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Journal articles on the topic 'Costume designer'
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1
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 (September 24, 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 their inclinations, they designed costumes by considering three independent production factors (applicability, attainability, and performability) and implementing four iterative strategies (incubation, research, role-playing, and historical manipulation). Through these findings, the authors developed a theoretical framework for the creative process of costume design for historically set productions. Semiotics and symbolic interactionism were applied. Analysis showed that both were unconsciously embraced by the contemporary Broadway costume designers who participated in this study.
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Helve, Tua. "The costume designer as co-author of contemporary dance performance: Erika Turunen’s signature style." Studies in Costume & Performance 7, no. 1 (May 1, 2022): 27–53. http://dx.doi.org/10.1386/scp_00059_1.
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With the aim of contributing to the scholarship on costume designers’ agential collaboration within contemporary dance, this article centres on the creative authorship of the designer. Using the notions of ‘signature style’ and ‘authorship’ as the key research lenses, it investigates the work of Finnish costume designer Erika Turunen within contemporary dance, specifically her collaboration with choreographer Tero Saarinen. Drawing from in-person interviews with the designer and materials related to her costumes, this article addresses the issues of re-invention versus repetition, and process and outcome as two interlinked steps in the creation of Turunen’s signature style.
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Colpaert, Lisa. "Costume on film: How the femme fatale’s wardrobe scripted the pictorial style of 1940s film noir." Studies in Costume & Performance 4, no. 1 (June 1, 2019): 65–84. http://dx.doi.org/10.1386/scp.4.1.65_1.
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The character of the femme fatale and the visual style of film noir are vital elements in our understanding of that genre. Film costumes worn by the femme fatale are crucial, and are defining elements in genre recognition precisely because of their explicit cinematic visualization, rather than functioning as unequivocal signs. This article proposes a methodology for film costume researchers to conduct a pictorial analysis, without necessarily analysing film costume in terms of a meaning-making repertoire adhering to our understanding of film as a ‘language’. In the proposition of a framework for the close textual analysis of film costumes, the methodology is based on the triangulation of a shot-by-shot description, a wardrobe breakdown and an examination of production stills. This triangulation is crucial to understand the complexity of film costumes, which are defined by a wide-ranging set of factors such as: the film industry’s mode of production, the film costume’s relation to the fashion of its time, the body and star image of the actor, the work of the costume designer and his/her department, and the film-specificity. The ways in which a film costume functions in a specific shot will prove to be an important tool to analyse the pictorial characteristics of film noir and the femme fatale. To exemplify to methodology, this article proposes a close reading of an iconic film costume designed for one of the best-known performances of such a character, i.e. the white jumpsuit designed by Edith Head for Barbara Stanwyck in the closing scene of Billy Wilder’s Double Indemnity (1944).
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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 (December 1, 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 sketching, which is when a costume designer creates a costumed character using tactile sketching techniques on a tablet touch screen. The portable device acts as a digital sketchbook for the costume designer; this study assesses the effects of this digital ‘pocket atelier’ through the lens of professional competence. Professional competence in this context refers to the ability of designers to perform work-related tasks within a creative team, such as expressing and communicating ideas by generating costume sketches. When asked about the impact of digital costume design methods, most participants commented that they have found their own way of expressing ideas and visions through digital means, which has increased their sense of professionalism. They further described the use of digital tools as making them feel more valued as members of a creative team. The research results indicate that the digital transformation of the design process has changed costume designers’ perception of their own skills as better matching the needs of the work environment.
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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 (June 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 subject to power relations: societal inequality, ethnicity and otherness and climate change. Despite having shared ground in employing everyday, real-life costume components, all three designs operate with a distinct strategy. Hence, this article discusses three strategies for materializing political aesthetics through costume: one that is inclusive in its use of ‘ordinary’ clothes as costume; one that builds itself through ready-made connotation and representation in costume; and one that is associative in its approach towards the capacity of costume. This investigation, from the perspective of a costume researcher and designer, not only argues for the potential of costume to communicate political meaning through its aesthetic choices but also reveals the versatility embedded in this under-researched area of everyday garments as costume within contemporary dance performance.
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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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Papantoniou, Ioanna, and Sofia Pantouvaki. "Folk costume as theatrical costume." Studies in Costume & Performance 7, no. 1 (May 1, 2022): 55–66. http://dx.doi.org/10.1386/scp_00060_1.
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This essay introduces an unpublished talk by Greek stage designer Ioanna Papantoniou (born 1936) entitled ‘Local costume in a theatrical performance’, originally presented at the First Panhellenic Meeting of Ephors (Curators) and Dance Teachers at the Lyceum Club of Greek Women in Athens, in November 1990. Prior to and alongside her professional design career in the field of theatre, Papantoniou was actively engaged as a researcher in ethnography studies on Greek local costumes and folk dances. Driven by her passion for the study of Greek local dress combined with her professional experience as a stage designer, Papantoniou has given several talks on the connections between theatrical performance and folk traditions, as well as on the interrelationship between local dress and theatrical costume on stage and in festivities. In this talk she conflates local costume and folk dance as a form of performance and discusses how these two elements become an artistic creation when it comes to staged performances outside their original setting in a village. Thus, she draws a line between the ‘authentic’ and the staged performance, the latter of which is what she considers contemporary folk dancing in reproduced folk costume to be. The published text is based on a transcript of the talk, translated into English, and further edited by costume designer and scholar Sofia Pantouvaki, who also provides an introduction and numerous annotations to make the talk accessible by an international audience.
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Zamaziy, O. S., and V. A. Maltseva. "FORMATION OF DESIGN THINKING OF DESIGNER- STUDENTS BY THE METHOD OF COMPARATIVE ANALYSIS (ON THE MATERIAL OF THE HISTORICAL AND TRADITIONAL COSTUME OF XVII-XVIII CENTURIES RUSSIA AND GERMANY)." Educational Psychology in Polycultural Space 55, no. 3 (2021): 73–83. http://dx.doi.org/10.24888/2073-8439-2021-55-3-73-83.
