ДИЗАЙН И МОДЕЛИРАНЕ НА ДАМСКО ОБЛЕКЛО С ИЗСЛЕДВАНЕ НА ДЕКОРАТИВНИТЕ ОСОБЕНОСТИ НА БЪЛГАРСКАТА НАРОДНА НОСИЯ ОТ РОДОПСКИЯ РЕГИОН

Research objective: The authors set a goal to analyze the color symbolics in the folk costume of indigenous ethnic groups of North (Nenets, Khanty and Mansi) of the Tyumen region on the example of authentic sources, museum pieces and compare it with the main functions of the Luscher personality color analysis, to reveal the “collective subconscious”, nature of ethnic groups, their mentality. Sources: The basis of the article was the works of many researchers in various fields of science and culture (I. Newton, I.V. von Goethe, M. Lomonosov, N. Volkov, V. Kandinsky, I. Itten, M.O. Surina, R.G. Gadiyeva, O.Yu. Evseeva, O.A. Bakiyeva and others). In the course of the color analysis of the traditional folk costume and the identification of the color mentality of the ethnic group, color diagnostics according to M. Luscher was used. Content: The research of color was associated with the cultural activities of the peoples of the North of the Khanty (Ostyaks), Nenets (Samoyeds) and Mansi (Voguls). The color system was examined in traditional folk costume, it was developed over many centuries and carried information about the views of the people about the world around, their psychological characteristics (national character) and mentality. The novelty of the research is the relation of color preference, which the masters used in the manufacture of traditional clothing, and psyche features of these ethnic groups. Considering the color concept of Max Luscher and its relation with the psychological characteristics of a person and ethnic group, we developed criteria of color analysis of products of cooperative creative thought of ethnic groups (traditional costume): dominant (fundamental colors), subdominant (color in ornamental symbols), tonic (color emphasis in details), which would correspond to the main functions of color diagnostics in order to determine the color mentality of each nation individually. The article analyzes the color symbolism in the costume of the northern, eastern and southern Khanty, Nenets, Mansi on museum pieces in Tyumen, Tobolsk, Khanty-Mansiysk. The analysis obtained was compared with Luscher's color diagnostics and the results were verified according to the characteristics of textbooks on ethnopsychology. All this proves the certain intention in choice of the color scheme in a traditional costume, as well as provide the opportunity to highlight the features of the art of folk costume in different northern ethnic groups. Conclusions: In general, the color designation in the ornament of the indigenous small peoples of the Tyumen North (Khanty, Mansi and Nenets) disclose information about the way of life, folk traditions, rituals, the world outlook of the people who nomadized, was engaged in reindeer herding, hunting, fishing, and also the nature of the ethnic group, color mentality. The distinctive character traits of the small indigenous people can be identified by analyzing the color codes in the clothes: red-activity, blue - restraint, green - modesty, love of nature, for his family, etc. In general, the color mentality reveals cultural traditions with elements of the Ob-Ugric archaic, which is in harmony with nature, in balance.

The clothes in every dynasties embody the factors of politic and culture in China, such as Tang dynasty. After the Benign Administration of Zhenguan Reign Period in Tang dynasty, the economic developed quickly. Due to the great territory, the decree unity and the material wealth, Tang dynasty had close intercourse with Tujue, Uighur, Tubo, Nanzhao, Japan, India and Persia. As one of the most open dynasties, Tang Dynasty was rich and opened to other countries in cultures. On one hand, its clothes kept the tradition of China; on the other hand, the clothes incorporated other styles from abroad. Both of them melted each other, and formed the clothe style of Tang dynasty with elegant grace and unique features. Especially the women clothes in Tang dynasty, with the high status of women, new aesthetic trend was appearing on the clothes style, hair style and makeup style. Under the melting of multi-culture in Tang dynasty, the paper analyzes the melting phenomenon between the Tang women clothes and abroad clothes. Today, the designers from all over the world create their designing through the absorbing from the traditional clothes.

