National Costume Research Articles

Study of the use of neural network in combination with graphical programs in light industry

Technology, currently at the peak of its development, provides an opportunity to increase the level of education of modern man. As a consequence, the development of new clothing models using neural networks is also becoming a more efficient way to optimize design processes. By applying neural networks, results can be achieved quickly and easily. Artificial intelligence empowers and optimizes work in the fashion industry: it recognizes clothes from photos, accesses virtual fitting sessions, and, without much effort, easily selects the perfect size. The program will automatically design the pattern and technically reproduce patterns by size, height and fullness. Artificial intelligence will require less creative work from the author, and the designers themselves will be able to spend more time on their creativity. The research paper utilizes Microsoft Bing to facilitate the creation of new designs for clothing patterns. It is an artificial intelligence that can be used to create images, solve problems and get new ideas. With the help of this program it is planned to create an experimental series of Kyrgyz national costumes, the details of which will be designed in the graphic program of Grafic 12 clothing designer.

“Unkempt Attire Does Not Befit Us”

There are very few European countries with a tradition of national costume. Local, folk, and regional costumes are common. One can even define an outfit topographically in terms of its historical features. However, national dress, which is the identifying mark of a country, a symbol of national identity, well-established through centuries of tradition, is a rather unique phenomenon. Although in several instances the emergence of national attire has an older history (for example, in Switzerland, Spain or Denmark, the trends have been noticeable since the 18th century, while Gustav iii in Sweden in 1778 promulgated a decree on the wearing of national costumes), the greatest explosion of trends to promote national attire occurred in the 19th century. This is related to the widespread national or national liberation tendencies that swept through Europe during this period. Nineteenth-century aspirations to return to some fashion, to look for historical designs or to create national costumes took place especially in smaller countries (or those that did not exist on the maps at the time), which wanted to preserve and assert national identity in this way. From this point of view, it will be interesting to look at the tradition of promoting patriotic and national liberation ideas through clothing in the Polish lands.

HISTORICAL EVOLUTION AND INNOVATIVE DESIGN OF QIANG COSTUMES

Рurpose. This paper analyzes the evolution process and cultural connotation of Qiang costume form, discusses the application form of Qiang costume elements in modern clothing design, and provides a theoretical basis for the innovative design of national costumes. Methodology. The field research method, literature analysis method, and case study method are used to analyze the evolution process, cultural connotation, and design application of Qiang costumes. Results. By studying the development process and style design changes of the Qiang costumes, it is concluded that its unique cultural connotation and design characteristics are closely related to the social characteristics, production methods and religious beliefs of the Qiang people. It is the materialized expression of the Qiang people's world outlook and national psychology. It reveals the reasons for the change of the Qiang costume modelling and proposes the method of using ethnic elements in modern costume design. Scientific novelty. This paper studies the development process of Qiang costume shape from the perspective of design, history, ethnology and anthropology, and puts forward that Qiang costume is the materialized expression form of local people 's world outlook, values and aesthetics, and clarifies that the change of Qiang costume shape is influenced by religious culture and Han-Tibetan culture. Suggestions are made in the form of integration of national costume elements with modern clothing design. Practical significance. The Qiang costume has been fused with other ethnic cultures in the course of historical changes, which is both inherited and changed, which is very inspiring to modern costume design. Digging deeper into the cultural connotation and design language of Qiang costume, so that it can innovate the design method and explore the design carrier while inheriting the national culture, so as to provide reference for the creation of a costume design that can embody both the traditional Chinese culture and the sense of the times.

Cultural and historical significance of the traditional attire of the Far East

This article examines the cultural and historical significance of national costumes of the Far East. Different countries of the Far East are distinguished by their rich and diverse cultural heritage. National costumes are an important part of this heritage. These clothes are not only items of clothing, but also symbols that reflect many important issues such as history, aesthetics, identity and social order. National costumes of the Far East are often made using traditional textile materials. Natural materials such as silk, cotton and linen are important as a reflection of craftsmanship and traditional production techniques, in addition to using the natural resources of the region. These clothes give aesthetic richness by being decorated with patterns, colors and accessories. Historically, the national costumes of the Far East have traces of the past. These clothes are historical documents that reflect the social status, classes and occupations of the past. For example, the Japanese "kimono" is filled with symbols used to denote the age, gender, and season of the wearer. The traditional Chinese "qipao" has the function of showing the nobility of the wearer. These national costumes are also important symbols that reflect the cultural identity of the region. They emphasize the wearer's belonging and social identity. They create a bond between individuals and communities, especially when worn at events such as national holidays, weddings and formal ceremonies. They also play an important role in preserving cultural heritage and passing it on to future generations.

