Pleated Skirt Research Articles

Vyshyvanka of Pokuttia and the Elements of Folk Costume: Past and Present (Based on the Expedition to Horodenkivshchyna)

The article is devoted to the study of Pokuttia embroidery as a phenomenon of ethnic culture, in particular in Horodenka region. The peculiarities of techniques, ornaments and color range are defined. There we can see rukavienky, risheni and tserkovani embroidered shirts, pleats, skirts «in wheat» and other interesting clothes. The ornaments mostly include geometric figures, flower and plant patterns. There are also shirts with embroidered Ukrainian symbols, in particular in the village of Khmeleva. Embroidery techniques consist of cross stitch, plain stitch, low stitch and even on hoops. It is observed during the expedition, that despite the proximity of the villages, similar elements and local differences in the embroidery and folk costume of Pokuttia region have been found. The villages of Horodnytsia, Cherniatyn and Toporivtsi are distinguished by interesting features of local clothing. Here you can find white-on-white embroidered shirts, flowery embroidery similar to Bukovyna, pleated skirts, men’s straw hats – bryli. As for wedding clothes, Yaseniv Pilnyi and Kopachyntsi demonstrate richness and uniqueness here. The wedding attire of local residents of these villages differs significantly from the other settlements. The list of women’s festive outfits consists of kapanka, fota, kabat, percale. Original elements of men’s clothing consist of futerko, shapka-baranka (lamb hat) and a white cloth «rantukh», that the bridegroom has presented to the bride. In Yaseniv Pilnyi unique women’s jewelry – sylianki – are preserved to this day. Nowadays local women and girls quite reproduce actively ancient samples of these necklaces. Girls from Horodnytsia are famous for ducats, indicating their status. All these features make Horodenkivshchyna a special ethnographic region, where authentic clothing occupies a leading place. And although Ukrainian embroidery is evolving significantly today, it is interesting to see that, despite modern fashions, ancient patterns of embroidery are still actively preserved and passed down from generation to generation in the Horodenkivshchyna.

Exploring Aesthetic Thinking in Miao Batik Pattern Design: A Research Perspective

Miao batik has a long history of development in China, and its batik pattern design is classical. It has been passed down from hand to mouth without written records in Miao, which is enough to prove its charm. However, due to historical reasons and the change of time, Miao batik has not only failed to have the same influence as Malay and Indonesian batik in the world, but also its cultural inheritance has been challenged. Since 1949, the Chinese government has taken a series of protective measures for Miao batik, and its pattern designs have attracted a lot of attention from scholars. This research uses a qualitative research approach based on case studies to investigate the aesthetic thinking of the pattern design of two batik artefacts in Guizhou Provincial Museum, The selected case is the batik patterns in the "Miao pomegranate pattern batik cushion sheet" and "Song Dynasty heron pattern colourful batik pleated skirt" collected in Guizhou Provincial Museum for analysis , displayed both online and offline synchronously, combined with the historical and social background. This will help to achieve understanding and analysis of these two important cultural relics from different aspects, help to improve the public's understanding of the meaning and background of the Miao batik pattern design, and help to carry out the work of preserving and promoting the aesthetic value of Miao batik.

The Pleated Skirt

An essay about a pleated skirt the author wore during her childhood. Through recollection, Vitullo examines her childhood education in Argentina, the mercantile efforts in the country, her relationship with her mother and sister, and the passage of time.

