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Journal articles on the topic 'Costumier'
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1
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.
2
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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Noiseux-Gurik, Renée. "François Barbeau, costumier : une esthétique ambivalente." L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 22 (1997): 57. http://dx.doi.org/10.7202/041330ar.
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Gurik, Renée Noiseux. "Laure Cabana, Pionnière du Métier de Costumier." Theatre Research in Canada 8, no. 1 (January 1987): 36–48. http://dx.doi.org/10.3138/tric.8.1.36.
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Cet article raconte la biographie de Laure Cabana, la première personne à exercer professionnellement au Québec le métier de costumier. En traversant la période de 1933 à 1972, l'article offre aussi un survol des activités qui occasionnèrent à Montréal l'émergence de la scénographie moderne.
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Henry King, Lorraine. "Black skin as costume in Black Panther." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 265–76. http://dx.doi.org/10.1386/ffc_00024_3.
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As a costume, textile and surface adornment practitioner my research focuses on how skin contributes to the reading of a costume. Black Panther’s (2018) Oscar winning costume by Ruth E. Carter conformation to whilst also breaking traditional superhero costuming tropes feeds directly into my research on reading black skin as heroic. The visual disruption to the limited and negative narratives usually embedded within black skin are subtly challenged by Carter’s use of both black primordial and superhero skin-like costumes to signify the heroic. The costuming of a black superhero and nemesis frame the black body in action away from the negative stereotypes of Bogle’s hypersexual buck. The reading of black skin as heroic underpins the practice’s explorations away from the binary of black and white skin to the many shades of brown the moniker of black represents. It is the repetition of skin as metaphor where both superhero costumed skin and primordial skin demonstrate the multiplicity between superhero, his alter-ego and Bogle’s stereotypes that form the basis of this article. Black skin as costume explores how skin colour, according to Dyer has been used to other the black body and rank it below that of the white body within postcolonial readings. Traditionally systemic racism in action films has seamlessly placed the white body and skin as inherently heroic whilst reading the equivalent black body and skin negatively. My practice explores equity of black and brown skin as strong, precious and powerful so that any costumes, textiles or surface decoration I create would read the same when placed on a black body as they would on a white body.
6
Kjellmer, Viveka. "Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915‐18)." Studies in Costume & Performance 4, no. 2 (December 1, 2019): 179–91. http://dx.doi.org/10.1386/scp_00003_1.
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In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915‐18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.
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Hackett, Lisa J., and Jo Coghlan. "The mad kings of The Royals: Fashioning transgressions in royal popular culture television." Film, Fashion & Consumption 11, no. 2 (November 1, 2022): 139–53. http://dx.doi.org/10.1386/ffc_00044_1.
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The costuming of actors plays a significant role in how their characters and their actions are understood by audiences. This article examines how male transgression is encoded in fictional royal television via costuming. Costumes for royal characters sit at the intersection between dramatic convention and popular expectations of royal behaviour. Little work has been done to date to examine how costume works in this space, even less on fictional male royal costuming. This article demonstrates, via a discussion of the four kings of the television drama The Royals (2015–18), how costuming both engages in narrative expectations and reveals transgressions.
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Dwiantari, Scorina. "Pengaruh Citra Merek dan Kualitas Produk terhadap Loyalitas yang Dimediasi oleh Kepuasan." Jurnal Ilmiah Aset 22, no. 1 (March 31, 2020): 51–62. http://dx.doi.org/10.37470/1.22.1.161.
