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The craze for historical pageants staged in Britain by local communities at the beginning of the twentieth century stimulated a widespread public engagement with historical costume. As well as thousands of performers, and tens of thousands of spectators, pageants involved hundreds of local people in sewing parties who spent months making the costumes required for these outdoor re-enactments of episodes of local history. This article investigates how pageant costumes were designed, made or sourced, on the large scale required, and the cost implications this involved. Whilst costume designers were acknowledged, the employment of professional dressmakers and milliners often necessary to complete the work received less recognition. Florence Edwards, a professional theatrical dressmaker, is one of the few who can be identified. The role of the London theatrical costumier Willie Clarkson, a supplier to many pageants, is also examined. During pageant preparations, local people actively researched dress history, and in the case of Emily Ashdown her interest led to a lifelong career as a dress historian. [ABSTRACT FROM AUTHOR]

An extant farthingale sleeve support and a silk satin sleeve to wear over it form part of a collection of garments still owned by the Willoughby family to which it originally belonged in the 1590s or early 1600s. This paper provides an insight into its history as part of the Willoughby women's wardrobe and a technical description of its materials, manufacture and current form. Its construction matches contemporary documentary evidence for farthingale sleeves which were assumed to form part of elite dress. Evidence presented here suggests that the fashion moved rapidly through society and became a feature of ordinary women's dress by the early seventeenth century. [ABSTRACT FROM AUTHOR]

Copyright of Investigaciones Historicas is the property of Universidad de Valladolid, Facultad de Filosofia y Letras 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.)

The article focuses on the creative process of writing and drawing "The Three Dresses" as a research project. It highlights the narratives of the dresses and their connections to Cinderella tales. It discusses the author's experimental approach, including freezing a miniature china doll to represent snow's voice, and uses visual metaphors to reflect storytelling intertwinedness. It emphasizes the various iterations of the piece as a drawing, palimpsest, and short story.

The United States and France each possess a liberal and a republican tradition stretching back to their origins as revolutionary regimes. However, as the epigraph from Justice Scalia suggests, it is widely believed that each polity gives rise to very different outcomes concerning the presence or absence of religion in the public sphere. This article cautions against perceiving too great a contrast between the United States and France in this respect by pointing to exceptions to this rule, and it explains these exceptions in terms of the ongoing contestation of the liberal and republican traditions within each polity. Indeed, contrary to Scalia, it points to instances of deep parallel between the United States and France on matters of religion in the public sphere, culminating in what I call the "American Headscarf Affair." In this respect we see how the presence or absence of religion within each polity, as manifest in the public sphere, is not inevitable but very much the product of ongoing contestation, centered on political and judicial activity. The "religion" within the public sphere to which the article refers, and upon which it focuses, concerns individual religious expression, manifest in matters of speech and dress. [ABSTRACT FROM AUTHOR]

As an efficient approach to create garments with a designer's Kansei, we developed a method for three-dimensional (3D) garment modeling with sleeves by deforming a 3D reference clothing model according to the contours of garment images with the aim to apply it to garment patternmaking. We determined an appropriate reference bodice model from various dress forms. We made the reference sleeve model by sweeping the armhole of a dress whose armhole was on a plane. Using this method, we obtained models of two jacket bodices and sleeves by deforming each reference clothing model using the contours of jacket images from the front and side views. After adjusting the positions of the 3D models of the bodice and sleeve, we obtained jacket models with a sleeve. We obtained the jacket armhole from the intersection of the surfaces of the bodice and sleeve models. We successfully made 3D garment models and armholes using the proposed method. We also obtained bodice and sleeve patterns that reflected the armhole. The simulated patterns exhibited a similar clothing shape to the images with curved shapes along the arm. Thus, we demonstrated that the proposed method efficiently reflected the designer's Kansei clothing model. [ABSTRACT FROM AUTHOR]

