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The richly allusive tapestry of Carter's fictional costumes – comprising varying fabrics, face-paint, tattoos, and other forms of bodily modifications – invites closer examination of the complex politics that undergird them. This paper examines Carter's The Infernal Desire Machines of Doctor Hoffman to understand how the novel uses dress not only to foreground gender-coded sartorial practices but also to draw attention to the ways in which it indexes colonial, cultural, and moral politics. The proposed paper thus, aims to analyze how Carter employs dress as a recurrent motif in The Infernal Desire Machines of Doctor Hoffman to examine its role in signaling and shaping socio-cultural identities. [ABSTRACT FROM AUTHOR]

For too long, museums have used thin, white mannequins as the standard for body surrogates in dress and textile exhibitions. This article explores some of the issues surrounding this practice and the message these objects may convey. As an actionable step towards social equity, it offers an alternative called the "Forest People" that aims to address issues of diversity and inclusion in curatorial and display practices. Inspired by tree diversity, the Forest People is a solution that draws from the past to create a new version of artists' wooden lay figures. It replicates different wood colors and grains and can lend itself to presenting a variety of different races while still fading in the background and conveying an aesthetically pleasing and visually coherent ensemble. The article reflects on the development of a prototype for the exhibition Woven Identities: Ghanaian and Guatemalan Textiles in the Face of Globalization (2023) at the University of Alberta, and its effectiveness and potential developments. [ABSTRACT FROM AUTHOR]

Fatness may be finding representation on the catwalk, but it has few friends in the museum. This article uses a case study of the Costume Institute alongside interviews with a variety of museum professionals and dealers of historic clothing to discuss the culture of acquisition and exhibition that tends to exclude larger garments from display. This bias consists of a set of subjective aesthetic preferences that drives curators and collectors to focus their efforts on garments designed for or worn by people with ideal bodies and is reinforced by the well-intentioned effort to have fashion recognized as a higher decorative art form rather than a practical craft. The mechanisms by which collections develop and exhibitions are created often reinforce the exclusion of larger sizes, making change a complex endeavor, but the active renegotiation of these norms is already in progress. [ABSTRACT FROM AUTHOR]

This article spotlights the work of Eileen Sullivan and her career as a wardrobe mistress, later wardrobe supervisor, which included working on the James Bond films from Dr No (1962) until You Only Live Twice (1967). It will further consider how her career and role as a wardrobe mistress and supervisor changed within the British film industry from the mid-1940s until the mid-1980s, through personal papers shared by her family with me. Alongside this, the article draws upon papers available in the Film Finances Archive, the British Film Institute (BFI) and the British Library. This article will work to redress the absence in scholarship on the labour provided by costume workers below that of the costume designer, which as Melanie Williams (2016) has previously recognised, has been rendered invisible despite their costume work appearing on screen that contributes to the overall visual coherence of a film's design. It will also address the difficulties of researching the work of wardrobe personnel who have hitherto remained unacknowledged in broader scholarship, and analyse the role of the wardrobe mistress and supervisor including agency and labour, and the impact of caring responsibilities on this 'gendered' role. [ABSTRACT FROM AUTHOR]

Times have changed and museums are adapting to it. Their traditional functions have evolved, and the sustainability of these institutions is becoming increasingly important. Therefore, museums are facing a paradigm shift: from heritage-focused to society, especially their audiences. These institutions must now foster and develop social and economic approaches to adapt to this new situation. Cultural democracy and audience development are emerging as an effective approach and management tool in this adaptation process.This research focuses on the case of the Museo del Traje of Madrid [Costume Museum] in Madrid. Through the study of the Museum's website on its activity and in-depth interviews, this article gathers the information analysed to highlight the effort made by this museum in terms of sustainability through its face-to-face activities. The conclusions reveal that despite the efforts made by the museum in its adaptation process, a new management approach is needed to enhance this work. In this way, by improving its management, the Museo del Traje can become a replicable model of a museum that works to promote sustainability. [ABSTRACT FROM AUTHOR]

