Form Of Costume Research Articles

Prozodezhda as costume: The function of dress and the actor on Meyerhold’s stage

Prozodezhda, or ‘production clothing’, arose in the early Soviet Union amid the post-1917 enthronement of the proletariat as the Soviet nation’s hero. Loose and practical clothing that evokes the dress of labourers, it found traction in the theatre, where Vsevolod Meyerhold famously used prozodezhda in his constructivist productions The Magnanimous Cuckold, of 1922, and The Death of Tarelkin, also of 1922. Prozodezhda as costume, because of its functionality, easily lends itself to an ideological reading in line with the socialist avant-garde’s post-revolutionary efforts to embrace Soviet principles. But an emphasis on the ideological significance of prozodezhda often occludes careful investigation of its aesthetic function and heritage, including its place in modernist costume history. Prozodezhda was very much a new and radical form of costume in line with other modernist experiments, but it seems to facilitate attention to the physical and expressive skills of the performer, rather than to treat the actor as an obstacle that must be concealed, constrained or inhibited. It thus challenges narratives of modernist fragmentation of the human, or it even attempts to overcome this fragmentation in itself by restoring to a modernist aesthetics the possibility of movement that celebrates the wholeness of the human body. It further joins in the modernist resistance to naturalism, character and figural representation, but it does so, curiously, through mimetic reference to the Soviet labourer. My argument relies on analysis of production and costume design images, as well as of primary writings by Meyerhold and his collaborators, by costume designers and by poet and costume theorist Mikhail Kuzmin. I show that prozodezhda draws attention to the fundamental question of the purpose of acting, a question that is particularly potent given the political stakes of theatre in the early Soviet era.

Princezny z Hájku. K problematice elity ve střední době bronzové

The topic of this study is the possibilities of archaeological identification of the local elite in the Bronze Age. We‘re targeting the female elite, who are characterized by a particular form of costume. In a case study of the barrow cemetery of Šťáhlavy – Hájek, we are trying to show that the elite status of women in the Bronze Age was not based on their personal qualities, but rather on their affinity with an elite family. Their social status may therefore have been hereditary. On the other hand, it turns out that certain particularities of the costume (different types of necklaces, etc.) may point to different origins of women and thus the exchange of female partners within the wider elite community.

Pengkajian Gaya Busana Tari Jaipongan Karya Sang Maestro

This study discusses the form of jaipongan dance costume which aims to obtain data from the form of jaipongan dance costume and the characteristics of each style of the jaipongan costume based on the themes. This study uses descriptive analysis method, where the researcher can describe and elaborate the findings with the existing literature. In this research, there are three categories of jaipongan costume work by Gugum Gumbira which are distinguished through the theme of the created dance. From the different themes, it can be concluded that the jaipongan dance work by Gugum Gumbira has its own characteristics from the choice of costume colours to the forms of the costume that are comfortable to wear. Also, the costume prioritizes the essence of the jaipongan dance movement.

Marie Antoinette의 초상화를 통해 본 18세기 후기 여성 복식의 변화와 계몽주의 사상 - 1770-1793을 중심으로 -

This thesis takes an aim to investigate the relationship between the costume and enlightenment ideology by studying the change of costume, and reviewing the portraiture of Queen Marie Antoinette. The method of this research is to select the 29 pieces among the portraitures from 1770 to 1793, and to analyze the headdress, shape of robes and ornaments. The results are as follows. The first period(1770-1774): The costume in this period of Dauphin of France is described as vivid, and simple like her characters, and also represents her active lifestyle. The ideology of equality between the two sexes from the enlightenment slightly influence the costumes seen inside the portrait of Dauphin. The second period (1775-1779): This is the early period of the Queen`s enthronement and also before her childbirth. The relatively small number of portraits showed her as an authoritative figure because her skirts were expanded with huge panier, the waist were tightened with corset, and her headdress was enlarged. Thus, this period could not be defined as the one of enlightenment philosophies in light of the persistent unsanitary construction of costumes distorting the body. The third period(1780-1789): There are many portraits depicting the Queen and her children. It is noteworthy that the English style picturesque garden was illustrated as a background while the costume was simple and sanitary, both being affected by the enlightenment. The last period(1789-1793): This is the period between the French revolution and the death of the Queen. The form of costumes was transformed into the neoclassic style, headdress was reduced in size, and was simplified as a result of complete change of costume for the enlightenment. This research is to be interpreted as a tool of study about the relationship of costume, society and ideological streams and also be a means of elucidating the contemporary times in view of the past ones.

