Anthropology of Dress

Book review. Michael Carter: Being Prepared: Aspects of Dress and Dressing. Sydney: Puncher & Wattmann, 2017, 210 pp., ISBN 978-1-9221-8694-2.

The meanings of dress, clothing and fashion are so intermingled nowadays that it is hard to speak about one without inferring the others. Dress is mainly about appearance, the visual, while fashion includes the social meanings and functions of dress. Clothing occupies a central place in contemporary dress and fashion, but clothing is also a technology with properties and functions unrelated to dress and fashion. For these reasons, the overlap between dress and clothing can create problems when considering questions of origins.

This article considers how entrepreneurs’ fashion themselves as founders. Based on ethnographic research  conducted  in  Australia,  we  discuss  whether  the  informal  dress  codes  of  the  startup world neutralize gender differences. Our findings suggest that informal dress codes reinforce the normative positionality of men as archetypal entrepreneurial actors. They re-inscribe gendered hierarchies that  affect the everyday entrepreneurial experience, and extend distinctly different allowances for nonconformity and unconventionality to men and women. Founders attempt to inhabit  these  gendered  inequalities,  performing  a  kind  of  aesthetic  labor  that  mobilizes  their appearances  to  play  into  as  well  as  counter  the  gendered  expectations  of  the  ecosystem  and extract value from their personal and professional fashioning.

Kyoto people have an expression, 'kidaore'. If you kidaore, you dress to destruction: you spend all of your money on clothing and fashion. How we dress and represent ourselves is integral to our cultural identity but dress is more than merely a visual representation of self. A sensory approach to dress and textiles reveals that not only do they embody memory and knowledge of cultural practices, but can also convey traditional morals, expectations and roles. The concept of kidaore highlights the importance of dress and textiles for Kyoto people; Kyoto is considered by Japanese to be the cultural heart of Japan, thereby illustrating the wider significance of the textile and fashion industry. Fashion throughout much of Japanese history has provided a codified communication of status, class and rank, but it has also been shown to mould and refine the body within. In the 21st century, Kyoto designers continue to link the present with the past by using traditional designs and manufacturing methods. By combining contemporary functionality with these long-established designs and technologies, they produce the latest cutting-edge fashions. This paper will examine three contemporary Kyoto fashion labels—Pagong, Sou Sou and Kyoto Denim—to consider how their designs, informed by the embodied practices of the past, act as a self-conscious vehicle for the expression of Japanese culture, communicating both traditional and renegotiated meanings.

Мода и стил - това са понятия, неразривно свързани едно с друго. Между тези
две явления има и винаги е имало симбиоза. Модата се променя постоянно, а
въвеждането на нови модни стилове се случва ежедневно. Стилът обаче надхвърля честите промени, тенденции и капризи, които изпълват и характеризират модата. Стилът започва като мода, но устоява на модните и годишните промени, а част от естетически издържаните елементи отекват през сезоните и десетилетията. Стилът е по-устойчивото явление в модата, но както и тя самата, той може да е на модната сцена дори само година-две, а след това да остави своите следи в историята. Модата, според Гари Бест е просто „преследване на новости заради самата себе си".

This article presents an interdisciplinary approach to fashion theory, in support of those studies in the field of subcultures and alternative lifestyles. The thesis of this work is that fashion shows the lasting correlation between forms of consumption, relationship, communication processes, cultural practices, systems and structures of production. The social meanings of the “objects of culture” are continually renegotiated in the relationship not only with each other but also with the context, while highlighting forms of opposition, conformity, differentiation and symbolic resistance. They communicate changes in the social structure, which are well manifested in the field of fashion. This complexity of fashion would require a joint effort from social scientists, but this does not happen, due to the theories of fashion continuing to be fragmented. The article underlines the importance of an “interdisciplinary approach” central to recognizing some theories of fashion and the cultural significance of self-fashioning, including not only clothing but also body alterations such as tattooing and piercing. Fashion represents a complement and reflects far deeper and more structured social transformations and events. It analyses specific anthropological and psycho-sociological theories considered essential in the development of fashion studies. Duesenberry and the demonstration effect is discussed, along with “the objects” of Baudrillard, considering the importance of the idea of circularity between production and consumption proposed by Isherwood & Douglas. The theories of Bourdieu and Yonnet are also described, along with the approach of cultural studies proposed by CCCS of Birmingham and Polhemus. The theories presented in the article are useful as theoretical patterns for the study of alternative lifestyles and youth fashion styles.
From the analysis of the theories presented in this article, we can argue specific research subjects in the study of fashion style and its relationship with youth sub-cultures, starting from the hypothesis presented in the conclusions that consider fashion as a technique of identity exercise, of socialization to a new social role

