National Dress Research Articles

Tailoring Modernity and Wrapping Tradition: Chitenge [African Print Fabric] Class and Culture in Zambia

This study delves into the historical and contemporary significance of African print fabric known as chitenge in Zambian dress practices, critically scrutinizing sartorial choices and developments. We explore and unravel chitenge’s multifaceted meanings for contemporary Zambians, in terms of gender, class, religion, and urbanity vs. rurality through a critical cultural hybridity approach with oral history, ethnographic, and digital qualitative methods. Our research reveals conflicting perceptions—from being labeled as backward to its proud representation as national dress during special occasions, chitenge in Zambia reflects wider global trends of local dress positioned as “traditional” contrasting with Western styles perceived as “modern.” Chitenge is desirable when tailored into Western-style attire customized for individual use, highlighting its role as a sign of conspicuous consumption, instead of its more versatile wrapped form that could be worn in multiple ways, shared, and repurposed into various other uses ranging from a baby carrier to household décor. Beyond our findings, this study also contributes to epistemic justice as one of the first studies on sartorial practices in Zambia by a Zambian scholar.

Традиції та трансформації народного одягу українців з с. Колодрібка Заліщицької міської громади Чортківського району Тернопільської області впродовж 60-х рр. 20 ст. – 20-х рр. 21 ст.

The purpose of the article is to research and analyze the traditions and transformations of the constituent elements of the folk formations of the western Podillia, using the example of Ukrainians from the village of Kolodribka, Zalishchytska urban community, Chortkiv district, Ternopil region, on the basis of studied historiography, museum sources of information, and expedition materials collected by the author in July 2022. The main trends in changes in the cut, materials and decoration of the components of the body, belt, shoulder and upper both women's and men's clothing, shoes, hats, jewelry, belts and accessories, embroidery techniques, predominant ornamental motifs and colors, primarily embroidered shirts in the 60s of the 20th century – 20s of the 21th century. The methodology of the study of narrow local features and the modern state of national dress in the structure of the material and spiritual culture of Ukrainians of Western Podillia covers a systematic approach, the principles of historicism and objectivity, as well as general scientific (historical, analysis and synthesis, comparative and terminological), historical (historiographical analysis, problematic - chronological, ethnospatial definition), ethnological (direct observation, photo and video recording of phenomena, typological analysis, individual survey and field research) and interdisciplinary (descriptive, methods of museum source studies and visual anthropology) methods. Scientific novelty. In the course of the historical and cultural development of the Podillia region, local features of all components of folk costumes have developed. In addition, each administrative district of one or another local area of Podillia, and often even a separate village, were distinguished by the originality of the methods of cutting, making and decorating clothes and forming an ensemble complex in general. Therefore, if the general regional features of the traditional clothing of the local population have been more or less studied by scientists, then the local and the local and zonal characteristics of the Podillia costume and their transformations remain insufficiently studied to this day. This fact emphasizes the relevance and necessity of implementing the defined problem of the article. Conclusions. An assessment of the value orientations of the local population in the preservation, modification and continuation of the traditions of wearing individual clothing components and the use of Ukrainian ornamentation in view of its symbolism in the decoration of clothing for the purpose of self-identification as a representative of the Ukrainian nation in general and a separate ethnic group in particular, specifically through clothing, is provided. The process of increasing the popularization of ethnic products in the wardrobe of Ukrainians is highlighted and the integration of folk ornamental motifs into modern style as a result of awareness of the depth of Ukrainian culture and getting rid of the label of inferiority.

“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.

When East meets West: The politicization of kei pou (qipao) or cheongsam in Hong Kong

When East meets West: The politicization of kei pou (qipao) or cheongsam in Hong Kong

Traditional Folk Clothes in the Dimension of Modern Nation Consolidation Processes

The article is devoted to folk culture, in particular, clothing as a powerful factor of national consolidation and expression of the mentality of Ukrainians in the war unleashed by russia. The pseudo-scientific narratives of russian scientists with the aim of destroying the identity and changing the consciousness of modern Ukrainians in support of the modern fascist regime of russia are considered. Emphasis is placed on the social (as a basic) criterion for understanding the role of the national dress, the embroidered shirt, in uniting our people during the Orange Revolution, the Revolution of Dignity, and russia’s war against Ukraine. In traditional culture, social and aesthetic functions in the contrast “friend or foe” embodied collective norms and aesthetics. This marking has acquired a new public, social meaning. Clothing is a representative of a person and their mentality. During the Revolution of Dignity, the embroidered shirt became an expression of the unity and resistance of the people of Ukraine on a national scale. In this period, the iconic function of national clothing, which defines Ukrainian belonging, is actualized. Using the example of the stories of the embroidery masters of Donetsk region, it is shown how the ethnic memory found a practical embodiment in the conditions of the war. They are united by a civic stance – to show that their land is primordially Ukrainian with a rich culture of folk clothing. For clothing researchers, these are very important facts as a source of understanding the modern functions of clothing. In particular, the informative function of embroidery is its cultural and social context, the author’s position regarding the russian war. This socio-cultural phenomenon powerfully characterises Ukrainian continuity and self-identity, and is therefore perceived by the occupiers as a weapon, just like the language and the entire heritage. Vyshyvanka is a symbol of indomitability and faith in victory for immigrants and those who survived the occupation. The article highlights the tendency to increase the value of the local heritage of the Little Motherland with its identification codes, which has determined the activities of many masters.

