Clothes

The paper presents a new method that automates the process of extracting graphic information from reference images and integrating the data into patchwork garments design. The main stages of the transition from a 2D reference image to the 3D virtual and actual garment are proposed. The method was applied to model a women's coat based on a painting titled “Improvisation 4” by W.W. Kandinsky (1909). The possibilities of using computer graphic packages and computer-aided design (CAD) systems in patchwork garments design in relation to contemporary trends in apparel industry were shown.

Мода и стил - това са понятия, неразривно свързани едно с друго. Между тези
две явления има и винаги е имало симбиоза. Модата се променя постоянно, а
въвеждането на нови модни стилове се случва ежедневно. Стилът обаче надхвърля честите промени, тенденции и капризи, които изпълват и характеризират модата. Стилът започва като мода, но устоява на модните и годишните промени, а част от естетически издържаните елементи отекват през сезоните и десетилетията. Стилът е по-устойчивото явление в модата, но както и тя самата, той може да е на модната сцена дори само година-две, а след това да остави своите следи в историята. Модата, според Гари Бест е просто „преследване на новости заради самата себе си".

O presente trabalho visa analisar os discursos mercadológicos sobre roupas ditas não binárias (genderless) tanto nas lojas de departamento multinacionais quanto em lojas brasileiras que não possuem abrangência internacional. Para isso serão seguidos quatro processos: o primeiro refere-se à um panorama histórico das roupas unissex do século XX até o início do século XXI. O segundo aborda algumas concepções teóricas modernas do que é identidade e identidade de gênero. O terceiro ponto atenta-se em expor os objetivos das respectivas marcas, objetivos esses retirados dos próprios sites institucionais dessas marcas que dizem produzir roupas sem gênero. O quarto e último foco é fazer uma análise discursiva das publicidades e objetivos divulgados por essas empresas.

This paper deals with the fact that from the 18th century to modern day, our clothes have been designed based on the gender assumptions. The first chapter provides a starting point for understanding why clothes are gendered by encapsulating the history of dress. The second chapter starts with definitions with regard to gender and sex. By analyzing a book, two papers and other sources for this part, I have come to the conclusion that gender is a social construct hence gendered clothing is also an imposition of societies. Gendered clothing creates sexual division and this affects people who does not fit in those two categories. The rest of the paper defines and gives examples of unisex and androgynous style. It suggests reshaping the fashion industry by ignoring the gender lines.

Україна  в  Центрально-Східній  Європі. –  Київ:  Інститут історії України НАНУ, 2021. — Вип. 19-20. –  C. 211-221.

Стаття  присвячена  встановленню  того,  чи  позначала
французька лексема ‟un caleço(n)ˮ у відомій праці французького інженера й картографа  Ґійома  Левассера  де  Боплана «Опис  України» (1651)  саме козацькі широкі штани — шаровари. Дослідити це дискусійне питання, що зринає в агресивній інформаційній кампанії останнього часу, спрямованій на
руйнування  української  національної  ідентичності,  є  метою  автора. Методологічною основою дослідження є метод дискурс-аналізу у поєднанні з принципами й методами лексикологічних та текстологічних досліджень. Основними результатами дослідження є те, що на підставі аналізу широкого  кола  джерел XVII–XVIII  ст.  показано,  що  французькі  автори  того часу, зокрема, П’єр д’Авіті, Жан де Тевено, Альбер Жувен де Рошфор, Жан-Батист  Таверньє, Жан Шарден, Поль  Люка та  інші  мандрівники  й  письменники вживали термін ‟un caleçonˮ однозначно не для позначення вузьких
обтислих  штанів  або  нижньої  білизни.  Ним  звично  називали  широкі, просторі  штани  східного  крою,  описуючи  бачений  у  подорожах  поясний одяг турків, персів, арабів, татар, черкесів, мінгрелів і інших народів Сходу. З огляду на те, що ці штани мали вільний крій, були широкими і носилися як чоловіками,  так  і жінками,  відповідно  до  східних  звичаїв,  цілком  логічно вбачати  у  них  шаровари  й  саме  так  перекладати  цей  термін  у  тих випадках, де йдеться про екзотичне вбрання. Те, що мова йде про шаровари, підтверджують  і дані етнографії щодо згаданих етносів. Судячи з усього, Боплан називав бачені ним штани  запорозьких  козаків  саме цим терміном тому, що  вони  відповідали  кроєві широких штанів  східних  народів, тобто це  однозначно  були шаровари.  Вивчення  історії термінів,  вживаних тогочасними  західноєвропейськими  авторами  для  передачі  реалій  українського побуту,  видається  перспективним  для  подальших  практичних  джерелознавчих студій.

