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Journal articles on the topic 'Costume design'
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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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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.
10
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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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.
12
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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Jablon-Roberts, Sara, and Eulanda Sanders. "A Theoretical Framework for the Creative Process of Theatrical Costume Design for Historically Set Productions." Clothing and Textiles Research Journal 37, no. 1 (September 24, 2018): 35–50. http://dx.doi.org/10.1177/0887302x18796320.
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Millions of Americans see theatrical productions every year, each with performers clothed via costume design. The purpose of this study was to systematically examine the creative process of costume design for historically set theatrical productions. Sixteen Broadway costume designers were interviewed. Data analysis revealed that though each designer and every production is different, these costume designers approached historically set productions similarly. They believed that the presentation of history is essential, but they have their own inclination toward historical accuracy. Guided by their inclinations, they designed costumes by considering three independent production factors (applicability, attainability, and performability) and implementing four iterative strategies (incubation, research, role-playing, and historical manipulation). Through these findings, the authors developed a theoretical framework for the creative process of costume design for historically set productions. Semiotics and symbolic interactionism were applied. Analysis showed that both were unconsciously embraced by the contemporary Broadway costume designers who participated in this study.
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Zamaziy, O. S., and V. A. Maltseva. "FORMATION OF DESIGN THINKING OF DESIGNER- STUDENTS BY THE METHOD OF COMPARATIVE ANALYSIS (ON THE MATERIAL OF THE HISTORICAL AND TRADITIONAL COSTUME OF XVII-XVIII CENTURIES RUSSIA AND GERMANY)." Educational Psychology in Polycultural Space 55, no. 3 (2021): 73–83. http://dx.doi.org/10.24888/2073-8439-2021-55-3-73-83.
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The article examines one of the aspects of the formation of design thinking in designer-students. This professionally significant personality trait is the basis for the competence model of the future costume designer. Using the method of comparative analysis in the study of basic, historical and cultural subjects, designer-students, according to the results of the study, successfully master the historical and ethnic features of cut elements, the principles of shaping and decorating a costume. The article presents the experience of conducting a comparative analysis within the study of “History of the costume” on the example of the traditional costumes of Germany and Russia of the 17th – 18th centuries. The step-by-step work, organized as a part of the laboratory workshop and course design, included the study of traditional costumes in Germany and Russia in a historical retrospective, an analysis of the characteristics of costumes and their design features, the implementation of a large-scale mock-up doll for the selected historical period and the source of creativity and development based on a comparative analysis of fore-sketches of the author's modern collection of clothing models. The main emphasis was placed on the analysis of traditional costumes of the selected historical period in order to study the main forms of the costume, we compare the design features and decorative solutions, the materials used and color combinations in the costume and the ways of wearing it. The historical diversity of the costumes of the aforementioned countries allowed students, using the method of comparative analysis, not only to identify and systematize both common features and differences in the use of structural elements, accessories, materials and colors, but also to get positive motivation to study the history and culture of the peoples of the world, to realize their creative abilities in the field of design, to develop professional skills and abilities.
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Sazykina, Irina A. "Development of an onstage costume design project of Udmurt national costume based on the books on national clothing." Finno-Ugric World 15, no. 2 (July 13, 2023): 225–36. http://dx.doi.org/10.15507/2076-2577.015.2023.02.225-236.
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Introduction. The article discusses the problem of developing ethnic onstage costumes for folk bands. The steps of the development of the design project of the Udmurt onstage ethnic costume for the in the studio of the artists are based on the materials found in the books on folk clothing. It also considers the involvement of the students from the Institute of Arts and Design of the Udmurt State University. Materials and Methods. The study is based on modern research on the Udmurt national costume, summarized in the works of specialists studying the national costumes of the Finno-Ugric peoples, primarily M. K. Zavyalova and S. Kh. Lebedeva. The article employs general research methods such as system analysis, comparison, semantic analysis, as well as an integrative method. Results and Discussion. The Udmurt national female costume is characterized by such features as sacredness and symbolism. Women’s clothing is streaked with symbols. From ancient times, the Udmurts endowed clothes with magical properties reflected in the ornament. The study of the history of the national costume as an integral part of the life of an ethnic group is a very important cultural task. The research by of S. Kh. Lebedeva and M. K. Zavyalova considered the main source of ideas for the creation of design projects for the onstage costumes, made by the artist, the author of the article, for the Udmurt folk band “Њardon” and the Cultural and Tourist Center “Tol Babai Estate”. The students of the Institute of Arts and Design of the Udmurt State University took an active part in this process. Conclusions. At present, the Udmurt national costume has practically disappeared from the everyday life of this ethnic group. Under such conditions, the importance of research by ethnographers, the specialists in costumes, art critics, and historians is increasing. An important contribution to the preservation of national culture is made by folk art bands. A variety of stage costumes is achieved by the work of a costume designer.
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Kusuma Wardani, Ni Putu Sintia Dewi, I. Gede Budasi, and Putu Eka Dambayana. "Lexicon Analysis in Sampi Gerumbungan Dance Costume." Linguistic, English Education and Art (LEEA) Journal 6, no. 2 (June 28, 2023): 263–81. http://dx.doi.org/10.31539/leea.v6i2.5330.
