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Journal articles on the topic 'Costume design'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Taylor, Madeline. "Fitting materials: Costume flows, intra-actions and agency in and around the fitting room." Scene 9, no. 1 (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 surprisi

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Pantouvaki, Sofia. "Transmedia Costume as 'Sustainable' Costume? Blending Physical and Virtual Bodily Materialities." International Journal of Film and Media Arts 9, no. 1 (2024): 32–46. https://doi.org/10.60543/ijfma.v9i1.9335.

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Combining tangible and digital means in costume design by merging live digital content with traditional costume materials opens new possibilities to create evolving performance dramaturgies and ‘unusual’ bodies. This article focuses on recent and ongoing explorations from the field of costume design for live and mediated performance that employ a combination of physical and virtual tools to design multi-layered characters and costumes. The study analyses experimental works that address questions of virtuality and materiality through the costumed body. Such works explore in practice

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Fadzili, Lini Lis Aisya, and Norhasheila Muharam. "Exploring Female Character Costumes and Representation in Cartoon Network's Adventure Time." International Journal of Art and Design 9, no. 1/SI (2025): 11–25. https://doi.org/10.24191/ijad.v9i1/si.2936.

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Costumes in animated TV series play a crucial role in visual storytelling, reflecting the characters' personalities and the narrative's setting. scholar emphasizes that costume design is a delicate balance between narrative and visual elements, using color, texture, and silhouette to enhance authenticity. In Adventure Time, the varied costumes of Princess Bubblegum and Marceline showcase their evolving personalities while challenging traditional female character stereotypes. This research explores how these designs communicate distinct identities and narratives, with the goal of advancing cost

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4

Helve, Tua. "Political by Design: Costume Design Strategies within the Finnish Contemporary Dance Productions AmazinGRace, Noir? and The Earth Song." Nordic Journal of Dance 9, no. 1 (2018): 14–31. http://dx.doi.org/10.2478/njd-2018-0003.

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Abstract This article examines costume design within three Finnish contemporary dance productions in the 2010s, AmazinGRace, Noir? and The Earth Song, by respective costume designers Soile Savela, Sanna Levo and Karoliina Koiso-Kanttila, to identify the ways in which costume works within performances with political themes through cases that make use of ‘everyday’ garments as costumes. Here, everyday garments as costume refers to identifiable forms, silhouettes and connotations, as opposed to fantasy or ‘abstract’ costumes. Political, as defined by the themes of these performances, means subjec

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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 conno

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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 (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 an

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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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Dean, Sally E. "Somatic costumes™: Traversing multi-sensorial landscapes." Scene 2, no. 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)

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Olapeju, Shuaib Shadiat, and Olanrewaju Itunuoluwa Tolulope. "An Assessment of the Costume Design of Yolanda Okereke in Craig Freimond’s Blood Sisters." Cognizance Journal of Multidisciplinary Studies 5, no. 4 (2025): 1105–22. https://doi.org/10.47760/cognizance.2025.v05i04.037.

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Costume design is a pivotal visual element in a cinematic narrative. It serves as a visual language that communicates character traits, thematic concerns, and cultural nuances to the audience. Thus, costume represents the artistic and visual interpretation of a film. As one of the most noticeable elements on screen, it offers the audience a direct connection to the characters role in a film. To this end, this paper critically examines the costume designs of Yolanda Okereke in Blood Sisters in order to uncover the creative and technical techniques that she used to shape the visual identities of

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Shuaib, Shadiat Olapeju, and Itunuoluwa Tolulope Olanrewaju. "An Assessment of the Costume Design of Yolanda Okereke in Craig Freimond's Blood Sisters." Cognizance Journal of Multidisciplinary Studies (CJMS) 5, no. 4 (2025): 1105–22. https://doi.org/10.47760/cognizance.2025.v05i04.037.