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The article examines one of the aspects of the formation of design thinking in designer-students. This professionally significant personality trait is the basis for the competence model of the future costume designer. Using the method of comparative analysis in the study of basic, historical and cultural subjects, designer-students, according to the results of the study, successfully master the historical and ethnic features of cut elements, the principles of shaping and decorating a costume. The article presents the experience of conducting a comparative analysis within the study of “History of the costume” on the example of the traditional costumes of Germany and Russia of the 17th – 18th centuries. The step-by-step work, organized as a part of the laboratory workshop and course design, included the study of traditional costumes in Germany and Russia in a historical retrospective, an analysis of the characteristics of costumes and their design features, the implementation of a large-scale mock-up doll for the selected historical period and the source of creativity and development based on a comparative analysis of fore-sketches of the author's modern collection of clothing models. The main emphasis was placed on the analysis of traditional costumes of the selected historical period in order to study the main forms of the costume, we compare the design features and decorative solutions, the materials used and color combinations in the costume and the ways of wearing it. The historical diversity of the costumes of the aforementioned countries allowed students, using the method of comparative analysis, not only to identify and systematize both common features and differences in the use of structural elements, accessories, materials and colors, but also to get positive motivation to study the history and culture of the peoples of the world, to realize their creative abilities in the field of design, to develop professional skills and abilities.
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Enzinger, Katharina. "Thinking Through Value Transformations of Movie Costumes." Journal of Extreme Anthropology 1, no. 2 (September 7, 2017): 71–74. http://dx.doi.org/10.5617/jea.4889.
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A student essay for the Special Student Issue of the Journal of Extreme Anthropology accompanying the art exhibition 'Artist's Waste, Wasted Artists', which opened in Vienna on the 19th of September 2017 and was curated by the students of social anthropology at the University of Vienna. This essay investigates the value transformations of costumes created by costume designers for movie productions, tracing their valorization, loss of value, and re-valorization. The text is grounded in interviews with the Viennese costume designer Thomas Oláh.
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Jochmanová, Andrea. "Archive of costume designer Inez Tuschnerová." Theatralia, no. 1 (2023): 138–51. http://dx.doi.org/10.5817/ty2023-1-11.
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Lundén, Elizabeth Castaldo. "The Most Famous Costume Designer: Reviewing Edith Head's Career through a Contractual Lens." Film History: An International Journal 34, no. 4 (2022): 30–58. http://dx.doi.org/10.2979/fih.2022.a900041.
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ABSTRACT: Edith Head, possibly Hollywood's most iconic costume designer, won a record eight Oscar statuettes for Best Costume Design. Despite her popularity, Head has also sparked controversy; many detractors question her talent as a designer by arguing that her success rested merely on her self-promotional efforts rather than her work inside the wardrobe department. This article explores Head's career vis-à-vis the discourses surrounding her public persona to understand how she constructed her image as Hollywood's most famous costume designer, surviving for over five decades in an industry fraught with constant economic and political turmoil. In doing so, this article will shed light on the activities assigned to her as head of costume during and after the studio era.
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Gatley, Sam, and Roisin Morris. "Striking a Pose: The Display of Hollywood Costume." Costume 49, no. 1 (January 1, 2015): 75–90. http://dx.doi.org/10.1179/0590887614z.00000000064.
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Hollywood Costume was a major temporary exhibition held at the Victoria and Albert Museum from 20 October 2012 to 27 January 2013 which explored the creation of character in film through costume design, and was curated by the Oscar-nominated costume designer Professor Deborah Noodalman Landis. This article focuses on the challenges negotiated to prepare the 130 costumes, which were diverse in style, material and condition, for display. As well as the condition and physical limitations of the objects, ethical conservation concerns and the differing working practices of the film industry both had to be taken into account. Through a variety of examples and case studies this article demonstrates the range of mounting approaches and solutions which were adopted to support and interpret this group of dramatic and iconic costume ensembles.
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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 (December 1, 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 performances. Costume-generated performances are about to be considered an established genre. This research report aims to share some ‘tools’ that form a methodological framework ‐ a toolbox ‐ for generating performance with costume design as a starting point. The examples are drawn from my professional practice, informed by work undertaken in workshops held in the frame of the artistic research project ‘Costume Agency’ (2018‐21), which I have been leading in collaboration with dramaturg and curator Sodja Lotker. I have found useful concepts in new materialism, as a critical framework that has opened up a new understanding of how humans and non-human actors interact and have adapted them for my use as a costume designer, director and researcher. The tools I focus on here are the following three: notions of ‘agency’ in the context of costume design; the concept of ‘situated knowledges’; and ‘visual dramaturgy' from the performing arts theory. These tools have proven to be useful in the processes of generating performance from the costume in my own practice and are offered in this research report to the wider community of costume researchers for further debate and development.
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Shutko, Serhiy. "The Role of Theatrical Costume in the Creation of Artistic Image in Opera Performance." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(56-57) (December 26, 2022): 212–24. http://dx.doi.org/10.31318/2414-052x.3-4(56-57).2022.278246.
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The influence of the peculiarities of the theatrical costume on the creation of artistic image of opera performance and its character is considered. The essence of the artistic image in musical art in the context of communication "composer - performer-interpreter - listener" is clarified. The differences between the artistic image of a musical and theatrical performance, its creation in the context of the commonwealth of conductor, director, scenographer, costume designer, choreographer and perception by the audience through performers are established. The artistic image of the performance as a visual embodiment of the supertask, its formation by metaphor, hyperbole, comparison or allegory is revealed. The need to adhere to a single style in the conceptual vision and artistic solution of the play by the director, scenographer, and costume designer is outlined. The artistic image of the character is described as a synthesis of the unity of internal and external manifestations of the personal characteristics of the hero, subordinated to the idea of the work. The functional purpose of the theatrical costume as an important element in the creation of the artistic image of the character and the play is analyzed. The dependence of the artistic expressiveness of the costume on the stylistic unity of all its components is emphasized. The peculiarities of the use of symbols and metaphors in theatrical costumes to reveal a certain subtext of the play's drama are revealed. The features of creating a costume for a musical and theatrical performance according to comfortable singing conditions are characterized. The concept of scenographic design and stylization of the theater costume according to the director's interpretation of the opera performance is defined. It has been found that the artistic reconstruction of the ancient opera is characterized by a decorative solution and stylization of costumes in the context of hedonistic court aesthetics of the Baroque era, while the traditional representation of classical opera is characterized by a historically reliable scenographic solution and stylization of costumes in the context of realistic aesthetics, appropriate to the time and place of action, which occur in the work. It is proved that modern interpretations of ancient, classical and modern operas are characterized by conventional symbolic nature of scenographic solutions and stylization of costumes in the context of postmodern aesthetics. Prospects for further scientific exploration of selected issues related to the specifics of creating an artistic image of an opera performance in non-traditional locations are predicted.
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Warner, Helen. "Below-the-(Hem)line." Feminist Media Histories 4, no. 1 (January 1, 2018): 37–57. http://dx.doi.org/10.1525/fmh.2018.4.1.37.