The aim of this paper is to analyse how archetypes of dress are used as costumes in performance art. I will focus on the 'archetype' because this concept allows going beyond the materiality of dress and provides insight into narratives of culture. The archetype is a symbol that represents typical patterns of human nature and a basis for general cultural motifs. Het Wilde Oog is a Dutch theatre atelier initiated by the artists Hans Lemmerman and Inge van Run. For about fifteen years they have been working with three women from the remote village of Spakenburg. These women wear local, traditional dress on a daily basis. Het Wilde Oog made these ordinary women into performers and explored the meaning of their daily outfits as archetypes. In their performances, they introduce other cultural symbols, such as buildings, pieces of art, and Dutch traditions.

‫ה‬ ‫י‬ ‫ר‬ ‫ו‬ ‫ט‬ ‫ס‬ ‫י‬ ‫ה‬ ‫ל‬ ‫י‬ ‫ל‬ ‫א‬ ‫ר‬ ‫ש‬ ‫י‬ ‫ן‬ ‫י‬ ‫ז‬ ‫ג‬ ‫מ‬ | w w w. s e g u l a m a g . c o m 88 ‫גיליון‬ | ‫תוכן‬ ‫שטריימל,‬ 14 ‫קולפיק‬ ‫ספודיק,‬ ‫מאז‬ ‫מזוהה‬ ‫היה‬ ‫לא‬ ‫הידוע‬ ‫החסידי‬ ‫הפרווה‬ ‫כובע‬ ‫עם‬ ‫לא‬ ‫ואפילו‬ ‫יהודים‬ ‫עם‬ ‫לא‬ ‫חסידים,‬ ‫עם‬ ‫ומעולם‬ ‫לכובע‬ ‫השטריימל‬ ‫הפך‬ ‫נסיבות‬ ‫ובאילו‬ ‫מתי‬ ‫גברים.‬ ‫קופר‬ ‫יצחק‬ ‫לוי‬ // ‫חסידי?‬ ‫המחול‬ ‫ברונית‬ 26 ‫ולמדה‬ ‫יורק‬ ‫לניו‬ ‫היגרה‬ ‫רוטשילד‬ ‫דה‬ ‫שבע‬ ‫בת‬ ‫הברונית‬ ‫לעבר‬ ‫הדרך‬ ‫את‬ ‫שפרצה‬ ‫מי‬ ‫גרהם,‬ ‫מרתה‬ ‫אצל‬ ‫ריקוד‬ ‫המחול,‬ ‫בחיידק‬ ‫נדבקה‬ ‫שבע‬ ‫בת‬ ‫המודרני.