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The purpose of this study was to determine the effect of brand image and product quality on consumer loyalty with consumer satisfaction as a mediator using Indrakila Cheese products. To determine the effect of brand image, product quality and customer satisfaction on costumer loyalty using Indrakila Cheese products. To find out whether costumer satisfaction mediates the influence of brand image and product quality on costumer loyalty using Indrakila Cheese products. The population in this study were all costumers who use Indrakila Cheese products. The sample is determined by the Purposive Sampling method. Sampling with Slovin formula obtained 110 respondents. The data used are primary data using a questionnaire. Data analysis using linear regression. Based on the results of the research that has been done, it can be known brand image has a positive effect on costumer satisfaction of Indrakila Cheese products. Product quality has a positive effect on costumer satisfaction of Indrakila Cheese products. Brand image has a positive effect on costumerr loyalty of Indrakila Cheese products. Product quality has a positive effect on costumer loyalty of Indrakila Cheese products. Customer satisfaction has a positive effect on costumer loyalty of Indrakila Cheese products. Brand image has a positive effect on costumer loyalty mediated by costumer satisfaction. Product quality has a positive effect on costumer loyalty mediated by costumer satisfaction.
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Astuti, Hesti Dwi. "KENDALA PENYELESAIAN SENGKETA KONSUMEN MELALUI BADAN PENYELESAIAN SENGKETA KONSUMEN (BPSK)." Jurnal Hukum Mimbar Justitia 1, no. 2 (October 11, 2017): 572. http://dx.doi.org/10.35194/jhmj.v1i2.41.
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Empowering costumers is a form of awareness on the specific characteristics in the world of costumers, the different interest among different parties which have various bargaining positions, has been given space in the field of costumer dispute settlement which is a good policy in empowering costumers. A special institution which has been appointed to resolve costumer disputes is the Costumer Dispute Settlement Agency (BPSK). Costumer Dispute Settlement Agency is an independent agency or institute, a public agency which has the duty and authority such as implementing the handling and settlement of disputes between costumers and businessmen. Based on the duties and authorities of BPSK, the costumer dispute settlement mechanisms should be registered to the nearest BPSK. The examination based on the request of the costumer is done just like proceedings in the General Court and the decision made by BPSK is final. However, during the implementation of their duties in settling costumer disputes, BPSK is facing some obstacles such as lack of technical guidance in regulating aspects related to procedural law, constrained by the human resources of BPSK members, the lack of understanding and awareness of costumers and also constrained by operating costs. Therefore, the improvement of the structure and legal culture needs to be done by socializing the costumer protection law to the public.Keywords : Costumer Dispute, Costumer Dispute Settlement Agency, Costumer Protection.
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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, Anna Germaine Hickey, and Remi Roehrs. "Celebrating Bowery: Radical costume parties as queer heterotopia in Brisbane." Studies in Costume & Performance 5, no. 1 (June 1, 2020): 85–100. http://dx.doi.org/10.1386/scp_00015_1.
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This visual essay explores the creative practice of The Stitchery Collective, which uses costume as a strategy in their participatory works. Inspired by performance artist, queer icon and costume lover Leigh Bowery, The Stitchery Collective has created The Bowery Party, a series of events encouraging radical dress up. These immersive occasions emphasize the significance of costume as enabling joy, community and extravagant social performance. The essay discusses the importance of Bowery as a figure in designing the party in terms of the nature of participant responses, as his legacy provides a subversive approach to costuming the self. The analysis focuses on strategies for and the importance of making and holding space, both physical and virtual, for alternate visions of the body – an empowering ethic that celebrates diversity and inclusivity. The costumes created by the attending public are challenging, often both to wear and to social, gender and body norms. This essay offers a brief example of the costumes created by participants in direct response to Bowery as a radical, slippery and chaotic aesthetic target.
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Geraffo, Monica. "No tights, no flights: Constructing the wardrobe of television superheroes." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 233–50. http://dx.doi.org/10.1386/ffc_00022_1.
