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Journal articles on the topic 'Costumes'
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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.
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.
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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
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.
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.
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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
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.
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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).
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.
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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.
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.
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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.
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.
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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
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 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
11
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.
12
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.
13
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.
14
Safo-Ankama, Kweku, and Naa Omai Sawyerr. "Exploring the Costume Styling and Material Composition of the Effutu Festival Costumes." International Journal of Cultural and Art Studies 7, no. 1 (April 30, 2023): 09–21. http://dx.doi.org/10.32734/ijcas.v7i1.11499.
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This study investigates the costume styling and material composition of Effutu festival costumes. It is delimited to Effutu festival performance costumes. The qualitative design was adopted. The ethnography approach was employed through narrative analysis and oral history. Unstructured interviews and on-site direct observations were the qualitative data collection instrument used for the data collection. The narrative analysis was used to analyse the data. The findings revealed that historically costumes are seen as relics that can tell the story about the exploits and traditional mythologies of the communities. Again, costumes that materialise culture and identities do not just mirror pre-existing sets of ideas or symbolic systems but facilitate values as ‘they form part of an ethnohistorical repository of knowledge. The findings further revealed that, costume styling could be categorised into Royal, Ritual, Asafo (war/battle), Generational, Women ensembles (Adzewa costumes) and Fanciful costumes. The basic material composition of costumes includes fabrics (both applied and structural designs), leather, horsetail, metal helmets, pillows, kaolin, beads (plastic and glass), mpoboa (shoes), symbolic colours and other material collaboration. It is recommended that costumes used for the Effutu festival be recorded and digitalised for future reference.
15
Loite, Kersti. "Üksikesemest ülikonnani Virumaa rahvarõiva näitel / From a single item to an outfit (on the basis of Viru county folk costume)." Studia Vernacula 6 (November 5, 2015): 42–64. http://dx.doi.org/10.12697/sv.2015.6.42-64.
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In practice, the wearing of folk costume stopped in Viru County at the end of the 19th century, somewhat earlier in the western parts of the area and somewhat later in the eastern parts. Around the same time, people started to collect and preserve folk costumes. Since most of the Viru folk costumes are represented in museum collections as single items, this article examines how the traditional outfits have been assembled from single items and what has been considered important by those doing so. Three main books have been studied: “Estonian Folk Costumes” by Helmi Kurrik (published in 1938), “Estonian Folk Costumes from the 19th century and the beginning of the 20th century” (1957), and “Estonian Folk Costumes” by Melanie Kaarma and Aino Voolmaa (1981). Some publications that were based on historical materials and that haven't changed the nature of the folk costumes and that were published before and after the above books are also mentioned briefly.
Keywords: folk costume, traditional outfit, short blouse, sleeveless shirt.
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Loite, Kersti. "Üksikesemest ülikonnani Virumaa rahvarõiva näitel / From a single item to an outfit (on the basis of Viru county folk costume)." Studia Vernacula 6 (November 5, 2015): 42–64. http://dx.doi.org/10.12697/sv.2015.6.42-64.
Full textAbstract:
In practice, the wearing of folk costume stopped in Viru County at the end of the 19th century, somewhat earlier in the western parts of the area and somewhat later in the eastern parts. Around the same time, people started to collect and preserve folk costumes. Since most of the Viru folk costumes are represented in museum collections as single items, this article examines how the traditional outfits have been assembled from single items and what has been considered important by those doing so. Three main books have been studied: “Estonian Folk Costumes” by Helmi Kurrik (published in 1938), “Estonian Folk Costumes from the 19th century and the beginning of the 20th century” (1957), and “Estonian Folk Costumes” by Melanie Kaarma and Aino Voolmaa (1981). Some publications that were based on historical materials and that haven't changed the nature of the folk costumes and that were published before and after the above books are also mentioned briefly.
Keywords: folk costume, traditional outfit, short blouse, sleeveless shirt.
