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You know what is cool for the current ethos of youth and fashions in your own country. Moreover, for those who
have a self-appreciation of National Heritage, the knowledge of folkways and tradional fashions provides a greater wealth
of unque fashions to show with pride gives additional evidence of a healthy national culture. This is the prime consideration,
in as much as it lends a visual separation, but a greater connection to human society as a whole.
Thus arranging Fashions Shows provides a greater and richer experiences witnessed by the audience,
both on and off campus.
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Models as Ethnological Icons in Intercultural Communications Essay
Models and Fashions represents style expectations, the cultural conformity of society, the creative human drive, the will
of each community member of society to come to terms of its visual sense of its spiritual aspirations, and the application
by the designers to new innovative fabric technologies. Each within itself further represents a qualitive function of human creative, or traditional behaviorisms which one or an
organized body of a society, or culture can communicate its purpose ( Those which are ethnological based within its history. )in vivid exposure fashionings of what either its traditionals/vintage, or new innovation styling trends.
 International Students / Scholars attending various global institutions of learning fully acknowledges this aspect of human
human behaviorism. Thus their campus related associations and sponsored focus ethnic fashions events which demonstrates each
members global cultural uniqueness. A real treasure of valued intercultural resources. Here during the early 10970s to the late 80s these
elements have had sufficient strengths of observable cultural academic uniqueness in which cultural forms of traditional and
innovative dress stylings are crucial aspects to InterCultural Communications. Thus at academic institutions such as the State University of New York @ Buffalo, University of Buffalo a new academic disipline
emerged which focused upon additional study on other aspects of cultural dynamics in which encompass a greater field of human
behavioral knowledge. When such efforts of Students / Scholars behaviorisms are communicated to the overall campus community
by fashions shows or exhibits followed up by seminars between two or more national or ethnically enriched societies or culture
the methodologies applied becomes International InterCultural Communications. The single accomblishment of participating International attending Students / Scholars sponsored events is the foundation
base --- historically --- of all contemporary International form of present InterCultural Communicaions.
Where modeling enters the topic.
The human behavior of how one presents oneself is the crucial aspect of being a model. The formin which ones human frame
moves from one position to another in careful rehearsed choregraphic positionings are critical effective allows the photographer
an economy of the film being exposed and the time in which to complete all the planned objectives in a photo shoot.
These elements are cultural significant in how it set the visual atmosphere, at times now called ' eye candy ' of the photo
shoot and the models - photographer's clients interests to increase their sales or community promotional efforts. The models
actual circumstance of visual healthy roles and posturing, or designs affects denotes the value of the model - photographers
client.
A 1940s Traditional Pin Up
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List your interests, or if you have something unique to offer for an exhibit by registering of the
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WebSites:
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Fashions - Chicago Night Life ( NightLife ), RMC
Fashions ~ Los Angeles Night Life ( NightLife ), RMC
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A Fashion
Review
' de
la avant
garde .'
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Academic Discussions:
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THE HOFSTRA CULTURAL CENTER PRESENTS DEFINING CULTURE THROUGH DRESS:
INDIVIDUAL AND COLLECTIVE IDENTITIES
Druing April 19-21, 2007; Featuring Some of the Country’s Leading Fashion Experts,
Analysts and Trendsetters; Fashion Shows
What they discussed:
Hofstra University, Hempstead, NY ... An editor of Vogue, the Curator-in-Charge
of the Costume Institute of the Metropolitan Museum of Art; one of the nation's leading bridal retailers and a host of television's
Full Frontal Fashion are among the participants in the Hofstra University conference Defining Culture Through
Dress: Individual and Collective Identities.
Fashion's impact on culture and society will be the focus of this April 19,
20 and 21 interdisciplinary event. There will be in-depth discussion of fashion in literature, religion, the mass media, ethnic
identity and how fashion influences self-image. Participating experts and scholars hail from the fields of sociology, psychology,
art, history, anthropology, communication, journalism and business, as well as fashion experts.
