Chinese traditional costume is one of the important carriers of Chinese culture. The process of the emergence and development of the culture of traditional Chinese costume also reflects the cultural background and evolution of ancient Chinese society. In the context of the strengthening of the Chinese economy, the inheritance and development of Chinese clothing culture is of great importance for modern society. The epochs of Wei, Jin, Southern and Northern dynasties are a period of Chinese history (...) marked by frequent wars, ethnic integration and convergence of various ideas. Against this background, there was a weakening of the Confucian "ritual" style, followed by the spread of the teachings of Xuan Xue, Buddhism and Taoism, and a freer, down-to-earth, elegant clothing culture appeared. This article consists of the following three parts: Diversity of social background; Artistic forms of costume culture of the Wei-Jin eras; Modern trends in the development of clothing culture. Based, among other things, on such material as the scroll painting "The Fairy of the Lo River" by the artist Gu Kaizhi of the Eastern Jin Dynasty, this article analyzes the influence of the teachings of Xuan-xue, Buddhism and Taoism on the costume of the Wei and Jin dynasties, illustrates the direction of development of modern Chinese costume culture, and continued the path for the development of clothing culture with Chinese specifics. (shrink)

Resumen: China es conocida desde la antigüedad como un país de indumentaria, y su cultura indumentaria es deslumbrante. El arte y la cultura de cualquier nación tienen su trasfondo específico de pensamiento filosófico. Detrás de la cultura indumentaria china, también se encuentra la connotación ideológica del antiguo pueblo chino. La antigua sociedad china abarcó cinco mil años, la tendencia social del pensamiento cambiaba constantemente, y el sistema de vestimenta también se actualizaba constantemente. A través del estudio del trasfondo histórico ideológico (...) de la cultura del traje de la antigua China, podemos ampliar el ángulo de investigación de la filosofía de la antigua China y comprender más ampliamente la cultura del traje tradicional. (shrink)

There are few sartorial ensembles as heavily signified as masculine as a suit. This article focuses on the suit within queer fashion digital cultures and spaces to explore how butch of colour digital fashion suits up to offer us different ways to think about masculinity. Intervening in the erasure of women of colour in histories of fashion – including menswear – and histories of sexuality – butch, dapper, tomboy, dandy – I argue that butch digital fashion works as a site (...) and composition of flesh, fabric and feeling that reworks masculinity as a project of embodiment. I look at three interwoven dimensions of butch digital fashion – aesthetic process, texture as feeling and spatial imaginations – attending to the themes of fantasy, desire and pleasure. I situate butch within and between fashion studies and media studies to offer butch as a relation, practice, orientation and site of embodiment to think about being and becoming, about the body politics of space and feeling, as matters of race, sexuality, class and gender – and the materialities of race, sexuality, class and gender, mediated by the global, and as the global by the digital. Digital butch fashion is, at once, a visual culture, a creative visual space, a resource of queer fantasy and an aesthetic process. It is messy, tense and fraught with the politics of race, colonialism and class, yet at the same time, dense with possibility, pleasure and eroticism. Butch of colour fashion offers frames and forms for rethinking and remaking masculinity as a sign of a body, as a category of personhood, as a set of practices and feelings made coherent by processes of embodiment. (shrink)

As a traditional clothing symbol that is unique to the Chinese nation, the dragon symbol combines the distinctive features of the Chinese nation, reflecting the depth of mental changes and the historical context of Chinese culture. The image of the dragon has formed a kind of dragon pattern as a certain set of ideas about the culture that encoded all its changes. Therefore, in national clothing the dragon image has been one of the most favorite patterns (...) for thousands of years. With the interweaving of world cultures and the deepening of the concept of clothing design, the dragon pattern will incorporate fresh elements of Western culture while maintaining the essence of traditional Chinese culture, and show a new design image through the utilization of various innovative ideas and design methods. The following methods were used for the study: literature review, field research, analysis of design cases, analysis of fashion trends. Using these methods, the specifics of using dragon designs in the fashion industry in different seasons and years are analyzed, and the trend of their evolution in the field of high fashion is studied. In the article we analyzed modern trends of clothing design and gave their characteristics. The results of the study showed that even in modern youth fashion this national symbol is actively used, which indicates that the patterns and images of the dragon have real applicability and wide prospects of application in modern fashion design. Modern clothing design provides a rich cultural heritage for modern clothing to retain the characteristics of civilization on the basis of continuous innovation. The use of dragon motifs in modern clothing not only meets the aesthetic concepts of modern people, but also adds vitality to clothing design. (shrink)

