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Journal articles on the topic 'Costume'
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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.
2
Brookins, Amelia. "Costumes as palimpsests: Accumulation of narratives through reuse of costumes in film and theatre." Studies in Costume & Performance 8, no. 1 (May 1, 2023): 91–103. http://dx.doi.org/10.1386/scp_00087_1.
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Palimpsest is a term traditionally associated with parchment manuscripts, referring to a writing surface on which the original text has been overwritten. As demonstrated by the famous Archimedes Palimpsest, despite the reuse of the parchment, it retains traces of its previous texts. This article argues that the term palimpsest can also describe costumes used in performance. This article seeks to investigate questions such as, what happens when a costume is taken out of one narrative and placed into another? If a costume is inscribed with narrative, like a palimpsest, does the original narrative remain, clinging to the fabric like ink on parchment? Drawing on Dillon and Colwell, the costume’s life cycle is a palimpsestic process through which the costume becomes layered as a material object and as a carrier of narrative meaning. These layers can be seen through the survival of the memory attached to the costume. The forms of survival for these memories are demonstrated by using theoretical frameworks proposed by Sampson and Pearce for analysing objects connected with meaning through memory. By exploring how the past survives through memory in the form of material culture, associated narratives, or individual memory, this article reveals how the palimpsest layers of a costume can be seen. As a result, costumes can continue to accumulate meaning even after they cease to be reused. The exploration of costumes as palimpsests reveals the remarkable ability of costumes to transform physically and metaphorically to reflect multiple narratives.
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Colpaert, Lisa. "Costume on film: How the femme fatale’s wardrobe scripted the pictorial style of 1940s film noir." Studies in Costume & Performance 4, no. 1 (June 1, 2019): 65–84. http://dx.doi.org/10.1386/scp.4.1.65_1.
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The character of the femme fatale and the visual style of film noir are vital elements in our understanding of that genre. Film costumes worn by the femme fatale are crucial, and are defining elements in genre recognition precisely because of their explicit cinematic visualization, rather than functioning as unequivocal signs. This article proposes a methodology for film costume researchers to conduct a pictorial analysis, without necessarily analysing film costume in terms of a meaning-making repertoire adhering to our understanding of film as a ‘language’. In the proposition of a framework for the close textual analysis of film costumes, the methodology is based on the triangulation of a shot-by-shot description, a wardrobe breakdown and an examination of production stills. This triangulation is crucial to understand the complexity of film costumes, which are defined by a wide-ranging set of factors such as: the film industry’s mode of production, the film costume’s relation to the fashion of its time, the body and star image of the actor, the work of the costume designer and his/her department, and the film-specificity. The ways in which a film costume functions in a specific shot will prove to be an important tool to analyse the pictorial characteristics of film noir and the femme fatale. To exemplify to methodology, this article proposes a close reading of an iconic film costume designed for one of the best-known performances of such a character, i.e. the white jumpsuit designed by Edith Head for Barbara Stanwyck in the closing scene of Billy Wilder’s Double Indemnity (1944).
4
Andersson, Therése. "Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress." Culture Unbound 3, no. 1 (April 19, 2011): 101–12. http://dx.doi.org/10.3384/cu.2000.1525.113101.
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In ’Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress’ a materiality-based approach for analysing film narratives through costumes is examined. Sofia Coppola’s film Marie Antoinette (2006) serves as the empirical starting point and the theme of dressing and redressing is pursued throughout the film, crystallizing costume as a significant feature for reading the movie. The article argues that costumes, on a symbolic level, work as agents. It thus focuses on the interdependence between costume and interpretations of the screenplay’s main character. A theoretical notion of costumes and materiality is explored, and the idea is further developed in relation to stylistics constituted as emotions materialised in costume. As costumes are the main object for analysis, the discussion immediately centres on costumes produced by professional costume designers for the two-dimensional format of the film frame. In other words, costumes made for the moment: for a specific narrative and aesthetic expression.
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Aprilianti, Luh Wulan. "An Analysis of Lexicons in Costumes of Baris Gede Dance at Penuktukan Village." International Journal of English Education and Linguistics (IJoEEL) 5, no. 1 (July 4, 2023): 18–30. http://dx.doi.org/10.33650/ijoeel.v5i1.5415.
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This research aims to find out the lexicons and the cultural meaning in the costumes of the Baris Gede dance. Baris Gede dance is a traditional Balinese dance that tells about warriors fighting on the battlefield. Costumes are an important component in the Baris Gede dance because the costumes used represent the contents of the dance. This research used qualitative research with interviews and observation as the method to obtain the data. The researcher found 14 lexicons in the costumes; head costume (1 lexicon) that is gelungan, neck costume (1 lexicon) which is badong/bapang, hand costume (1 lexicon) which is gelang kana, upper body costume (7 lexicons) which are awiran, oncer, lamak, kwace selem, tali semayut, keris, and urangka and lower body costume (4 lexicons) that are stewel, jaler putih, kancut putih, and sabuk. The cultural meaning relates to the soldiers on the battlefield. Warriors are depicted as dashing and brave figures represented through the Baris Gede dance costume.
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Zhu, Chun, Kaixuan Liu, Xiaoning Li, Qingwei Zeng, Ruolin Wang, Bin Zhang, Zhao Lü, et al. "Research on Archaeology and Digital Restoration of Costumes in DaoLian Painting." Sustainability 14, no. 21 (October 28, 2022): 14054. http://dx.doi.org/10.3390/su142114054.
