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Copyright of Fashion, Style & Popular Culture is the property of Intellect Ltd. 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 essay examines how fashion was complexly constructed and experienced at the Louisiana Purchase Exposition of 1904, better known as the St. Louis World’s Fair. It takes as its point of departure a striking poster illustrated by the Czech artist Alphonse Mucha to advertise the event for a European audience. The image depicts an elegantly clad woman and traditionally dressed Native American joined by the hand – allegorical symbols of the old and new. Ideas about the progressive 'new woman' and the mythical 'vanishing Indian' were evident throughout the fairgrounds in exhibits that showcased art, industry, cultural heritage, entertainment, and American political power. An analysis of photographs taken there by Jessie Tarbox Beals, Frances Benjamin Johnston, and Emme and Mayme Gerhard reveals that sartorial encounters between fairgoers and participants played a key role in articulating the exhibition’s narrative of progress, while also problematizing contemporaneous attitudes towards race and gender.

The scholars keep on searching for a definition of a «national identity» concept, while many states are trying to understand the essence of their national identity, and Latin American countries are no exception. The states reconsider their attitudes towards their own history, their cultural roots. The Mexican artist Frida Kahlo has become a world-famous brand: books and articles are written about her, plays and ballets are dedicated to her, her image is placed on bags and clothes. Frida’s popularity can be explained by her peculiar painting style, which absorbed the key elements of national culture and reflected the Mexican people’s character. At the same time, not only did Frida absorb and vividly reflect the national identity of the country, but she herself also became a symbol, a myth of Mexico for both the Mexicans, and for the outside world. Frida Kahlo’s paintings represent various elements of the Mexican style of life, namely retablo, the national costume, Mexico’s nature, and the traditional beliefs and customs of the Indian peoples. Frida was a borderline painter: she looked forward, fighting for equality, for women’s rights, she was a member of the Communist Party; whereas as an artist, though using new, revolutionary forms of painting, she looked back to the history and traditions of her country.

Miss Universe, with a history spanning over 71 years, is regarded as the most prestigious beauty pageant worldwide. It was first held in 1952 and has continued its legacy, playing a crucial role in empowering women in the changing times by Phongpaichit (1989) and Malik et al. (2023). Malaysia has participated in Miss Universe since 1964 and achieved notable success by reaching the top 15 in 1970 by Abdul Hamid et al. (2015). The main objective of this research is to incorporate the Iban folklore figure, Goddess of Kumang, into the idea of Malaysia's national costume for the Miss Universe pageant. The research follows a qualitative approach, focusing on the practice and artistic experimentation to illustrate the representation of the Kumang Goddess in the National Costume, based on Peirce's Theory of Atkin (2010). The data collection process encompasses observation, documentation, and visualization methods to elucidate each step undertaken while producing illustrations. The research outcomes yield numerous fashion illustration concepts centered around the theme of the Kumang Goddess. The significance of this research lies in its endeavor to preserve and introduce a fresh dimension to the fashion industry by incorporating folklore characters as creative inspirations in artistic work. [ABSTRACT FROM AUTHOR]

The issue of classifying the coloristic information contained in national costumes is considered as an invariable element of the external attributes of ethnonational identity using the case of the Republic of Udmurtia national costume. The research work employs a systems approach and general scientific research methods (analysis, synthesis, induction, deduction, comparison, generalization and systematization), as well as a number of special methods: historiographic analysis of research literature on the topic and methods of art historical analysis. The findings of this research works are as follows: the color codes in the national costumes of the peoples of the Republic of Udmurtia contain references to several key aspects of ethnonational identity: social status, marital status, age, and gender. The color codes also differ depending on geography: the northern costume of the Udmurts differs from the southern version both in cut and decor, and in the color scheme of the costume. It is concluded that the color code is a visual expression of the Udmurts’ ethnocultural identity.

