Clothes

Title:  Donor pictures and their iconography  in Danish frescos from the 12th century The article deals principally with the royal donor images, their interpretation and context, in the Romanesque church of Va in southern Sweden (Scania). The donor images in the nearby Gualov Church are also taken into consideration, since they, together with those in Va, 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 Gualov Church a scroll with an inscription indicates that the donor had the frescoes painted ...

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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.

The bronze portrait bust of the Count of Hessen-Homburg (1633-1708) is a special feature of the ruler's representation in the sculpture art of Northern Germany. Andreas Schlüter combined in it a multitude of sources of inspiration, which he led to a synthesis of artistic and iconological refinement. In confrontation with great artists such as Gianlorenzo Bernini (1598-1680) or François Dieussart (ca. 1600-1661), Schlüter created a portrait that set new standards in the genre of the state portrait in terms of form and content. The following article attempts to analyse and interpret three essential achievements of the landgrave bust. They concern the high quality of the plasticity (I), the elaborate drapery (II) and the unusual fusion of antiquity and the present (III).

Résumé

Cadre de recherche : Dans toutes les strates de la société, le vêtement est un instrument privilégié de distinction sociale. D’une manière qui n’est pas nécessairement consciente, il permet aux individus de se faire une apparence qui les dote – au moins à leurs propres yeux – d’une certaine forme d’excellence, et de marquer une différence entre eux et des groupes sociaux auxquels ils ne veulent pas être assimilés.

Objectif : L’objectif du présent article est d’analyser la façon dont cette logique de la distinction oriente les pratiques vestimentaires des enfants. En nous centrant sur le cas des classes moyennes et supérieures françaises, nous souhaitons montrer que les choix faits par les parents lorsqu’ils habillent leurs enfants sont le produit de goûts et de dégoûts construits relationnellement, en réaction aux goûts de ceux qui occupent des positions différentes dans l’espace social.

Méthodologie : L’article se fonde sur une enquête qualitative par entretiens réalisée en France entre 2010 et 2012 auprès de vingt-six parents d’enfants âgés de dix ans et appartenant aux classes moyennes ou aux classes supérieures.

Résultats : Après avoir mis en évidence l’existence d’un goût pour la distinction, qui conduit nombre de parents à acheter à leurs enfants des vêtements qui les singularisent, le texte détaille différentes formes de dégoût du goût des autres : une aversion pour certaines tenues associées à différentes fractions des classes populaires, d’une part ; une mise à distance de goûts attribués à d’autres fractions des classes moyennes ou supérieures, d’autre part.

Conclusion : Ces analyses indiquent que les enfants – très exactement les pratiques et les consommations qui leur sont destinées – jouent un rôle important dans la construction des barrières et des hiérarchies symboliques entre les classes.

Contribution : Alors que les consommations destinées aux enfants ne sont quasiment jamais évoquées dans La distinction, l’article montre la pertinence du modèle théorique développé par Pierre Bourdieu pour rendre compte de ces consommations. Au-delà du seul cas de l’habillement, il invite à analyser d’autres pratiques enfantines à la lumière des propositions avancées dans La distinction.

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Title : Distinguished children. Clothes and social distinction within middle and upper class families.

Abstract

Research Framework: In all strata of society, clothing is a privileged instrument of social distinction. In a way that is not necessarily conscious, it allows individuals to make an appearance that gives them - at least in their own eyes - some form of excellence, and to make a difference between them and social groups to which they do not want to be assimilated.

Objectives: The objective of this article is to analyze how this logic of distinction guides children's clothing practices. By focusing on the case of the French middle and upper classes, we wish to show that the choices made by parents when dressing their children are the product of relational tastes and distastes, in response to the tastes of those who occupy different positions in the social space.

Methodology: The article is based on a qualitative interview survey conducted in France between 2010 and 2012 with 26 parents of ten-year-old children from the middle and upper classes.

Results: After highlighting the existence of a taste for distinction, which leads many parents to buy their children clothes that distinguish them, the text details different forms of distaste with the taste of others: an aversion to certain clothes associated with different fractions of the working classes, on the one hand; a distancing of tastes attributed to other fractions of the middle or upper classes, on the other hand.

