Fashion,textile and clothing

Elisa Tosi Brandi e Thessy Schoenholzer Nichols presentano uno studio relativo ad uno dei più antichi abiti alla moda rinvenuto in Italia. Si tratta di una veste femminile appartenuta alla beata Osanna Andreasi da Mantova, consigliera di Isabella d'Este e "santa di corte" dei Gonzaga, risalente alla seconda metà del XV secolo.
Le due autrici hanno studiato insieme il caso, precisamente Elisa Tosi Brandi si è occupata del contesto storico e sociale, Thessy Schoenholzer Nichols dello studio della fonte materiale e della sua ricostruzione ora esposta presso Casa Andreasi.

Elisa Tosi Brandi and Thessy Schoenholzer Nichols present a study of the oldest trendy clothes found in Italy. It is a woman's dress belonged to the Blessed Osanna Andreasi from Mantua, counselor of the Gonzaga court, dating from the second half of the fifteenth century.
The two authors have studied together the case, namely Elisa Tosi Brandi took over the historical and social context, Thessy Schoenholzer Nichols the study of the material source and its reconstruction, now display at Casa Andreasi.

Inaugurazione: 5 dicembre, ore 18,15 Tema della mostra è il raffinato mondo delle arti decorative settecentesche e il fascino che esse esercitarono nell'ambito del collezionismo genovese del XIX secolo. Questo particolare momento del gusto viene ripercorso presentando al pubblico una serie di opere di altissimo livello provenienti da alcune importanti collezioni genovesi, tra cui spiccano quella della famiglia Luxoro, quella del console inglese Montague Yeats Brown e infine la raccolta degli antiquari Serafino e Giuseppe Zerega. Spaziando dai libri illustrati alle cosiddette galanterie, dagli arredi lignei agli orologi, dagli argenti alle porcellane, dalle statuine presepiali ai numerosi abiti, spesso veri e propri capolavori di tessitura e ricamo, l'itinerario espositivo induce i visitatori a confrontarsi con l'arte del XVIII secolo e con le ragioni della sua lunga fortuna.

Textile  industry  is  playing  a vital  role in  the  Indian economic  growth  of  the country through its  contribution  towards  GDP,
employment,  exchange  rate,  exports,  total  production  etc.  The  purpose  of  the  study  is  to  identify  the  difficulties  of  textile
companies facing challenges from the general manager’s point of view on financial sustainability of  selected textile companies.
The study has used factor analysis for exploring various dimensions of barrier as well as weighted average method and other tests  for  selected  measurement  analyzes  using  SPSS-17  version  for  different  statistics.  Overall,  the  large  scale  companies performing very well with automatic plant with modern innovation products, medium scale unable to produce due to  various reasons and impacting the growth and technological factors as well as facing various difficulties. It reflects overall textile issues and challenges as general results towards the structured questionnaires.

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.

"Block Printing is the process of using an object to make an inked impression upon a plain surface. It is one of the oldest and most enjoyable of all the crafts and has given color and pattern to paper, cloth, and other surfaces for nearly 4,000 years.
Today the process is essentially the same. As it is simple and impressive, it is ideal for the beginner. "