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<strong>Costume design is a pivotal visual element in a cinematic narrative. It serves as a visual language that communicates character traits, thematic concerns, and cultural nuances to the audience. Thus, costume represents the artistic and visual interpretation of a film. As one of the most noticeable elements on screen, it offers the audience a direct connection to the characters role in a film. To this end, this paper critically examines the costume designs of Yolanda Okereke in Blood Sisters in order to uncover the creative and technical techniques that she used to shape the visual ident

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11

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 bodi

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Zhao, Jane. "Analysis on Green Initiative Costume Design Concept." Advanced Materials Research 331 (September 2011): 97–100. http://dx.doi.org/10.4028/www.scientific.net/amr.331.97.

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Through the analysis of the three design performance of green Initiative costume design concept, the thesis interpreted the environmental protection theme, costume’s "ecological cycle" as well as the green Initiative costume show respectively, and accordingly proceeded the future prospect, believing that the new design approach, new material selection and the new aesthetic concept of green clothing will have a significant impact on the green costume design concept which will then generally influence the consumers and provide some reference and guidance to the development of future design of gr

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Izuta, Ryo, Tsutomu Terada, Yutaka Yanagisawa, Minoru Fujimoto, and Masahiko Tsukamoto. "Design Guidelines on LED Costumes for Dance Performances." Designs 3, no. 4 (2019): 51. http://dx.doi.org/10.3390/designs3040051.

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We present design guidelines on light emitting diode (LED) costumes for dance performances assuming repetitive use during concerts. We used LED costumes more than 120 times for large concerts of well-known artists at venues of approximately 50,000 capacity that were commercially successesful and we updated the LED costume design twice based on our experiences during these concerts. Through analyzing the position of broken LEDs and the types of breakage and the problems that occurred during actual performances, we devised 17 design guidelines on LED costumes for dance performances. Thanks to th

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Sriyadi, Sriyadi, R. M. Pramutomo, Yoni Wulan Sari, and Luh Elvina. "COSTUME DESIGN AND SOCIAL STATUS VISUALIZATION IN JAVANESE DANCE AT PURA MANGKUNEGARAN." Paradigma: Jurnal Kajian Budaya 14, no. 3 (2024): 375–96. https://doi.org/10.17510/paradigma.v14i3.1426.

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The design of costumes holds a crucial role in visualizing the characters’ social status in Javanese dance. By employing symbolic systems, costume design conveys this status to the audience. This study investigates the relationship between costume design and the depiction of social status in Javanese dance at Pura Mangkunegaran. Utilizing a qualitative method with an ethnocoreological approach, this research draws on a literature review as its primary data source. This review involves analyzing various documents, photographs, and videos. The findings indicate that accessories and attributes wi

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15

BAKARE, Lilian Eguriase. "The Challenges of Teaching Costume and Scenic Design in Tertiary Institution: The Federal University Oye – Ekiti Experience." International Journal of Research 11, no. 12 (2024): 174–86. https://doi.org/10.5281/zenodo.14552186.

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<em>The basic responsibility of the theatre cast and crew, of which the costumier and scene designer are an integral part, is to interpret an artistic work. Thus, in communicating with the audience through costumes and scenic design, the ultimate goal of the costume cum set designer is to transform an ordinary person into an extraordinary yet believable character and setting within a story that does not exist in reality. Accordingly, costumes, as used in theater performances or movies, speak to the audience with words of silence and visual interpretation, just like the scenic design does.&nbsp

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16

Osmond, Suzanne, Sofia Pantouvaki, and Madeline Taylor. "A decade of Studies in Costume and Performance: Celebrating innovation and expanding perspectives." Studies in Costume & Performance 10, no. 1 (2025): 3–10. https://doi.org/10.1386/scp_00131_2.

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As Studies in Costume and Performance celebrates its tenth volume, this editorial reflects on the journal’s evolution and contributions over the past decade. Since its inception, the journal has served as a vital platform for advancing costume research, fostering interdisciplinary dialogue and expanding the understanding of costume across cultural and performance contexts. Through open and themed issues, it has highlighted costume’s material, conceptual and performative dimensions, publishing groundbreaking research on costume’s role in live performance, film, media, identity, heritage, techno

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17

Peng, Yu, and Watanapun Krutasaen. "National Costume Art Design Optimization under the Background of Artificial Intelligence Decision Making and Internet of Things." Mathematical Problems in Engineering 2022 (April 25, 2022): 1–6. http://dx.doi.org/10.1155/2022/4803617.

