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1

18. gadsimta rīdzinieku modes tērpi Johana Kristofa Broces zīmējumos

100%
Parute E.
Makslas Vesture un Teorija
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2016
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vol. 19
6-21
EN
The legacy of the student of Baltic local history Johann Christoph Brotze (1742–1823) has always attracted researchers of 18th century Latvia’s culture and art. His collection in ten volumes, ‘Sammlung verschiedener Liefländischer Monumente, Prospecte, Wapen, etc.’ (below Monumente) in the Academic Library of the University of Latvia contains visual documentation and descriptions of townspeople’s everyday life, customs, entertainment and social transformations. While examining the visual specificities of clothes worn in late 18th century Riga, the author of this article discovered many locally peculiar and interesting evidences of city dwellers’ wish to follow the latest fashions of the time. The first volume (Riga Views, People and Buildings, 1992) of the academic publication of Brotze’s legacy ‘Zīmējumi un apraksti’ (Drawings and Descriptions), with materials from the 3rd volume of ‘Monumente’, gave a deeper insight into the clothing habits in Riga, revealing the meaning of the visual message of attire in the cultural-historical scene created by late 18th century Rigans and city visitors. The transition from Rococo to Classicism became the leading factor in the fashion trends of Vidzeme at the time, bringing corresponding motifs to art and fashion. The ethnic and social composition of the population in the second half of the 18th century significantly influenced Riga’s visual image – as seen from Brotze’s drawings, a rather motley and peculiar scene emerged here, manifesting both topical European phenomena and a mix between various ethnic elements and the fashion of the day. Drawings of city dwellers’ clothing in Brotze’s collection testify to the diversity of Riga in the 1770s–1790s. This scene displays the originality of townspeople’s clothes, testifying to uneven changes in the fashion field. In some cases there are just some modern details but other Brotze’s drawings show a Rigan whose costume represents the current fashion tendencies in Western Europe.
2

Odzież z krypt grobowych archikatedry w Lublinie. Analiza kostiumologiczna

100%
Drążkowska A., Grupa M.
Kwartalnik Historii Kultury Materialnej
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2012
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vol. 60
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issue 2
319-329
EN
During the exploration of St John’s metropolitan cathedral in Lublin in 2002 a large collection of lay clothing was gathered from the crypts under the southern aisle. Apart from garments and accessories the finds included fragments of textiles used to line coffins, cushions, scapulars and haberdashery (lace, gold and silver braid, silk cords). Unfortunately, only a few selected garments underwent conservation. Despite the poor condition of the remaining items, and taking into consideration that they will decay with time, the whole collection of 70 items was analysed from the costume-studies perspective. The garments were divided into two classes: those that were normally worn before the burial and those that were prepared especially for the burial. The division was based on differences in cut, in ways of joining elements and in trimming. Within the first class three categories were further distinguished: men’s national dress, men’s clothes modelled on Western fashion and women’s clothes. Features of dress intended for normal use were also found in some accessories, e.g. headgear, belts, gloves and stockings. All the elements of those garments were carefully cut, modelled and trimmed, and they were neatly joined with close backstitch or straight stitch. The second class, that of “one-use-only” garments, comprises items in which the cut and the joining of elements indicate that they were prepared especially for the funeral and could not be normally worn. Their elements were joined with shoddy straight stitch or basted and the edges were folded and ironed flat. There were several examples of simplifying the construction by not attaching the back part of the garment. This class also embraces garments that were used as everyday clothing but were specially adjusted for the burial. Special garments sewn for burial only include the so-called “death shirts”, dresses and some headgear. Two of the items found in Lublin were children’s overcoats of Polish national style remade for burial dress. Almost all the items analyses were made of silk; the only exception is a cap cut of felt. The finds from Lublin form the largest collection of burial clothes excavated in Poland.
3

THE CULTURE OF CONSUMPTION AS A CULTURE OF LIBERATION? CRITICISM OF CONSUMERISM AND SOCIETY BASED ON FASHION

100%
Szlendak T., Pietrowicz K.
Kultura i Społeczeństwo
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2005
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vol. 49
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issue 3
85-108
EN
Consumer society is usually the object of attacks within the social sciences - sometimes even vicious ones. In this text, a different vision of consumerism is presented. The authors, basing themselves on the concept of Gilles Lipovetsky, argue that consumer culture may be treated as a culture of freedom. They attempt to develop Lipovetsky's thesis, which links consumerism with fashion. The text's aim is thus to turn our attention to the subject of fashion as an important sociological category, particularly in connection with consumer society and freedom. The authors also strive to delineate the various possibilities that result from it, such as the idea that society based on fashion allows us to reformulate the classical opposition of tradition versus modernity.
4

Fashion in the Selected Periodicals Published by the 'Bluszcz' Publishing Society in the Years 1921-1939

