Jinbei - Jacket

A jinbei, alternately jinbe or hippari, is a kind of traditional Japanese clothing worn by men, women, boys, girls, and even babies during the summer. Women's jinbei have started to become popular in recent years.

Use

Jinbei are usually worn as a form of nightwear or house wear. Normally, male Japanese would wear jinbei only within their own homes, or outside the home when in close proximity to it (for example, to collect the mail or go on a local errand, or sometimes even while shopping or dining at a local restaurant). Sometimes jinbei are used as substitute for yukata during a summer festival, typically by men and boys but also frequently by young women. Ladies' jinbei tend to be more brightly coloured and often feature prints of popular culture characters and motifs.

Set

Jinbei sets consist of a top and matching shorts, although some have long pants and some come with both short and long pants. Traditional jinbei are made from hemp or cotton and are dyed a uniform color, often indigo, blue, or green (though modern jinbei frequently have prints ranging from simple textures or lines to complicated and colorful floral patterns). The top resembles a short-sleeved or sleeveless jacket that falls to the hips. It ties closed both inside and outside the jacket, with the inside tied first, the jacket folded over to the person's left, and then tying the outside.

The seam for jinbei is very loosely woven to allow for ventilation during hot weather while retaining coverage.

Surplice Gown(25)

Surplice

A surplice (Late Latin superpelliceum, from super, "over" and pellis, "fur") is a liturgical vestment of the Western Christian Church. The surplice is in the form of a tunic of white linen or cotton fabric, reaching to the knees or to the ankles, with wide or moderately wide sleeves.

It was originally a long garment with open sleeves reaching nearly to the ground, as it remains in the Anglican tradition, but in the Catholic tradition, the surplice often has shorter, closed sleeves and square shoulders. Anglicans typically refer to a Roman-style surplice with the Medieval Latin term cotta [meaning 'cut-off' in Italian], as it is derived from the cut-off alb. English-speaking Catholics, however, typically do not make the distinction between the two styles, and refer to both by the term "surplice".

Origin and variation

It seems most probable that the surplice first appeared in France or England, whence its use gradually spread to Italy. It is possible that there is a connection between the surplice and the Gallican or Celtic alb, an ungirdled liturgical tunic of the old Gallican Rite, which was superseded during the Carolingian era by the Roman Rite. The founding of the Augustinian Canons in the second half of the eleventh century may have had a special influence upon the spread of the surplice. Among the Augustinian Canons the surplice was not only the choir vestment, but also a part of the habit of the order.

The surplice originally reached to the feet, but as early as the 13th century it began to shorten, though as late as the 15th century it still fell to the middle of the shin, and only in the 17th and 18th centuries in Continental Europe did it become considerably shorter. In several localities it underwent more drastic modifications in the course of time, which led to the appearance of various subsidiary forms alongside the original type. For example:

the sleeveless surplice, which featured holes at the sides to put the arms through

the surplice with slit arms or lappets (so-called "wings") instead of sleeves, often worn by organists today, due to the ease of maneuvering the arms

the surplice with not only the sleeves but the body of the garment itself slit up the sides, precisely like the modern dalmatic

a sort of surplice in the form of a bell-shaped mantle, with a hole for the head, which necessitated the arms sticking out under the hem.

The first two of these forms developed very early; and, in spite of their prohibition by synods here and there (for example that of Liège circa 1287), they survive in various places to the present day. The latter two only appeared after the close of the Middle Ages: the first of them in South Germany, the second more especially in Venetia, where numerous pictorial records attest its use. As a rule, however, only the lower clergy wore these subsidiary forms of surplice. They came about partly under the influence of secular fashions, but more particularly for convenience.

Houppelande Gown(13)

Houppelande

A houppelande or houpelande is an outer garment, with a long, full body and flaring sleeves, that was worn by both men and women in Europe in the late Middle Ages. Sometimes the houppelande was lined with fur. The garment was later worn by professional classes, and has remained in Western civilization as the familiar academic and legal robes of today.

The houppelande appeared around 1380 and was to remain fashionable well into the next century. It had its origins in the herigaut, a similar thirteenth-century garment with hanging sleeves.The edges of the houppelande were often dagged, or cut into decorative patterns such as scallops, "embattled" tabs or even leaf shapes.

