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Myths and storytelling have long been a major contributing factor in the establishment ofculture within societies. In turn, these cultures shape attitudes and behaviors that define howcertain groups are treated within that culture. The Greek mythological tradition was a majorfactor in the attitude towards and treatment of women in Ancient Greece. This paper seeks toexamine one source of that attitude, the myths, and analyze the connection between myth makingand cultural identity. What factors in Ancient Greek society led to the creation of these storiesand in turn, how do those stories affect the culture as a whole? I will trace the evolution of thesestories throughout history, from its ancient roots to the present. This analysis will include themyths in their earliest forms, extending to the use of their established tropes and viewpoints inlater works. As such, analysis of modern adaptations of mythological stories will also be done.The tracking of this evolution seeks to understand how media and mythological portrayals offemininity affect cultural attitudes towards women. The research for this project will beaccomplished using a variety of viewpoints, analyzing both the historical context and the mythsthemselves. The historical analysis will provide real world applications to the portrayals ofwomen and femininity within the myths.

Pursuing change in complex production areas requires attention and foresight that invests design research with advanced perspectives attentive to the fundamental balance between the artificial and the natural. The attitude or posture of contemporary design acting in actuality takes its cue from a strong impulse for multidisciplinarity that evolves into intricate trajectories that foster the grafting of knowledge and practices. In a field like Fashion, design culture and critique of the current model result in a radical future prediction; digital technologies at the encounter with new logics of making, far from the goals of productivity, prefigure a radical reversal of the current model. The paradigm of the organic meeting the digital and the latter expressing mutualistic behavior builds a solid perspective to drive change.

This article deals with the concept and practice of haute couture, of the designing and making of high-quality fashion clothes, and haute couture's contemporary engagement with the virtual worlds of the 'metaverse', a shared virtual environment that features online gaming and augmented reality. The article is an encounter with these virtual worlds, particularly as they are manifested in the haute couture of the French haute couturier Julian Fournié. To understand Fournié's haute couture, and thus to build a foundation for an interpretation of his most important fashion ideas, it is argued that researchers need to explore Fournié's engagement with virtual worlds and augmented reality from the perspective of German philosopher Martin Heidegger's phenomenological explanation of thinking and rethinking, and then at how Fournié develops and revises the meaning of haute couture. [ABSTRACT FROM AUTHOR]

Isobel (London & Harrogate) Ltd was the second fashion business established by Jewish immigrant Isobel Nathan between 1925 and 1940. Nathan had premises at 223 Regent Street by 1922 and later at 70 Grosvenor Street, London, but she had also established a branch salon and workrooms in 1917 in the fashionable Yorkshire spa town of Harrogate. This under-researched dress house has largely faded into obscurity. During this time, however, the Isobel label signified 'British-made' luxury fashion, and, focused on the home markets, Nathan employed over 450 workers nationally. This article examines Nathan's business practice of northern regionalism; that British did not just mean London and its metropolitan clientele. Through examination of unpublished business records alongside both editorial copy and advertising from the period, this article identifies the Harrogate salon as pioneering move to reach a broader clientele, connect to British manufacturers and reduce the seasonality of the fashion trade. This article recognizes Nathan as a notable early British couturier in the inter-war years who leveraged designing and marketing to her northern clientele to successfully service the home market as an 'All British' brand. [ABSTRACT FROM AUTHOR]

Barrier layers against intermetallic diffusion are a fundamental part on engineering electroplated coatings as they improve the lifetime of goods reducing wastes and improving the sustainability of the production chain. This study aims to set a cost-effective methodology to characterize barrier systems by evaluating the effectiveness with a recent approach based on XRF and EDS and characterize the kinetic of diffusion processes with X-ray diffractometry. Several high fashion barrier systems were tested highlighting that anticorrosion systems are not automatically suited as barrier layers for intermetallic diffusion, as opposed to industrial practice. Investigations on gold coatings obtained varying the current density revealed a correlation between the activation energy of the diffusion process, roughness, and crystallite size.