In this paper, the 3D model of the human body is drawn, and the 3D transformation in the 3D garment piece design is realized by using the inverse mapping of 2D screen coordinates to 3D model coordinates. Then, the technique of virtual presentation of traditional ethnic clothing is studied, alternating the left and in-eye views and using the overlap of calculation to optimize the calculation to achieve a three-dimensional display. The virtual design and presentation effects of traditional ethnic costumes were assessed through a comprehensive comparison, sensory experience, interactive experience, emotional experience, and cognitive experience. The results showed that the regression coefficients of cognitive experience, sensory experience, interactive experience, and emotional experience of the virtual design and presentation of costumes were 0.98, 0.875, 0.993, and 0.996, respectively, which were 0.506, 0.36, 0.11, 0.161, and 0.048 more than the regression coefficients of the traditional display method in each dimension. This study provides the theoretical basis for combining traditional costumes with virtual technology.

The diversity of Latin American hats is determined by the climatic and geographical characteristics of the area of residence of different nations, as well as socio-economic factors, however, inter-ethnic ties play a key role, as well as the historically accumulated cultural experience of the ethnic group, which is reflected in the national costume. The purpose of this study is to substantiate the thesis that the headdress, in addition to protective, informational, aesthetic and other functions, has a function of self-identification and, as a result, an educational function, which consists in transfering from generation to generation the knowledge about national culture and history, as well as in the formation in the subconscious of younger generations of ethnodifferentiating and ethno-consolidating signs. To achieve this goal, methods of description, comparison and observation, classic for cultural research, as well as a hypothetical-deductive method are used. Studying the history of the emergence and peculiarities of hat-wear in a number of countries in Latin America, as well as comparing them with each other, it is concluded that the Latin American hats concentratively reflects the worldview of the people. It is a kind of cultural metasymbol, through which the transfer of spiritual values takes place and the mechanism of ethnocultural self-identification of the people is preserved. Being an element of the national costume, one of the forms of public consciousness, it reflects reality, but in a special way, being a carrier of both national and personal, as well as class cultural values. Wearing a hat is not just a tradition for Ecuadorians, Bolivians, Mexicans, Colombians and other peoples of the region. The headdress represents a symbol of the commonality of the nation.

This article discusses how ethnographic photographs are used for reconstructing the Bashkir national costume and its details. The results obtained show that the historical reconstruction of the Bashkir national costume has developed and advanced through various competitions between folk clothing artists in the Republic of Bashkortostan. The photographs, published both in various print sources and online, of the collections from the museums of St. Petersburg, Moscow, and Ufa, have inspired their reconstructions. Many costume pieces have been reconstructed based on the photographs taken during the 19th–20th centuries by travelers, scholars, and individual persons. Interestingly, the engravings of the 18th century and the written sources have not been used. Some ethnoterritorial variants of the Bashkir costume (southern, northeastern, Demsky, and northwestern) and those of certain age groups (clothes typically worn by girls and boys) have been restored. So far, there have been no reconstructions of the costumes of elderly men and women, city nobility, as well as the clothing traditions of the Bashkir groups in Samara, Sverdlovsk, and Orenburg. It was concluded that historical reconstruction of the folk costume contributes significantly to a better understanding of the ethnic features of the clothing culture.

Drawing on two case studies of designers whose work centered on the Vietnamese aó dài, one from the 1930s and the other the 2010s–2020s, this article considers how desires to construe fashion as art and the designer as fine artist have been implicated in transnational circuits of symbolic and material value, as well as colonial and postcolonial power relations. While decolonial scholarship on fashion has called for attention to diverse dress practices that are external to modernity and coloniality, this article argues that artist-designers' demands for recognition of Vietnamese dress within universalizing systems of fashion and art can also constitute a decolonial move because they highlight the plurality at the heart of fashion's aesthetic and material regime. At the same time, the designers' creative processes often grapple with internalized discourses of essentialized Vietnamese identities that have emerged within a patriarchal context and have tended to deploy the clothed bodies of women. In simultaneously positioning their fashion as art and asserting an essentialized national identity, Vietnamese designers in different temporal contexts have both constituted and challenged the ideological and material contours of the raced, gendered, and classed hierarchies of modernity, coloniality, and fashion. [ABSTRACT FROM AUTHOR]

