Meaning Of Clothing Research Articles

Dress is a Fundamental Component of Person Perception.

Clothing, hairstyle, makeup, and accessories influence first impressions. However, target dress is notably absent from current theories and models of person perception. We discuss three reasons for this minimal attention to dress in person perception: high theoretical complexity, incompatibility with traditional methodology, and underappreciation by the groups who have historically guided research in person perception. We propose a working model of person perception that incorporates target dress alongside target face, target body, context, and perceiver characteristics. Then, we identify four types of inferences for which perceivers rely on target dress: social categories, cognitive states, status, and aesthetics. For each of these, we review relevant work in social cognition, integrate this work with existing dress research, and propose future directions. Finally, we identify and offer solutions to the theoretical and methodological challenges accompanying the psychological study of dress. Why is it that people often agonize over what to wear for a job interview, a first date, or a party? The answer is simple: They understand that others' first impressions of them rely on their clothing, hairstyle, makeup, and accessories. Many people might be surprised, then, to learn that psychologists' theories about how people form first impressions of others have little to say about how people dress. This is true in part because the meaning of clothing is so complex and culturally dependent. We propose a working model of first impressions that identifies four types of information that people infer from dress: people's social identities, mental states, status, and aesthetic tastes. For each of these, we review existing research on clothing, integrate this research with related work from social psychology more broadly, and propose future directions for research.

현대패션에 표현된 익명성

This study aims to analyze how anonymity, one of the important social characteristics since the advent of the digital age, is expressed in contemporary fashion and what its implications are. For this, a literature study on anonymity and a case study on the expression of anonymity in contemporary fashion collections were conducted. The result is as follows. In the contemporary fashion collections, anonymity was expressed in creating the anonymous persona of designers who emphasized design collective, casting of amateur models, and the anonymous personas of models by wearing face covering items and daily uniforms. By these means, contemporary fashion designers seek the essence and authenticity of fashion design, dream of escaping into a fantasy world, highlight social problems, and reflect the thinking about the fluid identity of modern society, which defines their own identity. Through this study, it is meaningful to think about the meaning of clothing as a tool for projection of identity in modern society and to prepare basic data on anonymity from the point of view of contemporary fashion.

TINJAUAN TENTANG TATA RIAS PENGANTIN ADAT MANDAILING DI KECAMATAN LEMBAH MELINTANG KABUPATEN PASAMAN BARAT

Mandailing traditional bridal makeup in West Pasaman Regency needs to be studied because there is a mixing of two cultures between minangkabau culture and mandailing culture, in order to produce a clear and concrete picture of mandailing bridal makeup in Pasaman. This study aims 1)to describe the shape and equipment of bridal makeup mandailing, 2) to describe the work process of bridal makeup mandailing, 3) to reveal what are the meanings of clothing and makeup equipment mandailing bride in West Pasaman Regency. This study uses a qualitative approach. Informant networking is done using snowball sampling technique. This research instrument is the researcher himself and assisted with supporting instruments such as tape rekorder, video tape, camera. Data collection techniques are carried out by observation, interviews and documentation. The steps of analyzing data are data collection, data reduction, data presentation and conclusion drawing. The results showed 1) The form of wedding dress on bridal makeup aadat mandailing in Nagari Ujung Gading, consisting of codecs / songket, basiba kuruang shirts from minang, shawl or Ulos from mandailing, with equipment consisting of golden moong, jagar-jagar and jarunjung, suri moon necklace, belt or bobat, puttu daboru bracelet, hissik bracelet, long nails, kris and tarompa. For the form of the groom's dress consists of a black biludru suit, sarawa gadang / lapang black, sesamping, and shawl or Ulos mandailing, with perengkapan such as hampu or ampu, belt, large plain bracelet, kris and tarompah. 2) The Process of Bridal Makeup Mandailing in Nagari Ujung Gading District Transverse Valley West Pasaman Regency. 3) The meaning of the form of clothing and bridal makeup equipment mandailing custom in Nagari Ujung Gading as a whole is for each use of minang clothing and mandailing equipment can only be worn by brides who carry out medium helatan or large helat. By fulfilling some provisions in "Sepanjang Adat Nagari". One of them is in slaughtering animals for helat. For medium helat animals sacrificed in the form of goats and for large helat in the form of buffalo animals. In this case it relates to the type of headdress (bulang) that the bride will wear. For medium helat bulang used is a five-tiered bulang or so-called bambeng (goat). And for large helat, the bulang used is a seven-storey bulang or called bulang barbo (buffalo). It is recommended to be able to maintain and preserve the existence of traditional bridal clothing and equipment mandailing.