Highlights include:
Thursday, April 19:
Opening keynote address by Harold Koda, Curator-in-Charge, Costume Institute,
Metropolitan Museum of Art, New York, NY
Performance of an original show Fashion Statements!, conceived of and
directed by Bob Spiotto, Hofstra's artistic director of community arts programs.
Panels on "Men and Women of the Cloth"; "Middle Eastern and African Identities";
"Communicating Fashion"; "Fashion and a Sustainable Environment" with eco-fashion model and activist Summer Rayne Oakes; "Latin
American Identities"; "Fashion Dynamics and Brazilian Identity"; "Fashion and Image" with David Wolfe, a creative director
with Doneger Creative Services (Doneger is the leading source of global market trends and merchandising strategies to the
retail and fashion industry); and "The Arts and Literature."
Friday, April 20:
Panel on "The Influence of Movies on Fashion" featuring Marlaine Glicksman of
Vogue magazine and Deborah Landis of the Costume Designers Guild
Panel on HipHop fashion and a fashion show presented by Rocawear
Cocktail party at the Hofstra Museum to celebrate the opening of the exhibition
What We Wear
Banquet featuring address by James Aguiar, co-host of Full Frontal Fashion
Other panels include "Fashion Uniforms and Uniformity"; "European Women: Twentieth
Century Fashion Statements"; "Asian Identities"; and "The Gender? of Fashion."
Saturday, April 21:
A fashion show of Ladies' Church Hats, modeled by The Women's Ministry of Union
Baptist Church in Hempstead, NY
Bridal fashion show, sponsored by David's Bridal
Panels include "The Rich and Famous: Upperclass European Women's Fashions" with
Isabella Campagnol Fabretti, curator of the Rubelli Textile Collection in Venice, Italy; "Dress as Spatial Entities"; and
"Fashion Identities: American Experiences."
For a complete conference itinerary, for conference registration and fees and
for other information visit www.hofstra.edu/Culture
or call the Hofstra Cultural Center at (516) 463-5669.
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' _ _ _ _ _ _ ' Street Styles.
By Mr. Roger Meredith Christian.
In a close examination of the recent popularity sociocultural idiom interpolation dynamics of " _ _ _ _ _ Street Styles [ The ' _ _ _ _ _ ' space is where you place the city of
your choice. ] " has assumed an Intercommunal aspect which gives sufficient organized visual perception of cultural
focus which can be used to enhance InterCultural Communications through fashions.
The expressionalist tone in how photographers are making every effort to use this to depict what is being
seen on the streets of varied world wide communities have assisted for one to arrive at a focus of chief features of local
style dynamics. Hand in hand, as _ _ _ _ _ Street Styles are impacting both photograper, sylist, and the consumer
of their photos have pushed the expressionalist artistic values in the world of photography; the actual visual record
for later review and examination. The importance of the additional contribution made by the makeup artists - sylists
who modifys the look of the models being depicted has added to overall impressionalistic value of the fashions being displayed
in the final resulting photo.
All of this was essentially inspired by Tokyo Street Styles promotionals and very well staged photos by
some excellent Japanese promoters and designers of fashions. The created dominance of the Japanese in the proletarian,
and Students / Scholars Academia end of fashions world wide. This in conjucrtion with the Asian cultural inspired
near redrawing of designed dynamics of the upper end of fashions, those designs which starts at $10,000.00, manifested
the domination of Japanese fashions world wide - which still exists.
Then as the growing dynamics of the new European unified currency, the Euro, impacted European yourh
created the InterCommunal dynamic for a central European Youth InterCultural Community.. The purchasing power they had
as a result of the unified currency of the Euro saw massive increasing ticket sales at concerts, expansion of nightlife
entertainment and its associative growing diversity, rapid and more frequent InterEuropean travel, switching from hostle accommodations
to more substantial inns and hotels, and mosst of all what they were wearing. In the center of this culture are the
personal aspirations to be seen, heard, and at the sametime connected to a greater community. This allowed a greater freedom
of what one could actually wear, or not wear - as topless issues for females are growing - which they could not wear
decades earlier, even during the 70s. Thus from time to time you will even see a male wearing a dress who is actually
heterosexual. The new Euro-expectation and the central European InterCultural Youth Community was the banner in
which the InterCommunal aspect has been further established between those who are 30 and younger Euro-wide. Thus plus their
growing purchasing power, sought their own local idenities, and local popular fashions designers of the own peers.
