Costume Design Research Articles

Designing ‘Swedishness’

This article explores the early development of Swedish costume design during the reign of Gustav III (1771-1792). From the beginning of his rule, the Swedish king consciously and actively developed the local cultural scene, funded the Swedish Royal Opera and other institutions, as well as wrote and performed theatrical works himself. He also intervened in the scenography of pieces and was very interested in dress in general, using it often for his political aims. Theatre and dress were not only treated as aesthetic objects, but also as tools for creating a sense of Swedish national identity among the people. The ‘Swedishness’ of costume design is thus primarily connected to the subjects represented in those initial plays which addressed Swedish themes: historical figures and people from different Swedish regions. On the other hand, both the designers and forms used to create this Swedish design were often imported and adapted from abroad, especially from France and Italy. Using a transnational perspective and material-oriented approach, this study examines certain strategies and milestones in Swedish costume making, highlighting international exchange, but also showing unique cases of adaptation to the local stage.

Innovative Design of Traditional Costumes in Digital Art: A Case Study of the Aoluguya Evenki Ethnic Group in Northeast China

Innovative Design of Traditional Costumes in Digital Art: A Case Study of the Aoluguya Evenki Ethnic Group in Northeast China

Using a digital ‘pocket atelier’ for creative teamwork: What is the impact of digital costume sketching on the professional competence of costume designers?

This practice-led research sheds light on the potential for digital sketching in the field of costume design. This project provides an opportunity to advance our understanding of the impact of ongoing digital transformation on costume design processes and other design processes related to sketching and creative teamwork. The material for the research was collected from interviews with Finnish professional costume designers about their costume sketching practices. Interviews concentrated on designers who preferred using digital sketching methods in their process. This study focuses on costume sketching, which is when a costume designer creates a costumed character using tactile sketching techniques on a tablet touch screen. The portable device acts as a digital sketchbook for the costume designer; this study assesses the effects of this digital ‘pocket atelier’ through the lens of professional competence. Professional competence in this context refers to the ability of designers to perform work-related tasks within a creative team, such as expressing and communicating ideas by generating costume sketches. When asked about the impact of digital costume design methods, most participants commented that they have found their own way of expressing ideas and visions through digital means, which has increased their sense of professionalism. They further described the use of digital tools as making them feel more valued as members of a creative team. The research results indicate that the digital transformation of the design process has changed costume designers’ perception of their own skills as better matching the needs of the work environment.

Study on the Digital Design of Macau Native Portuguese Women's Clothing in a Metacosmic Perspective

This paper studies the digital design of Macau native Portuguese women's costumes from the perspective of meta-universe. Firstly, it explains the current development of Macau native Portuguese women's costumes and the necessity of digital design, secondly, it analyzes the feasibility of the digital design of Macau native Portuguese women's costumes on this basis, and proposes the innovative application of digital technology in digital design of costumes, and finally, it concludes the application methodology of digital design of costumes in the meta-universe, with a view to effectively combining the costumes and modern digitalization to give them new vitality, and to contribute to the cultural inheritance, design and cultural and creative industries of Macau's costumes. Finally, it concludes the application method of clothing digitalization design in the meta-universe, in order to effectively combine Macau native Portuguese women's clothing with modern digitization and give it new vitality, so as to provide reference for the inheritance of Macau's clothing culture and the development of design and cultural and creative industries.

Picasso, Schlemmer and beyond: Scenography and costume design from a critical disability studies lens