Seeing Pink

Seeing Pink

The Rest Is History

The Rest Is History

A Study on the Difference between the Roots of (K)Hanbok and Hanfu

(K)Hanbok, which is Korea’s traditional clothing, differs from the Chinese Hanfu or Japanese Kimono. This study aims to understand the fundamental differences between (K)Hanbok and Hanfu. The Goryeo Dynasty (K)Hanbok, which was particularly popular in China, was established because the Ming Dynasty Hanfu and Chinese fashion were considerably influenced by the ‘Koryo Yang’. Firstly, while (K)Hanbok is bulky, Hanfu of the Han Dynasty is characterized by forming a slim silhouette. Due to the climate of the Northern Hemisphere, (K)Hanbok shows a rich silhouette comprising multiple layers of inner pants and a pleated skirt over a voluminous underskirt. On the other hand, the Han’s Hanfu creates a straight silhouette in the form of a wrap, revealing the contours of the body. The pleated skirt of the (K)Hanbok can use six to twelve width fabrics, depending on the social position; however, the Hanfu of the Han is a skirt without any pleats. Secondly, the clothing patterns, which have various shapes, are totally different in how they are made and sewn. The Korean (K)Hanbok is a two-piece separate, whereas the Chinese Hanfu style is a one-piece with a skirt. The short length of the (K)Hanbok jacket has a Sup which is cut and pasted allowing the front closure to overlap. Nevertheless, the Hanfu of the Han does not have this Sup because it is of a wrap-around, onepiece style and has an exceptionally large front, and wraps around at the waist which extends to the sides. Thirdly, the (K)Hanbok jacket has separate string Gorums for fastening, and an additional belt around the waist; however, in the case of Gorum, it is unnecessary for a wrapping style of Hanfu. Fourthly, Koreans as an agricultural horse-riding people, basically wore the trousers attached a comfortable gusset, while the Chinese Hanfu had no pants, but the Chinese wore Gaedanggo pants which exposed the hips, inevitably during the Warring States period.

Ukrainian Traditional Embroidery in Clothes of the 50s of the Twentieth Century

The purpose of the article is to highlight fashion trends in clothing using traditional Ukrainian embroidery in the 50s of the twentieth century. The methodological foundations of the study are based on historical, art and cultural observations and analysis. Scientific novelty. The article examines historical sources, artifact finds, indicating the presence of embroidered ornamental elements in the decoration of the clothes of the Ukrainians of the indicated period. The manufacture of clothing, including embroidery, on the territory of Ukraine is associated with artisanal and industrial production. The article analyzes the state of embroidery using modern fashion trends in clothing of the 50s of the twentieth century. Conclusions. As a result of the analysis of the art of making clothes of Ukrainian fashion of the 50s. XX century, we can state that the creation of compositionally complete collections of clothes, including those developed using national traditions, was possible due to the unification of the creative efforts of various industries of light industry. Mainly, in the fashion of the 50s, there were cardinal changes in silhouettes and shapes, in accordance with the change in the ideal of beauty. Skirts, straight and flared, came into fashion, pleated skirts, dress-coats, coats, suits made of shaped, overcoat fabrics, which were decorated with metal, leather, wooden buttons, were introduced, taking into account folk ornamental traditions. New styles of dresses were created on a fitted basis with the use of a variety of embroidered ornaments: «roosters», «flowers», embroidered with «nets», «satin stitch», with elements of sewing fabrics along the entire product, etc. The implementation of thematic, original artful designs directed and coordinated the activities of the textile, clothing, knitwear industries. Elements of national clothing with common motives of traditional Ukrainian embroidery attracted special attention in the fashion of that time.

