Relevant bibliographies by topics / Costume design

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Costume design'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Costume design"

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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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Helve, Tua. "Political by Design: Costume Design Strategies within the Finnish Contemporary Dance Productions AmazinGRace, Noir? and The Earth Song." Nordic Journal of Dance 9, no. 1 (June 1, 2018): 14–31. http://dx.doi.org/10.2478/njd-2018-0003.

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Abstract This article examines costume design within three Finnish contemporary dance productions in the 2010s, AmazinGRace, Noir? and The Earth Song, by respective costume designers Soile Savela, Sanna Levo and Karoliina Koiso-Kanttila, to identify the ways in which costume works within performances with political themes through cases that make use of ‘everyday’ garments as costumes. Here, everyday garments as costume refers to identifiable forms, silhouettes and connotations, as opposed to fantasy or ‘abstract’ costumes. Political, as defined by the themes of these performances, means subject to power relations: societal inequality, ethnicity and otherness and climate change. Despite having shared ground in employing everyday, real-life costume components, all three designs operate with a distinct strategy. Hence, this article discusses three strategies for materializing political aesthetics through costume: one that is inclusive in its use of ‘ordinary’ clothes as costume; one that builds itself through ready-made connotation and representation in costume; and one that is associative in its approach towards the capacity of costume. This investigation, from the perspective of a costume researcher and designer, not only argues for the potential of costume to communicate political meaning through its aesthetic choices but also reveals the versatility embedded in this under-researched area of everyday garments as costume within contemporary dance performance.
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WANG, Y., and R. KHYNEVYCH. "HISTORICAL EVOLUTION AND INNOVATIVE DESIGN OF QIANG COSTUMES." Art and Design, no. 1 (May 6, 2024): 46–55. http://dx.doi.org/10.30857/2617-0272.2024.1.4.

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Рurpose. This paper analyzes the evolution process and cultural connotation of Qiang costume form, discusses the application form of Qiang costume elements in modern clothing design, and provides a theoretical basis for the innovative design of national costumes. Methodology. The field research method, literature analysis method, and case study method are used to analyze the evolution process, cultural connotation, and design application of Qiang costumes. Results. By studying the development process and style design changes of the Qiang costumes, it is concluded that its unique cultural connotation and design characteristics are closely related to the social characteristics, production methods and religious beliefs of the Qiang people. It is the materialized expression of the Qiang people's world outlook and national psychology. It reveals the reasons for the change of the Qiang costume modelling and proposes the method of using ethnic elements in modern costume design. Scientific novelty. This paper studies the development process of Qiang costume shape from the perspective of design, history, ethnology and anthropology, and puts forward that Qiang costume is the materialized expression form of local people 's world outlook, values and aesthetics, and clarifies that the change of Qiang costume shape is influenced by religious culture and Han-Tibetan culture. Suggestions are made in the form of integration of national costume elements with modern clothing design. Practical significance. The Qiang costume has been fused with other ethnic cultures in the course of historical changes, which is both inherited and changed, which is very inspiring to modern costume design. Digging deeper into the cultural connotation and design language of Qiang costume, so that it can innovate the design method and explore the design carrier while inheriting the national culture, so as to provide reference for the creation of a costume design that can embody both the traditional Chinese culture and the sense of the times.
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Kalmakurki, Maarit. "Snow White and the Seven Dwarfs, Cinderella and Sleeping Beauty: The Components of Costume Design in Disney’s Early Hand-Drawn Animated Feature Films." Animation 13, no. 1 (March 2018): 7–19. http://dx.doi.org/10.1177/1746847718754758.

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Costumes in feature films can be deliberately used for narrative purposes to reveal or conceal something related to the plot, functioning as a key element for cinematic storytelling. Costume design in animation is an integral part of character creation; however, relatively little is known about the design process. Previous research concentrates on either the history of hand-drawn animation, the principles of making animated films or character construction. This article presents several key components of the animators’ costume design process in Walt Disney’s animated feature films Snow White and the Seven Dwarfs (1937), Cinderella (1950) and Sleeping Beauty (1959). The author demonstrates that the costume design in these films was a multi-layered process. For example, for Snow White, the costume silhouette of the final animation is visible in the early conceptual designs whereas, for Cinderella or Princess Aurora, the principal character animators designed the final costume. Additionally, the slow production time influenced the style of the costumes: small details on costumes and complex constructions were not used as it would have taken too long for them to be drawn. The article also reveals that animators used live-action filming and rotoscoping as tools for designing costumes. Furthermore, costumes that were used in pre-production filming for rotoscope were different in their construction from everyday garments. The work of a costume designer existed in the character design process, although not as a separate profession. This article aims to highlight the importance of characters’ costumes in Disney’s early hand-drawn animated films and the different ways costumes have been designed for animated characters.
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Liu, Wen. "Discussion on the Green Design in Costumes." Advanced Materials Research 317-319 (August 2011): 393–96. http://dx.doi.org/10.4028/www.scientific.net/amr.317-319.393.