In this article, sound artist Julie Rose Bower examines the relationship between the Foley 'cloth pass' and the 'fabric sounds' autonomous sensory meridian response (ASMR) trigger. Starting with Serres's sensory appraisal that 'the world is a mass of laundry' the tactile qualities of cloth are proposed as a key component in accounting for the 'felt rather than heard' status of Foley sound. Writing from a practitioner perspective, Bower argues for textile manipulation as a form of embodied sound design and cloth sounds as a curiously generative media object. Through theorizing developments in the scope of attention within screen cultures, Bower develops a speculative ontology of soft glitch and conceptualizes a politics of folded listening. Alongside accounts of sound practice from industry Foley artists Vanessa Theme Ament (Die Hard, Edward Scissorhands), Joanna Fang (Sony PlayStation) and from her own ASMR work using costume and textiles (ASMR at the Museum for the Victoria and Albert Museum [V&A]), Bower argues for cloth sounds as transcendent cyberfeminist technique. [ABSTRACT FROM AUTHOR]

The connection between the Late Bronze Age (LBA) Aegean costumes and social, cultural and political changes is a rather unexplored topic. Probably the only exception are kilts, the connection of which to such changes on Crete during the 15th century BCE remains a commonly discussed topic in studies focusing on the LBA Aegean iconography and other data sets. However, many questions remain open and the topic is far from exhausted. In this paper I build on the work of various scholars who have studied LBA Aegean kilts in the context of social, political and cultural changes. I diachronically study the changes in the representations of kilts since the beginning of the LBA in the Aegean until the end of the Palatial period on the Greek Mainland (ca. 1700/1600–1200 BCE). Moreover, I examine the spatial distribution of specific kilt types in different periods. In cases of several different kilt types appearing in contemporary contexts in the same region, I explore whether similar costumes might have had different social connotations within the same communities. Moreover, I examine the influence of elite power structures and socio-political changes on the perception of kilts. However, I do not observe kilts as passive reflections of specific social, cultural and political contexts, but rather as material forms actively used in the creation of social realities. [ABSTRACT FROM AUTHOR]

Copyright of Industria Textila is the property of Institutul National de Cercetare-Dezvoltare pentru Textile si Pielarie 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 article examines the costume of Stepan Trofimovich Verkhovensky, the main character of Fyodor Dostoevsky’s novel Demons. Unlike clothes, the costume is associated with theatricality, acting, and performing or with playing a role. During the novel Stepan Trofimovich “plays different roles” and Varvara Petrovna determines his costume. Other heroes from the novel are also costumed (especially the young generation or young “demons”), who play their roles on the stage of Skvoreshniki. Stepan Trofimovich sometimes accepts, sometimes renounces his role; he protests and withstands the costume intended for him. Analysing his behaviour and costume, the article concludes that Stepan Trofimovich, in the end of his life journey, frees himself from the role that was intended for him. In the very end he “stepped off the stage” of Skvoreshniki and found himself “naked” on the eternal path when he took off his “civil” and fake costume.

This study aims to establish the methods of evaluating cosmetic foundation in vitro from four dimensions: concealment, dullness, migration resistance as well as the ability of water resistance, sweat resistance and sebum resistance. The automatic film coating machine was used to evenly coat the samples in the first steps. The concealment and dullness sections were evaluated by MetaVue VS3200 spectrophotometer, which measured the hiding rate of the samples and the color characterization values of the foundation (ΔL, Δa, Δb). The coverage rate of sample E1 is 90.98 cr, which is the highest coverage. The ΔL value of sample D2 has the largest change of -2.73 as well as the highest dullness. Combined with the result of consumer testing for further verification, the overall score results are consistent with in vitro test results. Also, the ability of migration resistance was determined and compared by the image analysis of software Image-Pro Plus 6.0 through the testing of the amount of rubbed powder. Moreover, through the contact angle measuring device, the capabilities of water, sweat, and sebum resistance of the foundation samples could be compared based on the measurement of the contact angles of deionized water, artificial sweat, and artificial sebum on the sample surface. The contact angles of sample B1 and D2 with deionized water and artificial sweat are greater than 90° for removal of lipophilicity. The contact angles of all samples are less than 90° for removal of lipophilicity, among which sample E1 and sample F are relatively lower in removal of lipophilicity, and the contact angles are respectively 40.8° and 40.0°. The results of water resistance, sweat and sebum tested in this study are generally consistent with the test results based on existing literature. The results show that four methodologies of scientific measurement with instruments are feasible and valid, and they help develop the convenience and scientific rigor of in vitro evaluation. [ABSTRACT FROM AUTHOR]

