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Journal articles on the topic 'Costume'

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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3

Brookins, Amelia. "Costumes as palimpsests: Accumulation of narratives through reuse of costumes in film and theatre." Studies in Costume & Performance 8, no. 1 (2023): 91–103. http://dx.doi.org/10.1386/scp_00087_1.

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Palimpsest is a term traditionally associated with parchment manuscripts, referring to a writing surface on which the original text has been overwritten. As demonstrated by the famous Archimedes Palimpsest, despite the reuse of the parchment, it retains traces of its previous texts. This article argues that the term palimpsest can also describe costumes used in performance. This article seeks to investigate questions such as, what happens when a costume is taken out of one narrative and placed into another? If a costume is inscribed with narrative, like a palimpsest, does the original narrativ

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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 (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 f

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Andersson, Therése. "Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress." Culture Unbound 3, no. 1 (2011): 101–12. http://dx.doi.org/10.3384/cu.2000.1525.113101.

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In ’Costume Cinema and Materiality: Telling the Story of Marie Antoinette through Dress’ a materiality-based approach for analysing film narratives through costumes is examined. Sofia Coppola’s film Marie Antoinette (2006) serves as the empirical starting point and the theme of dressing and redressing is pursued throughout the film, crystallizing costume as a significant feature for reading the movie. The article argues that costumes, on a symbolic level, work as agents. It thus focuses on the interdependence between costume and interpretations of the screenplay’s main character. A theoretical

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6

Aprilianti, Luh Wulan. "An Analysis of Lexicons in Costumes of Baris Gede Dance at Penuktukan Village." International Journal of English Education and Linguistics (IJoEEL) 5, no. 1 (2023): 18–30. http://dx.doi.org/10.33650/ijoeel.v5i1.5415.

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This research aims to find out the lexicons and the cultural meaning in the costumes of the Baris Gede dance. Baris Gede dance is a traditional Balinese dance that tells about warriors fighting on the battlefield. Costumes are an important component in the Baris Gede dance because the costumes used represent the contents of the dance. This research used qualitative research with interviews and observation as the method to obtain the data. The researcher found 14 lexicons in the costumes; head costume (1 lexicon) that is gelungan, neck costume (1 lexicon) which is badong/bapang, hand costume (1

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7

Zhu, Chun, Kaixuan Liu, Xiaoning Li, et al. "Research on Archaeology and Digital Restoration of Costumes in DaoLian Painting." Sustainability 14, no. 21 (2022): 14054. http://dx.doi.org/10.3390/su142114054.

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Costume restoration is one of the important ways to study costume history and culture. The purpose of this paper is to show the characteristics of Chinese costumes more than 1000 years ago, through the research on the costume in the famous ancient Chinese painting DaoLian painting, and provide strong technical support for the research of Chinese ancient costume culture. DaoLian painting is the work of Xuan Zhang, a famous painter in Tang dynasty (618–907), China. From the perspective of clothing engineering, we analyzed the characteristics of costume style, color, and pattern and used the virt

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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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Raud, Inna. "Vändra kihelkonna naiste traditsioonilised rahvarõivad: komplektide koostamine ja valmistamine tänapäeval. TÜ Viljandi Kultuuriakadeemia pärandtehnoloogia magistritöö 2014 / The traditional folk costumes of the women of Vändra parish." Studia Vernacula 5 (November 5, 2014): 169–71. http://dx.doi.org/10.12697/sv.2014.5.169-171.

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The Master’s thesis entitled “Traditional folk costumes of the women of Vändra parish: assembling and preparing ensembles in the present day" aimed to introduce the variational nature of folk costumes in one region to rid ourselves of a rigid pattern of treatment of folk costume. As part of the research, the individual components of women’s folk costumes in Vändra parish were described, technological and pattern-related developments were pinpointed in time and material and colour use and changes in ways in which the costume was worn were observed. In addition to the description, the auth

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10

Raud, Inna. "Vändra kihelkonna naiste traditsioonilised rahvarõivad: komplektide koostamine ja valmistamine tänapäeval. TÜ Viljandi Kultuuriakadeemia pärandtehnoloogia magistritöö 2014 / The traditional folk costumes of the women of Vändra parish." Studia Vernacula 5 (November 5, 2014): 169–71. http://dx.doi.org/10.12697/sv.2014.5.169-171.