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In recent years, the consumers’ demand for costumes tends to become environmental protection, security and health from traditional utility, beauty and durability, and the costumes tend to be more comfortable, simple and natural. The idea of green design in costumes shall become dominant in costume designing. The article mainly elaborates the green designing idea and its necessity of application in the costume from surface materials, color, structure, production and marketing.
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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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Imparato, Joana. "Relations between body and clothing in performance: Costume as an activator of bodily actions." Studies in Costume & Performance 6, no. 2 (December 1, 2021): 171–84. http://dx.doi.org/10.1386/scp_00045_1.

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This article reflects upon the relationship between body and costume in the character ‘Woman from the Past’ in the production Life and Times of Carlos & Carlos directed by Emílio Di Biasi in 1987 in São Paulo, Brazil. Drawing on the account of the performer Gaby Imparato about her scenic dress, I investigate the dynamics of body‐costume relationship based on Bodymedia Theory, which reassesses the concept of body concerning design processes and practices in the production of scenic costumes and in the costume design research literature. The theory provides tools to discuss costumes and bodies intertwined in a co-defined relationship while onstage, inviting us to rethink predetermined resources in costume production. The performer’s account helps to verify how the costume designer’s intentions and stimuli offered to the body onstage, predefined in the costume design, find other paths to developing scenic actions. This proposition allows me to discuss the relationship between body and costume onstage when understood as an articulator of perception and action. Thus, I can enunciate costume as an activator of bodily actions in rehearsals and on the scene.
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Zhao, Jane. "Analysis on Green Initiative Costume Design Concept." Advanced Materials Research 331 (September 2011): 97–100. http://dx.doi.org/10.4028/www.scientific.net/amr.331.97.

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Through the analysis of the three design performance of green Initiative costume design concept, the thesis interpreted the environmental protection theme, costume’s "ecological cycle" as well as the green Initiative costume show respectively, and accordingly proceeded the future prospect, believing that the new design approach, new material selection and the new aesthetic concept of green clothing will have a significant impact on the green costume design concept which will then generally influence the consumers and provide some reference and guidance to the development of future design of green costume in the meanwhile.
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Izuta, Ryo, Tsutomu Terada, Yutaka Yanagisawa, Minoru Fujimoto, and Masahiko Tsukamoto. "Design Guidelines on LED Costumes for Dance Performances." Designs 3, no. 4 (December 2, 2019): 51. http://dx.doi.org/10.3390/designs3040051.

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We present design guidelines on light emitting diode (LED) costumes for dance performances assuming repetitive use during concerts. We used LED costumes more than 120 times for large concerts of well-known artists at venues of approximately 50,000 capacity that were commercially successesful and we updated the LED costume design twice based on our experiences during these concerts. Through analyzing the position of broken LEDs and the types of breakage and the problems that occurred during actual performances, we devised 17 design guidelines on LED costumes for dance performances. Thanks to these design guidelines, the LEDs on the costume are more difficult to break and we can prepare for any contingencies that may occur during a performance. We fabricated an improved LED costume based on our design guidelines and conducted endurance tests involving dancing. Throughout the endurance tests, the LEDs did not break, and other factors that cause LED breakage were found. We participated in two exhibitions to conduct special LED dance performances.
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Peng, Yu, and Watanapun Krutasaen. "National Costume Art Design Optimization under the Background of Artificial Intelligence Decision Making and Internet of Things." Mathematical Problems in Engineering 2022 (April 25, 2022): 1–6. http://dx.doi.org/10.1155/2022/4803617.

