Browsing by Subject "pukeutuminen"
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(2016)The purpose was to study handmade underwear and their making in 2010's Finland. The study examined features of handmade underwear, which include the range of underwear types, the structure of underwear and the aesthetic style of underwear. The study also aimed to understand craft enthusiasts motivations for making underwear, both relating to underclothes themselves and to general values and attitudes. The theoretical viewpoints examined in the study were processes and meanings of making crafts, DIY-culture as well as styles, history and meanings of underwear. The research strategy was qualitative case study and it was based on data triangulation. Both the features of handmade underwear and the motivations for their making were examined with photographs and texts published in the Internet as well as qualitative questionnaire responses. The visual and textual data was collected from two sewing-related Facebook-groups and individual blogs and the data consisted of 65 photographs and 122 files that included text or both photographs and text. The questionnaire responses were collected using online questionnaire and the final data included 51 responses. The data was analyzed by using content analysis with theoretical approach and Atlas.ti 7.5.10 was used as a software tool in the analysis. Making underwear by hand could be seen as a small phenomenon among craft enthusiasts on the Internet. Underwear types examined in the study were bras and underpants for women, men and children. The structures and materials of the handmade underwear were mainly similar to industrially made ones. However there was more diversity in the aesthetic styles of the handmade underwear. The most frequent aesthetic styles were colorfulness, use of different types of printed fabrics, use of recycled and leftover materials as well as playful, joyful and humoristic expressive style. The most important motivations for making underwear were related to the clothes themselves, the most common reason being need for fit and comfort. Furthermore quality of the product and need for individual look were motivations that relate to the product. Motivations that relate to values and attitudes were economic benefit, ecological and ethical reasons, fulfilling craft enthusiasts lifestyle and aiming at self-sufficiency. The economic and ecological values were seen in utilization of leftover materials, which was a common motivation for making underwear. According to this study the making of handmade underwear appears to have influences of DIY-craft, which includes aspects of individuality, consumption and taking responsibility of one's own needs.
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(2016)Gender is usually seen as a binary system which is divided into men and women. It is defined socially and within a society, it can be seen especially in the ways we dress ourselves. We connect through clothes to the gender we feel as our own and the differences between genders are essentials in how we dress. Drag is a form of theater which was born in the gay community. It consists of forming an illusion of a gender other than one's own. Camp is essential to drag. It is a style which is formed of contradictions, exaggeration, theatricality and irony. Drag queens represent and make parody of stereotypical feminine behavior and the way women dress. The goal of the study is to investigate the way drag queens dress and how their dress is related to gender. How does femininity appear in the way drag queens dress? How do drag queens play with gender stereotypes and how it can be seen in the way they dress? The data of the study consisted of nine photographs of drag queens. I collected the photographs from the Instagram accounts of the drag queens. I analyzed the data with an aesthetic-semiotic model that was based on the aesthetic analysis model by Marilyn DeLong (1998). The model had three stages, which were 1) the observation of the pictures as wholes, 2) the separation of the wholes into visual parts and 3) the interpretation of the wholes. Drag queens based their appearance on typical feminine features which were often exaggerated. Their appearance was also contradictory and ironic. Drag queens used the stereotypical image of women in the way they dress but their characters were not based only on that. They use femininity as a tool for self-expression. Outfits that are assembled with care are based on creating an illusion in which drag queens use recognizable feminine elements.