Sichtbarmachung von Kriminalität. Gestaltungsund Funktionsweisen von Gefangenenkleidung im 19. und beginnenden 20. Jahrhundert

Clothes make the man. This is especially true for those who are outside the norm, such as prisoners. In her study of prison violence, Bereswill emphasizes that the misappropriation of clothing through threats is part of everyday prison life. On the one hand, this strengthens the position in the prisoner hierarchy. On the other hand, the need for new clothes is also satisfied. A discussion of prisoner clothing, if one wants to disregard the concentration camp prisoner clothing, has so far only been rudimentary. The reason for this seems to be that a more extensive study of clothing does not represent a worthwhile research object due to “its everyday banality”. There are empirical, contemporary-oriented works on clothing in prison from a cultural and legal perspective. They dealt with the functions and meanings of clothing and fashion in women's prisons. Ash's study of the development of prison clothing from a historical perspective with contextual references to legal, social and, in particular, fashion history refers to the Anglo-American world. In her analysis of striped concentration camp clothing, Schmidt provides some information on the history and development of prisoner clothing in German prisons in the 19th and 20th centuries. Due to their respective focus of interest, the studies by Ash and Schmidt lack a more detailed reference to the penal system, which Einsiedler emphasizes very clearly. The following investigation approaches prisoner clothing in the context of their design and functionality, which has so far received little attention. The central thesis is that prisoner clothing serves the purpose of prison-specific rationalization and enforcement of prison discipline in the sense of the concepts of Foucault and Goffman. The focus is on the following questions: What was the prisoner’s clothing made of and what did it look like? Which “general” functions did it fulfill and which further functions did it fulfill in the context of the prison? What were the implications of this for the prisoners? Were these subject to change?

Lexemas of meaning of clothes in mukimi’s works

Lexemas of meaning of clothes in mukimi’s works

Participation with Style. Clothing among Young Activists in Political Groups

Research shows that forms of participation among youth are strongly differentiated and connected with complex meanings and motivations. A growing sector of youth develops political intervention through the adoption of distinctive everyday practices and lifestyles. The article aims to reflect upon dress among young activists involved in political groups. Very little research focuses on this topic, but following studies on everyday politics, the young activists’ clothing could be considered as a form and a field of political participation. This approach, however, seems not to be sufficient to interpret the phenomenon. Taking inspiration from research about youth cultures, the article suggests interpreting youth clothing conjointly as a component of style, as a means for constructing collective identity, and social positioning. The article is based on qualitative interviews collected in Piedmont (Italy). Six main topics have been investigated: 1. Socialization to clothing; 2. clothing of the activists and in their groups; 3. meanings of clothing; 4. relevance of clothing; 5. practices of buying clothes; 6. clothes as consumer goods.

The reception of women’s clothing from the 1950s to 1980s

The purpose of this study is to reveal the cultural meaning behind modern experiences of diversity through the history of clothing in Korea. To this end, this study examines aspects that dictate clothing culture acceptance experienced and practiced by women by analyzing the case of the Naju rural area in Jeollanam-do from the 1950s to 1980s. Modern clothing was accepted later in the 20 century in this village, and the Satgolnai traditional textile tradition was an important factor after 1950s. In addition, the continuity of the rural five-day market is different from practices in the city. Limitations in access to media such as TV, films, and magazines, and the functional meaning of clothing in rural areas contributed to limitations for women to get the opportunity to access modern clothing items that were popular in the city. Unlike in the city, the event that inspired the transition to full-scale modern clothing in this village was the Saemaul Undong Movement of the 1970s. Additionally, Mombbe (labor cloth) worn during the Japanese colonial period was continuously worn as daily clothes for Naju women even after the 1950s. Therefore, colonial modernity continued through clothing.

