Traditional Costume Research Articles

Costume as a Form of Visualization of Ethnicity: From Tradition to Modernity

The article traces the transformation of visualization of a person’s ethnicity through costumes – from traditional to modern. The object of the study is to understand the costume as an informational and sign structure. The topic of the study is the visualization of ethnicity through costumes from a historical perspective. The study aims to identify the specific characteristics of visualization of ethnicity in traditional and modern costumes. The study hypothesis is that, unlike traditional costumes that demonstrated regional and national affiliation, modern “Western” clothing has mostly lost these functions. Although in some regions costumes are still relevant as a “living” tradition, national clothing is disappearing from everyday life. Ethnic style using regional and national traditions as a source of stylization does not present an indicator of a person’s nationality. Nevertheless, some examples of modern clothing visualizing ethnicity can be found. The functional and semiotic approaches to the analysis of costumes serve as the basis of the study. Since the late Middle Ages, the development of urban dress in Western Europe has been determined by fashion rather than tradition. In Russia, the process of an urban costume losing the function of visualization of ethnicity began with the reforms of Peter the Great and for peasants’ costumes, this process did not start until the middle of the 20th century. At the beginning of the 21st century, traditional costumes were mostly worn by ethnic minorities as a symbol of national identity and self-affirmation. Referring to others’ traditions as a source of fashion innovations led to the emergence of ethnic style. Ethnic style is characterized by a superficial attitude towards the source. Ethnodesign, on the other hand, follows the principle of deep and thoughtful care about the tradition which gains relevance due to the rise of glocalization manifesting in the intensification of regional differences. Although the proponents of ethnodesign insist on the ability of design to integrate traditional ethnic symbols into modern culture, the question is about the ability of modern people to understand the meanings contained in traditional forms remains. The present article identifies the cases of a costume serving the function of visualization of ethnicity in modern society.

Preserving the fire: Some thoughts on traditional attire of Bagri females

The past few decades witnessed some developments that have left a permanent mark on the life style and costumes. The traditional costumes, jewellery and other accessories as well as a traditional lifestyle have been adversely affected by various factors of the social change process and vanished into the antiquity. It is significant to document this heritage for posterity and conservation of our age-old rich traditions. The purpose of this study was to explore and document the attire of Bagri females of North Western India. Interview questions were mainly focused on specific information related to the upper and lower garments, headdresses and jewellery and body decoration. Findings of the study revealed that most preferred traditional dresses of Bagri females were Aangi, Jamper, Ghaghro, Bugiyo, Sunkukdo, Chundadi and Pila. In the fashion market, there are some contemporary designs of dresses and jewellery available which shows similarity with Bagri attire.

Qualitative Analysis of Making Traditional Costumes, Weaving Crafts and Wood Sculptures - The Cultural identity of Kalash Valley

Qualitative Analysis of Making Traditional Costumes, Weaving Crafts and Wood Sculptures - The Cultural identity of Kalash Valley

A GENDER STEREOTYPES FROM AMERICAN AND VIETNAMESE WAR FILMS – A CASE STUDY OF VIETNAMESE WOMEN’S REPRESENTATION

In the media, the movies have a strong impact on the perception of gender and gender roles, including the image and role of women. The question is: Are there any hidden gender stereotypes contained in images, words, and plot in a movie? Therefore, this report refers to the image and portrait of Vietnamese women described in the Vietnam War films under a comparative perspective from both the US and Vietnam. From these different views, the filmmakers in Hollywood and Vietnam presented their different perceptions, even their opposing views to the Vietnamese women and their role in the war. Even more interesting, it is characterized by two opposing sides and due to always having the appearance of the familiar conventions of war films, in which one is the hero, one is the villain. Thus, the common portrayal in American films is nameless and faceless persons, such as street vendors, teachers, tailors, peasants, prostitutes and so on. These “mute characters” appear at a glance, the audiences recognize them by the traditional costumes and conical hats. In Vietnamese movies, the women seem to be multiple tasks: wives, mothers and soldiers at the same time. By comparison, the report would indicate the gender stereotypes and its negative impact on the formation, maintenance and strengthening the traditional notions of gender, particularly for Vietnamese women. The relationship between gender, gender equality and the media is also examined in the study.

