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Relevant bibliographies by topics / Costume

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Academic literature on the topic 'Costume'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 September 2024

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Journal articles on the topic "Costume"

1

Taylor, Madeline. "Fitting materials: Costume flows, intra-actions and agency in and around the fitting room." Scene 9, no. 1 (December 1, 2021): 97–116. http://dx.doi.org/10.1386/scene_00039_1.

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The costume fitting room has long been considered an essential space in developing a character, with many actors crediting the fitting as a critical stage in creating or understanding their character. In these spaces, characters and costume designs emerge and evolve. This article argues that active in this emergence are actors, designers and costumers and the costume itself. This research explores the costume’s agentic nature in the performance-making process, using ethnographic observation of Australian theatre costume fitting rooms. It evidences the multiple, disparate and sometimes surprising elements that impact character portrayal and design development. The agency of the costume as a creative partner is currently a topic of debate in costume research. Leaning into this conversation, this article draws on Karan Barad’s perspectives of new materialism to argue for greater consideration of the costume’s influence and value in forming a performance work. Recognizing this contribution and the affective power of costume prompts a challenge to the structures and practices surrounding actors and costumes and how they intra-act. The article concludes by reflecting on the implications for current industry rehearsal, production and costume practices.

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Brookins, Amelia. "Costumes as palimpsests: Accumulation of narratives through reuse of costumes in film and theatre." Studies in Costume & Performance 8, no. 1 (May 1, 2023): 91–103. http://dx.doi.org/10.1386/scp_00087_1.

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Palimpsest is a term traditionally associated with parchment manuscripts, referring to a writing surface on which the original text has been overwritten. As demonstrated by the famous Archimedes Palimpsest, despite the reuse of the parchment, it retains traces of its previous texts. This article argues that the term palimpsest can also describe costumes used in performance. This article seeks to investigate questions such as, what happens when a costume is taken out of one narrative and placed into another? If a costume is inscribed with narrative, like a palimpsest, does the original narrative remain, clinging to the fabric like ink on parchment? Drawing on Dillon and Colwell, the costume’s life cycle is a palimpsestic process through which the costume becomes layered as a material object and as a carrier of narrative meaning. These layers can be seen through the survival of the memory attached to the costume. The forms of survival for these memories are demonstrated by using theoretical frameworks proposed by Sampson and Pearce for analysing objects connected with meaning through memory. By exploring how the past survives through memory in the form of material culture, associated narratives, or individual memory, this article reveals how the palimpsest layers of a costume can be seen. As a result, costumes can continue to accumulate meaning even after they cease to be reused. The exploration of costumes as palimpsests reveals the remarkable ability of costumes to transform physically and metaphorically to reflect multiple narratives.

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Colpaert, Lisa. "Costume on film: How the femme fatale’s wardrobe scripted the pictorial style of 1940s film noir." Studies in Costume & Performance 4, no. 1 (June 1, 2019): 65–84. http://dx.doi.org/10.1386/scp.4.1.65_1.

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The character of the femme fatale and the visual style of film noir are vital elements in our understanding of that genre. Film costumes worn by the femme fatale are crucial, and are defining elements in genre recognition precisely because of their explicit cinematic visualization, rather than functioning as unequivocal signs. This article proposes a methodology for film costume researchers to conduct a pictorial analysis, without necessarily analysing film costume in terms of a meaning-making repertoire adhering to our understanding of film as a ‘language’. In the proposition of a framework for the close textual analysis of film costumes, the methodology is based on the triangulation of a shot-by-shot description, a wardrobe breakdown and an examination of production stills. This triangulation is crucial to understand the complexity of film costumes, which are defined by a wide-ranging set of factors such as: the film industry’s mode of production, the film costume’s relation to the fashion of its time, the body and star image of the actor, the work of the costume designer and his/her department, and the film-specificity. The ways in which a film costume functions in a specific shot will prove to be an important tool to analyse the pictorial characteristics of film noir and the femme fatale. To exemplify to methodology, this article proposes a close reading of an iconic film costume designed for one of the best-known performances of such a character, i.e. the white jumpsuit designed by Edith Head for Barbara Stanwyck in the closing scene of Billy Wilder’s Double Indemnity (1944).