Reinventing Fashion as an Affective Apparatus by China's Youth: Bilibili, Danmaku Commentaries, and the Online Hanfu Ceremony During the COVID-19 Outbreak

Hanfu, an attire newly reinvented by China's youth, has been revived as traditional Chinese attire and further reconstructed as a symbol of China's emerging cultural identity. During the COVID-19 outbreak in 2020, the annual National Costume Day, launched in 2018 by the Chinese Communist Youth League, transitioned into an online event on Bilibili, an emerging media platform in China. Known as the online Hanfu ceremony, this National Costume Day comprised self-produced short films contributed by Hanfu supporters who created videos during the lockdown. This article employs a case study approach focusing on the online Hanfu ceremony to delve into the impacts of such an event in the wake of a national health crisis. Its results indicate that Hanfu served as an affective apparatus to gather Chinese people online, evoking feelings of nationalism through the notion of cultural confidence. By assembling as a community online via Bilibili, younger Chinese people were able to experience a sense of belonging and affective moments of attachment. Such positive affective sentiments provided solace and cohesion, aiding individuals in navigating the collective ordeal of COVID-19, thereby serving the nation through configuring Hanfu as an affective apparatus—a tool for constituting solidarity.

‘Con poporos y guacamayas’: Representaciones indígenas y el traje típico colombiano en el Miss Universo

This article addresses in five examples, the participation of Miss Colombia and her Indigenous-themed costumes at the Miss Universe pageant. First, the methodology used for this research is approached, from the use of images as a historical document and visual culture. Then, we approach a definition of the typical or national costume and its different denominations, to finally analyse a set of costumes representing Colombia and alluding to the Indigenous at the Miss Universe pageant. It is concluded that the typical Indigenous costumes presented in this international beauty contest are invented costumes that recreate stereotypes and establish identities that can be related to the idea of creating imaginaries that can present a good image of Colombia both nationally and internationally. The research was also based on a dialogue with authors who have addressed issues related to the creation of national identities and their construction from the history, culture, and heritage of a country, related to popular contemporary culture and media.