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Costume restoration is one of the important ways to study costume history and culture. The purpose of this paper is to show the characteristics of Chinese costumes more than 1000 years ago, through the research on the costume in the famous ancient Chinese painting DaoLian painting, and provide strong technical support for the research of Chinese ancient costume culture. DaoLian painting is the work of Xuan Zhang, a famous painter in Tang dynasty (618–907), China. From the perspective of clothing engineering, we analyzed the characteristics of costume style, color, and pattern and used the virtual fitting technology to realize digital restoration of the costume of 12 characters in the painting. The results show that it is a practical method to study costume from paintings. The colors, patterns, and character gestures in the paintings provide sufficient information for the archaeology and restoration of ancient costumes. The research results of this paper can provide a new idea for costume archaeology and a reference for modern fashion design and materials for the VR Museum of Ancient Costumes.
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Taylor, Madeline, Suzanne Osmond, and Sofia Pantouvaki. "Costume Connections." Studies in Costume & Performance 8, no. 2 (December 1, 2023): 147–53. http://dx.doi.org/10.1386/scp_00093_2.
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This editorial summarizes the content of Issue 8.2 ofStudies in Costume & Performance. Taking the theme of ‘Costume Connections’, in response to theCritical Costumeconference held online in November 2022 which took this same theme, the issue presents a dynamic collection of items. Approximately half of the issue is devoted to research originating and developed from the conference presentations, but the balance represents new practice-oriented research endeavours. The conference questioned how costume establishes connections, receiving diverse responses from global scholars, artists and practitioners. Contributors delve into the multifaceted nature of connections formed by and with costumes, emphasizing their dynamic, non-linear and collaborative essence. Sub-themes emerge; research on historically informed costume and performance practices, the impact of digital technologies on design, how costumes can be used to destabilize norms and provoke critical thinking in practitioners and audiences, and the sociocultural dimensions of costume. The issue concludes with reflections on the societal and performative implications of costumes, marking a transition for the journal’s editorial team and expressing gratitude for the contributions of outgoing member Donatella Barbieri. Overall, the contributions underscore the pivotal role of costumes in fostering networks of experiences, practices and ideas within the realms of storytelling, performance and creative expression.
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Raud, Inna. "Vändra kihelkonna naiste traditsioonilised rahvarõivad: komplektide koostamine ja valmistamine tänapäeval. TÜ Viljandi Kultuuriakadeemia pärandtehnoloogia magistritöö 2014 / The traditional folk costumes of the women of Vändra parish." Studia Vernacula 5 (November 5, 2014): 169–71. http://dx.doi.org/10.12697/sv.2014.5.169-171.
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The Master’s thesis entitled “Traditional folk costumes of the women of Vändra parish: assembling and preparing ensembles in the present day" aimed to introduce the variational nature of folk costumes in one region to rid ourselves of a rigid pattern of treatment of folk costume.
As part of the research, the individual components of women’s folk costumes in Vändra parish were described, technological and pattern-related developments were pinpointed in time and material and colour use and changes in ways in which the costume was worn were observed. In addition to the description, the author put together folk costume ensembles of her own, based on the status of the wearer and the situation in which the clothing was to be worn (everyday, festive, summer and winter) as well as possibilities for putting together folk costume ensemble variants at the municipal level today.
The drawings made in the course of the description form part of the practical part of the thesis and a precondition for making the components part of the Vändra woman’s folk costume ensemble. The making of folk costumes as a whole is a broad field, encompassing familiarity with the materials and ten different techniques. As part of the thesis, the author produced 59 items belonging to a folk costume ensemble, which are combined in period-appropriate fashion in nine different Vändra female folk costume ensembles.
The author hopes that the work will help readers understand the changes that have taken place over time in folk costumes and the importance of the integrity of the entire costume, and to avoid conflicts in future selections. The experience in putting these costumes together can serve all Estonian rural areas both in choosing between the many available items and in seeking solutions in the absence of items.
Keywords: folk costumes, regional variations
9
Raud, Inna. "Vändra kihelkonna naiste traditsioonilised rahvarõivad: komplektide koostamine ja valmistamine tänapäeval. TÜ Viljandi Kultuuriakadeemia pärandtehnoloogia magistritöö 2014 / The traditional folk costumes of the women of Vändra parish." Studia Vernacula 5 (November 5, 2014): 169–71. http://dx.doi.org/10.12697/sv.2014.5.169-171.
Full textAbstract:
The Master’s thesis entitled “Traditional folk costumes of the women of Vändra parish: assembling and preparing ensembles in the present day" aimed to introduce the variational nature of folk costumes in one region to rid ourselves of a rigid pattern of treatment of folk costume.
As part of the research, the individual components of women’s folk costumes in Vändra parish were described, technological and pattern-related developments were pinpointed in time and material and colour use and changes in ways in which the costume was worn were observed. In addition to the description, the author put together folk costume ensembles of her own, based on the status of the wearer and the situation in which the clothing was to be worn (everyday, festive, summer and winter) as well as possibilities for putting together folk costume ensemble variants at the municipal level today.
The drawings made in the course of the description form part of the practical part of the thesis and a precondition for making the components part of the Vändra woman’s folk costume ensemble. The making of folk costumes as a whole is a broad field, encompassing familiarity with the materials and ten different techniques. As part of the thesis, the author produced 59 items belonging to a folk costume ensemble, which are combined in period-appropriate fashion in nine different Vändra female folk costume ensembles.
The author hopes that the work will help readers understand the changes that have taken place over time in folk costumes and the importance of the integrity of the entire costume, and to avoid conflicts in future selections. The experience in putting these costumes together can serve all Estonian rural areas both in choosing between the many available items and in seeking solutions in the absence of items.
