2. Introduction
◦ Originally, there were specific dress codes for both genders
◦ Women could not wear pants before the 1850s
◦ In 20th century, sportswear replaced traditional attires
◦ By 1873, only men wore jeans
◦ Female jeans introduced in 1934
3. Literature and
Dress Styles
The 20th century marked
the era of historical
changes for gendered
dresses
Various dress styles had
specific cultural meanings
By the 1950s, men and
women were displayed in
arts as separate through
dress codes
4. How Literature has Changed Gendered
Dress Styles
◦ Women have been more engaged in fashion code than
men.
◦ Literature promoted women to use men’s attires
◦ There have been more options for dress code in literature
codes
◦ Beauty rituals, filmmakers, and authors have enhanced the
cultural changes.
5. Urban bourgeois led to
more cross-gendered
clothing’s
Introduction of body
supplements influenced
women to wear more
clothing
Dress styles traditionally
depicted social rank and
age in the society
6. Literature and intra-societal and cross-
cultural context
◦ Arts and literature content like films
promote cross-cultural context dress
styles
◦ Clothing is less affected by social
construction
◦ Men began to wear the same clothes
as women in the 20th century.
7. Christianity and Dress Styles
◦ Catholicism controls a large part of the
fashion industry among Christians
◦ Traditionally, it had gendered-specific
designs
◦ Recently, Catholicism has agreed on cross-
gender clothing for trousers, shirts, etc.,
◦ However, other denominations could have
different views
8. Muslim Community and Gendered
Dress Styles
◦ Muslims often use standardized dresses that hide their figures
◦ The dresses are not adjustable to an individual’s body shape
◦ Most of the the current men’s and women’s Muslim dress is traditional
◦ The young generation is adopting the same dress styles for both
gender
9. Religion and Dress Styles in China
◦ Fashion is different from the design
◦ A minority of the population are religious
◦ Cross-gendered clothes are used at a higher rate in China due to this.
◦ Most believe in modernism that sharply deviates from the traditional
clothing designs for both genders.
◦ Women and men share most clothes i.e., fewer restrictions.
10. Religion,
Tradition and
Fashion
◦ Tradition-adopting ancient dress styles of the 18th
century downwards
◦ Fashion-adapting new dress styles
◦ Ancient dress styles differentiate between men’s and
women’s clothing
◦ Fashion aligns with modernism implying fewer
differences in dress styles
11. Intersection of Literature and Religion
on Dress Styles
◦ The disciplines of religion and literature have both influenced dress
styles
◦ Religions have their policies for both genders to follow
◦ Christianity, Muslims, Hindus, and others differ in these policies
◦ Literature influences dress styles through films, books, magazines,
article, designs, etc
◦ Literature has promoted modernism into dress styles
◦ Religion is hesitant and majorly supports conservatism
12. Future Anticipations of this Cultural
Trend
◦ Women could continue to wear men’s clothes.
◦ Modernism is likely to surpass conservatism
◦ The influence of religion in gendered dress styles is
becoming demeaning to more people
13. Conclusion
◦ Dress styles can manifest one’s social class in the society
◦ This was mostly true in the 17th to 19th century.
◦ The growth of literature influence has drastically changed this view
◦ Religious dress codes has lost some of their influence
◦ Cultures and societies differ in gendered dress styles because of;
Extent of literature adoption
How religious a county is
14. References
Arnold, K. (2016). Fashion and Self-Fashioning: Clothing Regulation in Renaissance Europe. https://soundideas.pugetsound.edu/summer_research/93/
Finnane, A. (2016). What should Chinese women wear?: A national problem. Modern China, 22(2), 99-131. https://www.jstor.org/stable/189339
Pendergast, S., Pendergast, T., & Hermsen, S. (2013). Fashion, costume, and culture. UXL [Imprint].
https://www.cuttersguide.com/pdf/Misc/Fashion,%20costume,%20and%20culture%20clothing,%20headwear,%20body%20decorations,%20and%2
0footwear%20through%20the%20ages%20by%20Sara%20Pendergast,%20Tom%20Pendergast,%20Sarah%20Hermsen%20VOLUME%203.pdf
Rissman, R. (2015). History of Fashion. ABDO.
https://books.google.com/books?hl=en&lr=&id=nKXRBQAAQBAJ&oi=fnd&pg=PP1&dq=history+of+fashion+earrings+for+men+and+women&
ots=BN45Tqiyq7&sig=jKm-dxxG8BgRChP2GXck3Pleiic
Snodgrass, M. E. (2015). World clothing and fashion: An encyclopedia of history, culture, and social influence. Routledge.
https://books.google.com/books?hl=en&lr=&id=gO9nBwAAQBAJ&oi=fnd&pg=PP1&dq=history+of+fashion+earrings+for+men+and+women&o
ts=bH9P-OucA9&sig=HVzgQEDJ7xmJzp4SUfIVbk2tBMg
Editor's Notes
According to Arnold (2016), it was not until the 1850s that women were allowed to wear trousers. Alternative dress types like sportswear did not begin to displace conventional formal apparel until the early twentieth century. Thanks to fashion designer Coco Chanel, women's pants became increasingly acceptable and fashionable in the early 20th century. It took well over a generation for the negative connotations associated with women wearing trousers to fade dramatically. In 1993, Senator Barbara Mikulski was the first female to sit in the U.S. Senate chamber while wearing trousers (Arnold, 2016). Another issue concerning gender bias in the clothing code is blue jeans. Although male laborers have been authorized to wear jeans since 1873, it was not until 1934 that a pair of women's pants was launched (Arnold, 2016). Other historical instances of gender-based prejudice in clothing regulations exist, but the campaign for fashion equality has gained traction in the last several decades.