Mots-clés: Fin d' haut moyen age, cour byzantine, systèmes vestimentaires byzantine, mode d' emploi séculier et courtois, échanges et importation des objets et matières precieux d' occident, statut symbolique de l' accessoire dans le monde byzantine, analyse sémantique corporelle, fourrures, bijoux et ceintures d' émaux, soieries, couronnes, prependulia, objets de senteur. Résumé: Divers travaux récents permettent de dresser une vue des systèmes vestimentaires médiévaux si complexe ou, tout au moins, bien pleine de diverse significations da la place de l' accessoire dans le vêtement et ses rapports symboliques avec le corps et son ambiente sociale. En ce qui concerne des parures séculiers de la cours byzantine dans le courant des IXe-XIIe siècles, on peut parler d'un système bien structuré, selon des sources historiques, mais mal connu dehors des soieries, couronnes, et prependulia, objets aussi exportés que empruntés par plusiers cours occidentales. L' absence quasi générale des données archéologiques empêchait de porter un regard objectif sur la quantité et la qualité des importations des matiéres surtout par le nord et l' Occident comme des fourrures, et des techniques et modes séculières occidentales attestées à la fabrication des bijoux et des ceintures d' émaux. Une histoire de cettes échanges nous échappe, mais peut-on proposer une examination de leur emploi dans des sources iconographiques et historiques .Cette contribution tente d'ordonner une documentation qui apparaît comme diverse et composite et en s' attachant à examiner ces données dans " ce qui orne" qu'on puisse caractériser comme une réflection du pouvoir visible du fait vestimentaire dans les cours byzantines au IXe-XIIe siècles. . La recherche contemporaine a parvenu d'éclairer une grande pièce d' information sur les systèmes vestimentaires mediévaux spécifiquement en ce qui concerne le rôle d' accessoires comme des moyens significatives à la vie sociale. Ils sont généralement des référents sociales par excellence. L' usage des accessoires et des bijoux peut intégrer et signifier aussi les plus délicates et très compliqués éléments du vêtement et il peut les rendre avec une vision plus intense et comprehensive. Cette usage

Resumen: En el cuadro del confl icto entre la decadente nobleza hispánica de los siglos XV-XVII y la emergente burguesía comercial y productora, la indumenta-ria se afi rma como un documento historiográfi co, pero también como un de los centros mismos del confl icto. La burguesía verá en la exhibición del lujo una de las vías para apoyar su ascenso en la pirámide social, mientras que la nobleza tra-tará de limitar esta estrategia recurriendo a los viejos argumentos que legitiman la desigualdad y, por lo tanto, su hegemonía. La intervención de la monarquía a través de leyes pragmáticas, buscando proteger sus propios intereses, completa el panorama de esta crisis. Abstract: In the context of the confl ict between the decadent Spanish nobility of the XV-XVII centuries and the emerging commercial and productive bourgeoisie, clothing is affi rmed as a historiographical document, but also as one of the very centers of this confl ict itself. Bourgeoisie will see the luxury exhibition as one of the ways to support its own climbing in the social pyramid, while nobility will try to limit this strategy by appealing to the old arguments that legitimize inequality and, therefore, its hegemony. The intervention of the monarchy through pragmatic laws, seeking to protect their own interests, completes the panorama of that crisis.

We define dress as an assemblage of body modifications and/ or supplements displayed by a person in communicating with other human beings. "More from your run […] more real-time feedback […] track your runs […] view your results […] create an online running partner […] my Nike+ mini […] get train ing advice" -das sind einige der Schlagwörter, mit denen Nike sein Trainigs system Nike+ bewirbt. Zwar ist das elektronische Trainigssystem Nike+ auf einen Chip, der in die Fusssohle eines Nike+-ready Laufschuhs eingelegt wird, und ein Nike+-Empfangsgerät, wie zum Beispiel Apples iPhone, angewiesen, aber mit dem Trainigssystem und dem Werbespot bringt Nike zum Ausdruck, dass Mode und Funktion/Elektronik, also funktionale Kleidung und modisches und cooles Erscheinungsbild keine Widersprüche mehr sein müssen. Mehr noch zeigt das Nike+ System, dass modisch-funktionale Bekleidung zunehmender Bestandteil unseres Alltags, unseres Berufslebens und unserer Freizeit wird. Treffen herkömmliche Bekleidung und Technologie aufeinander, formen sie nicht nur eine Einheit, die als intelligente Kleidung bezeichnet werden kann, sondern gemeinsam mit dem menschlichen Körper bilden sie eine kommunikative Einheit, oder anders formuliert, ein kommunikatives System. Mehr noch: Die Kombination aus Form und Funktion oder Ästhetik und Information dient als Kommunikationsverstärker und schafft gemeinsam mit dem menschlichen Körper intime Körper-und Kommunikationsräume. Im Folgenden wird das Kommunikationssystem von Kleidung, Technologie und Körper genauer beleuchtet.