This now directly competes with the Super Culture of Ameican Youth which saw its emergence during the lates
60s-though amount of dollars being spent indicates the American side still dominates world wide. What eveyone should, likewise,
beaware are the Chinese when their economic dynamics reaches the end of the present cycle.
Likewise, and with the addition of vintage clothing being used to accent what one is wearing here in America
and in Europe has further set the stage in how critical aspect of idealized commonalities are likewise impacting the styles
or fashions now being designed by this age peerage. Right now Paris Street Styles and following the internet promotional
plugs London Street Styles have all used the aspect of vintage clothing to accent. This is likewise happening in Madrid,
Milian, Sao Paulo, at times Tokyo, Melbourne, New York City, Los Angeles and more. However, Moscow is presenting itself
more towards Club Fashionings.- or higher end fashions representing the expectations of Russian youth and their future nationalistic
drives as well [ Yeh! Russian youth are not integrating, but in the overall sociocutural rebound from a decades of communism
are trying to make up for individual taste and nationalism which was more than painfully lost.].
As all this is going on, more dramatic evidence is started to come to view, and that _ _ _ _ _ Street Styles
is becoming, not only a common idiom visual perception which is world wide, but is creating more self-reflection of ones own
purpose.
Recently, set designs are now entering this picture and this means that set designers are becoming neccessary
professionals in fashions promotions. Thus when photographers, fashions houses, and even fashions reporters themselves hit
the streets, the need of how to present the fashion being promoted or reported needs the additional component of designed
sets and artistic settings as well. This is amassing more community municipal level cooperation and this is bring
people together to focus, and thus the InterCommunal aspects grows in further establishing the cultural power of _ _
_ _ _ Street Fashions and its local political importance.
This represents alot of energy and people who are highly active and trained, litterally emotionally excited,
in how they want their own time and era to be known in the future - represented in both the photos, video, and
media representation of '_ _ _ _ _' Street Fashions. So there will come a day in years hence in which they will
look back and see what was happening now and how their influence was a contributing force.
The cultural idiom / fashions icon of the 21 st Century is the evolution of _ _ _ _ _ Streets Styles.
Your fill in the _ _ _ _ _.
Looking at what is now going on I have no doubth they will have one very big smile on their,
till-then, aging faces.
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African Fashions and Designers Win World Acclaim
By Muguette Goufrani
 Africans are painting the world in a kaleidoscope of bold, vibrant color combinations
and dazzling patterns. The rich fabrics and virtually unlimited selection of turbans and other festive headgear, bright scarves,
colorful wraps, wearable art and elegant gowns that brightened our days and lit up our evenings in Morocco, Kenya, Ethiopia,
Nigeria, Cameroon, Cote d'Ivoire Uganda, Benin, Ghana, Zambia, South Africa, Tanzania, Guinea and other African destinations,
were simply outstanding. What's more, so were the creators. During the past decade as publishers, we've had the privilege
of meeting several of the brightest stars in Africa's fashion galaxy, and thanks to the magic of serendipity, more will surely
appear in the near future. As I've learned, in many African societies, the choice of colors and textiles has special significance
to the wearer. For example, hats often tell stories of everyday life, with its struggles, spiced by uplifting periods of joie
de vivre.
While I have lived and worked in various North and West
African ...continue on ,,,[ Web Site ]
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Abbas of Beirut:
A short note on who he is......
Once he finished his fashion studies in Esmod Paris, ABBAS
honed his skills with apprenticeships in the most famous and prestigious fashion houses in France. He won several competitions
for young creators before coming to Beirut where he devoted his time painting on clothes and textile.