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The study aims to find out what are lexicons used in the Sampi Gerumbungan dance in the costumes and its cultural meaning. The method used in this study is a descriptive qualitative design. The method directs researchers in obtaining social information accurately, broadly, and completely by designing problem formulations. The results of this study found that there were sixteen (16) lexicons found in the costumes of the Sampi Gerumbungan dance. All lexicons in the costumes are also classified based on parts of body, namely head costumes (5 lexicons), neck costumes (2 lexicons), hand costume (1 lexicon), body costumes (8 lexicons), and leg costume (1 lexicon). It can be concluded that there are several lexicons used in the Sampi Gerumbungan dance costumes and have cultural meanings.
Keywords: Costume, Ecolinguistics, Lexicon, Sampi Gerumbungan Dance
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Brayshaw, Emily. "An ‘armour’ against anguish: Costume design considerations around protecting actors in emotionally distressing roles." Studies in Costume & Performance 5, no. 2 (December 1, 2020): 239–53. http://dx.doi.org/10.1386/scp_00027_7.
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Actors and singers frequently portray characters who experience distressing events, yet this may cause anguish for the performers themselves and require them to perform personal emotional management to cope with their own feelings during a production. This case study discusses and documents my costume design ethos and processes for the Sydney 2018 production of Clare Barron’s play, You Got Older (2015), which required the two lead actors to play characters who were experiencing profound fear, grief and loss. The design approach drew on Monks’s work on the relationship that actors have with their costumes and d’Anjou’s interpretation of Sartrean ethics within the context of a design practice. Once I had determined that the nature of my role as designer for this production would be to offer the actors emotional support through costume, I applied Woodward’s notion of comfort in everyday dress to the context of performance costume to ascertain how costume might contain a talisman and/or function as a form of psychological, ‘soft armour’ within the context of the play. Finally, this report uses Tonkinwise’s writing on ethical design alongside a semi-structured interview with the lead actor in You Got Older, Harriet Gordon-Anderson, to examine the forms that such protections took within my designs for the play and offers methodological considerations regarding designing costumes to protect and comfort performers playing emotionally distressing roles, should the actors require it.
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Kosinkova-Stoeva, Angelina. "DESIGN AND MODELING OF LADIES' CLOTHING WITH A STUDY OF THE DECORATIVE FEATURES OF THE BULGARIAN FOLK COSTUME FROM THE PIRIN REGION." International Conference on Technics, Technologies and Education, no. 1 (2018): 76–82. http://dx.doi.org/10.15547/10.15547/ictte.2018.02.003.
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For many centuries the Bulgarian costumes have been one of the main objects of Bulgarian artistic creativity. High artistic embroidery, types of fabrics, patterns, shapes are a source for revealing the ethnic unity and diversity of traditional Bulgarian culture. The great wealth of decorative elements of the folk costume in the Pirin region, distinguished by its inimitable variety and color, are the basis for the creation of designs and designs for modern ladies' garments. The aim of the present work is to trace and explore the historical development of the traditional folk costume in the Pirinan region and to design modern women's clothing using the decorative elements of the authentic costumes.
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Wang, Chao, and Zhiyong Yang. "Innovative Design of Traditional Costumes in Digital Art: A Case Study of the Aoluguya Evenki Ethnic Group in Northeast China." Communications in Humanities Research 18, no. 1 (December 7, 2023): 29–34. http://dx.doi.org/10.54254/2753-7064/18/20231108.
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This paper explores the innovative design and cultural heritage of traditional costumes of the Aoluguya Ewenki ethnic group in the digital age. Through digital techniques, traditional costumes have been infused with modern elements, enhancing the intricacy and diversity of their designs, thus introducing new means of design for traditional attire. Traditional costume patterns and totems are reinterpreted and created through digital software, allowing characters to wear them in virtual film and television, resulting in unique visual effects. 3D modeling technology showcases costume details in virtual film and television, and virtual fitting experiences enable the audience to immerse themselves in historical culture. Balancing modern creativity with cultural authenticity is crucial to achieving innovation and inheritance, ensuring that digital art plays a significant role in the application of traditional costumes of the Aoluguya Ewenki ethnic group.
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Taylor, Madeline. "Taking stock: Revaluing theatre’s costume stores." Studies in Costume & Performance 8, no. 1 (May 1, 2023): 71–90. http://dx.doi.org/10.1386/scp_00086_1.
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Hanging on racks and squeezed into shelves, past performances’ ghosts are visible in the costumes left behind. The costumes held in stock by most theatre companies are material memories of previous productions. They hold traces of the performance, have eased and shaped to fit performers’ bodies over weeks or months of daily wear, have been stressed by a consistent action or absorbed stains from ‘blood’ despite diligent washing. These traces, and the costumes themselves, provide a history of the performance that contradicts the routine complaint of theatre as an ephemeral medium. However, despite, or perhaps, because of these traces, costume stock is often regarded with misgivings. A pejorative attitude to stock costume reflects a significant change in its valuing over the last two centuries, one that does not reflect its active role in producing new works. This article contrasts costume stock’s position in the theatrical imagination with the many and often overlapping roles it plays in the costume workshop, rehearsal room and onstage to develop a taxonomy of costume stock use. It argues for a revaluation of costume stores as a creative tool in theatrical design and performance making.