In previous academic discussions of the busk (an often elaborately decorated long, flat piece of wood, metal or bone that was placed down the front the early modern bodies and stays) it has often been presented as de-stabilizing: an item of dress that threatened established ideas of gender and sexuality. This article argues that in the vast majority of instances, far from disrupting social norms the busk supported them, opening a discursive space that afforded women a degree of flexibility at the same time as it reinforced their subordination to male authority and erotic desire. By placing the busk within the context of the bodies, stays & bodices in which it fit, as well as the social exchange (courtship and marriage) in which it was most commonly recorded, this article argues that the busk was not disruptive but rather it reinforced culturally constructed and socially acceptable expressions of male and female desire through the acts of giving, receiving and wearing.

Product quality is essential for textile and garment companies, and product diversity is also a critical concern. The variations in the garments ' production process are unacceptable, contributing to the appearance of defects, higher production costs, lower profit, and unsatisfied customers, respectively. Improving the level of quality for textile and clothing products is steadily increasing at global level. Due to the strength and competition of today's business climate, many major garment companies have been looking for ways to increase product quality. Lean Six Sigma approach can be applied by clothing companies to improve the quality of goods and operations, including production, reducing the number of mistakes and developing new products. Aiming to provide pertinent improvement proposals for the production process of a typical Romanian garment company, a research was conducted by applying the DMAIC process. Subsequent to the analysis of the company history, an evaluation of the production process was carried out and the causes that cause dysfunctionalities in the production cycle were identified. Finally, a series of improvements were proposed that would lead to the improvement of the activity in the company and generate a revival of this sector of activity.

Wool has been a precious raw material for people for a long time. Today we are able to select between a huge variety of fibres with varying properties, but the continuing use of wool-in spite of the competition with other natural fibres and new synthetic fibres can be attributed to the unique properties of wool such as good thermal regulation, high moisture absorption, low creasing tendency, low flammability and high wearing comfort. However a big disadvantage, which emerges during washing, is the felting tendency. Felting is an undesirable feature of woolen clothes which occurs as a result of the directionally dependent frictional coefficient of the wool fibers. To reduce felting, this directional dependency must be reduced. Nowadays, this is done by treating the wool in a chlorine-containing solution and due to its various advantages; the chlorination is the most frequently used process in the industry today. This process, though effective, results in the production of polluted wastewaters containing large quantities of chloro-organic compounds. Therefore, this procedure has to be replaced and develop clean technologies such as enzymatic finishing processes. Enzymes are natural protein molecules that act as highly efficient catalysts in biochemical reactions. Enzymes not only work efficiently and rapidly, but they are also biodegradable. The present study was undertaken to find the effect of Protease enzyme treatment on wool fabric and the effect of enzymatic degumming on dye ability of wool fabric. The control, scoured and enzyme treated samples were tested for various physical and colorfastness properties. Untreated wool fiber showed fair handle, no absorbency, rough and sharp scales on the surface of fiber, but after enzyme treatment wool fabric showed improvement in all the physical and colorfastness properties. With the single-step enzymatic treatment process, the scales of the wool were partially degraded and resulted in smoother surface structure which will facilitate the sliding of wool fibres in both directions and decrease felting tendency that way.