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As the most external symbolic representation of the nation, national costumes are an integral part of the wonderful culture of the Chinese nation. Our country has many ethnic minorities and has a unique national costume culture, which provides rich resources for the art design of ethnic costumes. This paper uses artificial intelligence technology and Internet of Things technology to design a national costume element library system. In this system, users can match national costume suits according to their own preferences, and they can also transmit national culture to people through this system

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Peng, Yu, and Watanapun Krutasaen. "National Costume Art Design Optimization under the Background of Artificial Intelligence Decision Making and Internet of Things." Mathematical Problems in Engineering 2022 (April 25, 2022): 1–6. http://dx.doi.org/10.1155/2022/4803617.

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As the most external symbolic representation of the nation, national costumes are an integral part of the wonderful culture of the Chinese nation. Our country has many ethnic minorities and has a unique national costume culture, which provides rich resources for the art design of ethnic costumes. This paper uses artificial intelligence technology and Internet of Things technology to design a national costume element library system. In this system, users can match national costume suits according to their own preferences, and they can also transmit national culture to people through this system

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19

Shevchuk, Tetiana. "Creative approach to rhythmic gymnastics costume design." Art and Design, no. 1 (May 20, 2025): 103–17. https://doi.org/10.30857/2617-0272.2025.1.8.

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The present study aimed to investigate the evolution of rhythmic gymnastics costume design, in particular their aesthetic, functional and cultural components, with an emphasis on the integration of traditional national elements into the modern context. The study examined the costumes of athletes from such countries as Ukraine, China, the USA, Japan, and Uzbekistan. The materials included visual sources, technological documentation and the requirements of international regulations that define design standards, as well as scientific media publications. The study included an analysis of the histo

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20

Apeh, Apeh Columba, and Okugya Osumanyi. "Aesthetics of costume and make-up for stage and screens: a contextual discuss on AMIRI festival of Agwatashi, Obi Local Governent Nasarawa State." Journal of Textile Engineering & Fashion Technology 10, no. 4 (2024): 166–70. http://dx.doi.org/10.15406/jteft.2024.10.00384.

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In theatre and film (screen) productions, costume and makeup designers make the aesthetics choice of what the characters wear based on the historical background of the production. Students’ lack of interest in technical theatre is affecting the quality of costume and makeup in production design. Exposure to social media is also affecting the style of costume and makeup for students’ productions. This paper is theorized based on the design aesthetic considerations of Albright, William and Lee which are appropriateness, individuality and unity. The research adopts content analysis methodology in

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King, Aislinn. "Materiality and immateriality in costume design for site-specific performance." Studies in Costume & Performance 10, no. 1 (2025): 87–111. https://doi.org/10.1386/scp_00133_7.

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This visual essay explores the correlation between innate materiality and immateriality in costume design for site-specific performance, drawing on intrinsic modes of shared creative process and realization for the LESS performance within the LESS Pavilion at Dairy Road, Canberra. By examining the interplay between architecture, space, movement and the body, the essay highlights how the sensory and temporal qualities of a site can inform and attune costume design. Through a collaborative process with dancers and musicians, the design translated the pavilion’s conceptual intent into a nuanced c

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Dinda julia maudy suryalina, Naufal Arafah, and M. Tavip. "Transformation of the Seven Seas Characters from The Little Mermaid into Carnival Costume Design." PANTUN: Jurnal Ilmiah Seni Budaya 10, no. 1 (2025): 14–27. https://doi.org/10.26742/pantun.v10i1.4182.

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This costume design project aims to present an imaginative visual interpretation of the Seven Seas characters from The Little Mermaid, while highlighting the potential of fantasy narratives as a source of inspiration in costume design development. The primary inspiration is drawn from the book The Little Mermaid: Guide to Merfolk, which details the unique characteristics of each character and the seas they originate from. Carnival costumes were chosen as the medium of expression due to their fusion of aesthetic, cultural, and imaginative elements. The main issue addressed in this study is how

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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 virt

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Revan, Revan Arfian, and Afrizal. "KAWUNG AND PARANG BATIK PATTERN AS PLAYER UNKNOWN'S BATTLEGROUNDS MOBILE GAME PLAYER COSTUME DESIGN ELEMENTS." Acintya Jurnal Penelitian Seni Budaya 16, no. 2 (2025): 160–76. https://doi.org/10.33153/acy.v16i2.6235.