‬ ‫המחול‬ ‫להסתכסך‬ ‫והספיקה‬ ‫מחול,‬ ‫להקת‬ ‫הקימה‬ ‫לארץ‬ ‫וכשעלתה‬ ‫אשל‬ ‫רות‬ // ‫נוספת‬ ‫מחול‬ ‫להקת‬ ‫ולהקים‬ ‫הרקדנים‬ ‫עם‬ ‫הנדודים‬ ‫סוכת‬ 36 ‫את‬ ‫הקיף‬ ‫מבודפשט,‬ ‫סת״ם‬ ‫סופר‬ ‫שטיינברגר,‬ ‫אריה‬ ‫וברכות‬ ‫תפילות‬ ‫כתב‬ ‫שעליהן‬ ‫ביריעות‬ ‫סוכתו‬ ‫כל‬ ‫החביאו‬ ‫נכדיו‬ ‫מחייו.‬ ‫תמונות‬ ‫וצייר‬ ‫לסוכה‬ ‫הקשורות‬ ‫מבעד‬ ‫אותה‬ ‫והבריחו‬ ‫השואה‬ ‫בימי‬ ‫יצירתו‬ ‫את‬ ‫המורשת‬ ‫למוזאון‬ ‫אותה‬ ‫תרמו‬ ‫ניניו‬ ‫הברזל.‬ ‫למסך‬ ‫של‬ ‫בימים‬ ‫יהודי‬ ‫קיר‬ ‫ציור‬ ‫יורק.‬ ‫בניו‬ ‫היהודית‬ ‫צבי‬ ‫בן‬ ‫ג'ו‬ ‫שרה‬ // ‫נודדים‬ ‫קירות‬ ‫הנעדרים‬ ‫החלפנים‬ 48 ‫מהמבורג‬ ‫והבלשית‬ ‫יהודים‬ ‫כספים‬ ‫חלפני‬ ‫של‬ ‫היעלמות‬ ‫מקרי‬ ‫שני‬ ‫היה‬ ‫לא‬ ‫אוסטרודה.‬ ‫רבקה‬ ‫של‬ ‫חשדה‬ ‫את‬ ‫עוררו‬ ‫והיא‬ ‫חשודים‬ ‫לה‬ ‫היו‬ ‫אבל‬ ‫משטרתי,‬ ‫תפקיד‬ ‫כל‬ ‫לה‬ ‫את‬ ‫ולשחרר‬ ‫לדין‬ ‫אותם‬ ‫להביא‬ ‫נחושה‬ ‫הייתה‬ ‫חובב‬ ‫ימימה‬ // ‫העגונות‬ ‫הצגה‬ ‫ביקורת‬ 60 ‫לרומן‬ ‫אותו‬ ‫עיבד‬ ‫ז'בוטינסקי‬ ‫זאב‬ ‫מקראי.‬ ‫הסיפור‬ ‫על‬ ‫אותו‬ ‫העלה‬ ‫מיקרו‬ ‫ותאטרון‬ ‫שנה,‬ ‫כתשעים‬ ‫לפני‬ ‫על‬ ‫חדשים‬ ‫לסיפורים‬ ‫הופכים‬ ‫ישנים‬ ‫סיפורים‬ ‫הבמה.‬ ‫עסיס‬ ‫ועמית‬ ‫צבי‬ ‫בן‬ ‫ג'ו‬ ‫שרה‬ // ‫העבר‬ ‫בזמן‬ ‫מסע‬ 66 ‫ומורדות.‬ ‫עליות‬ ‫ידעו‬ ‫לירושלים‬ ‫הרכבת‬ ‫של‬ ‫תולדותיה‬ ‫חמד‬ ‫פינת‬ ‫בירושלים‬ ‫הותירו‬ ‫הרכבת‬ ‫של‬ ‫תהפוכותיה‬ ‫הירדני‬ ‫תמר‬ // ‫אותה‬ ‫לפקוד‬ ‫שכדאי‬ ‫מדורים‬ ‫העורך‬ ‫דבר‬ 3 ‫חוזרת‬ ‫ההיסטוריה‬ 6 ‫חדשות‬ 8 ‫ההם‬ ‫בימים‬ 12 ‫אור‬ ‫ראו‬ 58 ‫ספר‬ ‫ביקורת‬ 63 ‫הניגון‬ ‫חוזר‬ ‫עוד‬ 72 ‫ההיסטוריה‬ ‫אמנות‬ 71 ‫וחידות‬ ‫תשבצים‬ 74 ‫חטוף:‬ ‫במבט‬ ‫הנוצרי‬ ‫האמן‬ ‫למה‬ ‫עם‬ ‫עצמו‬ ‫את‬ ‫צייר‬ ‫חסידי?‬ ‫כובע‬ 22 ‫בעמוד‬ ‫תשובה‬ w w w. s e g u l a m a g . c o m 5 5 2017 ‫ר‬ ‫ב‬ ‫ו‬ ‫ט‬ ‫ק‬ ‫ו‬ ‫א‬ | ‫ח‬ " ‫ע‬ ‫ש‬ ‫ת‬ ‫י‬ ‫ר‬ ‫ש‬ ‫ת‬