Keywords: folk costumes, regional variations
10
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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Marshall, Susan. "Insubordinate Costume." Studies in Costume & Performance 6, no. 2 (December 1, 2021): 283–304. http://dx.doi.org/10.1386/scp_00052_3.
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In this visual essay, I explore the way costume can be used as a research tool and how playing with my modular ‘Insubordinate Costumes’ enables different creative interpretations and offers diverse dramaturgical possibilities. The term ‘Insubordinate Costume’ evolved from my research and is used to reflect the defiant, rebellious and unruly nature of performance-defining costume, which flouts practicalities and textual confines to embrace the role of protagonist. In order to explore the agency of ‘Insubordinate Costume’, I developed flat-pack modular costumes, which can be constructed in different ways and organized workshops with both single performers and small groups in order to analyse a range of different approaches to performance making. The rule of play is essential to the approach to these costumes, both in the playful essence of the costume and in the way the body interacts with it. Although the modular pieces are always the same, the resulting sculptural forms created by each performer have always been unique, as have their performances. Looking at New Materialism theories, my practice research can be considered as an assemblage of human and non-human elements, which together have a greater power and the ability to generate a performance.
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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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Apeh, Apeh Columba, and Okugya Osumanyi. "Aesthetics of costume and make-up for stage and screens: a contextual discuss on AMIRI festival of Agwatashi, Obi Local Governent Nasarawa State." Journal of Textile Engineering & Fashion Technology 10, no. 4 (July 22, 2024): 166–70. http://dx.doi.org/10.15406/jteft.2024.10.00384.
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In theatre and film (screen) productions, costume and makeup designers make the aesthetics choice of what the characters wear based on the historical background of the production. Students’ lack of interest in technical theatre is affecting the quality of costume and makeup in production design. Exposure to social media is also affecting the style of costume and makeup for students’ productions. This paper is theorized based on the design aesthetic considerations of Albright, William and Lee which are appropriateness, individuality and unity. The research adopts content analysis methodology in conducting the study. The article finds that proper costuming and make up of characters enhance aesthetics grandeur of production as exemplified in Amiri festival of Alago community in Nasarawa State, Nigeria. The article concludes that costume alone does not guarantee the success of a production so also a poorly costumed character’s interpretation and line delivery is affected in a production. When, when properly coordinated with other production elements, costumes and makeup enhanced aesthetic functionality to screen and stage productions. The article recommends that students research and visit locale if possible for truthful depiction of costumes. There is need to engage specialists and well trained costumiers to handle practical in the tertiary institutions. The culture of dress and technical rehearsal should be revived to ensure that visual and performance elements are harmony in production before opening night. Students in should be motivated in technical theatre courses serious because they can be established in fashion business and event management.
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Veronia, Anita Sofia, I. Gede Budasi, and Dewa Putu Ramendra. "The Lexicons Used in Palawakya Dance Costumes." Linguistic, English Education and Art (LEEA) Journal 6, no. 2 (June 29, 2023): 282–89. http://dx.doi.org/10.31539/leea.v6i2.5468.
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Palawakya dance is a kind of dance which mixes the arts of dance, music, and old Balinese song called Kakawin. Culturally, the dance consists of various lexicons used in common life but it is getting rarely used by people nowadays. This research was designed in the form of descriptive qualitative research by applying an ecolinguistic approach. It was focused on analyzing the lexicons of Palawakya dance costumes in Jagaraga Village, Singaraja. Observation and interview were conducted to obtain the data of this research by involving three informants. The informants were selected by using purposive sampling. The instruments used in gaining the data were observation sheet and interview guide. The results of this study showed that there were 17 lexicons found in the dance costumes. The dance costumes were divided into five parts; 1) head costume consists of five lexicons, 2) neck costume consists of one lexicon, 3) body costume consists of eight lexicons, 4) hands, costume consists of one lexicon, 5) leg costume consists of two lexicons. In addition, another result revealed that there were 16 cultural meanings found in the Palawakya dance costumes.
Keywords : Costume, Cultural Meaning, Ecolinguistics, lexicons, Palawakya
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Dotlačilová, Petra. "Molière en costumes (Molière in Costumes), curated by Véronique Meunier-Delissnyder." Studies in Costume & Performance 8, no. 1 (May 1, 2023): 121–27. http://dx.doi.org/10.1386/scp_00089_5.
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Review of: Molière en costumes (Molière in Costumes), curated by Véronique Meunier-Delissnyder Centre national du costume de scène (CNCS) (National Centre for Stage Costume), Moulins, 26 May–6 November 2022
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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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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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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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Østergaard, Charlotte. "Kostume-drevne performances." Peripeti 19 (October 11, 2022): 40–55. http://dx.doi.org/10.7146/peri.v19isaernummer2.134021.
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Costume driven performances. Costumes generative and performative potentialsThis article examines costume driven performances as a growing trend in international performing arts as well as in costume research. It also provides the more detailed analysis of a costume-driven dance performance from the author’s own practice and concludes with considerations about the potential in Danish performing arts.
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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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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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Henry King, Lorraine. "Black skin as costume in Black Panther." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 265–76. http://dx.doi.org/10.1386/ffc_00024_3.