Copyright of Historia Contemporanea is the property of Historia Contemporania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bali has a basic philosophy whose inspiration comes from the comos-theos-antropos aging by integrating the teachings of Balinese Hinduism-Balinese nature and Balinese people as the basic orientation in all ideas and cultural artworks, resulting in a special attraction in each of its artworks. The data collection method was carried out by observation, interviews, and documentation, as well as design design using the Corel Draw 2020 design program. The research resulted in six ready-to-wear semi-couture fashion designs for adult women's evening parties. This fashion collection is named Reminiscence which means lifting the roots of local Balinese culture, namely the Kamasan Wayang dragon. These six designs are designed using shimmer silk, Balinese woven, and tulle. Kamasan puppet designs are applied to different positions in each design. The first group design in the first design, the Kamasan puppet dragon design position was applied to the front position of the chest circling back to the front pelvis. The second design position of the Kamasan puppet dragon design on woven cloth is tucked around the waist like a Balinese dancer's fashion shawl. The third design positions the dragon head design on the front chest fit. The second group of designs in the first design positions the Kamasan puppet dragon design on the elongated woven fabric. The second design scraped the position of the elongated design. Design the third design position on the chest fit. Fashion design is the dress for all six designs. The design character of the first group is feminine sexy and the design character of the second group is feminine elegant. Dress variations are bolero, obi, and blazer. [ABSTRACT FROM AUTHOR]

Copyright of Ethnologie Française is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article sheds light on the intricate relationship between the revival of Hanfu, traditional couture from the Han Dynasty, and rising Chinese nationalism among Chinese youth living in the United Kingdom. Mobilizing the theoretical tool 'affective economies', we explore how particular feelings and values are assigned and attached to Hanfu, and thereby circulate among young Chinese migrants. We begin by examining the Hanfu movement to interrogate how Hanfu is reinvented based on a selective historicity of the past, serving as a specific cultural product for China's rejuvenation. We then move on to analyze a series of in-depth interviews conducted between December 2019 and July 2020. We probe the lived experiences of young Hanfu supporters, who are members of the UK Han Culture Association, and the cultural events organized by the Association, in order to scrutinize the ways Hanfu conjures up an imagined community suffused with nationalism. Drawing upon on the affective economies of Hanfu, we discern the following three key findings: First, we argue that there are both positive and negative affective attachments to Hanfu, such as homesickness, loneliness, alienation, happiness, pride and beauty, which impinge on migrant bodies, assigning values to Hanfu and the Hanfu-related cultural events. Second, we show through the analysis of the fieldwork materials the paradoxical desire for chuguo (going abroad) and huiguo (returning to the nation) in the hearts of the young migrants. Finally, we argue that Hanfu circulates as a 'mnemonic thing' that signifies a specific imaginary of Ancient China, where young migrant's aiguo (love of the nation) sentiments are then 'stuck' to this reinvented fashion. [ABSTRACT FROM AUTHOR]

Experiential learning (EL) can offer a high impact educational opportunity that benefits students from diverse backgrounds, creating an inclusive learning environment. Barriers to the generalization of EL can include a lack of institutional support, risk avoidance, time, and faculty instructional ability. As well EL require additional efforts from students, which can include a non-traditional perspective of cognitive, psychomotor and affective domains. The authors have experienced success in optimizing three important EL components: preparation, customization and on-site triage. We report results from a quasi-experimental qualitative study of 102 students who responded to a post-event perception survey of their comfort levels, understanding, preparation and instructor's role. We found that students were generally positive about their EL, however; most positive of the instructor helping them feel more comfortable during the EL (x-bar = 3.80 on a 4.00 scale) and their feelings afterward (x-bar = 3.75). Students were very positive in their belief that they learned more from the EL than in a traditional class (x-bar = 3.75). There were positive and significant changes in students attitudes, perceptions and beliefs in the time prior to the event compared to the time during and after. Students were significantly more likely to exhibit higher comfort levels after the event than prior (t =-3.459, p < 0.001).

AbstractThe article proposes an analytical approach tuned to 19th-century society portraiture and tests it on Józef Simmler’s Portrait of Emilia Włodkowska (1865, National Museum in Warsaw). The pictured ball gown was likely by Worth and presented as being worn in Paris rather than in Warsaw to respect the politically-motivated Polish national mourning (1861–1866), culminating during the January Uprising (1863–1864) against Russian rule, that precluded organizing and attending balls at home. The portrait was an act of public performance—and indeed it was publicly exhibited at the artist’s posthumous exhibition in Warsaw in 1868. Its staging and costuming reflected the sitter’s particular agenda fine-tuned to multifarious current contexts: she promoted her Warsaw fashion house and herself as a respectable society lady and competent agent of French fashion in the period of political turmoil and resultant expectations concerning Polish women’s dress and conduct. The portrait showcases Simmler’s juste milieu approach and illustrates a very current shift in the fashionable female silhouette, advocated by Worth, while referencing the dress and artistic tradition of the 17th and 18th centuries and drawing inspiration from the new medium of photography. [ABSTRACT FROM AUTHOR]