The houppelande is a specific kind of medieval overdress which was widely worn in the 15th century. It replaced the more fitted surcotes and overgowns, although like them, often showed off the gown underneath which was more costly and expensive. Technically, is is a surcote, but became known as a garment in its own right. It was always worn with an undergown, never alone.

Distinguishing features.

The distinguishing featrues of the houppelande, were a high collar or neck opening, big sleeves and a voluminous amount of fabric in the lower part of the gown. There were many different sleeve types, but most used a large amount of fabric compared to previous gowns and fitted kirtles. It was always belted under the bust at the back with a fabric belt which might have expensive decorative metal buckles and ends. When the fabric is gathered under the bust, it forms pleats in the fabric. The houppelande was not constructed with a seperate bodice like some other styles of gown

Houppelandes almost always seem to be depicted with a fur lining and were usually worn with the heart shaped head-dress or the horned head-dress and veils.


further reading
http://www.virtue.to/articles/circle_houp.html

Hospital Gown(12)

 Hospital Gown

A hospital gown, also called a "Johnny Gown" is "a long loose piece of clothing worn in a hospital by someone doing or having an operation.It can be used as clothing for bedridden patients.

Utility

Hospital gowns worn by patients are designed so that hospital staff can easily access the part of the patient's body being treated. The hospital gown is made of fabric that can withstand repeated  laundering in hot water, usually cotton, and is fastened at the back with twill tape ties. Disposable hospital gowns may be made of paper or thin plastic, with paper or plastic ties.

Some gowns have snaps along the top of the shoulder and sleeves, so that the gown can be removed without disrupting intravenous lines in the patient's arms. Used paper hospital gowns are associated with hospital infections, which could be avoided by proper disposal.

Design

Many patients feel that hospital gowns are unfashionable, and in  2010 Diane von Furstenberg was commissioned to design stylish hospital gowns based on her fashionable wrap dress by a Cleveland clinic.

Joel Sherman in his blog "Adolescent Boys and Genital Exams Reducing Embarrassment" says it is quite common for many teenage boys to be upset when changing into a hospital gown, especially if the wearer associates the look of the gown to women's clothing, women's nightgowns, or lingerie.

According to the BBC, in England hospital gowns are made much more modestly, taking patient dignity into consideration

Cleanroom Gown(7)

Cleanroom suit

A cleanroom suit, clean room suit, or bunny suit,is an overall garment worn in a cleanroom, an environment with a controlled level of contamination. One common type is an all-in-one coverall worn by semiconductor and nanotechnology line production workers, technicians, and process / equipment engineers, as well as people in similar roles creating sterile products for the medical device industry.

The suit covers the wearer to prevent skin and hair being shed into a clean room environment. The suit may be in one piece or consist of several separate garments worn tightly together. The suit incorporates both boots and hood. It must also incorporate a properly fitted bouffant cap or mob cap.

More advanced designs with face covers were introduced in the 1990s (like the Intel fab worker-style suits seen on the Pentium product advertisements).

Suits are usually deposited in a store after being contaminated for dry cleaning, autoclaving and/or repair.

Similar suits are worn in the containment areas of nuclear power plants. These suits consist of the main garment, hood, thin cotton gloves, rubber gloves, plastic bags over normal work shoes, and rubber booties. The wrists and ankles are taped down with masking tape. Occasionally a plastic raincoat is also worn. Removal of the garments (into several barrels) is a complicated process which must be performed in an exact sequence. Often a health physicist is present in the work area to observe good anti-contamination practices.

Pictorial Demonstration

Choir Dress Gown(5)

Choir Dress

Choir dress is the traditional vesture of the clerics, seminarians and religious of Christian churches worn for public prayer and the administration of the sacraments except when celebrating or co-

celebrating the Eucharist. It differs from the vestments worn by the celebrants of the Eucharist, being normally made of fabrics such as wool, cotton or silk, as opposed to the fine brocades used in vestments. It may also be worn by lay assistants such as acolytes and choirs. It was abandoned by most of the Churches which originated in the sixteenth-century Reformation.

Like eucharistic vestments it derived originally from the formal secular dress of the Roman Empire in the first centuries of the Christian era which survived in church usage after fashion had changed.

Choir dress also differs from "house dress" which is worn outside of a liturgical context (whether in the house or on the street). House dress may be either formal or informal.