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As a costume, textile and surface adornment practitioner my research focuses on how skin contributes to the reading of a costume. Black Panther’s (2018) Oscar winning costume by Ruth E. Carter conformation to whilst also breaking traditional superhero costuming tropes feeds directly into my research on reading black skin as heroic. The visual disruption to the limited and negative narratives usually embedded within black skin are subtly challenged by Carter’s use of both black primordial and superhero skin-like costumes to signify the heroic. The costuming of a black superhero and nemesis frame the black body in action away from the negative stereotypes of Bogle’s hypersexual buck. The reading of black skin as heroic underpins the practice’s explorations away from the binary of black and white skin to the many shades of brown the moniker of black represents. It is the repetition of skin as metaphor where both superhero costumed skin and primordial skin demonstrate the multiplicity between superhero, his alter-ego and Bogle’s stereotypes that form the basis of this article. Black skin as costume explores how skin colour, according to Dyer has been used to other the black body and rank it below that of the white body within postcolonial readings. Traditionally systemic racism in action films has seamlessly placed the white body and skin as inherently heroic whilst reading the equivalent black body and skin negatively. My practice explores equity of black and brown skin as strong, precious and powerful so that any costumes, textiles or surface decoration I create would read the same when placed on a black body as they would on a white body.
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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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Meng, Xin, and Ping Xiao. "Analysis on the Development of New Chinese Costume Innovation Based on Popularization." E3S Web of Conferences 275 (2021): 03029. http://dx.doi.org/10.1051/e3sconf/202127503029.
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The rise of new Chinese costumes reflects national cultural confidence. In response to how to quickly develop a questionnaire in the new Chinese costume market, it is designed and innovative through the public’s data analysis of new Chinese costumes, color, fabrics, and patterns, through the innovation, color innovation, fabric innovation of new Chinese costumes. The newness of the texture innovation promotes its development and analyzes the development of good apparel brand marketing strategies. Combined with the advantages of integration innovation and development, broaden the new Chinese costume market, and in the development of the new Chinese costume market, inherit the traditional Chinese tradition culture.
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Navei, Nyamawero. "The Lioness of African Music: Cultural Interpretation of Wiyaala’s Stage Costume Art." International Journal of Cultural and Art Studies 7, no. 1 (April 30, 2023): 49–63. http://dx.doi.org/10.32734/ijcas.v7i1.10463.
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In stage performance, costume art is an essential visual signature device with the veracity to unveil the character and cultural identity of the performer. Stage costume art could also be deployed to respond to pertinent societal issues. In spite of its versatile essentiality in performing arts, there seems to be a dearth of scholarly interpretation of stage costume art of Ghanaian musicians, thereby creating a knowledge gap. This qualitative case study makes a hermeneutical interpretation of eight random-purposively sampled stage costumes of Wiyaala (a Ghanaian female musician) to establish their cultural symbolism. The study found Wiyaala not only an iconic Ghanaian artiste but an internationally recognised musician who toured many countries across Africa, Europe, the Americas, and other continents for musical stage performances. It emerged that Wiyaala’s stage costumes were locally self-constructed, and ably reflected the uniquely versatile indigenous African (Ghanaian) dress cultural identity in respect of African (Ghanaian): royal dress fashion, war costumes, initiation costumes, and others. Wiyaala could be said to have prioritised interest in using her locally sourced stage costume art to promote and preserve indigenous African (Ghanaian) dress cultural identity. Since Wiyaala is an iconic musician, she is encouraged to continue deploying locally sourced costume art for her stage performances to promote and preserve African (Ghanaian) dress cultural identity for posterity. This tends to decolonise the stage costume choice of many Ghanaian musicians with its cascading impact on the Ghanaian textile and fashion industry for economic and job gains.
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Reid, Ellie. "Dressing the Pageanteers: The Local People and Theatre Professionals who Costumed Edwardian Historical Pageants." Costume 58, no. 1 (March 2024): 21–47. http://dx.doi.org/10.3366/cost.2024.0285.
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The craze for historical pageants staged in Britain by local communities at the beginning of the twentieth century stimulated a widespread public engagement with historical costume. As well as thousands of performers, and tens of thousands of spectators, pageants involved hundreds of local people in sewing parties who spent months making the costumes required for these outdoor re-enactments of episodes of local history. This article investigates how pageant costumes were designed, made or sourced, on the large scale required, and the cost implications this involved. Whilst costume designers were acknowledged, the employment of professional dressmakers and milliners often necessary to complete the work received less recognition. Florence Edwards, a professional theatrical dressmaker, is one of the few who can be identified. The role of the London theatrical costumier Willie Clarkson, a supplier to many pageants, is also examined. During pageant preparations, local people actively researched dress history, and in the case of Emily Ashdown her interest led to a lifelong career as a dress historian.
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Fensham, Rachel. "Repetition as a methodology: Costumes, archives and choreography." Scene 2, no. 1 (October 1, 2014): 43–60. http://dx.doi.org/10.1386/scene.2.1-2.43_1.
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This article considers how costumes contribute to choreographic aesthetics through their capacity to be repeated. I develop different conceptions of repetition – replication (copying); representation (appearance within a frame that represents an image); and reproduction (as construction or manufacture) of costume objects and ideas over time. Being interested in the material process of making and wearing costumes, it also investigates how repetition leads to the possibility of invention. Using Walter Benjamin’s concept of the dialectical image to discuss costumes as objects within a dance archive and within live choreography, it examines an early modern dance form called Natural Movement (NM) as well as seminal postmodern works from the 1970s. It elaborates on the iconic functions of costume in contemporary choreography in relation to Roland Barthes’ writings on the ‘fashion system’, and considers how the costume becomes a sign of its own history. Part of this project to understand repetition requires recognition that the movement quality of texture in a garment, actualizes the experience of affective work taking place in choreography. The experience of repetition in the costume-object therefore leads to a more critical response towards the role of costume in dance and performance.