Implementing Personalized Genetic Medicine

Implementing Personalized Genetic Medicine

Field of Vision

Field of Vision Margot Kahn (bio) Feathery as a frayed hem,in the wind the hay field moveslike the tufted manes of a thousandhorses running. No—it moveslike the pleated skirts of a thousand girlsswishing as they walk to school.After school, there was a girl's fieldwe'd crouch down in, curl and shiverlike fawns as someone's legs passed byso close it seemed impossiblethey'd miss you. They were torturesin equal measure: the waitingand the being found. From the edgesof that field, the girl's father whistled—a whistling tune and another soundthat brought the children runningsharp as sheep dogs from the hay fieldor the fronds of the willow tree or the farfence we'd half-climb to watch the horsesin the neighbor's field, pretendingthey were ours. Last week at the post office,the tellers could barely be heardover the thousand chicks cheepingin cardboard boxes behind the counter.Their feathery non-feathers. Their cheepsof being young in a strange placewith only a small hole to see through.I didn't do well in schoolbut I have come to understandthat a bond is only as strong as a breathof air. When I learned that that girlno longer speaks to her father,I thought of her room strung up [End Page 162] with 4-H ribbons, their blue and red tailsfluttering against a floral wall.And when my son crawls into bedwhimpering a fetal cry, broken byhis parents not understanding himfor the first time, I am tender.The hay will be cut tomorrow.The raptors will come circling.We'll watch from the shed roof,where we can see the patternsthe mower cuts in the field. [End Page 163] Margot Kahn Margot Kahn is a poet, essayist, biographer, and editor. She is the author Horses That Buck (University of Oklahoma Press, 2008) and co-editor of the New York Times Editors' Choice anthology This Is the Place (Seal/Hachette, 2017). Her poems have appeared or are forthcoming in Poetry Northwest, Mantis, New Ohio Review, and elsewhere. Copyright © 2021 Middlebury College

금관가야 여자 복식 재현과 일러스트 제안

This study was designed to suggest how to replicate costumes that women in Geumgwan Gaya wore by social status and provide women in costume illustration images. The process and results of the study are summarized as follows. The author classified the social status of Geumgwan Gaya’s women into four categories, such as the queen, woman of nobility, female servant, and ordinary woman. It is presumed that those women wore clothes such as Yu, Jangyu, Gun, and Go, like in the then other kingdoms of Goguryeo, Baekje, and Shilla. The study assumed that the standard body size of the queen and noblewomen were bigger than female servants and ordinary women. Regardless of social status, however, this study used women in the ancient kingdom were 150cm in height, 82cm in chest width, and 88cm in hip circumference. For replicating the costume images of Geumgwan Gaya’s women, this study applied Jangyu to the queen and female servants and Yu to noble and ordinary women. For the queen, the study represented purple Jangyu with gold-plated patterns of Samyeopmun, Hwamun, Neunghyeongmun, Nakseungmun, and Samgakmun or with the same pattern in gold embroidery. For the noblewomen, Yu was reproduced celadon green color with silver-gilt patterns of Hwamun, Samgakjip Seonmun, Banwon Jeommun, and Wonhyeongmun or with the same patterns in silver embroidery. For the female servant, green Jangyu was replicated with patterns such as Hwamun and Wonhyeongmun. A solid brown Yu was replicated for ordinary women. As part of costume replication in this study, skirts were illustrated differently depending on social status. The study provided the images of pleated skirts with multi-colored stripes for the queen, non-pleated skirts with multi-colored stripes for noblewomen, pleated skirts without multi-colored stripes for female servants, and non-pleated skirts without the stripes for ordinary women. Colors used in the replicative illustration of multi-colored skirts for the queen were celadon green, orange, yellow, and white. Skirts for noblewomen were multi-colored with the combination of yellow-green, blue, brown, and white. Meanwhile, skirts for female servants and the ordinary women were replicative illustrated in pink and indigo.

Micro‐/Mesoporous conjugated polymer based on star‐shaped triazine‐functional triphenylamine framework as the performance‐improved cathode of Li‐organic battery

ABSTRACTA novel organic conjugated polymer based on star‐shaped triazine‐functional triphenylamine framework poly[1,3,5‐tris(4‐diphenylamino‐phenyl)triazine] (PTDAPTz) is designed and synthesized successfully by FeCl3‐catalysted chemical oxidative polymerization. The polymer PTDAPTz powder exhibits a compactly packed pleated skirt shape‐like morphology with a high surface area (~930 m2 g−1) and a bimodal pore size distribution ranging from micropores (~0.55 nm) to small diameter mesopores (~2–6 nm). As explored as the cathode material, the obtained PTDAPTz presents the double charge–discharge process characteristics of both the free radical redox of triphenylamine unit and the bipolar redox of triazine unit in the polymer and a well‐defined multistage charge/discharge voltage plateau (~3.8 V for p‐doped and ~2.0 V for n‐doped) during the charge–discharge process. Also, the PTDAPTz demonstrates an improved capacity (stabilized at 123 mA h g−1 until 50th cycle) and the enhanced rate performance compared to polytriphenylamine (PTPAn). Specially, the discharge curve for the part of triphenylamine unit presents an obviously improved discharge plateau (~3.8 V for PTDAPTz compared to ~3.6 V for PTPAn) due to the electron‐withdrawing effect of the triazine unit to triphenylamine. The elaborate structural design and created micro‐/mesoporous morphology with the double charge–discharge process make PTDAPTz a potential candidate as the performance‐improved cathode of Li‐organic battery. © 2018 Wiley Periodicals, Inc. J. Polym. Sci., Part A: Polym. Chem. 2018, 56, 2574–2583