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Andersson, Therése. "Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress." Culture Unbound 3, no. 1 (April 19, 2011): 101–12. http://dx.doi.org/10.3384/cu.2000.1525.113101.

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In ’Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress’ a materiality-based approach for analysing film narratives through costumes is examined. Sofia Coppola’s film Marie Antoinette (2006) serves as the empirical starting point and the theme of dressing and redressing is pursued throughout the film, crystallizing costume as a significant feature for reading the movie. The article argues that costumes, on a symbolic level, work as agents. It thus focuses on the interdependence between costume and interpretations of the screenplay’s main character. A theoretical notion of costumes and materiality is explored, and the idea is further developed in relation to stylistics constituted as emotions materialised in costume. As costumes are the main object for analysis, the discussion immediately centres on costumes produced by professional costume designers for the two-dimensional format of the film frame. In other words, costumes made for the moment: for a specific narrative and aesthetic expression.

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Aprilianti, Luh Wulan. "An Analysis of Lexicons in Costumes of Baris Gede Dance at Penuktukan Village." International Journal of English Education and Linguistics (IJoEEL) 5, no. 1 (July 4, 2023): 18–30. http://dx.doi.org/10.33650/ijoeel.v5i1.5415.

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This research aims to find out the lexicons and the cultural meaning in the costumes of the Baris Gede dance. Baris Gede dance is a traditional Balinese dance that tells about warriors fighting on the battlefield. Costumes are an important component in the Baris Gede dance because the costumes used represent the contents of the dance. This research used qualitative research with interviews and observation as the method to obtain the data. The researcher found 14 lexicons in the costumes; head costume (1 lexicon) that is gelungan, neck costume (1 lexicon) which is badong/bapang, hand costume (1 lexicon) which is gelang kana, upper body costume (7 lexicons) which are awiran, oncer, lamak, kwace selem, tali semayut, keris, and urangka and lower body costume (4 lexicons) that are stewel, jaler putih, kancut putih, and sabuk. The cultural meaning relates to the soldiers on the battlefield. Warriors are depicted as dashing and brave figures represented through the Baris Gede dance costume.

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Zhu, Chun, Kaixuan Liu, Xiaoning Li, Qingwei Zeng, Ruolin Wang, Bin Zhang, Zhao Lü, et al. "Research on Archaeology and Digital Restoration of Costumes in DaoLian Painting." Sustainability 14, no. 21 (October 28, 2022): 14054. http://dx.doi.org/10.3390/su142114054.

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Costume restoration is one of the important ways to study costume history and culture. The purpose of this paper is to show the characteristics of Chinese costumes more than 1000 years ago, through the research on the costume in the famous ancient Chinese painting DaoLian painting, and provide strong technical support for the research of Chinese ancient costume culture. DaoLian painting is the work of Xuan Zhang, a famous painter in Tang dynasty (618–907), China. From the perspective of clothing engineering, we analyzed the characteristics of costume style, color, and pattern and used the virtual fitting technology to realize digital restoration of the costume of 12 characters in the painting. The results show that it is a practical method to study costume from paintings. The colors, patterns, and character gestures in the paintings provide sufficient information for the archaeology and restoration of ancient costumes. The research results of this paper can provide a new idea for costume archaeology and a reference for modern fashion design and materials for the VR Museum of Ancient Costumes.

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Taylor, Madeline, Suzanne Osmond, and Sofia Pantouvaki. "Costume Connections." Studies in Costume & Performance 8, no. 2 (December 1, 2023): 147–53. http://dx.doi.org/10.1386/scp_00093_2.

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This editorial summarizes the content of Issue 8.2 ofStudies in Costume & Performance. Taking the theme of ‘Costume Connections’, in response to theCritical Costumeconference held online in November 2022 which took this same theme, the issue presents a dynamic collection of items. Approximately half of the issue is devoted to research originating and developed from the conference presentations, but the balance represents new practice-oriented research endeavours. The conference questioned how costume establishes connections, receiving diverse responses from global scholars, artists and practitioners. Contributors delve into the multifaceted nature of connections formed by and with costumes, emphasizing their dynamic, non-linear and collaborative essence. Sub-themes emerge; research on historically informed costume and performance practices, the impact of digital technologies on design, how costumes can be used to destabilize norms and provoke critical thinking in practitioners and audiences, and the sociocultural dimensions of costume. The issue concludes with reflections on the societal and performative implications of costumes, marking a transition for the journal’s editorial team and expressing gratitude for the contributions of outgoing member Donatella Barbieri. Overall, the contributions underscore the pivotal role of costumes in fostering networks of experiences, practices and ideas within the realms of storytelling, performance and creative expression.

