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Journal articles on the topic 'Costumes'

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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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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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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4

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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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

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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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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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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9

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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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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Yu, Jinhui. "Research on the Characteristics and Path of the Industrialization of National Costumes." Highlights in Art and Design 8, no. 3 (2024): 10–14. https://doi.org/10.54097/zt7wkj85.

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As a crystallization of the interaction between tangible material and spiritual culture, national costume culture is becoming more and more prominent in the trend of today's world. Therefore, it is necessary to combine the inheritance and development of national costumes with social and economic benefits in order to ensure the vitality of traditional costume culture. This paper discusses the characteristics and development trend of the current industrialization of national costumes in China. This paper summarizes the problems existing in the inheritance and industrialization development of nat

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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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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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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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15

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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Ceschi, Valentina, and Kate Lane. "Greenham: Costume, memory and activism in outdoor performance." Studies in Costume & Performance 6, no. 2 (2021): 233–52. http://dx.doi.org/10.1386/scp_00049_3.

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This visual essay illustrates the transformative, performative and narrative potential costume can have in the context of outdoor site-responsive work, by looking at Ceschi + Lane’s recent R&D project, Greenham. The project included two performances that took place on Greenham Common, the site of a former RAF and American Army base in the English countryside, which is now common land. Greenham is also the former site of the Greenham Common Women’s Peace camp, set up in 1981 to protest against the British government allowing American cruise missiles to be stored at the base. In response to

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17

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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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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Safo-Ankama, Kweku, and Naa Omai Sawyerr. "Exploring the Costume Styling and Material Composition of the Effutu Festival Costumes." International Journal of Cultural and Art Studies 7, no. 1 (2023): 09–21. http://dx.doi.org/10.32734/ijcas.v7i1.11499.

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This study investigates the costume styling and material composition of Effutu festival costumes. It is delimited to Effutu festival performance costumes. The qualitative design was adopted. The ethnography approach was employed through narrative analysis and oral history. Unstructured interviews and on-site direct observations were the qualitative data collection instrument used for the data collection. The narrative analysis was used to analyse the data. The findings revealed that historically costumes are seen as relics that can tell the story about the exploits and traditional mythologies

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20

Loite, Kersti. "Üksikesemest ülikonnani Virumaa rahvarõiva näitel / From a single item to an outfit (on the basis of Viru county folk costume)." Studia Vernacula 6 (November 5, 2015): 42–64. http://dx.doi.org/10.12697/sv.2015.6.42-64.

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In practice, the wearing of folk costume stopped in Viru County at the end of the 19th century, somewhat earlier in the western parts of the area and somewhat later in the eastern parts. Around the same time, people started to collect and preserve folk costumes. Since most of the Viru folk costumes are represented in museum collections as single items, this article examines how the traditional outfits have been assembled from single items and what has been considered important by those doing so. Three main books have been studied: “Estonian Folk Costumes” by Helmi Kurrik (published in 1938), “

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Loite, Kersti. "Üksikesemest ülikonnani Virumaa rahvarõiva näitel / From a single item to an outfit (on the basis of Viru county folk costume)." Studia Vernacula 6 (November 5, 2015): 42–64. http://dx.doi.org/10.12697/sv.2015.6.42-64.

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In practice, the wearing of folk costume stopped in Viru County at the end of the 19th century, somewhat earlier in the western parts of the area and somewhat later in the eastern parts. Around the same time, people started to collect and preserve folk costumes. Since most of the Viru folk costumes are represented in museum collections as single items, this article examines how the traditional outfits have been assembled from single items and what has been considered important by those doing so. Three main books have been studied: “Estonian Folk Costumes” by Helmi Kurrik (published in 1938), “

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22

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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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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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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Reid, Ellie. "Dressing the Pageanteers: The Local People and Theatre Professionals who Costumed Edwardian Historical Pageants." Costume 58, no. 1 (2024): 21–47. http://dx.doi.org/10.3366/cost.2024.0285.

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The craze for historical pageants staged in Britain by local communities at the beginning of the twentieth century stimulated a widespread public engagement with historical costume. As well as thousands of performers, and tens of thousands of spectators, pageants involved hundreds of local people in sewing parties who spent months making the costumes required for these outdoor re-enactments of episodes of local history. This article investigates how pageant costumes were designed, made or sourced, on the large scale required, and the cost implications this involved. Whilst costume designers we

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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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Zhang, Anfeng, and Jonghan Lee. "Animation Costume Style Migration Based on CycleGAN." Wireless Communications and Mobile Computing 2022 (April 14, 2022): 1–10. http://dx.doi.org/10.1155/2022/3902107.