Conclusions: These analyses indicate that children - very precisely the practices and consumption intended for them - play an important role in building barriers and symbolic hierarchies between classes.

Contribution: While consumption for children is almost never mentioned in La distinction, the article shows the relevance of the theoretical model developed by Pierre Bourdieu to account for this consumption. Beyond the case of clothing alone, it invites us to analyze other childish practices in the light of the proposals put forward in La distinction.

This papers offers a close reading of several stories included in Jump and Other Stories, concentrating on the main imagery used by Gordimer to elucidate the movement taking place along the stories.  In particular, it seeks to show how pieces of garment serve as metaphors for the paths chosen by the different protagonists and the cultural and social institutions whose conventions they practice. A focus will be placed on the various institutions referred to throughout these stories, e.g., marriage, prison, holiday, parenthood, home, religion, which are poetically hinted at by means of clothing items and accessories, ranging from trousers and a warm coat to an old doek. This use of imagery will be read bearing in mind Gilbert's notions, stating that costume imagery used by modernist women writers tends to be "radically revisionary in a political as well as a literary sense" (1980).

The article summarizes the experience of systemitizing, discusses the
theoretical issues in the study of a garment worn by the representatives of Scythian
and Saxon archaeological cultures. The article introduces to garment classification
and typology of certain categories of clothes, as well as their constituent elements’
nomination. The classification is based on the traditional approach accepted by Russian
ethnographers, according to which a garment under study is divided into hats, shoulder
and waist clothes as well as shoes. In the process of the typology development the
authors relied on the alleged peculiarities of the Scythian clothes cut. The nomination
of its components was composed with reference to various sources. Thus, the authors
propose a new typology of certain categories of clothes that could be developed and
applied only in the study of clothes belonged to people of the steppe zone of Eurasia
in VIII-III centuries BC.

" Travel books " or " itineraries " which are one of the oldest types of literature are the works of travelers who traveled different regions for different reasons and transfer the lives, cultures of the people where they travelled to the next generations.

Author of the article analyzes the symbolic dominance in traditional dress of Russian old-residents, as well as the Southern Russian and Ukrainian immigrants in Siberia in the beginning of the XX century. Inclusion of clothes in all spheres of life in the time of the pre-industrial society led to a high degree of symbolic clothing together with footwear, additions and etc. The study of traditional garments such as the synthesis of the diverse manifestations of popular culture was conducted in the field of ethnographic expeditions to Siberia. Collected source base, on the one hand, makes it possible to reveal the question of overcoming the border, when different culturally people became "own". On the other hand, it is possible to identify the conditions under which this border is irresistible and long preserved. South Russian and Ukrainian women who wore similar clothes, although perceived local Siberian complex with a skirt and a blouse, which is also supported by fashion at the time, but at different speeds. Voronezh, Tambov, Kursk, etc. migrants quickly switched to common types of clothing in Siberia, while Poltava, Chernigov, etc. came from the Ukrainian lands until the 1950s. They wore embroidered shirts, sleeveless jackets, etc., but they refused to wear types of skirts with a cut from the front. Of the several symbols of the traditional clothing of the Siberian society, the most resistant were embroidered"shirts" ('vishivanka'), who discovered new facets of their values, even set the tone for fashion trends in 1920-1950s. The main motive rejection of the traditional clothing was the fact that its absence among the local population - the fashionable and rich Siberians.
В статье анализируются символические доминанты в традиционной одежде русских старожилов, а также южнорусских и украинских переселенцев в Сибири первой четверти ХХ в. Включенность одежды во все сферы жизни традиционного общества (времени доиндустриальной техники) обусловила высокую степень символичности одежды в комплексе с обувью, дополнениями и пр. Исследование традиционной одежды как синтеза многообразных проявлений народной культуры проводилось в процессе полевых этнографических экспедиций по Сибири. Собранная источниковая база, с одной стороны, дает возможность раскрыть вопрос преодоления границы отчуждения, когда разные в культурном отношении люди
становились «своими». С другой стороны можно выявить, при каких условиях эта граница непреодолима и длительное время сохраняется.