The dissertation is a fundamental comprehensive research. According to archaeological and iconographic data the costume of the Chernyakhiv – Sîntana de Mureş Culture bearers that had not been systematically studied before was reconstructed. In particular the composition of burial equipment categories was determined on a basis of a representative sample of burials - the details of the outfit, their probable purpose by localization in burial complexes were defined; the difference in costume of different sex representatives was proved; changes in the costume of different chronological phases were observed; elements of the costume those were added by bearers of different ethno-cultural traditions into the general Chernyakhiv costume were found; by the results of sociological analysis of burials the potential of costume details as a social marker was determined; the preserved textile residues from the clothes were analyzed; according to analysis of iconographic data, possible prototypes and analogies of the costume of the culture bearers were found; the main scientific tendencies in the study of costume were determined by the results of paleocostumological literature review; the costume of the population of CSM culture was reconstructed and perspective directions for further researches were outlined.

This paper presents a thermal model for the prehistoric origins and development of clothing. A distinction is drawn between simple and complex clothing, a distinction which has implications for palaeolithic technological transitions and the emergence of modern human behavior. Physiological principles and paleoenvironmental data are harnessed to identify conditions requiring simple, loosely–draped garments and the more challenging conditions that demanded additional protection in the form of complex garment assemblages. No actual clothing survives from the Pleistocene, yet the archaeological record yields evidence for technological and other correlates of clothing―more evidence than is generally supposed. Major innovations and trends in the distributions and relative frequencies of lithic and other tool forms may reflect the changing need for portable insulation in the context of fluctuating ice age climates. Moreover, the non–thermal repercussions of complex clothing can be connected with archaeological signatures of modern human behavior, notably adornment. Alternative models are less parsimonious in accounting for the geographical and temporal variability of prominent technological and other behavioral patterns that vary in association with environmental changes.

The fashion of shopping for men’s formal shirts online has certainly made great strides. People today from all over the globe currently very much depend on Indian global shopping sites when it comes to buying men’s formal shirts by going online.

One of the understudied geographies of the world economy is the large-scale export of second-hand clothing form the global North to Africa. The consumption and re-use of clothing traces a transnational gradient of inequality between the rich and poor. This thesis examines the (re)production of second-hand clothing commodities in Britain, the international economic geographies of the used-clothing trade and the labour activities of African market traders. Coordinated and non-integrated patterns of trade are investigated through a theoretical approach which draws upon Fine’s ‘system of provision’ analysis from heterodox economics and connects this to existing commodity studies approaches in geography. Within global second-hand clothing networks there are differential power relations between charities, companies and individuals. The socially and historically embedded roles of British charities and firms in the collection, processing and export of second-hand clothing are introduced. This is connected to the main empirical exploration of the downstream social and economic impacts of second-hand clothing imports in Africa. Linkages are made across the new and used clothing sectors and in the relationships between the decline of clothing industries across Africa, economic liberalisation and the growth of used-clothing imports. Patterns of import are investigated, with specific reference to Mozambique, where Indian merchants control distribution. Second-hand clothing markets are widespread in African urban centres and retail activities in Maputo are examined in-depth drawing upon twelve months of ethnographic research. Through specific social formations market traders have precarious livelihoods. Incomes do not provide opportunities for Mozambicans to progress out of poverty. By examining different processes at various locations in the international economy, it is demonstrated how it is not second-hand clothes which create economic relationships, but definite social relations between people.

African clothing industries have declined since the implementation of economic
liberalization policies in the early 1980s whilst used-clothing imports
to Africa have increased. The general effects of economic liberalization on
African clothing industries are well documented, although little research has
been conducted on the particular impact of increased imports of second-hand
clothes on the local manufacturing sectors. Whether these two processes are
causally related is difficult to determine due to limitations in official data
sets. In this article, the used-clothing trade is explored in detail and a broad
range of cultural and local economic processes are investigated. Trends such
as declining local purchasing power and the opening of African markets to
cheap new clothing imports, as well as imports of used-clothing, are examined, along with the converse boost to African clothing export production
resulting from preferential trade agreements in the 2000s. With respect to
the differential legal and illegal imports of second-hand clothing to selected
African countries, it is demonstrated that official trade data sets often fail to
capture the nuances of contemporary social and economic processes.

L’étude de la parure dans les sépultures offre des informations majeures pour la reconstitution potentielle de costumes préhistoriques, malgré tout un ensemble de biais et d’imprécisions. 
Ces informations sont sous exploitées à l’heure actuelle dans la muséographie et la médiation scientifique en général.
Notre étude a pour but d’offrir des sources plus fiables à des fins de reconstitution mais aussi de mieux observer et comprendre les potentielles « identités régionales » des populations gravettiennes qui transparaissent dans la parure des individus.
Notre corpus est composé de 82 individus, retrouvés dans les pays suivants : Angleterre, France, Portugal, Italie, République tchèque, Autriche, Russie.
Le gravettien sera considéré avant tout en tant que période chronologique (-28 000 à -20 000 BP non cal) plus que comme période culturelle, afin d’inclure dans le corpus les sépultures pavloviennes, sungiriennes et kostienkiennes...