The article is based on the materials of the Historical and Ethnografic Atlas of the Tatar People (volume “Folk Costume”) prepared at the Institute of History of the Ta-tarstan Academy of Sciences. In the pre-national period of the Tatar’s history there were many various local, ethno-confessional and other complexes of costume. Its for-mation was closely linked to the characteristic properties of the complex ethno-cultural history of the local groups of Tatars (the Kazan Tatars, the Mishar Tatars, and the Christian Tatars or Kryashens), as well as their religion (Islam, Christianity, Heathen-ism). In the late 19th – early 20th centuries, during the development of economic and cultural commu¬nications between Tatars of Russia’s separate regions, the common national Tatar costume was formed. City traditions of the Kazan Tatars have lie at the core of its formation. These traditions were distinguished by the style of a costume ten-dency to change – from archaic monumental national forms to more refined, corre-sponding to directions of the all-European fashion of that time. The “secondary folk-lore forms” characterize the present stage of transformation of the Tatar national cos-tume as a whole – the aspiration of professionals to use national traditions in profes-sional culture (gra¬phic, arts and crafts arts, theatre, scenic folklore, modern modeling, museum expositions as a symbol of reconstruction of ethnic identity). Several trends present folk costume traditions in the modern festive culture of the Volga-Ural Tatars: the ethnographic (authentic) Tatar costume; the folkloristic (neo-folklore) variation of traditional costume; the so-called symbolical national sign the avant-garde costume. As the element of the ethnic culture, the national costume is the most important related to the individual. It represents a symbolical sign-category, an original social-cultural code and transmits the ethnic information from the past to the future.

The article examines the interest in Scythian imagery and motifs in contemporary arts and crafts, both in Tuva and outside Russia, on a surge after the excavation of Arzhan II burial site. As proved by numerous references, the most popular of the Arzhan II finds was the stylized image of the Scythian stag on a golden hair pin. It has since appeared on the photo taken by Russian photographer Andrei Bronnikov, whose main subject is jewelry. Tattoo artists in English-speaking regions have seen an uptick in customers requesting Scythian stag tattoo designs, due in large part to the discovery of the popularly dubbed “Ukok Princess” and increase in interest in prehistoric fantasy media. Russian-speaking fashion designers redefine textile and ornament in the twenty-first century, influenced by the golden accents of the looped stag in their work, at times inventing an embellished narrative of the past. Folk crafters have created costume and jewelry designs for a different world they wish to inhabit, even creating alter-egos and stories that accompany Scythian-inspired pieces. Finally, within Tuva, wood carving continues thanks to trailblazers that promote folk handicrafts through education and archival work. Artists around the world are fascinated by this unique relic of the past and employ the symbol in romantic imaginings of their past and present.

The paper aims to explain the concept of “identity” by drawing the intricate cultural and political history of an important piece of the Romanian peasant attire. Involved and instrumentalized within various political and cultural identity programs, traditional clothing was exhibited by ethnographers, anthropologists, cultural activists for a long time as an identity landmark meant to display racial differences, national stereotypes, and social hierarchies. The Romanian peasant attire was thus transformed from a community internal practical and symbolical object to an ethnic and then national identity tool. More recently, the national project of inscribing the traditional Romanian female blouse with embroidery on the shoulder on the UNESCO Representative List of the Intangible Cultural Heritage is an opportunity for various stakeholders and promoters to reuse and commodify this clothing piece within their own cultural and commercial programs and to redefine and redesign the concept of “heritage community”. [ABSTRACT FROM AUTHOR]

The increase and visibility of non-white Norwegian minorities who wear the national costume, bunad, has generated much debate and rancor in the Norwegian media in recent years. This study employs a content analysis methodology of six cases from national newspapers that approximate the gamut of the discussion. Employing theories of belonging, bunad is broached as a prism that reflects current debates about the future of multiculturalism in a country that has witnessed rapid demographic change in a few decades. The locus of the debate is situated in the interstices between the minority individual's rationale for wearing the bunad and the positive views of significant Norwegians, such as the King of Norway, on the one hand, and those who refuse to 'grant' belonging to non-ethnic Norwegians on the other. [ABSTRACT FROM AUTHOR]

