Relevant bibliographies by topics / Costumes

Contents

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

Academic literature on the topic 'Costumes'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Costumes.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Costumes"

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
3

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.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
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).
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
8

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
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 text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
10

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 text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Costumes"

1

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

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

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

Товстенко, Ілона. "National Costumes in Ukraine." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/7258.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Rigdon, Jessica. "THE STORY OF THE COSTUMES: A COSTUME DESIGN THESIS ON TUCK EVERLASTING: THE MUSICAL." OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2850.

Full text
Abstract:
This thesis document follows the costume design and production of Southern Illinois University’s February 2021 production of Tuck Everlasting: the Musical. This “earthbound fantasy” musical takes the audience along with the young protagonist on a life changing journey as she discovers a mysterious immortal family living in the wood near her home. The primary focus surrounds a costume designer’s role through analysis, the design process, the production process, and reflection as it applies to Tuck Everlasting: the Musical.
APA, Harvard, Vancouver, ISO, and other styles
5

Rocha, Rosane Muniz. "A trajetória de Gianni Ratto na indumentária." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13052009-161645/.

Full text
Abstract:
Esta pesquisa registra e analisa as criações de figurinos, desde a Itália até o Brasil, de Gianni Ratto, diretor, cenógrafo, iluminador e figurinista, além de autor e importante figura no teatro italiano e brasileiro. A catalogação, organização e digitalização das imagens de seus trabalhos resgata parte da história do teatro. Somada à investigação em fontes bibliográficas, e levando em consideração a história oral nos depoimentos registrados, a análise do seu acervo torna-se não apenas histórica, mas também cultural. Um estudo comparativo de três montagens do mesmo espetáculo (Elixir de Amor) em diferentes fases de sua carreira com Giorgio Strehler, no Teatro Scala, em 1951; no Theatro Municipal de São Paulo, em 1971; e com Antonio Pedro, no Teatro Municipal do Rio de Janeiro, em 1983 possibilita uma reflexão sobre os diferentes processos criativos em seu ¯processo de trabalho. no que tange à elaboração de figurinos teatrais.
This research focus and analyses costume creation, from Italy to Brazil, of Gianni Ratto, director, set, light and costume designer, also author and a very important person in both Brazilian and Italian theater. The cataloguing, organization and the creation of photo archives of the images rescue part of the theater history. Together with the investigation of varied bibliographical sources and considering oral history as documental information, the analysis of his collection becomes not only historical, but also cultural. A comparative study of three different mise-en-scènes of the same play (LElisir DAmore) in different moments of his career with Giorgio Strehler, in Teatro alla Scala, in 1951; at the Theatro Municipal de São Paulo, in 1971; and under Antonio Pedros direction, in the Teatro Municipal do Rio de Janeiro, in 1983 makes it possible to reflect on the different creative processes in his process of creation. In terms of costume creation.
APA, Harvard, Vancouver, ISO, and other styles
6

Nicks, Andie. "Recreating Creation: Designing the Costumes for Children of Eden." OpenSIUC, 2017. https://opensiuc.lib.siu.edu/theses/2133.

Full text
Abstract:
Southern Illinois University’s Department of Theater presented Children of Eden on the McLeod Theater stage in October of 2016. This Thesis is an examination of the process of designing the costumes for the production from the early play analysis, through the design, to the performances. Stephen Schwartz and John Caird’s Children of Eden is a musical exploration of the first nine chapters of the book of “Genesis.” Our production of Children of Eden focused on creating a global exploration of the familial themes. The first chapter of this document contains an in-depth analysis of this script. Chapter Two covers the designing of the show. The third chapter discusses the production process. Chapter Four offers an overview of the tech rehearsals and performances of the show. Finally, the fifth chapter examines the original goals set for myself and the execution of each goal. The visual process for each character’s design can be found in the Appendices, including rough sketches, renderings, fitting photos and production photographs.
APA, Harvard, Vancouver, ISO, and other styles
7

Burris, Sarah Mittiga. "Creatures: Series of Sculptural Costumes." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1227280056.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Burris, Sarah M. "Creatures series of sculptural costumes /." [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1227280056.