17
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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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
19
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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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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Zhang, Anfeng, and Jonghan Lee. "Animation Costume Style Migration Based on CycleGAN." Wireless Communications and Mobile Computing 2022 (April 14, 2022): 1–10. http://dx.doi.org/10.1155/2022/3902107.
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The traditional style migration of animation costumes is mainly performed between two paired animation costumes. However, the generalization ability is weak, and the migration effect is not good when the gap between the training and testing costumes is large. To address the above problems, this paper proposes a style migration method for animated costumes combining full convolutional network (FCN) and CycleGAN, which enables the instance style migration between animated costumes with specific targets. It is also verified that the training dataset is not the factor that causes the poor style migration of CycleGAN. The experiments demonstrate that the animation costume style migration method combining full convolutional network and CycleGAN increases the recognition ability and can achieve the local style migration of the animation costume while maintaining the integrity of the rest of the elements, and compared with CycleGAN, the method can effectively suppress the style migration in areas outside the target.
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Dean, Sally E. "Somatic costumes™: Traversing multi-sensorial landscapes." Scene 2, no. 1 (October 1, 2014): 81–87. http://dx.doi.org/10.1386/scene.2.1-2.81_1.
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This article introduces Sally E. Dean’s ‘Somatic Movement & Costume Project’ by presenting examples of the ‘somatic costumes’ created and the costume design, choreographic and pedagogic methodologies applied. ‘Somatic costumes’ aim to facilitate multi-sensorial experiences that change our relationships to ourselves, others and the environment. Although costume has been incorporated in performance for centuries, this project argues for a critical social–cultural paradigm shift: the aesthetic and movement of the performance work comes from the somatic experiences (kinaesthetic and sensorial) of the costume, rather than the costumes being designed to enhance an aesthetic already established in advance. This is also inherent in the costume design process itself: we start with what somatic experiences we would like to enhance or generate as opposed to the visual aesthetic. This approach has the potential to not only instigate new ways of moving, being, perceiving, creating, teaching and performing, but to also foster social–cultural understanding. This project aims to create bridges between somatic practices, costume design, culture and performance.
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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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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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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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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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Liu, Kaixuan, Sha Lu, Jiayu Zhao, Zhuolei Jin, Chun Zhu, Keqing Zhu, Xinyue Hao, Bin Zhang, Zhao Lü, and Xianyi Zeng. "Research on Archaeology and Digital Restoration of Costumes in Spring Outing Painting of Madam Guo." Sustainability 14, no. 19 (September 27, 2022): 12243. http://dx.doi.org/10.3390/su141912243.
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Spring Outing Painting of Madam Guo is one of the representative works of Zhang Xuan, a famous Chinese court painter of the Tang dynasty (618–907), who was the “leader” of the trend of figure painting in the Tang dynasty and had a great influence on later figure painting. The costumes of the characters in the paintings not only show the artistic aesthetics of the prosperous Tang dynasty, but also reflect the rich cultural connotation. At present, the research on this painting is mainly about character discrimination and painting appreciation. There are few studies involving the costumes in this painting. With the rapid development of digital clothing technology, it provides a new way and path for the restoration of ancient costumes. Based on the costume archaeology of Spring Outing Painting of Madam Guo, this paper uses 3D virtual simulation and reverse engineering technology to restore the costume style of the characters in the picture, realize the digital restoration and protection of the style drawing, paper pattern, and 3D simulation drawing of the characters’ costumes in the picture. Finally, we introduce the fuzzy analytic hierarchy process (FAHP) to comprehensively evaluate the costume restoration effect. Our proposed method solves the problem of the constraints of time and space on the presentation of ancient traditional costumes, promotes the excellent historical culture of China, and provides a certain reference for the modern redesign of ancient costumes.
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Dar Juan, Elijah John F. "The Provenance of Selected Sets of Wardrobe in the Costumes Collections of the Cultural Center of the Philippines and GMA Network, Inc." Collections: A Journal for Museum and Archives Professionals 18, no. 2 (January 10, 2022): 162–75. http://dx.doi.org/10.1177/15501906211072914.