From the perspective of visual interaction, this paper examines the ethnic characteristics of visual features clothing and the extraction area of the totem ethnic clothing. We employed a feature extraction approach based on extensive data colour and used a classifier to identify the various totems of the ethnic clothing image. We further used PS to extract colour intensities and the DBSCAN algorithm to extract the characteristics of various ethnic colours and examine the phenomenon of judging culture research methods with colour characteristics. With the help of PS, the colour value of multiple images is proposed to provide a scientific and rigorous research method for ethnic minority colour research, improving the efficiency of the DBSCAN clustering algorithm for colour extraction. The obtained results can assist designers to reproduce colour images in their design work. We employed the support vector machine (SVM) to build a classification model to classify and recognize the extracted feature algorithm’s fusion features. The study found that the fusion feature classification and recognition model have higher recognition accuracy. This research lays a good foundation for the information processing of ethnic costumes and contributes to the inheritance and protection of ethnic costume culture.

Spiral embroidery of Shui nationality in Guizhou is an embroidery commonly used in the process of " core filling" of Shui nationality horsetail embroidery. Two needles are used at the same time. Coil embroidery of Tu Nationality in Qinghai adopts two stitches at the same time, with coils threaded into a loop by one stich and fixed by the other stich. It is often regarded as a unique embroidery skill. Scholars often regard spiral embroidery of Shui nationality and coil embroidery of Tu nationality as two different embroidery techniques. In view of this misunderstanding, this paper analyzed and compared their production methods, different application forms and appearances, as well as the cultural exchange and integration between the two nationalities and Han costumes. It is expected to provide great value for the accurate positioning of academic circles in the follow-up research and the clothing embroidery skills and cultural exchange between nationalities. After a comparative analysis of spiral embroidery of Shui nationality in Guizhou and coil embroidery of Tu nationality in Qinghai in the relevant documents and fieldwork, two important conclusions are drawn as follows: 1) From the horizontal point of view, it can be determined that spiral embroidery of Shui nationality in Guizhou and coil embroidery of Tu nationality in Qinghai belong to double needle pull embroidery through the comparison of their process operation techniques, that is, pull embroidery flourished in the Ming and Qing Dynasties. In the process of coiling up, due to the different densities of the coil, the overlap between coils may vary. The coil of coil embroidery of Tu nationality is round, while the coil of spiral embroidery of Shui nationality looks like a snail, 2) From the vertical point of view, during the Ming and Qing Dynasties, the Shui nationality in Guizhou implemented the policy of " Gai Tu Gui Liu" and the policy of changing Han costume, and Tu nationality in Qinghai had close exchanges with the surrounding Han nationality. The exchanges and integration among nationalities also promoted the mutual learning and integration of embroidery skills and culture among nationalities. The spiral embroidery of Shui nationality and coil embroidery of Tu nationality have established different application forms and appearances of the same process because of the differences in communication and interaction history, as well as aesthetic preferences. The same needlework presents differently due to different needlework collocations and material usage habits, pattern composition and style, color configuration and aesthetics. The national clothing embroidery skills exhibit the commonness of Chinese clothing culture and the integration of different national cultures. Through systematical and in-depth collection, arrangement, and analysis of the similarities and differences between Guizhou Shui nationality spiral embroidery and Qinghai Tu nationality coil embroidery, rather than looking at the two in isolation, this paper has not only analyzed the production details of the two from a micro perspective, but also investigated the relationship between the two and the style difference in the final presentation effect from a macro perspective. At the same time, this study also paid attention to the relationships between the two and Chinese embroidery and clothing civilization, and explored the commonality shared by Chinese national cultural symbols from the aspect of traditional clothing skills. [ABSTRACT FROM AUTHOR]

