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Ton a global scale and is considered a cultural superpower

he United States exerts major cultural influence


Making clothing

Clothing industry,

knitting, and weaving

Several distinct human cultures,

including those residing in the Arctic Circle,

have historically crafted their garments exclusively

from treated and adorned animal furs and skins.


In contrast, numerous other societies

have complemented or substituted leather and skins

with textiles

woven, knitted,

or twined from a diverse array of animal

and plant fibers,

such as wool, linen, cotton, silk, hemp, and ramie.


Hindu

lady wearing

sari

, one of the most ancient and popular pieces of clothing

in the Indian subcontinent,

Although modern consumers

may take the production of clothing

for granted, making fabric by hand is a tedious and labor-intensive process involving fiber making, spinning,

and weaving.

The textile industry

was the first to be mechanized – with the powered loom – during the Industrial Revolution.

Different cultures

have evolved various ways of creating clothes

out of cloth.

One approach involves draping the cloth.

Many people wore, and still wear, garments consisting

of rectangles of cloth wrapped to fit – for example,

the dhoti for men and the sari for women in the Indian subcontinent,

the Scottish kilt, and the Javanese sarong.

The clothes may be tied up (dhoti and sari) or implement pins or belts to hold the garments in place (kilt and sarong).

The cloth remains uncut, and people of various sizes can wear the garment.

Another approach involves measuring, cutting, and sewing

the cloth by hand or with a sewing machine.

Clothing can be cut from a sewing pattern and adjusted

by a tailor to the wearer's measurements.

An adjustable sewing mannequin or dress form is used

to create form-fitting clothing.

If the fabric is expensive,

the tailor tries to use every bit of the cloth

rectangle in constructing

the clothing; perhaps cutting triangular pieces

from one corner of the cloth,

and adding them elsewhere as gussets.

Traditional European patterns

for shirts and chemises take this approach.

These remnants can also be reused to make patchwork pockets, hats, vests, and skirts.

Modern European fashion

treats cloth much less conservatively,

typically cutting in such a way as to leave various odd-shaped cloth remnants.

Industrial sewing operations

sell these as waste;

domestic sewers may turn them into quilts.


In the thousands of years

that humans have been making clothing,

they have created an astonishing array of styles,

many of which have been reconstructed from

surviving garments, photographs, paintings,

mosaics, etc.,

as well as from written descriptions.

Costume history can inspire current fashion designers,

as well as costumiers for plays, films, television,

and historical reenactment.


Clothing as comfort

A young woman wearing

t-shirt and shorts

at the warm summer

in Åland

Comfort is related to various perceptions,

physiological, social, and psychological needs,

and after food,

it is clothing that satisfies these comfort needs.

Clothing provides aesthetic,

tactile, thermal, moisture, and pressure comfort.

Aesthetic comfort Visual perception is influenced

by color, fabric construction,

style, garment fit, fashion compatibility,

and finish of clothing material.

Aesthetic comfort is necessary for psychological

and social comfort.

Thermoregulation

and thermophysiological comfort

Thermophysiological

comfort is the capacity of the clothing material

that makes the balance of moisture and heat

between the body and the environment.

It is a property of textile materials that creates

ease by maintaining moisture and thermal levels

in a human's resting and active states.

The selection of textile material significantly affects

the comfort of the wearer.

Different textile fibers have unique properties

that make them suitable for use in various environments. Natural fibers are breathable and absorb moisture,

and synthetic fibers are hydrophobic;

they repel moisture and do not allow air to pass.

:: Different environments demand a diverse selection

of clothing materials.

Hence, the appropriate choice is important.


The major determinants that influence

thermophysiological comfort

are permeable construction,

heat, and moisture transfer rate.

Thermal comfort One primary criterion for our physiological needs is thermal comfort.

The heat dissipation effectiveness of clothing gives the wearer a neither very hot nor very cold feel.

The optimum temperature for thermal comfort of the skin surface is between 28 and 30 °C (82 and 86 °F), i.e.,

a neutral temperature.

Thermophysiology reacts whenever the temperature falls below or exceeds the neutral point on either side;

it is discomforting below 28 and above 30 degrees.

Clothing maintains a thermal balance; it keeps the skin dry and cool. It helps to keep the body from overheating

while avoiding heat from the environment.

Moisture comfort Moisture comfort is the prevention

of a damp sensation.

According to Hollies' research,

it feels uncomfortable when more than "50% to 65% of the body is wet."

Tactile comfort

Tactile comfort is a resistance to the discomfort related

to the friction created by clothing against the body.

It is related to the smoothness,

roughness, softness, and stiffness of the fabric

used in clothing.

The degree of tactile discomfort may vary

between individuals,

which is possible due to various factors

including allergies, tickling, prickling, skin abrasion,

coolness, and the fabric's weight,

structure, and thickness.

There are specific surface finishes (mechanical and chemical) that can enhance tactile comfort.

Fleece sweatshirts and velvet clothing,

for example.

Soft, clingy, stiff, heavy, light, hard, sticky, scratchy,

prickly are all terms used to describe tactile sensations.

Pressure comfort

The comfort of the human body's

pressure receptors' (present in the skin)

sensory response towards clothing.

Fabric with lycra feels more comfortable

because of this response and superior pressure comfort.

The sensation response is influenced by the material's structure:

snugging, looseness, heavy, light, soft, or stiff structuring.