Some Elements of Beldemchi Kyrgyz National Dress as an Embodiment of the Ethnocultural Code

The beldemchiKyrgyz national dress plays an important role in transmitting the ethno-cultural code, reflecting the rich history and traditions of the ethnic group. Article explores various aspects of the beldemchiand their symbolic meaning. One of the key elements is embroidery, which conveys unique motifs and patterns that have deep symbolic meaning. Each pattern in beldemchi embroidery has its own history and symbolizes certain values and representations of the ethnic culture. The use of traditional materials such as cotton, silk or linen is also important. This not only makes the clothes unique and special, but also emphasizes the connection with nature and the traditions of the ethnic group. Beldemchi also plays an important role in the preservation and transmission of cultural traditions. The craftsmen who create beldemchi hand down their skills and knowledge to the next generations, preserving unique techniques and traditions. This helps to preserve and strengthen the cultural heritage of the people. In conclusion, beldemchi is an important component of culture, reflecting the history, traditions and values of the ethnos. Embroidery, the use of traditional materials and the transmission of skills — all these elements help to embody the ethno-cultural code and preserve the rich cultural heritage of Kyrgyzstan.

Fashioning Iceland’s past in the present: An example of (dis)connections of traditional dress in the Arctic

While a version of Icelandic heritage is exhibited in modern fashion, the imagery is a recent invention without specific historical context. Yet, centuries-old outfits with accompanying components that form the canon of Icelandic women’s national dress are well-established cultural elements. There are three categories of national dress that are instantly recognizable and have well-defined variations of national dress that figure more than ever in formal events and celebrations. However, these do not seem to be referenced in designers’ efforts to create distinctly Icelandic and Arctic imagery through fashionable clothing. Revealing how this appears and why may provide clues to what prompts similar disconnects in other Arctic communities and small-group cultures in which vivid national dress iconography is separated from fashionable apparel. We reveal this separation through fieldwork and interviews conducted in 2021 and 2022 in Reykjavík and online, a look at historical paths of national dress, an examination of cultural underpinnings and attitudes, and references to Jean Baudrillard’s theory on the evolution of symbols in society. We illustrate the gravitational pull of ritualistic contexts that effectively distance national dress from designed fashion. We follow the development of Iceland’s iconic ‘Lady of the Mountain’ and her dress, observing how their emergence and eventual fusing removed them and their symbolic presence from the day-to-day world of fashionable apparel.

EDUCATION OF THE YOUNG PEOPLE WITH LOYALTY TO VALUES IS AN IMPORTANT FACTOR OF THE FIGHT AGAINST IDEOLOGICAL THREAT

It is known that ideological influence has become the most effective tool of geopolitics. Values can play an important role in countering ideological threats by providing alternative models of behavior and thinking. They develop critical thinking, analysis and self-awareness, help people to understand the impact of ideological threats on their lives and their impact. The role of Uzbek national values in the cultural and social identity of the people of Uzbekistan. plays an important role in formation. These include respect for the elderly, family values, national dishes, arts and crafts, national dress and dance, as well as unique traditions and customs. The preservation and transmission of these values is important forthe cultural heritage and social cohesion of Uzbekistan. The article discusses the role of education of young people in the fight against ideological threats.

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.

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.

Parliamentary Dress

Parliamentary Dress

Review: The Transformation Of The Meaning Of Kebaya From National Clothing To A Media Of Self-Representation And Lifestyle

As a cultural product of the Indonesians, Kebaya has become a national dress that sticks with its philosophical principles and values. However, along with the times and the influence of popular culture, the kebaya changed its design lines. It caused a transformation of the meaning of the Indonesian national dress into a medium of self-representation and the lifestyle of modern women. This review aims to analyze the transformation of the meaning of kebaya as a medium of self-representation and lifestyle. The method used is a narrative review by analyzing several articles using the PRISMA method. The analysis results show that the kebaya, as Indonesia's national dress, has design characteristics, materials, and accessories that contain philosophical meanings that reflect the personality of Indonesian women. The design transformation of the traditional kebaya gave birth to a modern kebaya far from the standard of the conventional kebaya. Modern kebaya is interpreted as a symbol representing the wearer's self-image and social class. The modern kebaya, as a medium of self-image and social class, gives birth to a new lifestyle in society, namely a consumptive lifestyle, because someone will carry out consumption activities continuously without considering the use value of the item. Besides being able to complete references related to kebaya, the results of this review are also expected to be input for related parties to maintain the traditional kebaya standard and consider ethics in buying kebaya so as not to create a consumptive lifestyle.