The article is devoted to the ancient Kazakh ethnographic clothing. Clothing is a part of material culture that determines the level of a person's cultural needs. Currently, the typology of traditional clothing is being studied, and its local variants are highlighted. It is clothing that distinguishes the characteristics of the culture of each nation, in other words, each culture appears in the clothing of its people. The relevance of the article is that clothing with all sorts of elements implies rich information about a specific ethnic group. The purpose of the article was to reveal the semantics of the elements of the ethnographic clothing of the ancient Kazakh people and thus different in many aspects of life and way of life, as well as the traditions and continuity of nomads. As a result of the research, the historical chronology of the development of the Kazakh national costume is presented. It was concluded that, like any folk costume, it evolved and the development of its main forms took place under the influence of the environment, living conditions in the steppes, and also taking into account needs nomadic life. [ABSTRACT FROM AUTHOR]

The paper focuses on the issue of adaptation and modification of the coat “chamara” in the historical and cultural horizon. The original shepherd overcoat spread out in Europe due to Spanish Renaissance fashion and gradually adopted the ethno-cultural features of individual cultural areas. In the Central Europe, especially in Poland, Hungary and later in Bohemia, the more archaic, Renaissance form of the coat was adapted to the folk costumes of pastoral areas, while the middle class transferred the “chamara” to ethnically accentuated fashion of the 19th century. Therefore, in 1848 the “chamara” became a national costume in Czech culture and its popularity, especially in smaller settlements, persisted until the turn of the 19th and 20th centuries.

Lithuanian authors, authors abroad, and artists have presented Lithuanian folk clothes in their works. However, the oldest examples of these representations are not very reliable, because the authors painted them according to the descriptions of other people or copied works among each other. In the 20th century, the national costume of Lithuania changed considerably. Attention was not given to ethnographic regional peculiarities; instead, similar materials were chosen without any analysis. This article performs a comparative analysis of folk (the 19th century to the first half of the 20th century) and national (the second half of the 20th century) Lithuanian costumes to establish signs of cultural pollution and remaining authenticity. Over 500 articles of clothing with different purposes are collected from Lithuanian museums. Fabric parameters, such as raw materials, weaving technique, weave, pattern, decoration elements, etc., are established. The research results show that authentic folk clothes of the 19th century differ from the national costume of the second half of the 20th century in their cut, decoration, and patterns. No differences between ethnographic regions survived in the national costumes. Thus, at present, we must preserve our tangible heritage and re-create, as authentically as possible, national costume for folk songs and dance ensembles, folk restaurants, and rural tourism homesteads.

This article examines the role of photography in the Year of Revolution and the place this topic holds in historiography. Unlike many historical disciplines which perceive 1848 as a turning point in the nineteenth century, the history of photography gives the impression that photographic production was not really affected by the upheavals which otherwise had a great impact on the whole of continental Europe. Collections and archives, however, contain large amounts of visual and written material that indicate the very opposite – that the involvement of photography in the events of 1848 was not rare. Using five examples from Central Europe, three portraits and two cityscapes, this article provides an insight into the cultural and historical backgrounds of photographic production in that year. The article demonstrates the ways in which photographs were involved in the social, political, and cultural events of the time, and how they helped shape ideas about them. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Zhejiang University (Science Edition) is the property of Journal of Zhejiang University (Science Edition) Editorial Office 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 Res Humanitariae is the property of Res Humanitariae 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 Folklore Studies / Tautosakos Darbai is the property of Institute of Lithuanian Literature & Folklore 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.)

Convolutional neural networks (CNNs) have recently achieved remarkable success with superior performances in computer vision applications. In most CNN-based image retrieval methods, deep CNNs features are verified as discriminative descriptors for effective image representation. This paper exploits the best practice for CNNs application to national costume image retrieval. Several important aspects that affect the discriminative ability of deep CNNs features are investigated thoroughly, including layers selection, aggregation and weighting methods. Firstly, an effective weighting method for sum-pooling features aggregation is given, which is more suitable for national costume image than some typical aggregation methods such as SPoC and SCDA. Secondly, in view of the complementary strengths, compact multi-layer CNN features combined with low dimensions are proposed and proven to be effective for national costume expression. Finally, a re-ranking strategy of diffusion process is applied to further enhance the performance for national costume images retrieval. The experimental results show that the proposed method outperforms the existing methods remarkably, which will provide some new research ideas and technical references for researchers in the field of national costume image retrieval. [ABSTRACT FROM AUTHOR]

