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Academic literature on the topic 'Costume and clothing'
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Journal articles on the topic "Costume and clothing"
1
Georgieva, Desislava. "DESIGN AND MODELING OF LADIES' CLOTHING WITH A STUDY OF THE DECORATIVE FEATURES OF THE BULGARIAN FOLK COSTUME FROM THE RHODOPEAN REGION." International Conference on Technics, Technologies and Education, no. 1 (2018): 83–91. http://dx.doi.org/10.15547/10.15547/ictte.2018.02.004.
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The study of popular clothing, its classification, characterization and exploration gives us valuable information about our ancestors, the traditions, the life and the culture of our ancestors. Part of this cultural heritage is the Bulgarian traditional costume. Trained and analyzed, traditional clothing is a good basis for transforming ideas into the design of contemporary fashion collections - a practice that is enjoyed by all current designers. In this report the characteristic of a Bulgarian traditional costume is made. The purpose of the present work is to trace and explore the historical development of the traditional folk costume in the Rhodopean region and to design modern women's clothing using the decorative elements of the authentic costumes.
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Imparato, Joana. "Relations between body and clothing in performance: Costume as an activator of bodily actions." Studies in Costume & Performance 6, no. 2 (2021): 171–84. http://dx.doi.org/10.1386/scp_00045_1.
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This article reflects upon the relationship between body and costume in the character ‘Woman from the Past’ in the production Life and Times of Carlos & Carlos directed by Emílio Di Biasi in 1987 in São Paulo, Brazil. Drawing on the account of the performer Gaby Imparato about her scenic dress, I investigate the dynamics of body‐costume relationship based on Bodymedia Theory, which reassesses the concept of body concerning design processes and practices in the production of scenic costumes and in the costume design research literature. The theory provides tools to discuss costumes and bodies intertwined in a co-defined relationship while onstage, inviting us to rethink predetermined resources in costume production. The performer’s account helps to verify how the costume designer’s intentions and stimuli offered to the body onstage, predefined in the costume design, find other paths to developing scenic actions. This proposition allows me to discuss the relationship between body and costume onstage when understood as an articulator of perception and action. Thus, I can enunciate costume as an activator of bodily actions in rehearsals and on the scene.
3
Zhang, Jiwen. "An Exploration of the Differences between Chinese and Western Costumes in the Archaeological Archaeology of Clothing Culture in Different Periods of Agriculture." Journal of Environmental and Public Health 2022 (June 15, 2022): 1–12. http://dx.doi.org/10.1155/2022/2491990.
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Countries around the world have different historical development processes in different periods of agricultural economic environment, and have formed different costume culture characteristics. This study analyzes the differences in aesthetic standards in Chinese and Western clothing cultures, as well as the differences between Chinese and Western costumes in color design, structural design, and dress methods, and elaborates the main reasons for the differences between Chinese and Western clothing cultures. The study focuses on the characteristics and differences of traditional clothing art culture in various places, but because of the differences in historical conditions, lifestyles, psychological qualities, and traditional ideas and cultural concepts, there are great differences between the traditional costume art culture concepts in China and the West. Based on this, the study specifically explains the difference between the two through the comparison of the aesthetic characteristics of the traditional costume art culture concepts in the Middle East and the West, and the difference in the expression of the Middle East and Western clothing art.
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Usmanova, S. M. "Problems Associated with Reconstruction of the Bashkir Folk Costume Based on Ethnographic Photographs of the Mid-19th–Early 20th Centuries." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 164, no. 6 (2022): 180–90. http://dx.doi.org/10.26907/2541-7738.2022.6.180-190.
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This article discusses how ethnographic photographs are used for reconstructing the Bashkir national costume and its details. The results obtained show that the historical reconstruction of the Bashkir national costume has developed and advanced through various competitions between folk clothing artists in the Republic of Bashkortostan. The photographs, published both in various print sources and online, of the collections from the museums of St. Petersburg, Moscow, and Ufa, have inspired their reconstructions. Many costume pieces have been reconstructed based on the photographs taken during the 19th–20th centuries by travelers, scholars, and individual persons. Interestingly, the engravings of the 18th century and the written sources have not been used. Some ethnoterritorial variants of the Bashkir costume (southern, northeastern, Demsky, and northwestern) and those of certain age groups (clothes typically worn by girls and boys) have been restored. So far, there have been no reconstructions of the costumes of elderly men and women, city nobility, as well as the clothing traditions of the Bashkir groups in Samara, Sverdlovsk, and Orenburg. It was concluded that historical reconstruction of the folk costume contributes significantly to a better understanding of the ethnic features of the clothing culture.
5
Lu, Xueqing, Jing Wen, and Xiaohua Shao. "Pattern Design of Ethnic Clothing Based on Stretchable Nanofiber Fabrics." Advances in Materials Science and Engineering 2022 (August 17, 2022): 1–10. http://dx.doi.org/10.1155/2022/7370958.
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With the rapid development of social economy, people’s material and spiritual living standards have been greatly improved, and the demand for clothing has also increased. Chinese clothing has distinct national characteristics, and it contains rich national culture. Through a lot of research, it will be found that most of the national costume patterns represent some symbols with specific meanings. From the symbols, we can see the status, hobbies, and beliefs of the costume owners. At present, the popularity of traditional ethnic clothing is low, for which stretchable nanofiber fabrics are introduced in this paper. Through the influence of image rotation, scale change, noise interference, and other factors, a method for extracting features of ethnic clothing patterns based on image rotation, scale change, and noise interference is proposed. It uses digital inkjet printing to design patterns on nanofiber fabrics, compares the satisfaction degree of the nanofiber fabric national costumes designed in this paper and traditional national costumes, and divides the satisfaction into four levels: satisfied, relatively satisfied, general, and dissatisfied. The experimental results showed that the satisfaction rate of the ethnic costumes designed in this paper has reached 79.12%, which has been greatly improved compared with the traditional ethnic costumes.