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Raud, Inna. "Vändra kihelkonna naiste traditsioonilised rahvarõivad: komplektide koostamine ja valmistamine tänapäeval. TÜ Viljandi Kultuuriakadeemia pärandtehnoloogia magistritöö 2014 / The traditional folk costumes of the women of Vändra parish." Studia Vernacula 5 (November 5, 2014): 169–71. http://dx.doi.org/10.12697/sv.2014.5.169-171.

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The Master’s thesis entitled “Traditional folk costumes of the women of Vändra parish: assembling and preparing ensembles in the present day" aimed to introduce the variational nature of folk costumes in one region to rid ourselves of a rigid pattern of treatment of folk costume. As part of the research, the individual components of women’s folk costumes in Vändra parish were described, technological and pattern-related developments were pinpointed in time and material and colour use and changes in ways in which the costume was worn were observed. In addition to the description, the author put together folk costume ensembles of her own, based on the status of the wearer and the situation in which the clothing was to be worn (everyday, festive, summer and winter) as well as possibilities for putting together folk costume ensemble variants at the municipal level today. The drawings made in the course of the description form part of the practical part of the thesis and a precondition for making the components part of the Vändra woman’s folk costume ensemble. The making of folk costumes as a whole is a broad field, encompassing familiarity with the materials and ten different techniques. As part of the thesis, the author produced 59 items belonging to a folk costume ensemble, which are combined in period-appropriate fashion in nine different Vändra female folk costume ensembles. The author hopes that the work will help readers understand the changes that have taken place over time in folk costumes and the importance of the integrity of the entire costume, and to avoid conflicts in future selections. The experience in putting these costumes together can serve all Estonian rural areas both in choosing between the many available items and in seeking solutions in the absence of items. Keywords: folk costumes, regional variations

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Raud, Inna. "Vändra kihelkonna naiste traditsioonilised rahvarõivad: komplektide koostamine ja valmistamine tänapäeval. TÜ Viljandi Kultuuriakadeemia pärandtehnoloogia magistritöö 2014 / The traditional folk costumes of the women of Vändra parish." Studia Vernacula 5 (November 5, 2014): 169–71. http://dx.doi.org/10.12697/sv.2014.5.169-171.

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The Master’s thesis entitled “Traditional folk costumes of the women of Vändra parish: assembling and preparing ensembles in the present day" aimed to introduce the variational nature of folk costumes in one region to rid ourselves of a rigid pattern of treatment of folk costume. As part of the research, the individual components of women’s folk costumes in Vändra parish were described, technological and pattern-related developments were pinpointed in time and material and colour use and changes in ways in which the costume was worn were observed. In addition to the description, the author put together folk costume ensembles of her own, based on the status of the wearer and the situation in which the clothing was to be worn (everyday, festive, summer and winter) as well as possibilities for putting together folk costume ensemble variants at the municipal level today. The drawings made in the course of the description form part of the practical part of the thesis and a precondition for making the components part of the Vändra woman’s folk costume ensemble. The making of folk costumes as a whole is a broad field, encompassing familiarity with the materials and ten different techniques. As part of the thesis, the author produced 59 items belonging to a folk costume ensemble, which are combined in period-appropriate fashion in nine different Vändra female folk costume ensembles. The author hopes that the work will help readers understand the changes that have taken place over time in folk costumes and the importance of the integrity of the entire costume, and to avoid conflicts in future selections. The experience in putting these costumes together can serve all Estonian rural areas both in choosing between the many available items and in seeking solutions in the absence of items. Keywords: folk costumes, regional variations

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Dean, Sally E. "Somatic costumes™: Traversing multi-sensorial landscapes." Scene 2, no. 1 (October 1, 2014): 81–87. http://dx.doi.org/10.1386/scene.2.1-2.81_1.