It is possible to better understand the changing social implications of clothing and its link to gender via an investigation of Western men's and women's clothes in the twentieth century. To maintain their masculinity during the 1950s, men wore geometric designs, neutral and muted color palettes, bifurcated lower-body clothes, natural but not tight shapes, durable materials, shoes, and uncomplicated grooming of the face/hair/skin. An emphasis on effort and successes in social, financial, and political arenas rather than fashion trends made this "code" a good fit (Finnane, 2016). Physical exertion was not hindered by the attire (apart from the ties). Spindler believes that males may dress to hide portions of their individuality due to this uniformity and conformity, which isn't necessarily the case for women (Finnane, 2016). Men's work attire has long been associated with a demonstration of dominance made possible by the uniformity of the clothing. Restricting individuals from expressing their thoughts and interests and pushing them to speak for the group as a whole is one of the benefits of uniforms, a researcher in organizational behaviour. When guys are given a chance to relax on "casual Fridays," they tend to wear a Gap or Levi's shirt and khaki trousers to comply. A person's devotion to a job and a profession is a sign of privilege in the post-industrial world since it gives them time for economic and political power (Finnane, 2016). According to a recent study, women in the 1980s dressed conservatively to signal their desire to rise in the ranks of the corporate world.
In the past, women's dress codes have been more complex, allowing them to wear more of what males wore and a whole lot more. On the other hand, women may be seen in both pants and skirts, but males are almost usually seen in slacks. They are spoiled for choice regarding fabric, color, pattern, and shape. Women have also worn corsets, tighter or flowy skirts, or high heels to limit mobility. Although recent surveys show that men are catching up to women in their general concern with their looks, women have historically been more immersed than most men focusing on beauty routines, like fashion, hair, weight management, and cosmetics.
Throughout the early twentieth century, Finnane (2016) and others recognized that women without titles or social rank were denied entrance to commerce, politics, and government because of the emergence of the urban bourgeoisie. Clothing, home design, and other retail activities indicated their rise in status. The layering of body additives may be a sign of a complex gender code in different cultures and a sign of social standing. The majority of married Indian women, for example, wear a bangle bracelet across their whole wrists. The bracelet a woman wears, like the glasses, gold, and ivory, signifies her social status and suitable gendered clothing.
Men's and women's "codes" have recently been investigated inside and across cultures. It was found that applying visual analysis of clothes to study gender construction may be useful in this study. Researchers observed links between culturally imposed gender norms and aesthetic preferences in three separate studies (Pendergast et al., 2013). New Year's Eve dresses worn by Hmong American women were either a nod to tradition or an expression of their openness to new ideas, according to Lynch's findings. Pendergast et al. (2013) determined that the Kalabari women's societies of Nigeria's traditional women's societies were tied to cultural notions of beauty.
Religion has as big a presence in the fashion business as does Coco Chanel, from humble church clothes to the couture runway. For example, in the case of the Met Gala, the yearly subject is chosen by a Catholic who has mostly avoided the limelight (Pendergast et al., 2013). He believes that the images and notions of paradise and church interiors and religious orders inspire fashion. Catholic designers like Balenciaga's Christian Balenciaga, have said that being engrossed in Catholicism was exactly what inspired them to begin their careers in fashion design in the first place, even though some of their designs may appear to be more provocative than angelic.
Fashion is not only influenced by Christianity but by other religions as well. Since culture and religion are intimately intertwined, separating them may not be easy. Several designers have drawn inspiration from Muslim women's clothes, which conceal their bodies rather than highlight them when it comes to fashion. According to the Huffington Post, it is not unlike the old traditional English days of fashion, when the dress' body played a greater part than that of the lady.
Embroidery has reached new heights with the growth of Muslim attire since it imparts a refined look and adds exquisite components to its designs. With a market value of $96 billion, it continues to develop, overcoming the negative perceptions of Islam and increasing in numbers. There are just too many young and fashionable people for it to not be popular. Muslim social media stars have also contributed to the emergence of Muslim fashion by dispelling the myth that you cannot be trendy and devout at the same time (Rissman, 2015). With the help of fashion, they can soar above and have better access to commercial prospects. With more than a third of the world's population identifying as Muslim, including traditionalist Indonesians, progressive Londoners, and affluent Arabians, this is a successful business. Western philosophy and a group of young people who are not hesitant to question or challenge traditional standards are especially prevalent in 2019 (Rissman, 2015).