This article proposes a joint reading of the scenography and costume designs of Cubist artist Pablo Picasso and Bauhaus member Oskar Schlemmer, arguing that they share a common project of re-articulating the body and its movements that echoes contemporary concerns about how notions of normalcy govern the relationships between bodies and space. We propose that Picasso’s ballet Parade (1917) and Schlemmer’s Das Triadische Ballett (1922) can be productively read through the prism of critical disability studies (CDS), specifically in relation to Rosemarie Garland-Thompson’s feminist disability studies and her key concept of misfitting, enriched through the perspective of ecological affordances, as understood by James Gibson. This approach proposes to see disability from an ecological perspective that foregrounds the relationship between the body and space, as well as the affordances that are created and re-negotiated in the process of moving. By connecting Picasso and Schlemmer with CDS, this article puts forward a novel hermeneutic line from the artists’ work to the practice of contemporary artists Marco Donnarumma and Sandie Yi who share a relational conception of body, space and costume when designing in the field of crip couture, dance and AI prosthesis. This article proposes a CDS lens through which to re-evaluate the stage work of Schlemmer and Picasso, and their connection to contemporary artists’ interests, in order to open new paths of experimentation for contemporary artists and designers, as well as suggestive conceptual tools for both CDS and costume design scholars.

Homo(sapiens): Designing raw and defined material opportunities

This research report reflects on the development of the costume design and choreography of homo(sapiens), a performance piece developed and staged between 2020 and 2022. Materials and costumes played an essential role in the performance, generating the narrative by somatically ‘speaking’ to the wearer. Two categories of somatically choreographic materials were defined through the work: ‘raw material opportunities’ based on the inherent capability of materials to inspire and create movement and form, and ‘defined material opportunities’ in which costumes were designed and formed with a choreography or movement language in mind. Comprehending these two approaches is crucial, as each design method offers, and requires, different choreographic and dramaturgical methods when integrated in a stage-based work.

Artificial Intelligence Technology Helps Spread Costume Design and Arts and Crafts Culture

Abstract This paper takes the integration development path of artificial intelligence technology and clothing design as the entry point, analyzes the influence of arts and crafts culture on clothing design, and gives the correlation between artificial intelligence, clothing design and arts and crafts culture. In order to make the style and color of clothing design more diversified, Fuzzy C-means is used to extract the color of the elements of arts and crafts culture, and adaptive optimization is used to compensate for the chromaticity of the color through artificial intelligence technology. A texture generation network is constructed based on the generative adversarial network to obtain the shape and texture style of the images of arts and crafts cultural elements in apparel design. To verify the effectiveness of the above method in spreading apparel design and arts and crafts culture, experimental validation analysis was conducted. The results show that the Fuzzy C-means algorithm improves PSNR by an average of 1.094 dB and SSIM by between 1.1% and 2.5% compared with the SVD-Means feature color extraction algorithm. The error before and after the adaptive optimization color compensation of artificial intelligence technology is only about 0.2%, and the MSE value of the texture generation network is between [1.5*10-3,3*10-3], and the error of its image generation quality is not more than 1‰. Based on artificial intelligence technology, it can fully obtain the elemental patterns and colors of arts and crafts culture and then innovate the style and shape of clothing design, which can also promote the dissemination and development of arts and crafts culture.

Establishing the New York Hippodrome as an Intrinsically ‘American’ Entertainment Venue Through Publicity & A Yankee Circus on Mars’s Performance Practice

Publicity materials heralded the New York Hippodrome as the world's largest theatre and the National Theatre. Managers Elmer Dundy and Fred Thompson based their claim for national status on the venue's size. Their ideology considered big to be better because it proclaimed success, efficiency, and the organisation and consumption of pleasurable experiences to be the responsibility of every American citizen-consumer. Using publicity, costume designs, sketches, illustrations, production stills, newspaper reports and a scrapbook, I explore their nationalistic vision. I demonstrate how the opening's entertainments performed Dundy and Thompson's populist Americanness through narrative, design aesthetics and moments that exceeded the dramatic frame. The first of the two night's productions, A Yankee Circus on Mars (1905), presented Mars as an idealised surrogate America. The production deliberately centred circus to designate their venue as ‘American’ due to circus's status as an intrinsically American entertainment. Circus provided practical benefits in filling the vast interior with spectacle and covering long stage waits. Presenting circus end-on in the New York Hippodrome designated the venue ‘American’, but created an experience that was akin to circus. Focusing on responses to aerial acts, I demonstrate the visual gains and visceral losses to experiencing aerialists within the Hippodrome space.