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Superheroes have always been defined by their dual lives, but analysis of the ways dress has informed characterization is often limited to just their superhero costumes, despite qualitative evidence that comic book heroes are depicted in civilian clothes at least half as often. Contemporary depictions of superheroes on television spend an even greater percentage of time dressed in civilian garments. This article combines both adaptation studies and industry studies approaches to discuss the overlooked influence of civilian clothing in conceiving the television superhero ‐ examining both comic book source materials and the process of costume design through the intrinsic constraints of industry television production. Through case studies into the DC comics Arrowverse, a series of interconnected programmes aired on the CW Network, and Marvel’s Runaways, the Hulu adaptation about teenage superheroes without costumes, as well as interviews with costume designers and actors, this article recognizes strong visual similarities across programmes between pseudo-character archetypes, and presents a de facto formula for analysing civilian superhero costume design. The resulting narrative reveals a struggle within superhero civilian costume design: finding the balance between serving semiotics or characterization, and building a sense of realism and individual choice within costuming choices from within hegemonic structures.
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Barbieri, Donatella, and Greer Crawley. "The scenographic, costumed chorus, agency and the performance of matter: A new materialist approach to costume." International Journal of Fashion Studies 6, no. 2 (October 1, 2019): 143–62. http://dx.doi.org/10.1386/infs_00001_1.
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This article presents the performativity of costume as generated through materially discursive iterative processes that embed meaning in the production itself through the analysis of the chorus costumes for the 2018 Opéra du Rhin production of Eugene Onegin. It argues that a new materialist approach can reveal the ethical concerns, around gender, toxic masculinity and compliance to reactionary social conventions, that lie at the core of this costuming of an opera chorus, particularly when perceived through the multiple forms that shape its distinct materializations over three successive acts. In addition, a focus on the agential actions of materials will draw attention to the work of the costume department, which to date has remained largely unaddressed by analytical approaches that are solely based on spectatorship, semiotics or phenomenological perspectives. Identifying the agential actions that materials perform enables the articulation of the costume specialist’s response to the performativity of materials. Adopting a new materialist approach, ‘costuming’ is found to be an evolving and relational form that emerges from a complex process of meaning-making that addresses, through a distribution of agency, how materials connect to wider concerns.
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Taylor, Madeline. "Fitting materials: Costume flows, intra-actions and agency in and around the fitting room." Scene 9, no. 1 (December 1, 2021): 97–116. http://dx.doi.org/10.1386/scene_00039_1.
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The costume fitting room has long been considered an essential space in developing a character, with many actors crediting the fitting as a critical stage in creating or understanding their character. In these spaces, characters and costume designs emerge and evolve. This article argues that active in this emergence are actors, designers and costumers and the costume itself. This research explores the costume’s agentic nature in the performance-making process, using ethnographic observation of Australian theatre costume fitting rooms. It evidences the multiple, disparate and sometimes surprising elements that impact character portrayal and design development. The agency of the costume as a creative partner is currently a topic of debate in costume research. Leaning into this conversation, this article draws on Karan Barad’s perspectives of new materialism to argue for greater consideration of the costume’s influence and value in forming a performance work. Recognizing this contribution and the affective power of costume prompts a challenge to the structures and practices surrounding actors and costumes and how they intra-act. The article concludes by reflecting on the implications for current industry rehearsal, production and costume practices.
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Andersson, Therése. "Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress." Culture Unbound 3, no. 1 (April 19, 2011): 101–12. http://dx.doi.org/10.3384/cu.2000.1525.113101.
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In ’Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress’ a materiality-based approach for analysing film narratives through costumes is examined. Sofia Coppola’s film Marie Antoinette (2006) serves as the empirical starting point and the theme of dressing and redressing is pursued throughout the film, crystallizing costume as a significant feature for reading the movie. The article argues that costumes, on a symbolic level, work as agents. It thus focuses on the interdependence between costume and interpretations of the screenplay’s main character. A theoretical notion of costumes and materiality is explored, and the idea is further developed in relation to stylistics constituted as emotions materialised in costume. As costumes are the main object for analysis, the discussion immediately centres on costumes produced by professional costume designers for the two-dimensional format of the film frame. In other words, costumes made for the moment: for a specific narrative and aesthetic expression.
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Ivancich Dunin, Elsie. "17th Century Costuming Features of Korčula’s Moreška." Narodna umjetnost 59, no. 1 (June 20, 2022): 121–36. http://dx.doi.org/10.15176/vol59no108.
