The historical way of embroidery of traditional clothing

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.

The Final Bows

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.

Symmetry in European Regional Folk Dress: A Multidisciplinary Analysis

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.

American Bodylore and Folk Dress

Bodylore includes the ways in which the body is used as a canvas for inherited and chosen identity. Bodylore considers the symbolic inventory of dress and hair, addressing a range of identities from conservative religious groups like the Amish and the Hasidim to edgy goth and punk devotees. The body is scripted in portrayals of race, ethnicity, gender, age, religion, and politics, including such topics as tattoos, piercing, scarification, hair covering and styling, traditional and folk dress, fashion, and body modification. The central bodylore questions are whether individuals choose consciously or subconsciously to engage with their performative body, as well as why the body is often overlooked as a text within academic studies. This essay identifies the body as a malleable folkloric space, allowing for its symbols to function in both personal and public ways.

Colouring the Claddagh: A Distorted View?

This article examines the dress worn in a selection of Marguerite Mespoulet’s autochromes taken of the inhabitants of the Claddagh and in the vicinity of Galway City, western Ireland in 1913. They belong to the Archives de la Planète, an ambitious project launched by French financier Albert Kahn in 1908 to record the culture of ordinary people in fifty countries in order to promote peace through mutual understanding. The Lumière brothers’ autochrome was the first viable photographic process to reproduce authentic colours, unmitigated by intervention or manipulation, and was used for commercial and private purposes between 1907 and the early 1930s. Mespoulet’s images are thought to be the first colour photographs ever taken in Ireland, and so are invaluable records of the folk dress of a region where the last vestiges of Gaelic culture survived into the twentieth century. Along with her diary notes, they provide a platform from which to explore the slippery nexus between myth and reality, and to question the veracity of some commonly held assumptions about Irish folk dress.

Aagot Noss and Her Lifetime Research

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.