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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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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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Loite, Kersti. "Intervjuu: Rahvarõivaste komplekteerimise poliitiline kunst / Interview: The Political Art of the Assembly of Folk Costume Sets." Studia Vernacula 7 (November 4, 2016): 161–79. http://dx.doi.org/10.12697/sv.2016.7.161-179.
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Kersti Loite (MA in traditional technologies) spoke to ethnographer and researcher of national costumes Igor Tõnurist. Tõnurist has been active as a lecturer on Estonian national costumes since the 1970s and was a member and later the chairman of the national costume unit of the Office of the General Song Festival of the Estonian Soviet Socialist Republic. From 1971–1992, he was the artistic director of the famous Estonian folk music ensemble Leegajus.The discussion concentrated on the ideas and ideologies that have influenced the completion of Estonian national costume sets. The museum collections in Estonia include many separate items of national costumes, but there are few such complete costume sets as worn together in peasant society. Tõnurist describes the preferences for the assembly of sets during the Soviet period and the principles he would now be guided by in developing a new national costume for Virumaa. While discussing these themes, issues relating to national costume patterns, suitable jewellery and the different social functions of clothing sets emerged.The roots of the completion of national costume sets in Estonia can be found in the 1930s when a national costume advisory chamber operated at the Estonian National Museum. A book compiled by ethnographer Helmi Kurrik, Eesti rahvarõivad (Estonian National Costumes) (1938), is today considered one of the most important manuals for analysing historic national costumes. During the Soviet era costume sets were completed by ethnographers by supplementing earlier publications and recommendations. On the other hand, in this period choirs and especially dance celebrations were more forcefully directed towards a homogenous colour scheme. It became increasingly common for groups performing in national costumes to wear unified costumes that caught the eye on the dance field and enabled the use of different colours in dance performances. The great influence of dance instructors on the wearing of national costumes had several consequences: certain costume sets (Muhu, Anseküla et al.) became fashionable and were worn everywhere in Estonia; eclectic sets were compiled and unsuitable styles were used; striped skirts became an unpopular choice due to their heterogeneous appearance; and so on. Trained ethnographers and the national costume advisory chamber had little impact on these processes. Nevertheless, attempts were made to develop and train people’s tastes in national costumes: groups that wished to use a set worn in their home region were recommended by the advisory chamber to use new costumes and not those already existing, deep-seated sets. These tendencies strengthened during the period of Estonia regaining its independence in the 1990s. When the advisory chamber received orders, these were discussed jointly by the ethnographers and the craftsmen. The solutions offered proceeded from the ethnographic model as much as possible. Tõnurist’s personal example and the experience of his group Leegajus made it possible for many of the now popular alternatives to come into use. It was he who again recommended the use of short trousers alongside stylised trousers and a more typical short waistcoat alongside the long one; for women he recommended colourful aprons alongside white ones and was an influence for the development of the bead-wearing fashion. Tõnurist emphasises that the completion of a national costume set is in fact a generalisation. An ethnographer who introduces typical examples of various regions to people must be familiar with the whole picture. It is worth remembering that some phenomena may be common all over Estonia, but fashion is regional. One craftsman could have serviced a wide region, but homemade embroidery characterised the tastes prevalent in the community and the local sense of beauty. An ethnographer is able to take these discrepancies into account and make broad generalisations. However, people wearing national costumes should not be guided exclusively by the most typical examples but should rather be open to variations as well.Tõnurist encourages the use of more diverse sources when assembling new national costume sets: the written sources and materials found in museums can be taken into account, but you should also pay attention to the written descriptions of former national costumes or to paintings in which they are depicted.
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Loite, Kersti. "Intervjuu: Rahvarõivaste komplekteerimise poliitiline kunst / Interview: The Political Art of the Assembly of Folk Costume Sets." Studia Vernacula 7 (November 4, 2016): 161–79. http://dx.doi.org/10.12697/sv.2016.7.161-179.
