Dissertations / Theses on the topic 'Costume design Costume design Clothing and dress'

Fashion scholarship has prospered since the 1980s. Yet in spite of the stimulating research in this field, principally in the domain of design, gender, media and cultural studies, only a handful of scholars have written about fashion�s relationship with the artworld. This, inspite of the artworld increasingly drawing upon the idiom of fashion - �the new�, �the now� and hype, and the evolvement of sartorial fashion into an exciting new artistic medium as the result of an increasingly experimental attitude towards design. This thesis considers the idiom of fashion as part of art-making, and how we might critically approach fashion design as a visual arts practice. The relationship between fashion and the artworld is explored using the ideas of intersection, interplay and collusion. In utilising these ideas to explore the rapport between fashion and the artworld the multi-faceted nature of fashion�s relationship with the artworld, the slippages between the commercial and creative imperatives of fashion, are brought to the surface. This project grew out of a �debate� emerging in the 1980s and 1990s and occurring in articles and exhibitions which sought to identify and elaborate on a closer rapport between fashion and art. Based on this �debate� six sites of connection are considered, beginning with a discussion on writing about fashion from a visual arts perspective, and where a range of proponents and proposals are considered. The thesis then shifts to an analysis of the February 1982 special issue of Artforum which featured a garment designed by Issey Miyake on its cover. This is followed by an exploration of the value attached to fashion in the artworld. The fashion designer�s self-construction as a visual artist is the subject of the next chapter, followed by a look at the emergence of Conceptual Couture - ideas-based fashion. The final chapter considers fashion in the exhibition environment.

This work is an exploration of the spatial boundaries of dress through the moving body’s interaction with arranged space. The work aims to question the distinction that is done between a “garment” and a “room” in the context of set deign and costume design as well as “dress” and “architecture”. The work is carried out through a series of staged experiments with different materials abilities to understand, extend or transform; - Movement of the body - The spatial boundaries of the body The work is a focusing on the similarities of set and costume design and garment and architecture rather than looking up on the differences and by doing so suggesting a more dynamic relationship between the traditional definitions. It challenges both the way dress is viewed upon within the context of fashion design as well as the room is viewed upon with in the context of architecture and through this is seeking to find a new context of the body. Because of its focus on the moving body’s relationship with arranged material the work is closely linked to the field of dance performance and the field of preformance have served as dialogue when developing the work. Eventhough the work is of artistic nature it is in line with the resent developments within architecture as well as textile design questioning the contemporary and suggesting for the future.

This thesis considers fashion and cinema as crucial embodiments of Yugoslavian culture. As such, it gives a shine to the potential inherent in film costume for the historical analysis of Yugoslavian national identity and its politics. The focus is on the semiotic analysis of costume design in two native films by Emir Kusturica: When Father Was Away on Business and Underground. Social relations are investigated through the lens of a critical theory, with particular interest in questions of gender, violence, and sexuality. Taking the idea from a critical theory - that power constitutes all human relations - this thesis considers dress as a core symbol for performing power in Yugoslavian society.