Notre relevé des parures en place est avant tout bibliographique. Une étude de cas inédite est proposée pour l’étude de la parure de Baousso da Torre II, qui se trouve au Musée d’Archéologie Nationale de St Germain en Laye.

Afin d’aller plus loin (en particulier sur la question des coiffures pour cette même période), une étude de comparaison avec les Vénus Gravettiennes est ajoutée à cette étude, toujours dans une logique régionale et diachronique.

En annexe, une base de données mise à jour est présentée pour chaque site et chaque sépulture étudiée.

Folktale is the name given to the products of folk literature created on the basis of the deep effect of any event or literal product left a trace in the society in oral culture. It is a long winded type of narration about real or real-like events. They are stories with traditional content which are narrated orally from one generation to the next. They generally deal with love and heroism. Kerem & Aslı is one of the most famous folk tales. Kerem & Aslı tale is one of the folk tales which was revealed by late 16 th century, known and liked in other nations than Turkey and Oguz Turkish tribes (Armenian, Georgian, Lezg, etc.) addressing broad masses. Similar tales including Kerem & Aslı tale popular among broad masses are significant sources particularly in terms of revealing cultural values since they represented the past and future of the society. The purpose of this research is to find terms of garment, accessories, fabrics referred in the Kerem & Aslı tale, reveal meanings thereof and provide information about how they were used in the tale. Written sources were reviewed in order to collect research data. The characteristics of clothing of the characters in the Kerem & Aslı tale were revealed and a general assessment was made in the research and what the terms of garment, accessories, fabrics meant was explained. It was determined that the following terms were referred in the

Sui Hanedanlığı’nın2 sona ermesinin ardından 618 yılında Tang Hanedanlığı3
kurulmuş ve Çin’de yeni bir dönem başlamıştır. Tang dönemi
Çin’in ekonomik, siyasi ve kültürel alanda hızla geliştiği bir dönemdir. Bu
dönemde Çin’in Batı Bölgesi4 olarak nitelendirdiği bölgede yaşayan Türk
kavimleriyle yoğun bir kültürel ve siyasi iletişim içerisine girilmiştir. Bu
iletişim sonucunda da karşılıklı etkileşim yaşanmıştır. Bu etkileşim, Tang
dönemi soylularından halkına kadar Çin toplumunun her kesiminde kendini
göstermiştir.
Tang Hanedanlığı döneminde birçok göçebe kavimle5 etkileşim içinde
olunmuştur. Bu etkileşimlerden Türk kavimlerinin kıyafet kültürünün Tang
dönemi Çin kıyafetlerine etkileri çok belirgindir. Bu etkiler Çin toplumunda
yeni tarz kıyafetlerin ortaya çıkmasına, mevcut Çin kıyafetlerinde değişiklikler
yaşanmasına sebep olmuştur. Bu çalışmamızda Türk tarzı ile Çin tarzının
birleşmesiyle ortaya çıkan kıyafetler ele alınacaktır.

Sophia Jobim (1904-1968) foi colecionadora, museóloga, professora de indumentária da Escola Nacional de Belas Artes, feminista, jornalista, colunista de moda, figurinista, criadora e diretora do Liceu Império (1932) e do Museu de Indumentária História (1960). Sua coleção composta por trajes e acessórios de indumentária, documentos variados e biblioteca foi doada ao Museu Histórico Nacional em 1968 e constitui parte importante do acervo da instituição. A conferência abordará duas exposições de moda realizadas pelo Museu Histórico Nacional que se valeram da Coleção Sophia Jobim evidenciando aspectos ligados à moda, memória e colecionismo.

This contribution represents the first attempt to provide a complete overview of the Renaissance works related to ancient clothing (de re vestiaria) composed between the mid-fifteenth and mid-seventeenth centuries. The structure, approach and method for each treatise are defined in order to demonstrate the evolutionary path of this phenomenon, which was particularly relevant to the cultural life of the time. Two case studies complete the present work, revealing the impact and various ramifications of this knowledge on the development of applied arts. The first concerns an exploration of the influence exerted on theatrical costumes in Italy by antiquarian studies through a comparison between the Poenulus directed by Tomaso Inghirami in Rome in 1513 and the Edipo Tyranno performed by the Accademia Olimpica in Vicenza in 1585. The second concerns an integrated analysis of the relationship between the works on ancient garments and the iconographic patterns of the fresco paintings at Fontainebleau in France, which could shed further light on the identity of iconographers of the Gallery of Francis I.

Las líneas argumentativas del presente ensayo están divididas en dos secciones. En la primera parte, a partir de los principales resultados del balance bibliográfico, se expone una breve contextualización geográfica, lingüística, histórica y etnográfica sobre las colectividades takana-hablantes, a través de la cual hemos ido identificando algunas pautas sobre la adaptación e intercambio de la indumentaria en el Piedemonte amazónico. La segunda parte, dividida en tres acápites, la hemos organizado de acuerdo a tres formas de experimentar la alteridad desde y a través de la indumentaria: el Otro próximo, el Otro salvaje y el Otro reducido. Más allá de preocuparnos por referentes de identidad y demarcadores de etnicidad, nos hemos concentrado en rastrear la agencia de plumas, cortezas y algodón en la incorporación de la alteridad en una red de asociaciones en las que se entrecruzan las líneas de la vida de las cosas y los cuerpos. Por cuestiones prácticas, nos hemos limitado a presentar la contextualización y descripción de la ecureaba, la cachucha del puli puli, la camisa de chamané y el marico tejido. Este conjunto limitado de indumentarias son los factiches priorizados a través de los cuales hemos rastreado agencias que detonan asociaciones, incorporaciones, interculturalidades y formas de experimentar la alteridad.

This paper addresses a neglected area of research in Shakespeare's Hamlet, and aims at providing fresh insights into this play text which promotes a cold atmosphere and a dark climate. Even though scholars have produced varied and insightful analyses of the play, they have largely overlooked the role of clothing. Yet the twin notions of atmosphere and habitat both permeate the tragedy, and Shakespeare gives us a number of important clues on the way Elsinore's inhabitants are dressed. Through an analysis of the different meanings (i.e. literal and figurative) of the word "atmosphere", this paper will explore the relationship between climate, mental and political environment, and clothing in Shakespeare's Hamlet. Francisco sets the tone early on in the text: "'Tis bitter cold, / And I am sick at heart" (Hamlet,1.1.6-7), connecting Denmark's prevailing weather with his own emotions. Moreover, a closer look at specific scenes from the play (for example, act 1, scene 2 or act 1, scenes 4 and 5) reveals that clothes not only reflect Elsinore's meteorological conditions but also offer new perspectives on the characters' feelings. Therefore, after focusing on the atmosphere's impact on the way the characters are dressed, this paper will show how, in Hamlet, clothes sometimes serve to disclose the characters' feelings, and sometimes conceal or even disguise them. Finally, I will see how Shakespeare's dramatization of Denmark's atmosphere, combined with his ambivalent use of clothing, helps to position Hamlet's self in relation to those surrounding him. The Prince's self-fashioning proves crucial, indeed, to the development of the tragedy as a whole and to the characters' deadly fates.

Fancy some Nike trainers or a Lacoste shirt? If you're shopping in Kosovo, the chances are that it isn't the brand-name item you imagined. Some 90 per cent of so-called "brand-name" clothes being sold in Kosovo are likely fakes, Kosovo's customs service warms. Officials confirm what many in Kosovo long suspected, which is that most bargain items purporting to be from Adidas, Lacoste, Nike, Versace, Calvin Klein and Chanel are cheap knock-offs. A customs report covering 2001 to September 2012 found that 20 million kilograms of clothes were imported into Kosovo over this period. More than 90 per cent came from China, followed by Turkey, Kosovo Custom's spokesman Adriatik Stavileci said. Most of these clothes entering the country for clearance by Customs had no commercial label, "so you cannot tell whether it's original or not," Stavileci told Balkan Insight. "We don't know to which brand it belongs, so it's simply cleared as 'textile'." The items only get brand names after clearing Customs, it appears. Customs inspectors have seized thousands of designer labelsmany in rollsthat officials

Français

L’article prend pour point d’entrée le port de l’uniforme par les hommes employés dans les métiers du hall de l’hôtellerie de luxe afin de montrer en quoi l’uniforme masculin, loin de n’être que le levier d’une virilisation univoque, induit des formes moins explorées de renégociation des identités masculines, renégociations inséparables des trajectoires sociales des hommes concernés. À partir d’une enquête ethnographique, statistique et archivistique sur le métier de concierge d’hôtel, l’article montre d’abord l’ambivalence des significations sociales attachées à l’uniforme hôtelier et perçues par leurs porteurs. Il montre ensuite que l’uniforme représente à la fois le support et l’indice d’un ajustement par socialisation vestimentaire. Celle-ci consiste à apprendre le travail de service de luxe par le port de l’uniforme et à apprendre à porter l’uniforme lui-même, autant de savoir-faire face auxquels les travailleurs, en fonction de leur trajectoire sociale, ne sont pas sur un pied d’égalité. Enfin, l’article montre que ces usages, socialement situés et genrés, d’un uniforme qui a tendance à s’informaliser, sont susceptibles de recomposer les modèles de masculinité de ces travailleurs.

English
Concierge Material: Dress Socialization and Tailoring Masculinity in the Service of Luxury

The entry point of this article is the uniform worn by men in the luxury hotel business trades. It reveals that men’s uniform, far from being a mere lever of univocal virilization, induces less explored forms of renegotiation of male identities that are inseperable from the social trajectories of those men. Starting from an ethnographic, statistical and archival study of the hotel janitor trade, the article first shows the ambivalence of social meanings attached to the hotel uniform et parceived by those who wear it. It then shows that the uniform represents both the support and the clue of adjustment by dress code socialization. This socialization consists in learning the luxury service trade through the wearing of uniform. Depending on their social backgrounds, workers are not equal in the acquisition of those know-hows. Finally, the article shows that these uses, socially situated and gendered, of a uniform that tends to become more informal are likely to recompose the male models of these workers.

中文
门童打扮，奢侈服务的男性化调整

The entry point of this article is the uniform worn by men in the luxury hotel business trades. It reveals that men’s uniform, far from being a mere lever of univocal virilization, induces less explored forms of renegotiation of male identities that are inseperable from the social trajectories of those men. Starting from an ethnographic, statistical and archival study of the hotel janitor trade, the article first shows the ambivalence of social meanings attached to the hotel uniform et parceived by those who wear it. It then shows that the uniform represents both the support and the clue of adjustment by dress code socialization. This socialization consists in learning the luxury service trade through the wearing of uniform. Depending on their social backgrounds, workers are not equal in the acquisition of those know-hows. Finally, the article shows that these uses, socially situated and gendered, of a uniform that tends to become more informal are likely to recompose the male models of these workers.

Deutsch
Das Zeug eines Concierge, männliche Anpassungen im Namen des Dienstes des Luxus

Der Ausgangspunkt dieses Artikels ist das Tragen der Uniform von Männern die in den Eingangshallen von Luxushotels arbeiten, um zu zeigen, dass die männliche Uniform nicht nur ein Mittel zur Virilisierung darstellt, sondern es den Männern ermöglicht weniger ausgebeutete Formen der männlichen Identität auszuhandeln, Wiederverhandlungen die von den sozialen Laufbahnen der betroffenen Männer untrennbar sind. Anhand einer ethnographischen Feldforschung, Statistikanalyse und Archivuntersuchungen über den Beruf des Hotelconcierge zeigt der Artikel zuerst die Ambivalenzen des sozialen Sinnes welches der Uniform des Hotelconciergen zugordnet wird und welcher von ihren Trägern wahrgenommen wird. Anschließend wird gezeigt dass die Uniform sowohl der Support als auch das Indiz der Anpassung einer Sozialisation der Bekleidung darstellt. Sie besteht daraus zu lernen dass die Dienstleistung im Luxussektor aus dem Tragen der Uniform besteht, und zu lernen diese Uniform zu tragen, was diverses Wissen voraussetzt über welches die Arbeiter in einem Grad verfügen der von ihrer vorherigen Laufbahn abhängig ist. Zu guter Letzt zeigt der Artikel, dass diese geschlechtlich geprägten und sozial situierten Nutzungen des Tragens der Uniform die langsam aus der Mode kommt, höchstwahrscheinlich zu einer Rekomposition der Modelle der Maskulinität dieser Arbeitnehmer führen wird.

Español
La tela de un conserje, ajustes masculinos al servicio del lujo

El artìculo toma como punto de entrada el hecho de llevar uniforme para los hombres empleados en los oficios del hall de la hostelería de lujo, para mostrar cómo el uniforme masculino, no es únicamente una palanca para una virilización unívoca, sino que induce formas menos exploradas de negociación de las identidades masculinas, nuevas negociaciones inseparables de las trayectorias sociales de los hombres en cuestión. À partir de una encuesta etnográfica, estadística y archivista sobre el oficio de conserje de hotel, el artículo muestra primero la ambivalencia de las significaciones sociales relacionadas con el uniforme hostelero y percibidas por los que lo llevan. Luego muestra que el uniforme representa a la vez el soporte y el índice de un ajuste por la socialización indumentaria. Esta consiste en aprender el trabajo de servicio de lujo por el hecho de llevar el propio uniforme, competencias frente a las que los trabajadores, conforme con sus trayectorias sociales, no están en postura de igualdad. En fin el artículo muestra que estos usos, socialmente situados y distintos según el género, de un uniforme que tiende a ser cada vez más informal, son susceptibles de recomponer los modelos de masculinidad de dichos trabajadores.