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This article introduces Sally E. Dean’s ‘Somatic Movement & Costume Project’ by presenting examples of the ‘somatic costumes’ created and the costume design, choreographic and pedagogic methodologies applied. ‘Somatic costumes’ aim to facilitate multi-sensorial experiences that change our relationships to ourselves, others and the environment. Although costume has been incorporated in performance for centuries, this project argues for a critical social–cultural paradigm shift: the aesthetic and movement of the performance work comes from the somatic experiences (kinaesthetic and sensorial) of the costume, rather than the costumes being designed to enhance an aesthetic already established in advance. This is also inherent in the costume design process itself: we start with what somatic experiences we would like to enhance or generate as opposed to the visual aesthetic. This approach has the potential to not only instigate new ways of moving, being, perceiving, creating, teaching and performing, but to also foster social–cultural understanding. This project aims to create bridges between somatic practices, costume design, culture and performance.

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Dissertations / Theses on the topic "Costume"

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Chu, Hoi-shan. "Museum for traditional Chinese garment." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956875.

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Nguimfack-Perault, Sylvie. "Une approche ethnologique du costume de spectacle, de ceux qui le portent à ceux qui le fabriquent : identité, savoir faire et transmission." Paris 7, 1999. http://www.theses.fr/1999PA070117.

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On reconnaît l'individu de spectacle à son allure. On ne peut confondre l'acrobate avec la danseuse, la tragédienne avec le clown. Le costume de scène conjugué à l'attitude du corps constitue un puissant indicateur implicite sur le personnage représenté. Dans ce cadre, la danse et en particulier le music-hall où le paraître est porté à son comble constituent une référence obligée. La formation pour passer du statut de danseuse à celui de Girl est identique à une forme d'initiation. On en retrouve les ingrédients : le choc émotionnel (l'audition), l'isolement (la formation), la régression (le statut de "fille" qui est un statut de personne dépendante), la perte du moi (la conscience émoussée du sujet et le baptême en signe d'appartenance au groupe). Une mémoire spécifique est activée dès lors que le costume de scène st porté car c'est en fonction du port et des contraintes qu'il implique que la mémoire se construit. C'est aussi le passage définitif de la personne au personnage. La fabrication de ces costumes se fait par des artisans spécialisés : les artisans du spectacle. Représentants de savoir faire existants depuis le treizième siècle, ils se sont adaptés à l'utilisation de matériaux nouveaux. Ils sont les seuls à vivre l'état naissant de la création et le passage de la matière brute - à dompter - à l'objet fini, celui de l'esquisse à plat au volume. Ils sont tributaires du travail des uns et des autres tandis que l'artiste rassemble et porte chaque pièce du costume. Cependant les ateliers ferment un à un car leur économie n'est pas en adéquation avec cette fin de siècle. Quel avenir pour la jeune création, alors ? Quel devenir et quelle transmission pour ces savoir faire ?
We recognize the artist in the way he's dressed. We can't confuse between an acrobat and a dancer or a tragedian and a clown. The stage costume associated to a body attitude constitutes a strong indicator about the represented character. In the domain of dance, Music Hall is particularly interesting because of the extravagance of the stage costume. It will be our reference. The formation to become Girl is similar to an initiation. The observer will find all ingredients : emotional shock (audition), loneliness (during fomation) regression (being a Girl means depend on somebody), the new personality and the dull consciousness, the baptism as a sign of belonging to a new community. As a link of this particular formation, the body will have a new memory going beyond the fact of knowing dancing. This fact starts when one wears the stage costume and it's according to this fact that dancing bodies built specific memory. The making of these stage costumes needs a specific knowledge. Specialized handcrafts men possess it. They represent old french corporation of XIIIth century. They adapted ancient knowledge to new raw material. They are the only one to live the birth estate of creation : the transition of raw material to an object, from the esquiss to the volume. All handcrafts men depend on the others to see their creation in a full existence when the artist gathers and wears each part of the costume. However, workshops close one by one because of inadaptated economy. How will creation be going on ? How will knowledge be transmitted ?

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Marchi, Tavares de Melo Isabela. "Threading Art: the dynamics of costume design and costume studies." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3380.