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The traditional style migration of animation costumes is mainly performed between two paired animation costumes. However, the generalization ability is weak, and the migration effect is not good when the gap between the training and testing costumes is large. To address the above problems, this paper proposes a style migration method for animated costumes combining full convolutional network (FCN) and CycleGAN, which enables the instance style migration between animated costumes with specific targets. It is also verified that the training dataset is not the factor that causes the poor style mi

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Dean, Sally E. "Somatic costumes™: Traversing multi-sensorial landscapes." Scene 2, no. 1 (2014): 81–87. http://dx.doi.org/10.1386/scene.2.1-2.81_1.

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This article introduces Sally E. Dean’s ‘Somatic Movement & Costume Project’ by presenting examples of the ‘somatic costumes’ created and the costume design, choreographic and pedagogic methodologies applied. ‘Somatic costumes’ aim to facilitate multi-sensorial experiences that change our relationships to ourselves, others and the environment. Although costume has been incorporated in performance for centuries, this project argues for a critical social–cultural paradigm shift: the aesthetic and movement of the performance work comes from the somatic experiences (kinaesthetic and sensorial)

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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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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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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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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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Liu, Kaixuan, Sha Lu, Jiayu Zhao, et al. "Research on Archaeology and Digital Restoration of Costumes in Spring Outing Painting of Madam Guo." Sustainability 14, no. 19 (2022): 12243. http://dx.doi.org/10.3390/su141912243.

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Spring Outing Painting of Madam Guo is one of the representative works of Zhang Xuan, a famous Chinese court painter of the Tang dynasty (618–907), who was the “leader” of the trend of figure painting in the Tang dynasty and had a great influence on later figure painting. The costumes of the characters in the paintings not only show the artistic aesthetics of the prosperous Tang dynasty, but also reflect the rich cultural connotation. At present, the research on this painting is mainly about character discrimination and painting appreciation. There are few studies involving the costumes in thi

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Dar Juan, Elijah John F. "The Provenance of Selected Sets of Wardrobe in the Costumes Collections of the Cultural Center of the Philippines and GMA Network, Inc." Collections: A Journal for Museum and Archives Professionals 18, no. 2 (2022): 162–75. http://dx.doi.org/10.1177/15501906211072914.

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Costumes play a significant role in theatrical and television practice as age, gender, socioeconomic status, occupation, and the setting and climate are shown through them. This paper will enumerate some of the productions in which the costumes are included in the collections of two organizations: the Cultural Center of the Philippines, a government arts agency for the performing arts, and GMA Network, Inc., a media conglomerate that is chiefly in the business of producing and airing television programs. Information on the production plot and setting, key players such as directors, actors, pro

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

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

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AVCIOĞLU KALEBEK, Nazan, and Nurhan BAŞARAN. "SEMIOLOGY ANALYSIS OF “CRUELLA” COSTUMES." ZEITSCHRIFT FÜR DIE WELT DER TÜRKEN / JOURNAL OF WORLD OF TURKS / TÜRKLERİN DÜNYASI DERGİSİ 16, no. 1 (2024): 161–74. http://dx.doi.org/10.46291/zfwt/160111.

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People use various communication tools while exporting their feelings and thoughts. Among these tools, telephone, television, internet and social media applications are mostly preferred. This virtual world made on visuality brings a lot of meanings and information to the society. Rapidly advancing technology has affected every aspect of life, especially playing an active role in the progress of cinema. Although sound, light and actors are the elements that determine the cinema, the costumes determine the image. The costumes of the actors, which are prepared in accordance with their characters,

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Eromosele, Owens Patricia. "Costumes as depiction of cultural identity in Pedro Agbonifo-Obaseki’s Idia." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 310–20. http://dx.doi.org/10.4314/ejotmas.v7i1-2.20.

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In Nigeria, costumes present interesting vistas for exploring cultural identity. They have social implications and at times are politically implicated. This may be attributed to Nigeria’s multi-cultural atmosphere that makes costumes a reflection of the cultural identity of the people. Nigerian performances in festivals and play productions provide a platform to study and appreciate this phenomenon. Using the participant observation and literary methods, this article interrogates how costumes can depict the cultural identity of a people. It appropriates the dynamics of costumes as depiction of

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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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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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Zhao, Linqi, Zhenya Wang, Yaxue Zuo, and Danyang Hu. "Comprehensive Evaluation Method of Ethnic Costume Color Based on K-Means Clustering Method." Symmetry 13, no. 10 (2021): 1822. http://dx.doi.org/10.3390/sym13101822.