Единственото последователно поведение на модата е, че тя се променя
непрекъснато сезон след сезон. Множество изследователи и теоретици се
опитват да създадат модели и теории, които да послужат за по-доброто
разбиране или своевременна предвидимост на изменението на модата и стила.
Модни тенденции се променят толкова бързо, че понякога е трудно дори да се
проследят. През последните сто години модата, стиловете и тенденциите се
сменят постоянно, енергично и противоречиво. За проследяване движението на
последните се изисква наличие само на няколко точки, позволяващи да се начертае линия и открие посока.

Прича о српској сремској ношњи је прича о моди, идентитету и настанку једног националног костима. Она је била креација која је настала залагањем чланица Кола српских сестара из Старе Пазове, са циљем да се обнови сеоска ношња у Срему, те да се она затим врати међу српско сеоско женско становништво и постане поново део његове традиције. Циљ овога рада је да се реконструише настанак ове идеје, као и њене касније материјализације и реализације кроз пропагандну делатност чланица Кола. Феномен је, захваљујући извештајима из Вардара, гласила Кола српских сестара, тачно датован у 1929. годину, као годину настанка. Такође се показало да идеја о обнављању српске женске ношње у Срему има своју предисторију, која сеже у крај 19. века. Кроз анализу текстова из Вардара и доступних докумената, у тексту се прате два правца деловања пазовачког Кола на ширењу и употреби сремске ношње – појављивање у ношњи на званичним манифестцијама и употреба ношње у школском систему. На крају је извршена анализа делова ношње с обзиром на крој, материјале и украсе, како би се утврдио начин њеног обликовања.

This work reconstructs the repertory of insignia of rank and the contexts and symbolic meanings of their use, along with their original terminology, among the Nahuatl-speaking communities of Mesoamerica from the fifteenth through the seventeenth centuries. Attributes of rank carried profound symbolic meaning, encoding subtle messages about political and social status, ethnic and gender identity, regional origin, individual and community history, and claims to privilege.

Olko engages with and builds upon extensive worldwide scholarship and skillfully illuminates this complex topic, creating a vital contribution to the fields of pre-Columbian and colonial Mexican studies. It is the first book to integrate pre- and post-contact perspectives, uniting concepts and epochs usually studied separately. A wealth of illustrations accompanies the contextual analysis and provides essential depth to this critical work. Insignia of Rank in the Nahua World substantially expands and elaborates on the themes of Olko's Turquoise Diadems and Staffs of Office, originally published in Poland and never released in North America.

(In Greek) A theoretical review of social studies of dress startiing from Veblen and Simmel, moving on to semiotics and structuralism, the biopolitical turn of the 1980s, phenomenology and embodiment and, finally, the implications of theories of agency for the study of clothing.

Common knowledge about Second World War prisoner identification in Nazi concentration camps usually focuses on the registration process and the striped uniforms issued to new inmates. Recent research on concentration camp clothing based on primary sources has revealed lesser known, and even entirely unknown other types of garments, including civilian clothing marked to identify camp prisoners. Dress was a valuable companion on the route towards survival; personal narratives relating to camp attire reveal individual stories hidden in every piece of clothing.
This study presents new material from an ongoing research project on prisoners’ clothing in Second World War concentration camps. Valuable information is gleaned from unpublished evidence documented in personal interviews with former camp prisoners from Central Europe. This article explores the journeys of the garments alongside the persons through the study of former prisoners’ narratives. It combines data collected from oral testimony and archival research using qualitative analysis, and proposes oral history as a valuable tool in documenting personal experience related to the clothing that accompanied concentration camp survivors to the end of the war. The article brings to light significant aspects of the role of attire within the Nazi concentration camp context as an essential key to survival.