Full text
Abstract:
Thesis (M.F.A.)--Kent State University, 2008.
Title from PDF t.p. (viewed Jan. 5, 2010). Advisor: Paul O'Keeffe. Keywords: sculpture, performance, fabric, beauty, sewing, feminine. Includes bibliographical references (p. 28).
APA, Harvard, Vancouver, ISO, and other styles
9

Arzatian, Céline G. "Mode et cinéma en france de 1896 à 1930. Comment habille-t-on les actrices et acteurs ?" Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030022.

Full text
Abstract:
À travers une étude générale de l’organisation et de l’évolution des costumes au cinéma en France, du début du cinématographe jusqu’à la fin du muet, l’ambition de cette thèse est d’étudier les liens qui se sont créés entre la mode et le cinéma par le biais des maisons de couture participant à la confection des costumes de la vedette principalement. Il s’agit également de montrer quel a été l’impact de l’arrivée d’un professionnel de l’écran : le créateur de costume dans la conception des costumes d’un personnage. Cette thèse analyse à travers les dimensions historiques, humaines, économiques, esthétiques, la création et l’évolution du costume au cinéma. La première partie aborde les débuts du cinématographe, le rôle des opérateurs Lumière tournant leurs premières vues « mises en scène » avec des méthodes héritées du théâtre. Puis la thèse met en valeur les différentes pratiques mises en place par Georges Méliès pour habiller ses artistes et figurants à la Star Film. Elle s’attache ensuite aux premiers acteurs célèbres confrontés à l’utilisation d’un costume particulier pour créer leur personnage : Max Linder, Charles Chaplin et Pearl White. La deuxième partie s’intéresse à la manière dont le cinéma français s’est servi de la mode dans les films pour tenter de rivaliser avec le cinéma américain. Puis, dans une troisième et quatrième partie, l’analyse s’attache au travail de la maison de couture lorsque celle-ci est appelée à créer et prêter des vêtements sous l’impulsion du réalisateur ou à exécuter sous l’autorité du créateur de costumes, les vêtements de la vedette pour des fictions à costumes ou à sujet contemporain. Enfin la cinquième partie relève les points de convergence entre ces deux arts : la mode et le cinéma lorsqu’à la fin de la Première Guerre mondiale, les arts se stimulent mutuellement donnant naissance au nouveau style de cette époque. Le projet de Louis Delluc, qui s’inspire d’une revue de mode pour réaliser une revue de cinéma, mais également l’introduction au Salon d’Automne de la mode et du cinéma, puis la réalisation de L’Inhumaine comme point de bascule vers cette synthèse des arts, et enfin l’Exposition des Arts décoratifs qui contribuent à faire de la mode et du cinéma des arts complémentaires, modernes et emblématiques de la période dite des Années Folles
Through a general study of organisation and evolution of costumes in cinema in France, from the birth of the cinematograph to the end of the silent film era, the ambition of this thesis is to study the created links between fashion and cinema, looking at fashion houses participating in creating the costumes of the main movie star. It is also about highlighting what the impact of the costume designer in the costume conception of a character is. This thesis analyses the creation and the evolution of the costume in cinema, through the historical, human, economical and aesthetical perspectives.The first part tackles the birth of the cinematograph and the Lumiere’s operators capturing their first shots, created with the methods inherited from the theatre. Then, this thesis highlights how Georges Méliès styled his stars and extras at the Star Film. Moreover, it points out to the first movie stars realizing that their costumes begin to create their characters for Max Linder, Charles Chaplin and Pearl White. The second part addresses the way French cinema used fashion to try and compete with the American cinema. Then, in a third and fourth part, the analysis focuses on the work of the fashion house when it is called to create and lend (in response to the director) or to only execute (in response to the costume designer) the clothes of the lead actress, for costume movies or with a contemporary subject.Finally, the fifth part points out the convergence points between these two arts: fashion and cinema at a specific time, the end of WW1 where arts stimulate each other and create together the new style of this era. It’s also Louis Delluc’s project, inspired by a fashion review to create a cinema magazine, it’s the introduction of the Fashion Autumn Salon followed by the cinema one, it’s the realization that L’Inhumaine is the tilted point towards this new style and it’s the Art Deco Exhibition confirming fashion and cinema as arts, in this era called the Années folles
APA, Harvard, Vancouver, ISO, and other styles
10