Português
As roupas de um concierge, ajustes masculinos no serviço de luxo

El artìculo toma como punto de entrada el hecho de llevar uniforme para los hombres empleados en los oficios del hall de la hostelería de lujo, para mostrar cómo el uniforme masculino, no es únicamente una palanca para una virilización unívoca, sino que induce formas menos exploradas de negociación de las identidades masculinas, nuevas negociaciones inseparables de las trayectorias sociales de los hombres en cuestión. À partir de una encuesta etnográfica, estadística y archivista sobre el oficio de conserje de hotel, el artículo muestra primero la ambivalencia de las significaciones sociales relacionadas con el uniforme hostelero y percibidas por los que lo llevan. Luego muestra que el uniforme representa a la vez el soporte y el índice de un ajuste por la socialización indumentaria. Esta consiste en aprender el trabajo de servicio de lujo por el hecho de llevar el propio uniforme, competencias frente a las que los trabajadores, conforme con sus trayectorias sociales, no están en postura de igualdad. En fin el artículo muestra que estos usos, socialmente situados y distintos según el género, de un uniforme que tiende a ser cada vez más informal, son susceptibles de recomponer los modelos de masculinidad de dichos trabajadores.

Cet article porte sur la question des lois somptuaires dans le Japon des Tokugawa, en particulier des lois régulant le costume en fonction des statuts sociaux. Pour comprendre ces lois et le contexte politique et social de leur émergence ainsi que leur évolution au cours de l'époque d'Edo, je chercherai tout d'abord à appréhender ses régulations comme une manière de figurer, par le vêtement, l'ordre statutaire à la base du régime des Tokugawa. Je poursuivrai en insistant sur le fait que ces lois furent une réponse du gouvernement face au désordre statutaire induit par l'émergence d'une bourgeoisie et d'une société de consommation, porteuse d'un système de mode. Enfin, je conclurai en rappelant les enjeux de l'ostentation et des luttes de prestige entre bourgeois et guerriers, puis en posant la question de l'émergence d'un système de mode centré autour du kimono, qui fut le cœur des ces joutes symboliques.

The study’s research model suggests that store design and ease of shopping are associated with customer retention through a mediated pathway in which store design and ease of shopping influence perceived store satisfaction, which in turn, influences customer retention. This survey was administered to two separate clothing stores offered to either females or males (in total, 533 participants). Using structural equation modelling methodology, data was analysed to explain the interrelations among the variables in the model. The results of an empirical study of a sample of store shoppers revealed that store design and ease of shopping influence customer retention in an indirect way through customer perception of satisfaction with the store. In building store satisfaction that is centred on customer retention, store design and shopping ease differ in their relative influences. This difference is high for females, but for men as low as to be considered negligible in males. As a result, improving customers’ perceptions of store design and ease of shopping is a way to ensure store satisfaction support customer retention. The results of the study provide a new insight into the relationships by suggesting indirect effects of shopping ease and store design on consumer retention by their impacts on store satisfaction, rather than direct effects.

Keywords: satisfaction, customer retention, store design, shopping ease, brand consciousness

Fashion Digital Memories
EUROPEANA FASHION SYMPOSIUM 2017
Venice, May 22-23, 2017

Conservation/Explication: The Costume Institute’s use of digital technologies for the preservation and interpretation of its Charles James collection by Sarah Scaturro

The Costume Institute’s 2014 exhibition  Charles James: Beyond Fashion achieved an unprecedented depth in the understanding and explication of Charles James’ mastery of fashion through its critical use of technology, which included moving cameras, robots, animations, and projections. Curated by Harold Koda and Jan Reeder, the success of the exhibition hinged on the synergistic relationship between technology and fashion object, mediated through knowledge gleaned by the conservation team, who dissected and analyzed all of the garments on display. The conservators’ active role in the exhibition’s interpretive content was itself unprecedented for the Institute, as they were tasked with not only analyzing how James made his garments, but with translating information gleaned through 3D scanning, x-radiography, 360 photography, and material analyses to the designers, engineers, and computer programmers responsible for the development of the technological exhibition components.
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The conservators were inspired by the exhibition’s successful integration of digital technologies, and thus began explorations into the potential of technology to aid the preservation of Costume Institute’s collection. One significant outcome is the completion of an innovative project utilizing 3D scanning to create custom manufactured storage torso forms for Charles James gowns that cannot be hung or stored flat. The success of this project has encouraged the conservation team to deploy scanning and other digital technologies to preserve other aspects of the Institute’s collection, such as synthetic materials. This paper will explore the conservator’s role in the creation of explicative digital materials that were a critical part of the  Charles James: Beyond Fashion exhibition, and will show how the exhibition’s use of technology has inspired further digital explorations aimed at preserving the Costume Institute’s collection.