The article considers the changes happened in men's and women's clothing under the in-fluence of requirements imposed by Islam. The brief historical information about distribution of Islam among Ingushs is given. The main requirements of an obligatory covering of parts of a body imposed both to women, and to men depending on madhhab are shown. The changes in men's and women's clothes for the last decades are noted. The process of a reislamization left a strong mark on the appearance of inhabitants of the region. During the last historical period (be-fore 90s of the XX century) the traditional clothing did not undergo significant changes, but dur-ing the last decades it changed significantly. Historical continuity of traditions and innovations in clothing is shown in the article. Features of men's and women's clothing characteristic of partici-pants of a ritual zikr are considered. The distinctive features existing in a men's clothing depend-ing on confessional accessory are noted. The author notes that the tradition of designing clothes having deep, century-old roots has been changed and dynamically modified in the new millen-nium in compliance with the inquiries of the population under the influence of Islam.

Subject areaMarketing.Study level/applicabilityThe case is aimed at Business Administration students.Case overviewUdaipur based Aavaran – the echos of rural India – is a concept by COS-V, a leading non-governmental organization (NGO), which aims at connecting the tribal women of rural India with the mainstream. The NGO, set up in 1988 by Smt. Girija Vyas, was initially involved in imparting vocational training to the rural poor. Later, COS-V was taken up by Alka Sharma, a graduate from the Indian Institute of Crafts and Design, Jaipur, who completely changed the direction of the NGO. Her interest in textiles and crafts led to the genesis of the concept “Aavaran”. Aavaran is a retail outlet which was opened with a vision to provide the Indian market with traditional yet contemporary textiles and clothing. It offers a collection of women's and children's clothing and home textiles using a variety of traditional textiles and crafts. It is an artisan driven concept where the supply chain incorporates the essence of Indian textiles and crafts at every level. From the dyeing, printing, sampling and assembly of garments everything is done by the local women trained by COS-V with the support of DC-Handicrafts. The raw materials – the textiles, grey fabrics, etc. – are sourced directly from the rural weavers and artisans across India. The case study discusses how Aavaran developed the unique positioning of a retail platform for contemporary products made from traditional techniques, skills and hand-based processes; how it could revive the diminishing arts of Dabu and Phetia and how it carved a niche through its channelized marketing efforts.Expected learning outcomesThe case will familiarize management students with the concept of niche marketing with Udaipur based firm Aavaran as an example which developed a unique positioning through its traditionally developed products. It will also acquaint students with a basic understanding of a supply chain with a cooperative firm in focus.Supplementary materialsTeaching notes are available for educators only. Please contact your library to gain login details or emailsupport@emeraldinsight.comto request teaching notes.

The traditional folk costume of the Romanian peasant is one of the identity marks specific to us as a people. This costume has both common elements and elements of distinction from one geographical area to the other. Nasaud region has succeeded to preserve the traditional costume almost the same as a hundred years ago. The economic life in the villages around Nasaud, the specific life, the piedmont and mountain climate, the existence of the military border for almost a hundred of years and the material needs specific to the peasant-soldiers were the factors that influenced the way of making the traditional costume. The Austrian military border had long term effects on the inhabitants’ evolution, on their emancipation, and it imposed in the inhabitants’ conscience the preservation of local traditions and the assertion of the national identity at the linguistic, literary, social, cultural, folkloric level.