Women have much importance in the society. They can play their active role for the progress of the nation and the country. They should participate in the social and economic activities of the society. Islam gives them liberty to take part in such activities with some restrictions. This article aims to hightlight the principles for women to make up and resemble to the non Muslims. Examples from Islamic history and seerat of last prophet Hadhrat Muhammad صلى الله عليه وسلم have been collected and analysed. Opinions of Islamic Scholars have also been discussed to clarify the matter. The research can be concluded that Islamic Teachings recommend to avoid the resembling with the nations that wear the naik dresses that do not fulfill the purpose of veil. Woman can wear all kind of dresses that are decent and cover the body. [ABSTRACT FROM AUTHOR]

This article explores how women in religious workplaces respond to organizational norms of and requirements for modest dress and behavior, both implicit and explicit. It compares two case studies: women working for faith-based organizations (FBOs) in the UK, and women working for secular organizations who travel for work to Saudi Arabia, where the state requirement to dress modesty meant wearing an abaya (slightly relaxed in 2019). Data come from semi-structured interviews with 43 women: 21 who travelled from the UK to Saudi Arabia and 22 who work in UK FBOs. It examines three themes: how women adapt to forms of modest dress, how they navigate dress regulation, and how they negotiate habitus and authenticity. The article proposes that women's modest dress in workplaces governed by religious codes be understood as a form of lived religious practice and one that raises dilemmas of habitus and authenticity. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED 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.)

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED 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.)

Court balls, organized in Serbia in the 19th century at princely and royal courts, modeled on European ones, were labeled for a certain class of society, which gave these social events a festive note and a certain reputation. By coming to the balls, people had already integrated into the highest cultural ranks and by adopting new elements of behavior they significantly differed from other categories of residents. Therefore, balls of the highest rank were important social events because participation in them proved membership in that circle and superiority over others in every respect. However, although the European cultural pattern dominated the balls, elements of traditional, national culture also appeared in it, in accordance with the general circumstances.

Copyright of Humanitas Taiwanica is the property of National Taiwan University, Humanitas Taiwanica 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.)

Despite their abilities to talk, manipulate, and desire, children are socially immature (Quentel, 1997). Therefore, children's education consisted of bringing them into history through a constant interdependence with adults and interaction with their material environment. Fashion, as a style, shaped social identities and created a sense of historical belonging. Being dressed in the style of a certain location, time, and environment diminished particularities between individuals to dress them according to their social role and rank (Balut, 2014). However, through the nineteenth century, sailor suits, hussar overalls and bohemian dresses were the norms of a playful, nostalgic and always specific children's fashion. As illustrated through these examples, a fascination for Eastern European silhouettes and embellishments inspired unexpected styles for wealthy Western children. Far from playing dress-up, children in these outfits seemed to travel across Europe thanks to their clothing styles and experimented with alternative dress codes to possibly acquire alterity. How did adults play with children's fashion to educate children in the concepts of space, time, and place as a way to define their social belonging? How did children use this interaction with their clothing not only to build their identity but also to feed their appetite for story-telling and therefore divert the educator's and maker's initial intention? Based on the study of nineteenth century European museum collections (garments, department store catalogues, and fashion and children's magazines), this article analyzes the rationale behind the Eastern European trend in children's nineteenth century fashion and the way this exotic fashion journey evidenced the specificities of an aspect of children's material culture dedicated to the education and socialization of the child. [ABSTRACT FROM AUTHOR]

The article presents the discussion on 46th International Byron Conference taking place on Thessaloniki from 28 June–2 July 2021. Topics include exhibiting Byron's reflection on the ephemeral fate of paper objects and vacillating between resolve and futility; and forms of dress in contemporary illustrations and portraiture demonstrating Byron's respect for military attire despite the awareness of the human toll of warfare.