Yvon-André Lacroix discusses the creative use of library space with illustrations from the municipal library of Brossard in the Greater Montreal area. Mélanges offerts à Marcel Lajeunesse: edited by Carol Couture, Éric Leroux, and Marcel Lajeunesse, Quebec City, QC, Presses de l'Université du Québec (Sciences de l'information, no. 2), 2023, 352 pp., CAN $45.00 (paper), ISBN: 978-2-7605-5802-1 He directed its School of Library and Information Science from 1987 to 1994 and has authored more than 200 publications related to the history of books and libraries as well as the comparative and international aspects of information. [Extracted from the article]

In the article, referring to the Bihor vs. Dior case study, we criticize the phenomenon of illegitimate borrowing of the achievements of a given culture by corporations which we consider an act of cultural appropriation, in terms of both aesthetics and business ethics. We also describe the potential for a positive solution to the problems of cultural borrowing. The first part of our analysis is based on Roman Ingarden’s phenomenological theory of art, concerning artistic and aesthetic qualities and artistic and aesthetic values. Our analysis consists of the juxtaposition of two works, i.e., traditional clothing from the region of Bihor and clothing referring to this original, presented in the Dior collection, along with an indication and comparison of the associated qualities and values. In the second part of the article, we analyze the Bihor vs. Dior case from the point of view of the contemporary concepts of CSR (corporate social responsibility) and CSV (creating shared values). We indicate that the case under discussion is an example of bad corporate practices and irresponsible borrowing of the achievements of a given culture. At the same time, we state why, from an ethical point of view, it is worth returning to the use of local suppliers and small local craft businesses.

COUTURE, SELENA Against the Current and Into the Light: Performing History and Land in Coast Salish Territories and Vancouver's Stanley Park. Montreal and Kingston: McGill-Queen's University Press, 2019, 272 pp. [...]

Met Gala merupakan salah satu ajang fashion tahunan terbesar yang ditunggu-tunggu oleh peminat fashion, maupun bagi penggemar dari pesohor tertentu yang terlibat di dalamnya. Sebagai ajang fashion tahunan, tentu Met Gala menyiapkan tema-tema yang berbeda tiap tahunnya. Euforia tahunan Met Gala selalu membawa kilas balik ke tema-tema Met Gala tahun sebelumnya, salah satunya di tahun 2018 yaitu “Heavenly Bodies: Fashion and the Catholic Imagination“. Tema Met Gala tahun 2018 memadukan antara haute couture fashion dengan kultur, icon, simbol agama (unsur keagamaan) Katolik dan Kristen, dan ornamen abad pertengahan. Salah satu penampilan yang menarik perhatian audience dari Met Gala 2018 adalah gaun yang dikenakan Rihanna dan Madonna. Penelitian ini dilakukan dengan membedah tampilan visual gaun Rihanna dan Madonna dengan metode penelitian estetika A.A.M Djelantik, dan semiotika C.S. Pierce serta ditinjau dari makna dalam sudut pandang agama Katolik dan Kristen.

The Historically, the Javanese palaces relied on boats for transportation, like the Kyai Rajamala boat used by the Surakarta palace. At the time, Paku Buwana IV used the boat to cross the Bengawan Solo river. Kyai Rajamala boat’s canthik is a decorative element on the end bow of the Surakarta palace's boat. Apart from being a decorative element on the boat's end bow, the Kyai Rajamala boat’s canthik is also an heirloom used to ward off bad luck. Because the Kyai Rajamala boat’s canthik has a high value for life, it is critical to communicate the Kyai Rajamala boat’s canthik through easily accepted media. One medium that can convey the beauty of the Kyai Rajamala boat’s canthik is the batik textile art, which can be used to meet basic human needs. Clothing is not only a means of covering the body; it can also be used to convey messages. The Kyai Rajamala boat’s canthik was reinterpreted and dyed with remasol into handmade batik.

HOUSE OF FASHION: HAUTE COUTURE AND THE MODERN INTERIOR, JESS BERRY (2018) London: Bloomsbury Visual Arts, 213 pp., black and white illustrations and colour plates, bibliography, index, ISBN 978-1-47428-340-3, p/bk, [...]