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(2001)The objective of the study was to understand individuality in Muslim women's dress. The research problems were, how individuality forms and appears in their dress. To answer these questions interviews were made with nine Muslim women who live in Finland. The interviews were analysed with the phenomenologically oriented content analysis method. The research report proceeds in a dialogue between theory and the analysis. In this study individuality in dress was studied as a process. Factors affecting to this process were considered: the individual, the set of identities, personality, self, religion, culture and social relationships. An essential part of the process was searching for a positive experience of self. The experience meant intuitive self-identification and satisfaction with the mirror reflection for the women. Individuality was the result of searching for the positive experience of self-identification, because for each woman different kinds of dress gave a feeling of suitability for the self. For example, for some Muslim women head covering is a way to express the self. They experience this as the right way for the good Muslim woman. For others head covering can mean the loss of positive self experience. Individuality in dress appeared in various ways. Some women cover their whole body including their head in public. Some women do not cover their head and some dress even in tight and revealing clothes. There are also Muslim women who cover their faces, they are not included in this study. Individuality appears also within groups that dress similarly. Individuality appeared with different kind of clothes, hairstyles, make-up, choices, details and colour. However, individuality is not only the noticeable differences in dress, but how each Muslim woman belongs to this reality and expresses herself within dress. This means that in this study individuality in dress is seen in a way that many Finns would not consider as individuality.
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(2017)The purpose of this is to examine self-made wedding dresses in Finland in the 21st century. The aim is to study the meanings of wedding dresses and making for the brides who have made their wedding dresses themselves. In addition, the reasons for making and the self-made dresses are examined. The theoretical background of this study consisted of contemporary weddings, dress and bridal wear and the motivations for making crafts and DIY-projects. The study was conducted as a qualitative research. The data was collected as a web survey on craft and wedding themed Facebook groups, e-mailing lists and online forums. Along with answers to open questions, photos of self made wedding dresses were collected. 59 brides responded to the survey. In the final data there were 41 photos of 25 different wedding dresses. The data was analyzed using content analysis and Atlas.ti software. For most brides the wedding dress has specific worth which can be seen in the dreaming of a certain design, special effort put to the making and desire to keep the dress as a memory. Most of the brides chose a traditional white dress respecting the tradition but the colour white was also simply seen as the one and only colour of the wedding dress. Only a few of the brides considered white as a symbol of virginity even though the symbolism affected the choices of some brides. The reasons for making a wedding dress related to supply covered financial benefits, dissatisfaction to current fashion or quality, dress fit, availability and ecological and ethical values. The reasons related to one's identity link to a wish to be different from others and one's experience or profession as a craft maker. The meaning of making links to the meaning of the making process, for example, as mental preparation for the wedding and as an empowering experience. Self-made wedding dresses were also considered more valuable than ready made dresses which points out the value of crafts as well. In addition to financial choices, striving for individuality was emphasized in this study. The brides desired to express their personality in their wedding dresses but most of them did in the limits of tradition because they also wanted to conform to the norms. On the other hand, the clearly distinctive wedding dresses in this study point out the freedom of an individual not to follow the way of tradition.
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(2024)The aim of this thesis is to analyse, interpret, and describe the meanings of making a senior ball costume yourself. In addition, the motivation behind making their own costume instead of buying ready-made or tailored costume by someone else is being examined. The first part of the study describes, analyses, and specifies the types of senior ball costumes that are self-made. The second part of the study examines why dancers have made their costumes and what significance it holds for them. This research was conducted as a qualitative study using content analysis. The data for the study consisted of responses to an online survey, which were analysed using a data driven analysis method. The photographs from the online survey were analysed using a theory-directed analysis. Atlas.ti software was used to assist in the analysis. A total of 38 people responded to the online survey. The dataset consisted of 36 photographs of 25 different senior costumes. The senior dance costumes varied in colour, style, design, material, and details. In this study, all costumes were sewn, but other techniques including dyeing, embroidery, customization, and gluing were also used. The costumes aimed to express personality, old-fashioned aesthetic, recycling, and a departure from traditional appearances. The purpose of the senior costume can be divided into two categories: the product and the process of making. The costume as a product held emotional, aesthetic, expressive, supply-related, and functional meanings. It also held significance during the celebration. Wearing the dress during the celebration felt special for many of the dancers, as they had spent time and effort on the costume. Positive feedback about the costume increased the feelings of accomplishment in the seniors, and they felt proud of themselves. Some of the dancers had subsequent use for the costume after the senior ball, which indicates special attachment towards the self-made costume. For the dancers designing was a meaningful aspect of creating the costume and the whole process was educational. The process also involved emotional and social significance for dancers. The significance of the costume, as described by dancers, varied between individuals. For many dancers it was important to have a costume that felt personal and fitted well. For the participants of this study a self-made costume created more meaning than a ready-made or tailored costume. They valued handprint and it was desired to be displayed in the costume. According to the study, it is hard to find a ready-made old-fashioned costume, so the small group making their own costumes who are inspired by the past respect the original tradition of the event by wearing old-fashioned clothing.