Furs in early twentieth-century New Zealand: ecology, war and fashion to the 1930s

ABSTRACTThe First World War was a complex moment in the history of dress and garment manufacture. Materials and textile production were diverted largely to war manufacturing, and the meanings of clothing became caught up in particular notions of loyalty and patriotism. One change in dress that has received little attention was the growth of the fur garment and trim industry in these years of fashion austerity. New Zealand provides a fascinating case study of the blossoming of the ‘new world’ fur trade and garment industry from 1914 because, despite its small size and remoteness from Britain and Europe, it became an important player in the international fur trade and the democratization of fur that occurred in these years. This article examines three facets of New Zealand’s fur trade that illuminate the complex forces of war, ecology, and the meanings of buying and wearing clothing in this particular trade at this particular time.

Stella Spantidaki. Textile Production in Classical Athens.

Studies of ancient dress continue, I am pleased to observe, to grow apace. In the past year alone I can think of close to a dozen publication that have dealt with the production, wearing, or meaning of clothing in Classical antiquity and I’m alerted to the fact that we can expect more in the near future. This is very pleasing given that some eighteen years ago I organized an international conference on the theme of women’s dress in the ancient Greek world in which I highlighted what I conceived to be the plight of ancient dress-studies – which was certainly true then for Greek dress (work on Roman costume was faring better at the time).

DRESSED IN PHOTOGRAPHS: BETWEEN UNIFORMIZATION, SELF-ENHANCEMENT AND THE PROMOTION OF STARS AND LEADERS IN BAMAKO

ABSTRACTMost literature on cloth focuses on its capacity as a medium of identity construction in relation to politics, economy, ethnicity, age and gender. As such, the equalizing properties of uniforms are often contrasted with the creation of individual styles of dress. This article discusses a further dimension in the complexity of the meanings of clothing: it explores the history, uses and local meanings of fabrics on which photographs of public personalities are printed in Bamako. In Bamako in the 2000s, entrepreneurs from different sectors of society, such as politics, religion, media, art, education and commerce, rediscovered this type of cloth as a business opportunity. They have produced decorated fancy textiles for events where large, heterogeneous groups of people participate most often, and where they multiply the image printed on their clothing. Some of these personalities distribute the cloth as promotional gifts, while others make their fans and followers purchase fabrics as evidence of their admiration. The uniforms decorated with photographs reflect a tendency towards asymmetrical relationships between the owners of the dresses and the personality depicted on them. Some of these relationships even encourage individual styles that transgress the uniform character of the dresses.

다자이 오사무(太宰治) 중기작품에 나타난 복장 고찰

This study examines Literature of the middle of Osamu Dazai, especially in the relationship with Clothes and Apparence on a equivocal aspect of the human about the inner and outward appearance of the world. Then, this paper had researched about the meaning of clothes in the process of others-awareness from a self-consciousness discovery. First of all, a protagonist is seriously aware of apparence by himself through pieces of work, and he feels a sense of inferiority. In other words, it is a meaning of being sensitive from‘seeing.’The clothes are mediators that play a role as a link between inner and outward appearance of human; thus, a protagonist starts being aware of others gradually. As following, human being is conscious of self-awareness and others. Thus, it is better not to avoid such these interesting materials in order for Dazai’s special feature of workA distinctive material of this novel introduces selfish feature of human who choose to wear fake masks for others good, rather than recognizing and respecting one’s pureness of inside. Finally, modern society unfortunately changes in a way others like as well as current social condition is too appearance-oriented. Senryu from this novel gives meaningful messages to modern people.

El vestido en Don Quijote: espejo o espejismo de una sociedad

Cervantes’ novel incorporates conventions and stereotypes used in comedy and farce, thereby reproducing their concept of decorum. In this way, clothing, though influenced by satirical and symbolic tendencies, is used mainly as a stable instrument of social classification. The frequent use of costumes in the novel is a destabilizing factor, yet one still limited by certain conventions common to Golden Age dramatic genres. The second part of the paper focuses on the presence in Don Quixote of an important theory of clothing, which transcends the use and meaning of clothing in comedy and farce. Through the ethical and intellectual development of the main characters, the novel reveals the non-correspondence between outward appearance and individual worth as determined by social class.

What to Wear and How to Make It: The Meaning of Clothes in Late Nineteenth-Century America

"What to Wear and How to Make It: The Meaning of Clothes in Late Nineteenth-Century America." Dress, 25(1), pp. 65–74