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In the Upper Amazon south of the Solimões River, between valleys, rivers and small towns, a contemporary practice can be observed in the use of ethnic clothing by some indigenous groups, in their life of urban and multi-local extravillage relationships, as an expressive and communicative attitude of multiple senses. This attitude currently forms a context of displacements in a forest-cityforest network, which carry dynamics of cultural resistance and promote the expansion of native territorialities in the city space. In this hostile space, the forest then materializes itself through bodies adorned by colors and designs composed in a syntax unintelligible to Portuguese, making visible what the processes of domination try to extinguish. [ABSTRACT FROM AUTHOR]

The focus of this article is a document from 1562 preserved in the archives of the Board of the Alhambra and Generalife in Granada. Based on the conceptual framework of the history of the emotions, we conduct an analysis of certain garments traditionally attributed to the Moriscos (or converted Moors), such as the marlota. We use these items of clothing to delve into the historical context of 16th-century Granada and explore the value and symbolism that might pertain to such attire, as well as the emotions invested in these garments. The article concludes by highlighting the importance of material culture as collective memory. [ABSTRACT FROM AUTHOR]

The aim of this article is to address the use of smart technology in clothing for people with disabilities. Through the systematic review in the databases (REDIB, DOAJ, Redalyc, BMJ, BVS, Dialnet and PubMed), eleven articles were reached that describe an intelligent technology present in wearable devices designed for the rehabilitation of patients. It highlights a novel and little explored phenomenon in an interdisciplinary field, mainly between Medicine and Computer Science. This review shows that there is still a need for new research that broadens the subject. [ABSTRACT FROM AUTHOR]

The theatrical costumes, in the genesis of a scenic dance project, are considered one more element whose importance lies in its significance. The aim of this paper has been to verify the importance of it as a communicating tool of concepts and as a symbolic element that contributes a sense to the interpretation of Spanish Dance. The use of this costume has been studied from a professional perspective (National Ballet of Spain (BNE), renowned performers and choreographers) and from an educational perspective (Professional Dance Conservatories of Andalusia (Spain) (CPDA)), making a methodological triangulation that combines quantitative and qualitative research, using the questionnaire and previously validated interviews as basic instruments. As a conclusion, the importance given to the use of theatrical costumes in Spanish Dance as an intentional communicative tool stands out, as well as their contribution to the interpretation in the scenic representation, confirming the hypotheses raised. [ABSTRACT FROM AUTHOR]

Clothes constitute a material cultural element in which bodies become social since it conveys staples of behavior linked to either moral, ethical, aesthetic ideals, or patterns of distinction socially sanctioned. This article analyzes the meanings built around clothing based on codes for behavior written in morality handbooks and economic treaties that were published and widely used in Yucatan during the second half of the 19th century, and the beginning of the 20th century. These types of texts helped to spread social virtues linked to the ideal of civility, morality and economic progress while shaping social subjects for the ideal nations in process of formation. This explains why in both State's high schools and elementary schools, the youth had to learn and assimilate practices and behaviors entailed in clothing as a code that granted accurate performance in both public and private spheres. This research seeks to contribute to the study of costumes, behavior and mentalities behind in 19th century Yucatan and during its transition towards modernization. [ABSTRACT FROM AUTHOR]

Black colour, whose symbolic meanings were consolidated in the Crown of Castile during the 13th and 15th centuries, experienced an important development not only in the funerary context, but also in connection with the notion of magnificence, throughout the late Middle Ages. From 1502, black became the only colour of mourning, consolidating an old symbolism in the Castilian area. At the same time, the use of black as an expression of courtesan magnificence, in a way that simultaneously insisted on the ideas of humility and authority, become widespread since the central decades of the 15th century, due to the arrival of fashions from Northern Europe. [ABSTRACT FROM AUTHOR]

In the majority of the world's cultures the Gods have been humanized; as this is their reference, they dress them so as to ensure security in the face of climate change; in addition to characterizing them, she keeps them happy, and is even a synonym of hierarchy before others. In popular belief, if she is not provided with new clothing, she may become angry and curse the penitent or even the whole community. The Santa Muerte, a skeletal allegory popular throughout Mexico, is no exception; the faithful dress her in a variety of colors and designs as payment for the favors bestowed upon them or to request a motion. The change of the image is subject to the preferences of the owner, through the latest fashion or with the objective of providing health, prosperity or love. It is the clothing itself that emphasizes the mood of the Saint and her beauty. [ABSTRACT FROM AUTHOR]

In the last decade, Argentine design has reached a significant development in the public arena, becoming protagonist of a visual and contemporary material culture, thanks to a growing market share and the progressive intervention in everyday life. While that economic and cultural phenomenon was led by the city of Buenos Aires, years later brand name proposals also settled in other regions of the country. This work has as main objective to reflect on the rise of brand name fashion design in Argentina, from a gender perspective, that is, assuming the context of high visibility of brand name design in the design field. Here we ask for the place and the voices of "the female brand names" in the process. [ABSTRACT FROM AUTHOR]