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This article examines the storytelling practices of a particular community of “below-the-line” practitioners: costume designers. Their stories are often written out of media histories that privilege the testimonies of above-the-line (typically male) professionals. This article provides a corrective to these androcentric accounts of media production. Using material gathered from the Costume Designers Guild's official publication, the Costume Designer (launched in 2005), I apply a gendered lens to the examination of trade stories and argue that the stories costume designers tell can be understood as radical acts of “speaking out” against a neoliberal production culture that attempts to silence them.
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Lazić, Radoslav. "A Paradox Relating to the Costume Designer." Serbian Studies: Journal of the North American Society for Serbian Studies 30, no. 1-2 (2019): 217–30. http://dx.doi.org/10.1353/ser.2019.0014.
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Sokolova, Alla Nikolaevna. "Virtual tour of Circassian costume exhibition created by Madina Hatsukova." Культура и искусство, no. 11 (November 2021): 69–95. http://dx.doi.org/10.7256/2454-0625.2021.11.36854.
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This article explores the works of the famous Kabardian fashion designer Madina Alisagovna Hatsukova, whose costumes are worn by the guards of the King of Jordan, artists of Kabardino-Balkaria and Karachay-Cherkessia, prominent statesmen of the Chechen Republic, popular singers and musicians, and numerous ladies for their wedding ceremonies. The article represents a panoramic overview of the works of Madina Hatsukova, taking into account all aspects of interest of the designer. Description is given to various types of activity of the fashion designer – from hand embroidery and lace weaving to creating sewing patterns and scientific research on decoding of the ornaments in the museum samples of ancient costumes. This publication is inspired by the Madina Hatsukova’s personal exhibition “Princess of the Sun”, held in the North Caucasus branch of the State Museum of Oriental Art in Maykop in September-October 2021. The novelty of this article consists in comprehensive analysis of the works of Madina Hatsukova, which are widely known in North Caucasus and not so much to the Russians audience interested in modern ethnic costume. Although Madina’s works are intentionally limited to the traditional patterns and configuration, she experiments with different types of fabrics, their combinations and color solutions. National costume for a symbol of cultural revival, rather than a symbol of the past; it is the symbol of ethnic identification. Madina Hatsukova contributes to high symbolic load of the traditional costume, forms empathy of not only Circassians, but the entire multicultural population of the Russian Federation.
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Sazykina, Irina A. "Development of an onstage costume design project of Udmurt national costume based on the books on national clothing." Finno-Ugric World 15, no. 2 (July 13, 2023): 225–36. http://dx.doi.org/10.15507/2076-2577.015.2023.02.225-236.
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Introduction. The article discusses the problem of developing ethnic onstage costumes for folk bands. The steps of the development of the design project of the Udmurt onstage ethnic costume for the in the studio of the artists are based on the materials found in the books on folk clothing. It also considers the involvement of the students from the Institute of Arts and Design of the Udmurt State University. Materials and Methods. The study is based on modern research on the Udmurt national costume, summarized in the works of specialists studying the national costumes of the Finno-Ugric peoples, primarily M. K. Zavyalova and S. Kh. Lebedeva. The article employs general research methods such as system analysis, comparison, semantic analysis, as well as an integrative method. Results and Discussion. The Udmurt national female costume is characterized by such features as sacredness and symbolism. Women’s clothing is streaked with symbols. From ancient times, the Udmurts endowed clothes with magical properties reflected in the ornament. The study of the history of the national costume as an integral part of the life of an ethnic group is a very important cultural task. The research by of S. Kh. Lebedeva and M. K. Zavyalova considered the main source of ideas for the creation of design projects for the onstage costumes, made by the artist, the author of the article, for the Udmurt folk band “Њardon” and the Cultural and Tourist Center “Tol Babai Estate”. The students of the Institute of Arts and Design of the Udmurt State University took an active part in this process. Conclusions. At present, the Udmurt national costume has practically disappeared from the everyday life of this ethnic group. Under such conditions, the importance of research by ethnographers, the specialists in costumes, art critics, and historians is increasing. An important contribution to the preservation of national culture is made by folk art bands. A variety of stage costumes is achieved by the work of a costume designer.
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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 scenes of the youth version of «The Peony Pavilion» opera have been studied. Formative and stylistic approaches have been generalized, and the characteristics of the costume, such as the Style of the main constituent elements (The headdress, Horse-face Skirt, Pleats, Cloak), as well as Colors and Patterns, have been integrated into the author's own design solution for the design of modern costumes for dress purposes. Based on the example of the contemporary Chinese designer MUKZIN's collection, the article shows how the integration of expressive possibilities of stage costumes can shape aesthetic trends in contemporary design and expand its creative potential. The scientific novelty of the study is to identify the expressive characteristics of the Kunqu Opera stage costume and to propose an approach for its integration into modern clothing. The integration of intangible cultural heritage values into modern trends not only expands the possibilities of design but also opens up a way to preserve traditional culture. Practical significance. The study of the artistic and aesthetic features of the costumes of the Kunqu Opera in the Youth Version of «The Peony Pavilion» and the application of innovative design approaches is an important area of creativity and research not only for designers but also for stage designers and art and fashion historians. The materials of the research can be used in educational courses as well as in costume design practices.
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Dierker, Urs A. Georg. "Every stain a story: The many dirty undershirts of John McClane in Die Hard." Studies in Costume & Performance 4, no. 2 (December 1, 2019): 193–205. http://dx.doi.org/10.1386/scp_00004_1.
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Men’s upper body underwear and the depiction of grime, dirt and blood on costumes have a long tradition in Hollywood films. This article explores the 34 undershirts worn by Bruce Willis and his stuntman in the 1988 action film Die Hard from the points of view of the maker, designer, actor, curator and spectator. The image of McClane and the undershirt became iconic in their depiction of a white, working-class, heroic masculinity. One of the many undershirts used in the film was donated to the Smithsonian’s National Museum of American Culture costume collection. This one artefact and the 33 ‘lost’ doubles hold more clues to the undershirt’s past than the obvious connection to a major star; the exhibited object also brings the viewer into physical proximity with the art of Hollywood filmmaking. This article queries the different ‘authenticities’ of the garment, from its material believability as evidence of the character’s progression through the film, to its cultural signification legitimized by the perspectives of the makers and audiences, to its role as artefact authenticated by the museum and/or viewer. Analysis is correspondingly divided into costume in context, costume in production, costume as film image and costume as artefact.
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George, David. "Adrià Gual as illustrator, stage and costume designer." Journal of Iberian and Latin American Studies 20, no. 3 (September 2, 2014): 273–89. http://dx.doi.org/10.1080/14701847.2014.1008261.