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Costumes play a significant role in theatrical and television practice as age, gender, socioeconomic status, occupation, and the setting and climate are shown through them. This paper will enumerate some of the productions in which the costumes are included in the collections of two organizations: the Cultural Center of the Philippines, a government arts agency for the performing arts, and GMA Network, Inc., a media conglomerate that is chiefly in the business of producing and airing television programs. Information on the production plot and setting, key players such as directors, actors, production designers, and costume designers, and general descriptions of costumes are presented in this narrative survey. This work serves as a preliminary attempt to trace the provenance of costume sets in the collection of CCP and GMA Network. It may also awaken the need to document costumes as part of institutional collections.
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Eromosele, Owens Patricia. "Costumes as depiction of cultural identity in Pedro Agbonifo-Obaseki’s Idia." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 310–20. http://dx.doi.org/10.4314/ejotmas.v7i1-2.20.
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In Nigeria, costumes present interesting vistas for exploring cultural identity. They have social implications and at times are politically implicated. This may be attributed to Nigeria’s multi-cultural atmosphere that makes costumes a reflection of the cultural identity of the people. Nigerian performances in festivals and play productions provide a platform to study and appreciate this phenomenon. Using the participant observation and literary methods, this article interrogates how costumes can depict the cultural identity of a people. It appropriates the dynamics of costumes as depiction of indigenous identity, using a play production of Pedro Agbonifo-Obaseki’s Idia as directed by Israel Wekpe under the aegis of the Edo State Chapter of National Association of Nigerian Theatre Arts Practitioners (NANTAP) at the University of Benin in 2013. The study reveals that costume promotes the cultural worldview of the people it represents. The conclusion reached is that costumes in Nigeria must depart from such outside influences that undermine their ability to communicate indigenous identity.
Keywords: Costume, Cultural identity, Idia, Play production, Nonverbal communication
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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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Zhao, Linqi, Zhenya Wang, Yaxue Zuo, and Danyang Hu. "Comprehensive Evaluation Method of Ethnic Costume Color Based on K-Means Clustering Method." Symmetry 13, no. 10 (September 30, 2021): 1822. http://dx.doi.org/10.3390/sym13101822.
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Color is the external manifestation of ethnic minority culture, and the costume of each ethnic group has its objective color matching rules. In the color design of minority costumes, there is often a lack of scientific evaluation methods. Aiming at this problem, this article proposed a comprehensive evaluation method, based on the K-Means clustering method, for evaluating color matching schemes of minority costumes. We used the K-Means clustering method to analyze the objective laws of minority costume colors, and based on the objective laws found, we extracted the objective evaluation indicators. With the AHP (analytic hierarchy process) method, the judgment matrix was established to obtain the relative weights of each cultural image and objective evaluation indicator. Based on the trapezoidal fuzzy number, the user’s evaluation value of the cultural image index was clarified. The GRA-TOPSIS evaluation method was introduced to rank the color matching schemes of minority costumes. Taking the evaluation of the color matching scheme of Yi costumes as an example, this article confirmed that the proposed comprehensive evaluation method can effectively screen out the color matching schemes with the characteristics of minority costumes and can rank the color schemes to be evaluated according to their relative similarity degree to the color characteristics of minority costumes. The method integrated subjective and objective evaluations, overcame the problem of contradictory results of subjective and objective evaluations, and achieved a certain degree of symmetry between the objectivity of the color laws of minority costumes and the subjectivity of the cultural image of minority costumes. In addition, we also found the possibility of using K-Means clustering to extract the main color features of minority costumes to improve the design of color schemes.
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Hai, Ri. "Application of Spatial Neighborhood Fuzzy c-Means Algorithm in 3D Image Segmentation of National Clothing." Wireless Communications and Mobile Computing 2022 (July 19, 2022): 1–10. http://dx.doi.org/10.1155/2022/2786826.