This chapter provides the first critical presentation of the work of Greek designer Yannis Tseklenis (born 1937) in textile and fashion design, with respect to the history of contemporary Greek art and culture. Yannis Tseklenis is recognised today as the leading Greek fashion designer of the second half of the 20th century. He is also considered to be the artist and businessman who introduced Greek fashion to the contemporary international fashion world. Over the course of his fashion design career (1965-1991), his textile and fashion collections were on sale in leading stores in more than 30 countries. Moreover, he organised the first group fashion shows in Greece (1970), he was the first Greek designer to open permanent showrooms in London and New York (1973) and the largest exporter of fashion in Greece. However, Tseklenis’ more important contribution lay in the way he drew inspiration from local, Greek or world cultural styles, which he developed for fashion in his textile patterns. Furthermore, Tseklenis introduced theme fashion, by choosing specific themes for his fashion lines from different art periods, such as Greek history and folk art (i.e. Aegean art, ancient Greek vases, Byzantine art, etc.) and international art history (i.e. Russian art, African art, the Persian tapestries, etc.), as well as from painters’ works, such as the Impressionists and El Greco. In addition, in 1983 he collaborated closely with Greek contemporary painter Yannis Gaitis to co-create the collection ‘Tseklenis from Gaitis’, a fashion line designed by Tseklenis based on the painter’s style and drawings. This article gives a detailed chronology of Tseklenis’ life, while also providing an account of his numerous - approximately 50 - thematic fashion collections, presented between 1965 and 1991. This study also aims to identify the characteristics of Yannis Tseklenis’ work in fashion and textiles and to evaluate his contribution from a historical, an artistic/aesthetic and a cultural perspective.

The exhibition "Dressed for Success" is built around the fashion diary of Matthäus Schwarz (1497-1574), head accountant of the immensely rich and influential Fugger company, headed by Jacob Fugger and later on his nephew Anton. From 1520 on Matthäus Schwarz had himself painted in the representative dresses designed for various occasions from weddings to imperial diets. Over the course of 40 years the "klaidungsbuechlin" (book of clothes) documents more than 130 different outfits, forming a uniquely detailed source for the history and development of fashion in the 16th century.
The catalogue presents and contextualises the klaidungsbuechlin in its period. Following the timeline of the precisely dated images, it guides through a vivid period of early world trade and reformation and follows Matthäus Schwarz on his education and business journeys. In the period, fashion was a central tool to document and promote social status and ambitions and Schwarz used this tool carefully, finally being knighted by Ferdinand I. in 1541.
The catalogue presents a wide range of objects with numerous loans from collections all over Europe. It encompasses paintings by Hans Holbein the Elder and Christoph Amberger, woodcuts and engravings by Albrecht Dürer, Lucas Cranach or Jörd Breu as well as Medals by Hans Schwarz and Friedrich Hagenauer. Futhermore it features prominent examples of arms and armour, goldsmiths work, woodcarving, majolica and textiles from the 16th century.
-cat. no. 12: sundial with map, attributed to Erhard Etzlaub, Nuremberg 1511, boxwood
-cat. no. 29: standing cup and cover (possibly made in Augsburg), 1480-1499, Silver-gilt and enamel
-cat. no. 31: relief depicting Jacob Fugger and the allegory of wealth, Sebastian Loscher, Augsburg before 1525, limewood
-cat. no. 35: medal of Jacob Fugger, Hans Schwarz, Augsburg 1518, bronce
-cat. no. 36: commemorative coin of Jacob Fugger, after Hans Schwarz, Augsburg 1518, silver
-cat. no. 38: portrait of Martin Luther, Lucas Cranach, Wittenberg 1521, engraving
-cat. no. 40: portrait of Charles V, Daniel Hopfer, Augsburg 1518, etching
-cat. no. 58: four gaming pieces with portraits, Augsburg around 1535, boxwood
-cat. no. 60: gaming piece with the portraits of Jacob and Ulrich or Anton Fugger, Augsburg around 1525-1530, fruitwood
-cat. no. 67: glass cup with the coat of arms of Fugger-Thurzo, Venice arounf 1520-1530, glass with enamel and gilding
-cat. no. 69: enamelled cup with the coat of arms of Ulstett and Haug, Tuscany around 1550, copper with enamel and gilding
-cat. no. 71: lute, Italy around 1600, wood, ivory and ebony
-cat. no. 79: entrance of Charles V in Augsburg, Jörg Breu the elder, Augsburg around 1530, series of 10 engravings
-cat. no. 81: portraits of Charles V and Ferdinand I, Barthel Beham, 1531, engraving
-cat. no. 82: delivery of the Augsburg Confession in 1530, Paul Fürst, Nuremberg 1655, engraving
-cat. no. 84: Book of the Good and Evil Fortune, Francesco Petraca, printed in Augsburg 1532
-cat. no. 94: medal on the battle at Mühlberg, Nickel Milicz, 1547, silver
-cat. no. 96: relief with the subservience of the protestant cities 1547, Nürnberg around 1570-1580
-cat. no. 99: standing cup and cover on the annulment of the Augsburg Interim, Jochim Worm, Lüneburg around 1552/53, silver gilt