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(2021)This is a research of the use and manufacture of Finland's various folk costumes and its related meanings. You can see folk costume in Finland rarely, although in many places people are still using them a lot. In dressing it is its own world to use the folk costume. The study had three research issues that were used to investigate the matter. Research issues investigated different meanings of folk costumes for their users and analyzed what the folk costumes means its user and manufacturer. The study analyzed what kind of things people can attach to use of the folk costumes. The study research what kind of role crafts had when people are making the folk costumes and whether handicrafts are needed in the manufacture of folk costume. At the beginning of the study, two theme interviews had been conducted to the people who are working with the folk costumes and based on these theme interviews, an internet-based questionnaire was prepared. The questionnaire was assigned to the target group in social media. In Facebook there are groups, with members of the people who are interested in folk costumes and many of them use folk costumes regularly. 78 people responded to the questionnaire. The study material was analyzed by a qualitative and quantitative method. Based on this investigation, it was found that the folk costume and its utilization played great importance to their users. Each user had its own meaning to the use of the folk costume, but in the investigation, the biggest importance rose to bringing their own family roots. The use of folk costume joined the user's identity, as its use is a very visible communication. In the study, it was clear that hobbies have a great role in the manufacture of folk costumes, as many defendants reported that they were a handicraft enthusiast but felt to be too novice to make a challenging folk costume for themselves.
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(2014)The study was conducted in 2013 and consists of diaries and interviews. A total of nine informants kept a diary for 12 months, in which they wrote all clothing and footwear purchases, prices, places of the purchase and the reasons of the purchase. Afterwards informants were interviewed by a stimulated recall method with help of diaries. The data of this study consists of informants' diaries and one-to-one interviews. Informants' purchases are presented in a tabular form by numbers of purchased pieces, separating impulse, demand-driven and discount purchases. The purpose of the diaries in this study was to find out what was purchased during one year, why and how much informants used money to buy clothing, and finally compare the results with similar studies of Statistics Finland. The most interesting finding was the average price of clothing, which varied between informants quite a lot. Informants made more impulse than demand-driven purchases, but most of the purchases were made on discount. Informants left un-recognized, whether the reason of a purchase was impulse or demand-driven if the product was on discount. However, with the notes of the diaries one can conclude that the discount purchases were often impulse purchases, which increases the percentage of impulse buying much larger. The aim of the interviews was to find out what is the criteria for successful purchase and how would a piece of clothing domesticate well. A transaction is an interesting subject of research, because buying combines both need and feeling. Purchase gives a short-term positive emotional feeling, which doesn't effect on the domestication of clothing. Product affection varies with personalities. Some appreciate the appearance of clothing and it is the most important criteria of buying. Others appreciate the quality or comfort. In this study, ease, versatility and quality were the most important factors increasing product affection.