Characteristics of the Armenian National Costume

Ազգային տարազը, իր տեղային խմբերով հանդերձ, բազմագործառութային է և որպես մշակութային կարևոր տարր՝ ունի սոցիալական խմբերի, սեռատարիքային և էթնիկ ընդհանրության հոգևոր պահանջմունքների ցուցիչի դեր: Այն յուրատեսակ նշանային համակարգ է՝ կրողի վերաբերյալ որոշակի տեղեկությամբ, որը հաղորդվում և դրսևորվում է կրվող համալիրի, տիպի, գույնի, ձևվածքի, զարդարանքի միջոցով: Հագուստի նշանային գործառույթներում գեղագիտական հատկանիշները միահյուսված են կրոնածիսական ոլորտներին: Հայկական տարազը, ինչպես նաև հայոց լեզուն, իր բազմաթիվ բարբառներով, հիշեցնում է բազմագույն երանգապնակ՝ իր առանձին, բայց միաժամանակ համամասն ու ներդաշնակ գույներով: Մեկ համահայկական, ընդհանուր տարազ չկա: Այն պատմական զարգացման ուղի անցած համակարգ է` առանձին խմբերով, որոնք ընդհանուր են կառուցվածքային առումով: Բոլոր տարազախմբերում այն կազմված է ներքնազգեստից, վերնազգեստից, գլխի հարդարանքից, զարդարանքից, ագանելիքից (գուլպա, ոտնաման, տղամարդկանցը՝ նաև ոտքի փաթաթան, սռնապան): Տարբերությունները ոճավորման մեջ են, իսկ հագուստի ոճը դրսևորվել է ձևվածքային լուծման, հիմնական ձևերի, հագնելու եղանակի, գունային համադրության և գեղազարդման եղանակների մեջ: Ըստ տիպի` հայկական տարազը արձակ է, բաց, զգեստն ունի կտրվածքներ առջևից, կողքերից: Հայոց տարազի համակարգը կազմում են արևմտահայկական` Վասպուրական, Աղձնիք, Տուրուբերան, Բարձր Հայք, Շիրակ-Ջավախք, Տրապիզոն, Փոքր Հայք, Կիլիկիա և արևելահայկական` Այրարատ- Թիֆլիս-Պարսկահայք, Սյունիք-Արցախ, Գուգարք, Վայոց ձոր և այլ համալիրները: Ավանդական տարազի դերն այսօր լրիվ փոխվել է: Այն դուրս է եկել կենցաղավարումից, կորցրել երբեմնի կիրառական նշանակությունը և դարձել ազգային մշակույթի էթնոսիմվոլիկ հատկանիշ, կատարելով էթնիկ ցուցիչի դեր: Национальный костюм, наряду с его местными разновидностями, много- функционален и, как важный культурный элемент, играет роль индикатора духовных потребностей социальных групп, половозрастной и этнической общностей. Национальный костюм – это своего рода знаковая система с определенной информацией о его владельце, которая передается через его тип, цвет, крой и украшение. В знаковых функциях одежды эстетические особенности переплетаются с религиозной и ритуальной сферами. Армянский национальный костюм, как и мультидиалектный армянский язык, напоминает многоцветную палитру в ее отдельных, но в то же время пропорциональных и гармоничных цветах. Не существует единого общеармянского нацио- нального костюма. Это система, прошедшая путь исторического развития с отдельными группами, имеющими общую структуру. Все группы национального костюма состоят из нижнего белья, верхней одежды, головного убора, украшения, обуви (носки, туфли, у мужчин также онучи, ноговицы). Различия проявляются и в стилизации, а стиль одежды- в крое, в основ- ных формах, в способе ношения, в цветовом сочетании и декорировании. По своему типу армянский национальный костюм свободный, открытый, с вырезами по бокам и спереди. Система армянского национального костюма включает западноармянский-Васпуракан, Ахдзник, Туруберан, Высокая Армения, Ширак-Джавахк, Трапезунд, Малая Армения, Киликия и восточноармянский - Айрарат-Тифлис-Парскаайк, Сюник-Арцах, Гугарк, Вайоц Дзор и другие комплексы. Сегодня полностью изменилась роль традиционного костюма. Он вышел из повседневной жизни, утратил свое некогда практическое значение и, став этно- символической чертой национальной культуры, играет роль этнического индикатора. The national costume with its local groups is multifunctional and, being an important cultural element, plays the role of an indicator of social groups, gender and age, and also the spiritual demands of an ethnic community. The national costume is an original sign system that bears definite information about its wearer, disclosed by type, color, pattern, and ornamentation of the set. The national costume, in particular the men’s costume set, being comparatively an open system, is rather flexible towards changes in the historical and cultural, social-economic processes of a given community. In the national costume all elements are of symbolic significance. The Armenian national costume, like the Armenian multidialectal language, is manifold. It resembles a multicolored palette with separate but at the same time proportionate and harmonious colors. There is no "all Armenian" general costume. It is a historically developed system with separate groups that are common in structure. In all groups the costume consists of underwear, outerwear, headdress, decoration, footwear (socks, shoes; for men also foot wrappers, gaiters). The differences are in stylization, demonstrated in pattern, main forms, manner of wearing, color combination, and ornamentation styles. The Armenian costume system comprised the folk dresses of Bardzr Hayk, Vaspurakan, Pokr Hayk, Cilicia, Ayrarat (Yerevan-Tiflis-Parskahayk/Persian Armenia/), Syunik-Artsakh and Lori-Gugark, each of which had their versions. In the late 19th and early 20th centuries, especially after the Armenian Genocide, Armenian national costume began to lose its features. However, in some places, for example, in Syunik-Artsakh, some elements of the local costume have been preserved in purity. In the late 19th and early 20th centuries, especially after the Armenian Genocide, Armenian national costume began to lose its features. However, in some places, for example, in Syunik-Artsakh, some elements of the local costume have been preserved in purity.

