Abstract: The purpose of this study is to develop a concept in designing urban-wisdom-oriented contemporary Karawo clothing for teenagers. This qualitative research employed methods, such as observation, interview, and literature review in collecting the data. Furthermore, the data were analysed in some steps, e.g., data reduction, data display, and summing up the conclusion. This study emphasises on: 1) The Karawo motif, 2) Symbol or icon of the urban culture, 3) Teenagers clothing. The results of identification and analysis reveal that: 1) the present Karawo motif is from the shape of flower, geometric, fish, ship, symbols or logos; 2) the symbols or the icon of urban culture represents value, such as i) craving for glamorous lifestyle, and …show more content…
People in Gorontalo rarely used the word since they usually address the Karawo products with “Karawo embroidery”. However, the word Karawo became widely used again in 2011 in which the first Karawo Festival was held. Karawo refers to a technique in creating ornaments on a fabric by cutting, removing, and embroidering it; this requires a skilful hand skill (Sudana, 2014, p.89).
Sudana and Hasdiana, (2009, p.51) argue that the uniqueness of Karawo lies on the techniques, which are quite different than other embroideries, instead of the motif of the ornaments of a Karawo. In other words, it is possible to develop the motif of Karawo ornaments. Through this research, it is possible to create the modern urban-culture-oriented motifs by applying Karawo embroidery techniques on fabrics. Moreover, this is also to invent various Karawo fashion.
By that, the Karawo product of this study refers to the motifs of the ornament which holds a potential to further develop it since the current ones look old-school and formal; also, such designs are not teen’s favourite.
Studies on Urban Culture and Contemporary
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This study was conducted in some Karawo entrepreneurship, boutiques, and teen clothing stores within Gorontalo. The data were collected through 1) observation, which aims at collecting the data regarding the information of the present motifs of Karawo and the characteristics of teenage fashion.2) interview, this is to clarify the motifs of Karawo. The interview was conducted with the reliable informant, e.g., Karawo designers, artisans, and entrepreneurs. 3) Reviewing literature was to obtain secondary data, specifically the data regarding contemporary fashion and urban culture. This was obtained from scientific journals, books, magazines, and other relevant literature. The data were further analysed qualitatively by employing interactive analysis technique based on the Huberman and Milles analysis (Sugiyono, 2010, p.246-253). This consists of steps, such as 1) data reduction, compiling relevant data and discarding irrelevant ones; 2) data categorisation, grouping the data according to the focus of each problem; 3) data display, arranging and displaying the data in chronological order to construct an understandable structure of the data; 4) summing up the
Along with the medium used to create each is the method behind crafting them. The Spirit of Haida Gwaii started as a clay model, then the plaster cast was made, and it subsequently was cast in bronze (“The Spirit”). This is an extremely large process requiring complex machinery and more modern sculpting techniques. The Chilkat blankets, in comparison, were crafted quite differently. The men of the tribe were in charge of gathering the materials and manufacturing the loom and the women were the weavers.
How well Wes Moore describes the culture of the streets, and particularly disenfranchised adolescents that resort to violence, is extraordinary considering the unbiased perspective Moore gives. Amid Moore’s book one primary theme is street culture. Particularly Moore describes the street culture in two cities, which are Baltimore and the Bronx. In Baltimore city the climate and atmosphere, of high dropout rates, high unemployment and poor public infrastructure creates a perfect trifecta for gang violence to occur. Due to what was stated above, lower income adolescent residents in Baltimore are forced to resort to crime and drugs as a scapegoat of their missed opportunities.
Mary Jane’s putting down of roots has allowed her living room to warehouse some 2000 bolts of fabric. Mary Jane inexhaustible energy and drive are evident in her 155 traveling days for shows all around the country. “It’s part of my Norwegian upbringing,” she says, “I am genetically inclined to be a hard worker.” Several years ago, Lisa Loessel, Design Director, for Henry Glass & Co., Inc. approached Mary Jane Carey at the fall Quilt Market. Lisa was keen to Mary Jane’s design style, her knack for color and merchandising sensibilities.
Fundamentals of Fashion And Their Reflection In “The Next Black” Aaliya Gujral Unquestionably clothes are a prominent part of our lives. They help us express who we are and often represent our sex, occupation, age and social standing. Clothing has been used by humans for thousands of years, and comes in a variety of forms. It has evolved throughout the course of history to include more fabrics, patterns, styles and designs.