El vestir es una de las manifestaciones de la vida cotidiana donde mejor es posible diferenciar la opulencia de la pobreza que caracteriza la Cuba decimonónica. Distintas fuentes del período destacan que la preocupación por el bien lucir que se adquiere en Cuba desde los primeros tiempos coloniales sigue siendo evidente, y aún más justificada, en los años finales del setecientos y primera mitad del ochocientos. Es la época en que más se acentúan las diferencias en el nivel de vida entre los distintos estamentos, y la de mayor propensión al consumo y al lujo por parte de la clase dominante.

The second half of the 4 th century and the beginning of the 3 rd century BC witnessed an eastward expansion of the area inhabited by Celtic communities. Large territories from the eastern Carpathian Basin (the Great Hungarian Plain and Transylvania) were colonized in successive phases by Celtic groups. The first scope of this paper is to investigate the routes and the chronology that defined the advance of some Celtic groups in Banat, an area on which their presence is less documented in comparison with the neighbouring territories. The second scope is to identify the nature of the relationships between the colonists and the indigenous populations.

The essay uses contemporary anthropological and sociological study of dress and nakedness to consider nakedness in the Book of Revelation as part of a gendered apocalyptic fashion code and following Bourdieu the generation of a form of symbolic capital. It exegetes nakedness motifs in Revelation and compares them with themes of nakedness in the Hebrew Bible, intertestamental Jewish literature including Qumran, and in apocalyptic literature in Christ religion from the first century CE through to the Byzantine period. The essay analyses the motif of nakedness in Roman imperial military iconography which represents conquered enemies in various degrees of nakedness or improperly arranged clothing to argue that while parallels with Hebrew Bible texts are important for understanding Revelation’s treatment of dress and nakedness, attention to Roman imperial iconography repays exegetical and hermeneutical attention.

Huulthin (shawls) play an important role in Nuu-chah-nulth First Nations’ oral histories, social organization, and ceremonial life. Drawing upon archival, material, museum, and ethnographic data, this research explores changes in huulthin as emblematic of broader social, economic, and spiritual transformations.
Nuu-chah-nulth First Nations’ huulthin do not exist in a vacuum—they are intimate possessions, collectively produced and displayed. Huulthin are a material iteration of deep histories, spiritual beliefs, social relationships, and trade networks. In the last 240 years, colonial encounters, capitalist economies (fueling rampant resource extraction and industrialization), settlement, and Canada’s aggressive assimilationist agenda have brought dramatic change to the West Coast of Vancouver Island.
Huulthin are a material, symbolic, spiritual, and embodied interface: between individuals and tribal communities, physical and spiritual worlds, knowledge and display, and perhaps most importantly, between history and a rapidly changing world.

El llamado del diseño hoy para Colombia y Latinoamérica es a ser relacional, participativo, diverso y plural, permitiendo restablecer la conexión cuerpo-artefacto en una comprensión holística de lo propio. Esta postura difiere a las ideas que han fundamentado el diseño emocional, placentero y afectivo, las cuales se establecen a partir de generalidades y metodologías estandarizadas que difícilmente se pueden trasladar a la realidad latinoamericana, pues su generalización desconoce las particularidades de los contextos y las personas. Las necesidades emocionales a las cuales se supone da respuesta este enfoque del diseño, pueden variar entre un alemán, un vietnamita o un colombiano, en relación con su situación socio-económica, política, educativa, entre otras. Ante esto surge la pregunta si lo emocional puede ser resuelto, como afirman algunas teorías, sólo cuando las necesidades básicas han sido satisfechas, o si por el contrario, la resolución de una necesidad emocional podría incluso detonar la resolución de otras necesidades. Esta última idea, surge como reflexión a partir del desarrollo de algunos proyectos realizados en la Facultad de Diseño de vestuario, los cuales invitan a actualizar y reconsiderar las implicaciones de un diseño empático para contextos situados.