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The main objective of this research is to demonstrate the strong relationship between design and history in the process of studying and creating costumes for theatre. Costumes are considered an important area in the study of material culture, which has been given more visibility within academia. Over the past few decades, the number of museums and universities with collections dedicated exclusively to costumes and textiles has noticeably increased, recognizing them as works of art worthy of being preserved. Considering costumes’ ability to document time and space, and to visually tell stories, many theatre departments have implemented methods to organize their costume collections in order to make them available as a design resource for students and professionals. As Theatre VCU strives for the quality of their educational practices, and with the increase recognition given to design students and faculty, I have proposed a system to archive costumes, renderings and other material, reflecting the excellence of students’ work, and comprehends a design resource for future reference and research.

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Lebis, Evelyn. "Interactive Costume Design." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-11182.

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Is improvisation during collaboration a design choice? What is the difference between responsive inspiration and collaboration? Who is in charge of the artistic end result? And what influences the designer’s mood? These questions come across when investigating how to present wearable technology and the role of performance.

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Kovtun, I. "Egyptian Costume History." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8476.

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Фролова, Олена Олексіївна, and Н. М. Сиромля. "Traditional Japanese costume." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18273.

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Hamlin, Gretchen Lapp. "Costume as art /." Online version of thesis, 1991. http://hdl.handle.net/1850/11870.

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Borton, Lisa Kay. "Graduate costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2826.

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Baker, Terry. "Sing for Your Costumes: A Costume Design Thesis on The Boys from Syracuse." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/theses/2345.

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This thesis document is a presentation and exploration of the process involving the costume design for The Boys from Syracuse (music by Richard Rodgers, lyrics by Lorenz Hart, book by George Abbott) in the McLeod Theatre at Southern Illinois University Carbondale during February 2018. This light-hearted, farcical musical reminds us that life doesn’t have to be so serious. It explores our ability to be consumed by our own responsibilities, which causes us to escape to the theater and just enjoy a show. Chapter 1 contains the research, background information, and script analysis that was conducted to further enhance and inform the design of the costumes. This chapter also contains the goals that I wanted to achieve within my design and personal growth. Chapter 2 focuses on the design process and how each costume evolved through collaboration and discussion. Chapter 3 documents the build process of the design and how it was realized. An examination of the dress rehearsals and the production’s four performances are also contained within this chapter. Chapter 4 documents an analysis of the entire design and its evolution through outside critiques and commentary supported by personal self-reflection.

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Schubert, Gabriella. "Kleidung als Zeichen : Kopfbedeckungen im Donau-Balkan-Raum /." Wiesbaden : Harrassowitz, 1993. http://catalogue.bnf.fr/ark:/12148/cb37450180t.

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Books on the topic "Costume"

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Rowland-Warne, L. Costume. New York: Knopf, 1992.

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Maclaurin, Ali, and Aoife Monks. Costume. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-02951-5.

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ill, McAulay Liz, ed. Costume. New York: DK Pub., 2000.

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Costume, Inc Roma. Roma costume 2013. Burbank, CA: Roma Costume, 2013.

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Weir, Shelagh. Palestinian costume. Austin: University of Texas Press, 1989.

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ill, Badenhop Mary, ed. Costume party. Mahwah, N.J: Troll Associates, 1988.

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Museum, Victoria and Albert, ed. Hollywood costume. New York: Abrams, 2013.

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Weir, Shelagh. Palestinian costume. London: Published for the Trustees of the British Museum by British Museum Publications, 1989.

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Cletus, Anderson, ed. Costume design. 2nd ed. Fort Worth: Harcourt Brace College Publishers, 1999.

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Victoria and Albert museum. Hollywood costume. London: Victoria & Albert Museum, 2012.

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Book chapters on the topic "Costume"

1

Escolme, Bridget. "Costume." In Shakespeare and the Making of Theatre, 128–45. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-1-137-28493-8_8.

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Mackenzie, S. C. "Costume." In Handbook for History Teachers, 1028–29. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-179.

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Manning, E. M. Rosalind. "Costume." In Handbook for History Teachers, 447–50. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-56.

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Dickinson, Carol, and A. K. Dickinson. "Costume." In Handbook for History Teachers, 649–52. London: Routledge, 2021. http://dx.doi.org/10.4324/9781032163840-95.

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Monks, Aoife. "Introduction." In Costume, 1–6. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-02951-5_1.

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Maclaurin, Ali. "Writing about Costume." In Costume, 7–35. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-02951-5_2.

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Maclaurin, Ali. "The Stage Picture." In Costume, 36–68. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-02951-5_3.