Neckman, Karolina, and Elgé Petrulyté. "Historical fashion and modern action : Historical accuracy in female costumes in games." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-18967.

Full text
Abstract:
This thesis will investigate how developers can create recognizable and historically realistic female game characters while balancing historically accurate aspects and creative aesthetics.This paper is meant to give a better understanding of the importance of accurate historical female costumes in games, and investigate whether or not these are preferable to a gaming audience. The results will be reached by analysing the results collected from two online surveys where six 3D models’ turnarounds from two different eras with different levels of historical accuracy will be represented.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Costumes"

1

Casey, Kevin K. Costumes. Vero Beach, Fla: Rourke Publications, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

B.C. Primary Teachers' Association. Abbotsford Chapter., ed. Costumes. [Vancouver, B.C.]: B.C. Primary Teachers' Association, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Beaton, Clare. Costumes. New York, N.Y: Warwick Press, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Schaefer, Lola M. Costumes. Mankato, Minn: Pebble Books, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Moxley, Juliet. Fabulous fun costumes. New York: Sterling Pub., 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Papantōniou, Iōanna. Greek costumes. 2nd ed. Nafplion: Peloponnesian Folklore Foundation, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

India. Ministry of Information and Broadcasting. Publications Division., ed. Indian costumes. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Papantōniou, Iōanna. Greek costumes. 3rd ed. Nafplion: Peloponnesian Folklore Foundation, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Piñol, Roser. Creating costumes. Woodbridge, Conn: Blackbirch Press, 2000.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Biswas, A. Indian costumes. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Costumes"

1

Guler, Sibel Deren, Madeline Gannon, and Kate Sicchio. "Wearable Costumes." In Crafting Wearables, 175–82. Berkeley, CA: Apress, 2016. http://dx.doi.org/10.1007/978-1-4842-1808-2_15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Draper, R. P. "Sets and Costumes." In The Winter’s Tale, 51–57. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-06739-8_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Owens, Jim. "Makeup and Costumes." In Television Production, 247–53. 17th edition. | New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429027581-13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

van Buren, Anne H. "Van Lathem’s Costumes." In Invention, 94–103. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.mef-eb.3.825.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Doyle, Barbara Freedman. "Costumes and Props." In Understanding Design in Film Production, 90–98. London ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315163642-9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Jürgens, Anna-Sophie. "Costumes of belonging." In Social Beings, Future Belongings, 89–104. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315200859-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Lambeth, Cheralyn L. "Character Costumes/Mascots." In Introduction to Puppetry Arts, 129–36. New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429442858-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Maitra, Lipika. "Costumes and Footwear." In Jain Paintings and Material Culture of Medieval Western India, 31–90. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003415282-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Beare, W. "Costumes and Masks*." In The Roman Stage, 184–95. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003482192-24.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

King, Emerald L. "Creating the Body Beautiful Cosplay: Crossdressing, Cosplay, and Hyper Femininity/Hyper Masculinity." In Gender in Japanese Popular Culture, 209–40. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12942-1_8.

