Clothing Cultures最新文献

Colour matters: An exploratory study of the role of colour in clothing consumption choices 色彩问题：对色彩在服装消费选择中的作用的探索性研究

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Clothing Cultures Pub Date : 2021-12-01 DOI: 10.1386/cc_00054_1

Marium Durrani, K. Niinimäki

引用次数: 0

Fashion in Copenhagen films and TV shows 哥本哈根电影和电视节目中的时尚

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Clothing Cultures Pub Date : 2021-12-01 DOI: 10.1386/cc_00052_1

Katrina Sark

引用次数: 0

Female body dressing: Perceptions and investments in beauty 女性着装：对美的认知和投资

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Clothing Cultures Pub Date : 2021-12-01 DOI: 10.1386/cc_00053_1

M. Kowal, Samaneh Naseri, A. Sabiniewicz, Pitor Sorokowski, A. Oleszkiewicz, A. Sorokowska

{"title":"Female body dressing: Perceptions and investments in beauty","authors":"M. Kowal, Samaneh Naseri, A. Sabiniewicz, Pitor Sorokowski, A. Oleszkiewicz, A. Sorokowska","doi":"10.1386/cc_00053_1","DOIUrl":"https://doi.org/10.1386/cc_00053_1","url":null,"abstract":"Clothing style and the extent of body revealing in public are cultural and social factors that can influence one’s beauty investments and assessments of attractiveness. To explore this further, we recruited 99 Polish women from Poland (perceived to represent a western approach to dress and body) and 100 Iranian women from Iran (perceived to represent a Muslim culture with a more modest approach to dress). We asked these women to respond to questionnaires to test whether cultural norms regarding one’s clothing are linked to investments in one’s beauty and self-perceived attractiveness. In line with our hypotheses, Polish women (who have more freedom to reveal their bodies publicly) spent more time caring for their bodies than Iranian women. Polish women also spent more time caring for their bodies than their faces. However, contrary to our predictions, Iranian women did not spend more time caring for their faces than their bodies. In fact, Iranian women did not spend more time caring for their faces than Polish women. Furthermore, we observed that older participants spent less time thinking about their attractiveness and owned fewer care products than younger participants. We further discuss our findings in the context of cultural norms regarding female body dressing and how it might relate to beauty investments.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43901407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

A not so ordinary story of disobedience: The ‘Little White Dress’ as a contemporary manifesto? 一个不那么普通的不服从故事:“小白裙”是当代的宣言?

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Clothing Cultures Pub Date : 2021-12-01 DOI: 10.1386/cc_00051_1

Filippo Gorla, A. Cereda

{"title":"A not so ordinary story of disobedience: The ‘Little White Dress’ as a contemporary manifesto?","authors":"Filippo Gorla, A. Cereda","doi":"10.1386/cc_00051_1","DOIUrl":"https://doi.org/10.1386/cc_00051_1","url":null,"abstract":"When US Representative Alexandria Ocasio-Cortez debuted at Met Gala in September 2021, her white dress with the words ‘Tax the rich’ scrawled in large red letters spawned a fierce debate on the political message conveyed. In this article, we want to reconfigure the choice of Ocasio-Cortez from a cultural perspective and make sense of the ongoing legacy of the ‘Little White Dress’, a garment that appears as a sort of canvas to express social and political statements. Its genealogy is indeed complex and obscure. Following Naomi Lubrich’s reconstruction, the dress appeared during the French Revolution probably as a sartorial tribute to democracy modelled on an ancient Greek women’s gown, but it was also worn by Queen Marie Antoinette as a symbol of innocence and martyrdom. It was then adopted by Napoleon’s wife Joséphine as a recalling of her Caribbean ascent and fully integrated into the imperial fashion as a sign of the sobriety of classical antiquity. During the Revolution and the Empire, women’s magazines matched the dress with an astonishing range of exotic accessories, showing how polyvalent the dress was; its meaning, however, grew more and more connected to the political sphere and from time to time linked with colonialism, Jewish emancipation and the abolition of slavery. In the recent scenario, the dress has reappeared in some important cultural events, shining for its talent to support political messages and challenging the observers to make sense of its polyhedric nature.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45868284","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Fashion brand campaigns: Carlos Gil SS21 case study 时尚品牌活动:Carlos Gil SS21案例研究