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A tangible aspect that points to a historic past of the Korčula moreška is the skirted costume, which is unlike any other outfit worn on the island or elsewhere in Croatia. Recently, mid-seventeenth century archival costume illustrations of noble court ballets in Turin as well as costume designs of royal French productions in Paris were shared online, providing illustration of dance costuming in the theater. Popular Venetian public theater productions started in 1637 – studied by theater, stage costume, and dance researchers – reveal the importance of Roman features in costuming to denote nobility, strength, and leadership in theatrical spectacles. This Roman costume feature brings credence to the first known written description of a “Roman-Oriental” costume from the report of a moreška performance during the Saxon King’s visit to Korčula in 1838. Both the 17th century courtly spectacles and the Venetian public theater with many king-led combat dances thus extend our knowledge about costuming – sufficiently to warrant further research into the seventeenth century roots of Korčula moreška costuming.
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Kusuma Wardani, Ni Putu Sintia Dewi, I. Gede Budasi, and Putu Eka Dambayana. "Lexicon Analysis in Sampi Gerumbungan Dance Costume." Linguistic, English Education and Art (LEEA) Journal 6, no. 2 (June 28, 2023): 263–81. http://dx.doi.org/10.31539/leea.v6i2.5330.
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The study aims to find out what are lexicons used in the Sampi Gerumbungan dance in the costumes and its cultural meaning. The method used in this study is a descriptive qualitative design. The method directs researchers in obtaining social information accurately, broadly, and completely by designing problem formulations. The results of this study found that there were sixteen (16) lexicons found in the costumes of the Sampi Gerumbungan dance. All lexicons in the costumes are also classified based on parts of body, namely head costumes (5 lexicons), neck costumes (2 lexicons), hand costume (1 lexicon), body costumes (8 lexicons), and leg costume (1 lexicon). It can be concluded that there are several lexicons used in the Sampi Gerumbungan dance costumes and have cultural meanings.
Keywords: Costume, Ecolinguistics, Lexicon, Sampi Gerumbungan Dance
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Aprilianti, Luh Wulan. "An Analysis of Lexicons in Costumes of Baris Gede Dance at Penuktukan Village." International Journal of English Education and Linguistics (IJoEEL) 5, no. 1 (July 4, 2023): 18–30. http://dx.doi.org/10.33650/ijoeel.v5i1.5415.
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This research aims to find out the lexicons and the cultural meaning in the costumes of the Baris Gede dance. Baris Gede dance is a traditional Balinese dance that tells about warriors fighting on the battlefield. Costumes are an important component in the Baris Gede dance because the costumes used represent the contents of the dance. This research used qualitative research with interviews and observation as the method to obtain the data. The researcher found 14 lexicons in the costumes; head costume (1 lexicon) that is gelungan, neck costume (1 lexicon) which is badong/bapang, hand costume (1 lexicon) which is gelang kana, upper body costume (7 lexicons) which are awiran, oncer, lamak, kwace selem, tali semayut, keris, and urangka and lower body costume (4 lexicons) that are stewel, jaler putih, kancut putih, and sabuk. The cultural meaning relates to the soldiers on the battlefield. Warriors are depicted as dashing and brave figures represented through the Baris Gede dance costume.
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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
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Raud, Inna. "Vändra kihelkonna naiste traditsioonilised rahvarõivad: komplektide koostamine ja valmistamine tänapäeval. TÜ Viljandi Kultuuriakadeemia pärandtehnoloogia magistritöö 2014 / The traditional folk costumes of the women of Vändra parish." Studia Vernacula 5 (November 5, 2014): 169–71. http://dx.doi.org/10.12697/sv.2014.5.169-171.
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
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Dotlačilová, Petra. "Molière en costumes (Molière in Costumes), curated by Véronique Meunier-Delissnyder." Studies in Costume & Performance 8, no. 1 (May 1, 2023): 121–27. http://dx.doi.org/10.1386/scp_00089_5.