Full text
Abstract:
AbstractIn dressing up and performing cosplay (costume play), practitioners will often change their appearance using wigs, makeup, layered shoes, and fantastic costumes. Increasingly, cosplay practitioners of all genders will use various means to alter the way their bodies look, adding curves or muscles with padding and binding or tucking away unwanted bulges. In addition to scholarly sources, this chapter will also make use of the commentary on gender, race, and body type posted by cosplay practitioners on public, global social media platforms such as Instagram and Twitter in order to understand what constitutes the “perfect” or ideal cosplay body—if, indeed, such a thing exists. Rather than asking why these cosplayers dress up as their favorite characters from popular culture, the focus here will be on examining the ways in which cosplayers create their costumes. While many cosplay practitioners buy or commission their garments from online stores, the focus here is on cosplayers who create their own costumes for the purpose of taking part in competitions. This chapter will explore how cosplay practitioners sculpt the body beautiful cosplay and what the challenges may be in portraying in 2D superheroes and magical girls in a 2.5D or 3D reality.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Costumes"

1

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

Full text
Abstract:
The design process defines each market segment in the apparel sector. Traditional costumes of Sri Lanka gained a long historical and cultural demand among Sri Lankan consumers. The most demanding costumes are "Nilame" costumes (male costume) and "Ohoriya" (female costume). This research identifies that traditional costume has become an emerging and demanding market segment today. The market segment is evident in Sri Lanka's suburbs in Colombo, Kandy, Galle, Rathnapura, and Kurunegala. The researcher predicts that the market meets niche market parameters
APA, Harvard, Vancouver, ISO, and other styles
2

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

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

Maurhofer, Christoph, Gokcen Cimen, Mattia Ryffel, Robert W. Sumner, and Martin Guay. "AR costumes." In VRCAI '18: International Conference on Virtual Reality Continuum and its Applications in Industry. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3284398.3284402.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Kirkland, Arden, Michael Lesk, and Allison Steffmann. "Context for costumes: faceted access to historic costumes." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

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

Full text
Abstract:
The research is characterized as exploratory and applied and aims to present the use of upcycling for the development of belly dancing costumes. As a theoretical review, it presents sustainability in fashion,Upcycling as an alternative for the reuse of discarded products and Costume Design in Belly Dance. The applied methodology unfolded through a bibliographic review and application of design tools,investing in the verification of techniques and materials suitable for the reuse of discarded party dresses. The main results refer to. development of a collection of belly dance costumes made from discarded party dresses, for a fashion show at the Shimmie Festival in São Paulo.
APA, Harvard, Vancouver, ISO, and other styles
6

Honauer, Michaela. "Designing Interactive Costumes." In DIS '17: Designing Interactive Systems Conference 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3064857.3079166.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Isbister, Katherine, and Kaho Abe. "Costumes as Game Controllers." In TEI '15: Ninth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2677199.2688813.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kutt, Aimei. "Art-directed costumes at pixar." In SA '18: SIGGRAPH Asia 2018. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3277644.3277767.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Honauer, Michaela. "Creating and Staging Interactive Costumes." In TEI '18: Twelfth International Conference on Tangible, Embedded, and Embodied Interaction. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3173225.3173343.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Kang, Yeonkyung, Sehee Wu, Young-A. Ko, Kathi Martin, and Hyeong-Seok Ko. "Digital production of traditional costumes." In 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6743742.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Costumes"

1

Hallberg, Kajsa. Exploring Transformable Design for Development of More Sustainable Fantasy Costumes. Ames (Iowa): Iowa State University, May 2022. http://dx.doi.org/10.31274/cc-20240624-708.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Tawfiq, Wijdan, and Sara Marcketti. The Meaning and Symbolism of Traditional Bridal Costumes in the Western Region of Saudi Arabia. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-434.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Martin, Kathi, Nick Jushchyshyn, and Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.

Full text
Abstract:
The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.
APA, Harvard, Vancouver, ISO, and other styles
4

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Lennon, Sharon J., Aziz Fatnassi, and Zhiying Zheng. Sexualization of Halloween Costumed Women. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1423.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Seybold, Patricia. Want Costumner-Contributed Content? Boston, MA: Patricia Seybold Group, September 2009. http://dx.doi.org/10.1571/bp09-01-09cc.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Costumes' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography