Clothes

Este trabalho trata dos direcionamentos teóricos e metodológicos de pesquisa sobre a construção de papel social feminino por meio da roupa, na publicidade de revistas, considerando uma oposição entre o uso da saia e da calça. Apresenta pressupostos da semiótica discursiva e da sociossemiótica, mostrando a relevância de sua operação para uma semiótica da moda.

This paper deals with theoretical and methodological directions of a research on the construction of women's social role through clothing in magazines advertisements, considering an opposition between the use of the skirt and pants. It presents assumptions of discursive semiotics and sociosemiotics, showing the relevance of its operation for a semiotics of fashion.

This essay reflects on the importance of cloth as a medium of transregional economic and social engagement. Additionally, it highlights the ways in which complementary processes of alteration in multiple locales have augmented cloth’s socioeconomic value. Specifically, the history of textiles in the Indian Ocean region evidences the vitality of cloth as an object imagined, fabricated, and creatively adapted. A holistic view of cloth as an economic object reveals the intertwined processes not only of weaving, circulation, exchange, and adornment but also alteration, unraveling, reweaving, and other forms of reassembly. By recognizing cloth as a highly dynamic socioeconomic object we gain insight into the creation and augmentation of value as well as how the process of adding value connects producers and consumers, often through circuitous transregional routes. Ultimately, cloth is an apt metaphor for the changing Indian Ocean world: diverse threads of social and economic relation woven together to form a discernible fabric, while this fabric has been altered, elaborated, and reimagined for new social and economic demands. In the present as in the past, cloth expresses the Indian Ocean as a matrix of inter-societal relationships and a dynamic idea.

Ergonomics intelligent design system of the volume fitting stretch for design the sport bra style and its simulation remains a major challenge, even if applications are numerous, from rapid mathematical for e-commerce to a stable arithmetical for stretch comfort design cloth of sport bra surfaces. This study compared seven sports bras on quantitative and subjective measures of arithmetical comfort as well as ergonomics of stitchless items for small, medium, and large breasted women during exercise. Representing different cup sizes were filmed while jogging on a treadmill at 6 mph in each bra style and in the nude condition. The average stitchless model of vertical displacement of the breast relative to the body was described mathematically for each condition. Two-way repeated measures of mathematical ergonomics of stitchless model of volume fitting stretch that is aimed for designing a sport bra and subsequent pairwise comparisons indicated significant differences by bra style in subjective mean comfort scores and a significant interaction between subjects' cup sizes and subjective mean support scores. Correlation coefficients between vertical displacement values, subjective measures of support, and subjective measures of comfort indicated that bras, which effectively controlled breast displacement, tended to score lower on comfort design. There were, however, exceptions to this trend, and no single bra rated well on all three measures of performance up the 3D fitting sport bra of woven stretch knitted cloth by using the method developed in this paper. Introduction A sport bra is a bra that provides support to female breasts during physical exercise. Sturdier than typical bras, they minimize breast movement, alleviate discomfort, and reduce potential damage to chest ligaments. Many women wear sports bras to reduce pain, and physical discomfort caused by breast movement during exercise. Some sports bras are designed to be worn as outerwear during exercise such as jogging. Historically, the recorded sizing system that is used for current bra manufacturing was founded in the year 1926, a system that was originally intended to classify breast shapes into analogous types. Warner Brothers [5], in America, incorporated the volume size into the bra size specifications in 1935. This gave birth to the alphabetically notated sizing system for bras and the basic modern bra sizing charts in use today, although manufacturers and bra designers of the different brands use different sizing charts for specific target markets. Consumers find their sizes by trial and error, by trying on bras of different styles, models and brands, until they find a bra that fits well. This is still the most dependable method of finding a bra that fits well, because of the differences noted above, as well as the fact that body measurements used for manufacturing bras are taken manually and are prone to error. Today, many countries still use the metric system whilst others prefer the imperial system to determine the bra under-band size. There are various International Standards Organisations systems, including the European, Japanese and Chinese bra sizing standards, in use today for developing bra-sizing charts. This work will only refer to the comparisons in the metric and imperial systems and the conclusions as drawn and reported by Zheng et al. [18] as these are the most popular bra sizing systems in use today.

In order to change consumption patterns into something that is more sustainable, it is essential that we consider the various and conflicting meanings clothes have in people’s lives. This article presents an analysis of diaries written by consumers of different ages and occupations over a period of three months in 2015. These consumers documented their clothing and shoe purchases, took inventory of the contents of their wardrobes, and reflected upon their clothing consumption. The aim of this study is to examine consumers’ use and consumption of clothing and how they deal with dissonances in relation to what they see as ‘sustainable’. What motivated their consumption? What compromises did they make? and What were the processes that determined their choices? The authors of the diaries claimed that they wanted to consume clothing in a sustainable manner, but they found that they did not. Direct criticism of the fashion system was often elusive and difficult for them to articulate. Consequently, instead of asking for the creation of a different fashion system, the authors of the diaries blamed themselves for their failures with respect to sustainable clothing consumption. Drawing on Affect Theory, the article discusses how emotional attachments informed the authors’ relationships with their wardrobes and the conflicting emotions surrounding the pleasure and pain of fashion. In their texts, they provided a number of different explanations as to why they bought, kept, and used clothes to justify why they consumed clothing even if they did not want to consume or felt that they should not. The diarists also remarked on how this made them feel about their consumption. Some claimed to “love” fashion. Others wrote they “hated fashion”, whilst others stated that they “didn’t care at all”. However, as was the case for all of the authors, the dream of owning a ‘perfect’ wardrobe pervaded their texts and worked as a way for them to deal with the dilemmas, contradictions, and struggles of fashion.

Vor rund dreissig Jahren ist Farbe zu einer omnipräsenten, überaus sichtbaren Technologie der Geschlechtersoziali- sation geworden, insofern sie visuell, affektiv und symbo- lisch die Zugehörigkeit zu einem Geschlecht deklariert, zunehmend jedoch auch Geschlechterkreativität themati- siert. Die Autorin geht der Frage nach, wie Farbe im Leben von Kindern eine «weiche Macht» entfaltet.

Die bandkeramischen Idole, d.h. Tonfiguren von Menschen, Tieren und Mensch/Tier-Mischwesen, werden mit unterschiedlichen Argumenten als Abbilder von Ahnen gedeutet. Ähnlichkeiten zwischen einigen Gräbern und Idolen zeigen, dass Menschen mit der anhand der Idole rekonstruierbaren (Ritual-)Tracht  in den Siedlungen lebten und, im Sinne ethnologischer Vergleiche als Ahnenpriester wohl auch soziale/politische Führungsrollen innehatten. Studenten der Universität Frankfurt am Main stellen bei einer Ausstellung diese Rollen dar.

The article deals principally with the royal donor images, their interpretation and context, in the Romanesque church of Vä in southern Sweden (Scania). The donor images in the nearby Gualöv Church are also taken into consideration, since they, together with those in Vä, are the only ones preserved from Mediaeval Denmark that represent identifiable persons. On the east wall of the choir are the poorly preserved donor images of the Danish King Niels (1104–34) and his Swedish born queen, Margaret Fredkulla († c. 1130). Most unusually, the queen is presenting a church model and the king a reliquary. The main altar is dated to 1121 on the basis of a parchment found in a reliquary. According to a new interpretation, a rune inscription mentions the Queen’s brother Ragnvald and their sister Kristina († 1122). In Gualöv Church a scroll with an inscription indicates that the donor had the frescoes painted for the salvation of his deceased wife’s soul. Contour drawings of twelve painted donors from different 12th century churches in Mediaeval Denmark are presented together with short descriptions of the iconography, the donor’s status, garments, gender and symbolic gifts, in order to place the royal donors in Vä church in their contemporary context and elucidate the significance of donor images of the time.

Worstkind is a contemporary streetwear brand founded in 2014, Indonesia. Instead of the negative connotation that comes across your mind, the name Worstkind refers to the concept of emulating a dynamic balance of all things, apparent in the prevalent use of black and white colours in our collections. Though, we are still evolving as a brand and will continue to gain inspirations to provide better quality designs for our customers.

In this paper the author introduces an iconographic parallel to the donor portraits of a royal couple in Vä Church, Sweden, dated to 1121 and presented by the author in a previous issue of ICO, Nordic Review of Iconography: “Donor pictures and their iconography in Danish frescos from the 12th century”, nr 4, 2015, pp. 4–48. The case in point is found in Bohemia, in the Rotunda in Znojmo, where the donor portraits of Conrad II of Znojmo and Maria of Serbia, dated to 1134, like those in Vä are painted on the eastern wall of the chancel, on both sides of the apse. Notable parallels between the two monuments are that the construction of the church and the wall paintings are contemporary, that both use the same painting technique (fresco/secco) and that both show Byzantine influence. Furthermore the patrons are represented on the same scale as the saints in their vicinity in the church, men and women are depicted as equals in that they have the same height, both are very finely dressed and both present gifts that are received by the hand of God. However, although the portraits have much in common concerning iconography and placing, there is nothing to suggest a direct connection between the two churches. Perhaps the paintings in Vä and Znojmo are just two randomly preserved remnants of a Byzantine tradition.

Монография знакомит с традициями народной одежды различных групп восточнославянских народов юга Западной Сибири конца XIX–первой половины ХХ в. Работа богато иллюстрирована фотографиями традиционной одежды, ее деталей, фрагментами орнаментов, головных уборов, обуви русских старожилов и переселенцев, в их числе старообрядцев.

Безрукавка женщин тюрко-монгольских народов Внутренней Азии (монголов,
ойрат, бурят, тувинцев, якутов, хакасов, алтайцев) — предмет полифункциональный.
Его главным назначением на протяжении многих сотен лет развития кочевой
культуры стало обозначение социального статуса женщины в социуме, определение
её этнической принадлежности, магическая защита. Отражением функций воинского
облачения выступает традиция укреплять и декорировать лиф безрукавки. Впоследствии
эту функцию безрукавки сменила функция магической защиты женщины от
злых духов и «нехороших» взглядов.
Часть обозначений безрукавки — тюрко-монгольского происхождения. Но есть
и заимствования, свидетельствующие о тесных контактах кочевников с тунгусо-
маньчжурскими народами. Ключевое понятие, к которому сводятся почти все названия
этой верхней одежды, — «шкура» («кожа», «мех»), что подчеркивает первоначальную
функцию безрукавки защищать от холода и атмосферных осадков.
У истоков этой одежды, вероятно, были два ее разных вида: длиннополая безрукавка
относилась к верхней распашной одежде, другая, короткая, была нательной. Функция
последней была стягивать и поддерживать женскую грудь. В процессе своего развития
безрукавка была наделена особым символическим содержанием, став маркером нового социального положения
женщины в замужестве, отделив ее от незамужних девушек и вдов. Безрукавка стала символом подчинения женщины
семье мужа и его роду в целом.

The article is devoted to organizing information about the clothes engineering methods of the 19th century. Based on the analysis presented in the historical sources techniques, the obtaining baseline data and design methods applied in practice principles are determined, chronological limits of their application and interdependence are identified.

Hreiðars þáttr concerns a seemingly foolish Icelander who manages to win king Magnús’ favour. Hreiðarr’s decisions, words, and character development all reflect a conscious design of a kind of Icelander of the past, who remains true to his roots, and gains success and riches thanks to this. He is an exaggerated, alternative model of behaviour for Icelanders of Morkinskinna’s present to follow, and an indication of how the saga’s author wished to represent his own past. Hreiðars þáttr exemplifies how some Icelanders used their ancestors abroad as models of behaviour, shaping and guiding their way through a complicated present.

Yoav Tirosh (2018), "Icelanders Abroad." In Jürg Glauser, Pernille Hermann, and Stephen A. Mitchell (Eds.), Handbook of Pre-Modern Nordic Memory Studies: Interdisciplinary Approaches (pp. 502–507). Berlin, Boston: De Gruyter.

This article addresses the traditional domestic clothing of various groups of southwestern Siberian Old Believers. Professing the same Priestless Old Belief, they came from various parts of European Russia (" Poles " , Belarusian " Muscovites " , Kerzhaks, etc.). The study is based on the sarafan set of women's wear representing the most typical element of the traditional Russian apparel. Sarafan features vary across populations, making it possible to identify separate ethnic groups and indicate their possible sources of migration. Mapping the ethnological data collected during eld studies has shown signi cant cultural variability of Old Believer groups, and their af nity to either northeastern or northwestern Russian traditions. Ethno-cultural diversity was maintained owing to the stability of marriage circles until the 1920s.

Les suites chevaleresques, miroir et outil de la mise en scène du prestige seigneurial dans les Pas d'Armes au XVe siècle Le Pas d'armes, dans l'histoire des divertissements nobiliaire, se voit occuper une place spéciale, à la lisière entre combat et théâtre. Il est sans conteste éminemment représentatif de la noblesse du XVe siècle. De prime abord, nous constatons que le Pas d'armes est en réalité une évolution de la joute, dans laquelle un ou plusieurs chevaliers se portent volontaire-s pour garder un passage (carrefour, porte, pont…) contre tout venant. A ce combat vient s'ajouter, en la présence des chapitres, ou lettre d'armes, (PP) une fiction basée sur les romans de chevalerie, dans lesquels le chevalier explique pourquoi et comment il compte tenir son Pas. Enfin, pour compléter cette courte définition, il faut préciser que les Pas ne furent guère nombreux et que leur organisation coïncidait toujours avec un contexte politique particulièrement important pour le Prince. A l'instar des joutes et des tournois, l'entrée dans les lices est un moment important dans les Pas d'armes. Symboliquement forte, elle soutient tant la réputation du chevalier que celle de son prince. Pour le jouteur, il s'agit de faire honneur à ses ancêtres, de prouver sa valeur martiale tout en tenant son rang dans la pyramide hiérarchique de la noblesse. Contrairement aux joutes et tournois où, en définitive, le chevalier ne combat que pour son propre prestige, dans les Pas, il combat également pour celui de son seigneur. En cela, le Pas diffère des autres divertissements médiévaux et rajoute une charge réelle sur les épaules des chevaliers au vu des implications politiques que celui-ci représente. Ainsi, qu'il soit organisateur ou « simple » participant, le chevalier doit-il paraître sous son meilleur jour, sans toutefois faire un excès de zèle en arborant des tissus trop riches ou des couleurs « inaccessibles » pour son rang, et ainsi renvoyer une image négative de la cour à laquelle il appartient. L'un des marqueurs matériels de la puissance d'une cour est incarné par les parures chevaleresques, pour certaines offertes aux jouteurs par le prince. (PP) Les tissus jouaient, au sein des cours princières, un rôle important dans la structuration de la pyramide hiérarchique. Selon sa fonction et son rang, un courtisan avait accès à des tissus plus ou moins riches, plus ou moins chers. Il en allait de même pour les couleurs.

In this paper I firstly propose a brief survey of the initial developments of the studies on the (un)clothed body meant as language, then I dwell on the way in which such perspective may be used to reformulate classical theories about the (in)visibility of the body, and afterwards I characterize the fundamental semiotic mechanism of the language of the (un)clothed body as the projection of a semi-symbolic system of abstract valences, filled with different value oppositions depending on the historical periods and the socio-cultural contexts. I continue by exploring, through a specific semiotic square, the system of values of modesty/immodesty, by offering insights into the processes of naturalization that characterize the arbitrariness of the language of the (un)clothed body, and I conclude with remarks on the distortions that globalization brings about in the perception and attribution of meaning to the clothes of the Other.

The “muhallefat” i.e. tereke (estate) registers in the Ottoman Empire contain inheritance records of decedent people. Despite some limitations on subjects such as number of children in family, polygyny, wealth, status, portion of the inheritance, goods used, prices of goods, and investment instruments, these records are very important. This study involves information about clothes, which was an element of the material culture in Sofia during the second half of the 17th century. Inheritance records of rich women contain detailed information about clothes, which is an important element of the material culture. It was observed that women had various and different prices of underwear, gowns and street clothes. Shirts, pants, snapsuits, loose robes, gentians, kaftans, furs, enclosed gowns, feraces and macrames became prominent as the primary clothing products. The type, color, and workmanship of the fabric used affected the price of clothes. Cotton, wool and silk fabric types from which clothes were manufactured were also examined in this study. The caps, belts, jewelleries and accessories used by rich women had a wealth value. The caps and accessories that were worn by the women on their heads involved hair ribbons, istifans, hoods and perisanis. Being among the jewelleries of women that indicated their investments and their addiction to ornaments and grace; the bracelets, rings, earrings, and bangles were highly expensive and glossy. According to the records, women preferred golden jewelleries and their rings and earrings had pearl, emerald, ruby, garnet, and sapphire stones.

Osmanlı Devleti’nde muhallefat ya da diğer bir ifadeyle tereke defterleri, ölen kişilerin miras kayıtlarını ihtiva etmektedir. Ailede çocuk sayısı, polijini, servet, statü, miras paylaşımı, kullanılan eşyalar, eşya fiyatları, yatırım araçları gibi konularda bazı sınırlılıklarına rağmen bu kayıtlar oldukça önemlidir. Bu çalışmada, XVII. yüzyılın ikinci yarısında Sofya’da maddi kültürün bir unsuru olan giyim - kuşam hakkında bilgilere yer verilmiştir. Zengin kadınların miras kayıtları maddi kültürün önemli bir unsuru olan giyim - kuşam yönünden oldukça detaylı veriler içermektedir. Kadınların iç giyim, elbise ve sokak kıyafetlerinin çeşitli ve farklı fiyatlara sahip olduğu anlaşılmaktadır. Gömlek, don, zıbın, entari, çentiyan, kaftan, kürk, kapama, ferace, makrame belli başlı giyim ürünleri olarak öne çıkmaktadır. Kullanılan kumaşın cinsi, rengi ve işçilik özellikleri kıyafetin fiyatına etki etmekteydi. Kıyafetlerin imal edildiği pamuklu, yünlü ve ipekli kumaş türleri bu çalışmada ayrıca inceleme konusu edilmiştir. Zengin kadınların kullandığı başlık, kemer, takı ve aksesuarları ise adeta servet değerindeydi. Saç bağı, istifan, sorguç ve perişanî kadınların başlarına taktıkları başlık ve aksesuarlardandır. Kadınların hem bir yatırım aracı hem de süs ve zarafete düşkünlüklerinin bir göstergesi olan mücevherleri arasında yer alan bilezik, yüzük, küpe ve halhalları oldukça pahalı ve gösterişliydi. Kadınların altın takıları tercih ettiği, yüzük ve küpelerinin ise inci, zümrüt, yakut, la’l, safir taşlı olduğu kayıtlardan anlaşılmaktadır.

Mit Beiträgen von Silke Becker, Astrid Geimer, Julia Gerken, Tessa Engelbrecht: Experimentelle Rekonstruktion von bandkeramischen Haartrachten, Hüten, Kleidung, Schmuck und Taschen/Beuteln anhand von Form und Verzierung der Idolfiguren und entsprechenden Fundstücken.