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(2014)Thesis narrates a dressmaker's life in a small village called Itäkylä, located in Lappajärvi municipality in the late 1940s and in the early 1950s. This study is placed in the history of craft and craft culture. It is a narrative study; the literature and empiric data discusses with each other through the entire study. The aim was to understand the studied phenomenon, in this case the dressmaker's work and to describe and interpret it in the light of her time. How much the environment in which she grew up affected the dressmaker's career choice? What was Itäkylä's craft culture like during the Second World War and after it? What kind of craft traditions the dressmaker's childhood home offered and above all, what it was like to be a dressmaker in the 1940s and 1950s in a small rural village community? The perspective of this study is in micro-history and craft culture that surrounded the dressmaker. The study is a narrative and the empiric data consists of interviews with 83 years old informant. The aim was to collect her stories, and the transcribed data consists of sixty pages. The interview data was processed in a narrative way; a new story, the dressmaker's biography was created on the basis of it. The analysis is a data-oriented narrative content analysis. The data were divided in eight different themes, which reflected the study's chronology. During the dressmaker's childhood and youth, crafts were present in everyday life and they were associated with positive memories and encouragement. In the stories she told, the post-war countryside is coloured as a world that was dominated by women. Itäkylä was known for its linen fields. Crafts were villagers' daily life and an important economic activity. The dressmaker's work in the late 40s and early 50s seems to have been a busy but rewarding occupation, where the most stress was caused by the shortage of fabrics and materials. Due to the period of shortage, the dressmaker's ingenuity was under severe strain. She has, however, experienced herself as a self-confident seamstress. Patterns were not used in making clothes, which was typical in rural areas. The informant's home environment and surrounding craft culture seem to have been a good seedbed on her way to become a dressmaker.
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(2015)Dress and clothing have been studied a lot from the symbolic interaction perspective where dress is seen as a message. According to symbolic interactionism a person tells about him or herself and expresses the self through different identities. In this study, I ask how women express their self and identity through dress and what is other persons' role in women's expression of their dressing identity. In addition, I look for answers to the questions why women are preserving clothes they do not use and what kind of meanings they attach to these clothes. I used a combination of thematic and narrative interviews for collecting of data. I interviewed nine women between 19 and 64 years of age. In the course of the interviews, informants presented clothes they liked, clothes that were special for them and clothes that they had but which they no longer used. I coded the data with Atlas/ti program. I analyzed the data by using a theory dependent approach. Women express their self through various identities that are affected by social context. Women also define their identities by rejecting such ways of dressing that they think are uncharacteristic for themselves. They are careful not to reveal too much. They are also sensitive about overdressing and being labeled into a wrong age group. Women's dress is affected by an imaginary other person's look, an image of how other people see them. This is especially evident in work and formal dress. Women's favorite clothes made them feel comfortable, they felt that these clothes reflected their own style, and women believed that they looked good in wearing those clothes. Women preserved clothes that they did not use because they believed that they still one day would use them or they wanted to keep them as memories. The clothes kept as memories build up women's present day identity by disclosing what she had been before and reminding her of positive moments in the past.
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(2015)It has been a common image that Finnish adults dress casually, even yokel-like, influenced primarily other things by weather and sports, but there is no research-based evidence to support this conception. The focus of researches has been on women's clothing and qualitative methods. These were the reasons why I decided to study casual everyday clothing of Finnish adults in different contexts. I took into account comfortable clothing, and I studied definitions of and differences between comfortable and casual clothing. I also studied which environmental matters have an influence on everyday clothing of Finnish adults. I used the mixed methods approach, which integrates quantitative and qualitative research methods. I collected the data with an e-form survey. In the survey there were statements with the focus on quantitative data and open questions with the focus on qualitative data. I spread the survey on different channels of social media 24.2–10.3.2015. I got 521 replies, one of which was empty, so the final data consisted of 520 replies from all around Finland. To analyse the quantitative data, I used cross tabulation, correlation and regression analysis of SPSS-program. For the qualitative content analysis I used Atlas.ti-program. So-called yokel clothing is not mentioned among the respondents. The people who live outside the capital region dress in the same way as the people living inside it. Also the sex does not make a difference to how Finnish adults dress in general. Many of the respondents change their clothes when they come home. Their clothing at home is made of mainly flexible and soft materials, usually college fabric. They favour casual and comfortable clothing, but the definitions differentiate. Casual clothing is represented by the look of clothes, and comfortable clothing is associated to the feeling of clothes and to the moods they put a person into. The most popular dress combination among the respondents is jeans, a t-shirt and a knitted sweater or a cardigan. Thus the idea of Finnish windbreaker folks is a myth. Although there is a little margin of error in the results, they can be considered to cover the Finnish adults.