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Manninen, Kirsi. "Using a digital ‘pocket atelier’ for creative teamwork: What is the impact of digital costume sketching on the professional competence of costume designers?" Studies in Costume & Performance 8, no. 2 (December 1, 2023): 289–303. http://dx.doi.org/10.1386/scp_00102_1.
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This practice-led research sheds light on the potential for digital sketching in the field of costume design. This project provides an opportunity to advance our understanding of the impact of ongoing digital transformation on costume design processes and other design processes related to sketching and creative teamwork. The material for the research was collected from interviews with Finnish professional costume designers about their costume sketching practices. Interviews concentrated on designers who preferred using digital sketching methods in their process. This study focuses on costume sketching, which is when a costume designer creates a costumed character using tactile sketching techniques on a tablet touch screen. The portable device acts as a digital sketchbook for the costume designer; this study assesses the effects of this digital ‘pocket atelier’ through the lens of professional competence. Professional competence in this context refers to the ability of designers to perform work-related tasks within a creative team, such as expressing and communicating ideas by generating costume sketches. When asked about the impact of digital costume design methods, most participants commented that they have found their own way of expressing ideas and visions through digital means, which has increased their sense of professionalism. They further described the use of digital tools as making them feel more valued as members of a creative team. The research results indicate that the digital transformation of the design process has changed costume designers’ perception of their own skills as better matching the needs of the work environment.
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Lindgren, Christina. "Unfolding a vision embedded in a garment: Three tools from a toolbox for generating performance from costume design." Studies in Costume & Performance 6, no. 2 (December 1, 2021): 201–15. http://dx.doi.org/10.1386/scp_00047_1.
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Reflection and discussion on ‘how’ costume performs seems to be at the centre of inquiry of the research within the field of costume design, as presented at the Critical Costume conferences and the journal Studies in Costume and Performance. In various ways, costumes play an important role in most performances, a costume ‘does’ things, it performs and has agency. In recent years, we have experienced an increasing number of performances where costume acts as the starting element for a performance and, more often, we hear of costume designers instigating and leading creative processes in making performances. Costume-generated performances are about to be considered an established genre. This research report aims to share some ‘tools’ that form a methodological framework ‐ a toolbox ‐ for generating performance with costume design as a starting point. The examples are drawn from my professional practice, informed by work undertaken in workshops held in the frame of the artistic research project ‘Costume Agency’ (2018‐21), which I have been leading in collaboration with dramaturg and curator Sodja Lotker. I have found useful concepts in new materialism, as a critical framework that has opened up a new understanding of how humans and non-human actors interact and have adapted them for my use as a costume designer, director and researcher. The tools I focus on here are the following three: notions of ‘agency’ in the context of costume design; the concept of ‘situated knowledges’; and ‘visual dramaturgy' from the performing arts theory. These tools have proven to be useful in the processes of generating performance from the costume in my own practice and are offered in this research report to the wider community of costume researchers for further debate and development.
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Han, Jingjing, and Hushinaidi Bin Hamid. "The Artistic Expression of Character Shaping and Dramatic Costume Design." International Journal of Education and Humanities 14, no. 2 (May 30, 2024): 92–94. http://dx.doi.org/10.54097/gnenx206.
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Character shaping and theatrical costume design complement each other in theatrical performance. Character shaping requires consideration of the character's background, personality traits, and goals, and showcases the character's characteristics through techniques such as dialogue, body language, and psychological description. Dramatic costume design should reflect the personality of the characters, conform to the theatrical style and historical background, and reflect the development of the characters in the plot. By selecting appropriate materials, colors, and designing clothing styles, as well as cleverly matching accessories, theatrical costumes can enhance the effect of character shaping. The interaction between characters and clothing is reflected in clothing strengthening character characteristics, assisting in expressing character emotions, and creating a suitable plot atmosphere. By integrating character shaping with theatrical costume design, the connotation of characters can be better interpreted, and the overall expressive power of drama can be enhanced.
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CHEN, S., and T. KROTOVA. "INNOVATIVE APPLICATION OF CHINESE KUNQU OPERA COSTUMES STYLE PRINCIPLES IN MODERN DESIGN." Art and Design, no. 1 (May 6, 2024): 11–19. http://dx.doi.org/10.30857/2617-0272.2024.1.1.
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Goal: an in-depth study of innovative practices of contemporary design based on the values of China's intangible cultural heritage, in particular, the use of formative and decorative characteristics and techniques of the Kunqu Opera stage costume in the creation of modern models of clothing for dressy or casual use. Methodology. The study uses historical, analytical, and chronological methods, as well as methods of formal and figurative-stylistic analysis. Results. Based on the systematization of documentary materials, the unique features of the costumes of the main characters in different scenes of the youth version of «The Peony Pavilion» opera have been studied. Formative and stylistic approaches have been generalized, and the characteristics of the costume, such as the Style of the main constituent elements (The headdress, Horse-face Skirt, Pleats, Cloak), as well as Colors and Patterns, have been integrated into the author's own design solution for the design of modern costumes for dress purposes. Based on the example of the contemporary Chinese designer MUKZIN's collection, the article shows how the integration of expressive possibilities of stage costumes can shape aesthetic trends in contemporary design and expand its creative potential. The scientific novelty of the study is to identify the expressive characteristics of the Kunqu Opera stage costume and to propose an approach for its integration into modern clothing. The integration of intangible cultural heritage values into modern trends not only expands the possibilities of design but also opens up a way to preserve traditional culture. Practical significance. The study of the artistic and aesthetic features of the costumes of the Kunqu Opera in the Youth Version of «The Peony Pavilion» and the application of innovative design approaches is an important area of creativity and research not only for designers but also for stage designers and art and fashion historians. The materials of the research can be used in educational courses as well as in costume design practices.