Sommario: Premessa. 1. Contenuto del legato di lana. 2. Contenuto del legato di vestimentum. 3. Il caso dell'abito confezionato (prima dell'apertura della successione) con la lana legata. Abstract: Ulpiano e Paolo si occupano del caso di un tale che, dopo aver disposto nel suo testamento un legato di lana, ha con questa realizzato un vestito: il dubbio è se l'abito rientri comunque nella disposizione mortis causa, nonostante nel legato si parli di lana. Mentre Paolo esclude tale possibilità, Ulpiano l'ammette purché si dimostri che il testatore l'aveva prevista. La dottrina tradizionale ha di regola esaminato l'argomento sotto il profilo della specificatio, con esiti spesso contrastanti anche in ragione di 'pregiudizi' di natura interpolazionistica. Lo scopo di questo contributo è invece quello di analizzare i frammenti citati alla luce dei risultati delle ricerche antichistiche ed archeologiche in materia, con il supporto dei testi agronomici latini e della Naturalis Historia di Plinio. Abstract: Ulpiano and Paul deal with the case of a man who, after disposing a legacy of wool in his testament has made a suit with this wool before dying: the doubt is whether the garment falls into the mortis causa disposition despite the fact that the content of the legacy is wool, not a dress. While Paul excludes this possibility, Ulpiano admitts it as long as it is possible to prove that the testator had admitted the validity of the legacy. The traditional doctrine has usually examined this subject in connection with specificatio's regime with frequent conflicting results sometimes determined by 'prejudices' of interpolations. The purpose of this essay is instead to analyze the mentioned fragments in the light of the results of ancient and archaeological studies on this matter with the support of Latin agronomic texts and Pliny's Naturalis Historia.

Semiotische Kernpunkte

1. Die Prägnanzaspekte von Zeichen werden bei den Körper- und Bekleidungs- zeichen besonders deutlich. Beide können kulturell elaboriert und damit kon- ventionalisiert werden.
2. Die Bekleidung trägt neben der Grundfunktion des körperlichen Schutzes die semiotischen Funktionen einer Elaboration und Kommentierung körperlicher Zeichen (auf die sie verweist) und einer Markierung der sozialen /religiösen Identität der Träger (unter Verweis auf deren soziale/religiöse Gruppe).
3. Im Mode-Diskurs zum vestimentären Zeichen wird dieses quasi versprachlicht, indem ein Lexikon und Regeln des Zusammenfügens (eine Syntax) entwickelt werden. Allerdings ist die Stabilität solcher Konventionalisierung gering, was zu einer raschen Variation in der Mode führt.

The work analyses the production and marketing of purple in Roman times. The analysis of merchants related to the sale of purple, purpurarii, and merchants of the best fabrics and dresses, vestiarii, allow access to visitors were the characters involved with the making and marketing of clothing and fabrics in the Metropolis. The fame of certain colours soon attracted the attention of the Roman elites, and during the imperial period, the purple became a state issue, allowing its use by a small number of people linked to the emperor's family. At this point we make a brief review of the different leges sumptuariae. In this regard, we have taken advantage of, in addition to commenting that the places were more important for the extraction of this dye, to comment that they were the diverse productive techniques of the Mediterranean and Atlantic purples. Resumen. El trabajo trata sobre la producción y comercialización de la púrpura en época romana. El analisis de los comerciantes relacionados con la venta de púrpura, purpurarii y los comerciantes de las mejores telas y vestidos, vestiarii, permite conocer quienes fueron los personajes involucrados con confeccionan y comercializaron vestidos y telas en la Metrópolis. La fama de ciertos colores llamó desde muy pronto la atención de las élites romanas, y durante el periodo imperial, la púrpura acabó siendo una cuestión de Estado, permitiéndose su uso a un número reducido de personas ligadas a la familia del emperador. En este punto hacemos un breve repaso de las diferentes leges sumptuariae. A este respecto, hemos aprovechado para, además de comentar cuales fueron los lugares más importantes para la extracción de este tinte, comentar cuales fueron las diversas técnicas productivas de las púrpuras mediterráneas y atlánticas. Rezumat. Lucrarea analizează producția și comercializarea purpurei în epoca romană. Analiza negustorilor de purpură, purpurarii, și a negustorilor celor mai bune țesături și veșminte, vestiarii, permite deslușirea personajelor implicate în confecționarea și comercializarea de îmbrăcăminte și textile în Metropolă. Faima anumitor culori a atras repede atenția elitelor romane, purpura devenind în perioada imperială o chestiune de stat, limitându-se folosirea ei doar de către un număr restrâns de indivizi legați de familia imperială. O scurtă trecere în revistă a variilor leges sumptuariae este făcută în continuare. În acest sens, se discută nu doar despre cele mai importante locuri de extracție, ci și diversele tehnici de producție a purpurei mediteraneene și atlantice.