중국 이족 전통복식의 디자인 특징을 반영한 현대 패션디자인 연구

With the onset of postmodernism at the end of the 20th century, fashion started to reflect the combination of eastern and western cultures as the specific clothing of various ethnic groups around the world became a prominent source of ideas in fashion design. Particularly, the clothing of Chinese ethnic minorities features unique aesthetic values and dress codes. Reinterpreting these clothes is therefore useful for creatingnew fashion styles. Prior research focused onthe traditional clothing of the Yi tribe—one of China’s ethnic minorities—to study their historical, environmental, and sociocultural influencesand examine their design characteristics. The Yi traditional clothing’s design elements include motifsexpressing the five senses; five sets of apparel were therefore designed and crafted. Current research suggeststhe applicability of Yi traditional clothing in modern fashion design. For instance, modern clothing designs featureYi motifs and elements such as the Yi clothing’s round neckline, standing collar, short low-height Chinese collar, and triangular pockets. Modern designers have also incorporated Yi women’s accessories, a Yi shape in the sublobar hat’s visor, a necktie-shaped band on purses, a hanging appearance through the use of a belt, a pleated skirt,and U-shaped and V-shaped hemlines.There is, additionally, the shape of a sleeve that appears when wearinga long-sleeved innerwear top and a short-sleeved outerwear top, as well asa wool vest’s decorated sleeves, a layering effect by wearing outerwear and innerwear tops with different lengths, an opening or slit, the arrangement of a curved-line pattern on the collar, a pattern arrangement on the front closure, and Maya patterns

19세기 왕정복고시대 헝가리 여성복식에 나타난 민족주의 특성

This paper examines the characteristics of Hungarian women's costumes under the Reign of the Habsburg Empire in the <TEX>$19^{th}$</TEX> Century. Since the beginning of the <TEX>$19^{th}$</TEX> century, the Habsburg Empire inflicted strong oppression on Hungary. Under the influence of the European upper class, exaggerated and sumptuous costumes were fashionable in the Hungarian Aristocracy. They preferred blouses decorated with colorful embroidery, pleated sleeves, gorgeous beads and lace, long pleated skirts with velvet borders, corsets decorated with delicate embroidery, coats adorned with lace, and capes. However, Hungarian nationalists protested against the Habsburg Empire's oppression; consequently, Hungarian national costumes expressed a sense of resistance and solidarity. The results of the study are as follows. The Hungarian women's costumes were different from women's costumes of the Habsburg Empire in regards to headdress, bodice, apron, pattern and shoes. The Hungarian women's headdress consists of the parta and veil. The bodice is richly adorned with colorful embroidery and differs from skirts in color and material. The Hungarian women's apron is distinct from the Habsburg Empire as a unique Hungarian item. Finally, Hungarian costumes are characterized by the Oriental pattern and short boots with metal heels.