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A costume is a fashion design that has the aim to create a form of an imaginary character. The Kawung and Parang Batik is an original pattern from Central Java which could add to represent ideas for creating a cultural identity of a beautiful and dignified. The creation method to make this costume design uses the method of Prof. Drs. SP Gustami, S.U. which includes three stages: the exploration stage, the design stage, and the creation stage. PUBG Mobile is a world well known battleground fighting game that not only focuses on gameplay but also emphasizes creativity in the costumes used by pla

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Taylor, Madeline, Suzanne Osmond, and Sofia Pantouvaki. "Costume Connections." Studies in Costume & Performance 8, no. 2 (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 pra

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Kalmakurki, Maarit. "The embodied experience of costume in digital character creation: Developing body- and material-led characters." Studies in Costume & Performance 9, no. 2 (2024): 153–69. https://doi.org/10.1386/scp_00116_4.

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This research report presents a post-doctoral research project which explores how the experience of wearing physical costumes leads to ideas for digital characters’ visual design, movement and dialogue in animation and gaming. In such fields, costume design is merged into the character design process, with animators or character designers acting as the creators of a character and their costume, ‘giving life’ to the character. From a costume design point of view, when the character’s physicality and especially their movement is developed and animated, the multisensorial and embodied effects of

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Jablon-Roberts, Sara, and Eulanda Sanders. "A Theoretical Framework for the Creative Process of Theatrical Costume Design for Historically Set Productions." Clothing and Textiles Research Journal 37, no. 1 (2018): 35–50. http://dx.doi.org/10.1177/0887302x18796320.

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Millions of Americans see theatrical productions every year, each with performers clothed via costume design. The purpose of this study was to systematically examine the creative process of costume design for historically set theatrical productions. Sixteen Broadway costume designers were interviewed. Data analysis revealed that though each designer and every production is different, these costume designers approached historically set productions similarly. They believed that the presentation of history is essential, but they have their own inclination toward historical accuracy. Guided by the

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Zamaziy, O. S., and V. A. Maltseva. "FORMATION OF DESIGN THINKING OF DESIGNER- STUDENTS BY THE METHOD OF COMPARATIVE ANALYSIS (ON THE MATERIAL OF THE HISTORICAL AND TRADITIONAL COSTUME OF XVII-XVIII CENTURIES RUSSIA AND GERMANY)." Educational Psychology in Polycultural Space 55, no. 3 (2021): 73–83. http://dx.doi.org/10.24888/2073-8439-2021-55-3-73-83.

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The article examines one of the aspects of the formation of design thinking in designer-students. This professionally significant personality trait is the basis for the competence model of the future costume designer. Using the method of comparative analysis in the study of basic, historical and cultural subjects, designer-students, according to the results of the study, successfully master the historical and ethnic features of cut elements, the principles of shaping and decorating a costume. The article presents the experience of conducting a comparative analysis within the study of “History

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Sazykina, Irina A. "Development of an onstage costume design project of Udmurt national costume based on the books on national clothing." Finno-Ugric World 15, no. 2 (2023): 225–36. http://dx.doi.org/10.15507/2076-2577.015.2023.02.225-236.

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Introduction. The article discusses the problem of developing ethnic onstage costumes for folk bands. The steps of the development of the design project of the Udmurt onstage ethnic costume for the in the studio of the artists are based on the materials found in the books on folk clothing. It also considers the involvement of the students from the Institute of Arts and Design of the Udmurt State University. Materials and Methods. The study is based on modern research on the Udmurt national costume, summarized in the works of specialists studying the national costumes of the Finno-Ugric peoples

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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 (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

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Popova, Liudmyla, Viktoriia Kozachenko, and Volodymyr Zabora. "Semiotic and Aesthetic Approaches to Stage Costume Design of Theatre Performance." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 5, no. 2 (2022): 108–17. https://doi.org/10.31866/2616-759X.5.2.2022.266519.