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(2015)Ethical questions concerning fur material have put fur garments in a contradictory position. This exceptional status makes fur garments an interesting theme for research. Based on the public debate it was assumed that there are strong attitudes both against and in favour of fur. The attitudes based on ethical values are specified in this research. Since clothing can be seen in a symbolic manner this study also explores the symbolic meanings of fur garments. The purpose of this study is to analyze how ethical attitudes affect on the meanings given to fur garments. This study draws its inspiration from the fur researches of Leena Alalääkkölä, conducted in 1987 and 1991. Nevertheless there are little research and literature available on fur in clothing. This means that the literature and research used in this study is mainly of clothing and consumer studies in general. The quantitative data was collected during spring 2015 using a web survey. The data (N=831) was oriented in young females and it was analyzed using statistical software SPSS 22. By computing K-means cluster analysis the data was divided into five groups based on respondents fur related ethical attitudes. The symbolic meanings given to fur garments by these groups were then analyzed by using Kruskal-Wallis and Mann-Whitney –tests. In addition to the quantitative data a qualitative data was formed of the comments written by the respondents. This was used to explain the results of the quantitative analyses. Attitude groups found in this study were named as very positive, somewhat positive, case-specific, very negative and extremely negative. The key factors defining the attitude were about fur farming, Finnish wild furs and recycled fur garments. The attitude towards fur affected meanings given to fur garments. People with positive attitude saw fur garments as diverse garments. Case-specific respondents did not have a strong opinion on the symbolic meaning of fur in general. Negative attitude provided an unfavourable view on fur garments and fur-users.
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(2020)This research is about the metal music subgenre, folk metal, which typically combines folk music influences with heavy metal music combined with lyrics based on folklore or native culture. The aim of this study is to find out what kind of folklore influences bands of this genre have in their cover art and promotional imagery. I pay special attention to the symbolism and dressing, which visually embodies folklore. The second aim is to find out how the images have been created. The visual side of metal and folk metal music provides an interesting area of research, which has so far remained limited. Craft science brings a new perspective and opportunities to study this subject matter. The research data includes the cover art and promotional images before the year 2020, as well as interviews with the Finnish folk metal bands: Ensiferum, Moonsorrow, Finntroll and Korpiklaani. The analysis was based on the product essence analysis by Marketta Luutonen (1997), giving methodological tools and structure for the study. Selected images were ana-lysed using a classification frame I developed, based on the image analysis of visual culture by Gillian Rose (2001). The interview data was analysed by qualitative content analysis. The results of the study indicate that the cover art and promotional images were unique, where the bands endeavoured to emphasise their roots and unique style. Nature-related themes were highlighted, such as the traditional Finnish landscape, forests, trees and animals. The images communicate the old times inspired by themes related to the Finnish heritage, mythology and historical themes. Heroic and warrior themes are also prevalent themes, with accessories including swords and shields, as well as traditional dress style of in promotional imagery. There are hints of the past in all the bands' dressing, but in recent years, the outfits have developed more modern nuances. The themes commonly used by the bands also serve as inspiration for the outfits. The role of handicrafts in the manufacture of clothing was relatively apparent. Bands wanted to bring out folklore themes in the images, but not all the bands felt it as important. Design, as well as an integrated ensemble of music, lyrics and visual materials, were important in how the bands conveyed their art.