Arts and Science

Arts and Science Carolyn Miller (bio) Click for larger view View full resolution Photo by Mattox / www.sxc.hu [End Page 10] I was half in love with Tom McAfee before I ever met him because Shirley Tarbell, my friend from Waynesville High School, who taught me to inhale and lent me her copy of The Waste Land and later told me there was no scientific proof of the existence of the soul, came back from the University of Missouri and told me that she was in love with her English teacher, a romantic Southern gentleman with a beautiful voice and artistic hands. Shirley and I had already been in love with Elvis Presley and Montgomery Clift and several other unattainable men (and Shirley was very fond, too, of Mario Lanza), so it was only natural that we would fall in love with Mr. McAfee, an older man, a sensitive English professor who was also a poet. [End Page 11] That was freshman year, 1958, when I wore a red bouclé pullover with a cowl-neck and a matching red-plaid pleated skirt with short red suede boots that tied on the side, and lived in TD 4, a “temporary dorm” that was really a relocated World War II army barracks, and met Dave Holt because we ate in the same dining hall. When I arrived at TD 4, I was surprised to find that a group of girls had already been there for a week. It was for something called “rush,” and many of them were wearing a special pin on their sweaters, with Greek letters that showed that they had chosen to join a certain sorority, which meant that after freshman year, they would move into one of the big, beautiful houses that lined the streets a few blocks from TD 4. This seemed strange and slightly creepy to me, but I didn’t really care, since I loved almost everything else about college. First of all, it was in Columbia, Missouri, not Waynesville, and I lived with another girl who was also an English major. We slept in bunk beds in our temporary dorm room, and because it was temporary and would be torn down after that year was over, we were allowed to write on the walls, which we did with abandon, scrawling lines of poetry and what we thought were deeply meaningful sayings in giant cursive everywhere we could. My roommate was tiny and evidently brilliant. She hardly needed to study, while I had no idea how to do so. I had been surprised to learn that college meant you had to take only a few classes at different times in different places, not all in one building from eight to three, as in high school. I thought I would have ample free time and that it would all be easy, but it turned out that I didn’t know how to take notes, read for content and ideas, research and write a paper or study for tests. My roommate seemed to know all these things, and while I was laboriously outlining the chapters in my giant green American government textbook, she would read her assignments quickly and absorb whatever was important for her to know. But she also stayed in the dorm on weekend nights, not going out on dates and getting drunk, as I did. My roommate was in love too, though, with someone named Van Cliburn, whom I had never heard of. She told me he was young and brilliant, and she played his piano concert record for me on her record player. But she also liked my Ray Coniff and Billy Daniel and Johnny Mathis albums, and especially my Shelly Manne album of My Fair Lady. We played Billy Holiday’s “Gloomy Sunday,” known as “the Hungarian suicide song,” just to see what would happen, but it didn’t make us want to kill ourselves. [End Page 12] I loved the very idea of college, which I thought was the best idea anyone had ever had: a place where almost everyone was your age and there were more than thirty-two people in your freshman class, with beautiful stone and brick...

창작 뮤지컬 '혜초'의 무대의상 연구 -코러스(Chorus)의상을 중심으로-

This study examines the stage costumes of the creative musical `Hyecho`, which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University`s performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical `Hyecho` presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea`s creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience`s eyes, but also not to interrupt actors` vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India`s traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

The Effect of Pleat Number and Skirt Length on the Visual Image of a Pleated Skirt by the Age Group

The Effect of Pleat Number and Skirt Length on the Visual Image of a Pleated Skirt by the Age Group

체형별 허리 다트량을 활용한 플리츠 스커트 원형 설계에 관한 연구

This research proposes a pattern design method for 24 pleated skirts in order to develop an automatic draft program for pleated skirts that will enhance fit and enable mass production. The research method and results are outlined as follow. 1. Three-dimensional body measurements were conducted on 30 randomly selected women in their 20s. By using 34 body measurement items and 6 types of calculations among the items, the items required in the designing of an original pleated skirt were extracted. They were then interpreted through correlation analysis, variance analysis, a t-test, linear regression analysis and multiple regression analysis. 2. An extra amount was added to the waist measurement and external capsule measurement according to the number of times the pleats coincided and the thickness of the fabric by the degree of polymerization of the horizontal cross section (the test of this research: 0.518mm). The extra amount of waist measurement was 3.6cm while the hip measurement was 4.3cm larger than the hip measurement combined with the external capsule measurement and the extra amount. 3. Based on the <TEX>${\pm}$</TEX>standard deviation/2 as the average of the difference between the external capsule measurement and waist measurement, the subjects were classified into 3 somatotypes. Somatotype 1 presented an average total length of waist darts of 23.6cm while that of somatotype 2 was 26.2cm and that of somatotype 3 was 30.2cm. It has been confirmed that there is a significant difference among somatotypes in the total length of waist darts from the front center to the front side and the total length of waist darts from the side to the back center in terms of the average amount of waist darts for every 12 parts on the WL.