Full textAbstract:
Kersti Loite (MA in traditional technologies) spoke to ethnographer and researcher of national costumes Igor Tõnurist. Tõnurist has been active as a lecturer on Estonian national costumes since the 1970s and was a member and later the chairman of the national costume unit of the Office of the General Song Festival of the Estonian Soviet Socialist Republic. From 1971–1992, he was the artistic director of the famous Estonian folk music ensemble Leegajus.The discussion concentrated on the ideas and ideologies that have influenced the completion of Estonian national costume sets. The museum collections in Estonia include many separate items of national costumes, but there are few such complete costume sets as worn together in peasant society. Tõnurist describes the preferences for the assembly of sets during the Soviet period and the principles he would now be guided by in developing a new national costume for Virumaa. While discussing these themes, issues relating to national costume patterns, suitable jewellery and the different social functions of clothing sets emerged.The roots of the completion of national costume sets in Estonia can be found in the 1930s when a national costume advisory chamber operated at the Estonian National Museum. A book compiled by ethnographer Helmi Kurrik, Eesti rahvarõivad (Estonian National Costumes) (1938), is today considered one of the most important manuals for analysing historic national costumes. During the Soviet era costume sets were completed by ethnographers by supplementing earlier publications and recommendations. On the other hand, in this period choirs and especially dance celebrations were more forcefully directed towards a homogenous colour scheme. It became increasingly common for groups performing in national costumes to wear unified costumes that caught the eye on the dance field and enabled the use of different colours in dance performances. The great influence of dance instructors on the wearing of national costumes had several consequences: certain costume sets (Muhu, Anseküla et al.) became fashionable and were worn everywhere in Estonia; eclectic sets were compiled and unsuitable styles were used; striped skirts became an unpopular choice due to their heterogeneous appearance; and so on. Trained ethnographers and the national costume advisory chamber had little impact on these processes. Nevertheless, attempts were made to develop and train people’s tastes in national costumes: groups that wished to use a set worn in their home region were recommended by the advisory chamber to use new costumes and not those already existing, deep-seated sets. These tendencies strengthened during the period of Estonia regaining its independence in the 1990s. When the advisory chamber received orders, these were discussed jointly by the ethnographers and the craftsmen. The solutions offered proceeded from the ethnographic model as much as possible. Tõnurist’s personal example and the experience of his group Leegajus made it possible for many of the now popular alternatives to come into use. It was he who again recommended the use of short trousers alongside stylised trousers and a more typical short waistcoat alongside the long one; for women he recommended colourful aprons alongside white ones and was an influence for the development of the bead-wearing fashion. Tõnurist emphasises that the completion of a national costume set is in fact a generalisation. An ethnographer who introduces typical examples of various regions to people must be familiar with the whole picture. It is worth remembering that some phenomena may be common all over Estonia, but fashion is regional. One craftsman could have serviced a wide region, but homemade embroidery characterised the tastes prevalent in the community and the local sense of beauty. An ethnographer is able to take these discrepancies into account and make broad generalisations. However, people wearing national costumes should not be guided exclusively by the most typical examples but should rather be open to variations as well.Tõnurist encourages the use of more diverse sources when assembling new national costume sets: the written sources and materials found in museums can be taken into account, but you should also pay attention to the written descriptions of former national costumes or to paintings in which they are depicted.
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Liu, Kaixuan, Hanhan Wu, Yanbo Ji, and Chun Zhu. "Archaeology and Restoration of Costumes in Tang Tomb Murals Based on Reverse Engineering and Human-Computer Interaction Technology." Sustainability 14, no. 10 (May 20, 2022): 6232. http://dx.doi.org/10.3390/su14106232.
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This paper takes the tomb murals as the research object, and realizes the development of the costume patterns of the Tang tomb murals and the 3D simulation restoration of the costumes through 3D interactive clothing pattern-making technology and virtual simulation technology. Firstly, the 3D garment model is constructed in the virtual environment according to the costume outline of the Tang Dynasty tomb mural costume. Then, the structural curves of the garment are drawn on the 3D garment according to the characteristics of the Tang Dynasty tomb mural garment style, the 3D surface is expanded and surrounded by these curves into the 2D garment plane, and the expanded surface is adjusted to obtain the 2D garment plane pattern. We use 3D virtual simulation technology to sew the patterns of Tang Dynasty tomb mural costumes and realize the virtual simulation restoration of Tang Dynasty tomb mural costumes. Finally, we create a fuzzy comprehensive evaluation of the restoration effect of the restored costumes. Compared with the traditional costume restoration methods, the method proposed in this paper reduces the technical requirements for operators in the restoration process without destroying cultural relics, and provides a new method for the rapid simulation and restoration of ancient Chinese costumes.
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Lei, Qinchuan, Nan Chen, and Shanren Ding. "Research on Digital Preprocessing of Minority Costume Images." Academic Journal of Science and Technology 4, no. 1 (December 13, 2022): 159–62. http://dx.doi.org/10.54097/ajst.v4i1.3610.
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The development of minority traditional culture plays a very important role in the historical process of the development of our Chinese national culture. However, with the passage of time and the acceleration of the process of social modernization, our traditional minority culture is gradually disappearing. This makes more and more scholars begin to attach importance to the protection of traditional minority culture. As an important part of Minority minority culture, the focus of this paper is to protect and inherit the Minority minority costumes images through the use of digital image processing technology.By analyzing the current research status of the digitalization of minority costumes and the related technologies of the digitalization processing of minority costume images, this paper proposes that the digitalization pre-processing of minority costume images should be carried out before the construction of the minority costume resource database, which improves the construction process of the minority costume resource database. Through the research on the related technologies of the digital processing of minority costumes images, combined with the minority costumes resource database constructed in this paper to achieve the classification and recognition of minority costumes and target detection tasks. This paper mainly studies the image segmentation, scaling, edge detection and other technologies, and improves the relevant image processing technologies, completes the preprocessing of minority costumes images, and constructs a minority costumes resource library that can be used for the classification and recognition of minority costumes.
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., Ariusmedi. "Bahasa Rupa pada Pakaian Penghulu Minangkabau." Humanus 10, no. 1 (July 30, 2012): 9. http://dx.doi.org/10.24036/jh.v10i1.457.
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This article is a summary of research studying Minangkabau traditional costumes, with focus on the costume of penghulu (head of tribe), which has symbols in it. The penghulu costume as a kind of visual language reflects the position of the wearer in the society, in correlation with his title, as a carrier of the Minangkabau traditional norms. Key words: Minangkabau penghulu costume, visual language
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Wilkinson, Clare M. "Wrinkles in Time: Ageing Costume in Hindi Film." BioScope: South Asian Screen Studies 9, no. 1 (June 2018): 46–72. http://dx.doi.org/10.1177/0974927618767280.