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National costume contains rich patterns and patterns with national characteristics, which is an important part of the study of national costume culture. Neither the traditional protection of national costumes nor the early digital protection can clearly and effectively preserve the details of national costumes, which is not conducive to the development and research of national costume culture. The development of image processing technology provides new technical support for the protection and inheritance of national costumes. This paper proposes the application of spatial neighborhood fuzzy c-means algorithm in 3D image segmentation of national clothing. Based on the traditional fuzzy c-means algorithm, combined with spatial information and gray information, a 3D image segmentation model based on spatial neighborhood fuzzy c-means is constructed. The experimental results show that the 3D image segmentation model based on spatial neighborhood fuzzy c-means has faster convergence speed and better algorithm performance than the improved fuzzy c-means algorithm and has better image segmentation effect in different noise levels. In the 3D image segmentation of national costumes, more detailed information can be retained on the basis of maintaining high accuracy and effect.
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Sugiarto, Mellany Octa Salsabila, I. Nengah Mariasa, and Setyo Yanuartuti. "Aesthetic criticism of dancers' costumes at Jaranan Pegon's performance in Trenggalek." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 18, no. 2 (November 3, 2023): 159–66. http://dx.doi.org/10.33153/dewaruci.v18i2.5191.
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Aesthetic criticism serves as an evaluation of diverse forms of beauty perceived differently by individuals. Costumes worn by Jaranan Pegon dancers adhere to specific standards and regulations during performances, with the dancers donning Wayang Wong attire. This research aims to assess aesthetic criticism by investigating absolutism, anarchy, and relativism in the costumes of Jaranan Pegon dancers. The study employed a descriptive approach with a phenomenological method. The findings revealed that, in accordance with absolutism, Jaranan Pegon dancers' costumes must adhere to established standards or guidelines. From the perspective of anarchy, there is freedom in costume choices, allowing deviation from traditional rules. Relativism permits flexibility in attire, considering various presentation factors while still allowing departures from established guidelines. The significance of this research lies in exploring aesthetic criticism through the lenses of absolutism, anarchy, and relativism in the context of Jaranan Pegon dancers' costumes, shedding light on the varying standards and freedoms associated with costume choices in performances.
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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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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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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.
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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.
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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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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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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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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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Izuta, Ryo, Tsutomu Terada, Yutaka Yanagisawa, Minoru Fujimoto, and Masahiko Tsukamoto. "Design Guidelines on LED Costumes for Dance Performances." Designs 3, no. 4 (December 2, 2019): 51. http://dx.doi.org/10.3390/designs3040051.
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We present design guidelines on light emitting diode (LED) costumes for dance performances assuming repetitive use during concerts. We used LED costumes more than 120 times for large concerts of well-known artists at venues of approximately 50,000 capacity that were commercially successesful and we updated the LED costume design twice based on our experiences during these concerts. Through analyzing the position of broken LEDs and the types of breakage and the problems that occurred during actual performances, we devised 17 design guidelines on LED costumes for dance performances. Thanks to these design guidelines, the LEDs on the costume are more difficult to break and we can prepare for any contingencies that may occur during a performance. We fabricated an improved LED costume based on our design guidelines and conducted endurance tests involving dancing. Throughout the endurance tests, the LEDs did not break, and other factors that cause LED breakage were found. We participated in two exhibitions to conduct special LED dance performances.
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Dennis, Albert. "Artistic expressions with the use of costumes in selected Ghanaian video films: The freedom and responsibilities of the costumier as an artist." Journal of African History, Culture and Arts 2, no. 3 (September 5, 2022): 176–88. http://dx.doi.org/10.57040/jahca.v2i3.268.
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The increase in advertisements for newly produced films in Ghana is a testament that the Ghanaian film industry has become one of the fastest growing businesses in the country. Contemporary film producers or directors have continued the tradition of their forebears in the use of various traditional visual elements of communication, particularly the use of costumes. Costumes are powerful visual elements employed in film productions for effective characterization and to offer vital narrative cues to viewers. While acknowledging that costumiers have the freedom to express themselves in constructing costumes, both for utilitarian and aesthetic purposes, it is equally important for such artistic expressions to be accompanied by some responsibilities to social norms. Employing a qualitative approach and relying on purposive sampling to sample two Ghanaian video films, this study relied on content analysis to explore how costumes have been used in films. Anchored on the theory of representation, the study contributes to the ongoing debate on the ways in which costumes are used in video film productions. The findings revealed that some costumiers in the third historical phase of film making in Ghana have not articulated their artistic freedoms and equal responsibilities associated with costuming films. This calls for regular in-service training and workshops for costumiers.
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Wang, Chao, and Zhiyong Yang. "Innovative Design of Traditional Costumes in Digital Art: A Case Study of the Aoluguya Evenki Ethnic Group in Northeast China." Communications in Humanities Research 18, no. 1 (December 7, 2023): 29–34. http://dx.doi.org/10.54254/2753-7064/18/20231108.
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This paper explores the innovative design and cultural heritage of traditional costumes of the Aoluguya Ewenki ethnic group in the digital age. Through digital techniques, traditional costumes have been infused with modern elements, enhancing the intricacy and diversity of their designs, thus introducing new means of design for traditional attire. Traditional costume patterns and totems are reinterpreted and created through digital software, allowing characters to wear them in virtual film and television, resulting in unique visual effects. 3D modeling technology showcases costume details in virtual film and television, and virtual fitting experiences enable the audience to immerse themselves in historical culture. Balancing modern creativity with cultural authenticity is crucial to achieving innovation and inheritance, ensuring that digital art plays a significant role in the application of traditional costumes of the Aoluguya Ewenki ethnic group.
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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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Bian, Xiangyang, and Meng Niu. "The Feasibility and Methodology for Water and Land Paintings in the Study of the Ming Dynasty Costumes." Asian Social Science 14, no. 1 (December 26, 2017): 136. http://dx.doi.org/10.5539/ass.v14n1p136.
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Chinese Water and Land painting contains lots of figure costume modeling, providing intuitive and vivid image data for the study of ancient costumes. It is a new medium for the study of Chinese ancient costumes. This paper analyzes the feasibility and methodology for Water and Land paintings in the study of the Ming Dynasty. With the Ming costumes in the Water and Land Paintings, this paper discusses the shape, color, texture and fabric patterns of the ancient dresses. The feasibility of using Water and Land Paintings to study ancient costumes is further analyzed in this paper. This paper emphasizes the importance of ancient dresses in Water and Land Painting for the study of its wearing effect, and the specific methods of research that are put forward.
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Luo, Qiong, Xubing Xu, and Han Gao. "Research on the Inheritance of Miao Costume Culture Based on Digital Wireless Communication Technology." Mobile Information Systems 2022 (April 26, 2022): 1–7. http://dx.doi.org/10.1155/2022/4052341.
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The protection of the popular culture of local ethnic minorities is an inevitable requirement for building a multicultural system. Through the latest digital technology, through the Internet, digital images, and other technologies, traditional cultural resources are classified and integrated, so that they can be inherited. The purpose of this study is to study the cultural heritage of digitized Miao costumes. This paper introduces the background and importance of the digital protection of Miao costume culture, analyzes in detail the current situation of Miao costume culture, the application of digital protection technology at home and abroad, and analyzes and organizes the research content that introduces the importance of digital protection of Miao costumes. Provide real data support for clothing culture protection. Collect relevant data through questionnaire survey, conduct quantitative statistical analysis, and study the impact of modern cultural communication tools such as television, mobile phones, and the Internet on the inheritance of Miao costume culture under the digital background. The results showed that only 5 of the 216 people were reluctant to use digital dissemination of Miao costumes.