Южнорусские и украинские женщины, являвшиеся носительницами во многом сходных традиций одежды, хотя и воспринимали местный сибирский комплекс с юбкой и кофтой, что также поддерживалось модными течениями времени, однако с разной скоростью. Воронежские, тамбовские, курские и пр. переселенки быстрее переходили на общепринятые в Сибири виды одежды, в то время как полтавские, черниговские и пр. выходцы с украинских земель вплоть до 1950-х гг. держались за вышитые сорочки, безрукавки и пр., но отказались от распашных видов поясной одежды в пользу юбок. Из нескольких символов традиционной одежды сибирского сообщества наиболее устойчивыми оказались вышитые орнаментами сорочки «вышиванки», которые обнаружили новые грани своего значения и, как показал исторический опыт, даже задавали тон модным тенденциям в 1920-1950- х гг. Основным мотивом отказа от привычной одежды стал факт отсутствия ее у местного населения – сибиряков, чалдонов, которые в глазах переселенцев выглядели не только обеспеченными, но и «модно» одетыми.

Who is a Textile Designer?
A textile designer creates designs, patterns for fabric and develops fabric structures. The end product of a textile designer is fabric and embellishment of fabrics. Textile designers select yarns, yarn colors and dyes to make new fabric textures, hand feel and finished look. Textile designers do raw material sourcing to production follow up for new development. They give instructions to weavers, knitters how to make the fabric they have designed.

Etymology
The word 'textile' is from Latin, from the adjective textilis, meaning 'woven', from textus, the past participle of the verb texere, 'to weave’.

The word 'fabric' also derives from Latin, most recently from the Middle French fabrique, or 'building, thing made', and earlier as the Latin fabrica 'workshop; an art, trade; a skilful production, structure, fabric', which is from the Latin faber, or 'artisan who works in hard materials', from PIE dhabh-, meaning 'to fit together'.


The word 'cloth' derives from the Old English clað, meaning a cloth, woven or felted material to wrap around one, from Proto-Germanic kalithaz (compare O.Frisian 'klath', Middle Dutch 'cleet', Dutch 'kleed', Middle High German 'kleit', and German 'kleid', all meaning “garment”).

Textiles specifically are fabrics that have interlacing fibers, and it would refer to that specific type of clothing though the use of textile has a meaning more about fabric than clothing - textiles includes tablecloths, curtains, anything made of fabric. Apparel is a broad term meaning clothing in general, particularly outer clothing. Clothing terminology usually includes undergarments. There's a sliver of a fine line in the distinction.

Difference between Textile and Fabric

Textile
It can be made from fibre, yarn or fabric or their combination.
It is a broader term applied to the entire clothing industry.
Literally, it means woven fabric coming from a Latin word taxere
It may be a finished or unfinished product. It has no specific use.
All textiles are not fabrics.

Fabric
It can be made from fibre (non-woven) or yarn (by weaving or knitting).
It is a general term used for clothing.
It is a piece of cloth used for making dresses.
It is a finished product. It has specific use such as cloth for shirting.
All fabrics are textile.

Some garments demand a narrative of their own. Such was the case with a jumper that I darned for my partner in the winter of 2010. The jumper was old and moth-eaten; Mark was gravely ill with only a few months left to live. In the process of darning, each stitch was an act of love, each passage of the needle restoring something that had been eaten away.

This article explores the multiple levels of meaning that run through the narrative I have woven around darning Mark’s jumper – an irreplaceable garment – at once priceless but worthless, worn but unwearable, empty yet embodied. It explores the concept of the fetish and draws on Igor Kopytoff’s analysis of our relationship to commodities and things in the modern, capitalist economy, where discarding and replacing old clothes with new is the default option. The theoretical heart of this paper, however, lies with Elizabeth Wilson’s writings on the ‘quasi-magical properties and meanings’ of a garment and with the work of Peter Stallybrass, who has written brilliantly on how in moments of crisis, in the ruptures of our lives, in mourning, it is to these irrational attachments that we turn.