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Lauren Boumaroun. "Costume Designer/Everything: Hybridized Identities in Animation Production." Framework: The Journal of Cinema and Media 59, no. 1 (2018): 7. http://dx.doi.org/10.13110/framework.59.1.0007.
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Pantouvaki, Sofia. "Extreme Costume: A conversation with Simona Rybáková." Studies in Costume & Performance 4, no. 1 (June 1, 2019): 85–108. http://dx.doi.org/10.1386/scp.4.1.85_1.
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This contribution is developed from a series of discussions with Simona Rybáková, Czech costume designer and curator of the Extreme Costume exhibition that was presented at the Prague Quadrennial in 2011 (PQ11). Following an overview on the presence of costume at recent editions of the Prague Quadrennial, this text focuses on the Extreme Costume exhibition, which showcased cutting edge costume practice in a full-scale independent display, for the first time shown separately from the PQ11 general performance design exhibition. The discussion provides a critical reflection on the curatorial process for the Extreme Costume exhibition and illuminates the curator’s enquiry and her intentions behind specific choices. It includes a review of the audience’s response and, most importantly, concludes with Rybáková’s insights on her personal ‘emancipation’ from her long-lasting professional role as costume designer to the role of costume curator working with her colleagues’ practice for the purposes of this exhibition. Given the limited documentation available about Extreme Costume, the aim of this contribution is dual: to provide a resource on the scope and reach of this significant event; and to offer materials to costume research for further discussion related to exhibiting costume beyond the context of its original performance.
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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 (December 1, 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 their costumes and d’Anjou’s interpretation of Sartrean ethics within the context of a design practice. Once I had determined that the nature of my role as designer for this production would be to offer the actors emotional support through costume, I applied Woodward’s notion of comfort in everyday dress to the context of performance costume to ascertain how costume might contain a talisman and/or function as a form of psychological, ‘soft armour’ within the context of the play. Finally, this report uses Tonkinwise’s writing on ethical design alongside a semi-structured interview with the lead actor in You Got Older, Harriet Gordon-Anderson, to examine the forms that such protections took within my designs for the play and offers methodological considerations regarding designing costumes to protect and comfort performers playing emotionally distressing roles, should the actors require it.
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Toylan, Gamze. "Behind the Scenes: Costume Design for Television: There are Many Things you Don't Know About the League of Gentlemen." Hidden Professions of Television 2, no. 4 (December 23, 2013): 15. http://dx.doi.org/10.18146/2213-0969.2013.jethc041.
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Focusing on the award winning costume designer Yves Barre’s work for The League of Gentlemen (BBC, 1999-2002), this article explores the role of the costume designer in television production. Using an anthropological method that combines original interviews with Barre, Steve Pemberton (one of the writer/performers) and Jon Plowman (the executive producer) as well as second hand material such as DVD extras, the article provides insight into the show’s creative process. The underlying objective is to shed light on the costume design process – an understudied stage of television production.
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Pantouvaki, Sofia, Ingvill Fossheim, and Susanna Suurla. "Costume and Sustainability." Peripeti 19, no. 37 (December 19, 2022): 72–85. http://dx.doi.org/10.7146/peri.v19i37.135192.
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What can we learn from past traditions and what sustainability practices are currently employed in the field of costume? Moving towards a more ecological costume creation, there is an increasing need to address the responsibility of the costume practitioners through the lifecycle of costume from design to production. This article provides an overview of current sustainable costume practices and suggests that it is timely to rethink costume praxis from an ecologically responsible perspective. The article addresses the necessity of embedding ecological equity into all aspects of costume creation and proposes that a resilient ecosystem of costume practice can be envisioned within professional institutions, as well as the individual costume designer.
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Tregenza, Liz. "Starke dresses the stars: Jean Simmons' 21st birthday wardrobe." Film, Fashion & Consumption 9, no. 1 (May 1, 2020): 65–79. http://dx.doi.org/10.1386/ffc_00012_1.
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Abstract On 31 January 1950 British actress Jean Simmons turned twenty-one. At the time Simmons was one of the most popular and successful British film stars, voted actress of the year in the Daily Mail National Film awards the same year. Simmons twenty-first birthday was therefore viewed as international news. However, rather than choosing a birthday wardrobe from a haute couturier, as a film star of her status undeniably could have, Simmons chose garments designed by London ready-to-wear firm Frederick Starke.This article questions why Simmons chose a wardrobe from Starke and investigates how these garments helped Simmons to project a certain image. It also considers how the outfits selected were later used as Simmons' costume in the Ealing Studios crime drama Cage of Gold (Dearden, 1950). The film credits Anthony Mendleson, Ealing Studios resident designer and wardrobe supervisor, for the costumes. However Starke designed the majority of the clothes worn by Simmons in the film. This is an intriguing example whereby Simmons' garments are, at once, both her personal clothing and her costume.
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dos Santos, Andreina Vieira. "How to perform Blackness: Creating possibilities through costume design." Studies in Costume & Performance 6, no. 2 (December 1, 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 references from my own artistic research and practice as a costume designer in the performances Unrestricted Contact (Grupo Oito, 2017) and Black Memories on White Bones (Ricardo de Paula, 2019), I conduct this research that deals with the complexity of narrating Blackness through costumes that, together with the body, convey a process of deconstruction and decolonization within the performance.
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Setiawan, Deni. "MAKNA DAN STRUKTUR PAKAIAN KARNAVAL JOGJA FASHION WEEK DI YOGYAKARTA 2007-2014." Paramita: Historical Studies Journal 25, no. 2 (February 27, 2016): 196. http://dx.doi.org/10.15294/paramita.v25i2.5139.
