_00113_2.

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As professional practice and tertiary education face unprecedented challenges, this Special Issue explores the evolving landscape of costume pedagogy. Climate change, social inequity and technological advancements are just some of the issues which are challenging costume educators to create and implement innovative teaching methodologies and approaches. Their focus includes the decolonization of curricula, emphasizing non-western perspectives and re-emphasizing the importance of critical thinking, problem-solving, collaboration and co-creation in educational settings. Additionally, this Specia

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16

Smith, Lorraine. "The Invisible Work of the Costume Performer." Nordic Journal of Dance 15, no. 2 (2024): 28–39. https://doi.org/10.2478/njd-2024-0010.

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Abstract In the field of costume performance, the power of costume to create and communicate meaning and metaphor and enhance performer embodiment and audience connection has been evidenced and commended. There has been an abundance of research from both designer and performer perspectives, with a focus on the evolving relationship between the body and the costume. However, does 21st-century progressive experimental costume performance, which may include the use of unconventional materials, have the potential to impact the labour of the performer? Costume can both reveal and hide the body, arg

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17

임은혁. "Pastiche of Western Traditional Costume in Japanese Avant-Garde Fashion." Research Journal of the Costume Culture 19, no. 5 (2011): 970–80. http://dx.doi.org/10.29049/rjcc.2011.19.5.970.

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18

Silas-Ufelle, Adaeze, and Pius Ntagu. "Igbo dress culture and costume." Journal of African History, Culture and Arts (JAHCA) 5, no. 1 (2025): 46–54. https://doi.org/10.5281/zenodo.15555303.

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The evolution of clothing, influenced by environment and resources, has significantly shaped cultural identities. Dress and costume serve as powerful visual communicators of individual and cultural heritage. This study explores the rich dress culture and costume of the Igbo people in South-Eastern Nigeria. It aims to articulate the nuances of Igbo attire, identifying core traditional garments for men and women, and to unravel the influences shaping their sartorial expressions. The research highlights the unique blend of age-old customs and contemporary trends defining modern Igbo fashion.. Emp

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19

Fedorchuk, Olena, and Romana Motyl. "Tradition of Beaded Decoration in the Ukrainian Folk Costume: Reconstruction of the Second Stage (Based on the Materials of Western Regions of Ukraine)." Arta 32, no. 1 (2023): 124–31. http://dx.doi.org/10.52603/arta.2023.32-1.17.

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The article continues the previously started reconstruction of ethnic artistic tradition of beaded decoration in the Ukrainian folk costume. The authors’ vision of the second stage of development of this tradition (the end of the 19th– the middle of the 20th centuries) is presented. It was found that at the second stage of its development, the tradition of beaded decoration in the Ukrainian folk costume went through the phase of creative uplift. Ukrainian folk craftsmen considerably expanded the arsenal of technical as well as artistic and stylistic means of their creative works. The following

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20

Lamerichs, Nicolle. "Costuming as subculture: The multiple bodies of cosplay." Scene 2, no. 1 (2014): 113–25. http://dx.doi.org/10.1386/scene.2.1-2.113_1.

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This article explores the subculture of cosplay, short for ‘costume play’. In this particular practice, fans create and wear costumes that allow them to re-enact existing fictional characters from popular culture. These outfits and subsequent performances are a physical manifestation of their immersion into the fictional realms of television, games and movies, among others. Cosplay can be understood as the culture of costuming that occurs beyond the institutional remit of the theatre. Especially in western countries, cosplay is intimately connected to the carnivalesque space of the fan convent

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21

Khairedinova, Elzara. "Gold Neck Jewelry of the 6th—7th Centuries from the South-Western Crimea." Stratum plus. Archaeology and Cultural Anthropology, no. 4 (September 5, 2024): 241–58. http://dx.doi.org/10.55086/sp244241258.

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In the second quarter of the 6 th—7 th centuries, women of the South-Western Crimea wore a ceremonial costume, which consisted of an outer dress belted with a wide belt with a large buckle, a shoulder cape, which was often fastened to the dress with a pair of identical brooches, and a specific set of jewelry. One of the components of this costume, which marked the most notable representatives of the community, are small gold neck decorations of a triangular shape, which received the name “gorodki” in the specialized literature by analogy with the figures from the ancient folk game, made up of

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22

Vinnikava, Mariia. "HEADDRESSES IN THE TRADITIONAL COSTUME OF BELARUSIAN-UKRAINIAN BORDERLAND (WESTERN POLISSIA)." Ethnology Notebooks 140, no. 2 (2018): 353–62. http://dx.doi.org/10.15407/nz2018.02.353.