KEYWORDS

Mourning; fetish; old clothes; wearing; commodification

The more that human society develops, the greater the human need for well-mannered and elegant clothes, especially traditional costumes. Selecting fine clothes for a specific occasion is always an interesting individual question. Based on computer vision and machine learning, this research proposes a Kansei (emotional) evaluation for Aodai, which is traditional and well-known Vietnamese clothes for women. Features of an Aodai image are described by color coherence vectors. Self-organizing maps (SOMs) and multilayer neural networks (NNs) are used to learn the relationships between the image features and the Kansei words. Once learned, the system can recommend which Aodai is suitable for a woman through her desired feelings. She can use this recommendation when purchasing an Aodai at online stores or selecting one from her own collection for an outing. Topics for future research include investigating other image representation methods, such as combinations of color buckets in different parts of the Aodai, using more detailed descriptions in decorative patterns, and integrating conspicuity factors such as color harmony, discriminability and visibility.

« Vêtements rituels et féminisme dans la littérature des XXe et XXIe siècles. Le vêtement fait-il la religieuse ? », Journée d’étude « Penser l’esthétique de la Mode, Revêtir l’invisible : La religion habillée », organisé par Nathalie Roelens (Université du Luxembourg) et Alberto D’Ambrosio (School of Religion), 27 novembre 2020.

Cette communication interrogera la poétique des vêtements religieux, notamment
féminins, dans des oeuvres d’autrices des XXe et XXIe siècles. Il s’agira d’analyser les (ré)investissements que font des écrivaines féministes des tenues religieuses traditionnelles. De l’uni-forme, au sens premier, à la visibilité et au faste des tenues rituelles, les vêtements religieux se font signes : ils sont donnés à voir comme des « signes extérieurs ». Objets de communication pour
Roland Barthes, les vêtements font ainsi sens, définissant l’être tout en s’inscrivant dans le paraître. C’est dans cet espace interstitiel que se joue l’engagement des autrices dans la condition féminine. Nous prendrons comme point
de départ l’oeuvre romanesque de la Québécoise Anne Hébert, qui procède d’un véritable dévoilement : le costume religieux ne parvient pas à voiler les identités genrées, mais au contraire exacerbe les oppositions entre nature et
culture, sexe et genre, normes et transgressions. En parallèle, d’autres oeuvres, à l’instar de Handmaid Tales de Margaret Atwood, viendront interroger la manière
dont l’habit religieux se voit subverti pour être intégré aux enjeux féministes.
Cette étude s’attachera donc à mettre au jour les réseaux de signification qui sous-tendent le vêtement religieux tel qu’il est saisi par des écritures féminines.

Облеклата през XIX век се променят драстично. Промяната е повлияна от значителното въвеждане на машините в процеса на производство на облекла, но и разбира се от сериозната промяна и във вкуса на обществото. Шевните машини, агрегатните станове, тъкачните машини, парните преси, електричеството, новите багрила и други изобретения увеличават бързината и лекотата на производството на облекло.

CALL FOR PAPERS

The development of a theoretical framework for the understanding of the links between religious identity and clothing depends both on a careful terminological selection and on a broad and holistic definition of the social aspects of wear. Through the use of trappings as an effective means of communication in social interaction, it is possible to activate identities based on and assigned by social structures, especially those built on kinship, economic, religious and political activities. At the same time, clothing represents for the individual an inexhaustible source of expressive creativity that can even break the " iconographic vocabulary " of a particular social group. Moreover, the specific types and properties of clothing that convey identity may change over time in response to economic, demographic, aesthetic and technological changes. A comprehensive definition of clothing includes both body modifications and complements, the properties of which have to be analyzed together with the sensory stimuli they may evoke. The XVII International Colloquium of the Association ARYS (Antiquity, Religions and Societies) is dedicated to the study of all these aspects within the framework of ancient societies and religions, from the perspective of the images either of the gods or of their devotees. Within the topic of religious clothing will be included the religious use of clothes and attributes, accessories, ornaments, body modifications such as mutilations or tattoos, hairstyles, nudity and, of course, the action itself of dressing or undressing, its conception and positive, neutral or negative consideration, or the act of assuming any of those human or divine complements, adornments, attributes or modifications of the body.