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Hariana, Hariana, G. R. Lono Lastoro Simatupang, Timbul Haryono, and SP Gustami. "ASPECTS UNDERLYING THE MODIFICATION OF BRIDAL COSTUME IN GORONTALO AT THE WEDDING RECEPTION." Jurnal Kawistara 7, no. 3 (July 22, 2018): 297. http://dx.doi.org/10.22146/kawistara.33951.
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The visualization of the Gorontalonese bridal costume worn at the wedding reception is increasingly diverse in terms of the modification forms. The modification can be seen in the design elements including shape, texture, color, material, and accessory. Furthermore, the modification of the current costume makes the functional value of the bridal costume different from the already patterned one, which can be seen from its social, symbolic, and economic values of the Gorontalo community. The data in this study was collected through the review of books and previous studies related to the wedding clothing, the interviews, and the observation of bridal costumes and analyzed using the qualitative data analysis approach. The observation of unmodified bridal costume objects was done at the Dulahopa Traditional House in Gorontalo, while that of modified bridal costume objects was conducted on the widely used bridal costumes within the last two years in Gorontalo. The purpose of this study was to find out the aspects underlying the modification of bridal costume in Gorontalo. The results show that Gorontalo people tend to choose modified wedding dresses in the wedding party. Moreover, this study suggests that the bridal costume modification is influenced by the family’s social status in Gorontalonese community, migratory Gorontalonese people (staying outside the area of origin), and technological advancement.
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dos Santos, Andreina Vieira. "How to perform Blackness: Creating possibilities through costume design." Studies in Costume & Performance 6, no. 2 (December 1, 2021): 155–70. http://dx.doi.org/10.1386/scp_00044_1.
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The creation of costumes for a Black body in performances that deal with Blackness always evokes the conflict in presenting complex facets of a socially stigmatized body, in face of a tool (costume) that usually works to categorize bodies onstage. In this article, I initially analyse how the Black body has been represented, for decades, on the stages of Brazilian theatre. I also try to understand how the theatre, in a structurally racist context, has become a place of resistance for the Brazilian Black Movement, as well as a political space to redefine what it means to be Black. Bringing in references from my own artistic research and practice as a costume designer in the performances Unrestricted Contact (Grupo Oito, 2017) and Black Memories on White Bones (Ricardo de Paula, 2019), I conduct this research that deals with the complexity of narrating Blackness through costumes that, together with the body, convey a process of deconstruction and decolonization within the performance.
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Kjellmer, Viveka. "Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915‐18)." Studies in Costume & Performance 4, no. 2 (December 1, 2019): 179–91. http://dx.doi.org/10.1386/scp_00003_1.
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In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915‐18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.
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Lu, Xueqing, Jing Wen, and Xiaohua Shao. "Pattern Design of Ethnic Clothing Based on Stretchable Nanofiber Fabrics." Advances in Materials Science and Engineering 2022 (August 17, 2022): 1–10. http://dx.doi.org/10.1155/2022/7370958.
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With the rapid development of social economy, people’s material and spiritual living standards have been greatly improved, and the demand for clothing has also increased. Chinese clothing has distinct national characteristics, and it contains rich national culture. Through a lot of research, it will be found that most of the national costume patterns represent some symbols with specific meanings. From the symbols, we can see the status, hobbies, and beliefs of the costume owners. At present, the popularity of traditional ethnic clothing is low, for which stretchable nanofiber fabrics are introduced in this paper. Through the influence of image rotation, scale change, noise interference, and other factors, a method for extracting features of ethnic clothing patterns based on image rotation, scale change, and noise interference is proposed. It uses digital inkjet printing to design patterns on nanofiber fabrics, compares the satisfaction degree of the nanofiber fabric national costumes designed in this paper and traditional national costumes, and divides the satisfaction into four levels: satisfied, relatively satisfied, general, and dissatisfied. The experimental results showed that the satisfaction rate of the ethnic costumes designed in this paper has reached 79.12%, which has been greatly improved compared with the traditional ethnic costumes.
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Ridder, Alyssa. "Ethics of homeless representation in costume design." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (December 1, 2020): 117–21. http://dx.doi.org/10.1386/peet_00026_7.
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Marisol, set in 1993 New York City, depicts the end of the world from the perspective of a twenty-something Puerto Rican white collar woman who loses her guardian angel. In approaching the costume design for this play I encountered a deeply concerning question: how can I design costumes for homeless characters without appropriating the physical appearance of people who experience homelessness in real life? Homeless characters are represented in many iconic plays in English language theatre, from Angels in America to Oliver!, and costume designers are frequently asked to address the ethics of representation with their design choices. In this short article I share my process in sourcing primary reference images for homeless characters without appropriating the exclusionary violence of the people who are considered ‘out of place’ in today’s New York City. I considered the ethics of different approaches to sourcing primary research that I have used in the past but ultimately chose to give up ‘authenticity’ for ethics. For the design I used reference images sourced from Japanese label N. Hoolywood’s Fall 2017 Menswear Collection, a fashion design that directly appropriates people who experience homelessness. My choice to frame homelessness through the lens of fashion served our production of Marisol only because of its design concept but leaves open the question of how to ethically design costumes for homeless characters in other plays.