Teaching short prose works by N. Akish as the basis for the formation of national values of the child's personality

  In this article, the story "Where is the real grandma?" by N. Akhysh in the 5th grade Kazakh literature textbook is analyzed from a methodological point of view and the problem of teaching based on national values is considered. In the work family values are clearly revealed and subgroup names are based on national names as well. In order to make the lesson interesting according to age characteristics, first of all, by playing games, it is connected with the items used by grandmas when tasks are given. According to the phrase of recognizing the meaning during the lesson, the tasks related to revealing the image of the characters in the story and evaluating them in comparison with life are also connected with concepts close to national knowledge. Working with the text, effective and new methods to reveal the image of the characters are thoroughly considered. It has been proven that a granny’s image can be fully revealed using the "clamp method". By choosing the national clothes worn by grandmothers, such as kamzol, shapan, waistcoat, kimeshek, jewelry it is studied how the writer can help learners find the image of a real grandmother that the characters are looking for. Techniques to give importance to the author's opinion and give learners the opportunity to express their own critical opinion are rationalized. Methods associated with national dishes such as Nauryz kozhe and shelpek also greatly contribute to the achievement of the lesson's aim. The main thing is that the obtained methods are not only based on national values but also contribute to national education. Approbation of the methods was carried out in the gymnasium named after M.Makataev No. 140 in Almaty, 58 schoolchildren participated in the work. Keywords: teaching methodology; method; national values, critical thinking, national dress, skills; modern Kazakh stories.

Monarchs in National Dress – Sartorial Expressions of National Image in the Representational Practices of 19th-century European Courts

AbstractParallel with the emergence of modern national identity and culture, from the late 18th to the early 20th century an emphasized consciousness underlined the attempt to create a ‘national’ dress. In the court cultures of Europe, a shift in the style of representation from ‘international’ to ‘regional/ethnic’ and ‘national’ served the aim of updating the monarch's role. Royals reaffirmed their sense of belonging to their own ‒ or adopted ‒ nations through the conscious introduction of national elements into the dress code of the court. Royal courts also played a leading role in the myth-making process surrounding the so-called national style. The connection between power, prestige, and the dynamics of costume as a fashion statement is obvious in this process.

Controlling Bazaar, Fighting Precarity, and Producing the Nation

AbstractThis article focuses on production cycles of traditional embroidery making (yaka) in Turkmenistan. In Turkmenistan, yaka is a key element in the national dress for women's everyday wear and since the process of the embroidery making is often handmade, the distribution of yaka and the networks of producing and dealing this essential apparel offer a rich ethnographic context. The article focuses on the study of resellers and dealers who control the market flow and the precarious labor of those women who produce this highly valued handmade product in villages and households and then resell them at the major bazaar hubs in the central cities. At each stage, there is a quality, price and “tradition” control—whether the product adheres to the constructed but widely shared idea of the “national dress.” These relations are also imbued with logics of the gendered economy of respect for work and mutual help given the precarious circumstances of each individual yaka-maker. Yaka-making is seen by many women as a way out of financial crises, but it becomes a cycle of precarity based on the trends, demands, and forms of the formal dress requirement in the state institutions to which female clients have to adhere to when choosing the product. What influences the market flows in trends, supply, and everyday profit? How do women regulate the market from within despite the growing precarity? Studying these internal power relations will help us reveal how cultural and social control stems from the precisely political and male domination and how the rules of the game in that field are guided by completely different gendered and labor principles on the ground.