조선 후기 검은색 복식의 상징성 연구

Black clothes in the late Joseon Dynasty disappeared due to the strong driving force of the momentum of modernity. This study investigated the meaning of black clothes in the late Joseon Dynasty, which is closest to when you perceive it as a tradition and accounts for most relics. To overcome the preconceived notion and inductive or empirical research method applied when studying the traditional costume,

Mordovian traditional women’s headdresses in the context of their ethnic and territorial identity

Introduction. Being one of the elements of the traditional costume, headdresses retained ethnic characteristics for a long time. They were special markers of the ethnically determined worldview of their carriers and indicators of their ethnic and territorial identity. Women’s headdresses retained these identifying features the longest. The study was conducted in order to create a typology of women’s headdresses, which were traditional among the Mordovian population, in the context of the ethnic and territorial identity of their carriers. Materials and Methods. The article considers the materials contained in research giving an idea of the problem. It also examined and generalized the author’s field materials collected in ethnographic trips. To achieve the goal of the study, a comparative historical method was used. Results and Discussion. The study of various types of Mordovian women’s headdresses has revealed the diversity of their forms, material, decoration techniques and ways of wearing. The specific features of the elements of the traditional costume were closely interconnected with the ethnic and territorial identification of the people they belonged to. Both the main sub-ethnic groups of the Mordovians (Moksha and Erzia) and minor ethnic and territorial groups of the people had their own types of headdresses marked by their own local features. Conclusion. The female headdress of Mordovians was one of the important differentiating ethnic features, which visually showed ethnic, territorial, tribal community belonging. To some extent this function is preserved at the present time. Even in those regions where Mordovians live and where almost all information about traditional clothes was erased from the memory of the local population, people tend to restore its individual elements, including headdresses, which become a kind of national symbol, a sign of ownership of their people.

An Innovative Design Experimentation of Applying Tie and Dye Technique on Traditional Kerala Handloom Saree

Handloom industry is a traditional industry in India which nurtures and preserves the ancient weaving skills which are unique to each region. However, with the invention of the power loom, the handloom industry is declining all over India. Kerala has a rich handloom history and the traditional costumes of Kerala have a special reputation all over India for its fineness of count and texture. Traditional wears of Kerala are specially made in different districts of Kerala and one among them is by the Devanga Chettiar community at Kuthampully in Thrissur district. Tie and dye is one of the most acceptable and vibrant resist technique which is seen in the states of Gujarat and Rajasthan. The present study was focused on the significance of value addition on traditional Kerala sarees of Kuthampully by incorporating various shibori patterns as a replacement to the golden borders. The articles prepared were subjected to evaluation for its product aesthetics, feasibility and suitability of price. The two viewpoints considered for evaluation were the manufacturer’s point of view and the customer point of view.

KONYA MÜZELERİNDE BULUNAN KADIN CEPKENLERİNDEKİ KORDON TUTTURMA ÖRNEKLERİ

Women cepken (long-sleeved vest) decorated with the technique of cord fastening, one of the handicrafts that have been forgotten over time, has become protected in museums and chests since it is not used today. Women cepken with cord fastening examples in Konya museums were investigated within the scope of the study. It was aimed to produce modern designs suitable for use and to ensure the continuity of the cultural heritage with this research. This article, which is an example of traditional costume dress and embroidery art and is intended to carry these works to the present and to pass them on to next generations, is important because of shedding light on artists interested in this field, creation of written and visual resources and the fact that this technique has not been investigated and used so far. During the review of the literature, it has been determined that there is no study and comprehensive research on the technique of cord fastening. The research is important in terms of overcoming this deficiency. In addition, this article is important in terms of documenting the corduroy textile works with ethnographic values that may disappear over time and, especially, introducing the apparel of the 19th and 20th centuries today. Inventory information of these textile works preserved in museums were researched, a literature review was made on the subject and a catalog was created. The works were photographed and the drawings of those in different styles were made. The characteristics of the samples that are drawn, such as technique, color, pattern and composition, were specified.