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Geraffo, Monica. "No tights, no flights: Constructing the wardrobe of television superheroes." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 233–50. http://dx.doi.org/10.1386/ffc_00022_1.
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Superheroes have always been defined by their dual lives, but analysis of the ways dress has informed characterization is often limited to just their superhero costumes, despite qualitative evidence that comic book heroes are depicted in civilian clothes at least half as often. Contemporary depictions of superheroes on television spend an even greater percentage of time dressed in civilian garments. This article combines both adaptation studies and industry studies approaches to discuss the overlooked influence of civilian clothing in conceiving the television superhero ‐ examining both comic book source materials and the process of costume design through the intrinsic constraints of industry television production. Through case studies into the DC comics Arrowverse, a series of interconnected programmes aired on the CW Network, and Marvel’s Runaways, the Hulu adaptation about teenage superheroes without costumes, as well as interviews with costume designers and actors, this article recognizes strong visual similarities across programmes between pseudo-character archetypes, and presents a de facto formula for analysing civilian superhero costume design. The resulting narrative reveals a struggle within superhero civilian costume design: finding the balance between serving semiotics or characterization, and building a sense of realism and individual choice within costuming choices from within hegemonic structures.
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Grigoreva, Marina Borisovna, and Nuriya Munirovna Akchurina-Muftieva. "Modern Crimean Tatar national costume: succession and novelties (based on the example of Crimean dress designers)." Культура и искусство, no. 12 (December 2020): 1–13. http://dx.doi.org/10.7256/2454-0625.2020.12.34339.
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This article analyzes the modern Crimean Tatar costume from the perspective of succession of the traditional elements. The author systematizes general approaches towards design of the traditional and modern costume, indicating the characteristic features. At the present stage, the elements of the traditional Crimean Tatar costume are growing in popularity. Interpretation and modern stylization of the traditional elements of national costume leads to the formation of the unique style. The leading phenomenon in the approach towards design of the modern national costume is the scientific basis, which helps to preserve the traditional elements. The object of this research is the modern Crimean Tatar costume, while the subject is decorative and graphic approaches towards design. The primary task consists in determination of the principles of creation of Crimean Tatar image and its implementation into Crimean modern culture. The novelty of this research is defined by insufficient examination of the modern Crimean Tatar costume on the scientific level, although actively implemented into modern youth culture. The creative direction in the works of modern Crimean Tatar designers is divided into three approaches: verbatim reproduction of ethnic costume (mostly used wedding gear and theater costumes), authorial interpretation, and avant-garde approach, using metaphors as the basics of style. It is noted that in the approach with allusive metaphors it enough to complement modern costume with headwear similar to the traditional to add national flavor to the image. The author underlines the importance of development of modern Crimean fashion in all three directions, as each approach has a particular function.
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Georgieva, Desislava. "DESIGN AND MODELING OF LADIES' CLOTHING WITH A STUDY OF THE DECORATIVE FEATURES OF THE BULGARIAN FOLK COSTUME FROM THE RHODOPEAN REGION." International Conference on Technics, Technologies and Education, no. 1 (2018): 83–91. http://dx.doi.org/10.15547/10.15547/ictte.2018.02.004.
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The study of popular clothing, its classification, characterization and exploration gives us valuable information about our ancestors, the traditions, the life and the culture of our ancestors. Part of this cultural heritage is the Bulgarian traditional costume. Trained and analyzed, traditional clothing is a good basis for transforming ideas into the design of contemporary fashion collections - a practice that is enjoyed by all current designers. In this report the characteristic of a Bulgarian traditional costume is made. The purpose of the present work is to trace and explore the historical development of the traditional folk costume in the Rhodopean region and to design modern women's clothing using the decorative elements of the authentic costumes.
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Sazykina, Irina A., and Irina L. Sirotina. "Updating traditional ethnic symbols in the design of a modern Finno‑Ugric costume." Finno-Ugric World 13, no. 2 (July 12, 2021): 180–92. http://dx.doi.org/10.15507/2076-2577.013.2021.02.180-192.
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Introduction. In modern design, there is a relevant topic of creating original stage costumes using ancient sacred Finno-Ugric symbols. Materials and Methods. The choice of goals and objectives, which is based on the principle of consistency, determined the methodology of the work that is based on the synthesis of cultural and art history analysis. Results and Discussion. In line with the interdisciplinary research, the article considers the use of artistic techniques that allow us to preserve the code of recognition of the passing epochs in the current design: in the forms of symbols and signs of the Finno-Ugric peoples, color solutions, textures of fabrics and materials, decor, and the location of sacralization. It gives the author’s classification of modern collections of ethno-costume: conditionally authentic; folklore; pop; competitive. It considers the female complex of the northern Komi-Permians as a source for the creation of conditionally authentic costumes for the folk ensemble “Samorodky” (“Nuggets”). All theoretical findings are illustrated by their practical use in the creation of author’s collections. The main emphasis is made on the Udmurt costumes. Conclusion. The design of a modern Udmurt costume will be most effective and will reach a high-quality level. For this purpose, it is important to reveal sacred, semiotic and aesthetic content of the traditional costume and be scientifically understood and adequately adapted to today’s style and functional requirements both in design and in the semantic characteristics of decorative elements and accessories.