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23

Miller, S. "Design: New costume display facilities at the Western Reserve Historical Society." Museum Management and Curatorship 13, no. 3 (1994): 318–21. http://dx.doi.org/10.1016/0260-4779(94)90014-0.

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24

Zinyakov, N. M., and O. E. Poshekhonova. "TECHNOLOGICAL RESEARCH INTO THE METAL ATTRIBUTES OF THE NORTHERN SELKUP SHAMAN COSTUME OF THE XVII–XVIII CENTURIES." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 3 (50) (August 28, 2020): 85–100. http://dx.doi.org/10.20874/2071-0437-2020-50-3-7.

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To reconstruct the technological methods and technical achievements of Northern Selkup blacksmiths, the components of the Northern Selkup shaman costume, which is composed of ferrous metal, were studied using metallographic analysis methods. The materials were found in two graves in a Kikki-Akki burial ground from the XVII–XVIII centuries (Western Siberia, Taz river). It was found that the basic raw materials for production were unevenly carbonized steel and soft iron; high-carbon steel was also found in rare instances, which was most likely received by Northern Selkup blacksmiths from Russia.

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25

Suslova, Svetlana Vladimirovna. "Materials to the cultural genesis of the Volga-Ural Tatars: Finno-Ugric trend in the structure of folk costume." From History and Culture of Peoples of the Middle Volga Region 13, no. 4 (2023): 80–92. http://dx.doi.org/10.22378/2410-0765.2023-13-4.80-92.

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The factual basis of the publication consists of typological and cartographic materials of the Historical and Ethnographic Atlas of the Tatar People (volume "Folk costume") and the ethnocultural zoning carried out on their basis, highlighting three distinctive areas. A comparative historical (synchronous and diachronic) analysis of the structural elements of the costume and the features of its decor allows us to state that the Finno-Ugric component, in terms of ethnocultural fullness, constitutes one of the important trends in the cultural genesis of the Volga-Ural Tatars. It is noticeable in

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26

Kim, Joo-Kyung, and Key-Sook Geum. "A Study on the Formative Characters in the Pleat of Western Costume Before the 20th Century - Focusing on Men's Costume -." Korean Society of Costume 62, no. 2 (2012): 26–39. http://dx.doi.org/10.7233/jksc.2012.62.2.026.

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27

Shin, Hye Won, and Hee Ra Kim. "Case studies and effects of flipped learning applied to western costume history." Korean Home Economics Education Association 30, no. 2 (2018): 137–47. http://dx.doi.org/10.19031/jkheea.2018.06.30.2.137.

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28

Qi, Guo, and Zhu Yilin. "Research on modern costume design of integrating Chinese and Western cultural and historical elements." OOO "Zhurnal "Voprosy Istorii" 2023, no. 7-2 (2023): 158–65. http://dx.doi.org/10.31166/voprosyistorii202307statyi37.

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Combined with specific cases, the article makes an in-depth study on the application of Chinese and Western cultural elements in fashion brands, designers’ works, Fashion Weeks and international fashion design competitions, which has positive significance for promoting the development of fashion industry and the exchange and interaction of Chinese and Western culture.

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29

Lee, Yeon Hee, and Kwang Sook Sung. "A Study on the Aesthetic Characteristics of Exaggerated Hairstyle in the Western Costume." Journal of the Korean Society of Costume 65, no. 8 (2015): 110–24. http://dx.doi.org/10.7233/jksc.2015.65.8.110.

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30

Lee Hyo-Jin. "Male Body Image Appearing on the Western Men's Costume in the Baroque Era." Research Journal of the Costume Culture 19, no. 4 (2011): 723–39. http://dx.doi.org/10.29049/rjcc.2011.19.4.723.

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31

Gushchyan, Lusine, and Elizaveta Neratova. "Male Costume and Weapons as Attributes of the Presentation of Masculinity in the Armenian Traditional Culture." History and Culture Journal of Armenian Studies 19, no. 1 (2023): 192–99. http://dx.doi.org/10.46991/hc.2023.19.1.192.

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The article discusses the ways of presenting the aesthetics of masculinity in two Armenian historical and cultural areas during the second half of the 19th - early 20th centuries. Based on the analysis of the corpus of objects preserved in one of the largest ethnographic museums in the world - the Russian Museum of Ethnography in St. Petersburg, the criteria for differences in the formation of two main types of costume complexes - western (Van men's costume) and eastern (“pan Caucasian” men's costume) are revealed. The main criterion for differences is singled out - the belt and the types of e

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32

Redaktion. "English Summaries." Peripeti 19, no. 37 (2022): 250–53. http://dx.doi.org/10.7146/peri.v19i37.135214.