This article investigates woollen skirts with double ikat motifs that were made in the late 19th and early 20th centuries by women in the western Estonian parishes of Hanila, Karuse, Lihula, Kirbla and Martna. The skirts were worn as part of traditional costume. After the wearing of traditional costumes came to an end in the 1920s, these skirts ceased being made. As this craft has been not been practiced for almost 100 years, the skirts were largely forgotten.
 The aim of this article is to give an overview of the materials, tools and methods used in the production of western Estonian double ikat skirt fabrics, to describe the principles used in sewing the skirts, and to describe the colours and patterns used in such skirts.
 The material sources for this research comprise 30 double ikat skirts and skirt fabric pieces, as well as an ethnographic drawing of a traditional double ikat skirt. Of these 20 skirts and fabrics (as well as the drawing), ten were held in museums and ten were from private collections. The most important archival sources were Estonian National Museum manuscripts (from both the ethnographic and the correspondents’ archives), as well as dialect texts held by the Institute of the Estonian Language.
 For western Estonian double ikat skirt fabrics, single woollen yarns were used (both for warp and weft). Fabrics were woven in plain weave with 14,4 ends per centimetre for the warp and 12 ends per centimetre for the weft, on average. Tow and flax in the form of both fibres and yarns were used as binding materials for tying the ikat yarns. No information was found about tools developed specifically for use with ikat, so it seems likely that general weaving tools were used. According to archival sources, warp yarn groups for ikat patterning were stretched to the same length as the rest of the warp on the warping mill, and then tied, taken down, and dyed. The ikat patterened warp yarns were added to the rest of the warp during warping in the same form, i.e. as warped groups.
 There is no information as to how the tying pattern was applied to the yarns, but there is mentioned of the pattern for tying weft yarn being copied from the warp when the warp was already on the loom. Only synthetic dyes were used for dyeing. Both white and yellow yarns were used for ikat. Ikat motifs were re-tied and re-dyed to achieve a multicoloured effect. After weaving, the skirt fabrics were cut into panels, and then sewn together. Pattern matching was usually not a priority. Although about half of the double ikat skirts have pleats, analysis shows that double ikat skirts were without pleats traditionally.
 The most common background colour for western Estonian double ikat skirts was red, although blue and purple fabrics have also survived. The view expressed in earlier works that blue skirts were mourning skirts is not supported here. The most populaar ikat motifs were yellow and white, but green, blue, pink and purple motifs were also used. Only two types of double ikat motifs were used, and both are simple and cross-shaped.
 Two-thirds of the patterns are on a checkered ground and one-third are on a solid coloured ground. Based on the composition, the double ikat patterns of western Estonian skirts can be divided into four groups. The patterns are typically unique: there are only two instances were two skirts have exactly the same combination of pattern and colours. This supports the view that making traditional costumes that were exactly the same (as though they were uniforms) is not in line with traditional practice.
 Keywords: traditional clothing, skirts, double ikat, western Estonia, weaving, dyeing

This research analyzes the late Joseon`s variously developed characteristics of women`s underwear and its formative elements, and ultimately aims to apply such characteristics to designing modern outfits. The main purpose of the presented work is to give guidelines on utilizing the fashion legacy in a various way, and inheriting the traditional concept of beauty by developing it into modern fashion designs. The designing and producing of the work is based on the analysis of previous researches, genre paintings, and traditional costumes in museums. Based on this research, the application of traditional underwear design to today`s outfits involves the following points. First, the presented work features the formative outlines of traditional underwear as an inspiration for outer garments. Secondly, various traditional textiles are used such as ramie fabrics, damask silk, silk fabrics, fur, etc. for four seasons and they are turned to practical use for modern outfits. Third, colors of choice are white and low saturation colors to create an elegant and serene atmosphere. Finally, traditional sewing techniques are specifically applied to modern fashion designs. Included are: Nubim technique, Gob-sol technique, and the patching method. This work pursues the design of practical use by tying up clothes with straps and knots to prevent them from falling off.

The purpose of the study is to identify the features of the interpretation and stylisation of elements of Ukrainian folk costume in modern stage costume from the standpoint of fine art, as well as the analysis of artistic means that ensure visual expressiveness and preservation of ethnocultural identity. Research methodology. The article applies methods of art historical analysis, in particular the analysis of form, colour, symbolism, and compositional construction of stage costume as an artistic object. Comparative and culturological approaches to studying the transformation of traditional elements in the visual artistic space of the stage are also used. Scientific novelty. The work actualises the issue of interdisciplinary understanding of stage costume as a form of visual expression. For the first time, attention is focused on the aesthetic aspects of stylisation of Ukrainian folk costume in stage costume, in particular its artistic and plastic solution, compositional integrity and figurative expressiveness. Conclusions. Stage costume, built on the basis of traditional Ukrainian clothing, is not only an element of theatrical performance, but also a separate type of fine art. Stylisation of ethnic motifs expands the artistic potential of the stage image, contributing to the preservation of cultural heritage and the formation of a national visual language. Stage costume, inspired by folk forms, actively functions as a tool for preserving cultural heritage, while contributing to the formation of a national visual language that is recognisable and identifiable. It plays the role of a visual carrier of meanings, traditions, symbols and values, which are transmitted through aesthetic images and are fixed in the minds of a wide audience.