Historical, folk, and opera costumes are part of cultural heritage, embodying the history, culture, art, and spirit of given nations. Due to aging and various damages, handed-down and unearthed historical clothing is often fragile and complex to preserve. Recently, digital methods have emerged as a meaningful way to restore and reconstruct all kinds of heritage clothing. The appearance of heritage costumes can be preserved permanently and presented to the public in a more accessible and interesting way via digitization. However, there is a lack of systematic review on this topic. To fill this gap, recent progress in digital restoration and 3D virtual reconstruction of heritage clothing is reviewed in this article. On the one hand, the methods and advantages of digitally restoring damaged archaeological costumes and fabrics, as well as damaged clothing images in archaeological murals, are summarized and emphasized. On the other hand, the digital reconstruction and virtual simulation of heritage costumes from different prototypes with known or unknown original appearances using different digital frameworks are presented and discussed. Furthermore, general steps and challenges in the digital reconstruction process, as well as future directions for digitalizing heritage clothing, are also discussed. [ABSTRACT FROM AUTHOR]

In the Upper Amazon south of the Solimões River, between valleys, rivers and small towns, a contemporary practice can be observed in the use of ethnic clothing by some indigenous groups, in their life of urban and multi-local extravillage relationships, as an expressive and communicative attitude of multiple senses. This attitude currently forms a context of displacements in a forest-cityforest network, which carry dynamics of cultural resistance and promote the expansion of native territorialities in the city space. In this hostile space, the forest then materializes itself through bodies adorned by colors and designs composed in a syntax unintelligible to Portuguese, making visible what the processes of domination try to extinguish. [ABSTRACT FROM AUTHOR]

This paper is an attempt to probe into depiction of violence and death in the classical Sanskrit drama, especially in its avatar as Kūṭiyāṭṭam, a living performative tradition related to the temple theatre of Kerala. Stage depictions of terrible scenes of violence, and death as the culmination of it, will be examined here in the context of semiotics by including in its ramifications costume, colour scheme, tonal features and acting. The paper will first review the attitude of the Nāṭyaśāstra to presenting darker side of life on the stage and then turn to issues related to portrayal of violence and death in Kūṭiyāṭṭam. It will also take the opportunity to briefly touch upon other classical performative art forms, like Kathakaḷi, which are based on epic and Purāṇic themes, and are noted for their prominent portrayal of violence on stage. [ABSTRACT FROM AUTHOR]

At the acquisition of Rembrandt van Rijn's The Standard Bearer (1636), the Rijksmuseum and the Dutch government presented the subject of the painting as a symbol of the heroic fight against the Spanish, decisive for the birth of the independent Netherlands, and as an image of the strength and courage of civic guard companies and the intrepidity of the standard bearer. This article argues that Rembrandt instead presented himself provocatively as a comedian-painter, satirizing the image of the conceited standard bearer, well-known from both reality and comic roles in contemporary theater. Simultaneously, Rembrandt displays an unrivaled virtuoso handling in competition with the admired Frans Hals. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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 Stratum Plus Journal is the property of P.P. Stratum plus 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 Stratum Plus Journal is the property of P.P. Stratum plus 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 Stratum Plus Journal is the property of P.P. Stratum plus 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 Stratum Plus Journal is the property of P.P. Stratum plus 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 Stratum Plus Journal is the property of P.P. Stratum plus 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 post-New Wave films and trajectories of the key British New Wave directors remain under-analysed terrain, both in terms of their potential relevance for interrogating how we understand the British New Wave itself and for the terms in which we might conceptualise a 'Long' New Wave. This article departs from persisting auteurist approaches to consider the post-New Wave oeuvres and careers of these directors collectively, in terms which foreground the importance of collaborations and networks rather than individual authorship and seek to decentre, denaturalise and potentially dislodge their pre-eminent association with specifically Northern, British, social realism and its presumed legacies. I argue for the importance of a cluster of less-analysed areas of intersection and development which emerge across the eclectic film-making careers of Tony Richardson and John Schlesinger (and, to a lesser extent, Karel Reisz) in the immediate post-New Wave decade from the 1963 success of Richardson's Tom Jones to the early 1970s. My discussion pivots on two commonalities: during this time, all three directors contributed significantly and plurally to innovations and advances in genre and representation across two areas distinct from British Northern working-class realism: historical/costume film genres, and queer representation. An approach which centres the (broadly defined) queer elements in these directors' post-New Wave oeuvres – intersecting at times with their equally undervalued contribution to 'pre-heritage' period cinema – reveals the 'Long' New Wave as substantially a cinema of adaptation, collaboration and queerness which encompassed important, near-forgotten, international projects as well as modernist influences and, in Schlesinger's Sunday Bloody Sunday, a significant advance in realist queer representation. [ABSTRACT FROM AUTHOR]