In 2005 ABBAS
launched his own studio in Beirut to unveil his first collection haute couturespring-summer 2006
His great web site. |
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 New Fashions
Introduction: During this age of post feminism European Fashion designers are pushing the
envelope by introducing topless fashion designs on the leading fashion run ways in Paris, Milian, Madrid, and others. Moreover,
there is an opposite movement in the retros in which the thing is to out do the designers of the 40s and 50s. This
is in reaction of a growing shift in the nightlife in key Europan cities in which women are finding safer environments from
which to find personal release, and topless is gowing. In Paris, Berlin, Bonn, Caan, and Madrid free open tops of early 2004
have given way to mild see through topless causuals personally crafted. Moreover, increasingly at more and more plush parities
given by the Euro Dollar - New Rich, the topless look is growing. All reflect both growing safety women are now experiencing,
and the implications and self-realization of ones own rights personal taste and social fantasies. European designers who are
trying the catch up are still unknown. Increasingly, the binding of bra staps, and the constant irritations felt in sudden
body turns during social dancing, especially in the new moves provided by the Hip Hop culture is suddenly loss by the freedom
now being opted for. In one email, Rene Litz from Caan commented " That women covering their tops are really not natural
for a womyn's body. It was a condition impossed by males who feared women assuming power during the early development of European
civiliations which only sought her sexual exploitation. She has always questioned in her life ..Why the part that produced
milk for innocent children? ." With this in mind, a really discussion needs to be look at and properly reacted to.
The key factor of which is a result of the social movements developed by every University and College activist feminist group
who push the Take Back the Night Campaigns both and off their respected campus. Especially at the Unversity of Rochester's
Feminst's Coalitions, in which the success of this campaign during the 1970s triggered topless yearly demonstrations in downtown
Rochester to promote legislation in Albany to allow women who so chose can go topless-which was subsequently passed. There
is a proposal for a parade now being discussed. The one time increasing incidents of sexual assaults and rape closely
and academically examined in depth during the 70s and 80s have made a dramatic down turn since the late 90s. Howover, though
similar trends ocurred in Eruope, Anmerican women did not respond in the same manner as did the Europeans. All of which caused
the need to fully examine this aspect, especially the casual anxieties involved, in as much as style and fashions are outward
expressions of the social and cultural conditions which exist in ones time and era. The website Fashions Trendsetters / Trend Setters was specifically developed and put together to gain wider attention, and this forum is where the answers should be examined.
I once trought of developing my own forum, but instead I found this one which already existed. Now I am actively promoting
this forum through my Night Life ( NightLife ), RMC Internet Network. What should be looked at from my point of view
is simple this. Is the American nightlife coming up to par with the early feminist aspirations which created The Take
Back The Night campaigns of the 70s ? As per the course Introduction to Womyn Studies, State University College at
Buffalo, the resolve that a womyn's breast is not a sex object, why we still have this puritanical point of view while Europe
in increasingly rejecting this ? What are the clear implications to creative style features in American fashions once
some of the base issues become clearer? And more impportantly, which American city is going to take the first step ? All
the while this is going on why are retros assuming a permenant and at times growing marketing nitches? Seeming'ly only in
America. Lastly, in the past advant of AID's destroying the leadership of American fashions during the 1980 - 1990,
quess who is filling in the void, and where did they get their initial experiences ? Victoria Secret ? Wicked Fashions ? With
the once dominate Europeans now being over-shaddowed by Asian dominance, especially from Tokyo, and the growing power of MySpace.com
and other groups related groups and blogs, we are on the verge of new era of fashion who are smiliarly looking at these issues.
Post feminism is developing more diversity in lifestyles at the sametime. They plus other monitored internet groups, especially
those sponsored by MSN, and Yahoo for free clearly indicates a growing shift to what the Europeans are doing. In addition.
in every advocate rape and sexual program nation wide, " What a women wears is not any grounds for violation, or any question
concerning her integrity, but is solely her own right to do so." Anti - Rape Task Force, State University of New York at Buffalio,
University of Buffalo. These two elements are converging and is it how and when which the more serious discussions should
be focused. Also, and reports which are trace'able concerning this topic should likewise be added. Mr. Roger M. Christian
Fashions Information Resources
Block:
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From my various Internet groups.