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Today’s philosophy and practice of costume ageing, even in mainstream commercial Bollywood output, skews strongly towards an avowed ‘realism’. Consequently, accurate ageing and the subtle impressions of wear are valued in contrast to the ‘theatrical’ and ‘inauthentic’ ageing of most pre-1990s films (and some films still today). Designers argue that costume ageing has simply improved but this answer oversimplifies the complex narrative and organisational imperatives at stake. Older, more theatrical costume ageing, embedded within the melodramatic mode of expression, worked for its audience because of the explicit contrast it drew with costumes that were pristine. The distinction between new and aged costumes served many functions, among them the marking of vulnerable versus invulnerable bodies. Stars, dressed in new, unworn clothes, achieved their near mythic identifications in part because their costumes resisted the rigors of time and experience. In this past era, it was sufficient to pile on dirt and tear fabric to achieve effective ‘ageing’ as opposed to carefully mimicking how clothes actually age. This type of quick, crude ageing was both a consequence of—and a rationalisation for—scant time spent in costume ageing (and fabrication) in pre-production. New practices that strive for ‘realistic’ ageing thrive in expanded pre-production schedules. Alongside a resilient poetics of aged costume, ‘relaxed’ costumes lend texture to the film’s ‘lived world’. Now, the goal of ageing is to index the unseen time that characters have experienced outside the film’s temporal boundaries.
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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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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.
Full textAbstract:
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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Gorbunova, Anastasiya A., and Rimma A. Timofeeva. "COSTUMED IMAGES À LA TURQUE IN RUSSIAN PAINTING OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies 1, no. 1 (2022): 116–42. http://dx.doi.org/10.28995/2073-6401-2022-1-116-142.
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The article considers a number of picturesque costumed images à la turque, which means in the oriental taste, created in Russia in the 18th century. The studied works are divided into the costumed and typical images of the inhabitants of the Muslim world and a costumed portrait à la turque. It is believed that the means of creating an “oriental” image in those works was a costumizing – dressing a model in an exotic outfit perceived as a national costume of the peoples from the Muslim Orient. The work studies the history of creating costumed images à la turque in Russian art of the 18th century. It also deals with the composition and specificity of exotic costumes, the artistic-stylistic and genre features of the works under study and, when possible, identifies their pictorial sources.
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Zhang, Jiaqin, Jingan Wang, Le Xing, and Hui’e Liang. "Automatic measurement of traditional Chinese costume from its silhouette through Fuzzy c-means clustering method." Journal of Engineered Fibers and Fabrics 15 (January 2020): 155892502097832. http://dx.doi.org/10.1177/1558925020978323.
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As the precious cultural heritage of the Chinese nation, traditional costumes are in urgent need of scientific research and protection. In particular, there are scanty studies on costume silhouettes, due to the reasons of the need for cultural relic protection, and the strong subjectivity of manual measurement, which limit the accuracy of quantitative research. This paper presents an automatic measurement method for traditional Chinese costume dimensions based on fuzzy C-means clustering and silhouette feature point location. The method is consisted of six steps: (1) costume image acquisition; (2) costume image preprocessing; (3) color space transformation; (4) object clustering segmentation; (5) costume silhouette feature point location; and (6) costume measurement. First, the relative total variation model was used to obtain the environmental robustness and costume color adaptability. Second, the FCM clustering algorithm was used to implement image segmentation to extract the outer silhouette of the costume. Finally, automatic measurement of costume silhouette was achieved by locating its feature points. The experimental results demonstrated that the proposed method could effectively segment the outer silhouette of a costume image and locate the feature points of the silhouette. The measurement accuracy could meet the requirements of industrial application, thus providing the dual value of costume culture research and industrial application.
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Ceschi, Valentina, and Kate Lane. "Greenham: Costume, memory and activism in outdoor performance." Studies in Costume & Performance 6, no. 2 (December 1, 2021): 233–52. http://dx.doi.org/10.1386/scp_00049_3.
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This visual essay illustrates the transformative, performative and narrative potential costume can have in the context of outdoor site-responsive work, by looking at Ceschi + Lane’s recent R&D project, Greenham. The project included two performances that took place on Greenham Common, the site of a former RAF and American Army base in the English countryside, which is now common land. Greenham is also the former site of the Greenham Common Women’s Peace camp, set up in 1981 to protest against the British government allowing American cruise missiles to be stored at the base. In response to the scarred landscape of the post-Cold War dereliction and the contested history of Greenham Common, we created costumes that embodied imaginative and provocative ideas around landscape and memory, the body and its environment and women’s relationship to power. These costumes acted as critical intervention and commentary in a public space. This visual essay provides retrospective analysis of these costumes, their effect on the performers and their contribution to the dramaturgy of the site-responsive performance. Drawing on contemporary references, it attempts to articulate the work’s contribution to the wider discussion around costume’s agency and costume as carrier of meaning in public spaces and as part of site-responsive performance practice.
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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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Østergaard, Charlotte. "Listening Through and With Costume." Nordic Journal of Dance 14, no. 1 (June 1, 2023): 90–99. http://dx.doi.org/10.2478/njd-2023-0010.
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Abstract In performance contexts, costume is often perceived as visual expression that is in service of, for example, a choreographer’s vision. I argue that costume is also an aesthetic and poetic language in its own right that allows individuals such as performers and designers to co-conceptualize and co-create performances. In co-creative performance-making processes, I argue that it is critical that designers open-mindedly listen to performers’ experiences of specific costumes and that we (designers and performer) through listening co-creatively explore potentialities and challenges that are embedded in a specific costume. In the co-creative process, we must pay attention and listen carefully to how a specific costume affects specific performers in order to explore the ‘hidden’ performative potentialities and qualities that are imbedded in a specific costume. In this article I will unfold aspects of how listening through and with costume can become a performance-making strategy and unpack details of what listening through and with the costume imply.