The festive celebration known as FandangObon is made possible by workshops and satellite performances that artivistas (art activists) stage throughout the year in a variety of community venues. The event transforms the annual Japanese American Buddhist Obon ceremony honoring ancestors into an antiracist polycultural performance. Through improvisation and invention, colorfully adorned participants blend the dances, songs, and costumes of the Japanese bon odori circle with Mexican son jarocho fandango practices and West African ballet and egungun drum and dance circles. Each of the groups represented in FandangObon brings to the mix its own form of circle dancing, collective singing, and instrument playing, yet bon odori, fandango, and egungun do not fuse together seamlessly in these gatherings. Instead they coalesce as a conversation among equals in which each tradition remains faithful to itself in the process of making changes through engagement with others The concepts of amplification, counterpublics, and fugitive spaces of belonging serve in this article as central interpretive frames of a cultural critique of the historical and cultural conditions for the celebration's emergence, articulation, and implementation (Marcus and Fischer 1986). [ABSTRACT FROM AUTHOR]

The years 1838–1924 in colonial India saw the first organized exodus of around 1.5 million. These emigrants were employed as indentured laborers in the various plantations owned by the Empire. Along with the people, what migrated were objects like clothes and jewelry. While some of these items were provided by the plantation regimes, others were brought by the emigrants. Though there have been studies about the lives on the plantations, the marine lives of the travelers and their personal belongings have been neglected. Objects such as clothes and jewelry not only have cultural significance but also form part of the emigrants' memory. This article critically analyses the usage of cultural artifacts as "floating signifiers" and how these artifacts are altered with a change of setting. Building on the ideas of Bhabha, Skinner, and others, this article aims to understand the role of material possessions in the lives of the plantation workers. The narratives discussed allow readers to witness changes in the role of materials like clothes and jewelry accompanying the emigrants on their voyage to the plantations. [ABSTRACT FROM AUTHOR]

While How Green Was My Valley has been the subject of much criticism, there has been little effort to explain why it was so popular with contemporary Welsh cinemagoers - including with the female film fans who probably represented the majority of its audience. Although the picture has been dismissed as an essentially masculine one, it had much to offer a female audience, whether it was romance, emotional catharsis, attractive costumes, or its timely discussions of gender roles. Cinemagoing was a vital activity for many women in Wales and it is worth exploring how this defining Welsh film might have become an important and meaningful part of their wartime experience. [ABSTRACT FROM AUTHOR]

Copyright of Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (CUIFD) is the property of Cukurova Universitesi Ilahiyat Fakültesi Dergisi (CUIFD) 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 article explores the role of fashion and dress in Australian history as popular culture. It challenges the notion that fashion has been primarily feminine and elite, highlighting its presence in popular culture since the late nineteenth century. The author defines popular culture as the practices and meanings people create from commercialized cultural resources. Examples of dress as popular culture include studio photography, spectator sports, and costumed events. The article also examines the role of young people in shaping fashion as popular culture, showcasing examples from the late 1980s to late 1990s. The author suggests incorporating fashion into history teaching on popular culture by considering it as a component of various cultural developments. The text delves into the role of fancy dress in popular culture and its various purposes, such as promoting social harmony, challenging norms, exploring identity, and championing causes. It highlights the use of fancy dress in events like the Sydney Mardi Gras and fancy dress balls as fundraisers. The text also explores the relationship between fashion and youth culture, noting that young people have long used fashion to distinguish themselves and create a sense of belonging. It emphasizes the significance of dress in both challenging and reinforcing gender conventions and shaping experiences of gender. [Extracted from the article]

In the study on which this article is based, I examined, from a gendered perspective, the Purim costumes market in Israel, to see what I might learn from a comparison between costumes aimed at boys and those aimed at girls. I conducted a visual and textual analysis of 60 Purim costumes for girls and boys, as presented on retail websites and found that Purim costumes offered on these popular Israeli websites present such clearly demarcated gender differentiations that I can claim that they play a part in the commodification of gender. The alleged choice of costumes is in fact strategically governed by marketing practices that mobilize the media culture targeted at children. [ABSTRACT FROM AUTHOR]