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Edward, Mark. "Council House Movie Star: Que(e)rying the Costume." Scene 2, no. 1 (October 1, 2014): 147–53. http://dx.doi.org/10.1386/scene.2.1-2.147_1.
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Council House Movie Star (2012) originally started as a film enquiry exploring what happens when drag queens age, both off stage and onstage. The research expanded to include two further practice projects: an immersive gallery installation of a life-size council house and a fine art exhibition of the naked and costumed drag body. This article examines the quotidian experiences of a white working-class drag hero/ine and the costumed genderqueered skin. It discusses the queer costume of drag queens, including make-up and wigs. The article also explores the position of memory within the formation of costume for performance as a major theme within the creative processes and design of this project. This visual essay narrates the positioning of drag queens within the social realities of working-class life, thus producing an interesting contrast between the costume of chavs, B-boys and contemporary youth, against the queer and camp drag costume.
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Ramadhan, Galih Dwi. "Perlindungan Hukum dan Implementasi Doktrin Fair Use Terhadap Costume Play (Cosplay) dalam Hak Cipta dan Desain Industri." JIPRO : Journal of Intellectual Property 4, no. 1 (January 2, 2022): 13–26. http://dx.doi.org/10.20885/jipro.vol4.iss1.art2.
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Cosplay 'Costume & Play' is a term that describes a pop-culture phenomenon about a person's creativity by creating and using a costume and its accessories to play a role based on references to fictional characters from comic books, animated films, and video games. Costumes and accessories used for cosplay are the work of human intellectuals which should be protected by intellectual property rights because in practice many parties get financial benefits from cosplay activities. There is no explicit regulation on the protection of intellectual works, especially Copyright and Industrial Design Rights for cosplay costumes and accessories. A normative juridical study is needed in understanding the legal provisions on cosplay using the Copyright Law and the Industrial Design Law.
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Le Goff, Laurane. "Costumes that tell multispecies stories: Critique of Sympoiesis: A Bio-Inspired Dance Performance." Studies in Costume & Performance 8, no. 2 (December 1, 2023): 241–62. http://dx.doi.org/10.1386/scp_00099_1.
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This research report critiques the multispecies (human and other-than-human) connections created by the costumes in Sympoiesis: A Bio-Inspired Dance Performance. Focusing on individuals from three kingdoms: Physarum polycephalum (Protista), Alocasia zebrina (Plantae) and Homo sapiens (Animalia), the performance aimed to share the story of their entanglement. This report unwinds the research and outcome, demonstrating how the other-than-human species’ interdisciplinary research guided the conception of the costumes, choreography and set design. The research has been framed here in the theoretical context of ‘costume agency’, ‘response-ability’ and ‘care’, showing how the concepts infused the design and making process. I reflect on the ethical questions raised while working towards an ecological vision of costume, in terms of both making and designing. Through this article, I argue that creating a space for multispecies stories onstage will require a change in the way we study, design and make costumes.
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Huang, Jun Min, Xiang Li, Hong Fang Wu, and Yu Fang Sun. "Costume Innovative Design Based on Kansei Engineering." Applied Mechanics and Materials 651-653 (September 2014): 2024–27. http://dx.doi.org/10.4028/www.scientific.net/amm.651-653.2024.
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This paper elaborates the necessary part of kansei engineering in costume innovative design ,with the analysis of kansei engineering. It proposes the frame of costume innovative design based on kansei engineering, helps designers discover the interest of customers in costume products, and elaborates the relationship between the establishment of kansei and elements of costume design which provides evidence for guidance of costume innovation and evaluation of design effect. In the end, this paper points out that kansei engineering has a broad prospect applies in costume design to better satisfy the kansei requirement of users.
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Mamatkulova, Saida, Gulhayo Mirbobayeva, Mavjudaxon Ulug`boboyeva, Nosirjon Yakubov, Barno Nizamova, and Xilola Tursunova. "Importance of design in dresses." E3S Web of Conferences 538 (2024): 04001. http://dx.doi.org/10.1051/e3sconf/202453804001.
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This is a scientific article detailed information about the essence, principles, rules, elements, basic principles and methods of costume design. The features and tools of costume design are not only found in clothes, but also in works of art. It is presented as a broad theoretical information about color, styles in costume, details about styles and styles, ensembles are discussed in detail.The methods of artistic design of the costume are widely covered with information about decor and plastic and decorative features of selected materials, fashion functions, and accessories used in costume design. Teaches basic concepts of the concept of fashion and the functions of design and ensures the correct and intelligent use of design in future creative work.
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Bågander, Linnea. "Cuttlefish – performing body." Studies in Costume & Performance 5, no. 2 (December 1, 2020): 255–71. http://dx.doi.org/10.1386/scp_00028_7.