Location: V Centenario Residence (UNEX) Jarandilla de la Vera
Organization: ARYS Association
Conference End Date: Dec 14, 2018
Conference Start Date: Dec 13, 2018

This speculative essay, an exercise is "thick description", engages with the psychology behind contemporary female sartorial habits in the West and the East alike. It argues for a relativist as opposed to polarised understanding of the rationale behind various gendered sartorial practices and seeks to persuade readers, gently it would hope and claim, that any blind rejection of apparent traditionalism may well be as bigoted a stand as the reactionary rejection of progressiveness in matters of sartorial taste or motivation. The essay is fashioned somewhat in the early modern humanist disputation framework and, to that effect, constantly anticipates and accommodates opposing viewpoints and dissent. Steering as far as possible from a moralist reading, it nevertheless posits the need to acknowledge the role of choice and responsibility in matters of attire and body-fashioning and to have an unbiased awareness of the gender politics embedded and implicated in such choice.

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When, how, and following which paths hominins created the innovations that allowed them to colonize regions of the planet that were not suited to their thermal physiology is still a matter of inquiry. In this paper, we elaborate a theoretical framework to investigate the origin and diversification of bone needles, summarize the evidence for their emergence, create a large database of their morphometric and stylistic characters, and present results of the study of an exceptionally well-preserved collection of needles from Shuidonggou Locality 12 (SDG12), a site located in the Ningxia Hui Autonomous Region, Northern China, dated to ca. 11.2 ka BP. Bone needles are reported from 271 sites and 355 archaeological layers. Revision of the evidence shows they represent an original cultural innovation that emerged in Eurasia between 45-40 ka BP. Size differences between the earliest known specimens, found in Siberia and China, indicate needles may have been invented independently in these two regions. Needles from Eastern Europe may represent either an independent invention or a geographic extension of earlier Siberian and Caucasian sewing traditions. In Western Europe, needles appear during the Solutrean. The wider size range characteristic of Magdalenian specimens supports the idea that needles of different sizes were used in a variety of tasks. In China, the robust sub-circular needles found at sites dated between 35-25 ka BP are followed, between 26-23 ka BP, by small flat needles, which may represent an innovation associated with the microblades/microcores toolkit. At SDG12, technological, functional, and morphometric analyses of finished needles and manufacturing by-products identify two previously undetected reduction sequences for the production of needles of different size and, probably, function. The bone needles found at Paleoindian sites are the smallest and reflect a never previously achieved mastery in the production of such tools.

Die deutschsprachigen Schriftstellerinnen Ilma Rakusa und Irena Brežná setzen sich in ihren literarischen und essayistischen Texten mit dem Konflikt bzw. der Versöhnung von Welten diesseits und jenseits des imaginierten Eisernen Vorhangs auseinander. Die Figuren ihrer Texte sind gleichzeitig (Post)Adoleszent*innen und Migrant*innen, dazu des weiblichen Geschlechts-inszeniert wird eine dreifache Fremdheitserfahrung und Provokation. Eine besondere Rolle kommt dabei der Kleidung und der vestimentären Performanz zu. Die vestimentäre Praxis beteiligt sich nach Gertrud Lehnert an der sozialen Strukturierung und bringt raumzeitliche Dynamiken hervor, was im interkulturellen Kontext zu umso komplexeren Verflechtungen führen kann. Dieser Artikel diskutiert die Anwendbarkeit der Dispositive nach Andreas Krass, die er für vestimentäre Poetik der mittelalterlichen Literatur herausgearbeitet hat.

The article is devoted to consideration of the features and methods of recreating traditional motifs of national ornaments, as well as their use in modern design of clothes and accessories.
Статья посвящена рассмотрению особенностей и способам переработки традиционных мотивов национальных орнаментов, а также их применению в современном дизайне одежды и аксессуаров.

