Aagot Noss and Her Lifetime Research

Costume ◽  
2010 ◽  
Vol 44 (1) ◽  
pp. 110-118
Author(s):  
Karen Finch
Keyword(s):  

The work of the distinguished Norwegian folk dress historian, Aagot Noss, is considered, and her eleven books on folk dress and its customs, based on fieldwork for the Norwegian Folk Museum, are described and discussed.

2020 ◽  
Vol 43 (2) ◽  
pp. 271-297
Author(s):  
Sara Hume

Abstract How did people actually dress across rural Alsace from the late nineteenth to the early twentieth century? The image that fills the popular imagination of Alsatian dress during this period is of a regional costume, including a large head bow. This stereotype was developed and reinforced by intellectuals who documented and preserved these disappearing styles. The survival of this static folk dress obscures the actual transformation of regional dress into styles that more closely resembled those worn in urban areas. This study looks at rural costume in Alsace to understand its transition from distinctive regional dress into styles more in line with urban styles, by making use of a range of source material, including notarial acts, surviving garments preserved in museum collections, and photographs of weddings and other religious ceremonies. Comment s'habillaient les gens en Alsace rurale de la fin du dix-neuvième au début du vingtième siècle ? L'image qui nous vient tout de suite à l'esprit est celle du grand nœud noir. Ce stéréotype a été développé et renforcé par les intellectuels qui ont documenté et préservé ces modes en voie de disparition. La survivance de ce costume folklorique cache cependant la transformation qu'ont connue les habits régionaux, sous l'influence des vêtements portés en ville. Cet article étudie le costume rural en Alsace pour mieux comprendre comment s'est réalisée la transition des vêtements régionaux en vêtements dont le style était plus conforme à celui des villes. Pour ce faire, il utilise une variété de sources, y compris les actes notariés, les vêtements préservés dans les collections des musées, et les photographies de mariages et d'autres cérémonies religieuses.


Leonardo ◽  
2020 ◽  
Vol 53 (2) ◽  
pp. 157-166
Author(s):  
David A. James ◽  
Alice V. James

Designs on folk dress form an expression of artistic import within a culture. A 2017 ethnomathematics paper to which the authors contributed concludes that the designs on European regional folk dress are highly symmetric and analyzes the symmetry in the costume designs of 73 European cultures. Also examined are which symmetries are favored by, for instance, Catholic cultures or mountain cultures. In this article, two of the study's coauthors summarize its key points and go on to explore the neurophysiologic, aesthetic and ethnographic reasons why humans display symmetry on their regional dress.


Author(s):  
Anastasiіa Varyvonchyk

Purpose of the article. Trace the historical origins and genesis of embroidery decoration of traditional Ukrainian clothing and analyze the implementation of technological and technical innovations in the decoration of Ukrainian clothing. The methodology is based on the principles of historicism, art history analysis, scientific objectivity, and consistency in the study of the genesis of the decoration of the Ukrainian dress. Scientific novelty. The current state of embroidery decoration of traditional Ukrainian clothing is revealed and the issue of introducing innovative technologies in modern clothing design is raised. Conclusions. Based on the results of the study, we can conclude that modern decoration imitates the traditions of folk dress, including more and more the latest technologies. The unique experience of modern masters is analyzed and the ways of development in the direction of the art of embroidery decoration are determined. A variety of embroidery techniques with limitless skillful potential appear alongside machine embroidery works. Keywords: traditions, fashion designer, embroidery, creativity, innovation, education.


Focaal ◽  
2004 ◽  
Vol 2004 (44) ◽  
pp. 20-34 ◽  
Author(s):  
Thomas Hylland Eriksen

Enlisting culture in the service of commercial or political interests inevitably leads to a simplification and standardization of form. This article addresses the tensions between these standardizing processes and discourses of cultural authenticity, raising questions concerning copyright to cultural products and, more widely, the economics of cultural tradition. Empirically, the article is a study of the Norwegian bunad, a folk dress which exists in numerous regional varieties and carries a profound symbolic significance as a marker of regional and national identity. However, the authenticity of particular bunads or other folk costumes is often hotly contested. At the same time, entrepreneurs have begun to produce bunads in low-cost countries, thereby violating a principle considered by many as sacred, that bunads should be sewn by local women. The article reveals what is at stake for the various actors involved, and suggests some comparisons.


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