The exhibition "Divine X Design. The Dress of Antiquity" explores the question of what appearance, what function and what social status clothing had in ancient Greece, and how these ideas have been and are being passed on over the past centuries into our own time. In all societies, clothing is determined by official and unofficial dress codes, ciphers, and the attribution of status symbols. Clothes and clothing often function as multiply coded signs that point beyond their purely veiling character. Such codes and ciphers also determine contemporary fashion. The exhibition brings ancient clothing and contemporary fashion design into dialogue. It shows how fruitful design work can be in confrontation with ancient art.

Die Ausstellung „Divine X Design. Das Kleid der Antike“ geht der Frage nach welches Aussehen, welche Funktion und welchen gesellschaftlichen Stellenwert Kleidung im antiken Griechenland hatte, und wie diese Vorstellungen im Laufe der vergangenen Jahrhunderte in unsere heutige Zeit tradiert wurden und werden. Denn Kleidung ist in allen Gesellschaften bestimmt durch offizielle und inoffizielle Kleiderordnungen, Codes, Chiffren und die Zuschreibung von Statussymbolen. Kleidung und Bekleidung fungieren oft mehrfach kodiert als Zeichen, die über den reinen Verhüllungscharakter hinausweisen. Solche Codes und Chiffren bestimmen auch die Mode der Gegenwart. Die Ausstellung lässt antike Kleidung und zeitgenössisches Modedesign in Dialog treten. Sie zeigt wie fruchtbar gestalterische Arbeit in Auseinandersetzung mit antiker Kunst sein kann.

The main Objective of this market research was to find out the market gap between identity conscious Sri Lankans and Sri Lankan Designer wear that is in the market. As far as Sri Lankan designer wear is concerned there is a lack of modern trendy designer wear that gives prominence to Sri Lankan identity.
Therefore the research was conducted in order to find out data that could help identify stylesand trends and also identify the authenticity which Sri Lanka hold in clothing from ancient time to cater to Sri Lankans locally and globally. After doing a thorough analysis,the research proved that Sri Lanka indeed has a gap where traditional and contemporary clothing are concerned.

‫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

Nowadays, advertisements which emerge as one of the most significant marketing activities are usedefficiently by the enterprises.
Advertisement is a successful method for attracting consumer’s attention and increasing sales. Besides it provides an increase in brand
value and brand awareness which provide a significant contribution to enterprise performance. Clothing sector which has an important
role in Turkish economy involves successful enterprises. These enterprises frequentlyuse advertisement activities in order to be
successful and to be able to pronounce their differences from rivals to the consumers. This study aims to analyze the relationship
between advertisement and buying behavior. After that, the results of the survey which is conducted in the hinterland of İzmir province
are analyzed to determine the effects of advertisement on buying behavior of consumers in clothing sector.
Key Words:Advertisement, Consumer behaviors, Buying behavior, Clothing sector, Turkey.

« Corps de mode et art du vêtir. Retracer l’histoire du costume, de l’Antiquité égyptienne aux derniers défilés Couture »
« Mode et société : valorisation du luxe par l’image »
« Des origines de la Haute Couture à la "fringue" réactionnaire et militante »

The technical advances are dramatically influencing the world of fibers, fabrics and textiles. Today, technology can provide us with fabrics that imitate and actually improve upon nature's best fibers. It is important to be aware of technological developments when fashion designing so that the best and most relevant fabrics may be used for the job. Consumers are demanding qualities from textiles that will enhance their lifestyle such as: comfort, performance, fit, shape retention, trans-seasonal versatility, quality and style, added value, lightweight properties and ecological integrity. The consumer will continue spending where they see innovation. There are many forward-thinking ideas in fibre and fabric manufacturing. There follows a range of fibre and fabric areas under development. In the next millennium, textiles will not just be an extension or simple alternatives to natural or synthetic fibers, but will provide superior functionality in broad and emerging sectors of the economy from space to super conductivity and agriculture to geo-textile. This will be accomplished through modern business strategies for enhanced stakeholder value and highly efficient production schemes with no adverse impact on the environment and development of precisely specified molecules for new textile platforms.