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The purpose of the article is to systematically study the creative process of costume design and the basic principles of their creation for theatrical productions. The research methodology is based on the application of a semiotic approach to clarifying the principles of creating a stage costume. The authors of the article apply several research methods: the analytical method is used to review the philosophical and art studies literature on the subject of research; the theoretical method is applied during the analysis of the concepts of "fashion", "stage costume&q

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Brayshaw, Emily. "An ‘armour’ against anguish: Costume design considerations around protecting actors in emotionally distressing roles." Studies in Costume & Performance 5, no. 2 (2020): 239–53. http://dx.doi.org/10.1386/scp_00027_7.

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Actors and singers frequently portray characters who experience distressing events, yet this may cause anguish for the performers themselves and require them to perform personal emotional management to cope with their own feelings during a production. This case study discusses and documents my costume design ethos and processes for the Sydney 2018 production of Clare Barron’s play, You Got Older (2015), which required the two lead actors to play characters who were experiencing profound fear, grief and loss. The design approach drew on Monks’s work on the relationship that actors have with the

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Wang, Chao, and Zhiyong Yang. "Innovative Design of Traditional Costumes in Digital Art: A Case Study of the Aoluguya Evenki Ethnic Group in Northeast China." Communications in Humanities Research 18, no. 1 (2023): 29–34. http://dx.doi.org/10.54254/2753-7064/18/20231108.

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This paper explores the innovative design and cultural heritage of traditional costumes of the Aoluguya Ewenki ethnic group in the digital age. Through digital techniques, traditional costumes have been infused with modern elements, enhancing the intricacy and diversity of their designs, thus introducing new means of design for traditional attire. Traditional costume patterns and totems are reinterpreted and created through digital software, allowing characters to wear them in virtual film and television, resulting in unique visual effects. 3D modeling technology showcases costume details in v

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Olapeju, Shuaib Shadiat, and Ajibade Temitayo Oluwafunmilola. "Historical Appraisal of Costume Authenticity in Biyi Bamidele’s Elesin Oba Nollywood Film." Cognizance Journal of Multidisciplinary Studies 5, no. 4 (2025): 1088–104. https://doi.org/10.47760/cognizance.2025.v05i04.036.

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Costume design is one of the most valuable visual elements of film making considering its significance to the overall film outlook, authenticity, cultural reflection and documentation. However, one aspect that has often been criticised in Nollywood films is the historical accuracy of the costumes in them. This alteration from a strict historical continuum diminishes verisimilitude in film due to costumes misrepresentation. This paper therefore, addressed this gap by examining the historical authenticity of the costume designs in Elesin Oba by Biyi Bamidele in order to determine the extent to w

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Kosinkova-Stoeva, Angelina. "DESIGN AND MODELING OF LADIES' CLOTHING WITH A STUDY OF THE DECORATIVE FEATURES OF THE BULGARIAN FOLK COSTUME FROM THE PIRIN REGION." International Conference on Technics, Technologies and Education, no. 1 (2018): 76–82. http://dx.doi.org/10.15547/10.15547/ictte.2018.02.003.

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For many centuries the Bulgarian costumes have been one of the main objects of Bulgarian artistic creativity. High artistic embroidery, types of fabrics, patterns, shapes are a source for revealing the ethnic unity and diversity of traditional Bulgarian culture. The great wealth of decorative elements of the folk costume in the Pirin region, distinguished by its inimitable variety and color, are the basis for the creation of designs and designs for modern ladies' garments. The aim of the present work is to trace and explore the historical development of the traditional folk costume in the Piri

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Taylor, Madeline. "Taking stock: Revaluing theatre’s costume stores." Studies in Costume & Performance 8, no. 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, despi

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Manninen, Kirsi. "Using a digital ‘pocket atelier’ for creative teamwork: What is the impact of digital costume sketching on the professional competence of costume designers?" Studies in Costume & Performance 8, no. 2 (2023): 289–303. http://dx.doi.org/10.1386/scp_00102_1.