Lavinia Fontana was a late Italian Renaissance painter of exceptional and formidable skill, particularly when it came to her depictions of fabric and ornamentation. The nobility of Bologna flocked to have her paint them bedecked in their silk, jewels, and lace. She solidified her place in Bolognese society through her considerable skill in painting, and became somewhat coveted as both a friend and a creator. In this paper, I focus on Fontana’s depiction of noblewomen and their place in society as conveyed through dress. By the means of her astute renderings of garments completed with painstaking detail, we are able to clearly see many elements of late Renaissance dress as applied to noblewomen in Northern Italy.
I base my studies on a close reading of the garments depicted by Fontana in both her self-portraits and commissions. I compare these with the work of contemporary scholars in analyzing her artwork, as well as with publications that ran in 16th Century Bologna. In particular, I analyze the fashions portrayed by Fontana to those pictured in Cesare Vecellio’s De Gli Habiti Antichi, et Moderni Di Diverse Parti Del Mondo. Through these close comparisons, one is able to see particular fashion trends, such as the abundance of pearls and silk, and the meaning behind the overelaborate representation of such materials. It is evident that portraits assisted Fontana’s patrons in solidifying their place in late Renaissance Bologna as being the most fashionable – and morally devout – women in the city.
This examination is furthered by a review of social etiquette and governmental oversight during this time period, including an investigation of traditional customs surrounding ceremonial moments in women’s lives, such marriage, birth, and mourning. Sumptuary laws in place in Northern Italy greatly affected what women could and could not wear. Furthermore, without a royal court, the nobility of Bologna clamored to fill the vacuous social space left; the surest way to solidify their place as fashionable members of the first class was through portraiture. Fontana was careful to observe these laws and unofficial codes, thus the women she depicts are immortals with morals.
Fontana’s pictures walked a fine line of extravagance within moral boundaries. Renaissance dress was important to the painter; her subjects’ social standing depended on her accurate depiction of their overconsumption within legal confines. This enhances our understanding of the garments worn in Bologna during the late 16th Century, as well as our understanding of the personality of Lavinia Fontana. Fontana painted her noble patrons as they wished to see themselves. She aggrandized them through their dress, but their morality was always of the utmost priority to her. In her portrayals, all of the noblewomen adhere to strict sumptuary laws, seemingly forever being enacted and repealed in late Renaissance Italy. She further glorified particular patrons, such as Eleanor de’ Medici and Isabella Ruini, through allegorical myths that furthered their beauty and their morals simultaneously.
Acting in the role of a woman painter was not an ordinary thing to do for someone in this era. Lavinia Fontana balanced her life through her temperate dress and enthusiastic religiosity. She expected nothing less from the proper women who sat for her. Through her innocuously rebellious career her star was catapulted, and Fontana herself became a noblewoman by association.