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Clothing Cultures Pub Date : 2021-12-01 DOI: 10.1386/cc_00049_1

A. Cruchinho, Rodrigo Peixoto, J. Neves, Ana Sofia Marcelo, S. Pereira, Carlos Gil

引用次数: 0

Dressed for eternity: Memory rituals and burial attire in contemporary Denmark 永远穿着：当代丹麦的记忆仪式和葬礼服装

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Clothing Cultures Pub Date : 2021-03-01 DOI: 10.1386/cc_00045_1

Maria Mackinney-Valentin

{"title":"Dressed for eternity: Memory rituals and burial attire in contemporary Denmark","authors":"Maria Mackinney-Valentin","doi":"10.1386/cc_00045_1","DOIUrl":"https://doi.org/10.1386/cc_00045_1","url":null,"abstract":"In Denmark, preparing the deceased for the funeral is almost entirely left to professionals. In most cases, next of kin say their final goodbyes at the site of the death. Only an estimated 20 per cent view the deceased after they have been prepared for the funeral. Death is widely considered\u0000 a taboo, something difficult and even inappropriate to talk about. An estimated 80 per cent of Danes die in an institution either at a hospital, hospice or nursing home. The institutionalization of death, culture of individualism and absence of shared faith have diffused rituals regarding\u0000 death in Denmark. There are hardly any formalized rituals for the relatives to engage with in the liminal space between the time of death and the funeral. The hypothesis of the article is that the choice of burial dress either as an individual, a family or institution holds further potential\u0000 for making the transition from death to funeral more meaningful in contributing to the narratives of a person’s life. It requires a transference of symbolic meaning to a material object, mainly the final outfit. In this context, funeral attire becomes a material bridge between death\u0000 and the beyond. Due to the intimate nature of the dress, the selection involves sharing the person’s life stories, values and preferences. As a ritual, the process may provide the bereaved with agency at a moment when they often feel paralysed. The chosen objects are transient, being\u0000 part of the coffin ensemble, but hold lasting symbolic meaning as a visual biography for the loved ones to share. The article is based on case studies of the practices of selecting burial clothes with a hospice, two funeral homes, a nursing home and a priest in the period 2019‐21, with\u0000 a gap in 2020 due to the coronavirus pandemic.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49381382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Disco: When fashion took to the dance floor 迪斯科:当时尚进入舞池

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Clothing Cultures Pub Date : 2021-03-01 DOI: 10.1386/cc_00042_1

N. Turner

{"title":"Disco: When fashion took to the dance floor","authors":"N. Turner","doi":"10.1386/cc_00042_1","DOIUrl":"https://doi.org/10.1386/cc_00042_1","url":null,"abstract":"Discothèques, fuelled by sexual liberation (both gay and straight), influenced fashion, music, nightlife entertainment, dancing and society for several years during the 1970s. New York City (NYC) was the epicentre of the disco scene. Sexual freedoms, fuelled by the birth control\u0000 pill and the repeal of laws in NYC against same-sex dancing, played out in the hedonistic disco venues, the most infamous, Studio 54. The 1977 film, Saturday Night Fever, inspired by the popularity of disco dancing in New York, introduced the dance phenomena to the world, spawning a\u0000 slew of copycats. The fashion world took notice and disco looks filled the runways and fashion magazines. Part of this new freedom was embodied in recently developed synthetic fabrics that promised easy care, brilliant colour and fluid movement. Disco’s downfall was precipitated by the\u0000 advent of the HIV/AIDS epidemic that threatened both homosexual and heterosexual sexual expression, coinciding with a backlash orchestrated by rock and roll fans. The fashion world in turn revolted against synthetic fabrics, claiming that natural fibres were chic and polyester was cheap. Disco\u0000 came to a crashing halt in the early 1980s as these social factors, coupled with the ‘death to disco’ campaign, orchestrated by rock music radio stations, ended the short-lived era.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44928799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Editorial 社论