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The Master’s thesis entitled “Traditional folk costumes of the women of Vändra parish: assembling and preparing ensembles in the present day" aimed to introduce the variational nature of folk costumes in one region to rid ourselves of a rigid pattern of treatment of folk costume. As part of the research, the individual components of women’s folk costumes in Vändra parish were described, technological and pattern-related developments were pinpointed in time and material and colour use and changes in ways in which the costume was worn were observed. In addition to the description, the auth

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11

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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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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Dotlačilová, Petra. "Molière en costumes (Molière in Costumes), curated by Véronique Meunier-Delissnyder." Studies in Costume & Performance 8, no. 1 (2023): 121–27. http://dx.doi.org/10.1386/scp_00089_5.

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Review of: Molière en costumes (Molière in Costumes), curated by Véronique Meunier-Delissnyder Centre national du costume de scène (CNCS) (National Centre for Stage Costume), Moulins, 26 May–6 November 2022

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Veronia, Anita Sofia, I. Gede Budasi, and Dewa Putu Ramendra. "The Lexicons Used in Palawakya Dance Costumes." Linguistic, English Education and Art (LEEA) Journal 6, no. 2 (2023): 282–89. http://dx.doi.org/10.31539/leea.v6i2.5468.

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Palawakya dance is a kind of dance which mixes the arts of dance, music, and old Balinese song called Kakawin. Culturally, the dance consists of various lexicons used in common life but it is getting rarely used by people nowadays. This research was designed in the form of descriptive qualitative research by applying an ecolinguistic approach. It was focused on analyzing the lexicons of Palawakya dance costumes in Jagaraga Village, Singaraja. Observation and interview were conducted to obtain the data of this research by involving three informants. The informants were selected by using purposi

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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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Marshall, Susan. "Insubordinate Costume." Studies in Costume & Performance 6, no. 2 (2021): 283–304. http://dx.doi.org/10.1386/scp_00052_3.

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In this visual essay, I explore the way costume can be used as a research tool and how playing with my modular ‘Insubordinate Costumes’ enables different creative interpretations and offers diverse dramaturgical possibilities. The term ‘Insubordinate Costume’ evolved from my research and is used to reflect the defiant, rebellious and unruly nature of performance-defining costume, which flouts practicalities and textual confines to embrace the role of protagonist. In order to explore the agency of ‘Insubordinate Costume’, I developed flat-pack modular costumes, which can be constructed in diffe

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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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18

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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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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20

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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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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Østergaard, Charlotte. "Kostume-drevne performances." Peripeti 19 (October 11, 2022): 40–55. http://dx.doi.org/10.7146/peri.v19isaernummer2.134021.

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Costume driven performances. Costumes generative and performative potentialsThis article examines costume driven performances as a growing trend in international performing arts as well as in costume research. It also provides the more detailed analysis of a costume-driven dance performance from the author’s own practice and concludes with considerations about the potential in Danish performing arts.

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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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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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Meng, Xin, and Ping Xiao. "Analysis on the Development of New Chinese Costume Innovation Based on Popularization." E3S Web of Conferences 275 (2021): 03029. http://dx.doi.org/10.1051/e3sconf/202127503029.

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The rise of new Chinese costumes reflects national cultural confidence. In response to how to quickly develop a questionnaire in the new Chinese costume market, it is designed and innovative through the public’s data analysis of new Chinese costumes, color, fabrics, and patterns, through the innovation, color innovation, fabric innovation of new Chinese costumes. The newness of the texture innovation promotes its development and analyzes the development of good apparel brand marketing strategies. Combined with the advantages of integration innovation and development, broaden the new Chinese co

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Navei, Nyamawero. "The Lioness of African Music: Cultural Interpretation of Wiyaala’s Stage Costume Art." International Journal of Cultural and Art Studies 7, no. 1 (2023): 49–63. http://dx.doi.org/10.32734/ijcas.v7i1.10463.

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In stage performance, costume art is an essential visual signature device with the veracity to unveil the character and cultural identity of the performer. Stage costume art could also be deployed to respond to pertinent societal issues. In spite of its versatile essentiality in performing arts, there seems to be a dearth of scholarly interpretation of stage costume art of Ghanaian musicians, thereby creating a knowledge gap. This qualitative case study makes a hermeneutical interpretation of eight random-purposively sampled stage costumes of Wiyaala (a Ghanaian female musician) to establish t

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Henry King, Lorraine. "Black skin as costume in Black Panther." Film, Fashion & Consumption 10, no. 1 (2021): 265–76. http://dx.doi.org/10.1386/ffc_00024_3.