The object of the study is clothing as a sociocultural phenomenon, a product of material and spiritual cultures. The evolution of clothing is closely related to sociocultural changes in society. The subject of the study is the transformation of clothing in China under the influence of political, economic, social, and aesthetic factors after the beginning of Chinese economic reform and opening up policy. The significant changes have taken place in Chinese clothing, the main of which was (...) the transition from a uniform style of clothing for the whole country to a variety of fashion and styles, as well as the revival of traditional clothing. The transformation in the style and production cycle of clothing in China is based on objective (technology development, market laws, global fashion trends) and subjective reasons (psychology, personal preferences and aesthetic tastes of consumers). There is always a concept behind the behavior in clothes, and the desire for beauty is the main driving force behind the development of clothing. The social psychology of imitation and difference contributes to the spread of fashion trends in clothing. The author's special contribution to the topic is a detailed examination of the impact on the transformation of clothing of political, economic, sociocultural, aesthetic factors, as well as cultural exchanges and folk traditions. The author traces the sequence of fashion trends in China in recent decades. Сontemporary changes in Chinese clothing culture are not limited to simply borrowing Western trends, but are accompanied by the emergence of postmodern ideas and the promotion of the globalization process, which leads not only to the technological and design enrichment of clothing characteristics in China, but also to the growth of cultural awareness and the revivalization of traditional and local cultures. (shrink)

For readers of Women in Clothes, a philosophical guide to fashion. We all get dressed. But how often do we pause to think about the place of our clothes in our world? What unconscious thoughts do we express when we dress every day? Can a philosophy of living be wrapped up in a winter coat? Can we see clothes not as objects, but as ideas? Dressed is the thinking person's book about clothes, exploring these questions by ranging freely from suits (...) to suitcases, from Marx's coat to Madame X's gown. Through literature and art, film and philosophy, philosopher Shahidha Bari unveils the surprising and subconscious ways what we wear communicates with us, about us, and for us. Dressed is about the hidden power of clothes in our culture and our daily lives, addressing the deepest questions of who we are, how we frame ourselves, and how we choose to face the world. (shrink)

For I envied the arrogant when I saw the prosperity of the wicked. They have no struggles; their bodies are healthy and strong. They are free from common human burdens; they are not plagued by human ills. Therefore pride is their necklace; they clothe themselves with violence.Fashion is a mimetic phenomenon. It thrives in the pleasures and desires of imitation. As sociologist Yuniya Kawamura notices in her book Fashion-ology, early sociologists, such as Veblen, Tarde, and Simmel, all regard fashion as (...) a "concept of imitation."1 Even if their specific theories differ, Veblen, Tarde, and Simmel saw fashion as an imitative "flow" most dominantly from the superior to inferior, and this became known as the... (shrink)

Every year, the Vietnamese people reportedly burned about 50,000 tons of joss papers, which took the form of not only bank notes, but iPhones, cars, clothes, even housekeepers, in hope of pleasing the dead. The practice was mistakenly attributed to traditional Buddhist teachings but originated in fact from China, which most Vietnamese were not aware of. In other aspects of life, there were many similar examples of Vietnamese so ready and comfortable with adding new norms, values, and beliefs, even contradictory (...) ones, to their culture. This phenomenon, dubbed “cultural additivity”, prompted us to study the co-existence, interaction, and influences among core values and norms of the Three Teachings –Confucianism, Buddhism, and Taoism–as shown through Vietnamese folktales. By applying Bayesian logistic regression, we evaluated the possibility of whether the key message of a story was dominated by a religion (dependent variables), as affected by the appearance of values and anti-values pertaining to the Three Teachings in the story (independent variables). Our main findings included the existence of the cultural additivity of Confucian and Taoist values. More specifically, empirical results showed that the interaction or addition of the values of Taoism and Confucianism in folktales together helped predict whether the key message of a story was about Confucianism, β{VT ⋅ VC} = 0.86. Meanwhile, there was no such statistical tendency for Buddhism. The results lead to a number of important implications. First, this showed the dominance of Confucianism because the fact that Confucian and Taoist values appeared together in a story led to the story’s key message dominated by Confucianism. Thus, it presented the evidence of Confucian dominance and against liberal interpretations of the concept of the Common Roots of Three Religions (“tam giáo đồng nguyên”) as religious unification or unicity. Second, the concept of “cultural additivity” could help explain many interesting socio-cultural phenomena, namely the absence of religious intolerance and extremism in the Vietnamese society, outrageous cases of sophistry in education, the low productivity in creative endeavors like science and technology, the misleading branding strategy in business. We are aware that our results are only preliminary and more studies, both theoretical and empirical, must be carried out to give a full account of the explanatory reach of “cultural additivity”. (shrink)

L’article porte sur un mouchoir décoré par des femmes de l’Armée Républicaine Irlandaise (IRA) pendant leur incarcération à la prison d’Armagh, en 1976. Il s’intéresse aux aspects concrets d’un objet genré et politisé. En effet, le tracé, le remplissage à la couleur, la signature et l’échange de ce tissu prennent place à la fin de la première phase du conflit en Irlande du Nord caractérisée par les emprisonnements politiques. Dans les années 1970, les prisonniers républicains adaptent une activité féminine, la (...) broderie. Illustrant cette pratique, le mouchoir d’Armagh passe pour un exemple de tissu, certes hétérogène et marqué d’emprunts, mais qui conserve ses qualités liées au genre. Cet article s’intéresse donc aussi à la signification même du tissu. (shrink)

What could ground normative restrictions concerning cultural appropriation which are not grounded by independent considerations such as property rights or harm? We propose that such restrictions can be grounded by considerations of intimacy. Consider the familiar phenomenon of interpersonal intimacy. Certain aspects of personal life and interpersonal relationships are afforded various protections in virtue of being intimate. We argue that an analogous phenomenon exists at the level of large groups. In many cases, members of a group engage in shared practices (...) that contribute to a sense of common identity, such as wearing certain hair or clothing styles or performing a certain style of music. Participation in such practices can generate relations of group intimacy, which can ground certain prerogatives in much the same way that interpersonal intimacy can. One such prerogative is making what we call an appropriation claim. An appropriation claim is a request from a group member that non-members refrain from appropriating a given element of the group’s culture. Ignoring appropriation claims can constitute a breach of intimacy. But, we argue, just as for the prerogatives of interpersonal intimacy, in many cases there is no prior fact of the matter about whether the appropriation of a given cultural practice constitutes a breach of intimacy. It depends on what the group decides together. (shrink)

In recent years, Chinese clothing cultural heritage and knowledge genealogy along the Silk Road have become the research headline attracting public attention. In particular, Kazakh clothing in Northwestern China has become the focus of today's traditional national culture. Kazakh, located at the intersection of the Silk Road, has an important position. The traditional clothing made by various social factors reflects the style and identity integration throughout history in cultures along the Silk Road, taking women's clothing (...) as an example. Kazakh women are good at crafts, which is reflected in their strong grit. They gradually changed their role and traditional values, which has guided their social role. At the same time, it also reflects the awakening of Kazakh women's feminist consciousness to a large extent, and complies with Confucianism, along with the mainstream value of “advanced gender culture” of the world's outstanding civilization achievements. This paper summarizes the form, color, and patterns of Kazakh women's clothing by analyzing the garment, headdress, and footwear in Xinjiang Uygur Autonomous Region Museum, Aksai Kazakh National Museum, and Capital Museum of China. Through the analysis, this paper further probes into the multicultural integration between Kazakh and the regions along the Silk Road and interprets the idea represented by the forms, colors, and patterns in the clothing to promote the inheritance and development of traditional and regional cultures together with ethnic features along the Silk Road. (shrink)

Today we are bombarded with calls to be happy, optimistic, and the best version of ourselves, whether in popular self-help books or academic studies of human flourishing. One of the threads that co...

This study examines the Korean aesthetic consciousness of colour by focusing on the preference far white in clothing culture. A nation's symbolic use of certain colours develops over time as a tradition representing the national sentiment and philosophy of life. In this way, traditional colours not only influence the senses but also evoke ideas about a country's social customs. Far example, white clothes without bleaching, artificial processing, or fancy patterns have a simple and pure beauty. This paper discusses (...) the Korean partiality toward such clothing as representative of the spiritual virtues of purity and holiness. A comparison is drawn with China and Japan, where traditional clothes feature other colours despite some shared concepts across the cultures, such as yin-yang and the five elements. (shrink)

This study examines the Korean aesthetic consciousness of colour by focusing on the preference far white in clothing culture. A nation's symbolic use of certain colours develops over time as a tradition representing the national sentiment and philosophy of life. In this way, traditional colours not only influence the senses but also evoke ideas about a country's social customs. Far example, white clothes without bleaching, artificial processing, or fancy patterns have a simple and pure beauty. This paper discusses (...) the Korean partiality toward such clothing as representative of the spiritual virtues of purity and holiness. A comparison is drawn with China and Japan, where traditional clothes feature other colours despite some shared concepts across the cultures, such as yin-yang and the five elements. (shrink)

Drawing upon Roland Barthes’ posthumously published notebooks from his 1974 trip to China, in which he remarks upon the ‘complete absence of fashion. Clothing degree zero’, this article offers a ‘late’ reading of Barthes’ interest in fashion, suggested here as a form of writing. In reference to the late works, specifically Barthes’ penultimate lecture course on the Neutral and Travels in China, supplemented by François Jullien’s comments on Barthes’ trip to China, as well as mention of Michelangelo Antonioni’s film (...) Chung Kuo-Cina, it is possible to draw together a reading of fashion as a neutral form. As a final step, reflection is given to Susan Buck-Morss’ reading of ‘history as passing’, as discontinuous moments. Barthes’ writerly mode – which works upon incidental details – is revealed to be a pertinent method. (shrink)

Brand names are endowed with personalities that appeal to consumers, and such personalities are often adjusted in translation. This research aims to explore the transference of brand personality dimensions in the Chinese-English translation of men’s clothing brands, which embody consumers’ values and self-perceptions as well as social cultural meanings, in the hope of revealing male consumers’ psychological characteristics and providing a reference for translators. This investigation studies the brand personality frameworks for English and Chinese consumers, analyzes a corpus of (...) 477 Chinese-English men’s clothing brands, summarizes the major personality dimensions for men’s clothing brands, and explores how they are transferred in translation. As brand personalities reflect target consumers’ psychology to a certain extent, exploring the transference of brand personality dimensions in the Chinese-English translation of men’s clothing brands can reveal the differences between Chinese and English male consumers’ values and mentality, which can serve as a reference for translators and international businesses. (shrink)

`The Clothes Have No Emperor' means to say that Bourdieu's criticism of American imperialism is an understandable slip of his brilliant visual sociology. He writes to those of a disposition to agree completely because they know the facts all the better. Bourdieu may well be the only person alive today who has so perfectly combined theoretical, empirical and political work. Why then has he allowed this critique to be published for all the world to see? Not, I think, because he (...) is wrong, but because the entailments of his own visual sociology do not translate well from place to place. Bourdieu has taught us that the sociology of social space is the next necessary step for those who would become public intellectuals. The question is how to think and speak of the world as such. Bourdieu has given us the outlines of a beginning, but this little essay in question shows that there is more work yet to be done. (shrink)

Autonomy is fundamental to liberalism. But autonomous individuals often choose to do things that harm themselves or undermine their equality. In particular, women often choose to participate in practices of sexual inequality—cosmetic surgery, gendered patterns of work and childcare, makeup, restrictive clothing, or the sexual subordination required by membership in certain religious groups. In this book, Clare Chambers argues that this predicament poses a fundamental challenge to many existing liberal and multicultural theories that dominate contemporary political philosophy. Chambers argues (...) that a theory of justice cannot ignore the influence of culture and the role it plays in shaping choices. If cultures shape choices, it is problematic to use those choices as the measure of the justice of the culture. Drawing upon feminist critiques of gender inequality and poststructuralist theories of social construction, she argues that we should accept some of the multicultural claims about the importance of culture in shaping our actions and identities, but that we should reach the opposite normative conclusion to that of multiculturalists and many liberals. Rather than using the idea of social construction to justify cultural respect or protection, we should use it to ground a critical stance toward cultural norms. The book presents radical proposals for state action to promote sexual and cultural justice. (shrink)