Copyright of Textil v Muzeu is the property of Moravian Museum Brno, Historical Museum, Etnographic Institute 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 DOBAG project refers to an experiment designed to regenerate traditional craft making in indigenous cultures. Its focus were rural villages in Western Turkey and it emerged at a historical moment when the idea had currency. The project was inspired by a German scientist who lived and researched in Turkey. Having discovered the recipes for reproducing the ancient textile dyes that were extracted from plants, he spent time teaching them to the women artisans. In an example of entrepreneurial initiative, he also set up cooperatives to organize the work so as to put the women back in control of production after years of industrial weaving using synthetic dyes, and weaving to pre-ordered templates. His business model regulated retail by cutting out the middle men and working directly with select international dealers. The project was seen as an achievement of heritage preservation by the founders and by researchers, and for several decades starting in the early 1980s and ending after 2010, it helped households in remote villages in rural Anatolia, home to former nomads, to improve their standard of living. However, changes in Turkish economy and global markets, lack of infrastructure to support the new way of life, and different family priorities facilitated a shift among villagers from heritage-based entrepreneurship to becoming urban wage labourers. The project embodied Western colonialist guilt, the fantasy of saving the 'noble savage', and the tourist imagination in search of authenticity. The villagers, however, appeared more concerned with making a living, and heritage did not feature highly in their concerns. They treated the 'staged authenticity' demanded by the project as a sort of marketing tool. The comparison between the inside perspective of the weavers, and the outsiders, provided a starting point for problematizing the meaning and the usefulness of tradition in crafting identities through national costumes or national carpets. Some of the researchers who studied the DOBAG project rejected a binary approach in favour of a more nuanced view with less well defined categories. One such example, the notion of 'thresholds', was found both in the field work of anthropologists and in the art of Fatma Shanan, whose recent exhibition deals with issues of thresholds (e.g. between genders, interior/exterior, pure/contaminated, compliant/subversive, tradition/modernity), and portrays women negotiating the invisible boundaries of tribal community in the process of modernisation, which is a part of a modern state. [ABSTRACT FROM AUTHOR]

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Purpose. Determination of an analytical method for calculating parameters sweeps parts vest on the basis of the construction of sections of the profile of women's vest, designed based on Iranian national costume, an improved construction of the line armholes of his waistcoat, to improve the aesthetic and ergonomic qualities. Methodology. We used modern methods of research using korobova line arcs of curves of 2nd order and the analytical method rectifiable threads. Findings. The studies developed analytical algorithms for constructing an improved line armholes of his waistcoat female and developed analytic software for calculating parameters of curves and geometric data for CAD design elements. Scientific novelty. The principles of analytical calculations of parameters of curves and construction of the armhole line modern vest female, designed on the basis of the National Iranian costume, a new method of constructing scans patterns, using the method of rectifiable threads, enabling improved planting articles in the figure and application design modern clothes, automated design techniques. The practical significance. Proposed as a result of the research method analytical calculation options vest female curves allows to simplify the process of calculating the parameters of scans, improve planting articles in the figure, increasing the convenience of its use, in the process of socks, and aesthetic perception of the suit. [ABSTRACT FROM AUTHOR]

This study examines the tunic designed by Lemur Nguyễn Cát Tường--most often cited as the precursor to the modern áo dài--as a physical entity and as a historical and abstract symbol of modernity. My argument is twofold: first, that Lemur was the first modern Vietnamese designer, evidenced by his engagement in two modern fashion practices--the establishment of an institutionalized system and his proposal for a Vietnamese national costume. Second, I argue that despite protestations of its insignificance, dress served as a ground on which weighty social and cultural battles--such as gender, class, national identity, aesthetics, and modernity itself--were fought. [ABSTRACT FROM AUTHOR]