사산조 초기 아르다시르 1세 부조에 묘사된 복식 연구

The purpose of Sassanian dynasty was to succeed the civilization of Achaemenid dynasty but it shows vestiges of Parthian civilization in many ways. This study is an attempt to take a look at Sassanian civilization through analyzing these rock reliefs since these features are shown on the rock relief of Ardashir I in early Sassanian Iran. The way carried out this study was first, to collect and search documentary data to establish the theoretical background, and collect positive data by exploring this region and then we comparatively analyzed the two data in general and the result is the following: The form of costume is different according to the person's status. In the early period of Ardashir I the costume style of the royals is reflected by clothes such as tunic, trousers in parthian style. However, trousers do not have vertical pleats which are commonly shown in the case of parthian trousers. It assumed that after the early period of Ardashir I, Sassanians formed their own styles. The form of cap is also different according to the person's status. Ardashir I and the Ahura mazda god put on crown and Korymbos which symbolized the sovereign power. Except the king and the god, the prince and the king's vassal put on high caps called Kolah. Diadem which symbolized sovereign power of king was used by the king, the god and the crown prince. There are two kinds of diadem. The first form has vertical pleats and the other does not have pleats. This form became different depending on the social position. The form of hairstyle is generally thick curly hair which goes down until the shoulder. There is no difference in their hairstyle in terms of the social position. The beard style is generally in the form of scoop. There is also no difference in terms of the person's status.

Vermeer's Robe: Costume, Commerce, and Fantasy in the Early Modern Netherlands

An important feature of shifting boundaries and identities in Dutch visual culture of the seventeenth century is the representation of costume. An intriguing example is the japonsche rok or simply japon, the Japanese silk robe portrayed, most famously, by Vermeer's Astronomer and Geographer. These rare spoils of Asian trade were first presented annually by Japanese shoguns to VOC officials and thereafter were made available as Western copies. By the end of the seventeenth century, similar robes made of chintz or batik, also known as banyans, were imported from India and went through the same transformation to domestic product. All of these long, loose garments possessed a novelty and cachet unmatched by more abundant imports such as spices, lacquer, porcelain, and precious metals.In art, forms of Asian dress appear not only in portraits of prominent men but also in genre images of scientists and scholars. The resemblances among these garments suggest that Vermeer and other seventeenth-century Dutch painters developed a generic form of costume specifically for portraying men of learning. Scholars, scientists, and doctors, as well as artists, are depicted in variations, or combinations, of Asian and Western garments, mingling associations of imported luxury, work, education, and the classical past. The type of the robed scholar/distinguished man, displayed in portraiture and genre alike, offers a fantasy of class, intellect, and materialism. Its representation in art creates an interplay between exotic consumption and artistic invention, fuelled by the unprecedented power of global trade.

A Study on the Costume of Arts in the Russian Constructivism- Focused on Tatlin, Rodchenko, Stepanova & Popova -

Russian Constructivism, which took the lead in the Russian trend of art until the late 1920's, was influenced by European Cubism and Futurism. Breaking away from the previous realistic tendency, Russian Constructivism, to meet the ideology of the revolution, insisted the Art into Street and the Art in Industry with its abstract and geometric design. Russian Constructivism effected paintings of mid 1920's, as well as Industrial design and costume design. This operated remarkable changes in Russian form of costume and textile area. An unusual situation like revolution had provided the social justification to develop a new costume design not for the special class of people, but for the general public. In this atmosphere, the plan of clothing mass production began to progress. Although the Russian Constructivism costume of arts shows the similarity in the trend of fashion and the physical forms of those days, its fundamental idea in manufacturing costumes was 'to create costumes to be possible to mass-produce and to be wearable to anyone regardless of the social class'. Therefore, Constructivism costume of arts pursued dynamism and geometric form through non-objective design that has broken away from the handcrafted and traditional standards of the past. These distinct characteristics served as a momentum to seek costume design based on productivity and functionality.