Learn how to create historically accurate costumes for Elizabethan period productions with Elizabethan Costume Design and Construction! Extensive coverage of a variety of costumes for both men and ...women of all social classes will allow you to be prepared for any costuming need, and step-by-step instructions will ensure you have the know-how to design and construct your garments. Get inspired by stunning, hand-drawn renderings of costumes used in real life productions like Mary Stuart as you're led through the design process. Detailed instructions will allow you to bring your designs to life and create a meticulously constructed costume.
Traje, the brightly colored traditional dress of the highland Maya, is the principal visual expression of indigenous identity in Guatemala today. Whether worn in beauty pageants, made for religious ...celebrations, or sold in tourist markets, traje is more than "mere cloth"—it plays an active role in the construction and expression of ethnicity, gender, education, politics, wealth, and nationality for Maya and non-Maya alike. Carol Hendrickson presents an ethnography of clothing focused on the traje—particularly women's traje—of Tecpán, Guatemala, a bi-ethnic community in the central highlands. She covers the period from 1980, when the recent round of violence began, to the early 1990s, when Maya revitalization efforts emerged. Using a symbolic analysis informed by political concerns, Hendrickson seeks to increase the value accorded to a subject like weaving, which is sometimes disparaged as "craft" or "women's work." She examines traje in three dimensions—as part of the enduring images of the "Indian," as an indicator of change in the human life cycle and cloth production, and as a medium for innovation and creative expression. From this study emerges a picture of highland life in which traje and the people who wear it are bound to tradition and place, yet are also actively changing and reflecting the wider world. The book will be important reading for all those interested in the contemporary Maya, the cultural analysis of material culture, and the role of women in culture preservation and change.
Theatrical costume constitutes a peculiarity in the theatrical performance because of its ability to communicate and communicate with the rest of the visual elements of the show in highlighting the ...intellectual and dramatic values. Fashion developments in theatrical performance, the second: the design elements of costumes and their characteristics, the third, which includes research procedures, and the fourth, in which the research results and conclusions were presented, including:
The play (Happening on the Farm) is considered one of the plays with educational, educational and aesthetic goals, as it carried in its formats the features of simplicity and diversity of the visual formal connotations of the child.
The costume designer has an important role in communicating the idea of the play and its contents and conveying its connotations as well as his imaginative and innovative ability, by dealing with the nature of the material or material and designing it in accordance with the viewers of the show. The study concluded with sources and appendices.
After toppling the Ming dynasty, the Qing conquerors forced Han Chinese males to adopt Manchu hairstyle and clothing. Yet China's new rulers tolerated the use of traditional Chinese attire in ...performances, making theater one of the only areas of life where Han garments could still be seen and where Manchu rule could be contested. Staging Personhood uncovers a hidden history of the Ming-Qing transition by exploring what it meant for the clothing of a deposed dynasty to survive onstage. Reading dramatic works against Qing sartorial regulations, Guojun Wang offers an interdisciplinary lens on the entanglements between Chinese drama and nascent Manchu rule in seventeenth-century China. He reveals not just how political and ethnic conflicts shaped theatrical costuming but also the ways costuming enabled different modes of identity negotiation during the dynastic transition. In case studies of theatrical texts and performances, Wang considers clothing and costumes as indices of changing ethnic and gender identities. He contends that theatrical costuming provided a productive way to reconnect bodies, clothes, and identities disrupted by political turmoil. Through careful attention to a variety of canonical and lesser-known plays, visual and performance records, and historical documents,Staging Personhood provides a pathbreaking perspective on the cultural dynamics of early Qing China.
One way of creating a theatrical costume is called flat patterning. This is when a costume designer uses a pattern made to the wearer's measurements to cut out and sew together a costume. In many ...cases flat patterning is the more appropriate method for creating a period costume - skirts, pants, and sleeves, for example. However, working in two-dimensions often does not translate correctly onto a three-dimensional dress form or person. Often a designer will need to tweak style lines on a garment once they see it worn, or a costume will need a quick adjustment right before going on stage. In those cases, designers need to know how to correctly drape a costume. Draping is also the best way to construct a period costume right from the start. The construction of garments in earlier centuries often constricted movement, especially in the area of the armhole. The very different size and proportions of contemporary people compared to those in previous centuries makes the use of period patterns difficult. A well-draped garment can give the impression of period accuracy while permitting the wearer greater freedom of movement. Having a mock-up pinned to the form in its early stages is quicker and easier to adapt than drafting a flat pattern, cutting it out of muslin and sewing it. It also provides the opportunity for greater creativity and adaptation as well as a better understanding of what fabric will and won't do.