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Review of: Molière en costumes (Molière in Costumes), curated by Véronique Meunier-Delissnyder Centre national du costume de scène (CNCS) (National Centre for Stage Costume), Moulins, 26 May–6 November 2022
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Kalmakurki, Maarit. "Snow White and the Seven Dwarfs, Cinderella and Sleeping Beauty: The Components of Costume Design in Disney’s Early Hand-Drawn Animated Feature Films." Animation 13, no. 1 (March 2018): 7–19. http://dx.doi.org/10.1177/1746847718754758.
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Costumes in feature films can be deliberately used for narrative purposes to reveal or conceal something related to the plot, functioning as a key element for cinematic storytelling. Costume design in animation is an integral part of character creation; however, relatively little is known about the design process. Previous research concentrates on either the history of hand-drawn animation, the principles of making animated films or character construction. This article presents several key components of the animators’ costume design process in Walt Disney’s animated feature films Snow White and the Seven Dwarfs (1937), Cinderella (1950) and Sleeping Beauty (1959). The author demonstrates that the costume design in these films was a multi-layered process. For example, for Snow White, the costume silhouette of the final animation is visible in the early conceptual designs whereas, for Cinderella or Princess Aurora, the principal character animators designed the final costume. Additionally, the slow production time influenced the style of the costumes: small details on costumes and complex constructions were not used as it would have taken too long for them to be drawn. The article also reveals that animators used live-action filming and rotoscoping as tools for designing costumes. Furthermore, costumes that were used in pre-production filming for rotoscope were different in their construction from everyday garments. The work of a costume designer existed in the character design process, although not as a separate profession. This article aims to highlight the importance of characters’ costumes in Disney’s early hand-drawn animated films and the different ways costumes have been designed for animated characters.
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Veronia, Anita Sofia, I. Gede Budasi, and Dewa Putu Ramendra. "The Lexicons Used in Palawakya Dance Costumes." Linguistic, English Education and Art (LEEA) Journal 6, no. 2 (June 29, 2023): 282–89. http://dx.doi.org/10.31539/leea.v6i2.5468.
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Palawakya dance is a kind of dance which mixes the arts of dance, music, and old Balinese song called Kakawin. Culturally, the dance consists of various lexicons used in common life but it is getting rarely used by people nowadays. This research was designed in the form of descriptive qualitative research by applying an ecolinguistic approach. It was focused on analyzing the lexicons of Palawakya dance costumes in Jagaraga Village, Singaraja. Observation and interview were conducted to obtain the data of this research by involving three informants. The informants were selected by using purposive sampling. The instruments used in gaining the data were observation sheet and interview guide. The results of this study showed that there were 17 lexicons found in the dance costumes. The dance costumes were divided into five parts; 1) head costume consists of five lexicons, 2) neck costume consists of one lexicon, 3) body costume consists of eight lexicons, 4) hands, costume consists of one lexicon, 5) leg costume consists of two lexicons. In addition, another result revealed that there were 16 cultural meanings found in the Palawakya dance costumes.
Keywords : Costume, Cultural Meaning, Ecolinguistics, lexicons, Palawakya
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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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Lamerichs, Nicolle. "Costuming as subculture: The multiple bodies of cosplay." Scene 2, no. 1 (October 1, 2014): 113–25. http://dx.doi.org/10.1386/scene.2.1-2.113_1.
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This article explores the subculture of cosplay, short for ‘costume play’. In this particular practice, fans create and wear costumes that allow them to re-enact existing fictional characters from popular culture. These outfits and subsequent performances are a physical manifestation of their immersion into the fictional realms of television, games and movies, among others. Cosplay can be understood as the culture of costuming that occurs beyond the institutional remit of the theatre. Especially in western countries, cosplay is intimately connected to the carnivalesque space of the fan convention, where fans gather and re-enact their favourite characters. I argue that embodiment plays a unique role in cosplay that should be interrogated closely. The fan performer relies on multiple bodies and repertoires that are intimately connected to the fan’s identity and the performed character.