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Connected Matters: Collaboration and Care in Nana Francisca Schottländer’s Bodyscaping By Solveig Gade This article is preoccupied with the dramaturgies and collaborations between human and more-than-human agents in contemporary eco-performance. Putting Anna Tsing’s concept of contamination as collaboration as well as Maria Puig de la Bellacasa’s notion of care time into dialogue with theatre and performance studies, the article investigates Danish choreographer Nana Fransisca Schottländer’s performance Bodyscaping, arguing that contemporary eco-performance does not only represent, but also pr

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33

Khmelnitskaya, Olga V. "Ethnical Trend Features in the Creative Style Development of the Omsk Fashion Design School." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 65 (2022): 345–58. http://dx.doi.org/10.37816/2073-9567-2022-65-345-358.

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The paper explores the emerging of ethnic orientation of the creative style of the Omsk fashion design school, systematizes the experience in studying the ethnic direction and its implementation in the educational process. Considerable attention has been paid to the activities of the Siberian Ethnic Festival, aimed at developing ethnic culture and national roots of the Siberian region. The study considers the path to the birth of the festival itself, which is a logical result of many years of research and creative work of an ethnic and national character. It also describes the introduction of

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Sapozhnikova, Viktoriya Stanislavovna. "Prerequisites for the formation of fashion as a specific sociocultural phenomenon." Uchenyy Sovet (Academic Council), no. 12 (November 12, 2021): 955–61. http://dx.doi.org/10.33920/nik-02-2112-07.

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The article examines the period of the late Middle Ages as a period in which obvious preconditions for such a phenomenon as fashion appear. It is shown that the development and unification of small feudal states following the example of the then largest kingdom of the Franks, the establishment of trade relations between Western Europe and Byzantium from the 8th–9th centuries contributed to the emergence of Byzantine goods, in particular expensive fabrics, to Europe. Nevertheless, the European costume of that time was still not much different from the clothes of the barbarians: a shirt — "shens

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35

Diamond, Catherine. "The Floating World of Nouveau Chinoiserie: Asian Orientalist Productions of Greek Tragedy." New Theatre Quarterly 15, no. 2 (1999): 142–64. http://dx.doi.org/10.1017/s0266464x00012835.

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Criticism is increasingly being levelled at western directors who, in the name of a vague intercultural aesthetic, embark on experiments combining western texts with various kinds of oriental movement, costume, and music. In this article, Catherine Diamond raises the same issues in regard to productions of western drama in Asia, and offers a detailed analysis of three productions of ancient Greek tragedies to reveal how a new kind of non-specific orientalism has come to pervade the international stage, originating no less in Asia than in the West. Lavish productions, mounted to impress the int

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36

Whitmer, Mariana. "Dodge City." Journal of Film Music 10, no. 2 (2022): 170–78. http://dx.doi.org/10.1558/jfm.24724.

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Michael Curtiz’s 1939 Dodge City ushered in a new era for the Western genre. Successfully modeled on the popular swashbuckler, this film was at the forefront of a renaissance in the production of feature-length Westerns that would continue almost unabated until the 1970s. Dodge City was closely modeled on previous Warner Bros. swashbucklers, retaining the same director (Curtiz) and several actors. Yet the decision to have Max Steiner create the musical accompaniment, instead of Erich Wolfgang Korngold, offered a fresh approach. Steiner’s prior experience with Westerns made him appropriately su

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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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38

Харитонова, А. С., and К. Е. Илауски. "Symbolism and semantics of the Ob Ugrians festive costume." Iskusstvo Evrazii [The Art of Eurasia], no. 4(23) (December 29, 2021): 26–31. http://dx.doi.org/10.46748/arteuras.2021.04.002.

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Статья посвящена исследованию символики и семантики праздничного костюма обских угров (народности ханты и манси). Использованы описательный и компаративный методы. Отмечается, что цветовой «словарь» данных народностей максимально конкретен и основан на непосредственном восприятии, поэтому «образы» цветов реалистичны и мифологичны одновременно. Соответственно, каждый цвет несет особую смысловую нагрузку, что детально рассмотрено на примере коллекции вышитой праздничной одежды остяков (ханты) «Узоры Конды». Показано, что костюм можно воспринимать как текст, прочитав который можно понять смысл ег

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Luhamaa, Liis. "Eriline Eesti ikat: Lõuna-Läänemaa lapilised rahvarõivaseelikud / Woollen double ikat skirts of western Estonian traditional costume." Studia Vernacula 13 (November 18, 2021): 44–77. http://dx.doi.org/10.12697/sv.2021.13.44-77.