This dissertation investigates how people in the northern US Southwest used clothing and representations of clothing in other media to signal aspects of social identities in the Chaco and post-Chaco eras (AD 850–1300). This was a time when communities were first organized into a large regional system and later fractured into smaller organizational entities focused at the site cluster and village levels. In the aftermath of the Chaco reorganization, social inequalities appear to have burgeoned across the greater San Juan River drainage, and not long after these developments, the entire region was depopulated. Understanding the development and transformation of identity during this pivotal period is critical for explaining the social mechanisms that contributed to the major reorganization of communities in the post-Chaco era.
To better understand identity expression during these tumultuous times, I perform technological and stylistic design analyses of attributes used to create and decorate ornately woven, twined yucca sandals, in addition to cross-media and proxemic analyses of sandal representations in building murals, rock art, and portable media. Technological and stylistic analyses show that some communities consistently made and used sandals with specific sets of attributes that expressed shared village-level identities. At the same time, other communities favored more diverse repertoires of design attributes that signaled aspects of identities shared across a much larger area. During the Chaco era, twined-sandal styles became highly variable and appear to have indicated positions in social hierarchies. During the following post-Chaco era, the stylistic variability of the sandals declined across the region and may have come to signal a leveling of the social hierarchies. In both time periods, ornate geometric designs woven into the soles of the sandals indicated the home communities or sodality groups to which their wearers belonged. Sandal imagery in rock art was placed to mark major travel routes and boundaries
19
between communities that expressed shared identities. Depictions of sandals in other media closely matched their woven counterparts and show that these images were potent symbols of group affiliations and identity politics in the post-Chaco era. Although this research focuses on clothing, it also addresses broader issues of adaptation and identity, providing new information about societal disruption and reformation in the ancient US Southwest.

The present paper focuses on the concepts of urban and linguistic space. It considers the city as a diamesic melting pot. Graffitism is seen as a communication channel that needs to be examined in order to better understand the urban language and its many forms.
Key words: graffiti, linguistics, diamesia

Artifacts of female dress such as brooches and pendants have long been objects of interest to scholars of late Iron Age /early medieval Scandinavia. They figure in dating and tracing stylistic developments, and their presence is often (controversially) used to help assign gender to burials. There are three types of pendants which constitute a type of feminine adornment unique to Viking Age Gotland: the so-called tongue, sieve, and ladle pendants. The purpose of this paper is to examine these pendant types and the possible symbolic and magical functions behind their forms and manner of use, and how these functions intersected with the ideologies mapped onto female bodies in Old Norse culture(s). The pendants’ appearance as fixed and incomplete sets is analyzed, and the designs of the “tongue”, “sieve” and “ladle” are located within the wider field of Iron Age iconography - particularly in association with the depiction of idealized gender roles. In conclusion a hypothesis as to why these particular amulets were used exclusively by wealthy Viking women is presented; that the tongue, sieve, and ladle pendants signaled and were involved in the construction of a particular type of elite female identity linked to specifically feminine forms of embodied power and prestige within late Iron Age society.

In her introduction to this issue, Kaiser advances a perspective that highlights dimensions of place and time in a dynamic and non-stereotypical way. Rather than treating these dimensions as background factors in the architecture of interaction context, she critically unpacks the ways in which time and place impact individual and collective fashion meanings. In our article we draw on Kaiser’s focus by using ethnographic methods to investigate how fashion is ‘produced’ to convey identification with place, group and/or a temporary alliance in a rural community where landscape is constitutive of social configurations and the student population isalways transient. To that end we replace the notion of fixed visual identities with phatic communities, which are ad hoc groupings sharing a cause or a circumstance (Tseëlon 2010). Next, we address the problem of how to preserve the meanings and looks of ad hoc fashions, which exist in a constant state of change. We apply the logic of phatic communities to the building of a museum collection, which has to meet the challenge of capturing a fleeting and evolving phenomenon without freezing it into fixed categories. Contrary to the logic of traditional museums, a museum documenting ongoing clothing changes invites a different mode of engagement: one that is participatory and interactive. Finally, our conception of the sartorial museum, which documents changing time in a particular place, replaces the notion of the museum as a ‘space of death’ with the notion of a ‘space of regeneration’. The regeneration is the recycling, which repositions clothes in a ‘second life’.

Gostaria de iniciar esta reflexão, lembrando que o livro provou ser um dos objetos mais antigos da história, que, além de duradouro, é provavelmente uma das criações mais úteis e versáteis que o homem já inventou. Tornou-se o artefato indispensável ao desenvolvimento e domínio humano devido à portabilidade, facilidade de referência e a grande capacidade de concentrar informações. O livro teve significativa participação em momentos decisivos da história ocidental. O Renascimento, a Reforma, a Revolução Científica e o Iluminismo valeram-se todos das suas escrituras para sua difusão e influência.