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Clothing Cultures Pub Date : 2021-03-01 DOI: 10.1386/cc_00041_2

John F. Turney

引用次数: 0

Barriers, brands and consumer knowledge: Slow fashion in an Australian context 障碍、品牌和消费者知识：澳大利亚背景下的慢时尚

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Clothing Cultures Pub Date : 2021-03-01 DOI: 10.1386/cc_00046_1

Erin A. Skinner, C. Litchfield, Brianna Le Busque

{"title":"Barriers, brands and consumer knowledge: Slow fashion in an Australian context","authors":"Erin A. Skinner, C. Litchfield, Brianna Le Busque","doi":"10.1386/cc_00046_1","DOIUrl":"https://doi.org/10.1386/cc_00046_1","url":null,"abstract":"Fast fashion contributes to substantial environmental and ethical impacts at every stage of the product lifecycle and is a continuously growing industry within Australia. While slow fashion exists as an environmentally sustainable fashion alternative and appears to be gaining in popularity,\u0000 little is known about the knowledge, attitudes and behaviours of the general Australian consumer towards slow fashion. This study aimed to develop an understanding of Australian consumers’ attitudes and perceptions towards the consumption of four types of slow fashion (secondhand shopping,\u0000 high-end labels, hiring garments and eco-clothing). Participants (N = 209) completed a mixed-methods online survey. Quantitative items included a multiple-choice questionnaire on specific aspects of slow fashion knowledge, including clothing consumption, specific environmental impacts\u0000 of the fashion industry and the origins and purpose of the slow fashion movement. Open-ended items were analysed for information about barriers, associated brand names and additional knowledge. Results from the multiple-choice questionnaire suggested participants possess satisfactory knowledge\u0000 of fast and slow fashion; however, open-ended knowledge measures did not support this. Qualitative responses indicated potential barriers to purchasing slow fashion, including a lack of interest, cost, awareness, availability and sizing, as well as highlighted brand names that consumers associate\u0000 with both slow and fast fashion. To the best of our knowledge, this study is the first of its kind focusing on an Australian sample. These findings will have implications for behaviour-change efforts among educators and businesses, enabling them to implement targeted strategies to promote\u0000 the consumption of slow fashion among general Australian consumers.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46711855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Sewing history: Consuming culture 缝纫历史:消费文化

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Clothing Cultures Pub Date : 2021-03-01 DOI: 10.1386/cc_00043_1

L. Hackett

{"title":"Sewing history: Consuming culture","authors":"L. Hackett","doi":"10.1386/cc_00043_1","DOIUrl":"https://doi.org/10.1386/cc_00043_1","url":null,"abstract":"The resurgence of home-sewing has led to renewed academic interest in the area. Current research has found that home-sewing is a substitute for purchasing ill-fitting, poor-quality and unsustainable fast fashion. Home-sewers report that they find the practice a creative leisure activity\u0000 and that home-sewing is an empowering activity. What has been less examined are reasons why sewers make historical clothing, as opposed to making modern designs. This article examines home-sewing via the lens of historical material culture. That is, is seeks to understand the reasons why people\u0000 sew and wear anachronistic clothing. It does so via an international survey of over 200 participants. A range of complex social and historical factors emerge in this research, which posit that there exist broad cultural phenomena to explain this contemporary trend. Of the recent research conducted\u0000 into the reasons and motivations of home-sewers, the focus is on the sewing of contemporary clothing. Conversely, this research examines the motivations for sewing and wearing anachronistic clothing. Leading home dressmaking pattern company Simplicity claims that for many home-sewers it is\u0000 vintage patterns that lead them to undertake home-sewing. This suggests that there are different types of home dressmakers who are motivated by considerations beyond that uncovered by previous research.","PeriodicalId":53824,"journal":{"name":"Clothing Cultures","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46244948","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0