Auch ländliche Kleidung ist nicht einfach mit funktionalen Kriterien erklärbar, sondern kann als Element der Repräsentation gelesen werden. In diesem Beitrag soll versucht werden, anhand von Fotografien aus dem Nachlass eines Amateurfotografen Verbindungen und Verknüpfungen von „Tracht“ und politischen Konzeptionen zu beleuchten. Nachgegangen werden wird damit besonders den Funktionen von Kleidung als Ausdrucksform politischer Gesinnung auf der Folie der mehrfachen Veränderung des ideologischen  Mainstreams. Dabei soll nicht nur nach der prinzipiellen ständigen Veränderung des vermeintlich Unveränderten oder nach den massiven Einflüssen der nationalsozialistischen Konzeption von „Tracht“ im Nachkriegsösterreich gefragt werden, sondern beispielsweise auch nach ihrer Funktion zur Signalisierung von Zugehörigkeiten bzw. ihre Verwendung bei einer Verschiebung von Grenzen.

This article explores the gendered implications of the swadeshi rhetoric by focusing on how its language was creatively appropriated by the Hindu publicists of colonial United Provinces to dress up Hindu middle-class, upper-caste women in particular ways. This had implications for a new vocabulary of sartorial morality, for modern bourgeois values of thrift and for Hindu revivalism. However, swadeshi dress campaigns were also embedded in social, caste and religious hierarchies, sexual divisions and moral boundaries, exposing various tensions at the heart of the project.

Traditionally operated garment industries are facing problems like low productivity, longer production lead time, high rework and rejection, poor line balancing, low flexibility of style changeover etc. These problems were addressed in this study by the implementation of lean tools like cellular manufacturing, single piece flow, work standardization, just in time production etc. After implementation of lean tools, results observed were highly encouraging. Some of the key benefits entail production cycle time decreased by 8%, number of operators required to produce equal amount of garment is decreased by 14%, rework level reduced by 80%, production lead time comes down to one hour from two days, work in progress inventory stays at a maximum of 100 pieces from around 500 to 1500 pieces. Apart from these tangible benefits operator multiskilling as well as the flexibility of style changeover has been improved. This study is conducted in the stitching section of a shirt manufacturing company. Study includes time studies, the conversion of traditional batch production into single piece flow and long assembly line into small work cells.

This article aims to discuss the role of Diana Vreeland in the development of the discipline of fashion curating, through a close look to her personal style and the curatorial grammar she developed in creating groundbreaking fashion exhibitions during her period as Special Consultant at the Costume Institute of the Metropolitan Museum of Art of New York (1972-1989). In doing so, this paper reviews the exhibition “Diana Vreeland After Diana Vreeland” curated by Judith Clark and Maria Luisa Frisa (Venice, Museo Fortuny, March 10-June 26, 2012). I had the opportunity – as associate curator – to work on this project that specifically reflects on the complex legacy of legendary fashion icon Diana Vreeland. The exhibition mirrors Vreeland’s imaginative method of reading twentieth-century fashion. After having worked at “Harper’s Bazaar” and “Vogue America”, Vreeland was nominated “Special Consultant” to the Costume Institute in 1972, and she produced twelve exhibition from the 1973 to 1984 (plus other three exhibitions, even if she was not any longer directly involved in the actual set-up): it is this translation from editor to curator that the exhibition reflects upon. Both admired and criticized, Vreeland recognized that fashion had a privileged role in the understanding of contemporary culture. Her approach to exhibitions mimics the work of a magazine’s editor, who works through selection and unusual combinations that do not necessarily privilege historical accuracy. Diana Vreeland’s museum shows backed a new curatorial freedom, taking into consideration a new protagonist: the visitor’s contemporary eyes. The exhibition at the Museo Fortuny and the catalogue look at Diana Vreeland both as fashion editor and as curator, through the exploration of her innovative and avant-garde exhibitions. They both reflect on her taste and passions that permeated her curatorial approach.