[The Material Construction of Person among the Wichí People of the Gran Chaco] Wichí people sometimes declare that the body is a kind of garment characteristic of every species, which wraps spiritual elements that humans share with some animals, plants, and spiritual owners. At least in metaphorical terms, the body is for the person a laqo, that is "his/her clothing", "his/her possession", or "his/her thing". In this paper I try to study the referential scope of the expression laqoy (plural of laqo), and to show how these artifacts (and their verbal conceptualizations) contribute to the process of material building, maintaining, and transformation of Wichí person in his/her cosmological, ethnic, gender, age, and "professional" dimensions. After describing the roles of different laqoy in the different categories of the person ordering them in terms of the vital cycle (babies, children, boys and girls, men and women, elderly people, shamans, mourning relatives, and heirs), I draw some considerations about the meaningful link between body, person and artifact.

Although there are many empirical studies on the functions of school uniform, studies
which focus on the origins of school uniform are neglected. Purpose of this study is to reveal
historical origins of black smock and white collar. To achieve this purpose, a qualitative
research method was adopted. As a result of the research, it was determined that the
origins of black smock and white collar lie in the university and charity school uniforms in
England. In France and England, school uniforms have mostly been aff ected by the religious
tradition. Western educational system was a model for Turkey. Notre Dame de Sion
and Saint Joseph which were founded in the middle of the nineteenth century in Istanbul
were probably the first models of black smock and white collar in Turkey.

A la fin du XVIe siècle, le nouveau rapport au geste du corps et aux gestes de son corps comme langage des émotions et présence dans le monde réagence les composantes de l’identité et de sa visibilité « publique » sous un masque feint et ambigu amorçant la genèse d’une nouvelle sorte de déguisement.

Il s’agira de démasquer ces gestes (dis)simulés dans leur énonciation et de réfléchir sur leur rôle dans la reformation du cadre de l’expérience de la visibilité de l’image identitaire (de soi) au XVIe siècle. Trois typologies seront abordées : l’ambiguïté du geste, le masque de la gestuelle et la reprise de gestes. Je tenterai de les articuler à la notion tout aussi ambiguë de (dis)simulation pour comprendre en quoi et pourquoi les gestes au XVIe siècle peuvent entrer dans la catégorie du déguisement selon leur cadre. Autrement dit, je me poserai la question « à qui appartient le geste performé et agi » : au personnage ou à la personne masquée ?

Cette réflexion qui entendra également faire un état de ma recherche en cours permettra de mieux comprendre ce qui (re)présentait l’identité dans la pensée de l’époque et les mécanismes (in)conscients et sociaux de sa visibilité, inscrivant l’homme renaissant dans un monde résolument « moderne ».

Présenté dans le cadre du séminaire Gestes ambigus, séminaire accueilli par le CEHTA (centre d'histoire et de théorie des arts) /EHESS et coordonné par Valérie Boudier et Anne Creissels (maîtres de conférences en arts plastiques à l'université de Lille 3, membres du CEAC et docteures de l'EHESS en histoire et théorie des arts, chercheures associées au CEHTA), de 17h à 19h dans les locaux du CEHTA, 2 rue Vivienne, 75002 Paris

A text about the meaning of the clothing in a village in Maramures region, northern Romania, what has changed, what is still important, how people can tell about a person's age, community apartenence and social status, just by looking at their clothing.

This paper is focused on pledges of movable property of Brno citizens in
14th century during an urban collection registered in tax sources. The research was
based on certain group of taxpayers and the results are summarized in four parts.
These parts include the analysis of the source itself, description of the taxpayers
with the pledges, the property and an attempt to reconstruct the whole process of
the pledge payment.

The history of the equestrian and personal monuments offers clear signs of the dress code. For from the early examples from the 15th century (Padua, Ferrara), through the monuments in Florence, to the France of Louis XIV, the monuments show a structured development in the representation of dress. It oscillates between the reception of antiquity, contemporary clothing and strange hybrid forms. Their interpretation is still open. In the following an attempt will be made to relate the representation of clothing to the respective understanding of history. It seems as if the artistic use of garments refers to linear or cyclical models of history in which the dignitaries play their role.

This work is based upon textile material usually understimated. A sample of 81 turbans from different sites of the Formative Period of Northern Chile are analized. The results are organized in a typological classification, and the scopes of this study are discussed as valuable information about their former wearers.