Roman Catholic choir dress

Choir dress in the Catholic Church is worn by deacons, priests and bishops when presiding at or celebrating a liturgy that is not the Mass, especially the Liturgy of the Hours, or when attending Mass without celebrating or concelebrating the Eucharist. It is worn by seminarians, instituted lectors and acolytes, and altar servers and choir members at Mass or other liturgical events.

The basic components of choir dress are:

the cassock, with or without fascia (fringed sash worn around the waist),if the person is a brother or priest in a religious order that has its own habit (Benedictines, Franciscans, Dominicans, etc.), the habit is worn in place of the cassock,the surplice (or rochet if the wearer is a bishop, cardinal, or canon), andthe biretta (optional for secular priests unless their bishop requires 

its use, otherwise mandatory).For seminarians, deacons, and priests the cassock is exactly the same as their normal cassock: a black cassock with black buttons, girded with a black fascia.

Priests who hold additional honors may wear a different cassock: Chaplains of His Holiness wear a black cassock with purple piping, buttons, and fascia, while Honorary Prelates and Protonotaries apostolic wear a purple cassock with scarlet piping and buttons with a purple fascia. A black cassock with amaranth piping and buttons, girded with a purple fascia, serves as pian dress (academic dress) for an honorary prelate or protonotary apostolic. Canons may wear the rochet (if the chapter has been granted usus rochetti by papal indult) with a distinctive mozzetta, the particular colors of which are determined by the chapter.

Bishops wear the above-mentioned purple cassock with scarlet piping, and add a pectoral cross suspended from a green and gold cord, a mozzetta over the rochet, and a purple zucchetto under the biretta. A cardinal wears a scarlet cassock with scarlet trim, pectoral cross on a red and gold cord and a red mozzetta over the rochet, with a red zucchetto. The Pope's choir dress includes a white cassock, rochet, red silk mozetta, red brocade stole and his pectoral cross hangs from a golden cord. Some canons wear their cross on a ribbon, but only a bishop may wear the cross on a cord. Under new regulations, neither bishops nor canons wear fur trimmed cappas.

The cope and/or stole may be worn over choir dress when a cleric presides over a sacrament (for instance, at matrimony, if not celebrated during Mass), or by the cleric presiding over prayers (for instance, the priest presiding at a solemn celebration of Vespers in the Liturgy of the Hours at a seminary might wear cope and stole over choir dress, while the priests of the faculty and seminarians would wear simple choir dress of cassock and surplice).

Monks who are neither deacons nor priests also have a form of choir dress: the full monastic habit with the monastic cowl forms their formal wear for attending the Liturgy of the Hours or Mass.

Eastern choir dress

The choir dress of clergy in the Eastern Orthodox, Oriental Orthodox and Eastern Catholic churches are relatively similar. Over the inner cassock (rasson or podrasnik), a deep-sleeved exorason (riassa), which is often black, is worn. In the Russian Orthodox Church, married clergy often wear grey, while monastic clergy wear black. During the paschal season both monastic and married clergy will often wear a white inner cassock. Some Russian Metropolitans wear a white inner cassock and a blue outer when formally arriving to celebrate the Divine Liturgy.

Eastern Orthodox

In Eastern Orthodoxy and Byzantine Catholicism, monks wear a black cloak, the mandyas over the outer cassock. The mandyas completely covers the monastic below the chin and reaches to the floor. In the Greek usage, the mandyas is usually only worn when performing certain liturgical roles; in the Slavic usage, all monks and nuns of the rank of Stavrophore or above wear the mandyas at every service, so long as they are in their own monastery. The mandyas of an hegumen (abbot) is of black silk, that of an archimandrite or bishop is of colored silk (specific usages will differ by jurisdiction), and has four square "tablets" on it: two at the neck and two at the feet. A bishop's mandyas additionally has "rivers" on it: three horizontal stripes either of gold (Greek practice) or red and white (Slavic practice).

Monastic clergy wear different headcoverings than married clergy. Married clergy wear either a colored kalimaukion or skufia; monastic clergy wear a black kalimaukion and veil (together known as the klobuk). For monastics, the skufia is reserved for house dress, and the klobuk is worn in church. Russian archbishops have a jewelled cross attached to the front of their klobuks; Russian Metropolitans wear a white klobuk with jewelled cross. Several Orthodox Patriarchs wear a rounded headcovering called a koukoulion.