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As a costume, textile and surface adornment practitioner my research focuses on how skin contributes to the reading of a costume. Black Panther’s (2018) Oscar winning costume by Ruth E. Carter conformation to whilst also breaking traditional superhero costuming tropes feeds directly into my research on reading black skin as heroic. The visual disruption to the limited and negative narratives usually embedded within black skin are subtly challenged by Carter’s use of both black primordial and superhero skin-like costumes to signify the heroic. The costuming of a black superhero and nemesis fram

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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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Fensham, Rachel. "Repetition as a methodology: Costumes, archives and choreography." Scene 2, no. 1 (2014): 43–60. http://dx.doi.org/10.1386/scene.2.1-2.43_1.

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This article considers how costumes contribute to choreographic aesthetics through their capacity to be repeated. I develop different conceptions of repetition – replication (copying); representation (appearance within a frame that represents an image); and reproduction (as construction or manufacture) of costume objects and ideas over time. Being interested in the material process of making and wearing costumes, it also investigates how repetition leads to the possibility of invention. Using Walter Benjamin’s concept of the dialectical image to discuss costumes as objects within a dance archi

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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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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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Loite, Kersti. "Intervjuu: Rahvarõivaste komplekteerimise poliitiline kunst / Interview: The Political Art of the Assembly of Folk Costume Sets." Studia Vernacula 7 (November 4, 2016): 161–79. http://dx.doi.org/10.12697/sv.2016.7.161-179.

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Kersti Loite (MA in traditional technologies) spoke to ethnographer and researcher of national costumes Igor Tõnurist. Tõnurist has been active as a lecturer on Estonian national costumes since the 1970s and was a member and later the chairman of the national costume unit of the Office of the General Song Festival of the Estonian Soviet Socialist Republic. From 1971–1992, he was the artistic director of the famous Estonian folk music ensemble Leegajus.The discussion concentrated on the ideas and ideologies that have influenced the completion of Estonian national costume sets. The museum collec

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Loite, Kersti. "Intervjuu: Rahvarõivaste komplekteerimise poliitiline kunst / Interview: The Political Art of the Assembly of Folk Costume Sets." Studia Vernacula 7 (November 4, 2016): 161–79. http://dx.doi.org/10.12697/sv.2016.7.161-179.

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Kersti Loite (MA in traditional technologies) spoke to ethnographer and researcher of national costumes Igor Tõnurist. Tõnurist has been active as a lecturer on Estonian national costumes since the 1970s and was a member and later the chairman of the national costume unit of the Office of the General Song Festival of the Estonian Soviet Socialist Republic. From 1971–1992, he was the artistic director of the famous Estonian folk music ensemble Leegajus.The discussion concentrated on the ideas and ideologies that have influenced the completion of Estonian national costume sets. The museum collec

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Tytarenko, V. "UKRAINIAN FOLK COSTUME AS AN IMPORTANT HISTORICAL PHENOMENON." Ukrainian professional education, no. 16 (October 31, 2024): 153–58. http://dx.doi.org/10.33989/2519-8254.2024.16.314323.

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The article is devoted to folk costume as an element of the material and spiritual heritage of Ukrainians. The research aims to analyze a folk costume as an essential carrier of Ukrainians’ material culture. The key stages of the development of Ukrainian costume in the historical context are described. Literary sources that are the basis for the study of Ukrainian folk costume as an important historical phenomenon are analyzed. The value of studying the educational component «History of Ukrainian Costume» by higher education students is outlined. The author’s experience of teaching this discip

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Liu, Kaixuan, Hanhan Wu, Yanbo Ji, and Chun Zhu. "Archaeology and Restoration of Costumes in Tang Tomb Murals Based on Reverse Engineering and Human-Computer Interaction Technology." Sustainability 14, no. 10 (2022): 6232. http://dx.doi.org/10.3390/su14106232.

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This paper takes the tomb murals as the research object, and realizes the development of the costume patterns of the Tang tomb murals and the 3D simulation restoration of the costumes through 3D interactive clothing pattern-making technology and virtual simulation technology. Firstly, the 3D garment model is constructed in the virtual environment according to the costume outline of the Tang Dynasty tomb mural costume. Then, the structural curves of the garment are drawn on the 3D garment according to the characteristics of the Tang Dynasty tomb mural garment style, the 3D surface is expanded a

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Lei, Qinchuan, Nan Chen, and Shanren Ding. "Research on Digital Preprocessing of Minority Costume Images." Academic Journal of Science and Technology 4, no. 1 (2022): 159–62. http://dx.doi.org/10.54097/ajst.v4i1.3610.