Shopping for mens clothes online too will save you quite a lot of time. There are often restricts to the amount of mens dress clothing which you can take into a dressing room at once, therefore in case you are looking to try on various mens fashion suits, you will find yourself in for a considerable loss of time.

ÖZET: Masallar, kökleri en eskiye dayanan, anlatım ve motif zenginliğine zaman içerisinde zenginlik katarak günümüze kadar gelmeyi başarabilen, en canlı sözlü kültür öğelerinden biridir. Derinlerinde birçok mana barındıran bu anlatmalar, insanın bilinçdışının topluma farkında olmadan aktarılmasını sağlayarak insan topluluklarının davranışlarını belirlemede önemli bir rol oynar. Anadolu masalları, Türk kültürünün yaşayan hazinelerindendir ve Türklere bu hazineyi koruyarak gelecek nesillere aktarma görevi düşmektedir. Bizim gibi alan araştırmacılarına düşen görev ise masalın en orijinal ve etkileyici parçası olan motife inerek bir masal metninde motiflerden hareketle masalı araştırmak ve mukayese konusunda zengin örneklere sahip olan masal metinleri üzerine bilimsel çalışmalar yapmaktır.
Bu bildiride Pertev Naili Boratav’ın Az Gittik Uz Gittik, Bilge Seyidoğlu’nun Erzurum Masalları ve Umay Türkeş Günay’ın Elazığ Masalları ve Propp Metodu kaynakları temel alınarak Anadolu masallarındaki kıyafet ve aksesuarların masal metinleri içerisinde nasıl kullanıldığı incelemiştir. Masal ve motif kavramları tanımlanarak Anadolu’da anlatılan masallarda yer alan sihirli kıyafet ve aksesuarlar ile sihir özelliği olmayan kıyafet ve aksesuarlar kısaca açıklanmaya çalışılmıştır. Masal kahramanları için önemli özelliklere sahip olan veya masal anlatımı sırasında şahıslardan bahsederken kullanılan gömlek, yelek, ehram, palto, ferace, tebdil-i kıyafet ve peçe; başörtüsü, duvak, şapka ve külah; çorap, çarık, terlik ve nalın; yüzük, bilezik, gerdanlık, inci ve taç; mendil, tespih ve kemer gibi kıyafet ve aksesuarlardan en dikkat çekici olanları, masal cümleleri ile birlikte bu bildiride sunulmuştur. Bu kıyafet ve aksesuarlar bildiri kapsamında, olağanüstülük özelliklerinden sosyal statüyü belirleme özelliklerine kadar birçok açıdan da ele alınmıştır. Bu sayede halk anlatılarının en küçük unsurundan yola çıkılarak farklı bir bakış açısıyla Anadolu masallarının incelenmesi, canlılıklarının sürdürülmesi ve geleceğe aktarılması konusunda bir katkı sağlanmaya çalışılmıştır.

Anahtar Kelimeler: masal, motif, kıyafet, aksesuar, Anadolu.


ABSTRACT: Tales are one of the liveliest cultural components based on old ages, being able to reach the current time by enriching the narration and motives in time. These narrations baring profound meanings play a significant role in determining the behaviours of communities by allowing to convey the unconsciousness of human being to the community implicitly. Anatolian tales are the living treasures of Turkish culture and the Turk has the task of preserving and conveying this treasure to the coming generations. Our responsibility as the field researchers is to investigate the tale by going back to its origin, finding the motive as the most impressive part depending on the motives in the text of the tale and carry out scientific researches into the texts of tales which are of rich examples in terms of comparison.
In the current paper, how clothes and accessories in Anatolian tales were used in the Anatolian texts were investigated based on the sources of Az Gittik, Uz Gittik by Pertev Naili Boratav, Erzurum Masalları by Bilge Seyidoğlu and Elazığ Masalları by Umay Türkeş Günay with Propp Method. By defining the concepts of tale and motive, magic clothes and accessories taking place in the tales told in Anatolia and those having no feature of magic were explained in short. Having an important role for the heroes in tales or used while talking about people in telling the tale, shirt, waist, ehram, coat, ferace, disguise and purdah; scarf, veil, hat and cap; sock, rawhide sandal, slipper and wooden sandal; ring, bracelet, necklace, pearl and crown; handkerchief, prayer beads and belt as the most striking clothes and accessories were presented in the current paper with the clauses used in the tales. These clothes and accessories were examined in different terms varying from being extraordinary characteristics to their features of determining the social status. In this way, it was aimed to investigate the Anatolian tales from a different point of views depending on the smallest component of public narrations, so contributing in terms of maintaining their liveliness and conveyance to the future.

Keywords: tale, motive, clothe, accessory, Anatolia.