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This article investigates woollen skirts with double ikat motifs that were made in the late 19th and early 20th centuries by women in the western Estonian parishes of Hanila, Karuse, Lihula, Kirbla and Martna. The skirts were worn as part of traditional costume. After the wearing of traditional costumes came to an end in the 1920s, these skirts ceased being made. As this craft has been not been practiced for almost 100 years, the skirts were largely forgotten. The aim of this article is to give an overview of the materials, tools and methods used in the production of western Estonian dou

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40

Luhamaa, Liis. "Eriline Eesti ikat: Lõuna-Läänemaa lapilised rahvarõivaseelikud / Woollen double ikat skirts of western Estonian traditional costume." Studia Vernacula 13 (November 18, 2021): 44–77. http://dx.doi.org/10.12697/sv.2021.13.44-77.

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This article investigates woollen skirts with double ikat motifs that were made in the late 19th and early 20th centuries by women in the western Estonian parishes of Hanila, Karuse, Lihula, Kirbla and Martna. The skirts were worn as part of traditional costume. After the wearing of traditional costumes came to an end in the 1920s, these skirts ceased being made. As this craft has been not been practiced for almost 100 years, the skirts were largely forgotten. The aim of this article is to give an overview of the materials, tools and methods used in the production of western Estonian dou

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41

MALTSEV, KONSTANTIN. "DANDYISM: TYPE AND IMAGE. CRITERIA OF CULTURAL IDENTITY." Культурный код, no. 2024-1 (2024): 21–46. http://dx.doi.org/10.36945/2658-3852-2024-1-21-46.

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The article presents a cultural interpretation of dandyism, a notable phenomenon in Western culture of the 19th century. The scientific relevance of the article is determined by the polar assessments of dandies as a form of culture in bourgeois society. The article’s aim is to clarify the factors that mark the dandy identity, such as costume, accessories, manners, body language, norms of behavior in society. Their manifestations are considered in interaction: costume symbolizes material luxury and an idle lifestyle, while updating the new aesthetics of body; body language with the costume, pro

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42

Kokorina, H. V., N. I. Kudriavtseva, A. I. Baranova, I. L. Haiova, and S. I. Prasol. "FASHIONGRAPHICS AND COSTUME DESIGN IN UKRAINE IN THE 1920s." Art and Design, no. 3 (December 13, 2021): 63–72. http://dx.doi.org/10.30857/2617-0272.2021.3.6.

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The purposeof the paperis to study the fashion peculiarities in Ukraine based on the analysis of fashion graphics of “Fashion Magazine”, which was published in Kyiv and Kharkiv in the 1920s. The events of fashion life in Ukraine are considered in the context of current world fashion trends. Methodology. The methods of historical-chronological and comparative analysis, methods of visual information systematization have been used in the paper. Results. The social conditions for the first specialized fashion publication in Ukraine have been identified.The description of fashion trends of the 1920

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43

Trushkova, I. Yu. "TRADITIONAL COSTUME OF THE ORLOVSKY KOMI: SPECIFICITY AND DYNAMICS AT THE “HISTORICAL TURNING POINT” OF THE 1920s." Вестник Пермского университета. История, no. 4(51) (2020): 139–46. http://dx.doi.org/10.17072/2219-3111-2020-4-139-146.

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Western Permian Komi lived in the Orlovsky district of the Vyatka province, and their ethnic culture revealed a series of features and similarities with other communities of the Komi and neighboring peoples. The article analyzes the costume complexes of this ethnic group. A bright page in the history of material culture is represented by the traditional women's costume at the “historical turning point”, i.e. in the 1920s. Its early version includes a magpie headdress, a shirt with slanting Cumack rugs, a straight sleeve with longitudinal embroidery, a red Kosoklinny sarafan, a belt, an apron,

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44

Khairedinova, E. A. "Some Problems of Studying Early Medieval Female Costume of the Barbarians of the South-Western Crimea." Oriental Studies 2012, no. 59 (2012): 223–36. http://dx.doi.org/10.15407/skhodoznavstvo2012.59.223.

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45

Lehis, Maret. "Prantsuse kuningakojast Eestimaa talutarre: hüpoteese pott- ja kabimütside päritolust pärandtehnoloogi pilgu läbi / From French royal court to Estonian peasant house: some hypotheses about the origin of pot- and hoof-shaped caps from the perspective." Studia Vernacula 13 (November 18, 2021): 78–97. http://dx.doi.org/10.12697/sv.2021.13.78-97.