Taking the stage: Theatre design students and research

Theatre design research is multidisciplinary and highly visual in nature. Students of theatre design need to learn how to locate appropriate primary source images, as this is not necessarily intuitive for early career students. While multiple image repositories are available online, students usually rely on more convenient resources. This article describes a seven year collaboration between a librarian and theatre design professor working to develop the information literacy skills, as well as visual literacy and primary source literacy skills and knowledge of Theatre design students enrolled in Stage Makeup, Costume Design, and the History of Style and Decor at Rider University in Lawrenceville, NJ. This article adds a unique and innovative perspective to the library literature. Not only does it add to the limited collection of scholarly literature on the information literacy knowledge and skills training of theatre students, but since it focuses on theatre design students and their unique visual research needs, this article includes both visual and primary source literacy.

A comparative analytical study between the innovative thinking of the designer and the applications of artificial intelligence in the design of drama costumes and decorations

A comparative analytical study between the innovative thinking of the designer and the applications of artificial intelligence in the design of drama costumes and decorations

Olympic Ceremonial Costume in the Context of Cultural Expansion/Occupation: Defining the Concept

The purpose of the article is to form the conceptual and terminological component of the study of the Olympic ceremonial costume in the context of cultural expansion. The research methodology involves the use of general logical methods of objective analysis of the design of the Olympic ceremonial costume and analysis of scientific sources, which became the basis for the formation of the conceptual and terminological apparatus of the study. The scientific novelty consists in the fact that, for the first time in the scientific field, an attempt has been made to form a conceptual and terminological apparatus for the study of the Olympic ceremonial costume in the context of cultural expansion. Conclusions. The Olympic ceremonial costume is a transmitter of iconic and symbolic messages that reflects the essence of a country’s culture and serves as a means of its presence at international competitions. Unlike professional sports equipment (uniforms), the main function of this costume is to demonstrate the country’s culture. Given the specifics of the Olympics, designing a costume for the Parade of Nations is a creative endeavour that reflects the historical state of the era – its political, economic, cultural, and social context. The Olympic ceremonial costume is not only a fashion product but also an object of art history, with the help of artistic and informational identification, it reproduces the state of society in its certain historical context. The conceptual and terminological apparatus is a fundamental component of any research. The absence of definitions of concepts leads to a “blurring” of the meanings of the terms used, allows for situational speculation, and makes it impossible to implement mechanisms to bring to justice propaganda adherents who use visual language as a means of instilling the necessary narratives of the political order of a country pursuing an expansionary policy. Cultural expansion, within the framework of which the Olympic ceremonial costume is studied, is part of the subversive activities of the stage of demoralising the enemy. This phenomenon is characterised by the promotion of false information messages in a cultural product, the implementation process of which does not have a specific time frame. Cultural expansion is realised through diffusionism, appropriation, and extrapolation of the cultural heritage of one state by another and has an official or unofficial character, which is a threat to national security in the field of culture and information.

Research on the design and presentation of traditional ethnic costumes based on virtual reality technology

Abstract In this paper, the 3D model of the human body is drawn, and the 3D transformation in the 3D garment piece design is realized by using the inverse mapping of 2D screen coordinates to 3D model coordinates. Then, the technique of virtual presentation of traditional ethnic clothing is studied, alternating the left and in-eye views and using the overlap of calculation to optimize the calculation to achieve a three-dimensional display. The virtual design and presentation effects of traditional ethnic costumes were assessed through a comprehensive comparison, sensory experience, interactive experience, emotional experience, and cognitive experience. The results showed that the regression coefficients of cognitive experience, sensory experience, interactive experience, and emotional experience of the virtual design and presentation of costumes were 0.98, 0.875, 0.993, and 0.996, respectively, which were 0.506, 0.36, 0.11, 0.161, and 0.048 more than the regression coefficients of the traditional display method in each dimension. This study provides the theoretical basis for combining traditional costumes with virtual technology.