This article provides an overview of the unique tradition of the islanders of Kihnu of wearing headscarves. I discuss the importance of cotton print headscarves in the traditional clothing of Kihnu women and explain the meaning of kallisseltsi headscarves as an intra-community phenomenon, giving an overview of the origin and characteristics thereof.Cotton print headscarves are considered an integral part of Kihnu traditional clothing, but as purchased goods they have, up to the present, remained beyond the scope of ethnographic studies. Headscarves are classified by material, origin and purpose. Even today seven different types of headscarves are known: names were assigned to the different types based on their patterns. Headscarves must always be worn in harmony with the main item of clothing: the skirt. The colours and stripes of the skirt convey the events that take place in the course of a woman’s life. Adherence to the rules is supervised by the elders of the community and the more knowledgeable members who look after the preservation of the island’s traditions. As in the case of wearing, there are specific unwritten rules concerning the care, storage and folding of headscarves.In the Kihnu community the most valuable cotton headscarves are those made of red printed calico that were produced in the late 19th century and the early 20th century in Russia, in the Province of Vladimir in Aleksandrov County. Elsewhere in the world, the headscarves are also known by their main colour – Turkish red. The owning of kallisseltsi headscarves is in a way a status symbol in the Kihnu community: the owner of the largest number of headscarves is considered the proudest and richest. The circulation of headscarves is very carefully monitored and the most valuable ones are only worn during important life events.

ABSTRACT
 
 China's ancient ethnic minority clothes contain remarkable cultural elements, and among its treasures is the unique Naxi dress, the nation's oldest-standing traditional ethnic clothing. This study analyses the traditional Naxi clothing's structure, colour, fabric, motif characteristics, and accessories. These studies specify traditional Naxi clothing as the primary goal, which is fashioned in contemporary ways. Through an investigation of clothing composition and culture, the four main elements that constitute Naxi costumes should be applied to contemporary clothes. Firstly, the term "variability" designates a distinct style that differs in appearance depending on the way it is dressed. Secondly, the term 'colour contrast' denotes a high level of visual contrast. Third, material difference' integrates various materials into one. Fourth,' symbolic meaning' provides meaning to the wearer. As a consequence of this research, two modern clothing outfits were created with the implication of the unique character of Naxi costume clothes as a fashion design product, based on the traditional cultural characteristics of the Naxi people. By integrating components of traditional Naxi clothing and emphasising innovation, this study investigates and offers novel ideas for contemporary clothing design while simultaneously preserving traditional cultural elements for future generations.
 
 Keywords: Naxi people, Naxi traditional costumes, cultural elements, modern appeal

This study examines the case of an iconic digitally-manipulated news photograph, a controversial product of political propaganda featuring Majid Tavakoli, a student leader of the Iranian opposition in 2009, human rights activist, and political prisoner. The photograph depicts Mr. Tavakoli wearing a chador, traditional women's clothing in Iran, and appears to be digitally manipulated with the help of image-editing software. Published during the “Green Movement” protests of 2009, it triggered controversy and the production of a series of political memes mocking the Iranian authorities. This study analyzes how misogynistic shaming tactics utilized to discredit Mr. Tavakoli failed, transforming his digitally-manipulated image into the symbol of resistance. Accounting for the role of social media in raising awareness about the public's discontent regarding gender inequality, human rights violations, and media censorship in Iran, the study extends the typology of standard photojournalistic icons (Perlmutter, 1998) by adding the dimension of credibility to categorize ambiguous digitally-manipulated photojournalistic content in contentious times.

【The purpose of this study is to examine to change in the Chinese women's clothing according to the inflow of Western culture in the first half of the both century As for the research method, both literature and visual data are reviewed. Research results are as follows: The Step of transition in clothing by period followed beginning stage, adopted stage, early developed stage, fully developed stage, and static stage. fully developed stage showed a perfect compromise while being applied to Chinese costume with being introduced a three-dimensional cutting method of western clothing even to the constitution as well as to the appearance. Design elements from western clothing are as follows. The transition of silhouette is box silhouette, trapeze silhouette, shift silhouette, and fitted silhouette. In detail and trimming, tailored, band, convertible, shirts collar and zigzag, scallop, camisole neckline and puff, cap sleeve and flounced, bell shaped cuffs and western button, zipper, etc. are adopted. Finally, the Chinese modern style are formed by accepting and transforming the western clothing based on the traditional Chinese clothing.】