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It has been thought that pot- and hoof-shaped caps were adopted in Estonia under the influence of peasant fashion in other European countries, especially Sweden and Finland. However, when compared to the head-dresses worn in Finland, the methods of making Estonian pot- and hoof-shaped caps seem so different, the question arises of whether the roots of this cap-making technique might be located elsewhere. For example, the technique and patterns used for making pot- and hoof-shaped caps are more reminiscent of Russian kokoshnik head-dresses. It can be concluded that pot- and hoof-shaped ca

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46

Lehis, Maret. "Prantsuse kuningakojast Eestimaa talutarre: hüpoteese pott- ja kabimütside päritolust pärandtehnoloogi pilgu läbi / From French royal court to Estonian peasant house: some hypotheses about the origin of pot- and hoof-shaped caps from the perspective." Studia Vernacula 13 (November 18, 2021): 78–97. http://dx.doi.org/10.12697/sv.2021.13.78-97.

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It has been thought that pot- and hoof-shaped caps were adopted in Estonia under the influence of peasant fashion in other European countries, especially Sweden and Finland. However, when compared to the head-dresses worn in Finland, the methods of making Estonian pot- and hoof-shaped caps seem so different, the question arises of whether the roots of this cap-making technique might be located elsewhere. For example, the technique and patterns used for making pot- and hoof-shaped caps are more reminiscent of Russian kokoshnik head-dresses. It can be concluded that pot- and hoof-shaped ca

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47

Sovtic, Nemanja. ""Exoticism” in the opera Gilgamesh by Rudolf Brucci in Ralph Locke’s “All the music in the full context” paradigm." Muzikologija, no. 15 (2013): 105–25. http://dx.doi.org/10.2298/muz1315105s.

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In this text, Rudolf Brucci?s opera Gilgamesh is viewed in the light of Ralph Locke?s ?All the Music in the Full Context? Paradigm which promotes the approach that one should search for the exotic elements in musical works first in the discursive components (title, program, accompanying notes), visual representations (costume, scenery) and a ?horizon of expectations? of a particular culture, and only then to observe exoticism as the aspect of a musical style. In the light of this Paradigm, ?exoticism? of the opera Gilgamesh is detected at the level of the music material and compositional proce

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Chen, Jing, and Yiqiang Cao. "Research on the Drapery in Ancient Greek Sculptures." Asian Social Science 17, no. 6 (2021): 29. http://dx.doi.org/10.5539/ass.v17n6p29.

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Sculpture in the ancient Greek period has an extremely lofty position in the history of Western art, and the drapery is one of the most important modeling characteristics of ancient Greek sculpture. This article summarizes the style evolution of drapery in ancient Greek sculptures through the performance of ancient Greek costume characteristics and dressing methods in sculptures. And through the drapery produced by the different postures of the human body in the sculptures, it is explored how the ancient Greek artists used drapery to show the dialectical relationship between clothing, the huma

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49

Zhuravlev, Denis, Michel Kazanski, and Anna Mastykova. "Collection of Roman Time and the Great Migration Period Artefacts from the Eastern Crimea." Stratum plus. Archaeology and Cultural Anthropology, no. 4 (September 5, 2024): 273–90. http://dx.doi.org/10.55086/sp244273290.

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The article examines a collection of metal elements of costume from the Roman period and the Great Migration period from the State Historical Museum. It comes from Eastern Crimea (Kerch or Theodosia). Among the Roman time artifacts, the most numerous are brooches and buckles, bracelets, and pendants of “barbarian” origin, associated with the Sarmatians, Germans, and, possibly, the Western Balts. Items from the era of the Great Migrations, including brooches, buckles, and bracelets, belong to the Goths of the Cimmerian Bosporus. Their presence in this collection allows us to reiterate the quest

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50

Fraser, Lucy. "A Hood Is Not a Hat: On Translating Fairy-Tale Fashion." Marvels & Tales 38, no. 2 (2024): 268–83. https://doi.org/10.1353/mat.2024.a953121.

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Abstract: This article explores the process of translating Ogawa Yōko’s short story, “Zukin kurabu” (The Riding Hood Club) from Japanese into English, with a focus on the theme of fashion, clothing, and costume, and against the backdrop of the history of Japanese translations of Perrault’s and the Grimms’ stories of “Little Red Riding Hood.” The article considers how the translation process itself may inform an investigation into fashion and sewing in fairy-tale retellings across languages and cultures. Translating this story, with reference to its accompanying illustrations, highlighted the c

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