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The development of minority traditional culture plays a very important role in the historical process of the development of our Chinese national culture. However, with the passage of time and the acceleration of the process of social modernization, our traditional minority culture is gradually disappearing. This makes more and more scholars begin to attach importance to the protection of traditional minority culture. As an important part of Minority minority culture, the focus of this paper is to protect and inherit the Minority minority costumes images through the use of digital image process

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., Ariusmedi. "Bahasa Rupa pada Pakaian Penghulu Minangkabau." Humanus 10, no. 1 (2012): 9. http://dx.doi.org/10.24036/jh.v10i1.457.

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This article is a summary of research studying Minangkabau traditional costumes, with focus on the costume of penghulu (head of tribe), which has symbols in it. The penghulu costume as a kind of visual language reflects the position of the wearer in the society, in correlation with his title, as a carrier of the Minangkabau traditional norms. Key words: Minangkabau penghulu costume, visual language

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Alekseeva, Angelina. "The Novel “The Picture of Dorian Gray” as a Costume Code of Its Time: How to Render Features of Victorian Dress into Russian." Stephanos Peer reviewed multilanguage scientific journal 68, no. 6 (2024): 62–70. https://doi.org/10.24249/2309-9917-2024-68-6-62-70.

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The purpose of this article is to analyse the parameters of the costume code presented in the novel “The Picture of Dorian Gray” written by the English poet and writer O. Wilde. The author tries to analyse different aspects of ways how to render features of Victorian dress when translating the novel into Russian. O. Wilde portrays representatives of different social classes of English society at the end of the 19 th century. Thus, the characters’ costumes are considered an important detail specifically used for their characterisation. Ten Russian translations of the novel are made in different

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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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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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Wilkinson, Clare M. "Wrinkles in Time: Ageing Costume in Hindi Film." BioScope: South Asian Screen Studies 9, no. 1 (2018): 46–72. http://dx.doi.org/10.1177/0974927618767280.

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Today’s philosophy and practice of costume ageing, even in mainstream commercial Bollywood output, skews strongly towards an avowed ‘realism’. Consequently, accurate ageing and the subtle impressions of wear are valued in contrast to the ‘theatrical’ and ‘inauthentic’ ageing of most pre-1990s films (and some films still today). Designers argue that costume ageing has simply improved but this answer oversimplifies the complex narrative and organisational imperatives at stake. Older, more theatrical costume ageing, embedded within the melodramatic mode of expression, worked for its audience beca

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Zhang, Jiaqin, Jingan Wang, Le Xing, and Hui’e Liang. "Automatic measurement of traditional Chinese costume from its silhouette through Fuzzy c-means clustering method." Journal of Engineered Fibers and Fabrics 15 (January 2020): 155892502097832. http://dx.doi.org/10.1177/1558925020978323.

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As the precious cultural heritage of the Chinese nation, traditional costumes are in urgent need of scientific research and protection. In particular, there are scanty studies on costume silhouettes, due to the reasons of the need for cultural relic protection, and the strong subjectivity of manual measurement, which limit the accuracy of quantitative research. This paper presents an automatic measurement method for traditional Chinese costume dimensions based on fuzzy C-means clustering and silhouette feature point location. The method is consisted of six steps: (1) costume image acquisition;

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Gorbunova, Anastasiya A., and Rimma A. Timofeeva. "COSTUMED IMAGES À LA TURQUE IN RUSSIAN PAINTING OF THE 18TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies 1, no. 1 (2022): 116–42. http://dx.doi.org/10.28995/2073-6401-2022-1-116-142.

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The article considers a number of picturesque costumed images à la turque, which means in the oriental taste, created in Russia in the 18th century. The studied works are divided into the costumed and typical images of the inhabitants of the Muslim world and a costumed portrait à la turque. It is believed that the means of creating an “oriental” image in those works was a costumizing – dressing a model in an exotic outfit perceived as a national costume of the peoples from the Muslim Orient. The work studies the history of creating costumed images à la turque in Russian art of the 18th century

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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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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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Østergaard, Charlotte. "Listening Through and With Costume." Nordic Journal of Dance 14, no. 1 (2023): 90–99. http://dx.doi.org/10.2478/njd-2023-0010.

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Abstract In performance contexts, costume is often perceived as visual expression that is in service of, for example, a choreographer’s vision. I argue that costume is also an aesthetic and poetic language in its own right that allows individuals such as performers and designers to co-conceptualize and co-create performances. In co-creative performance-making processes, I argue that it is critical that designers open-mindedly listen to performers’ experiences of specific costumes and that we (designers and performer) through listening co-creatively explore potentialities and challenges that ar

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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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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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