The culture of hospitality and dressing for the African is a unique phenomenon of global concern. Hospitality and dressing are striking identities for the distinct African communities in Nigeria. In the pre-colonial era, the way an individual dresses in Evo community determines he status, occupation and religious affiliation. On the other hand, it is expected that a stranger is properly cared for when he or she visit the house of a native. These are as a result of the communal-centric nature of the people. In the premodern era, everyone cared for the welfare of a kinsman. Hence, there is a recent decline in the act of hospitality and modest indigenous dress styles today in Evo communities of Ikwerre ethnic group of Rivers state. This is as a result of forces of social and religious changes in the communities in modern times. This paper surveys the challenges of the decline in hospitality and inappropriate dressing styles in the culture of Evo people. Furthermore, its participation on the social vices that trends the society. Thus using a phenomenological approach, this paper addresses the drastic development that will be achieved, when this traditional ethos of hospitality and appropriate dress styles are reinstituted in Nigeria forestalling rape, abuse and molestation which will impact coherence and order in Nigeria and enhancement of national unity, peace and progress. [ABSTRACT FROM AUTHOR]

This article explores the gender dynamics of giving dress gifts at the Elizabethan court (1558–1603). Current scholarship considers the role of elite women and the 'favourite' in giving dress gifts. In contrast, this article seeks to understand the significant but largely overlooked role of merchant and courtier men as both givers of dress to Elizabeth I and holders of vital information that others relied upon in giving dress gifts to her. Drawing on New Year's gift lists, correspondence and records of progresses this article shows how an approach informed by material culture and situated in a gendered framework actually complicates our understanding of the Elizabethan court's culture of dress gifts. A gendered analysis highlights that merchant and courtier male subjects, sometimes in tandem with their wives, played a vital role in shaping the fashion and economy of early modern England by providing innovative and tasteful offerings to their queen. Dress gifts from male subjects strongly influenced Elizabeth's image of magnificence and made the English court one of the most fashionable in Europe. [ABSTRACT FROM AUTHOR]

Rigorous comparative analysis of strap dress ensembles exposes the colonial violence caused by cultural attributions based on a false assumption that dress styles and Indigenous polities are directly correlated. Three periods of strap dress styles defined based on fifteen years of research into materials and techniques inform skills repatriation for Indigenous artists and decolonization directions for museum research. Results validate models for ensembles true to those worn by Anishinaabe grandmothers for use in workshops by collaborators Neil Oppendike and Siobhan Marks. Broad regional northern and southern dress styles are identified, and the Mapping Anishinaabe Regalia project is introduced. [ABSTRACT FROM AUTHOR]

The use of regular wound dressings commonly brings about excessively retained wound exudate between the dressing and the wound, which is detrimental to the healing. This study manages to control the biofluid around wounds effectively. To begin with, silk fibroin (SF) is extracted from silk. Next, SF and PCL are mixed and electrospun into multiscale hydrophobic nanofibers on the surface of the dopamine (PDA)-treated hydrophilic PVA nanofibrous membranes, thereby forming asymmetric wetability composite membranes with one-way water conduction. Moreover, PVA nanofibrous membranes are immersed in a PDA solution with an attempt to have a greater surface chemical activity and thus demonstrate an 85% greater wicking height and an air permeability being 90 mm/s. A 20% (w/v) SF solution and an 8% (w/v) PCL solution with a feeding rate being 1:3 provide the resulting SF/PCL nanofibrous membranes with greater hydrophobic properties, namely a water contact angle being 112°. In addition, the ultimate asymmetric wetability composite membranes exhibit an excellent wetting gradient, which benefits the directional transmission of moisture. The moisture management test results indicate that when the electrospinning time for PVA and SF/PCL layers is separately 30 min and 5 min, the resulting composite membranes attain the effect of one-way water conduction. In vitro analysis confirmed that the composite membrane produced were non-toxic. This unique wound dressing with one-way water conduction has a giant potential to serve as new type wound dressings for clinical use. [ABSTRACT FROM AUTHOR]