In Draping Period Costumes, Sharon Sobel explains in step-by-step detail the basics of draping and demonstrates the use of those basic skills in the creation of a representative selection of period costumes from a variety of time periods. Chapters are broken into time periods and have two parts: an analysis of how clothing was made and worn during that specific time period, and detailed instruction on draping techniques to construct the costume. Copiously illustrated, images allow this visual audience to easily follow along with detailed instruc
Through lavishly illustrated and richly detailed case studies, Dressing with Purpose critically explores contemporary themes within traditional dress movements in Scandinavia, from the ongoing ...legacies of nationalism and colonialism to the transformations brought by feminism, environmentalism, immigration, tourism, and indigenous rights.
Over the past 40 years, Japanese designers have led the way in aligning fashion with art and ideology, as well as addressing identity and social politics through dress. They have demonstrated that ...both creative and commercial enterprise is possible in today's international fashion industry, and have refused to compromise their ideals, remaining autonomous and independent in their design, business affairs and distribution methods. The inspirational Miyake, Yamamoto and Kawakubo have gained worldwide respect and admiration and have influenced a generation of designers and artists alike. Based on twelve years of research, this book provides a richly detailed and uniquely comprehensive view of the work of these three key designers. It outlines their major contributions and the subsequent impact that their work has had upon the next generation of fashion and textile designers around the world. Designers discussed include: Issey Miyake, Yohji Yamamoto, Rei Kawakubo, Naoki Takizawa, Dai Fujiwara, Junya Watanabe, Tao Kurihara, Jun Takahashi, Yoshiki Hishinuma, Junichi Arai, Reiko Sudo & the Nuno Corporation, Makiko Minagawa, Hiroshi Matsushita, Martin Margiela, Ann Demeulemeester, Dries Van Noten, Walter Beirendonck, Dirk Bikkembergs, Alexander McQueen, Hussein Chalayan and Helmut Lang.
Queen Alexandra used clothes to fashion images of herself as a wife, a mother and a royal: a woman who both led Britain alongside her husband Edward VII and lived her life through fashion. Inside the ...Royal Wardrobe overturns the popular portrait of a vapid and neglected queen, examining the surviving garments of Alexandra, Princess of Wales – who later became Queen Consort – to unlock a rich tapestry of royal dress and society in the second half of the 19th century. More than 130 extraordinary garments from Alexandra's wardrobe survive, from sumptuous court dress and politicised fancy dress to mourning attire and elegant coronation gowns, and can be found in various collections around the world, from London, Oslo and Denmark to New York, Toronto and Tokyo. Curator and fashion scholar Kate Strasdin places these garments at the heart of this in-depth study, examining their relationships to issues such as body politics, power, celebrity, social identity and performance, and interpreting Alexandra's world from the objects out. Adopting an object-based methodology, the book features a range of original sources from letters, travel journals and newspaper editorials, to wardrobe accounts, memoirs, tailors' ledgers and business records. Revealing a shrewd and socially aware woman attuned to the popular power of royal dress, the work will appeal to students and scholars of costume, fashion and dress history, as well as of material culture and 19th century history.
In order to determine dynamics and causes of transformation of everyday dress into a festive costume, specifics and functions of the women’s costume of the Khanty and Mansi have been studied. Towards ...this, the comparative-typological method was employed to study the costume composition, its local features, and differences with respect to the traditional everyday dresses, and the functions of the costume were determined. The study is based upon the materials of ethnographic expeditions carried out in the 1990s–2010s in the regions occupied by the Ob Ugric population (North-West Siberia and Northern Trans-Urals). It has been ascertained that the festive costume commonly comprised a dress, a breast decoration, and a shawl, and in its local variants it was complemeted by other items. The costume was all-season and had common and local elements. The common elements include multi-completeness (it consists of several items), variability according to weather conditions, use of silk and woolen fabrics and beads. The local specifics are manifetsed in the costume composition, silhouette variability, and techniques of decoration. In the end of the 20th — beginning of the 21st century, traditional clothing of the Khanty and Mansi changed in the appearance due to the use of modern synthetic materials (it changed the colour, sillhuette, means and techniques of decoration) and became merely festive. To the large extent those changes were caused by the industrial development on the territory occupied by the Ob Ugric population in the last quarter of the 20th century, and later by the cultural, social, and economic transformations in Russia. The range of use of the traditional clothing shrank due to the spread of factory-made clothing. The growing interest to the ethnic culture stimulated demand for the national costume. It has become made from import synthetic fabrics, because the home-produced cotton fabrics disappeared from the shops. New fabrics changed the appearance of the clothing and its function, as it became merely festive.
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