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Monks, Aoife. "Virtuosity, Craft and Technique in the Work of Costume." In Costume, 69–103. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-02951-5_4.

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Monks, Aoife. "Playing the Body: Costume, Stereotypes and Modernity in Performance." In Costume, 104–40. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-02951-5_5.

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Maclaurin, Ali. "Artists and the’ Scenic Body’." In Costume, 141–61. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-02951-5_6.

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Conference papers on the topic "Costume"

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Bhagya, K. P. N., P. V. M. Karunaratne, G. M. Ranathunga, and H. R. A. T. Ranaweera. "Investigating the design process of traditional costume penetrating a niche market." In Engineering Research Unit Symposium 2023. Engineering Research Unit, 2023. http://dx.doi.org/10.31705/eru.2023.1.

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The design process defines each market segment in the apparel sector. Traditional costumes of Sri Lanka gained a long historical and cultural demand among Sri Lankan consumers. The most demanding costumes are "Nilame" costumes (male costume) and "Ohoriya" (female costume). This research identifies that traditional costume has become an emerging and demanding market segment today. The market segment is evident in Sri Lanka's suburbs in Colombo, Kandy, Galle, Rathnapura, and Kurunegala. The researcher predicts that the market meets niche market parameters

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Zhanguzhinova, Meruyert, Bagdat Akylbekova, Sabit Kurmanbekov, Nazerke Kumargaliyeva, and Nazerke Kairbekkyzy. "Innovative Trends in Ethno-Costumology in the Modern Theater Process." In 15th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2022. http://dx.doi.org/10.22616/reep.2022.15.023.

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This article examines the topicality of ethno-costumes in the context of the modern theatrical process. The aim of the study is to conduct a theoretical and methodological study of the problems of ethno-costumeology in the context of the modern theatrical process. The scientific and theoretical methodology of the research include the theoretical foundations of ethno-costumes, concepts of the modern theatrical process, methodological aspects of ethno-costumes, innovative directions of ethno-costumes, artistic principles of creating an ethnocostume. Scientific and theoretical methods were used: socio-cultural, historical, semiotic, ethnographic, formal-stylistic analysis, ekphrasis, attribution of an ethnic costume, observation, interpretation of an ethnic costume in the theatrical process. The practical methods: research of innovative technologies in the design of ethnic costume in the context of the modern theatrical process, which make up various types of 3D modelling and visualization. The result of the study is: the application of the obtained scientifically grounded methodological foundations in the method of designing an ethnic costume in the production process of the Kazakh Drama Theater named after S. Seifullin in the city of Karaganda. The significance of the results is in the study and identification of methodological aspects in innovative areas of ethno-costumology within the framework of the modern theatrical process.

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Cabral, Alexandra, and Carlos Manuel Figueiredo. "Costume Design: Ergonomics in Performance Art." In Applied Human Factors and Ergonomics Conference. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100820.

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The human body, in contemporary art, is used as a means, as it also is in fashion design practices applied to the art field, that explore the alteration of the anatomic perimeter in its impact on the user’s self-image, expression and transformation. Costumes that defy gesture bear a reflection on dress over body and we question how functionality (or the lack of it) can influence cognition – mostly when we expect a performer to feel and express the same way a character does and when the audience aims to feel the same way the character feels. Does the performer become a more reactive user towards dress under the realm of the action field of performance art, if interacting with a «non-user-friendly» costume? Since costume and body cannot be separated in performance art, we explore ergonomics, regarding both physical and psychological discomfort in improving the acting of a performer, namely when improvising or moving and in the contribution to a more proficient involvement with the audience. A noninterventionist methodology of qualitative basis is used, based on literary research and observation on the impact of different garments on a performer’s work, so as to obtain new indicators for costume design methodology.

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Jayasanka, H. W. J., B. T. G. S. Kumara, and Banujan Kuhaneswaran. "CNN Based Costume Categorization Approach to Bootstrap the Costume Recommendations." In 2021 International Conference on Decision Aid Sciences and Application (DASA). IEEE, 2021. http://dx.doi.org/10.1109/dasa53625.2021.9682314.

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Wang, Yunyun. "Methods of Innovative Application of Miao Costume Elements in Modern Costume." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.98.