Estetika Ragam Tengkuluk Pakaian Tradisional Masyarakat Melayu Jambi

This study aims to determine the history and aesthetic values of tengkuluk as the traditional costumes of Malay women in Jambi. The benefits of this research are expected to be one of the inventory cultural of Malay culture in Jambi, in the scope scientific science. The method in this study was qualitative method with a symbolic interaction approach. With the background of the diversity of natural and cultural wealth possessed by the Jambi province, there covers some values of beauty, philosophy and cultural aesthetic values. One of the aesthetics of the tekuluk / tengkuluk is as headgear that has an important part in the traditional costumes of Malay women in Jambi. The use of tengkuluk as a symbol of the head covering has a philosophical meaning that was closely related to traditional customs and Islamic. The entry of Islamic in the Malay land affected the concept of custom in using of female Malay headgear in Jambi. It can be concluded that tengkuluk was not only as a headgear but also as a cover for part of the body which is forbidden to see, which were inventoried in the Jambi traditional seloko which is "Adat Bersendi Syara’, Syara’ Bersendi Kitabullah. Syara’ Mengato, Adat Memakai.” That rhymes became a philosophical value in the art of aesthetic tying for Malay women in Jambi which had a uniqueness of aesthetic and artistic values without using the help of a safety pin. In addition, when Islam had developed in Malay landl, the clothes of the brackets and tengkuluk became one cohesion that functioned not only as a head covering or body wrap, but it was a necessity as the identity of Malay Muslim identity, the tengkuluk became a part of the female genitalia in accordance with Islamic law thriving in Malay land.

사극 영화 ｢역린(逆鱗)｣의상 디자인 과정의 재매개(Remediation) 방식 연구

Historical dramas set in Korea have developed into K-content that the world is paying attention to. Historical dramas have a dichotomous structure, combining history and drama; but recently, they have been reborn as a form of complex media content called convergence historical drama. In this study, historical dramas are recognized as content that is set against the backdrop of history and intended to faithfully reproduce the clothing of the time. Historical drama costume design has evolved from a modified form of traditional costumes, to serve as an important visual medium for conveying information about the character, situation, etc. This paper uses Jay David Bolter and Richard Grusin’ remediation, theory of visual media to create a framework of creativity to understand the process of costume design in the Korean historical film 『The Fatal Encounter』. The design framework was presented in the form of representation, Absorption, refashion, Extension, which are remediation. It hope that this will help in the field of Korean traditional costumes research for K contents.

Traditions of the Tibe­tan New Year’s Festival in Contemporary Chinese Painting: Pan Shixun and Ye Xingsheng

The article is devoted to the tradition of the Tibetan New Year celebration reflected in contemporary Chinese oil painting. The article’s purpose is to study the cultural features of the Tibetan New Year, on the example of works of the two Chinese artists: Pan Shixun and Ye Xingsheng, and to analyze the degree of art’s influence on the preservation of intangible cultural heritage. Chinese painting contributes to the unity of traditions of the past and present, as well as the integration of classical and contemporary elements in the technique of modern times. In their works, the masters, using elements of classical Chinese, Western and Tibetan painting, conveyed unique features of the national culture and history of Tibet. The work systematizes the complex of customs and religious rites, traditional costumes and treats of the Tibetan New Year festival. The artists’ works are considered as a mechanism for transmitting traditional Tibetan folk and religious art.