The role of power in the supply chain is crucial in that through its interactions with other elements of the relationship atmosphere, it can seriously impede cooperation (Cox, 2001; Tokatli, 2007; Yaqub, 2009).  Therefore, it is important to rationalize the power relationship among these actors in the clothing industry for comprehension and analysis of the supply chain to ensure the actors maximize competitive advantage because it is at the core of the success or failure of business (Porter, 1985:1).

This paper presents a thermal model for the prehistoric origins and development of clothing. A distinction is drawn between simple and complex clothing, a distinction which has implications for palaeolithic technological transitions and the emergence of modern human behavior. Physiological principles and paleoenvironmental data are harnessed to identify conditions requiring simple, loosely–draped garments and the more challenging conditions that demanded additional protection in the form of complex garment assemblages. No actual clothing survives from the Pleistocene, yet the archaeological record yields evidence for technological and other correlates of clothing―more evidence than is generally supposed. Major innovations and trends in the distributions and relative frequencies of lithic and other tool forms may reflect the changing need for portable insulation in the context of fluctuating ice age climates. Moreover, the non–thermal repercussions of complex clothing can be connected with archaeological signatures of modern human behavior, notably adornment. Alternative models are less parsimonious in accounting for the geographical and temporal variability of prominent technological and other behavioral patterns that vary in association with environmental changes.

Les apparences humaines passionnent le public et sont désormais un thème classique en anthropologie et en histoire. Mais les sciences sociales ont rarement comparé leurs manières respectives de penser et de décrire ces apparences : on parle de parure ou bien de vêtement, les choix plastiques et matériels sont rarement discutés, et l’esthétique ne semble pas pouvoir s’appliquer à l’ensemble du vivant, auquel on reconnaît pourtant une expressivité inouïe. Les essais réunis dans cet ouvrage - dont "Faire de l'anthropologie esthétique" est l'introduction - cherchent à comprendre pourquoi. Ils tentent de démêler la complexité de nos savoirs et des phénomènes observés à travers le temps, l’espace et les espèces.

As a culturally produced text, literature is seen as a lens with the potential to draw attention to the values, ideas, and beliefs that underlie a society.

In this paper three key themes in H.G. Wells' novel 'The Invisible Man' (1897), are discussed: firstly, the ways that the body may be fashioned through dress and individual practices; secondly, how wearable artefacts may socialize bodies and symbolically communicate; and thirdly, how the fashioned body may challenge personal and cultural boundaries. Collectively, these issues draw attention to the relational network of body, culture, and dress.

These relationships are highly relevant to design research in fashion, dress, and wearable artefacts, which all use the body as a site. This study is seen as being an example of how literature may be utilized as a speculative device to encourage experimental and creative design research practices.

The author's practice led doctoral research, which emphasizes the body and skin as sites for design, is used as an example of a cross-disciplinary approach that draws on the issues raised through an analysis of the novel.

In the late 1950s, Carnaby Street designer and retailer John Stephen began a systematic program to decouple himself, the products he sold, and the very notion of male fashionability from associations of effeminacy and homosexuality. Of course this project was never complete, but nor did it need to be. Carnaby Street shops, beginning with those of John Stephen, traded on a sense of playful camp that distinguished them from what were seen as old-fashioned or short-back-and-sides fashion establishments and worldviews. This article examines how producers and retailers of queer styles interacted with 1950s and 1960s consumers, and how these consumer interactions illuminate the changing relationship between homosexuality and hetero-normative constructions of masculinity in mid twentieth-century Britain.