Résumé : Ce travail a pour objectif de montrer que la langue des signes est un outil d’insertion sociale et professionnelle des personnes sourdes de Côte d’Ivoire. La prise en charge socioprofessionnelle touche toutes les couches sociales dont les personnes sourdes. La présente communication s’inscrit dans le cadre théorique de l’Alphabétisation REFLECT. L’enquête s’est intéressée aux auditrices en couture de l’ASMCI (Association des Sourds et Malentendants de Côte d’Ivoire. A l’aide de la langue des signes (ASL-CI) elles arrivent à se former, s’insérer dans la vie sociale et être professionnelle.

Copyright of Revista de Ensino em Artes, Moda e Design is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Secrets of Couture explores many of the myths associated with haute couture and the roles it plays in today's fashion. The exhibition includes work from international fashion designers such as Balmain, Castillo, Louis Vuitton and Stéphane Rolland, and highlights Swedish designers such as Pär Engsheden. Secrets of Couture offers unique insights into an industry characterised by glamour, prestige and fame. [ABSTRACT FROM AUTHOR]

Copyright of China Textile Leader is the property of China Textile Information Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Keywords: museum; fashion exhibition; lace; haute couture; dress EN museum fashion exhibition lace haute couture dress 279 287 9 02/10/21 20210301 NES 210301 Lace has made a remarkable comeback in the past decade. The exhibition successfully manifests the reality in which the alliance between luxury fashion brands and high-end lace manufacturers further propels the potential of fashion and will continue to influence and echo throughout the fashion world. Museum, fashion exhibition, lace, haute couture, dress. [Extracted from the article]

Cristóbal Balenciaga is widely recognized as one of the leading twentieth century couturiers. His dynamic designs redefined fashionable silhouettes internationally. This paper will consider the impact of his designs in Britain, focusing upon how London wholesale couturiers copied, adapted and took inspiration from his garments. The majority of London wholesale couturiers' garments were copied or adapted from Parisian haute couture. They modified these designs to meet ready-to-wear manufacturing techniques, producing high-quality garments targeted at a middle-class consumer. By focusing on two silhouettes introduced in the late 1950s; the sack and baby doll, this paper discusses how these firms translated Balenciaga's designs. The sack, in particular, was rapidly adapted by London wholesale couturiers who managed to successfully modify it for the ready-to-wear market. By drawing on a range of source material, including original garments, newspaper and magazine editorials, this paper will evaluate how Balenciaga's design esthetic was translated by wholesale couturiers for consumption by a middle-class public in the 1950s. [ABSTRACT FROM AUTHOR]

This article takes a new look at Balenciaga: Ein Meister der Haute Couture, the exhibition held at the Museum Bellerive in Zurich from May 31 to August 16, 1970. By exploring the materials preserved in the museum's archives (now at the Zurich University of the Arts), the study sets out to reconstruct this retrospective dedicated to Cristóbal Balenciaga and to consider its relevance to the museology of the Spanish creator. Examining these archival materials provides an extraordinary opportunity to reflect on the history of fashion exhibitions, on the genealogy of these three-dimensional artifacts and on the practice and discipline of fashion curating. How do we decide whom and what to show? How do we construct a museum collection that represents fashion? To address these questions, this article analyzes not only the exhibition project, but also and above all the decision-making processes that preceded and shaped this exhibition in particular. Balenciaga: Ein Meister der Haute Couture was an exhibition produced in an institutional dimension which saw a close connection between the museum and the school of applied arts. At the root of this project lay the intentions of a school of fashion design: this allows us to think about the relationship between the design of fashion and the languages used in exhibitions of and for fashion. [ABSTRACT FROM AUTHOR]

In Helmholtz's illusion, a square with horizontal stripes appears taller than an identical square with vertical stripes. This effect has also been observed in experiments with human stimuli, where a human figure wearing a dress with horizontal stripes appears thinner than a drawing clad in vertical stripes. These findings do not agree with the common belief that clothes with horizontal stripes make someone appear wider, neither do they disentangle whether the horizontal or vertical stripes account for the thinning effect. In the present study, we focused on the effect of horizontal stripes in clothes comparing horizontal stripes against no-stripes (not against vertical; Experiments 1 and 2), using photos of a real-life female model, and controlling for the average luminance of the stripes (Experiment 2). Results showed that horizontal stripes and lower luminance have—independently—a small-to-moderate thinning effect on the perceived size of the body, and the effect is larger when the two variables are combined. In Experiment 3, we further show that the thinning effect due to the luminance of the dress is enhanced when the general background gets darker. [ABSTRACT FROM AUTHOR]