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As the most external symbolic representation of the nation, national costumes are an integral part of the wonderful culture of the Chinese nation. Our country has many ethnic minorities and has a unique national costume culture, which provides rich resources for the art design of ethnic costumes. This paper uses artificial intelligence technology and Internet of Things technology to design a national costume element library system. In this system, users can match national costume suits according to their own preferences, and they can also transmit national culture to people through this system. After the system is designed, the system performance is optimized by interactive algorithms, and the availability of the system is verified by testing system security, stress resistance, concurrency, etc. Through the verification of the system designed in this paper, the national costumes designed by innovative technology can be copied in batches, which enhances the innovation of national costume design in our country and has high production efficiency. It is finally proved that the design results of this paper meet the design requirements.
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Dissertations / Theses on the topic "Costume design"

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

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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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Squitiere, Rita Noelle. "Costume Design for Rent." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/86601.

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Theater
M.F.A.
Rent is an extremely popular musical, recognizable across the globe. The iconic characters, images, and costumes from the original production have been copied and interpreted numerous times. I have chosen to reinterpret this script by examining the essence of each individual character. After researching magazines from the time period in which Rent was written and books containing information on AIDS and the East Village, all subject matter within Rent, I developed a design concept. Through a series of fourteen sketches I present my original concept for a very well known story. Production photographs and pre-production tables support my journey from concept to finished production.
Temple University--Theses
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Rigdon, Jessica. "THE STORY OF THE COSTUMES: A COSTUME DESIGN THESIS ON TUCK EVERLASTING: THE MUSICAL." OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2850.

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This thesis document follows the costume design and production of Southern Illinois University’s February 2021 production of Tuck Everlasting: the Musical. This “earthbound fantasy” musical takes the audience along with the young protagonist on a life changing journey as she discovers a mysterious immortal family living in the wood near her home. The primary focus surrounds a costume designer’s role through analysis, the design process, the production process, and reflection as it applies to Tuck Everlasting: the Musical.
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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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Khayat, Mia Tamar. "Realized works in costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2915.

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Ruiz, Emily Beth. "Costume design for the stage." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4740.

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Gilbert, Melissa Leigh. "Costume design for the theatre." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1608.

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Bodley, Brittany Dee. "Visual storytelling through costume design." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2825.

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Books on the topic "Costume design"

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

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Politismou, Greece Hypourgeio. Metzikōph: Costume design. Athēna: Ekdoseis Philippotē, 2007.

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Dearing, Shirley. Elegantly frugal costumes: The poor man's do-it-yourself costume maker's guide. Colorado Springs, CO: Meriwether Pub. Co., 1992.

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KOZLOVA, TAT'YaNA. Fundamentals of costume design theory. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1079849.

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Theoretical questions of costume shaping, periodicity of its forms and cyclical structure development are presented. The process of creating industrial clothing collections is considered. The principles of designing individual parts of the costume are given. For students studying in the direction of training 54.03.03 art of costume and textiles"."
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Athaiya, Bhanu. The art of costume design. Noida, India: Collins, 2010.

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Athaiya, Bhanu. The art of costume design. Noida: Collins, an imprint of HarperCollins Publishers India, a joint venture with the India Today Group, 2010.

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Holdridge, Barbara C. The Chinese cut-out design book: Designs of costumes. Owings Mills, Md: Stemmer House Publishers, 1989.

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Tilke, Max. Costume patterns and designs. Wigston, Leics: Magna Books, 1990.

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Asher, Jane. Jane Asher's costume book. Menlo Park, CA: Open Chain Pub., 1991.

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Phōtopoulos, Dionysēs. Costume design in the Greek theatre. Athens: Published by the Commercial Bank of Greece, 1986.

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Book chapters on the topic "Costume design"

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Malloy, Kaoiṁe E. "Costume Design." In The Art of Theatrical Design, 263–80. 2nd ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003023142-30.

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Delligatti, T. M. "Introduction." In Costume Design, 1–11. New York, NY : Routledge, 2021. | Series: The basics: Routledge, 2020. http://dx.doi.org/10.4324/9780429354304-1.

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Delligatti, T. M. "Text Analysis and Research." In Costume Design, 12–30. New York, NY : Routledge, 2021. | Series: The basics: Routledge, 2020. http://dx.doi.org/10.4324/9780429354304-2.