The material culture of historic theatre costume offers a vital resource for the fields of dress and theatre history that has yet to be fully recognised. This thesis unites approaches from both disciplines to create a specific methodology for the study of theatre costume founded upon the examination and assessment of such garments. It argues that theatre costume represents a separate and specific category of clothing and theatrical ephemera. Celebrated actress Ellen Terry (1847-1928), an individual highly attuned to the significance of dress as an expression of identity, is used as a case study to demonstrate the validity of this new methodology. Adopting an object-based and material culture approach, the thesis engages with the visual and physical evidence about performance and design that can be gathered from Terry’s extant theatre costumes. It also highlights crucial information about Terry’s dress and its public reception gleaned from additional sources such as photographs; paintings; letters; reviews, and within Terry’s papers and books. This thesis represents the first full investigation of Terry’s personal and theatrical wardrobe, and is the first study to carry out a close analysis of the actress’s surviving garments. This analysis establishes the factors fundamental to the interpretation and study of theatre costume: the significance of social, artistic and historic context; parallels and contrasts between on and off-stage dress; the collaborative process of design and making; the function of costume as both performance object, and expression of ‘identity’; the issue of multiple and complex ‘biographies’; and the crucial evidence offered from material culture sources, most importantly, surviving costumes. Chapter 1 outlines existing methodologies and the cross disciplinary nature of the thesis; Chapter 2 reviews existing literature and proposes a new methodology; 3 provides the context for Terry's professional career; 4 develops the methodology and analyses extant garments. 5 and 6 relate the methodology to ideas of self-fashioning and biography. The thesis establishes Terry as an exceptional figure in British theatre and society who took an active role in fashioning her public and private image, both during her life, and after her death. The analysis of Terry’s wardrobe confirms the status of theatre costumes as unique garments, which represent a key source for design, dress and theatre historians. This detailed case study demonstrates that the methodology presented can be employed in the study of other figures, theatres and periods, and opens up a new and productive direction for future research.

This paper presents a detailed analysis of Assassin’s Creed III’s character Haytham Kenway’s costume, with emphasis on the physical qualities as well as the symbolic factors used in the garments. The costume is constructed physically in order to facilitate a further comparative study between the real and the virtual qualities looking at historical and technical accuracies in order to aid game companies in constructing accurate virtual costume.

Success in fashion design is important both in its own right and because it has positive influences on the culture of a country and because of the favourable ramifications it can have across many unrelated industries. This dissertation investigates the Australian fashion design industry and asks whether there is a place for a semi-autonomous industry regulator of the kind found in other countries. France is a natural choice as a model because on the one hand it has the most success and enjoys the highest prestige in international fashion design, and on the other it has a well-developed support and accreditation structure, the Federation Francaise de la Couture, du Fret-a-Porter des Couturiers et des Createurs de Mode. The Federation oversees the whole process, promoting and protecting innovation in the industry and laying down the criteria used in fashion accreditation. These observations led to the question, if a parallel fashion designers' organization were introduced in Australia, what are the chances it would be suitable and effective? To answer this question, interviews were conducted in Australia and in three European countries. The major systematic enquiry was based on a sample of 48 local industry people in key positions in media, commerce and education, who were encouraged to describe and evaluate the industry and to supply answers to a systematic survey document. Candour was promoted by the anonymity of the survey process. The major outcome in terms of evaluation of the industry was that for historical and structural reasons Australian fashion design is not characterized by a high volume of original work. Consequently it is not having much impact internationally and the upper echelons are not providing the basis for downward diffusion of ideas. If the standard (French) classification were applied to Australia, the bulk of the labels would be categorized at the lower end of the scale. The informants provided a strong consensus regarding the nature of the shortfalls including the undue emphasis given to derivative design, the lack of special support for young talent and the low priority given to the synergy between art and high quality craftsmanship. There was agreement that Australian fashion designers should not focus on product just for local consumers, because fashion in clothing is not central to the minds of the average Australian as it is for example in European countries. Fashion designers might be wise to exploit the position of Australia on the edge of the Asian subcontinent and the pool of potential design talent from other countries within the Australian population. By drawing from the new aesthetics emerging in Australia's pluralistic society, designers could easily be at the cutting edge internationally. They might showcase their work at overseas venues, although not necessarily, in the first instance, in countries like France. Although a full-scale federation-type organization might fail for want of a solid innovative industry upon which it might be based, a limited version of such a controlling body could well succeed. Its task would he to steer new directions in education which develops a pool of creative talent through master classes which focus on understanding original design, the importance of the manual aspect in design and the mechanisms of, and rewards stemming from diffusion. Sponsorship should be granted to endeavours by a collective of such talent to showcase designs abroad. Government funds should be redirected away from the promotion of a generic product to a fashion-designing paradigm emphasizing 'designer handwriting' as the value-added aspect. In addition to exploring these issues, this dissertation provides reflections on the nature of the design process and suggests ways in which fashion design and fashion design education might move to revitalize the industry.