한복의 사전적 정의 검토

This study examines the definitions of hanbok from the following dictionaries: Standard Korean Language Dictionary; Encyclopedia of Korean Culture; Encyclopedia of Korean Folk Culture; A Dictionary of Korean Traditional Apparel; Oxford English Dictionary; The Collins Dictionary; Urban Dictionary, and one from a webpage on Korean culture promotion by the Ministry of Culture, Sports and Tourism of the Republic of Korea (ROK). The examination brings to light the problematic wordings and further discusses why they are problematic. Describing the attributes of hanbok as timeless and static, the definitions do not reflect the historical development of hanbok in dynamism. The discussion contends the following. First, hanbok is a collective noun that refers to the category of traditional clothing of Korea, not only a costume for men and women. Second, given that the term hanbok was coined at the turn of the 20th century, its concept and historical timeline are part of Korea’s modern fashion history, not that of pre-modern, from the ancient to Joseon (1392-1910). Third, the trajectory of hanbok shows its evolution in the contexts of being modernized, hybridized, and culturally authenticated, rather than remaining “traditional” and “authentic.” Fourth, hanbok has served as ethnic dress for ethnic Koreans across the globe and national dress of the ROK. Fifth, as the ROK increasingly becomes a multi-ethnic country in the 21st century, the word “uri (lit. our/we),” which is commonly used to describe the ethnic Korean community as a single entity, should be changed to a third-person perspective. Sixth, the elements of clothing that are subject to change, such as stylistic characteristics, occasions for wearing, and construction methods, must be inclusively described. The arguments presented here are anticipated to contribute to revision of the definitions of hanbok in dictionaries and conceptualization of hanbok as an academic keyword in dress/fashion studies.

A Proposal to Include the Image of the Saudi Personality in Middle School English Books in Light of Saudi Arabia’s Vision 2030

The study aimed to identify a picture of the Saudi personality in light of Saudi Arabia’s vision 2030 to reveal the level of inclusion of the Saudi profile in light of Saudi Arabia’s vision 2030 in middle school English books and then to present a proposed vision to include a picture of the Saudi character in light of Saudi Arabia’s vision 2030 in middle school English books. The study followed the descriptive approach to content analysis, the content analysis card was used as a study tool, and the study sample was made up of all six middle school English books. The study found the following results: The identification of the Saudi personality in the light of Saudi Arabia’s vision 2030 was made up of five dimensions: (religious dimension, after the kingdom’s flag and logo, cultural dimension, social dimension, economic dimension). The most available element in middle-grade English books was “national dress” within the cultural dimension (26.39%) of the total number of lessons.

‘We’re not like the newbies’: belonging among Dubai’s long-term residents

ABSTRACT In this research on middle-class, long-term residents of Dubai, I explore how long-term residents experience belonging and exclusion in a country where they cannot legally be permanent. I first argue that my interlocutors express belonging through accumulated knowledge, memories and familiarity with the UAE in contrast to their own countries, as well as through contrasting themselves to newly arrived residents who know little about the UAE. In doing so, long-term residents use expressions of belonging and an exclusionary rhetoric similar to the one Emiratis use. However, despite this connection and affinity, my interlocutors feel that they are seen just as any other short-term resident. There is no legal status that distinguishes them from newcomers, no form of dress (such as the national dress) that marks their belonging, nor a visible or recognised category that differentiates them, which highlights the limits of belonging in these Gulf states.

More than Fashion

This article is concerned with identification and interpretation of the costumes featured in two portraits of Polish aristocratic women by Franz Xaver Winterhalter: Katarzyna Potocka née Branicka in Oriental Costume, 1854 (National Museum in Warsaw) and Wieńczysława Barczewska, Madame de Jurjewicz, 1860 (Museum of Fine Arts in Boston). The former outfit, brought by the wearer from her journey to the Near East, references dress worn by Greek women in the Ottoman Empire. The latter is fancy dress featuring the jacket called polka, harking back to the overcoat called kontusz, iconic of the Orient-inspired historical Polish national dress. Winterhalter’s painterly treatment showcases the wearers’ agenda for selecting the ensembles that reflected their personal circumstances and also conveyed patriotic allusions in the context of Poland’s current status as a partitioned nation. The meanings of the “oriental” elements in both costumes extend beyond the note of exoticism to which they have been hitherto reduced.

Malay Deli in North Sumatra: History and Today’s Existence

Abstract This study aims to describe the history of the Deli Malay and its current existence as one of the major ethnic groups in Indonesia. During the Dutch colonial period, Deli was famous for its tobacco plantations, even the practice of real contract coolies existed in Deli. Deli Malay is inseparable from other Malay sub-Malays in Indonesia as well as in Malaysia, Singapore and Brunei Darussalam. Only the characteristics of the Malay Deli remain and have contributed a lot to the progress of the Indonesian state to date. Like the Deli Malay civilization also produced cultural icons, especially the Maimun Palace and the Al-Mashun Grand Mosque. These two historic buildings are evidence of the greatness and existence of the Deli Malay civilization in North Sumatra. In addition, the most obvious is the Malay language which is used as the national language of Indonesia, Malaysia and Brunei Darussalam, as well as several other Malay countries. Likewise, the system of royal government originating from Bustanussalatin, became a guide for Islamic Sultanates throughout the archipelago. Including traditional Malay clothing such as the cap, songkok or skullcap, became part of Indonesia’s national dress.