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Color is the external manifestation of ethnic minority culture, and the costume of each ethnic group has its objective color matching rules. In the color design of minority costumes, there is often a lack of scientific evaluation methods. Aiming at this problem, this article proposed a comprehensive evaluation method, based on the K-Means clustering method, for evaluating color matching schemes of minority costumes. We used the K-Means clustering method to analyze the objective laws of minority costume colors, and based on the objective laws found, we extracted the objective evaluation indicat

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Hai, Ri. "Application of Spatial Neighborhood Fuzzy c-Means Algorithm in 3D Image Segmentation of National Clothing." Wireless Communications and Mobile Computing 2022 (July 19, 2022): 1–10. http://dx.doi.org/10.1155/2022/2786826.

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National costume contains rich patterns and patterns with national characteristics, which is an important part of the study of national costume culture. Neither the traditional protection of national costumes nor the early digital protection can clearly and effectively preserve the details of national costumes, which is not conducive to the development and research of national costume culture. The development of image processing technology provides new technical support for the protection and inheritance of national costumes. This paper proposes the application of spatial neighborhood fuzzy c-

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Weckman, Joanna. "Unknown Stories." Nordic Theatre Studies 35, no. 2 (2024): 4–22. http://dx.doi.org/10.7146/nts.v35i2.149656.

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Performance costumes have long been a distinctive way to visualize explicit and implicit cultural and social hierarchies, as well as to identify characters on stage. Stereotypical characters representing different ethnicities were familiar in Finland by the end of the nineteenth century, established with the help of instantly recognizable costumes and make-up, often premised by an internalized racism inherent to historical practices of costume design. This article focuses on the representation of ethnicity and especially racialized characters on the Finnish stage through the study of extant co

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Sugiarto, Mellany Octa Salsabila, I. Nengah Mariasa, and Setyo Yanuartuti. "Aesthetic criticism of dancers' costumes at Jaranan Pegon's performance in Trenggalek." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 18, no. 2 (2023): 159–66. http://dx.doi.org/10.33153/dewaruci.v18i2.5191.

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Aesthetic criticism serves as an evaluation of diverse forms of beauty perceived differently by individuals. Costumes worn by Jaranan Pegon dancers adhere to specific standards and regulations during performances, with the dancers donning Wayang Wong attire. This research aims to assess aesthetic criticism by investigating absolutism, anarchy, and relativism in the costumes of Jaranan Pegon dancers. The study employed a descriptive approach with a phenomenological method. The findings revealed that, in accordance with absolutism, Jaranan Pegon dancers' costumes must adhere to established stand

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

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

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Roy, Suddhabrata Deb. "The Indian Superheroine costume: Analysing Indian comics’ first superheroine." Film, Fashion & Consumption 10, no. 1 (2021): 313–24. http://dx.doi.org/10.1386/ffc_00027_7.

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Comics are an important form of Indian popular culture. Like other forms of popular culture which have engaged with superheroes, male superheroes have dominated the comic book industry in India. Costumes enable the social construction of these characters in comics, determine their characteristic traits and emphasize their gendered roles. Female characters have had to struggle against multiple patriarchal social processes which are integral to the global comics’ culture. Costumes play a critical role in how these characters engage with the overall narrative of the comics. The article analyses t

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Polina V., Abramova. "The reproduction of traditional costumes in the framework of the museum actualization of folk rituals." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 12–17. http://dx.doi.org/10.30725/2619-0303-2022-1-12-17.

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Traditional rituals that are lost in the environment of everyday life are now actively presented by museums in cultural and educational activities. Since the ceremony has not only an action, but also an objective side, traditional costumes are used during its presentation – festive and ritual. In order not to harm the museum object, reproductions of traditional costumes are made. The methods of reproduction of ethnographic costumes are replication and modeling. When creating reproductions, it is necessary to focus on the specifics of the object being recreated. From the standpoint of the semio

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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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Aldaghlawy, Hayder Jaafar. "color connotations with costumes in the performances of the school theater." Cambridge Scientific Journal, no. 7 (March 20, 2021): 239–60. https://doi.org/10.5281/zenodo.7787343.

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Theatrical costumes, along with the rest of the theatrical elements, represent the visual aspect of a broad spectrum that occupies the show, as it works to reveal the dimensions of the character ( physiological, sociological, psychological ) as well as the space-time of the story's events . The color of the costume is chosen according to the dramatic necessities on the one hand and the characters on the other hand, to find that the relationship between the personality and the color in the costume is a dialectical relationship that is employed to provoke the recipient intellectually and cog

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