Blending Eclecticism and Specificity: The Art of Nollywood Epic Film Costumes

This research explores the unique approach to costume design in Nollywood, the Nigerian film industry. It focuses specifically on the epic film genre and discusses how Nollywood costume designers blend a variety of cultural and historical influences to create costumes that are both authentic and visually striking. It argues that this approach to costume design reflects the eclecticism and diversity of Nigerian culture while also highlighting the specificity and hybridity of the ethnic costumes represented in the film. Drawing on a close analysis of costume designs in Fred Amata’s Ijele (1999) and Kingsley Orji’s Eyes on the Throne (2019), the article offers insights into the creative processes and cultural context that inform this distinctive style of costume design. It uses the cultural hybridity theory by Bhabha Homi to explore the unique approach to costume design in films. Ultimately, the article demonstrates the importance of costume design in Nollywood epic films and argues that it plays a crucial role in constructing the visual and narrative world of these films

The Clothes Make the Woman: How Fashion Informs the Comedic Identity of Schitt’s Creek’s Moira Rose

The Canadian television comedy Schitt’s Creek (2015–2020) tells the story of the Rose family after they are reduced to poverty through the machinations of a criminal business manager and must take up residence in a small town. The series relies heavily on costuming to illustrate the personalities of persons on both sides of the urban/rural divide, especially in the case of Moira Rose. From the first moment we see her, hysterical as she packs her wigs, we understand she is a woman of fierce individuality with a wealth of personality and presence. While viewers may at first see Moira’s clothes as ridiculous, it becomes apparent that, while outlandish and bold, they are also a statement to the town and the world that Moira Rose will not lose hope. Using Kathleen Rowe Karlyn’s concept of excess, this article examines the role costuming plays in the creation of Moira Rose. In addition, by examining the costume design and philosophy in several sitcoms from the 2010s, we see that Schitt’s Creek is not alone in using clothing to set the stage for characters’ stories and personalities, and that costuming plays a significant role in providing meaning and messaging to the situation comedy.

The guiding effect of clothing design assisted therapy based on Chinese elements on young patients with autism

BackgroundAutism disorder (ASD) affects social, communication and behavioral patterns and appears in childhood. Although many interventions for autism have been developed, effective approaches to improving social adaptation and quality of life remain challenging. The integration of Chinese cultural elements, especially clothing design, may provide new ideas for the rehabilitation of autistic youth.Subjects and MethodsThe study included 30 autistic young people aged 18-25, who were randomly divided into the experimental group and the control group with 15 people each. The experimental group received 12 weeks of Chinese element costume design adjuvant therapy, including traditional costume making and cultural learning. The control group received social skills training. Stress response and cognitive status were evaluated with SASRQ and 3D-CAM. SPSS23.0 statistical analysis and independent sample T-test were used to compare the differences between the two groups.ResultsAfter treatment, the scores of the Stanford acute stress response questionnaire in the experimental group were significantly lower than those in the control group (P<0.05), indicating that their stress response had been alleviated to some extent. On the 3-minute disorder assessment scale, the cognitive status score of the experimental group was also significantly better than that of the control group (P < 0.05), indicating that the cognitive function had improved.ConclusionsChinese element clothing design assisted therapy actively reduces stress response and enhances cognitive state. Traditional costume design and cultural learning improve emotional management and cognition. Innovative psychological intervention supports the comprehensive treatment of autism, and cultural integration therapy is supported by empirical evidence.

2023 Scholars’ Roundtable

The 2023 CSA Scholars’ Roundtable focused on the role of collaboration within teaching, learning, costume design, and museum practice. The scholars reflected on the challenges, successes, opportunities, and failures encountered when engaging in collaboration. This report is based on an edited and condensed transcript of the authors’ panel presentation and summarizes the audience’s comments and discussion.