In order to explore the new trend, new demand and design principle and essence of volunteers' costumes under the digital trend, firstly, the cultural characteristics and demand utility of the digital age are sorted out. Secondly, on the basis of previous studies, the typology method is used to classify and analyze the nature, type and relationship of volunteer activities, volunteers and volunteer' costumes. The study found that the form of volunteers' costumes is developed, changed and focused on the function around the functional requirements, and then put forward three design paths with activities, culture and integration as the core and the design point of 'function as the core, form performance function', which provides new ideas and optimization directions for the academic research and practical application of volunteers' costumes in the digital age. [ABSTRACT FROM AUTHOR]

Intelligence studies (IS) is a new and rapidly evolving academic discipline. Scholars periodically assess its status, noting considerable progress, but they have barely begun to assess the origins and implications of a significant recent development in IS: infiltration of the discipline by people determined to alter intelligence studies for ideological reasons. This commentary focuses on the destructive impact of neo-Marxian "critical intelligence studies" on IS generally. It addresses the origins and implications of this infection and suggests ways to inoculate IS against further damage. [ABSTRACT FROM AUTHOR]

The main goal of this paper is to study a specific element of women's depicted costumes. Pictures on stone monuments present local, so-called native women wearing complex attire of cloth, headwear, brooches, jewels, and other dress accessories. Thirteen stone monuments from Hungary depict local women with headwear-related accessories. The main questions are: what kind of accessories are they, and how can we evaluate their presence on depicted attires? I collected analogous depictions from other Provinces and studied archaeological material. Finally, I concluded that these headwear-related accessories connect to new cultural effects and the complex phenomenon of acculturation. [ABSTRACT FROM AUTHOR]

This article investigates the artist Sin Wai Kin's (單慧乾) speculative approach to drag through the prism of 'transgendering-assemblages'. Influenced by the assemblage theory of Manuel DeLanda and Jasbir Puar, I propose that transgendering-assemblages actualize the properties of transness (Marquis Bey) through particular trans techniques (Grace E. Lavery). I introduce Sin's more-than-human trans techniques, from make-up to costume, and approach to nonbinary storytelling to investigate identity assemblages more broadly. With explicit attention to their engagement with Chinese opera and Taoism, the speculative boyband in Sin's Turner Prize nominated work It's Always You (2021) prompts my proposal for 'boybanding' as a technique for investigating identity assemblages. The final section is focused on the genderings of East Asian masculinities in Sin's work to argue how all gender-assemblages are also 'racializing assemblages' (Alexander G. Weheliye). I conclude with a provocation on what assemblage as a nonbinary concept (defined by what it does rather than what it is) can offer studies of gender. [ABSTRACT FROM AUTHOR]

This article explores the phenomenon of a specific type of personal adornment worn by members of the Scythian elite in the North Black Sea region in the second half of the 5th century and throughout the 4th century BCE. The discussion juxtaposes the records from 19th-century and early 20th-century excavations with contextual analyses of very recent discoveries from Ukraine, which shed significant new light on the appearance, production, and meaning of Scythian jewelry. The reconstruction of the shape of the jewelry type in question is greatly complicated by two factors: the lack of relevant depictions in the contemporary corpus of Scythian and Greco-Scythian figure scenes and misleading scholarly references to supposed analogies in a Roman-era mosaic, which became the chief reason for the misinterpretations of the ornament's appearance. Composed of numerous gold or gilded silver tubes; beads; pendants; and, sometimes, "buttons," this jewelry type is reconstructed in two gender-specific variants in this article: one mesh-like and the other with a cross-chest form. For over a hundred years, scholars have considered only the mesh variant to be the correct reconstruction. As a result, many costume reconstructions of this jewelry form in specialist research and museum displays alike are still proposed without a sufficient evidentiary base. [ABSTRACT FROM AUTHOR]

Direct, communicative and largely accessible, the choreographic tools of nightlife performance often elicit dramatic reactions from spectators, whether sexy, funny, surprising, glamorous or all of the above. This article follows pleasure, joy, erotics and pain across crip slutaesthetics into the choreographies of crip nightlife, based on interviews with four burlesque artists based in the United States with diverse experiences of sickness, neurodivergence, trauma and disability. I use movement analysis alongside attention to other artistic practices foundational to burlesque such as prop and costume creation to unravel the ways that performers Sweet Lorraine, Poison Ivory, Chaos X Machina and Jaqueline Boxx integrate their divergent bodymind experiences into compelling aesthetics and justice-oriented frames. I argue that crip slutaesthetics, that is the aesthetic qualities of crip sexual performance, can offer tools towards undoing ableism as it is entangled with racism, homophobia and transphobia that are often silenced by more formal concert dance worlds in the effort to deny embodied difference as well as pleasure from the proscenium stage. [ABSTRACT FROM AUTHOR]