Latvian folk crafts are characterized by a predominance of women's handicrafts: weaving, knitting, embroidery, and so on, which are practiced both in groups and individually. This article focuses on the interaction between cultural heritage and creative trends in folk crafts in Latvia, examining the way in which artisans learn traditional crafts and the main areas of their activity. Given the context, the aim of this paper is to provide an overview on the development of Latvian handicrafts today based on empirical study which relied on information found on social networks about the latest activities of craftspeople. In addition to personal observations, publications dedicated to the development of folk art in Latvia during the Soviet period and today were also used as sources for the study. In recent years, the growing popularity of the Latvian national costume has stimulated the desire of many people to not only wear the costume but also learn how to make their own version. The Latvian national costume is a combination of various types of handicrafts, and some elements of folk costumes are also used in modern clothing. Nowadays, learning crafts in studios and hobby groups has become the main way to acquire handicraft skills. Training in these settings is based on ethnographic research and information available from modern sources. Works created in handicraft studios and hobby groups are regularly exhibited at local and national exhibitions. Craftspeople in modern-day Latvia merge the study of traditional, ethnographic material with creative selfexpression in the production of objects for modern use. Creativity and inherited traditions are therefore combined to various extents depending on the type of objects and their use. Masters of traditional handicrafts participate in the annual public workshop series called Meet Your Master!, which has become a well-known event for popularizing folk crafts in Latvia. [ABSTRACT FROM AUTHOR]

Copyright of Fibres & Textiles in Eastern Europe is the property of Sciendo 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.)

Purpose. Defining features of the building construction vest, as part of the National Iranian costume improvement in the method of constructing the armhole, to create a mathematical model of the surface and the construction of scans. Methodology. We used modern methods of investigation of initial data geometric curve-fitting surfaces of order 2, with the condition to minimize the initial data. Findings. The studies identified design features contemporary women armholes of his waistcoat, taking into account the structural arrangement of the national costume northwestern regions of Iran. The optimal methods of construction design armholes products using modern computer technology, which enables accounting model design changes at the design stage. Originality. In this paper, we propose a new method for constructing a spatial line armholes, based on its profile projection as a line of mutual intersection of profile-projecting cylinder, which is a guide profile projection armholes with a cylindrical surface in general position. [ABSTRACT FROM AUTHOR]

Influences of national costumes in modern fashion design were studied by researching pattern, color and environment of national costumes and its influence factors which elaborated unique cultural connotation, the design concepts and production technology. The analysis showed that only the characteristics of national costumes should mastere firmly by imitating national costumes elements and design concept to improving the production process, it can be designed clothing to targeted to consumers in design idea and aesthetic rapidly changing today. International brand foundation with national characteristics can be creatived and national culture can be inherited and communicated preferably. [ABSTRACT FROM AUTHOR]

Purpose. Detection of structural building features traditional dress from different regions of Iran. Methodology. Used general scientific methods and analytical literature, historiography and system- structured analysis, making it possible to carry out the classification structures of Iranian national dress. Findings. In the analysis of structural building features traditional dress from different regions of Iran, optimum use cases in the design of the basic structures of contemporary women's apparel. Originality. The first time the structural features of the construction of national costumes from different regions of Iran, their classification, to be used in the design of modern clothing. Practical value. The results of this research can be used in the design collection of contemporary women's apparel. [ABSTRACT FROM AUTHOR]

The article discusses the correlation between clothing in Ireland and the country's Celtic Revival art movement of the late 19th and early 20th centuries, with a focus on cultural identity as expressed through women's dress. Topics include the political aspects of Irish national costume; "The Way We Wore" costume exhibit at the National Museum of Ireland in Dublin, Ireland; and efforts by the Gaelic League and Cumman na mBan Irish cultural organizations to promote Irish industries.

Copyright of Menotyra is the property of Lithuanian Academy of Sciences Publishers 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 Časopis za Zgodovino in Narodopisje is the property of University of Maribor 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 Menotyra is the property of Lithuanian Academy of Sciences Publishers 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 Menotyra is the property of Lithuanian Academy of Sciences Publishers 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.)