Reflecting on creative inspiration from the surrounding has always been a part of fashion's process of growth and evolution, sometimes dating back decades or even millennia. Despite its absence since the Qing period, when it was last seen hundreds of years ago, the Chinese martial art of Hanfu, for example, is making a resurgence in contemporary China (Finnane, 2016). As a result, opponents have criticized it for being insensitive to the various ethnic groups who share China (Rissman, 2015). Fifty-five additional ethnic groups make up the remaining 8 percent of the country's population, but only 92 percent of the country's population is Hans. Other ethnic groups fear that the Hanfu will repress the other 8% of the population, with its unique customs and distinctive clothes that set it apart from the Hans (Rissman, 2015). Even though the sector is not the largest, it's $154 million in revenue shows that it has just lately come to light. In China, where it is seen as a political movement rather than a fringe phenomenon, it is causing a stir. When the Manchurians conquered China, Han people were forced to give up their attire as a part of their identity and culture (Finnane, 2016). A patriotic act of defiance, its revival is now viewed as such.
When a religion employs clothing to reinforce tradition, it is often perceived as a counterpoint to the ever-changing nature of fashion. As established religions tend to reject trends to concentrate on personality rather than salvation, religious garb will evolve slowly. People's clothing choices have an influence on the world around them. Many individuals utilize fashion as a means of self-expression since it is a type of self-expression itself. In 2016, Hilary Clinton's supporters wore pantsuits to the polls as a sign of solidarity with feminists and a protest against sexism. Women and men alike wore the presidential candidate's go-to uniform, the trousers, in favor of equal rights since they have long been considered "men's" apparel. Since the beginning of time, this kind of fashion exhibition has been used as a technique to demonstrate to everyone that they may be part of a group. A cooperative effort is often employed to draw attention to a long-term issue in society. Fashion businesses have been known to reimagine famous looks and give them a fresh spin to appeal to a wider audience.
Religions use dress regulations to establish morality and modesty in the public eye while also subtly influencing sexual behavior. Fashion and literature may influence and inspire each other, providing shape and structure. Personality may be found in both literature and fashion. Both are quite similar if you think about it. Fashion was first introduced in 1826. It is widely accepted that Charles Frederick Worth was the world's first fashion designer, working between 1826 and 1895. In the past and current times, religion has shaped dress styles for different genders through regulations and policies given to believers. Muslims, Christians, Hindus, among others, have restrictions on how men/boys or women/girls should dress. Therefore, religious people have continuously followed the guidelines as established by their doctrines. For example, among Christians, women should not cross dress in men's clothes, nor should men cross dress in women’s clothes (Snodgrass, 2015). Among Muslims, they are compelled to wear veils. However, in both cases, some individuals have submitted to the literature calls, which draws little difference between women’s and men’s clothing.
Clothing serves as a visual representation of what a culture values at a particular time. A person's rights, responsibilities, or obligations cannot be inferred from their clothing symbol and should not be used to make snap judgments about someone's character. With the influence that both religion and literature continue to play in which type of clothing women and men use, it can only be anticipated that some religious individuals will stick to the traditional dress styles supported by most religious principles. In societies like China, however, where the influence of religion is not as common, more individuals will shift towards the new dress styles of the modern era, which are majorly pushed by the advancements in literature works (Snodgrass, 2015). The effect of continued exposure to literature elements, including films, magazines, books, articles, and digital sites, can only be regulated by strong religious practices and rules. But with the high division among churches, some will retain the traditional styles while others will adopt the new clothing styles that are more universal between men and women.
In order to properly persuade an audience that a performer's gender presentation is legitimate, it is evident that gender as a sociocultural construction requires the necessary props. Gender socialization, culturally acceptable behaviour, clothing norms, historical viewpoints on dress and gender, dressing portions of one's self, social opposition, and gender markers all play a role in how we dress. In general, women throughout the world are more likely than males to identify with a particular religious belief system. The studies first metric is religious affiliation, or whether or not individuals identify as members of a certain religion. It is estimated that 83.4 percent of women throughout the globe are members of a religious organization, which is somewhat higher than the 79% who identify as Christian, according to the Pew Research Center. As of 2010, there were about 97 million more women than males worldwide who identified as religious, a difference of 3.5 percentage points. At least 61 of the 192 nations studied show that women are at least 2 percent more likely than males to be affiliated. In the rest of the world, women and men are religiously equally represented since practically everyone belongs to some kind of religious organization. There were no countries where males were more religiously attached than women by more than a two-point margin. As a result, males have traditionally had a higher rate of wardrobe rotation than women. However, the less religious generations in recent societies have also led to a merger of clothes for men and women in many aspects. Today, there are more universal clothes for men and women, than they were in the past because the belief in faith has deteriorated with time since two to three centuries ago. Besides, literature has played an important role in promoting what is expected of men and women in terms of dress codes. Through films, books, and articles, the portrayed images of men and women have formed how society dresses since the origin of literature. The only difference that determines the level of how change is perceived is in the religious acceptance across societies and cultures. More religious societies are less likely to adopt what is presented in the literature as modern dress styles which entirely contrast what originally existed. Nevertheless, these two disciplines have had and continue to impose an immense contribution towards the dress styles of men and women.