Little is known about how people's routine body movements when they are at work affect the perceived fit and comfort of their uniform/workwear. This knowledge gap was addressed in this study through carefully planned interviews. First, known theories from previous studies were analysed to establish a theoretical framework. Next, primary data and new information were collected through semi-structured interviews with fifteen subjects from eight industries to refine the investigation. Through these interviews, data were collected in relation to the subjects' (1) jobs; (2) routine body movements in the workplace; and (3) evaluation of the fit and movement comfort of their uniforms. Both deductive and inductive approaches were used to process the collected data so as to understand the wearers' needs for, and perceptions of, their uniform fit and movement comfort in their workplaces. This study lays the foundation for further research on uniform/workwear improvement. [ABSTRACT FROM AUTHOR]

Wound repair is a complex process that calls for strategies to allow a rapid and effective regeneration of injured skin, which has stimulated the research of advanced wound dressings. Herein, highly porous membranes of N , O -carboxymethylchitosan (CMCh), and poly (vinyl alcohol) (PVA) were successfully prepared via a green and facile freeze-drying method of blend solutions containing CMCh/PVA at weight ratio 25/75. Membranes composed only by CMCh were also prepared and genipin was used for crosslinking. Different contents of TiO 2 nanoparticles were incorporated to both type of membranes, which were characterized in terms of morphology, porosity (Φ), swelling capacity (S.C.), mechanical properties, susceptibility to lysozyme degradation and in vitro cytotoxicity toward human fibroblast (HDFn) and keratinocytes (HaCaT) cells. Larger apparent pores were observed in the surface of the genipin-crosslinked CMCh membrane, which resulted in higher porosity (Φ ≈ 76%) and swelling capacity (S.C. ≈ 1720%) as compared to CMCh/PVA membrane (Φ ≈ 68%; S.C. ≈ 1660%). The porosity of both types of membranes decreased upon the addition of TiO 2 nanoparticles while swelling capacity increased. Due to their high porosity and swelling capacity, adequate mechanical properties, controlled degradability, and cytocompatibility, such carboxymethylchitosan-based membranes are potentially useful as wound dressings. • Highly porous carboxymethylchitosan-based membranes were prepared. • Physicochemical membrane properties were modulated by TiO 2 nanoparticle and PVA content. • Genipin crosslinking greatly improves the self-sustainability of membranes. • Crosslinked membranes exhibited high swelling capability and had no cytotoxicity. [ABSTRACT FROM AUTHOR]

In the nineteenth century, fancy dress activities and their material record formed part of the mise-en-scène of the Jewish elite's self-fashioning. Family photographs and press reports of Jews in costume cast new light on the visualization of wealthy Jews. These Jews actively participated in the fancy dress culture of the elites, a popular form of cultural expression that was deemed a powerful way to convey social messages. In the British Empire, Europe, and North America, affluent Jews negotiated their feelings of solidarity and difference among non-Jews. They explored and articulated their self-image and group identity by appropriating others' history and culture in public and private dressing-up amusements. Fancy dress, this article argues, enabled Jews to question who they wanted to be and communicate their desires to their Jewish and non-Jewish peers. [ABSTRACT FROM AUTHOR]

Silk fibroin (SF) is derived from Bombyx mori silkworm cocoons and has been used in textiles and as a suture material for decades. More recently, SF has been used for various new biomedical applications, including as a wound dressing, owing to its excellent biological and mechanical properties. Specifically, the mechanical stiffness, versatility, biocompatibility, biodegradability, water vapour permeability and slight bactericidal properties make SF an excellent candidate biomaterial for wound dressing applications. The effectiveness of SF as a wound dressing has been tested and well-documented in vitro as well as in - vivo , as described here. Dressings based on SF are currently used for treating a wide variety of chronic and acute (e. g. burn) wounds. SF and its derivatives prepared as biomaterials are available as sponges, hydrogels, nanofibrous matrices, scaffolds, micro/nanoparticles, and films. The present review discusses the potential role of SF in wound dressing and its modulation for wound dressing applications. The comparison of SF based dressings with other natural polymers understands the readers, the scope and limitation of the subject in-depth. [ABSTRACT FROM AUTHOR]