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Febi, Febi, Ndaru Irawadi, Abdul Hamid, and Zikriatul Ulya. "ANALISIS FAKTOR-FAKTOR YANG MEMPENGARUHI LOYALITAS NASABAH PEMBIAYAAN MURABAHAH PADA BANK PEMBIAYAAN RAKYAT SYARI’AH ADECO LANGSA." Jurnal Investasi Islam 4, no. 2 (December 19, 2019): 166–80. http://dx.doi.org/10.32505/jii.v4i2.1373.
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This study aimed to fi nd out factors that infl uencing costumers loyalty about murabahah fi nancing at Bank Pembiayaan Rakyat Syariah Adeco Langsa and to determine the effects partialy and silmutanously to murabahah fi ancing costumers loyalty. There are factors that infl uencing murabahah fi nancing costumers loyalty including the infl uence of service factors, facility factors, and location factors. This study used the quantitative approach. The total of respondent are 80 costumers. Sampling this study was carried through probability sampling and simple random sampling , rarely the technique of determining to selected sample without regard to the levels in the population. This study used quesioners as many as 20 items questions that were assesed with a likert 1-5 scale and used validity and reliability test. The test of assumptions were, tests of multicollinearity, heteroscedastisitas, normality, linearity then analyzed using multiple regression analysis with the determination test method F test and t test. Base on multiple regression analysis at 5% signifi cance level show that simultaneously service factors, facility factors, and location factors have signifi cant positive effect to murabahah fi nancing costumers loyalty at Bank Pembiayaan Rakyat Syariah Adeco Langsa, and then there are signifi cant positive effect of the facility factors to murabahah fi nancing costumer loyalty and the location also has a signifi cant positive infl uence on murabahah fi nancing costumer loyalty at Bank Pembiayaan Rakyat Syariah Adeco Langsa, facility factor have the most dominant infl uence on murabahah fi nancing costumer loyalty at Bank Pembiayaan Rakyat Syariah Adeco Langsa, with a signifi cance of 0,000 less than 0,05.
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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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Lei, Qinchuan, Nan Chen, and Shanren Ding. "Research on Digital Preprocessing of Minority Costume Images." Academic Journal of Science and Technology 4, no. 1 (December 13, 2022): 159–62. http://dx.doi.org/10.54097/ajst.v4i1.3610.
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The development of minority traditional culture plays a very important role in the historical process of the development of our Chinese national culture. However, with the passage of time and the acceleration of the process of social modernization, our traditional minority culture is gradually disappearing. This makes more and more scholars begin to attach importance to the protection of traditional minority culture. As an important part of Minority minority culture, the focus of this paper is to protect and inherit the Minority minority costumes images through the use of digital image processing technology.By analyzing the current research status of the digitalization of minority costumes and the related technologies of the digitalization processing of minority costume images, this paper proposes that the digitalization pre-processing of minority costume images should be carried out before the construction of the minority costume resource database, which improves the construction process of the minority costume resource database. Through the research on the related technologies of the digital processing of minority costumes images, combined with the minority costumes resource database constructed in this paper to achieve the classification and recognition of minority costumes and target detection tasks. This paper mainly studies the image segmentation, scaling, edge detection and other technologies, and improves the relevant image processing technologies, completes the preprocessing of minority costumes images, and constructs a minority costumes resource library that can be used for the classification and recognition of minority costumes.
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Liu, Wen. "Discussion on the Green Design in Costumes." Advanced Materials Research 317-319 (August 2011): 393–96. http://dx.doi.org/10.4028/www.scientific.net/amr.317-319.393.
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In recent years, the consumers’ demand for costumes tends to become environmental protection, security and health from traditional utility, beauty and durability, and the costumes tend to be more comfortable, simple and natural. The idea of green design in costumes shall become dominant in costume designing. The article mainly elaborates the green designing idea and its necessity of application in the costume from surface materials, color, structure, production and marketing.