Cultural inheritance and media communication of national costumes in digital age

Cultural inheritance and media communication of national costumes in digital age

Exploring the Expression of Deconstructionism in Chinese National Costume Design

In the mid-20th century, the concept of deconstructionism was first proposed in the field of philosophy. Its emergence subverted entrenched notions and cognitions of traditional structures, fostering a novel mode of anti-traditional thinking. Within the realm of fashion, deconstructionism primarily manifests in breaking the taboos of traditional attire, rendering aesthetic standards more diverse. Designers are empowered to transcend conventional design boundaries in both thought and form, thereby crafting works imbued with greater tension and contradiction. With a history spanning 5000 years, China has witnessed the emergence of numerous distinct traditional garments. The imperative task facing every Chinese designer is how to inherit and evolve these historically significant ethnic attires. Contemporary ethnic-style garment design transcends mere clothing production; it constitutes an endeavor concerning the perpetuation and evolution of ethnic attire and sentiment. Deconstruction serves as a method of garment design, yet it is the national sentiment of the Chinese people that embodies the ultimate essence requiring dissemination and expression in design. The central inquiry of this paper revolves around how to integrate this internationalized deconstruction design method with Chinese traditional attire, thereby endowing traditional clothing with renewed vitality. In the course of this study, a qualitative research approach is predominantly employed. Through comparative analysis of exemplary works of Chinese ethnic-style garment design from both domestic and international sources, the application outcomes of deconstructionism in garment silhouette, pattern, and detail elements are derived. Utilizing structural methods in garment design not only yields innovative stylistic structures but also furnishes additional design insights and space for the future development of ethnic garment design.

The Innovation of Malaysia National Costume at Miss Universe: Memoir Goddess of Kumang

Miss Universe, with a history spanning over 71 years, is regarded as the most prestigious beauty pageant worldwide. It was first held in 1952 and has continued its legacy, playing a crucial role in empowering women in the changing times by Phongpaichit (1989) and Malik et al. (2023). Malaysia has participated in Miss Universe since 1964 and achieved notable success by reaching the top 15 in 1970 by Abdul Hamid et al. (2015). The main objective of this research is to incorporate the Iban folklore figure, Goddess of Kumang, into the idea of Malaysia's national costume for the Miss Universe pageant. The research follows a qualitative approach, focusing on the practice and artistic experimentation to illustrate the representation of the Kumang Goddess in the National Costume, based on Peirce's Theory of Atkin (2010). The data collection process encompasses observation, documentation, and visualization methods to elucidate each step undertaken while producing illustrations. The research outcomes yield numerous fashion illustration concepts centered around the theme of the Kumang Goddess. The significance of this research lies in its endeavor to preserve and introduce a fresh dimension to the fashion industry by incorporating folklore characters as creative inspirations in artistic work.

Research on Western Minorities Costume Culture and Innovative Development--Analysis Based on a Sample Questionnaire on Western Minorities National Costume

Based on analyzing the questionnaire sample on Western Minorities national costumes, this paper comprehensively explores the development trend and innovative direction of Western Minorities costume culture. The study results show that in the context of globalization, traditional Western Minorities costumes are gradually welcomed by the younger generation as a fashion representative. At the same time, traditional Western Minorities costumes have been innovatively applied in modern costume design. In the questionnaire, we learned that more and more consumer groups are interested in Western Minorities national costumes, and we should learn to interpret Western Minorities culture from different perspectives and reflect it in our designs. Innovative development requires inheriting and protecting traditional skills and incorporating new technologies and techniques to improve their characteristics. In addition, innovation should maintain the characteristics of Western Minorities culture, satisfy the aesthetic needs of modern people, and focus on the real meaning of the dresses to be expressed and their relationship with art. The above research gives us a more comprehensive and in-depth understanding of Western Minorities dress culture and innovative development, an important reference value for the inheritance and development of Chinese traditional dress culture.