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Paula, Suélen Carolini de. "BEYOND THE OLD AND THE NEW IN FASHION: THE UPCYCLING BELLY DANCE COSTUME DEVELOPMENT." In ENSUS2023 - XI Encontro de Sustentabilidade em Projeto. Grupo de Pesquisa Virtuhab/UFSC, 2023. http://dx.doi.org/10.29183/2596-237x.ensus2023.v11.n1.p229-239.

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The research is characterized as exploratory and applied and aims to present the use of upcycling for the development of belly dancing costumes. As a theoretical review, it presents sustainability in fashion,Upcycling as an alternative for the reuse of discarded products and Costume Design in Belly Dance. The applied methodology unfolded through a bibliographic review and application of design tools,investing in the verification of techniques and materials suitable for the reuse of discarded party dresses. The main results refer to. development of a collection of belly dance costumes made from discarded party dresses, for a fashion show at the Shimmie Festival in São Paulo.

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Liang, Jun, and Tian chang Li. "Stitching in Costume Design." In 2nd International Conference on Education, Management and Social Science (ICEMSS 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icemss-14.2014.103.

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Endres, Thomas G. "Costume, Culture, and Congruence: Identification and Representation of Self via Costume Play." In The Barcelona Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2435-9475.2023.12.

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Luo, Juan. "Analysis on Application of Traditional Chinese Opera Costume Elements in Contemporary Costume Design." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.88.

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Мокина, А. Ю., and Е. А. Химичева. "SYNTHESIS OF MATERIALS AND TECHNIQUES IN MODERN ARTISTIC TEXTILES AND COSTUME." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.20.

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Авторы выявляют роль современной тенденции использования синтеза техник и материалов в художественном текстиле и костюме, прослеживая процессы трансформации ткачества, вышивки и моделирования текстильной среды. В данной статье предлагается рассмотреть проблему взаимодействия и слияния декоративно-прикладного искусства, текстильного дизайна и новых форм моделирования. В статье исследуются возможности интеграции традиционных техник обработки текстильных материалов при создании текстильных произведений и научно-технических новаций в современном текстиле и костюме. Основной результат — новые возможности ассоциативно-образной передачи авторской идеи через синтез в художественном текстиле и арт-костюме. The authors identify the role of the modern trend of using synthesis of techniques and materials in artistic textiles and costume, tracing the processes of transformation of weaving, embroidery and modeling of the textile environment. This article proposes to consider the problem of interaction and fusion of decorative and applied arts, textile design and new forms of modeling. The article explores the possibilities of integrating traditional textile processing techniques in the creation of textile works and scientific and technical innovations in modern textiles and costume. The main result is new opportunities for associative and figurative transmission of the author's idea through synthesis in artistic textiles and art costumes.

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Reports on the topic "Costume"

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Arthur Bradley, Linda. Mounting a Costume Exhibit:. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-609.

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Jablon-Roberts, Sara, and Eulanda Sanders. Historical Accuracy in Costume Design: Experiences and Perceptions of Broadway Costume Designers. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1745.

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Van Wyk, Lindsey. Communication and its importance in costume design. Ames (Iowa): Iowa State University, January 2013. http://dx.doi.org/10.31274/cc-20240624-386.

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Rhee, Jongeun, and Susanna Bordelon. �Choli�: Re-Design and Engineering Functional Belly Dancing Costume. Ames (Iowa): Iowa State University. Library, January 2019. http://dx.doi.org/10.31274/itaa.8283.

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McCracken, Arienne, April Elisha Stanley, Huanjiao Dong, and Sara Marcketti. Survey of Historic Costume Course Redesign Using Bloom's Taxonomy. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-368.

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Kwon, Yumi, and Sook Jin Kim. Study on Development of Convergence Subjects for Software Education in Fashion Design: Convergence Education of Western Costume History and 3D Virtual Costume Programs. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1698.

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Wang, Qiuyue, and Ping Zhao. Consumer Behavior Research on Culture Identity of Traditional Chinese Costume. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1352.

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Adomaitis, Alyssa, and Diana Saiki. Inclusion is the Key: Promoting Cultural Diversity through Historic Costume. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1523.

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Holt, Sierra B. Using Costume Collection Artifacts for Historic Style Trends Teaching Modules. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1834.

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Orzada, Belinda T. Ballet Costume Design: the Ultimate Challenge in Function and Sustainability. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-469.

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