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<p>Costume exhibition show, Jogja Fashion Week Carnival, was intended to progress clothing industry, to lessen the imported clothes, and to raise the selling value of the traditional clothes in Indonesia. Throughout 2007-2014, the costume exhibition show was adequately effective to introduce the products of traditional culture becoming local characteristics to public. The research on carnival costume was made to find out the periods of the clothing style by applying art historic approach, to explain the issue of interpretation and social interaction, I used art sociological approach. The resulted conclusion was that every style of carnival costumes reflected several meanings, such as: clothing imagery, designer, and trademark. The costume structure consists of physical and non-physical ones. The physical structure was related to the issues of style, shape, and visual appearance; while the non-physical one comprised interpretation regarding the concepts of creation, social conditions, and history. The creation of carnival costumes was influenced by social condition referring to legends, fairy tales, and the myths. In addition, the designer played essential parts, i.e. creating and constructing new fashion of carnival costume in Yogyakarta.</p><p> </p><p>Acara pameran pakaian Karnaval Jogja Fashion Week, dimaksudkan untuk memajukan industri pakaian menekan jumlah impor pakaian asing, dan meningkatkan nilai jual kain-kain tradisi-onal di Indonesia. Sepanjang tahun 2007-2014, acara pameran pakaian cukup efektif memperkenalkan produk budaya tradisional yang menjadi ciri khas daerah kepada masyarakat. Penelitian pakaian karnaval dilakukan untuk mengetahui periodisasi gaya pakaian dengan menggunakan pendekatan sejarah seni; untuk menguraikan persoalan pemaknaan dan interaksi sosial masyarakat, digunakan pendekatan sosiologi seni. Kesimpulan yang dihasilkan adalah setiap gaya pakaian karnaval mencerminkan beberapa makna, seperti: pencitraan kain, perancang, dan merk dagang. Struktur pakaian terdiri atas fisik dan nonfisik, struktur fisik menyangkut persoalan gaya, bentuk, dan tampilan visual, sedangkan nonfisik meliputi pemaknaan yang terkait dengan konsep penciptaan, kondisi sosial, dan sejarah. Penciptaan pakaian karnaval dipengaruhi oleh kondisi sosial yang mengacu pada legenda, dongeng, dan mitos-mitos. Selain itu terdapat peran perancang yang menciptakan dan mengkreasikan bentuk baru pakaian karnaval di Yogyakarta.</p><p> </p>
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Williams, Melanie. "The Girl You Don't See." Feminist Media Histories 2, no. 2 (2016): 71–106. http://dx.doi.org/10.1525/fmh.2016.2.2.71.
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Drawing on new and established approaches to film costume, this article examines the creative work of the costume designer, contextualizing it as a gendered profession. It takes the career of the British film costume designer Julie Harris as its illustrative case study, tracing her working practice and sense of creative agency through interviews and press coverage as well as the BFI's extensive collection of her annotated costume sketches. Special emphasis is placed on Harris's negotiation of changing modes of postwar British film production, and her management of the professional tensions between costuming in the service of narrative or costuming as spectacle—in Stella Bruzzi's words, the dilemma of whether to look at or through the clothes on-screen. It culminates in a detailed analysis of Harris's Oscar-winning costume work for Darling (1965) and her ambivalence toward the youth-oriented off-the-rack fashions of the 1960s. In conclusion, it emphasizes the significance and complexity of the costume designer's creative labor, and the need for that work to be granted greater visibility.
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Smith, Lorraine. "Costumographic synergy: Devising the costume performance." Studies in Costume & Performance 7, no. 1 (May 1, 2022): 85–108. http://dx.doi.org/10.1386/scp_00062_1.
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This research report presents an emergent methodological framework for devising costume performance that offers best practice to the collaborating designer, choreographer and performer. Two distinct practical research case studies, costume performance project Elizabeth & The Three Sisters (2016) and costume research project SESSIONS #1‐4, are examined to answer the question: what is an effective working methodology for designing and devising costume performance that creates a synergy between costume/materials and the moving body, and consequently design and choreography? The case study research methods include practical experimentation and devising leading to performances, and experiential findings. Research outcomes are contextualized in relation to Tim Ingold’s theories of (active) materials, Jane Bennett’s concept of assemblages, collaborative devising processes used in dance making, embodiment and somatics and intentionality and authorship in collective making. This investigation is predominantly discussed from the perspective of the experienced and experiential costume performer ‐ choreographer: the ‘embodied subject’ who merges with the costume/materials bringing a unique analysis to the costume and performance research field that is significant to designers, performers, performance makers and scholars. The findings of this report offer practitioners a framework to develop an impactful working approach for the devising of costume performance, as well as other performance where costume is (or could be) an integral part of the work.
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Auda, Marwa. "THE HISTORICAL/ CULTURAL INFLUENCES ON STAR WARS CHARACTER QUEEN PADME COSTUME DESIGN." Journal of Art & Architecture Research Studies - JAARS 1, no. 1 (June 21, 2020): 142–55. http://dx.doi.org/10.47436/jaarsfa.v1i1.22.
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The research is about the role of the costume designer and the extent of its effectiveness in achieving the balance between character design that reflects the ideals and goals of movie, and finding the appropriate reference, whether historical or civilized influence, through the design idea on which it is based. For example, the research was taken from the costume design of the star wars movie in a condition that applies to the elements of a suitable design and limited the analysis On Queen Padmé character from the series of star wars movies, the research mentioned three costumes that appeared during the film; throne room gown with its elements inspired in the creative process of design, the lake gown, and the travel gown with its details which Inspired by different civilizations like old historical Russian dress.
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RODRIGUES, Roberto C. "Blood & Couture: Dracula by Eiko Ishioka (石岡 瑛子)." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (January 2022): 141–66. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.9.
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In this paper, through a bibliographical research and debate, we intent a filmic and artistic analysis of the feature film ‘Bram Stoker’s Dracula’ (Francis Ford Coppola, 1992), specifically its costume design, signed by the Japanese designer and art director Eiko Ishioka 石岡 瑛子 (1938 – 2012). The film’s critical reception as well as its consequent elevation to a ‘canon’ status among the adaptations of the homonymous novel by Bram Stoker were taken into consideration. This paper proposes a new approach of Ishioka's costume design legacy, that flirts significantly with the Parisian ‘haute couture’ for its uniqueness. Our intention is to develop an in-depth study on the elements that make the costumes of this movie so singular, such as its intentional lack of historical accuracy and the ode to an overly exaggerated symbolism and decay.
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Maksymliuk, Iryna. "Svitlana Povshyk: Artist, Designer, Teacher." Bulletin of Lviv National Academy of Arts 49, no. 49 (December 25, 2022): 54–63. http://dx.doi.org/10.37131/2524-0943-2022-49-5.