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Delligatti, T. M. "Beginning the Design Process." In Costume Design, 31–52. New York, NY : Routledge, 2021. | Series: The basics: Routledge, 2020. http://dx.doi.org/10.4324/9780429354304-3.

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Delligatti, T. M. "Development of the Design, Sketching, and Painting a RENDERING." In Costume Design, 53–87. New York, NY : Routledge, 2021. | Series: The basics: Routledge, 2020. http://dx.doi.org/10.4324/9780429354304-4.

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Delligatti, T. M. "Preparing for Construction." In Costume Design, 88–120. New York, NY : Routledge, 2021. | Series: The basics: Routledge, 2020. http://dx.doi.org/10.4324/9780429354304-5.

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Delligatti, T. M. "The Build Process." In Costume Design, 121–49. New York, NY : Routledge, 2021. | Series: The basics: Routledge, 2020. http://dx.doi.org/10.4324/9780429354304-6.

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Delligatti, T. M. "Tech, Dress, and Opening Night." In Costume Design, 150–62. New York, NY : Routledge, 2021. | Series: The basics: Routledge, 2020. http://dx.doi.org/10.4324/9780429354304-7.

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Adams, Jennifer Flitton. "Costume Design Projects." In Teaching Costume Design and Costume Rendering, 103–48. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003102502-4.

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Horvath, Joan, Lyn Hoge, and Rich Cameron. "Practical Costume Design." In Practical Fashion Tech, 13–23. Berkeley, CA: Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1662-0_2.

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Conference papers on the topic "Costume design"

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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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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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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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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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Demenkova, A. B., and E. N. Sorokotyagina. "CURRENTTOPICSOFFINALQUALIFYINGWORKSAREAS OF TRAINING COSTUME DESIGN." In Построение систем управления устойчивым развитием территории: аспекты цифровизации. Иваново: Ивановский государственный политехнический университет, 2021. http://dx.doi.org/10.47367/978-5-88954-515-6_2021_1_3.

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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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Olga Nikolaevna, Danilova, Yipeng Yang, and Ismaeva Alina Nikolaevna. "Glocalization Trends in Costume Design Fashion Design." 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-19.2019.103.

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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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Wang, Ke. "Application of Artistic Elements in Costume Design." In 7th International Conference on Management, Education, Information and Control (MEICI 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/meici-17.2017.172.

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Zhang, Linshan. "Explore the Visual Language of Costume Design." In 3rd International Conference on Management Science, Education Technology, Arts, Social Science and Economics. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/msetasse-15.2015.98.

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Reports on the topic "Costume design"

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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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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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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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Plummer, Brianna, Eulanda A. Sanders, and Fatma Baytar. The Rise of Online Digital Textile Printing Services and its Impact on Costume Design Practice. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1900.

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Cho, Seunghye. Exploring Theatrical Costume Design in Fashion: an Interdisciplinary Production of Shakespeare's A Midsummer Night's Dream. Ames: Iowa State University, Digital Repository, November 2015. http://dx.doi.org/10.31274/itaa_proceedings-180814-71.

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Hall, Martha L., Belinda T. Orzada, and Dilia Lopez-Gydosh. Visual Characterizations of “Gowns by Adrian”: Documentation of the Costume Design Aesthetic of Gilbert Adrian, 1928-1941. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-613.

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Plummer, Brianna, Eulanda A. Sanders, and Fatma Baytar. Developing a Trend Analysis Instrument to Establish a Taxonomy of Digital Textile Printing Attributes for Costume and Theatrical Fashion Design Use. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-1899.

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Martin, Kathi, Nick Jushchyshyn, and Daniel Caulfield-Sriklad. 3D Interactive Panorama Jessie Franklin Turner Evening Gown c. 1932. Drexel Digital Museum, 2015. http://dx.doi.org/10.17918/9zd6-2x15.

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Abstract:
The 3D Interactive Panorama provides multiple views and zoom in details of a bias cut evening gown by Jessie Franklin Turner, an American woman designer in the 1930s. The gown is constructed from pink 100% silk charmeuse with piping along the bodice edges and design lines. It has soft tucks at the neckline and small of back, a unique strap detail in the back and a self belt. The Interactive is part of the Drexel Digital Museum, an online archive of fashion images. The original gown is part of the Fox Historic Costume, Drexel University, a Gift of Mrs. Lewis H. Pearson 64-59-7.
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