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This practice-led research sheds light on the potential for digital sketching in the field of costume design. This project provides an opportunity to advance our understanding of the impact of ongoing digital transformation on costume design processes and other design processes related to sketching and creative teamwork. The material for the research was collected from interviews with Finnish professional costume designers about their costume sketching practices. Interviews concentrated on designers who preferred using digital sketching methods in their process. This study focuses on costume s

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Lindgren, Christina. "Unfolding a vision embedded in a garment: Three tools from a toolbox for generating performance from costume design." Studies in Costume & Performance 6, no. 2 (2021): 201–15. http://dx.doi.org/10.1386/scp_00047_1.

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Reflection and discussion on ‘how’ costume performs seems to be at the centre of inquiry of the research within the field of costume design, as presented at the Critical Costume conferences and the journal Studies in Costume and Performance. In various ways, costumes play an important role in most performances, a costume ‘does’ things, it performs and has agency. In recent years, we have experienced an increasing number of performances where costume acts as the starting element for a performance and, more often, we hear of costume designers instigating and leading creative processes in making

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Qi, Xiaoli, Manus Kaewboucha, and Chalisa Apiwathnasorn. "Dai Clothing's Antibacterial Fabric Design Innovation." Textile & Leather Review 8 (March 22, 2025): 230–46. https://doi.org/10.31881/tlr.2024.172.

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Systematic research shows that traditional Dai costumes have unique aesthetics but poor antibacterial properties in hot and humid environments, and there is still a lack of antibacterial research on their fabrics. This study used kapok fibre, silver fibre, viscose fibre, and polyester fibre. It used 18tex blended yarn (m (kapok fibre)∶m (silver fibre)∶m (viscose)∶m (polyester)=20∶10∶35∶35) blending technology to test the antibacterial activity of the fabric according to the national standard (China) GB/T 20944.1-2007 (agar diffusion plate method). The fabric formed antibacterial circles of 2.0

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Shuaib, Shadiat Olapeju, and Temitayo Oluwafunmilola Ajibade. "Historical Appraisal of Costume Authenticity in Biyi Bamidele's Elesin Oba Nollywood Film." Cognizance Journal of Multidisciplinary Studies (CJMS) 5, no. 4 (2025): 1088–104. https://doi.org/10.47760/cognizance.2025.v05i04.036.

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<strong>Costume design is one of the most valuable visual elements of film making considering its significance to the overall film outlook, authenticity, cultural reflection and documentation. However, one aspect that has often been criticised in Nollywood films is the historical accuracy of the costumes in them. This alteration from a strict historical continuum diminishes verisimilitude in film due to costumes misrepresentation. This paper therefore, addressed this gap by examining the historical authenticity of the costume designs in <em>Elesin Oba</em> by Biyi Bamidele in order to determin

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Han, Jingjing, and Hushinaidi Bin Hamid. "The Artistic Expression of Character Shaping and Dramatic Costume Design." International Journal of Education and Humanities 14, no. 2 (2024): 92–94. http://dx.doi.org/10.54097/gnenx206.

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Character shaping and theatrical costume design complement each other in theatrical performance. Character shaping requires consideration of the character's background, personality traits, and goals, and showcases the character's characteristics through techniques such as dialogue, body language, and psychological description. Dramatic costume design should reflect the personality of the characters, conform to the theatrical style and historical background, and reflect the development of the characters in the plot. By selecting appropriate materials, colors, and designing clothing styles, as w

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CHEN, S., and T. KROTOVA. "INNOVATIVE APPLICATION OF CHINESE KUNQU OPERA COSTUMES STYLE PRINCIPLES IN MODERN DESIGN." Art and Design, no. 1 (May 6, 2024): 11–19. http://dx.doi.org/10.30857/2617-0272.2024.1.1.