The objective of this essay was to perform a bibliographic exploration that engages sources from different social science disciplines, aiming to establish some of the connections that occurs between culture and body image's construction, and between the latter and clothing. Body and clothing are taken as object of study with the purpose of continuing the work already carried on in a previous paper (Velázquez, 2011). Although the preceding investigation takes the hypothesis that the dress would work as a metaphor for the personality and the connections the subject establishes with its immediate environment and society as a starting point, the traditional hypothetico - deductive method was not used. The social sciences, among which are included some of the disciplines that will be taken here as a reference, can be considered multi-paradigmatic. They are not regulated by a single theoretical paradigm as Kuhn (1971) praised, but instead they rely on multiple theories or logic-bubbles (de Bono, 1992) that achieve partial statements, or attempts at explanations, reduced to the portion of reality that each of them take as object of study. In this context, the multiple theories that coexist in social sciences overlap explanations, arise conceptual conflicts and let, most certainly, gaps and blind spots in the limits of their conceptions. It is therefore proposed, for the sake of scientific progress out of conflict and creativity, the search and creation of organizing concepts according to Saltalamacchia (1997). The articulation of theories from different disciplines, understood as overlapping metaphors that try to explain the same reality, enables the production of novel insights about the studied subject and the creation of new theories. Given the bibliographic research done, it can be visualized that subjectivity and society are in fact a network of relationships which effect on actual practice and daily life is structured by imaginary significations (Castoriadis, 1975) that configure the way we act and think. It can be also be stated that body and clothing can become a privileged observable for the study of the workings of this web of interrelationships. Therefore, studying the field in which clothing, inextricably related to the body, intervenes, and the ways in which it does, involves analyzing the discourses, practices and institutions that shape the representations of body, identity and society. Clothing, in its relation to the body, can be conceived as dialectic rather than as a metaphor. If, in opposition to substantialism (Carpio, 2003), things cannot be considered in themselves but only in terms of their relations, it is possible to conceive the biological body as the thesis and clothing as the anti-thesis, the synthesis of which would be body image or images. In this line of thought, it can be ventured that clothing may be a constituent part of the body image that we form of ourselves, reason because it also would integrate the identity of subjects and intervene in the regulation of social exchanges that individuals establish with others and with their environment. The study of the specific ways in which clothing is involved in the relationships that individuals establish with their surroundings and society can be enriched from different disciplinary perspectives and under the scrutiny of various methods of analysis. All these lines of analysis will be stimulating and appropriate for the planned study. In this respect, this assay attempts to register a particular bibliographic tour, among many possible others, that is concerned with the issue under study and report on the significant contributions that may be useful for investigations of this nature. Undoubtedly, this task has an initial character and will achieve its full significance once the contributions collected are tested in the fieldwork. [ABSTRACT FROM AUTHOR]

Accessories are extremely important, because combined with success they allow to enhance the human figure as a whole, they transmit a valuable information about their carriers and they constitute an ideal resource to change the appearance in very few minutes. In the article different aspects related to the female and male complements are approached, fundamentally aimed at combating vulgarity, the bad taste and the erroneous concept of modernity in some minds and positions, because the oral presentation of a scientific work is a special circumstance that demands from speakers a equally distinctive behavior and personal image, in order to avoid that they can be disqualified by the auditory before beginning to speak to have neglected this basic element in their attire. [ABSTRACT FROM AUTHOR]

This article aims to define the cultural context of a set of Visigothic metallic elements recovered from Patalou. Patalou is a site located in the county of Nisa, but it has not as yet been excavated. The artefacts of adornment, produced in bronze, and used over costume, are: three pieces of belt buckles, a simple buckle and an isolated component of a buckle. The analysis and interpretation developed in this text attempt to sort the artefacts according to a typology, in order to discuss their artistic, political, religious and chronological context. In doing so, I will compare the artefacts to those from well known Visigoth sites, namely burial sites located in the Iberian Peninsula. [ABSTRACT FROM AUTHOR]

When the figure of the fashion designer is understood only through the category of the creativity, it loses a fundamental dimension, because we usually don't think about the act of the creation as a moment of a wider process of communication. For that reason, when we talk about communication, creation looks like an intruder, and the fashion designer seems to be out of place. In the numerous descriptions of the fashion events there is often a distinction between creation and production, on the one hand, and communication, on the other. It seems to imply, therefore, that to create and to communicate are two different activities: he who creates does not communicate and he who communicates does not create. What does the fashion designer has to do with the issue of the relation between communication and production? In this article I try to explain that the fashion creator is a producer of culture not as creator but as communicator. [ABSTRACT FROM AUTHOR]