A Study on the Application of Elements of Ethnic Dress in Modern Fashion Design/ETUDES SUR L'APPLICATION DES ELEMENTS DE COSTUMES ETHNIQUES DANS LA MODE
Bibliographic record
Abstract
Abstract: The paper mainly analyzes importance of ethnic dress from perspective of application of ethnic costume's form and various features in modern fashion design to fully acknowledge that national costumes are inexhaustible source of inspiration for designing creation. Only by understanding, inheriting and enhancing essence of ethnic costume, we can transfer it into culture of modern fashion design, and gain enlightenment to integrate culture of traditional ethnic dress with that of modern fashion. Key words: National dress style; Fashion; Creation; Design patterns; Color relations; Structural characteristics; Local modeling Resume: Cet article a analyse principalement l'importance des costumes ethniques a travers la perspective de l'application de la form et de diverses caracteristiques de costumes ethniques dans la mode et a reconnu que les costumes nationales etaient la source inepuisable de l'inspiration pour la conception de la creation. Ce n'est que par la comprehension, l'heritage et l'amelioration de l'essence des costumes nationales que nous pouvons l'integrer dans la culture de la mode et combiner la culture des costumes ethniques avec celle de la mode. Mots-Cles: Style de costumes nationales; Creation; Design pattern; Relations des couleurs; Caracteristiques structurales; Modelisation locale With advance of digital age and fast speed of communication, human is moving towards a brand new time in which gap between cultural differences is narrowing down. People's values are more in line with each other and fashion, like a cold, quickly spreads throughout whole world. However, there is also opposite power in this trend. That is to say, it is due to integration that people can recognize cultural differences more clearly, and at same time respect and cherish differences. This is consensus of mankind in a new era, and also a new starting point for re-studying local culture. From a global perspective, performance on ethnic style of clothing has always been prevalent since 1970s. People have explored new design methods and put them into practice. They create new design style, enlightened from historical, ethnic and natural inspiration. This has fully demonstrated people's desire to return to nature, spirit of getting back to basics and necessary respect for history and attention to awakening of consciousness of cultural heritage. Especially since 1990's, with increasing awareness of environmental and cultural ecological protection, subject on ethnic style has been repeatedly performed by many designers, such as Oriental Subject (China, India, Japan, Arab, etc.); European subject (traditional folk costumes of Nordic and Eastern European); South America topic (Indiana, Mexico, etc.); Africa subject and so on. Ethnic style of dress is also beginning to be widely accepted, and occupy market. It is well known that development of China is not synchronized as that of world before 1980s because of historical reasons. Since 1980's, as people started to pursue the Westernization, suit became fashionable for a long time. People felt excited and also puzzled in such a dazzling costume world, and had to follow. Everything of ethnic has become recognized as conservative and outdated. So until 1990's, people began to reflect deeply and study real reason for success of fashion as well as failure. During this period, there is also discussion about nationalization, but most are staying at theoretical stage. It lasts only few years that national style became truly fashionable and widely accepted by numbers of consumers. Especially in years of 1999 and 2000, ethnic style became mainstream of fashion. Clear imprint of ethnic style, such as embroidery designs, delicate lace, and bright color is marked on almost any type of clothing, such as fashion, casual wear, denim clothing and many with accessories, such as bags, shoes, scarves and hats, etc. …
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.001 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.001 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.000 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".