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The main objective of the study is to analyze Svitlana Povshyk’s main artistic and professional achievements, reveal the specifics of her creative and pedagogical methods. The article outlines the artist’s individual creative style; the means of artistic expression, technical-technological, stylistic features, plot-thematic focus of her graphic works are analyzed. The designer's project activities include the stage costumes development, design and manufacture of clothing for employees of public catering and household services. Based on Svitlana Povshyk's long-term experience and results of pedagogical work at the Department of Design and Theory of Art of Vasyl Stefanyk PreCarpathian National University, the specifics of her pedagogical methods have been revealed, pedagogical methods that influence the formation of the competence of to-be fashion designers have been identified. Methodology. The following research methods are used in the article: biographical, descriptive, interview method, artistic analysis. Results/findings and conclusions. Svitlana Povshyk’s graphics demonstrates consummate mastery of composition, original textural solutions, the use of various artistic techniques, metaphoricalness, experimentation, emotionality of images. Svitlana Povshyk turns to the authentic Ukrainian theme, successfully interpreting it, giving it a modern sound, which can be traced both in graphic letters and in design projects. The specifics of Svitlana Povshyk’s pedagogical method is based on the principles of consistency and sequence of solving project tasks, conceptual methods, understanding of the traditions of national and world culture, it is characterized by innovation, thorough methodical studies in special disciplines, constant improvement of educational programs, partnership cooperation between teacher and student. Significance for the industry, science, country. S. Povshyk’s creative method was formed under the influence of the Lviv art school and it is characterized by a synthesis of artistic, project and pedagogical activities. When creating sketches of stage costumes on the basis of national principles, the designer gives special importance to the study of the features of the folk costume, she considers it as a phenomenon of the spiritual and material culture of the people. Thanks to the high professional level and the use of innovative teaching methods, Svitlana Povshyk contributes not only to the development and growth of the artistic quality of design education in Ivano-Frankivsk region, but also to the formation of the creative personality of the to-be fashion designer.
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Mahmoud Attia, Amal, and Asil Laith Ahmad. "Characteristics of costume design in children's theater performances." Al-Academy, no. 106 (December 15, 2022): 59–70. http://dx.doi.org/10.35560/jcofarts106/59-70.
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Theatrical costume constitutes a peculiarity in the theatrical performance because of its ability to communicate and communicate with the rest of the visual elements of the show in highlighting the intellectual and dramatic values. Fashion developments in theatrical performance, the second: the design elements of costumes and their characteristics, the third, which includes research procedures, and the fourth, in which the research results and conclusions were presented, including: The play (Happening on the Farm) is considered one of the plays with educational, educational and aesthetic goals, as it carried in its formats the features of simplicity and diversity of the visual formal connotations of the child. The costume designer has an important role in communicating the idea of the play and its contents and conveying its connotations as well as his imaginative and innovative ability, by dealing with the nature of the material or material and designing it in accordance with the viewers of the show. The study concluded with sources and appendices.
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Saletović, Slavenko. "The Relationship Between a Theater Director and a Costume Designer." Serbian Studies: Journal of the North American Society for Serbian Studies 30, no. 1-2 (2019): 213–16. http://dx.doi.org/10.1353/ser.2019.0013.
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Bate, Toni. "Connections, collections and costume construction: Performative reanimation through observation and making." Studies in Costume & Performance 8, no. 2 (December 1, 2023): 225–40. http://dx.doi.org/10.1386/scp_00098_1.
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Drawing on a material culture approach, this research report explores how a making methodology based on a theatrical costume construction practice can be applied to historical costume re-creation, particularly where the researcher must rely on the interpretation of other available primary sources such as costume drawings, sketches, tailors’ notes and archival records. The report builds on previous research investigating the value of reconstructing historical performance costume where the original costume itself has not survived. It identifies appropriate terminology to describe the practice, as well as the specific contribution the theatrical costume maker can make to this type of research. The report argues for consideration of the phenomenological value of a remaking approach to researching historical performance costume, and how this might sit alongside more established observational, archival-based research methods. It also further questions whether a re-created costume can contain the same power and agency as an extant costume stored in a museum archive, in terms of its direct physical connection with the original performance, designer, maker and wearer. Reflection on all of these points is needed for the development of practice-led research within the field of costume construction for performance.
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Shiroma, Jerrold. "The art of costume design: The work of Dunya Ramicova." Art Libraries Journal 42, no. 1 (December 15, 2016): 41–46. http://dx.doi.org/10.1017/alj.2016.43.
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The Art of Costume Design: The Work of Dunya Ramicova is an on-going project by the University of California, Merced Library to digitize, preserve, and promote the work of costume designer and UC Merced Distinguished Professor Emeritus, Dunya Ramicova. This article talks about the collection itself and the various projects undertaken in support of its preservation and promotion.
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STEBAKOVA, T. G., A. A. RODKINA, and S. A. POLYAKOVA. "THEORY AND METHODOLOGY OF THE USE OF ORNAMENT IN GENERAL COMPOSITION CLASSES IN THE ART OF COSTUME AND TEXTILES IN ORDER TO FORM THE PROJECT COMPETENCE OF COSTUME DESIGNERS IN THE EDUCATIONAL ENVIRONMENT OF THE UNIVERSITY AT THE INITIAL STAGE OF TRAINING." Scientific Notes of Orel State University 2, no. 99 (June 26, 2023): 313–18. http://dx.doi.org/10.33979/1998-2720-2023-99-2-313-318.
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The article reveals the theoretical and methodological possibilities of using the expressive potential of the ornament in general composition classes in the art of costume and textiles in the preparation of a costume designer in order to form the design competence of students. The main methods of ornament construction and the features of their use in the design of textile compositions are described.
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Manninen, Kirsi. "Digital costume sketching through embodied awareness." Studies in Costume & Performance 4, no. 2 (December 1, 2019): 229–41. http://dx.doi.org/10.1386/scp_00006_1.
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This article presents a method for costume design, where empathy and embodiment are used as methodological choices by the designer in the character-creation process. In creating references for the sketching process, costume designers combine photos in which they portray themselves as the character that they imagine. These role-selfies, taken with a handheld tablet, work as starting points for the sketching procedure. The material for the present study is collected from MA costume design students who participated in digital character-creation courses at Aalto University, in Helsinki, Finland, and is a part of doctoral research by the author. The data are collected through a mixed-method approach and is organized as a case study investigating the experiences of using the body as a source for costume design. The research question in this study is as follows: does an awareness of one’s own body facilitate the sketching process? The initial results show that the research participants consider the method useful because it enables them to experience a stronger bodily connection with the digital medium, the imagined design and the emerging character in the costume sketching process. Hence, the findings of this study can be used to develop design and teaching practices not only in the field of costume design but also in other design processes involving character creation.
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Helve, Tua. "Time, being, discourse: Elements of professional friendship in the collaboration between a costume designer and a choreographer." Choreographic Practices 12, no. 1 (July 1, 2021): 67–89. http://dx.doi.org/10.1386/chor_00029_1.
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This article examines joint creation in contemporary performance making by analysing the collaboration between two prominent Finnish artists ‐ costume designer Karoliina Koiso-Kanttila and choreographer Carl Knif. Using personal interviews along with performance analysis framed in relation to the Aristotelian term ‘friendship’ as components of this case study, the author draws conclusions from the process of a solo performance and its costume that foregrounds elements of friendship: sharing time, being and discourse. Viewing this relational understanding between parties as an asset, this study introduces elements of a positive approach and tools to achieve such in the making of dance performance.