Note: At first the emailed article, or point which is being made, will be first
posted in its entirity, and then, later, edited to make it shorter.
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I suppose that a deeper question underlying this exchange is that of the 'eroticization'
of the (uncovered) female breast. Going by the exquisite descriptions of Sanskrit poetry, they were certainly coveted by male
attention. Yet, as Radha underlines, they were largely exposed (not just by the peasant women...) all across the subcontinent
(and not just in 'primitive' Kerala). How does one reconcile these two realities in the context of prosaic everyday commerce?
I
suspect that it's not so different from from the ubiquitous (even more exaggerated? ) American experience of ogling at (and
gratuitously commenting on...) covered breasts and buttocks (nitambinî... ), and yet being able to chat professionally (and
diplomatically. ..) with women co-workers around the office water-cooler (under the cloud of being sued for sexual harassment..
.).
Thanks for the vivid and fine ethnography. ..should really submit a Ph.D. on the folklore and mores of the Malabar
coast!
Regards,
Sunthar
P.S. I'd request anyone wishing to carry this discussion further to (re-) read
our earlier dialogue on "The Politics of the female body"
P.P.S. I'm forwarding this post to our Jerusalem-Benares forum, because the observation
on Jewish women might be of interest to Nathan and Ellen.
From: Radhakrishna Warrier
Sent: Saturday, February 10, 2007 10:22 AM
To: Abhinavagupta@ yahoogroups.
com
Subject: Re: History of Indian clothing
<< Were there any rules/regulations with regard to Muslim/Syrian
Christian women and chatta? >>
I am not aware of any. The Syrian Christian ladies wore their 'mundu' in
a peculiar fashion with one end forming a fan behind. This big beautiful fan - vis'aRi or "hand fan" - adorned (the
equally beautiful) behinds of the ladies.
<< If the queen had no qualms receiving the Dutchman topless, what
could be a reason to cover up while going outside the home? >>
The covering up of the upper body, such as tying
the mula kaccha (breast cloth) and draping the uttareeyam around the upper body was a form of formal dress and not primarily
intended to cover any perceived nakedness. In informal settings the upper body was not thought necessary to be scrupulously
covered. The Dutch traveler perhaps was not considered a very important person for the queen to be in formal attire
while giving audience to him. In fact, ordinary Europeans were not given undue importance in those times, unlike a century
later when the British consolidated their power in India. Going to the temple, going to attend festivals, making social visits
etc were thought to be sufficiently important occasions to deserve a formal dress and hence the `covering up' while going
outside home.
<< Did this covering up while going outside develop after interaction with the Europeans? >>
Definitely
not. Long before the arrival of Europeans, Hindu 'upper' caste women used to tie the breast cloth and wear the uttareeyam
while going outside their homes. This formal attire is described in folk songs (such as `VaDakkan PaaTTu', "the northern
song" of north Kerala) and folk tales.
<< Were the Jewish women in Kerala also going topless?>>
There
were two kinds of Jews in Kerala – the `black' Jews and the `white' Jews. The black Jews came to Kerala well over
a thousand years ago. Perhaps they arrived in the first few centuries of the Common Era or even before. The black Jews
became indistinguishable from the local population in appearance and dress. So, it may be surmised that they went 'topless'
like the other women of Kerala before the arrival of the Europeans. The `white' Jews, on the contrary arrived much later,
perhaps in the 13th to 16th century CE timeframe, primarily from European countries. They did not fully `indigenize'
although they seem to have adopted Malayalam as their mother tongue. They are somewhat distinguishable from the local
population although they are not as `white' as an average European. These white Jews might not have fully adopted the
local dress.