At the crossroads. Traditional costume, identity and social transformations in Asturias

At the end of the 19th century, the Asturian bourgeoisie set the standards of what then was called the Asturian garment, regional or national costume. From those initial canons, the self-defined Asturian costume underwent some aesthetical transformations that did not modify the essence of the pieces which made it up, though they changed it greatly. In the eighties of the last century, the movement of cultural vindication arisen from the disappearance of Francoism contributed to a greater knowledge of the popular fashions that gave rise to the regional costume, leading to a specific evaluation of it as a historicist reconstruction. Nowadays, the diversification of traditional or folk music shows, the development of pipe bands, the evolution of traditional dance groups and the interpretation of other popular fashion cycles as “Asturian costume”, which many are carrying out, have fostered a transformation process in which the main standards of the Asturian costume are being affected and subjected to a process of change.

STUDY ON USAGE OF FABRIC REMNANTS ON YEMENI’S FASHION FOR WOMEN

The big quantity of fabric remnants was thrown away in Yemen due to a lack of knowledge and competency in reusing the remnants as material for making clothes. It has become a burden to the consumers and also bad for the environment. Therefore, this research aims to understand why the seamstress in Yemen wasted a lot of remnants and the possibility of using the remnants in making innovative designs on Yemenis traditional clothing such as Abaya and Galabiah. In order to answer the objectives, the researcher applies the qualitative approach in order to describe and understand the problems stated for this study by made several interviews with Yemeni’s respondent who used to be a seamstress in Yemen, besides her personal experience when working in the workshop in Yemen. The prior objective is to recognise what was done to remnants in sewing workshops. Secondly, the researcher will be producing a design line using remnants with various techniques of embellishment to create new designs for Yemen's traditional costume of Abaya and Galabiah. The researcher hopes that through her innovation can inspire other designers or seamstress to use remnants as a source of material in making clothes. At the end of this study, the researcher found out that her Yemeni’s respondents threw away remnants because they do not have the knowledge and skill to turn remnants into fashion. Plus, they are also lazy to think of recycling remnants since they had lots of orders from clients. In the end, the researcher made a questionnaire about the final designs and they did agree that remnants can be used to make beautiful traditional Yemeni’s dress. Since remnants came from different sources, the design made is unique and one-off, which is the preference for most Yemenis. The researcher also proved that innovative and creative thinking are vital in creating designs, and hopefully it can change the perspective of Yemeni women towards the usage of remnants in fashion.

역사문화축제에서 전통의상 체험이 실존적 진정성과 축제 만족에 미치는 영향

The purpose of this study is to analyze the impact of traditional costume experience on existential authenticity and festival satisfaction in the context of the historical culture festival. The data were collected through field survey with a total of 322 participants who experienced the traditional costume at the 23rd Danyang Ondal Culture Festival. The results showed that the traditional costume experience was derived from three factors: Escape, Togetherness, and Novelty. Togetherness and Novelty were found to have significant impacts on existential authenticity while Escape had no significant effect on existential authenticity. However, Escape was found to have a significant influence on festival satisfaction. The results of this study are expected to help festival practitioners find effective ways to enhance festival satisfaction when designing festival programs in terms of traditional costume experience.

A Study on Cultural Characteristics of Taoist Clothing

Dress and personal adornment of Taoism, also short for Taoist Clothing. Its refers to the type of clothing with ‘Tao’ as the core concept. Taoist clothing as a kind of religious symbolic clothing, it can be described as a typical carrier of Chinese traditional culture (especially the Han nationality), which contains Chinese traditional religion, philosophy, aesthetics and technology. By studying the history, form and cultural symbols of Taoist clothing has important significance for help us to deeply understand Chinese traditional costume culture and to discover the valuable cultural elements contained in them.

Традиционный костюм как культурный код: иконография, символика и семантика (на примере женского костюма)

The article is devoted to the research of the traditional costume as the material embodiment of the cultural code. The semantic-symbolic structure of a traditional costume undoubtedly reflects significant cultural information about its owner: social and age status, gender, self-awareness, etc. All this together reflects the cultural code of one or another national culture. From the perspective of this research, the traditional women’s costume of the peoples of Eurasia, which, in the opinion of researchers, allows even deeper understanding of the popularity of its motifs in the creative practice of modern designers. In the article, the very history of the emergence and evolution of the basic elements of a traditional women’s costume is considered as a kind of reflection of cultural codes. The researching on the basis of functionality expressed in everyday, festive, ceremonial and ritual functions of clothes is likened to structural components of a cultural code. At the same time, one can trace how over time the iconography, symbolism and semantics associated with his transition from one category to another change in a costume.