Retracted: Research on Embroidery Feature Recognition Algorithm of Traditional National Costumes Based on Double-Layer Model

Retracted: Research on Embroidery Feature Recognition Algorithm of Traditional National Costumes Based on Double-Layer Model

Development of the process of designing a women's collection with the execution of a print of the material in an ethnic style

The article presents the results of the development of the concept of a structural model of the process of designing a women's costume using a print in an ethnographic style. Innovation through tradition makes it possible to return, transform the fashionable and cultural images of the past in a new context of ethnic style. The purpose of the research work is to develop the principles and structure of the clothing design process, taking into account the methodology of designing collections of clothing "pret-a-porte" and the development of original material with a print in the national color. The work is based on the use of modern theory and methods of system analysis, scientific principles of systematization and typing, methods of design typology, theoretical and practical achievements in the field of artistic design of clothing and the use of computer programs Corel Draw and Adobe Photoshop. In the presented work, the prospects of using the artistic and figurative features of the Kazakh national costume from the standpoint of modern design are considered. The value of the research lies in the fact that it corresponds to scientific approaches in the field of designing modern clothing, the possibilities of expanding the structure of the assortment due to the simultaneous interaction of the functions of traditional national costume and modern clothing, which will directly lead to the creation of completely new design solutions with high consumer properties. The formation of an artistic image occurs both due to the form and architectonics of the model, and due to the design of the material, the designed fabric coupon for the print represents the practical significance of the work. The results of the work make it possible to improve the quality of clothes made in the ethnic style, based on the use of innovative artistic and technological design methods.

Identity and cultural expression in Greenlandic fashion1

The West Greenlandic national dress represents one of many aspects of Greenlandic identity and culture and is being used in contemporary fashion designs. Young Greenlanders are branding themselves in the media through fashion and are proud to wear distinctive signs of ‘Greenlandicness’. However, the incorporation of ‘sacred’ and cultural symbols, such as elements from the national costume, into fashion statements is problematic. Public disputes for and against changes to the perceived traditional symbols will form the basis of the empirical analysis. Will changing elements within the culture imply an impure culture and a weaker Greenlandicness? Fashion seems to be an important platform for negotiating identity, as it makes room for mixing elements and for challenging the essential dichotomy of purity and impurity, instead of placing Greenlandic identity and culture in a straitjacket of normative perceptions of tradition, essence and reification.

Brazil: Roots of Popular Culture (experience of interpretations)

The roots of Brazilian folk culture have different forms, structure and history. These roots have been formed over a long period, they have intertwined and influenced one another. Authentic cultures (Indian tribes) and «newcomers» (African and European culture) have been interacting with one another in complex socio-political realities. Together these cultures have created a vivid aesthetic image of the country. The aesthetic principle is most clearly expressed in folklore, the forms of which are diverse and multifaceted. The culture of the people is dynamic; it speaks through folklore in a variety of verbal and non-verbal languages: plastic art, music, dance, folk crafts, national costumes, works of the verbal genre (fairy tales, epics, legends, myths, etc.). Folk culture defines the identity of society, it is reflected in the high aesthetics of professional visual art, music, literature and gradually enters into mass culture and show business. Modernism, the art trend of the early 20th century, became a vivid reflection of the folk features of Brazilian culture. Over time, the tendency to rely on folk national culture has intensified, affecting all aspects of society — from mass culture to social policy. The cultural construction of society in close interaction and cooperation with the folk tradition, the consolidation and renewal of tradition ultimately determine the mentality of the nation, the stability of its existence and self-preservation. The study of Brazilian folk culture opens up new horizons for those who yearn to understand the world of diversity and the world of beauty. The coexistence in a single space of the people of many traditions and aesthetic images that do not oppose, but complement each other, inspires historical optimism which is «colored» by our experience of interpreting the culture of Brazil.

Workshops in Arts and Crafts within Art Projects as a Means of Preserving Ukrainian Folk Costumes