스커트 형태에 따른 남녀 대학생의 이미지 평가

The results of the image evaluations by various shapes of skirts which are typical female's lower garment were as follows; 1. The composition factors of images by the shapes of skirts were classified into five factors. The 1st factor is lovely image factor, the 2nd is attractive image factor, the 3rd is practical image factor, the 4th is slim-looking image factor and the 5th is long-looking image factor. 2. In the 1st factor- lovely image factor, tiered skirt, <TEX>$360^{\circ}$</TEX> flared skirt and <TEX>$180^{\circ}$</TEX> flared skirt were evaluated to express lovely images. In the 2nd factor- attractive image factor, <TEX>$180^{\circ}$</TEX> flared skirt was evaluated to express refine and attractive images. In the 3rd factor- practical image factor, <TEX>$360^{\circ}$</TEX> flared skirt and gathered skirt were evaluated to express easy and practical images. In the 4th factor- slim looking image factor, males evaluated 8gored skirt and females evaluated gathered skirt to express fat images. In the 5th factor- long looking image, <TEX>$180^{\circ}$</TEX> flared skirt was evaluated to express long looking images by both sexes. 3. In the lovely image factor, gathered skirt was evaluated most differently between the sexes. Both in the attractive and practical image factor, tiered skirt was evaluated most differently between the sexes. 4. In the preference of male and female university students according to the shapes of skirts, both the sexes prefered flared skirt. But the low prefered shapes of skirts were differently evaluated between the sexes; the male students' was A-lined skirt and the female's was pleated skirt and wrap skirt.

Fashion Design Study on Korean Traditional Image Suitable for Ramie Fabric(Ⅰ) - The Application of Aesthetic Property of Goguryeo Era Clothing -Shape

A recent concern about Goguryeo era reflects the efforts to find out our spiritual roots, which have descended from the ancient times; Goguryeo clothing study leads to analysis of our national spirit in terms of form. This study aims to analyze formal property and intrinsic meaning of Goguryeo clothing for Korean ramie clothing design and draw traditional images to derive design elements applicable to ramie clothing. On the basis of technical books, newspaper article, internet and precedent studies, theoretical study on Goguryeo clothing and ramie property was followed up with positive study to analyze the clothing on the Goguryeo ancient tomb mural. The results are as follows: First, a progressive spirit is to progress and develop anything actively; This spirit represents Goguryeo people's ambition and racial characteristic as horse-riding people; The rigidity of ramie fabric is suitable for expressing straight silhouettes and detail in Goguryeo dress. Second, a fluidity means flowing property in opposition to fixation; in the case of clothing, it has a tendency to change form according to body motions; The extensibility and crease-resistance of ramie fabric is suitable to express pleated skirts and holds high design value for modern people who tend to regard clothing as important individuality expression. Third, a universal property to introduce and receive; as Goguryeo was a prosperous country established by conquering an open plain, the period formed a society that recognized diversity by introducing foreign cultures freely; a universality suggests the direction of modernization of traditional ramie clothing and stimulates us to discovert new design through compromise between various cultures rather than to stick to traditional style. Considering the fact that precedent studies on traditional clothing are concentrated upon the Joseon period and also limited to formal analysis, this study aims to derive design elements for actual clothing making. These results are expected to be used as basic material for study as well as reference for designers who wish to design modern Korean clothing.

Collections Corner

The Hmong ethnic minority of China and Southeast Asia use hemp for myriad purposes. The most well known use of hemp textiles is for the production of pleated skirts. These traditional skirts are de...