Priests who have been awarded a pectoral cross wear it with their choir dress (these pectoral crosses are of several degrees: silver, gold, or jewelled). Bishops wear a panagia (icon of the Theotokos) in place of the pectoral cross. Archbishops may wear a pectoral cross and a panagia. All primates and some bishops below primatial rank have the dignity of wearing an enkolpion (icon of Christ), a pectoral cross, and a panagia.

A ruling Igumen (so long as he is inside his own monastery) and a bishop may carry his paterissa (crozier) when he is in church. However, the paterissa is never to be carried inside the sanctuary; instead, when he goes into the altar, the paterissa is either handed to an altar server or left leaning against the iconostasis outside the Holy Doors.

In North America and Great Britain, some Orthodox clergy have begun to wear a Roman collar (clergy shirt), though this is discouraged among the more traditional Orthodox.

Anglican choir dress or choir habit

Choir dress in Anglicanism traditionally consists of cassock, surplice and scarf (or tippet).An academic hood may also be worn and, since 1964 in the Church of England a cope may be worn at the discretion of the minister.However, the basic garment was, and is, the surplice which by the fourteenth century had become the essential choir-vestment everywhere.The surplice was the only vesture permitted to the clergy in the 1552 Prayer Book, except for bishops who should use a rochet (both wore cassocks as the standard undergarment).The Elizabethan Prayer Book of 1559 included the so-called Ornaments Rubric. Its legal interpretation was disputed in the nineteenth century. it was claimed that its inclusion in the 1662 Book of Common Prayer commanded the pre-Reformation eucharistic vestments (chasuble, dalmatic, tunicle, alb, amice, and maniple) that had been in use during the reign of Edward VI. 

However, the Elizabethan bishops struggled to enforce the use of the surplice and the use of eucharistic vestments were discontinued until revived after the Oxford Movement in the middle of the nineteenth century when were restored in many cathedrals and parish churches. In many low-church dioceses and parishes the choir dress continued to be the norm, even at the Eucharist. However, the cope continued in use for coronations and in certain cathedrals, but this may be considered an extension of "choir dress" and was sanctioned by the canons of 1603/4.

The cassock is almost invariably black for priests and deacons. A traditional Anglican cassock is double-breasted, being buttoned on the shoulder rather than up the front (there may be a single button sewn to the center of the chest used to fasten the academic hood if worn). Many Anglican clergy, especially (though not exclusively) those within the catholic tradition of Anglicanism, prefer to wear the Latin single- breasted cassock. The cassock is worn with a cincture, which may take the form of a cloth sash resembling a fascia, or a simple rope girdle or leather belt. Over this is worn the surplice, which is longer and fuller than that worn by Roman Catholic clergy, sometimes reaching well below the knees. Traditionally, an academic hood is worn around the shoulders 

and down the back, along with a black tippet or scarf worn around the nape and hanging straight down in front. The hood and tippet were once a single garment called an almuce. (The tippet is not to be confused with the stole, which is also worn in a similar manner, but is not part of choir dress, being worn at the eucharist and other sacramental services.) Some clergy also wear Geneva bands (or "preaching tabs") from their collars. At solemn Mattins or Vespers, the minister may wear the cope over the surplice, rather than tippet and hood. At some periods of history a black gown, either academical or 'Genevan', was worn for Morning and Evening Prayer instead of the surplice which was reserved for use at the Holy Communion - the cassock, bands, gown, academical 

hood and tippet still being the normal liturgical costume for ordained minister of the Church of Scotland and other Reformed and Presbyterian churches.

Chaplains in the Armed Forces wear tippets with officially sanctioned badges and any medals which they have achieved. A bishop or priest may wear a tippet with the arms of the seminary from which he received his degree. In England some cathedral clergy wear tippets on which is embroidered the distinctive symbol or cathedral coat of arms. Members of the high church or Anglo-Catholic parts of the church sometimes wear choir dress of a more Roman Catholic style, including a shorter surplice (or cotta), a stole (and sometimes a biretta), excluding hood and tippet.

Readers when officiating often wear a blue tippet, or, in the United States, a black tippet displaying the arms of the diocese.

Anglican bishops usually wear a purple cassock. Over this, instead of the surplice, they wear the rochet with red or black chimere and matching cuffs, black tippet, and sometimes an academic hood.