The introduction traces the long history of fashion's movement across cultural, national, and political borders. After brief case studies of early twentieth-century French and Spanish styles imagining fashion as an engine of transnational amity, the introduction highlights how fashion navigates some of the most troubled borders of recent years, including the conflict between Russia and Ukraine and racial violence. Fashion forces viewers and consumers to choose sides, whether through national identification or through recognition of the long history of black and brown bodies producing fashionable objects. To advance the global history of fashion, the introduction briefly discusses the work of designers Rawan Maki (Bahrain), Laurence Leenaert (Belgium), and Kim Jones (Great Britain), examining how each upends gender, race, class, or fashion binaries, and analyzes how LVMH and Uniqlo, brands at opposite ends of the contemporary style spectrum, underline the very different ways in which fashion traverses the globe in the twenty-first century. The introduction concludes with the hope that this issue will raise questions about fashion's articulation of the relation among the local, the national, and the global, as well as about the human experience of interacting with the fashion industry in one national context while living in a globalized world. [ABSTRACT FROM AUTHOR]

The study of burials and mortuary practices in the past provides essential information on the role and treatment of children in past communities. This study aims to better understand the status of children by reviewing the material culture provided by child burial contexts. Early Iron Age (800–300 BC) mortuary practices in the southern Middle Danube (present–day eastern Croatia and northwestern Serbia) are characterized mostly by the cremation of the dead. The Iron Age is an important time for funerary transitions. The standard practice of cremating the dead was replaced by the practice of inhumation during the 6th century BC. The manner of treatment of the dead body affected the preservation of objects and data in the graves. This paper studies 74 burials with child remains, costumes, jewellery, tool items, and pottery grave goods. In Early Iron Age mortuary practices, children were treated just like the adult members of the community. [ABSTRACT FROM AUTHOR]

The Museum of Vancouver in Canada recently held an exhibition titled "Dressed for History: Why Costume Collections Matter: Women’s Fashion 1750–2000." The exhibition showcased 250 years of women's fashion through pieces loaned from four fashion and costume collectors in British Columbia. The exhibition aimed to provide insights into period aesthetics, garment construction, and societal expectations of women's comportment. It featured a variety of styles and designers, including Dior, Mary Quant, Vivienne Westwood, and Issey Miyake, representing different cultural identities and societal perceptions of women's bodies throughout history. The exhibition aimed to challenge Eurocentric perspectives, although it still had limitations in terms of representation. The article suggests that the exhibition could have been more immersive and interactive to engage visitors further. Overall, the exhibition highlighted the importance of costume collections and raised questions about collecting and preservation practices. [Extracted from the article]

The "Style and Society: Dressing the Georgians" exhibition at Buckingham Palace showcases fashionable dress in Britain from 1714 to 1830. It explores the development and changes in Georgian fashion through portraiture and costume. The exhibition highlights the variety of textiles and styles available to the wealthy during this period, and includes informative diagrams and texts about Georgian fashion. The exhibition also features Georgian court dress, army and navy uniforms, and imported textiles. While the exhibition is praised for its informative interpretation, the texts can be lengthy. [Extracted from the article]

Egungun is believed to be a visible appearance of the dead ancestors as spirits who occasionally revisit the living for festivals. During this visit, the egungun is clothed with beautiful attire that will become the embodiment of attraction. Despite several studies on egungun in Yoruba land, there is no comprehensive study on this type of egungun, thus creating a dearth of literature in this area of art history and thereby leaving in-depth research on the costumes of egungun elewe of Igbomona land. This study is targeted on the artistic and aesthetics analysis of egungun elewe of Igbomina land aiming to promote the Yoruba decorative art to document the findings in the annals of history. The study is descriptive as each of the items of the egungun elewe's costume is analyzed using the qualitative method. Findings reveal that the role, functions, and cultural significance of the egungun elewe of Igbomina land have aesthetic qualities different from other forms of egungun known in other parts of Africa. [ABSTRACT FROM AUTHOR]