Good Girl/Bad Girl asks women to define the good girls and bad girls in respect to their clothing. Participants are women who live in either New Mexico or Texas and identify as one or more of the following groups: New Mexican, Mexican, Native American, Sorority women, and Cowgirls. Participants with interviewed and photographed in their homes and places of work. Good Girl/Bad Girl was exhibited during the 2013 The Co-op Presents the Cohen New Works Festival. A selection of twenty-one images were displayed in addition to audio from the interviews.
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碩士
國立臺灣師範大學
表演藝術研究所
97
Opera is the most early combination performance art; it includes the music form the orchestra, the voice from the singer, the stage design made by the artificer, the clothing of the costume design and the light effect from the light design...etc. How the modern opera attract people is by its musical performance, the story and the character. The present audiences expect the drama is produced by the team work of overall art performance. The costume design of the modern opera is different from those fashion designs. The costume designers not only have to consider the historical form of the plot and the costume, but also have to analyze the motive and the style of the composer and the musical interpretation of every character, in order to plan the application of the modern costume design which fit for the human resonance. This thesis takes the costume design of the opera “Hansel and Gretel” performed in 14th NTNU Art Festival as the case study, discussing “The Applied creation for Gothic Style Clothing as Modern Costume Design”.

This study is a critique of Aso Ebi in Owambe social uniform and social performance phenomena of the Yoruba culture of Nigeria in West Africa. The Aso Ebi phenomenon is a social uniform that is inextricable from the Owambe spectacle of the Yoruba culture, which, in itself, is a social performance. Aso Ebi is a fabric that is selected, made into garments and worn by groups of people who are related to one another in various ways such as family, friends or comrades. The uniforms are worn for social gatherings, especially celebrations, which are popularly called Owambe. These celebrations are very elaborate and loud, much like a grand spectacle put on to show wealth, unity and flamboyance. The research is the explanation of how the Aso Ebi and Owambe social uniforms manifest themselves and this manifestation is presented through a body of artworks. The artworks seek to expose the unseen actualities involved in participating in these social performances and issues of social survival within these cultural phenomena. The analysis addresses the impacts and influence of conformity in cooperative behaviour by an individual within his/her social identity and relationships. The main question this study addresses is whether the positive factors of unity, social order and expressive visual flamboyance of the social phenomena outweigh the negative impacts particularly on the individuals who participate in these social performances. This is done by acknowledging the experiences of the participating individuals in the conformity and transmission modes of these phenomena in this culture. The visual productions of the concepts in the research are achieved through performance, collages, photography and a sculptural installation. The significance of these emergent visual productions is that they shift the focus from the impression of the group to the conformity by the individual. This highlights the problems faced by the participating individuals in the pursuit and participation of this cultural phenomenon.
Department of Art History, Visual Arts & Musicology
M.A. (Visual Arts)

碩士
樹德科技大學
應用設計研究所
103
Fashion market is extremely competitive. There are varieties of styles, pattern and fabrics for consumer to choose. The price differentiation is very big. In today''s M-shaped Society, the consumption trend in the clothing polarizes. Masstige brands sprang up like mushrooms after a spring rain and high-end boutique market is enduring. It shows the complex variability of consumer market. If you want to survive in such a competitive market, you must have excellent design and a complete brand management. A study of product planning and cultural and creative merchandise development of Clothing Design Studio: the case study on Ye-Huang-Mu Costume Design. Through the research on operation model and creations of Ye-Huang-Mu Costume Design . And with literature reviews on product planning and cultural and creative merchandise. It used hierarchical oriented creative mode and designed 20 sets a series of costumes inspired by the four beauties in China and 10 sets of tea dresses for its original customers. It held a fashion show on 2015/3/7.I make recommendations for the future direction of business to Ye-Huang-Mu Costume Design to assist its future product planning and enhance its brand value.