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(2020)In this study I examined how descriptions of dressing in the Finnish girls’ literature, magazines and etiquette books written in 20the century has depicted the times they were written in, the current fashion and dress codes. I also studied how and by whom the girls’ dressing was controlled during the same time period. I analyzed how the personality of the character, her social status and attached group comes across from the clothes worn in the books. The data collected for my study consisted of descriptions of dressing included in the Finnish girls’ literature written during the 1920s, 1950s and 1980s. I have also studied articles written in relation to dressing in Finnish magazines Kotiliesi and Suomen Kuvalehti as well as etiquette books written during the same decades to bring wider context for dressing in Finland during the studied period. This study is a historical qualitative study. I have used qualitative data analysis as my method. Current fashion was not apparent in the pages of the books under study which is typical for the Finnish girls’ literature. However, the zeitgeist of the publishing time of the book could be inter-preted from the dressing descriptions. In addition, especially at the earliest decades studied, the dress code of the society was apparent both in the books and even more so in the magazines and etiquette books. How the girls’ dressed was not only controlled by internalized norms but also by their mothers. Girlhood, how to be a girl in Finnish society has been reproduced and dismantled in the dressing descriptions. Dressing is communication, also when the description of dressing is in the written format. Dress descriptions have been used to describe the personality of the character and also the changes or hopes that one has for a change in one. Social status is often readable in one’s appearance which is also true for the characters of the books studied. Dress is one way for a girl to become part of a certain group as well as to differentiate from it if wanted.
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(2014)Goals: Garment recycling, second-hand clothes and flea markets have been a topic of public conversation lately. Mass production and fast fashion have caused an increasing amount of textile waste. Flea markets are one way to recycle unwanted garments instead of putting them directly to landfill. According to my own observations, 20 years ago Finns' attitudes towards buying clothes from flea markets and wearing them was different than attitudes of today. The purpose of the study is to find answers to the following questions: what did people think about second-hand clothes in 1989 and what do they think about them in 2014. If there has been some kind of a change, why has it happened and what is it like? Study strategy and methods: In this study there were two sources of data. One source was a survey on flea markets from 1989 found from the archive of National Board of Antiquities. Here 94 of those answers of the survey were used. Other source of data were collected in 2014 with the e-form of the University of Helsinki and were spread on Facebook. 289 of those answers were used in the study. The data were analyzed with Qualitative content analysis. Outcomes and conclusions: Finnish people's thoughts of second-hand clothes were two-parted in 1989. Because of the recession during the Second World War and ten years after that, second hand-clothes were still connected to poverty in 1989. They were considered outmoded and were bought with shame. People wore them at home and didn't want to go out wearing them. On the other hand, flea markets were found fashionable and it was popular to go shopping there. In 2014 people's thoughts about second-hand clothes were mainly positive. However, because of the mass production there were more clothes also in flea markets. Second-hand clothes were thought to be trendy, individual and ecological. Poverty was not directly connected to second-hand clothes. Instead of shaming, people were proud of wearing them. Hence, attitudes towards second-hand clothes had turned considerably more positive from 1989 to 2014.
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(2017)The aim and the purpose of this design -based study was to develop craft education from the point of view of critical pedagogy. The study was based on finding theoretic perspective from critical pedagogy to craft education and then apply it to the practice in the topic of clothing culture and making of cloths. The reason and needs behind the developing process was the beginner teacher's own interest to find ways to create that kind of craft education which aims to develop people's critical consciousness about social and ecological phenomena that includes to the craft and specially to clothing. The design-based study is based on four phases. First phase was constructing of theoretical frame from the theoretical literature of craft education and critical pedagogy. Then, based on the theoretical conversation between both themes the point of views for the developing was determined. After that, the determined point of views were applied one step nearer to the practice and some kind of educational plan for the topic of clothing was created. Little part of the plan was tested in Helsingin normaalilyseo with the pupils on seventh degree. The last phase of the study was to reflect the practice in the light of used theories based on the notes and feedback made during it. Critical pedagogy offered something to develop both for the pedagogy and the content of craft education. The most important point of views for the pedagogy were dialogic, problem-based, multi-perspective and emansipatoric educational practices where the main issues are to advance people's experimental and autonomous subjectivity, own voice and socio-political consciousness. The main points of view to develop the contents of craft education are self-reflection with sociopolitical knowledge, ecosocial consciousness, critical consciousness toward capitalism and critical multiculturalism. The educational plan for the topic of clothing was made based on those previous issues. The main problems occurred during the practice were the lack of time and unexperienced teacher.
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