Manifestation of Aesthetical Values in Traditional Design for JKKN ‘Makyung’ Costumes in Kelantan Based on its Sociocultural System

In Kelantan, the traditional pattern that existed in the designing the costumes for ‘Makyung’ exhibits the combination of organic and geometric styles. This balances and reinforces every produced design. The use of aesthetical values in designing patterns with underlying decorations is directly created to mirror the activities within its social community through resources that reflect their customs and culture. Based on the displayed designs, we can learn one branch in JKKN’s ‘Makyung’ performances in Kelantan. The research on the conservation of aesthetical values in designing traditional pattern for ‘Makyung’ costumes is a qualitative research, carried out descriptively through observing and analysing the performances, as well as interviewing the costume designer which entails the analysis of aesthetical and sociocultural values to explain the connection and role of the traditional designs in the costumes. The result of this study on the conservation of aesthetical values will be able to help the society to understand the development of ideas, creativity, aesthetical values, and meaning in every performance as well as the factors that support the process of designing traditional patterns for JKKN’s ‘Makyung’ costumes in Kelantan based on its sociocultural system.

Kostum Tjokroaminoto dalam Mendukung Setting Ruang dan Waktu pada Film Guru Bangsa: Tjokroaminoto

Costume design is an important part of artistic direction and plays a crucial role in supporting a film's setting and time period. This study focuses on the costumes worn by the main character, Tjokroaminoto. The film's setting ranges from Tjokroaminoto's teenage years to his adulthood, and the costumes used create an authentic atmosphere during that time period. The research method used is qualitative research, using primary and secondary data sources obtained from interviews, observations, and literature studies. After the data is collected, data analysis is carried out through the process of reduction, presentation, conclusion drawing, and verification. The results show that the film's historical setting, "Guru Bangsa: Tjokroaminoto," is effectively conveyed through the costumes worn by the characters, which help to express space, time, social status, and three-dimensional character. Tjokroaminoto's costume consists of several parts such as basic clothing, headwear, bodywear, footwear, and accessories. The costume worn by Tjokroaminoto portrays a priyayi who comes from the Javanese region with a division of the time period when the story takes place.

Shaping Costumes From Laces on the Fibonacci Numbers Basis

Thanks to the large-scale development of technological processes in the fashion industry, favorable opportunities are created for experimenting with the textures and textures of suits, as well as the suit models themselves. Lace, being part of the traditional culture of many countries and peoples, is still perceived by most people as an authentic material with which it is impossible to make any changes in order to avoid the destruction of traditions. The authors of the study Zelenova Yu. and Zelenova N. the goal was to improve the technology of creating lace and approaches to designing suits from lace, which will change the attitude towards lace among professionals and admirers of the fashion industry. The objectives of the study included the study and application of mathematical laws in the artistic design of lace costumes, which are always justified in terms of rational production and positive perception by consumers. Successful and popular costume models are always designed based on the mathematical proportions of the golden ratio. In our study, the golden section ‘Fibonacci series’ is used, with the help of which lace modules were developed, from which costumes were created in the Ariadne author’s lace collection (authors Zelenova Yu., Zelenova N., 2017-2019). The modular technique, on the basis of which the Ariadne author’s collection was developed, allows you to create various lace textures and forms of lace suits, achieving an unlimited variety of combinations from a small number of options. Thus, the modular technique for designing lace suits underlies the transformative shaping of lace suits, which is the most promising direction for the development of the use of lace in a suit in the near future.

Bodylab

Bodylab is a virtual reality system for creating full-body virtual reality avatars. It provides anatomically realistic mannequins as canvases, which can be painted and textured, sculpted and deformed, adorned with objects and animated with particle effects. The artist can work from a first or third person perspective, and variety of interaction modalities are made available. To assess the system, we invite costume designers and theatrical artists to provide expert reviews. We also describe the use of Bodylab in a live dance performance. We believe Bodylab to be the first virtual reality tool for in virtuo painting and sculpting of full-body avatars.