Abstract
Jain tradition puts great emphasis on the renunciation. Whether renunciation and monkhood implied the absolute discarding of all attachments including the cloth formed the major point of the divide in the Jain tradition. Variety of versions of the episode has come up. The paper probes into these depictions. The symbolism attached with the cloth in the Jain philosophical and literary heritage has also been explored in the paper. Cloth as an object became platform for expression of the Jain ideals. Jain cloth paintings (vastrapatakas) made their mark in the history of Indian art.

Tempat Bikin Kaos Sablon Murah di Surabaya - Mencetak kaos sablon murah untuk event kalian ? pastikan untuk menjumpai tempat kaos sablon murah grosir di Surabaya memiliki harga terbaik dan tentunya kualitas kaos sablon dibikin konveksi kaos surabaya mempunyai kualitas harga terbaik dan harga terjangkau. Anda mau order kaos sablon untuk berbagai macam macam jenis kaos salah satunya untuk memesanmeminta kaos sablon kaos promosi, kaos event gathering, kaos iklan produk dan masih banyak lagi jenis lainnya.

Mencetak kaos sablon untuk berbagai macam opsi jenis kaos sablon untuk berbagai macam kebutuhan anda, jasa kaos sablon murah dan grosir harga terbaik untuk memiliki kualitas kaos sablon berkualitas dan nyaman dipakai. mencetak kaos sablon sesuai keinginan anda, bisa anda memastikan bahan kaos untuk sesuai keinginan dan kebutuhan salah satunya jenis kaos semi katun, katun combed, katun karded dan jenis lainnya. Untuk menemui kualitas kaos sablon bagus pastikan memilih bahan kaos terbaik, tentu anda memilih tempat kaos sablon murah salah satunya di Surabaya.

<b><a href="https://vendorpesankaos.blogspot.co.id/2016/11/buat-kaos-sablon-promosi-di-surabaya.html">buat kaos sablon </a></b> memiliki harga dan kualitas terbaik, bukan hanya itu saja kualitas sablon kaos vendor kaos memiliki kualitas dan pastinya sangat cocok digunakan untuk berbagai macam desain. Ingin mendesain kaos sablon menarik untuk kaos sablon anda ? pastinya memastikan bahan kaos terbaik, tentu anda menetapkan tempat kaos sablon kaos murah grosir berkualitas. Soal harga terjangkau tentu order kaos sablon minimal 24 pcs, pilihan kaos berkualitas pastinya dihasilkan konveksi kaos berkualitas. Untuk membikin kaos sablon berkualitas pastinya untuk menentukkan kaos sablon terbaik. mengetahui berbagai macam jenis kaos sablon tentu anda menemui kualitas kaos sablon terbaik. menjadikan kaos sablon terbaik dan tentunya memberikan hasil kaos nyaman dipakai untuk berbagai jenis lainnya.

Untuk itu menemui kualitas kaos sablon berkualitas dan nyaman pastinya memesan pada tempat kaos sablon grosir murah di Surabaya, menawarkan berbagai macam jenis kaos dan pastinya memiliki harga terbaik. menjadikan kaos sablon terbaik, membikin kaos sablon murah memiliki harga terjangkau dan murah. Tak perlu ragu untuk mendapatkan kaos sablon grosir memiliki kualitas kaos sablon bagus.

Специфика этнокультурного состава русских сибиряков не могла не отразиться на их материальной культуре. И в этом смысле одним из наиболее показательных объектов является этнический костюм - сосредоточие художественного вкуса, его религиозных и религиозно-мировоззренческих установок. Самобытная традиция праздничного женского костюма сформировалась в группах переселенцев из западных губерний России середины XVIII в. Одежда, как показал автор, служит важнейшим источником по этнической истории этих групп старообрядцев.

Worstkind adalah merek streetwear kontemporer didirikan pada tahun 2014 , Indonesia . Alih-alih konotasi negatif yang datang di pikiran Anda , nama Worstkind mengacu pada konsep keseimbangan dinamis dari semua hal , komitmen dalam penggunaan warna hitam dan putih dalam koleksi kami . Meskipun kami masih berkembang sebagai merek dan akan terus mendapatkan inspirasi untuk memberikan desain kualitas yang lebih baik bagi pelanggan kami.