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Goal: an in-depth study of innovative practices of contemporary design based on the values of China's intangible cultural heritage, in particular, the use of formative and decorative characteristics and techniques of the Kunqu Opera stage costume in the creation of modern models of clothing for dressy or casual use. Methodology. The study uses historical, analytical, and chronological methods, as well as methods of formal and figurative-stylistic analysis. Results. Based on the systematization of documentary materials, the unique features of the costumes of the main characters in different sce

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Hariana, Hariana, G. R. Lono Lastoro Simatupang, Timbul Haryono, and SP Gustami. "ASPECTS UNDERLYING THE MODIFICATION OF BRIDAL COSTUME IN GORONTALO AT THE WEDDING RECEPTION." Jurnal Kawistara 7, no. 3 (2018): 297. http://dx.doi.org/10.22146/kawistara.33951.

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The visualization of the Gorontalonese bridal costume worn at the wedding reception is increasingly diverse in terms of the modification forms. The modification can be seen in the design elements including shape, texture, color, material, and accessory. Furthermore, the modification of the current costume makes the functional value of the bridal costume different from the already patterned one, which can be seen from its social, symbolic, and economic values of the Gorontalo community. The data in this study was collected through the review of books and previous studies related to the wedding

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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 (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 c

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Etale, Patience Millicent. "Communicating Character Through Costumes in the Stage Presentation of Benedict Binebai’s Legend of Egbesu." Global Journal of Arts, Humanities and Social Sciences 13, no. 4 (2025): 14–25. https://doi.org/10.37745/gjahss.2013/vol13n41425.

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This study examined the role of costumes in communicating character in the stage production of Benedict Binebai’s Legend of Egbesu at the Niger Delta University Arts Theatre. Using a semiotic framework, the research analyses how costumes function as signs that convey character roles, social status, and cultural identity. The study employs historical, sociological, and literary methodologies, including participant observation and content analysis, to explore how the choice costume enhances character portrayal and narrative development. The findings reveal that costumes have a significant impact

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Geraffo, Monica. "No tights, no flights: Constructing the wardrobe of television superheroes." Film, Fashion & Consumption 10, no. 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

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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 intro

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Grigoreva, Marina Borisovna, and Nuriya Munirovna Akchurina-Muftieva. "Modern Crimean Tatar national costume: succession and novelties (based on the example of Crimean dress designers)." Культура и искусство, no. 12 (December 2020): 1–13. http://dx.doi.org/10.7256/2454-0625.2020.12.34339.

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This article analyzes the modern Crimean Tatar costume from the perspective of succession of the traditional elements. The author systematizes general approaches towards design of the traditional and modern costume, indicating the characteristic features. At the present stage, the elements of the traditional Crimean Tatar costume are growing in popularity. Interpretation and modern stylization of the traditional elements of national costume leads to the formation of the unique style. The leading phenomenon in the approach towards design of the modern national costume is the scientific basis, w

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dos Santos, Andreina Vieira. "How to perform Blackness: Creating possibilities through costume design." Studies in Costume & Performance 6, no. 2 (2021): 155–70. http://dx.doi.org/10.1386/scp_00044_1.

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The creation of costumes for a Black body in performances that deal with Blackness always evokes the conflict in presenting complex facets of a socially stigmatized body, in face of a tool (costume) that usually works to categorize bodies onstage. In this article, I initially analyse how the Black body has been represented, for decades, on the stages of Brazilian theatre. I also try to understand how the theatre, in a structurally racist context, has become a place of resistance for the Brazilian Black Movement, as well as a political space to redefine what it means to be Black. Bringing in re

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Amirulloh, Tifan Muhammad, and Saian Badaruddin. "AESTHETICS OF MAKEUP AND COSTUME DESIGN IN THE DANCE "CISONDARI": UNVEILING LOCAL CULTURAL IDENTITY." Journal of Dance and Dance Education Studies 4, no. 2 (2024): 139–57. https://doi.org/10.17509/jddes.v4i2.75801.

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This study aims to reveal the values and meanings embedded in the makeup and costume design of the dance piece "Cisondari," choreographed by Tifan Muhammad Amirulloh. Created in 2019, this dance work serves as the choreographer's tribute to the culture of Cisondari Village, incorporating local elements as its main performance components. Makeup and costume design are not merely aesthetic elements but also act as mediums to convey cultural identity and character traits within the dance. This research employs a qualitative descriptive method, using observation, in-depth interviews with the chore

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