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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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Rewa, Natalie. "Costumes and Costuming: Defining Current Performance Strategies." Canadian Theatre Review 152 (October 2012): 3–4. http://dx.doi.org/10.3138/ctr.152.3.
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Rewa, Natalie. "Costumes and Costuming: Defining Current Performance Strategies." Canadian Theatre Review 152, no. 1 (2012): 3–4. http://dx.doi.org/10.1353/ctr.2012.0069.
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Isbandono, Prasetyo. "Loyalitas Pelanggan : Pengaruh Kualitas Pelayanan dan Kepuasan Pelanggan Pada Rumah Sakit Umum Syaiful Anwar Malang." BISMA (Bisnis dan Manajemen) 1, no. 2 (June 6, 2018): 131. http://dx.doi.org/10.26740/bisma.v1n2.p131-139.
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Hospital is one of government institution have responsibility to serve public healt. To reach that purpose, this institution must be increase services betterto creted costumer satisfaction. Hypotesis on this research ; 1) To know direct real influence Services Quality (Tanggible, Reliabiity, Responsiveness, Assurance and Emphaty) and Costumer Satisfaction to costumer Loyality, 2) To know Costumer Satisfaction as intervening variable between Services Quality and Costumer Loyality. Location on this research is Rumah Sakit Syaiful Anwar Malang. This research used explanatory research with survey approach.. Analisys Methode used Structural Equation Model (SEM) with Analysis of Moment Structure (AMOS) 4.0 version. The finding reported here reveal that there are 1) Services Quality have positive infuences with Costumer Loyality, 2) Services Quality have positive infuences with Costumer Satisfaction, 3) Costume Satisfaction are positive intervening variable between Sevices Quality and Costumer Loyality.
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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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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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Carvalho, Hermenegildo De Fatima, Estanislau De Sousa Saldanha, and Alvaro Menezes Amaral. "The Mediation Effects of Customer Satisfaction on the Relations Between Product Price, Service Quality and Purchasing Decision." Timor Leste Journal of Business and Management 2 (September 30, 2020): 14–26. http://dx.doi.org/10.51703/bm.v2i2.18.
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This research has two main objetives: (1) to examine the effect of price, service quality and costumer satisfaction on costumer’s purchasing decision, (2) to test the mediation effects of the costumer satisfaction on the relations between product price and service quality on purchasing decision. Data was collected from 82 insurance company’s costumers using questionnaire, and hypothesis was tested using Smart- PLS 3.0. The findings reveal that (1) price, service quality and costumer satisfaction have direct and significant effect on costumer purchasing decision, (2) costumer satisfaction has an indirect and significant effect on the relationship between service quality and costumer’s purchasing decision, and (3) costumer satisfaction has no significant effect on the relationship between product price and costumer’s purchasing decision. The study enriches the existing empirical studies on product price, service quality, costumer satisfaction and purchasing decision in emerging market. The study also provides practical implications to service industry managers to enhance costumer satisfaction and purchasing decision, ultimately increasing market share and organisation profits by considering service quality and product price.
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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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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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Bambang, Bambang, and Triyono Arief Wahyudi. "Analisis pengaruh citra perusahaan dan kualitas layanan terhadap loyalitas pelanggan melalui kepuasan pelanggan." Jurnal Manajemen Strategi dan Aplikasi Bisnis 2, no. 1 (March 8, 2019): 61–70. http://dx.doi.org/10.36407/jmsab.v2i1.49.
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This study aims to find out the effect of corporate image and its service quality to consumer loyalty and its impact on customer satisfaction. This research uses quantitative data with 100 respondents in JaBoDeTaBek. The method used in this research is regression and the colleration of each variable with 2 sub model using SPSS. The result from this study shows that there is a significant effect between corporate image to costumer satisfactory, a significant effect between quality of service to costumer satisfactory, and also a significant effect between costumer satisfactory to costumer loyalty. Therefore, Team Wound, PT XYZ Jakarta and Bekasi needs to perform effective activities and to always up to date periodically so that the costumers are more loyal to use its products.