National Identity Expressed in Chinese and Korean Clothing

The purpose of the study is to observe historically national identity expressed in Chinese and Korean Clothing. The literature review and the case study both in China and South Korea were conducted at the same time. The outcomes from the studies are as follow: National identity has been reflected in clothing mainly via the adoption of ethnic elements and civic elements. Chinese and Korean visible-symbolized ethnic elements are from their traditional arts, costumes and lifestyles, invisible-spiritual ethnic elements mainly from religious philosophy. But the Korean wave, which is the modern ethnic invisible-spiritual element, is growing popular all over the world. Chinese and Korean visible-symbolized political elements refer to national or governmental sign, marks or national logo. The invisible-spiritual political elements contain the specific political atmosphere. Chinese are Socialism and anti-capitalism. Meanwhile Korean are Patriotism, Collectiveness, anti-communism and Military ideology. It provides a comprehensive and complete theoretical background for investigating how national identity has been shown in China and Korea’s past and current fashion. It is expected to promote the diversified development of both Chinese and Korean clothing design expression in the future.

The Social and Cultural Characteristics of Shanxi Ancient Drama Costumes

The main research subject of this paper is the costume of Shanxi ancient drama, which is used to decorate the role in the form of drama performing art that spread in Ancient Shanxi. Drama costume is a kind of special performance costume which combines decoration, acting and symbolism. It is quite different from the traditional costume in aesthetic and functional aspects. The social and cultural factors that influence the costume of Shanxi ancient drama mainly include the system and rules of Chinese ancient costume, the subtle influence of Buddhist culture and Taoist culture, as well as the profound influence of loyalty culture.

Implementation of Android-based Application for learning Legu Salai Dance

The development of the technology has influenced the way of learning. Besides the conventional learning, the Android-based applications which run on smartphones potentially become complement for learning process. The implementation of Android application has developed in various fields including art and culture. This research mainly discusses about the implementation of the Legu Salai dance learning application, which is built based on Android and testing the functionality of the application. The purpose of making the application is to introduce the Legu Salai dance, to provide related information about the dance and as a learning tool of the dance movements. The research stage uses the Waterfall methods which is modeled by Unified Modeling Language. The application is built using the Java programming language, while the testing process uses the black box testing method. User who want to learn the Legu Salai dance can install the applications on Android smartphone and can accessed the available features. The application can display information about Legu Salai dance in the form of text, images, audio and video. The test results indicate that the application can function according to its design. This application can be an alternative medium to learn and introduce the Legu Salai dance as one of Indonesia’s cultural wealth. For future development, the features of the application can be extended by adding the information about the variation and formation the Legu Salai dance and also provide the information about the traditional costume which is wear by the dancer.

A Survey of Hani Traditional Costume Pattern Preference from the Perspective of Contemporary College Students and Its Application in the Field of Design

With the rapid development of economy and the constant impact of various foreign cultures, more and more traditional costume patterns of ethnic minorities have gradually declined or even disappeared, and the Hani nationality, as an ancient inhabitant of Yunnan, is no exception. In order to inherit and carry forward Hani national culture and apply the element of traditional national costume pattern to modern design better, this paper takes the symmetry and balance, harmony and contrast, rhythm and rhythm as independent variables, and esthetic preference as dependent variables, and carries out three groups of three-factor mixed experiments. The results from the experiments indicates that contemporary college students prefer "symmetry", "contrast" and "rhythm" in the expression of Hani costume patterns under the classification of the rules of formal beauty, and there are differences in their professional backgrounds, which provides theoretical basis for the design practice of Hani costume patterns. In conclusion, design strategies of Hani costume patterns in various fields on the basis of the results from the experiments were put forward in this paper.