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lewis, sharon, and maxine bailey. "Sistahs 1994." Canadian Theatre Review 83 (June 1995): 52–68. http://dx.doi.org/10.3138/ctr.83.014.
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Sistahs was first produced in Toronto by Sugar ‘n’ Spice Productions at the Poor Alex in October 1994. Maxine Bailey / playwright/producer/costume designer Sharon Lewis / playwright/director Bryan James / set designer Christine Bucknell /lightingand sound designer Diana Soodkeo I stage manager Sonia Dhillon / assistant stage manager Fleurette S. Fernando / movement consultant Cast Assata / Carol Anderson Sandra / Melanie Nicholls-King Dehlia / Lisa Richardson Rea / Kim Roberts Cerise / Shakura S’Aida
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Kertakova, Marija. "ANALYSIS OF TRANSFER AND APPLICATION OF THE CONCEPTUAL DIMENSIONS OF THE HISTORICAL COSTUME FROM THE XIX CENTURY IN THE PRACTICE OF THE FASHION DESIGNERS OF WOMEN'S FASHION IN THE BEGINNING OF THE XXI CENTURY – YEAR 2004 (FALL-WINTER COLLECTIONS)." KNOWLEDGE - International Journal 54, no. 5 (September 30, 2022): 859–66. http://dx.doi.org/10.35120/kij5405859k.
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Like any phenomenon and objectified human activity, the implication of the historical costume of the19th century in the fashion of the new century is not accidental, but has its roots and protoforms. That is why it isnecessary to examine these protoforms very briefly, and then to successfully explain what is happening on theirbasis. The framework in which the given study is placed has the following parameters – historically it concerns thefashion of the 19th century, taking into account the revolutionary influence of the French Bourgeois Revolution, thevisual expression of the fashionable French women's suit, as well as the male business English suit is taken intoaccount. On the other hand, the most significant and successful fashion collections are examined in terms ofapplying the implication and conceptual dimensions of the historical costume of the 19th century in the practice ofwomen's fashion designers at the beginning of the 21st century. The purpose of the study is most concentrated inshowing the transfer of the successful historical fashion decisions of the costume from the 19th century, which are„noticed again” in the fashion costume at the beginning and the first decade of the 21st century – specifically in thistext 2004, with the key terms of implication and conceptual dimensions of 19th and 21st century fashion costume inthe most successful designer collections. As a researcher, my attention is drawn to the potential contained in theimplication of fashion costume, which is increasingly penetrating the artistic culture of designing and producingfashion clothes and accessories. On the other hand, the wide consumption and strong influence of fashion on humanlife impose the need not only for a philosophical or sociological analysis of the new phenomena of culture, but alsofor a comprehensive and in-depth scientific-theoretical study of the implication in fashion, covered by postmodernistideas. The question arises: what are the reasons for individual achievements and finds of one era to be preserved andcarefully transferred to other eras, even at the risk of the re-contextualization of the image originally created andembodied in clothing. Today, no one wears historical costumes just to protect themselves from the elements. Thehistorical costume and the fashion and artistic trends it embodies make it an expensive museum piece. One learnsfrom the taste of the old masters of clothing, from the combination of fabrics, colors and ornaments, from the ideasthat the modern person (whether professional or ordinary consumer) can draw from the found cultural artifacts in thefield of children's, women's fashion or the men's business suit.
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Kertakova, Marija. "ANALYSIS OF TRANSFER AND APPLICATION OF THE CONCEPTUAL DIMENSIONS OF THE HISTORICAL COSTUME FROM THE XIX CENTURY IN THE PRACTICE OF THE FASHION DESIGNERS OF WOMEN'S FASHION IN THE BEGINNING OF THE XXI CENTURY – YEAR 2004 (SPRING-SUMMER COLLECTIONS)." KNOWLEDGE - International Journal 54, no. 5 (September 30, 2022): 851. http://dx.doi.org/10.35120/kij5405851k.
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Like any phenomenon and objectified human activity, the implication of the historical costume of the19th century in the fashion of the new century is not accidental, but has its roots and protoforms. That is why it isnecessary to examine these protoforms very briefly, and then to successfully explain what is happening on theirbasis. The framework in which the given study is placed has the following parameters – historically it concerns thefashion of the 19th century, taking into account the revolutionary influence of the French Bourgeois Revolution, thevisual expression of the fashionable French women's suit, as well as the male business English suit is taken intoaccount. On the other hand, the most significant and successful fashion collections are examined in terms ofapplying the implication and conceptual dimensions of the historical costume of the 19th century in the practice ofwomen's fashion designers at the beginning of the 21st century. The purpose of the study is most concentrated inshowing the transfer of the successful historical fashion decisions of the costume from the 19th century, which are„noticed again” in the fashion costume at the beginning and the first decade of the 21st century – specifically in thistext 2004, with the key terms of implication and conceptual dimensions of 19th and 21st century fashion costume inthe most successful designer collections. As a researcher, my attention is drawn to the potential contained in theimplication of fashion costume, which is increasingly penetrating the artistic culture of designing and producingfashion clothes and accessories. On the other hand, the wide consumption and strong influence of fashion on humanlife impose the need not only for a philosophical or sociological analysis of the new phenomena of culture, but alsofor a comprehensive and in-depth scientific-theoretical study of the implication in fashion, covered by postmodernistideas. The question arises: what are the reasons for individual achievements and finds of one era to be preserved andcarefully transferred to other eras, even at the risk of the re-contextualization of the image originally created andembodied in clothing. Today, no one wears historical costumes just to protect themselves from the elements. Thehistorical costume and the fashion and artistic trends it embodies make it an expensive museum piece. One learnsfrom the taste of the old masters of clothing, from the combination of fabrics, colors and ornaments, from the ideasthat the modern person (whether professional or ordinary consumer) can draw from the found cultural artifacts in thefield of children's, women's fashion or the men's business suit.
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Malva, Filipa. "From skin to presence: Drawing and making as a process of creation in costume design." Studies in Costume & Performance 7, no. 1 (May 1, 2022): 67–84. http://dx.doi.org/10.1386/scp_00061_1.