Modern Greece embraced the new Western European approach to dress and culture through the industrialisation of textiles. The new technology of the sewing machine and paper pattern were adopted with great enthusiasm to show the rest of Europe that Greece was part of Western Europe. At the same time Western Europe became enamoured with Greek kendimata, which were highly sought after in the western world. Greece straddled the mixed messages of a newly industrialised country forming its national European identity alongside the tradition of kendimata as an essential part of its national cultural heritage.

In the recent Bloomsbury publication Fashion Victims: The Dangers of Dress Past and Present, author Alison Matthews David chronicles the disturbing history of the failure of clothing to protect its wearers, despite the fact that protection has always been a primary motivation of dress. Even more alarming is the frequency of incidents in which clothing actually caused harm and even death to sufferers who were in many cases unaware of the source of their misfortune. Those with an interest in fashion history may be aware already of the basic types of clothing-related injuries; deformities of the foot and the spine from binding, strangulation from items such as scarves (most infamously in the case of actress Isadora Duncan), skirts prone to rapid ignition around an open flame, clothing as transmitters of infectious diseases, and garments laden with poisonous lead and mercury, among other dangers. The text provides a thorough and comprehensive overview of all of these fashion-related threats and others. David does not limit the scope of the text solely to clothing and accessories; descriptions of beauty and grooming health dangers are included, and the author goes into great detail about the ill effects suffered by wearers of various powders and creams in the pursuit of porcelain skin, of hair and eyelash dyes that caused blindness and other trappings of vanity. Since many of the same production techniques used in clothing production were also used in textiles for home furnishings, decorative items such as wallpaper are also included. David takes a broad view of what constitutes a fashion victim, the distinction is not limited to wearers of dangerous styles, but includes those individuals

This paper was presented at the Conference on Material Religion at Duke University, September 12, 2015. It offers a brief description of the religious dress practices within the Oneness Pentecostal tradition, and examines the ways in which these practices are developed in relation to secular society.

From first contact in the eighteenth century many Westerners described Fijians as being "naked” or "near naked." Actually, both men and women used an extensive array of bodywear. However, Christian missionaries made it a condition of conversion that Fijians transform most of their customary wear, and abandon the many body alterations they effected, dictated by their old religion. This article examines the profound change and loss that has occurred up to the 21st century, but also notes the proud new symbols that have emerged to identify Fijian men and women anywhere they go in the world.

Through an analysis of the ninth- to eighth-century B.C.E. mortuary assemblages from the Queens’ Tombs of Nimrud’s Northwest Palace in Iraq, this paper interprets dress elements and ensembles in terms of identity and ideology. The Queens’ Tombs offer the only in situ evidence for royal Neo-Assyrian female dress. The finds, which have never before been studied as comprehensive ensembles, correspond to the few surviving images of Neo-Assyrian queens and greatly expand our evidence for the manner in which a queen’s ideal appearance was constructed and embodied. Considering dress in death, as well as in life and the afterlife, this paper proposes a standard, but flexible, queenly ensemble. To facilitate analyses, I present a figural model, based on an aggregation of archaeological, art historical, and literary evidence for ideal royal women. I then analyze the dress elements and ensembles as expressions of courtly, queenly, and individual identity. Finally, I interpret queenly dress as an ideological mechanism that manifested imperial power through its materials, style, and iconography. Overall, this article aims to provide a new foundation for more thoroughly integrating the visual and material presence of queens into interpretations of the Neo-Assyrian court and its eternally conceived universe.

This article presents a study of the deposition of jewellery on bodies in the third-millennium bc Mesopotamian ‘Royal Cemetery’ at Ur. Four assemblages of adornments are identified and evaluated in relation to burial type, gender, age, privilege, and behavioural role. Aspects of the social and ritual identities of the dead are then interpreted through adornment. While the historic definition of the interred community and the precise nature of their practices are open to speculation, this study begins to clarify dynamics of group and individual identity at this site of human sacrifice.