The purpose of the study is to find out the peculiarities of conducting and assigning workshops on techniques for creating and decorating national costumes. The research methodology is based on the methods of generalisation and systematisation, the method of art historical analysis, and typological method, as well as on the principles of historicism and objectivity, which allowed the study to be carried out comprehensively. The scientific novelty is determined by the fact that for the first time in the Ukrainian scientific environment, attention has been drawn to the phenomenon of workshops on various techniques of creating and decorating traditional Ukrainian costumes as an effective tool for maintaining the traditions of national dress in the early twenty-first century, when there is a high level of interest in material and spiritual culture in society. Conclusions. The research is devoted to the study of workshops on various techniques of decorative and applied arts in the contemporary Ukrainian cultural and artistic space, the priority purpose of which is to preserve and popularise folk traditions of creating ornaments and decorating certain elements of traditional Ukrainian men's and women's costumes. Today, such workshops are designed to draw the attention of the general public to material and spiritual culture. The study, based on the analysis of workshops of various formats (within exhibition projects, scientific and popular science conferences, and forums, activities of studios and individual masters of folk art) in Ukraine, has found that these events promote archaic traditions of folk costumes and encourage the general population to study certain aspects of their creation and decoration, taking into account the regional affiliation of the costume. In this regard, it has been determined that workshops are an effective tool for raising the level of ethno-patriotism in society. Key words: Ukrainian folk costume, embroidering, embroidery, embroidered shirt, beadwork, weaving, outfit, decorative and applied art.

RETRACTED: Kumpikaitė, E.; Milašius, R. Lithuanian National Costume in the 19th Century and in the 2nd Half of the 20th Century: Cultural Pollution and Remains of Authenticity. Societies 2021, 11, 17

The journal retracts the article “Lithuanian National Costume in the 19th Century and in the 2nd Half of the 20th Century: Cultural Pollution and Remains of Authenticity” [...]

Development of an onstage costume design project of Udmurt national costume based on the books on national clothing

Introduction. The article discusses the problem of developing ethnic onstage costumes for folk bands. The steps of the development of the design project of the Udmurt onstage ethnic costume for the in the studio of the artists are based on the materials found in the books on folk clothing. It also considers the involvement of the students from the Institute of Arts and Design of the Udmurt State University. Materials and Methods. The study is based on modern research on the Udmurt national costume, summarized in the works of specialists studying the national costumes of the Finno-Ugric peoples, primarily M. K. Zavyalova and S. Kh. Lebedeva. The article employs general research methods such as system analysis, comparison, semantic analysis, as well as an integrative method. Results and Discussion. The Udmurt national female costume is characterized by such features as sacredness and symbolism. Women’s clothing is streaked with symbols. From ancient times, the Udmurts endowed clothes with magical properties reflected in the ornament. The study of the history of the national costume as an integral part of the life of an ethnic group is a very important cultural task. The research by of S. Kh. Lebedeva and M. K. Zavyalova considered the main source of ideas for the creation of design projects for the onstage costumes, made by the artist, the author of the article, for the Udmurt folk band “Њardon” and the Cultural and Tourist Center “Tol Babai Estate”. The students of the Institute of Arts and Design of the Udmurt State University took an active part in this process. Conclusions. At present, the Udmurt national costume has practically disappeared from the everyday life of this ethnic group. Under such conditions, the importance of research by ethnographers, the specialists in costumes, art critics, and historians is increasing. An important contribution to the preservation of national culture is made by folk art bands. A variety of stage costumes is achieved by the work of a costume designer.

Acculturation and Ethnic Costume Preservation: A Grounded Theory Study on Heterogeneous Strategies in Japan and Korea

ABSTRACT There has been increased focus on the role of national costumes in preserving national cultural heritage. As a carrier of culture, ethnic costumes are not only fashion but also symbols of history, tradition, and national identity. Drawing on various documents and practical measures of ethnic costume protection in Japan and Korea, this study utilizes the grounded theory approach to analyze and refine the concepts presented. By doing so, it constructs both an ethnic costume protection model and a comparison model for the two countries and explores the heterogeneity between them. The findings suggest that differences in the implementation of ethnic costume protection strategies arise mainly from the divergent values and ideologies between the two countries. Japan has created a singular national symbol with kimonos as the central element, whereas Korea has built a comprehensive Korean wave culture featuring fashionable Korean clothing. Overall, the transformation of both the kimono and the Hanbok represents a process of adaptation and resistance against Western culture and a means of refining national identity. The kimono has evolved from being a garment reserved for specific occasions to a fashion statement, while the Hanbok has transitioned from solely holiday wear to avant-garde daily clothing.

Retracted: Application of Nanomaterials in Visual Effects of National Costume Pattern Design

Retracted: Application of Nanomaterials in Visual Effects of National Costume Pattern Design