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Molchanova, Lyudmila Anatolyevna. "UDMURT CLOTHES IN TRADITIONAL CEREMONIES." Yearbook of Finno-Ugric Studies 14, no. 1 (March 27, 2020): 131–37. http://dx.doi.org/10.35634/2224-9443-2020-14-1-131-137.
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This article discusses the role of traditional clothing in Udmurt ritual practices. The way garments are worn, the use of items and rites and, most of all, the semantics of costume patterns tell us about the inseparable connection between costumes and ritual ceremonies, and about the deep symbolic significance attributed to the costumes by the participants of the ritual. The main familial cult of the Udmurts is vorshood. The vorshood complex is multifaceted and polysemantic. It is embodied in the area, in poetry, in prayers, in legends and in rituals. The vorshood family tree has the highest sacral significance to Udmurts. Tree symbols prevail in items of embroidery and decorations. One can see embroidered trees on the śulyks (kerchiefs), belts, headscarves, sleeves of a shirt and on breastplates. The holistic woman figure in the costume is compared to the world tree not only in the Udmurt traditions. The costume, with its ’magic’ symbolism, in a traditional society is inseparable from ritual activities, whereas costume patterns act like ‘guides’ for human beings to the supreme powers of nature. It is vividly seen by the example of Udmurt costume ornaments.
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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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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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Osmond, Suzanne, and Sofia Pantouvaki. "Emergent voices and recovered practices." Studies in Costume & Performance 9, no. 1 (May 1, 2024): 3–7. http://dx.doi.org/10.1386/scp_00105_2.
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This editorial introduces the latest issue of Studies in Costume and Performance (SCP), with most contributions stemming from research presented at international events such as Critical Costume 2022 and the Prague Quadrennial 2023, authored mainly by early-career researchers and practitioners sharing insights into their artistic practice. Each contribution delves into the intricate interplay between costume, body and performance, elucidating how costume shapes narratives, identities and cultural representations on stage and screen. From exploring the portrayal of Gypsy, Roma and Traveller (GRT) communities to delving into the iconic contributions of designer Julia Trevelyan Oman, the articles offer multifaceted perspectives on costume’s role. Furthermore, the issue features innovative character-building techniques in acting, a poetic visual essay reflecting on pandemic-era artistic expression, and insights from the Prague Quadrennial 2023, emphasizing costume’s growing visibility in shaping social and political discourse. Additionally, a conversation between emerging and established costume designers enriches the intergenerational dialogue within the field. Overall, the collection exemplifies hybrid research methods and interdisciplinary approaches, and introduces the voices of early-career researchers to the global readership of costume studies.
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Vojvodić, Jasmina. "The Costume of Stepan Trofimovich." Dostoevsky and World Culture. Philological journal, no. 2 (26) (2024): 83–100. http://dx.doi.org/10.22455/2619-0311-2024-2-83-100.
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The article examines the costume of Stepan Trofimovich Verkhovensky, the main character of Fyodor Dostoevsky’s novel Demons. Unlike clothes, the costume is associated with theatricality, acting, and performing or with playing a role. During the novel Stepan Trofimovich “plays different roles” and Varvara Petrovna determines his costume. Other heroes from the novel are also costumed (especially the young generation or young “demons”), who play their roles on the stage of Skvoreshniki. Stepan Trofimovich sometimes accepts, sometimes renounces his role; he protests and withstands the costume intended for him. Analysing his behaviour and costume, the article concludes that Stepan Trofimovich, in the end of his life journey, frees himself from the role that was intended for him. In the very end he “stepped off the stage” of Skvoreshniki and found himself “naked” on the eternal path when he took off his “civil” and fake costume.
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De Magalhães, Celso. "Aplicação administrativa do Direito." Revista do Serviço Público 67, no. 02 (September 24, 2020): 195–208. http://dx.doi.org/10.21874/rsp.v67i2.5123.
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Costumes — Há também um Direito que não está escrito. Não só asnormas escritas obrigam: a praxe, o costume — desde que seguidos por muitotempo — obrigam do mesmo m odo. O costume constitui, assim, um Direitosubsidiário auxiliar do Direito Positivo, e ao qual se dá o nome de DireitoConsuetudinário.
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Roy, Suddhabrata Deb. "The Indian Superheroine costume: Analysing Indian comics’ first superheroine." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 313–24. http://dx.doi.org/10.1386/ffc_00027_7.
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Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The article analyses the costume of Shakti ‐ Indian comics’ first superheroine. It locates her costume within the broader literature available on graphic novels, comics and costumes. The article attempts to analyse the processes by which Shakti’s costume restricts her to a normative femininity where the power and authority of women become socially acceptable only when they are expressed or asserted without challenging patriarchal social norms.
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Polina V., Abramova. "The reproduction of traditional costumes in the framework of the museum actualization of folk rituals." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 12–17. http://dx.doi.org/10.30725/2619-0303-2022-1-12-17.
Full textAbstract:
Traditional rituals that are lost in the environment of everyday life are now actively presented by museums in cultural and educational activities. Since the ceremony has not only an action, but also an objective side, traditional costumes are used during its presentation – festive and ritual. In order not to harm the museum object, reproductions of traditional costumes are made. The methods of reproduction of ethnographic costumes are replication and modeling. When creating reproductions, it is necessary to focus on the specifics of the object being recreated. From the standpoint of the semiotic approach, the traditional costume is symbolic in nature, it is a sign system. When reproducing a costume, not only its material side must be recreated, but also its content. The replica should reflect the cut, the way of wearing, the elements that make up the costume complex, the material, the color, the ornamentation, the decor of the original.