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My research project, Drawing and Performance: Creating Scenography, looked at the way drawing is used during the creative process of scenography within the performance arts. It was my intention to analyse and reflect upon the artistic and pragmatic relationship scenographers have with drawing as a device for the creation of space and time of performance, and also as mediator between the bodies of actors or dancers onstage and our drawing pages. In this article I discuss examples from this research project and from my own practice where costume sculpted during the process of rehearsal came to generate a specific presence onstage and consequently moulded the performance. I argue that this working method expands the function of drawing in the creative process of the costume designer by applying it as part of a back and forth process of analysis and composition which includes the designer’s experience of movement and touch. With this in mind this article follows three examples of Portuguese costume designers who use drawing extensively in their practice: Clara Bento, Claudia Ribeiro and my own.
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Zhang, Xiao Hui, and Xu Bing Xu. "Study on the Main Factors of Marketable Costume." Advanced Materials Research 175-176 (January 2011): 987–92. http://dx.doi.org/10.4028/www.scientific.net/amr.175-176.987.
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Information technology which takes the Internet as representative swifts development, more and more people who are pursuing more interesting and better tasting lifestyle pay more attention to the personality, emotion and originality of the product. Now, consumer market enters a new period which is characterized by fast, changing and personality. Under this complex background, how Designer organize production, sale and other clothing enterprise resources well, provide very markeTable design, is very important to promise the achievement of clothing enterprise, take full advantage of all the enterprise resources and adapt market changing. All these are to promise that a costume brand can possess core competitiveness. From the Influence of product, price, environment and publicity on a good clothing market design point of departure, preparation before design, process of design, evaluation of design, result and verification of design, these elements of design activity were analyzed in this paper. The results show that it is important for designer to cultivate the sensibility to the clothing market; to master the relation among design ,market and popular ,to guarantee design promote the sell, to achieve the goal that design can meet demand that people want to look for better lifestyle.
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Dicenzo, Maria, and Penny Farfan. "New Dance Horizons: A Ten-Year Retrospective." Canadian Theatre Review 91 (June 1997): 63–67. http://dx.doi.org/10.3138/ctr.91.014.
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In his book on theatre criticism, Irving Wardle suggests that “[s]et designers, and costume designers even more, are generally under-acknowledged by reviewers; but it is often they, rather than the director, who fix initial impressions and leave lasting prints in the memory.” In this issue devoted to designer training, it seems appropriate to give reviewers an opportunity to focus on some of the feats achieved by current Canadian designers and to consider the role of design in generating meaning in the theatre.
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Toropova, Anastasia. "The Embodiment of the “Strong Woman” Concept in Alexander McQueen’s Travesty Costume." Ideas and Ideals 14, no. 3-2 (September 29, 2022): 419–30. http://dx.doi.org/10.17212/2075-0862-2022-14.3.2-419-430.
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This article presents the results of a hermeneutic analysis of the work of British designer Alexander McQueen. Corporeality is a system of signs applied to the human body. Clothing is the most important part of corporeality constructed by designers. An outfit is an ensemble of clothing elements that is an artistic statement. McQueen was aware of the overload of the body with symbolic meanings. His task as a designer was to construct a fashionable corporeality, which means controlling body parts with vestimental tools - silhouette, material, colour, fit, etc. McQueen’s aesthetic program is problematized through the image of the “strong woman”. The author analyzes the meaning put into the concept by the designer. The conceptual heroines of McQueen’s work inhabit the extremes of logocentric society: prostitutes, saints, aristocrats, the mentally ill and others. The analysis is produced in the context of other concepts of the “strong woman” created by European, American and Japanese designers. It is noted and emphasized that the conceptual heroines of McQueen’s work inhabit the extremes of logocentric society: prostitutes, saints, aristocrats, the mentally ill and others. One exists in the lower zone (vampires, witches, criminals, etc.), while others, like Joan of Arc and Catherine the Great, find themselves at the very peak of the male order, contradicting its structure by their existence. The loneliness of Alexander McQueen’s women, settled on social points of extremity, correlates little with the usual images of strong women broadcast by contemporary culture. The author hypothesizes that McQueen creates the image of a strong woman through the construction of a “doomed” and “prominent” corporeality, which is most precisely expressed in the concept of “martyr”. By constructing images of strong heroines, McQueen invented a woman who does not undermine the logocentric order, but strengthens it thanks to her flexibility and adaptability to any circumstances. A woman is thus a “substitute man”, solving those problems that men fail to cope with.
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Langer, Karin. "Puss in Boots, ballerina in breeches." Studies in Costume & Performance 7, no. 2 (December 1, 2022): 197–211. http://dx.doi.org/10.1386/scp_00074_1.
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Costume and its contribution to a stage production is still a less frequently researched field in theatre studies. Yet it plays an important role in the performance of a role in both theatre and stage dance. Using the fairy-tale character of Puss in Boots in the ballet Die goldene Märchenwelt (first performed in Vienna, 1893), which is very well-known not only in the German-speaking world, the extent to which the recognizability of the character is supported by the costume is examined in this article. Costume designer Franz Gaul (1837–1906) was inspired not only by the various fairy-tale versions, but also by a large number of illustrations and stage adaptations. The source for the costume analysis here is a series of photographs of the dancer Wilhelmine Rathner (1863–1913) playing Puss in Boots archived at the Theatermuseum in Vienna. Through this medium a second level of investigation arises, namely that of the photographic (self-)staging of the desirable woman through costume and pose in a complicated interplay of textures and distances. This staging gains another – potentially eroticizing – level through the conception of the role of Puss in Boots as a breeches role.
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Klimova, Larisa, and Marina Plotnikova. "Actual trends of architectural forms and graphics in the costume design context." E3S Web of Conferences 210 (2020): 16008. http://dx.doi.org/10.1051/e3sconf/202021016008.
Full textAbstract:
This article is devoted to the study of the graphic trends and design activities’ relationship for a costume designer with modern architectural forms, as a source of inspiration and style formation for these subject-spatial creativity areas. The purpose of the article is to identify the specifics of the associative trends’ relationship in modern costume design with architecture and graphics. Identification of this specificity will help in establishing the relevant interdisciplinary connections in design education. To achieve this goal, the authors set the following tasks: 1) analysis of modern trends in costume formation based on identifying the features of the architectural forms’ influence on the modern costume design; 2) analysis of the general structural and graphic solutions between the modern presentation of architectural forms in the costume design by means of its graphic content. The authors proceed from the idea of the modern phenomena interaction in costume design, its graphics and architectural forms. In the analysis of the modern graphics and architectural forms’ main features in the conceptual solution to the costume design, common features of interaction are revealed. Changes in the art and design activities in the direction of graphic symbolism and imagery are revealed on the example of modern trends in architecture. The results of the study on the introduction of interdisciplinary communications are tested in classes on design in the material’s project implementation, special graphics and concepts in design.