Objectives: This study aimed to identify the extent to which Saudi women wear traditional clothes, to determine the occasions in which women wear those outfits, and to identify the factors affecting their adoption in Saudi society. Methods: The study follows a descriptive analytical approach using the survey-based analysis, for a simple random sample of (300) women from the different regions of Saudi Arabia, and (9) Saudi fashion designers, which is an intentional sample. Results: The study reached several results, the most prominent of which Show the existence of a correlation between the desire of women to wear traditional costumes and the age, educational level, financial income, and occupation. There is a relationship between women's wearing traditional costumes and some of the factors affecting their wearing. There is a relationship between women's willingness to wear traditional costumes and the types of occasions in Saudi society. The majority of Saudi designers do not have a background in the names and shapes of the original Saudi traditional costume and motifs. Conclusions:The paper concludes with recommendations to monitor and record the changes to traditional costumes in Saudi Arabia, to establish a specialized conventional fashion museum for each region in the Kingdom, and to link classic fashion to global fashion.

In the Algerian War of Independence, women famously used both traditional and modern clothing as part of their revolutionary efforts against French colonialism. This paper uncovers some of the principal lessons of this historical episode through a phenomenological exploration of agency, religion, and political transformation. Part I draws primarily on the philosophical insights of Martin Heidegger and Maurice Merleau-Ponty alongside the memoirs of Zohra Drif, a young woman member of the Algerian Front de Libération Nationale, in order to explore the worldly and habitual nature of human agency in contrast to the Enlightenment stress on individual rationality and autonomy. Part II turns to John Russon’s phenomenological interpretation of religion in order to argue for the ineluctable significance of religion on human existence, in contrast to the modern tendency to oppose religious tradition and secular modernity. Part III analyzes the dynamics of intercultural communication, and argues for the political power of phenomenology as a critical enterprise that enables more just and emancipatory visions of collective human life and political transformation to come to the fore.

Aino Voolmaa (1920–2000) was an Estonian ethnographer whose productive years coincided with the Soviet era. She carved out a place in Estonian cultural history through her nearly four decades of work as an acclaimed authority on folk dress and popularizer of the tradition. Largely due to Voolmaa’s consistent, active efforts, preservation of historical authenticity was a key principle when it came to revival of folk costume. Voolmaa’s research articles and a book, Eesti rahvarõivad (Estonian Folk Costume, 1981) are still in use by both folk dress historians and aficionados. However, very little has been written about her life and work. Voolmaa graduated from upper secondary school in Tallinn in 1940 and entered the Tallinn University of Technology. In 1942, she opted to transfer to the University of Tartu, where she mainly concentrated on ethnography studies. In autumn 1947, Aino was hired by the Estonian National Museum, and she remained closely affiliated with this institution for the rest of her life. Voolmaa worked as a research employee for the museum, starting as a junior researcher and winding up as a research director. During her career as a researcher, Voolmaa made a mark as a successful folk dress scholar and popularizer, and her role as museum staff member was just as significant. Over the years, she took part in nearly all major facets of museum work involving acquisitions, preservation, investigation and various means of dissemination. She participated in various research projects and amassed thousands of pages of material in reference works (mainly in the field of clothing) in the course of field work conducted in many parishes in Estonia, which she relied on to write research articles. She also successfully presented her findings at conferences in Estonia and abroad and was a valued lecturer. Her body of work undoubtedly represents important source material for current researchers. Aino considered the museum a very important professional venue for her, and she became one of the main organizers of exhibitions on Estonian folk dress and art at the museum. Fittingly, her professional career culminated in a grand folk dress exhibition displayed in Tallinn (1982), Võru (1983) and Leningrad (1983–1984). The aforementioned three-volume Estonian Folk Costume, published in conjunction with the artist Melanie Kaarma in 1981, can be considered a summation of her life’s work; it remains an invaluable reference text for people choosing folk costume. As a popularizer of the wearing of folk costume, Voolmaa played an outsize role, and advocated making traditional clothing according to historical models appropriate to a certain place. With almost pedantic accuracy, she kept an eye on the making and wearing of traditional clothing and pointed out any mistakes. Characterized by an active mindset, Voolmaa fulfilled various social outreach duties both within and outside of the museum. She joined the Party in 1964, but it did not lead to any significant advancement on the career ladder. Her aspiration for a doctoral degree did not come to fruition but her influence as an ethnographer in Estonian society was quite extensive and enduring, particularly in the field of folk costume.