100%
Kowalczyk A.
Rocznik Historii Prasy Polskiej
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2005
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vol. 8
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issue 1(15)
63-76
EN
Magazines such as 'Bluszcz' (Ivy), 'Swiat dziewczat' (The World of Girls), 'Mloda Matka' (Young Mother), 'Kobieta w swiecie i w domu' (A Woman in the World and at Home), 'Ja to zrobie' (I'll Do It), 'To co najmodniejsze' (What is the Most Fashionable), 'Dziecko i matka' (A Child and Mother), 'Zycie kobiece' (Woman's Life), or 'Kultura ciala' (Body Culture), were published under the aegis of the 'Bluszcz' Publishing Society. In addition to social and literary contents, the abnove-mentioned periodicals featured fashion, embroidery and craft sections. Fashionable dress provided people with a way to manifest their social class affiliation while expressing their personality. The 'Bluszcz' and other periodicals it inspired made a significant contribution to women's life by creating a coexistence culture, acquainting readers with good literature and entertainment, providing advice and, most importantly, bringing the great world of fashion closer to Polish women.
5

THE HISTORY OF CROQUET AND CROQUET SUITS IN POLAND FROM THE SECOND HALF OF THE 19TH C. TO 1939 (Historia krokieta i strojów krokietowych w Polsce od drugiej polowy XIX wieku do 1939 roku)

100%
Bialic M.
Kwartalnik Historii Kultury Materialnej
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2011
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vol. 59
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issue 1
93-99
EN
Croquet is a lawn game played by both men and women, often confused with cricket. Both games have originated in Britain, but cricket is thought to be older; furthermore, it a is a team game played by men only. Croquet, one the other hand, was one of the favourite recreations of Victorian and Edwardian England, alongside tennis and rowing. Games of croquet were played during garden parties. The players used long-handled hammers, called mallets, to hit colourful wooden balls, trying to drive them through a series of wire hoops in a particular order. Apart from outdoor entertainment, croquet provided an opportunity of personal contacts on neutral ground and of unrestrained conversations. The golden age of croquet lasted from the 1850s to about 1914; later the game ceased to be so popular. Croquet was also well-known in Poland. It was an excellent diversion for holiday at the seaside, in spa resorts or in the country. Popular magazines, such as Wies Ilustrowana [The Countryside Illustrated] or Wies i Dwór [The Country and the Manor], targeted primarily at gentry, often advertised professional croquet equipment offered by English or domestic producers. The game also required an appropriate suit of clothes - simple, convenient and unadorned. The sport was shown in one of the best paintings by Leon Wyczólkowski Gra w krokieta [A game of croquet]. Although Polish iconography concerning croquet is scarce, it provides enough data to describe both the game itself and the suits worn by the players.
6

Historia golfa i strojów golfowych w Polsce w okresie dwudziestolecia międzywojennego

100%
Bialic M.
Kwartalnik Historii Kultury Materialnej
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2011
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vol. 59
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issue 2
182-194
EN
Golf is a sport that gained a firm footing in Poland only after 1989 but first golf courses in the present Polish territories appeared probably already at the beginning of the 20th c. The first golf club in Warsaw was founded in the inter-war period. It was also at that time that the press started to publish articles on the discipline and on the way of dressing that became its fans. Polish newspapers often showed photos of the Prince of Wales, the future King of England Edward VIII, who was the icon of golf fashion in that epoch. The first Polish publication on the rules of the game was also issued at that time.
7

Kobiety i ptaki. Moda na ptasie pióra na ziemiach polskich w latach 1865-1914

100%
Kowalska J. R.
Kwartalnik Historii Kultury Materialnej
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2012
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vol. 60
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issue 1
73-88
EN
The years 1865-1914 witnessed women’s great fascination with feathers. Praised for their beauty, feathers were an expensive object of desire. They were used to produce various kinds of accessories and clothing ornaments. Along with lace and flowers, they adorned dresses according to season and occasion, changing the character of the gown. Devoid of those season adornments which were clearly represented in fashion magazines, the gowns which are now kept in museums may create a misleading image of the epoch’s taste. The fashion for feathers was so widespread that there were companies that specialised in manufacturing feather decorations, for example the firms of Ms Hałaczkiewicz and Ms Gliwic in Warsaw. Decorations were made of the feathers of various bird species, both domestic and exotic, with exotic feathers counting as luxurious. Among the most popular were feathers of farm birds, such as peacocks and ostriches, but ornaments were also produced from the feathers of birds-of paradise, lyrebirds, cassowaries and marabous, as well as from stuffed hummingbirds. Particularly fashionable were the feathers of the Himalayan monal (Lophophorus impejanus), called ‘lofofor’ in fashion magazines. It was even suggested that the bird should be bred on farms. As to domestic birds, most popular were the feathers of turkeys and geese, but also of cocks, magpies, ravens, bustard, wood grouses, herons, eagles, partridges, pheasants, cuckoos, jays and swallows. Feathers were present in fashion designs stylised to resemble Polish national costumes (e.g. Czesław Jankowski’s design of a fur kalpak with an aigrette) or folk costumes (e.g. Czesław Jankowski’s and Herse Fashion House’s designs modelled on Zakopane mountaineers’ dress and Czesław Jankowski’s designs modelled on Bronowice peasants’ dress). What feathers were worn depended not only on the financial position but also on the marital state of a woman of fashion. Luxurious exotic feathers were only appropriate for married ladies. Unmarried women had to settle for more modest decorations made of domestic feathers. Young girls wore demure berets, hats and muffs covered with little feathers. It seems that the practice of killing birds, including wild species, to satisfy the dictates of fashion did not bother the elegant women of the time. The insignificant number of articles critical of the practice in women’s magazines proves that ladies did not bother about the fate of the birds. For an fashion follower a pair of kissing stuffed hummingbirds was just another decoration which did not induce sympathy. The vogue for feathers that had to be obtained through killing birds was almost gone by the end of WW I, due to improvements in the technology of colouring and forming easily accessible ostrich feathers, which became particularly fashionable as material for fans in the inter-war period. The article is based on materials from two Polish women’s magazines, Bluszcz and Tygodnik Mód i Powieści. It is illustrated with drawings published in those magazines and with photographs of items from the collection of the National Museum in Cracow.
8

POČIATKY ESOVITÝCH ZÁUŠNÍC

88%
Mesterházy K.
Slovenská archeológia (Slovak Archaeology)
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2023
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vol. 71
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issue suppl. 3
35 – 47
EN
The earliest form of this jewellery was the multiple S-ended rings, and its role was earring. After the late Avar period, this fashion changed and became the ‘lockenring’, and the multiple S ends transformed in a simple S form. The earliest finding sites are around the Lake Balaton (e.g. Keszthely, Kereki, Badacsonytomaj). This earring fashion appeared among the Moravian Slavs in the Morava and Thaya river valleys, and later almost everywhere among the Western Slavs. The beginning of this jewellery is in the Middle Avar period (last quarter of the 7th c.).
9
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HIROSHIMA’S BAG LADY INCREASING THE PARAMETERS OF THE REAL

88%
Nunes Nacif L.
ESPES
|
2023
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vol. 12
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issue 2
117 – 123
EN
What is considered ugly, grotesque or unpleasant by the fashion world? The first collection presented by Rei Kawakubo in Paris was classified as offensive to Western aesthetic standards, for it questioned the French ideal of beauty and elegance. Through silhouettes covered in frayed, perforated and monochromatic fabrics, Kawakubo disrupted the established notion of the beautiful body, stripping it of the clichés of femininity, explicit sexuality and glamour. Under the lens of Vilém Flusser’s philosophy, the Japanese fashion designer created the new, the beautiful, that which is capable of expanding the parameters of the real.
10

MÓDNE ČASOPISY NA SLOVENSKU 1945–1989

75%
Šidlíková Z.
Studia Historica Nitriensia
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2015
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vol. 19
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issue 2
274 – 278
EN
This article represents the beginning of fashion journalism. Although fashion papers appeared in the Slovak magazine Dennica after 1908, we can speak about the beginnings of Slovak fashion journalism in the postwar period. In January 1949, the first Slovak fashion magazine Mariena was started. However, it was published for only one year, and in 1950 it was replaced by the magazine Móda – textil (Fashion – Textile). In 1961 it was renamed Naša móda (Our Fashion) and later in 1968 to Móda (Fashion). It became part of the editorial office and as well as a design studio, where after 1969 it began to implement its own models, published in the magazine. Magazine Móda have become interesting platforms for close cooperation of experts - editors, designers, photographers, and other technology professionals.
11
Content available remote

Tkaniny pagne jako kulturowe dziedzictwo mieszkancow Togo

75%
Pawlik J. J.
Lud
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2011
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vol. 95
159-175
EN
The paper discusses the role of print cloth in the life of West Africans, especially in Lomé, the capital of Togo. First, it describes the Asian and European origins of print cloth and its expansion in West Africa. While the technical production is European in origin, the symbols and ornaments are entirely African. This kind of cloth is of major importance for social life in Togo and it is highly valued. Every pattern has its name, which gives the cloth a symbolic significance. The colour of print cloth is sometimes prescribed for certain ritual and social occasions. The second part of the paper concerns the group of textile tradeswomen, called „Nana-Benz” in Lomé. Up to the 1980s they controlled the whole trade of wax prints from Europe. The last part presents the use of textile prints in fashion.
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