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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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Rohmatur A., Yonindya, and Dina Fitrisia Septiarini. "Dampak Faktor Pemicu Terjadinya Displaced Commercial Risk Terhadap Keputusan Nasabah Untuk Tetap Menjadi Nasabah Bank Syariah Di Surabaya." Jurnal Ekonomi Syariah Teori dan Terapan 3, no. 9 (February 20, 2017): 728. http://dx.doi.org/10.20473/vol3iss20169pp728-743.
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The purpose of this research is to know if the three factor triggers of Displaced Commercial Risk (DCR) have affect partially to the decision of costumer to remain as the costumer of sharia bank. The method used is quantitative methods through questionnaire using likert scale by multiple linear regression analysis with reliability test and validity, classic assumption test, and hypothesis test.. The sample used is 100 sharia bank’s costumer who comply the criteria sample assigned. simultaneously rate of return, bank’s operational, and profit sharing expectation significantly affect to the decision of costumer, and partially the rate of returnand bank’s operational significantly affect to the decision of costume r, but partially the expectation of profit sharing not significantly affects to the decision of costumer.
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King, Emerald L. "Gotta Sew Them All—A Case Study of Pokémon Legends: Arceus Trainer Costumes and Historical Plausibility." Journal of Asia-Pacific Pop Culture 8, no. 1 (May 2023): 52–70. http://dx.doi.org/10.5325/jasiapacipopcult.8.1.0052.
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Abstract On the twenty-fifth anniversary of the release of Pokémon Red and Pokémon Green in 2021, Pokémon Legends: Arceus was announced. A new take on the highly successful franchise, Arceus sees the player transported to a mysterious past set in the frontiers of the Hisui region. As in other games, players have Poké Ball to capture wild Pokémon, but in this game the creatures can inflict damage if they become frightened or aggressive. The technology and costuming are vaguely steam powered, hinting at a Victorian or Meiji (1868–1912) time period. Indeed, it is revealed that the setting for the game is Hokkaido around 1869, during the colonization of the northern island. In early 2022, Twitter was abuzz with news that the series would be headlined by Ainu characters. This article takes a practical look at the design of the costumes, reading them as historically plausible versions of the more standard 1990s/2000s Pokémon hero. It will offer a case study that looks at one of the many possible approaches to designing and creating a cosplay costume. It will also take into consideration other Pokémon trainer costumes, such as those featured in Pokémon GO (2016), and tie-in commercial patterns.
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Utoh-Ezeajugh, Tracie Chima. "Theories, concepts and classifications of African costumes, dress culture, make-up and body designs in the 21st century." Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists 23, no. 2 (March 7, 2024): 99–121. http://dx.doi.org/10.4314/ntj.v23i2.1.
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Scholarly interrogations of African dress culture and body designs have mostly engaged non-African experiences and theories in interrogating indigenous practices. This has placed a limitation on cultural expressions of identity and inadvertently exposed the need to frame discourses around traditional African design engagements and indigenous conceptual models. The study employs the analytical, descriptive and interpretative approach of the qualitative research methodology to conceptualise, classify and describe the indigenous and contemporary practice of dressing, costuming and make-up and body designs in Africa. The emphasis is on attires/dresses/clothing, body designs, costumes and make-up practices utilised in everyday life; on special occasions; on stage; in films; carnivals; street performances and traditional communal performances. In this study, the researcher deconstructs the term ‘costume’ as currently used in describing African dressing. It attempts an understanding and classification of costumes from three levels of artistic and historical distinctions which are; indigenous traditional designs (indigenous trad.); modern traditional designs (modern trad.); and contemporary traditional designs (contemporary trad.). Given the identified gaps in existing scholarly presentations on traditional dress culture and body adornment, it maintains that African scholars should be encouraged to expand the scope of discourse through further constructions of identity for indigenous cultural products.
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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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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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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.
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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.
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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.
Full textAbstract:
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.