<< Could toplessness have been an intermediary phenomenon (temporary insanity or sanity) given that
there is no reference (or is there?) to topless women in the Tamil literature? I can't imagine Kannagi topless :( >>
It
could not have been an intermediary phenomenon. And definitely not 'insanity' in a humid tropical land at a time when
there were no electric fans to provide artificial breeze on an almost continuous basis. I am not aware whether the old
Tamil literature provides any detailed description of the dress of the womenfolk (or menfolk) of the time or whether they
categorically state that women covered the upper body in informal situations. I have read that the poets (pANan, Sanskrit
'kavi') who sang eulogies in the courts of ancient Tamil kings were usually accompanied by their wives who went almost naked.
These wives danced in the courts scantily clad, perhaps performing the modern equivalent of strip tease but practically with
nothing much to strip as they were almost naked to begin with. Do the classics say anything about KaNNaki removing any piece
of clothing from her upper body to pull her left breast out when describing her twisting it and plucking it out of her chest
to throw it on the ground? I have no difficulty at all in imagining Kannaki bare breasted in informal or even formal
settings. In my own not so long lifetime, I have seen men working in the fields of Tamil Nadu wearing nothing but a 'kONakam' (a narrow strip of a loin cloth that just covers the
genitals) and women wearing no stitched upper garment but just a sari one end of which is supposed to go up and cover the
upper torso but practically leaving a good portion of the upper body exposed. It is a very sensible way of dressing,
especially when working in the hot plains of India. Elsewhere in India too, it seems to me that the most popular `dress'
of women was a single piece of cloth (call it `sari' or `chela' or whatever) that was wound around the lower body and one
end of it then thrown over the upper body to supposedly cover the breasts. Whether it did cover the breasts in informal situations
is a big question. If we go by old sculptures, the breast was hardly ever covered. Stitched garments were not
unknown, but they were most likely 'exotic' or at the most very formal attire not widely adopted by the common woman and generally
not for informal situations even for `fashionable' ladies of the time. I think it was only after the arrival of Muslims
that stitched garments became significantly popular among India's womenfolk.
I have to make a disclaimer now.
I have no references to cite on anything that I say. It is all guess work (which I would like to think of as based on
intelligent and insightful analysis :-)), based on my own observations and what I have read and understood. I am no
expert on the subject of ancient clothing. I am no historian either and things ancient do not fall in my primary area
of research (i.e., that which I do to make a living). But nevertheless, I am interested in and indeed fascinated by
things bygone.
Thanks and regards,
Radhakrishna Warrier
[In response to Kavi's post (Feb 4, 2007) at
http://groups. yahoo.com/ group/Abhinavagu pta/message/ 4080 ]
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The Fashion Bracket of sites.
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Night Life ( NightLife ), RMC Fashions Web Pages Network:
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Night Life ( NightLife ), RMC Fashions Web Pages Network:
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~ Cross Webbing ~
The combination of these speicalized webing arrangement of sites are to give focus, and a training manual
text in developing Intercultural Communications Internet Network, and the basis of its development, Cultural Democracy.
This adds a unique supportive feature in the additional developement of the Inter - Cities Cultural Communications Program
initiated by Mr. Roger M. Christian.
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InterCultural Communications Programs:
International International Communications: There a several aspects in shared human experiences, and the aspiration they contain which bond a people to a culture
and behavior. The ongoing process of development contained within this website sequencing of websites are to give bench
marks of what is entailed in various culture's and nation's experience.
InterCultrual Communications: There is a process in how to examine then promote basic features of the full cultural experience. This website
is an interactive education - orientation process which likewise enlist additonal information by each participant of there
own efforts of personal discoveries; thus will add them according to the value of the information being provided.
International InterCultural Communications and International Students / Scholars role finctions. Here within this WebSite footer you will see several links which are connected to the major website
with InterCultural Communications are it subject matter, as well as in its promotions within the Internet. This has
now proved to most effective, as you are now see thins as a result of earned google dot com rankings.
Classical Art Slide Show
News Sources Specifically extracted from various OnLine
sources,and solicitted Press Releases for use and development of The International and National Cultural Fiesta Movement .
Academia ~ International Students Scholars News:
Campus Network ~ International and National Cultural Fiesta Movement :
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