The knots on the lower level of each string represented the number 1, w hile the knots that were placed in a higher level represented tens, hundreds, thousands and etc. The recording and accounting of the economic output by the khipu which utilized knots as a symbolic representation for calculation differentiated from other ancient societies who utilized tools of paints or flat surfaces as a method of writing
One of the objectives of the volume is the idea that successful fashion is outside Europe and North America, but for the rest of the world they are just a recent phenomenon of globalization and imitation. Jansen in her book, ”Modern Fashion Traditions” concerned the development of three areas over the Crouse of a century; focusing on the cultural, social, economic changes that shift the way in which fashion production has received. The first generation of fashion designers, working in the 1960-80s including Zhor Sebti, Tamy Tazi and Naima Bennis, emerged from a class of Moroccan designers who lead the revolution of Moroccan fashion. Those designers want to show that woman can be Moroccan and modern simultaneously. They reinvent the design of Moroccan Caftan, they try to make it more prevalent and fashioned.
Kimonos have not limited themselves to Japan or even just Asia and the East, but have ventured out towards influencing the West as well. At first people from the West didn’t think too highly of kimonos and considered them as not much different then bathrobes. However, a European artist named James Tissot focused less on the kimono’s function and more in on the designs, materials, and silhouettes of them. Through his work Japan’s exotic nature became known to others.
All roofs have flowing lines and elegant cornices, each corner of the roof has a number of statues, depending on how many people live there or, depending on the destination, only the number 9 is not touch, as is the number of the Emperor but the main problem figurines represent the evolution of the nails or something similar to the stability of the cornice in windy weather. The architect came up with a universal form, on the one hand to create a mythical atmosphere, on the other practicality and functionality, it is their practical role in ancient Chinese architecture. ( Beijing Attraction – Forbidden City – Beijing Palace Museum. Tai Yan Zhang .2012) Now let 's look at the structure and aesthetic qualities of forms of the Forbidden City,individually.
Jewelry is a universal form of adornment that has been around for thousands of years. Thanks to archeological evidence and ancient scholarly reports, jewelry and its purpose has been thoroughly studied. In North Africa, for example, prehistoric shells have been found with obviously man made perforations through the center, and it is estimated that they could date from as far back as 82,000 years ago. Throughout history, the act of wearing jewelry enables the wearer to express him or herself non-verbally, to showcase wealth, rank, political and religious affiliation or affections toward someone. Regardless of the gender of the wearer, these non-verbal expressions are easily understood.
The globalization process has lead to shorten of this production cycle across the entire fashion industry to just two weeks. The “on-trend” clothes that were at one point of time only available to thin rich urban fashionistas are now available to a wider audience at a lesser and more affordable price. Death rate of fashion has increased as a result of the changes in the lifestyle and the society. The society has become more accessible and people are now looking for a change. And this change was marked by the introduction of “Fast Fashion”.
Fashion can find expression and be coded by materially and visually in forms of color, shape, texture and branding, and must be created and spread inside cultural fields combining local and global systems. Fashion is not just a social practice concerning clothing and address. It is more of an expressive sensibility favoring novelty and individuality, which energizes facets of both monetary production and personal consumption.
Annotated Bibliography Heaphy, Linda. " Kashgar Tribal Artifacts - Life for the Modern Nomad |Handmade Jewellery, Ethnic Handicrafts, Antique Furniture. " Life in India: The Practice of Sati or Widow Burning -. 2009. Web. 20 Apr. 2016.
Luxe materials, brocade, exaggerated silhouettes, lace. Etc.
This method also refers to the major component of understanding the qualitative aspects of data that has been assimilated for analysis and can give a better understanding of the facts when analyzed
Frame of reference on aesthetic is different from ones’ eye to another. In this article, the author, Mads Nygaard Folkmann, try to define his own perceptions towards the word Aesthetic by having the comparison between two philosophers, Merleau-Ponty and Gernot Bohme, and the different approach on aesthetic like Panton and Campbell. The author believes that aesthetic relates to design is by the function that it provides rather than how pleasing the item looks like. He argues that traditional art is more into individualism in a way that when an artist paint his own framework, the artwork can only be appreciate by himself and his own emotion. As for modern design, the author argues that modern design should focus more on serving the purpose