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This research report discusses and reflects on the development of the costume design and choreography of the performance piece Cuttlefish, 2017–19. In the performance, the costumes played an essential role as they completely transformed the movements and forms of the dancers. To enable this, costumes were designed as temporal forms, garments that contain a particular movement language based on the structural possibilities of the body. The costumes are discussed here from two perspectives: in relation to their role in constructing a narrative for the audience, choreographer and dancers and secondly concerning the practical aspects of their development as temporal forms. The suggestion is that garments constitute material opportunities, designed to provide a system of possible movements and expressions that the choreographer and dancer can explore. The result has implications for both fields of fashion design and costume design as it proposes fundamental parameters for a method of constructing garment as temporal form.
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Bakina, T. V. "The Birth of a Hollywood Spectacle: Visual Expression and Narrative Functions of Costumes in Cecil B. DeMille’s Silent Films." Art & Culture Studies, no. 2 (June 2021): 252–85. http://dx.doi.org/10.51678/2226-0072-2021-2-252-285.
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The article explores the functions of film costumes in the works of Cecil B. DeMille, the American film director, whose pictures of the late 1910s and early 1920s are notable for their artistic achievements in the field of set and costume design. On the material of certain films from his “matrimonial cycle”, the author analyses the narrative and spectacular functions of costumes, while making an emphasis on the director’s role in the development of the artistic uniqueness and visual extravagance of Hollywood films of this period. The films of this cycle display some key strategies in film costume function- ing and design methods that would be adopted by the Hollywood film industry to become the new production standard in this field.
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Pischinskaya, Olga Vladimirovna, and Galina Anatolyevna Kornilova. "DESIGN ETHNOGRAPHY METHODS IN COSTUME DESIGN." Theoretical & Applied Science 115, no. 11 (November 30, 2022): 280–84. http://dx.doi.org/10.15863/tas.2022.11.115.10.
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Mahmoud Attia, Amal, and Asil Laith Ahmad. "Characteristics of costume design in children's theater performances." Al-Academy, no. 106 (December 15, 2022): 59–70. http://dx.doi.org/10.35560/jcofarts106/59-70.
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Theatrical costume constitutes a peculiarity in the theatrical performance because of its ability to communicate and communicate with the rest of the visual elements of the show in highlighting the intellectual and dramatic values. Fashion developments in theatrical performance, the second: the design elements of costumes and their characteristics, the third, which includes research procedures, and the fourth, in which the research results and conclusions were presented, including: The play (Happening on the Farm) is considered one of the plays with educational, educational and aesthetic goals, as it carried in its formats the features of simplicity and diversity of the visual formal connotations of the child. The costume designer has an important role in communicating the idea of the play and its contents and conveying its connotations as well as his imaginative and innovative ability, by dealing with the nature of the material or material and designing it in accordance with the viewers of the show. The study concluded with sources and appendices.
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Mecheva, Gergana, Liliana Indrie, Petya Dineva, Zlatina Kazlacheva, Zlatin Zlatev, and Amalia Sturza. "Exploring the relationship between color and form in the design of women’s Latin dance costumes." Koža & obuća 72, no. 4 (February 16, 2024): 7–11. http://dx.doi.org/10.34187/ko.72.4.2.
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This article delves into the complex world of designing women's Latin dance costumes, highlighting the paramount importance of harmonizing current fashion trends with the essential requirements of comfort, flexibility, and the need to emphasize the dancer's graceful movements. The objective of this study was to create few models of Latin dance costumes. To forecast how the users and viewers would perceive Latin dance outfits, an on-line survey was conducted. A regression model was applied to analyze how color and shape interact in the creation of Latin dance costumes. The article focuses on key aspects of costume design, covering an in-depth study of silhouettes and colors and their perception by viewers. Designers are encouraged to focus their creative efforts on prioritizing the comfort and freedom of movement of the dancers, adapting to ever-evolving societal and cultural changes, and exploring innovative solutions to overcome the challenges and limitations inherent in costume creation. The regression model can be used to predict with enough accuracy users' and viewers' opinions on the use of Latin dance costumes. Embracing these results, designers are ready to produce remarkable, comfortable clothing patterns that authentically capture the splendor and diversity of Latin dance culture.
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Safo-Ankama, Kweku, and Naa Omai Sawyerr. "Exploring the Costume Styling and Material Composition of the Effutu Festival Costumes." International Journal of Cultural and Art Studies 7, no. 1 (April 30, 2023): 09–21. http://dx.doi.org/10.32734/ijcas.v7i1.11499.
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This study investigates the costume styling and material composition of Effutu festival costumes. It is delimited to Effutu festival performance costumes. The qualitative design was adopted. The ethnography approach was employed through narrative analysis and oral history. Unstructured interviews and on-site direct observations were the qualitative data collection instrument used for the data collection. The narrative analysis was used to analyse the data. The findings revealed that historically costumes are seen as relics that can tell the story about the exploits and traditional mythologies of the communities. Again, costumes that materialise culture and identities do not just mirror pre-existing sets of ideas or symbolic systems but facilitate values as ‘they form part of an ethnohistorical repository of knowledge. The findings further revealed that, costume styling could be categorised into Royal, Ritual, Asafo (war/battle), Generational, Women ensembles (Adzewa costumes) and Fanciful costumes. The basic material composition of costumes includes fabrics (both applied and structural designs), leather, horsetail, metal helmets, pillows, kaolin, beads (plastic and glass), mpoboa (shoes), symbolic colours and other material collaboration. It is recommended that costumes used for the Effutu festival be recorded and digitalised for future reference.