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GERASYMENKO, O. D., T. V. REMENIEVA, I. V. FROLOV, and T. K. TRUSHYNA T. K. "ARTISTIC AND COMPOSITIONAL FEATURES OF CHILDREN'S COSTUME IN UKRAINE OF THE 20th – EARLY 21st CENTURIES." Art and Design, no. 1 (October 6, 2022): 9–19. http://dx.doi.org/10.30857/2617-0272.2022.1.1.
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Purpose. The study of artistic imagery of children's costume by Ukrainian fashion designers of the 20th – early 21st centuries, establishment of features and patterns in the repetition of artistic and compositional solutions of children's costume, identification of established trends and innovations in the decoration of children's clothing.
 Methodology. Visual-analytical method, morphological, artistic-compositional and retrospective analysis were applied.
 Results. As a result of the analysis of children's clothing models of Ukrainian designers and brands, the artistic and compositional features of children's costumes and current trends in the decoration of children's clothing of the 20th – early 21st centuries are identified. It is determined that during this period, possibilities for the implementation of artistic imagery of clothing for children have expanded due to innovative materials and decoration technologies, but even in our time, traditional types of decoration that have been characteristic of children's costumes for centuries do not lose their relevance.
 The scientific novelty of the research consists in identifying features of artistic and figurative solutions of children's clothing by designers of Ukrainian fashion houses and leading trends in the decoration of children's costumes in Ukraine of the 20th – early 21st centuries.
 Practical significance. The collected materials and their analysis allowed to summarize information about artistic solutions and children's costumes by designers of Ukrainian fashion houses, which can serve as a basis for further research on the history of fashion and children's clothing design, information base for creating new collections of children's clothing.
7
Zhu, Chun, Kaixuan Liu, Xiaoning Li, et al. "Research on Archaeology and Digital Restoration of Costumes in DaoLian Painting." Sustainability 14, no. 21 (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.
8
Belko, Tatyana V., Tatyana V. Kozlova, and Svetlana Yu Osipova. "Role of jewelry and accessories in traditional women`s Russian costume of the 16th–17th centuries." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 294–306. http://dx.doi.org/10.37816/2073-9567-2021-59-294-306.
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The paper conducts analysis of decor, accessories and jewelry in the context of traditional Russian costume of the 16th–17th centuries; it consists of an introduction and two parts. In the introduction, the authors note the importance of preserving and structuring information about ancient Russian accessories and costume jewelry for modern creative activity. The paper identifies socio-cultural significance of the ensemble of jewelry and costume in traditional Russian society. It examines the clothing of the South Russian and North Russian women's clothing complex, reflecting the specifics of the regions of Russia-from the Volga region to Siberia. The second part addresses the examples of the use of accessories and jewelry in the structure of traditional folk women's costume, depending on the regions of Russia including the clothes of the Orel, Kursk, Voronezh, Ryazan, Tambov, Tula, and Kaluga provinces belonging to the South Russian complex. The North Russian complexes of women's Russian clothing reflect the specifics of the regions. Headdresses, which are traditionally an integral part of women's folk costume, are represented by kokoshniks, kichki, and crowns. Earrings, rings, and chains are introduced by various schools of master jewelers. The characterization of signs by purpose, materials and method of making jewelry, allowed to clarify the order of classification construction of the scheme of using jewelry in the costume system. The main sections of the paper are illustrated with photos depicting costumes and complementary accessories from various regions of Russia. The authors also display costume ornaments that have long been out of use, but are valuable for research. The paper is of interest to ones studying costume design, accessories, and jewelry. It allowed for concluding about the importance of studying the elements of the costume as artifacts made of natural materials that serve as a precious source of information about the unique Russian decorative and applied art and costume.
9
Xie, Yuting. "New Chinese Costume." World Journal of Social Science Research 4, no. 4 (2017): 381. http://dx.doi.org/10.22158/wjssr.v4n4p381.
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<em>At the 2014 APEC meeting, new Chinese costumes became a hot topic, and traditional Chinese elements were favored by insiders at home and abroad. Based on the development of new Chinese costume in recent years and the characteristics of the research, to grasp the contemporary people’s demand for traditional clothing, combined with the fashion trend in inheriting traditional national culture, popular new innovation in new period of contracted type traditional clothing, meet the demand of different levels of people’s wear, which not only promote the development of the apparel industry, have contributed to the prosperity of the cultural industry.</em>
10
Orifjonova, Gulrano R. "PECULIARITIES OF SURKHANDARYA ETHNOCULTURAL CLOTHING." CURRENT RESEARCH JOURNAL OF HISTORY 03, no. 01 (2022): 21–25. http://dx.doi.org/10.37547/history-crjh-03-01-05.
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This article analyzes the peculiarities of ethnocultural costumes of Surkhandarya oasis. National dress is a manifestation of material culture. The bright colors of the nation, the beautiful art of local weavers developed under the influence of national traditions, the artistic ornaments on the fabrics are reflected in the dress, which is based on the unique centuries-old traditions of each region. Like other regions of Uzbekistan, in the late XIX and early XX centuries, the Uzbek national costume was almost formed in the Southern Surkhandarya oasis. It was revealed that women’s clothes are sewn according to their age, differ in color and type of fabric. Each nation has its own national dress, the formation of which depends on the lifestyle of the peoples and the geographical environment is based on scientific analysis.