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Gatley, Sam, and Roisin Morris. "Striking a Pose: The Display of Hollywood Costume." Costume 49, no. 1 (January 1, 2015): 75–90. http://dx.doi.org/10.1179/0590887614z.00000000064.
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Hollywood Costume was a major temporary exhibition held at the Victoria and Albert Museum from 20 October 2012 to 27 January 2013 which explored the creation of character in film through costume design, and was curated by the Oscar-nominated costume designer Professor Deborah Noodalman Landis. This article focuses on the challenges negotiated to prepare the 130 costumes, which were diverse in style, material and condition, for display. As well as the condition and physical limitations of the objects, ethical conservation concerns and the differing working practices of the film industry both had to be taken into account. Through a variety of examples and case studies this article demonstrates the range of mounting approaches and solutions which were adopted to support and interpret this group of dramatic and iconic costume ensembles.
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Papantoniou, Ioanna, and Sofia Pantouvaki. "Folk costume as theatrical costume." Studies in Costume & Performance 7, no. 1 (May 1, 2022): 55–66. http://dx.doi.org/10.1386/scp_00060_1.
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This essay introduces an unpublished talk by Greek stage designer Ioanna Papantoniou (born 1936) entitled ‘Local costume in a theatrical performance’, originally presented at the First Panhellenic Meeting of Ephors (Curators) and Dance Teachers at the Lyceum Club of Greek Women in Athens, in November 1990. Prior to and alongside her professional design career in the field of theatre, Papantoniou was actively engaged as a researcher in ethnography studies on Greek local costumes and folk dances. Driven by her passion for the study of Greek local dress combined with her professional experience as a stage designer, Papantoniou has given several talks on the connections between theatrical performance and folk traditions, as well as on the interrelationship between local dress and theatrical costume on stage and in festivities. In this talk she conflates local costume and folk dance as a form of performance and discusses how these two elements become an artistic creation when it comes to staged performances outside their original setting in a village. Thus, she draws a line between the ‘authentic’ and the staged performance, the latter of which is what she considers contemporary folk dancing in reproduced folk costume to be. The published text is based on a transcript of the talk, translated into English, and further edited by costume designer and scholar Sofia Pantouvaki, who also provides an introduction and numerous annotations to make the talk accessible by an international audience.
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Zhang, Jingtong, and Yanchen Liu. "Research on Western Minorities Costume Culture and Innovative Development--Analysis Based on a Sample Questionnaire on Western Minorities National Costume." Journal of Social Science Humanities and Literature 6, no. 6 (December 29, 2023): 5–12. http://dx.doi.org/10.53469/jsshl.2023.06(06).02.
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Based on analyzing the questionnaire sample on Western Minorities national costumes, this paper comprehensively explores the development trend and innovative direction of Western Minorities costume culture. The study results show that in the context of globalization, traditional Western Minorities costumes are gradually welcomed by the younger generation as a fashion representative. At the same time, traditional Western Minorities costumes have been innovatively applied in modern costume design. In the questionnaire, we learned that more and more consumer groups are interested in Western Minorities national costumes, and we should learn to interpret Western Minorities culture from different perspectives and reflect it in our designs. Innovative development requires inheriting and protecting traditional skills and incorporating new technologies and techniques to improve their characteristics. In addition, innovation should maintain the characteristics of Western Minorities culture, satisfy the aesthetic needs of modern people, and focus on the real meaning of the dresses to be expressed and their relationship with art. The above research gives us a more comprehensive and in-depth understanding of Western Minorities dress culture and innovative development, an important reference value for the inheritance and development of Chinese traditional dress culture.
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Auda, Marwa. "THE HISTORICAL/ CULTURAL INFLUENCES ON STAR WARS CHARACTER QUEEN PADME COSTUME DESIGN." Journal of Art & Architecture Research Studies - JAARS 1, no. 1 (June 21, 2020): 142–55. http://dx.doi.org/10.47436/jaarsfa.v1i1.22.
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The research is about the role of the costume designer and the extent of its effectiveness in achieving the balance between character design that reflects the ideals and goals of movie, and finding the appropriate reference, whether historical or civilized influence, through the design idea on which it is based. For example, the research was taken from the costume design of the star wars movie in a condition that applies to the elements of a suitable design and limited the analysis On Queen Padmé character from the series of star wars movies, the research mentioned three costumes that appeared during the film; throne room gown with its elements inspired in the creative process of design, the lake gown, and the travel gown with its details which Inspired by different civilizations like old historical Russian dress.
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Zhang, Jinbin. "The Application and Analysis of Opera Costume Elements in the Modern Costume Design." E3S Web of Conferences 237 (2021): 04015. http://dx.doi.org/10.1051/e3sconf/202123704015.
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This paper analyzes the application of opera costume elements in modern costume design, combines with the application of ideas in the paper, and applies opera costume elements to modern costume. Under this concept, four kinds of modern ready-to-wear clothes with opera costume elements are designed. Taking the works as examples, the whole process of the application design of opera costume elements in modern costume design is presented, which provides ideas and directions for the modern application design of opera costume elements in the future. It is also hoped that the research findings of this paper can give reference to designers.