Symbol, costume, compass: "synthetic apparel" for transcultural experiences

Virtual design concerns itself with artifacts which are purchased and consumed solely within the online, participatory virtual worlds in which they are created: Edward Castranova estimates the revenue generated by current virtual economies, which are based upon the trade of such virtual artifacts to be in the ballpark of several billions of US Dollars per annum. Of further interest is the fact that despite the severe recessions which their physical counterparts have undergone in recent times, virtual economies seem to show a steady upward trend of growth. Although the present state of health of virtual economies is of significance when examining the relevance of virtual design, what is also of interest is an exploration of virtual artifacts as a means for establishing cultural bridges. These bridges may manifest themselves not only between virtual worlds and the real world, but also between diverse cultures within the physical world itself. The virtual design object is freed from many of the constraints of its physical counterpart as far as functionality, utility and ergonomics are concerned. Virtual objects are utilized for fantastical, playful activity inside virtual worlds and as such it would be appropriate to examine their ultimate function as the messengers of novel amalgamated ways of being; and indeed as pathways between cultures and cultural identities

Debating critical costume: negotiating ideologies of appearance, performance and disciplinarity

In this article, I present an argument for a proposed focus of ‘critical costume’. Critical Costume, as a research platform, was founded in 2013 to promote new debate and scholarship on the status of costume in contemporary art and culture. We have now hosted two biennial conferences and exhibitions (Edge Hill University 2013, Aalto University 2015). These events have exposed an international appetite for a renewed look at how costume is studied, practised and theorized. Significantly, Critical Costume is focused on an inclusive remit that is interdisciplinary and supports a range of ‘voices’: from theatre and anthropology scholars to working artists. In that regard, I offer an initial argument for how we might collectively navigate this interdisciplinary field of practice with reference to other self-identified critical approaches to art and design. By focusing on an interdisciplinary perspective on costume, my intention is to invite new readings and connections between popular practices, such as Halloween and cosplay, with the refined crafts of theatrical and film professionals. I argue that costume is a vital element of performance practice – as well as an extra-daily component of our social lives – that affords distinct methods for critiquing how appearance is sustained, disciplined and regulated. I conclude by offering a position on the provocation of critical costume and a word of caution on the argument for disciplinarity

Historical Costume Simulation

The aim of this study is to produce accurate reproductions of digital clothing from historical sources and to investigate the implications of developing it for online museum exhibits. In order to achieve this, the study is going through several stages. Firstly, the theoretical background of the main issues will be established through the review of various published papers on 3D apparel CAD, drape and digital curation. Next, using a 3D apparel CAD system, this study attempts the realistic visualization of the costumes based on the establishment of a valid simulation reference. This paper reports the pilot exercise carried out to scope the requirements for going forward

Archive, Stage and Private Values: Textile, Dress and Costume

The teaching team on the Costume with Textiles BA at the University if Huddersfield proposes a 20 minute panel comprising of three research project presentations which take different approaches to exploring and documenting the communication of meaning through dress in performance. Although the three research projects focus individually on specific facets of costume and textiles, and use different creative and unusual methodologies to explore them, we have identified overlaps in the investigation of the historical, social, anthropological, physical and psychological aspects of cloth and costume design and making. The projects intersect at the point of their potential impact in higher education and consequent value for the performance industry in general, where the significance of the contribution of costume design in storytelling often still goes unrecognised. It is a noteworthy occurrence that for the first time in Western social history Costume Designers are beginning to become household names to audiences (such as Janie Bryant and Colleen Atwood), and the broad body of knowledge in these three projects together (from cloth creation to garment and character design and making to data collection and archiving) could at the same time impact upon and enhance the understanding in academia of the value of ‘costume’ as a burgeoning research area for which there is currently very little academic scholarship in existence, indeed, a ‘vacuum in discourse on costume’ (Barbieri, 2012)

From made in Italy to etno-chic. Some thoughts on costume design in contemporary Italian cinema (class, gender and national identity)

This article outlines an overview of the relationship between costume and film in contemporary Italian cinema, with particular reference to class, gender and ideological discourse. Considering Italian film production in the last fifteen to twenty years, from popular film to auteur cinema, the article lays out the challenge of cultural stereotypes about ‘Made in Italy’ and its meanings in a global age. The significance of costume will be explored in terms of plot and character development, mise-en-scène and visuality, negotiating cinematic technique, film analysis and cultural interpretation. More specifically, and with particular reference to the work of Stephen Gundle, we investigate how costume design of male and female characters embodies national discourses such as nostalgia, male anxiety and the ideals of feminine beauty

From Dolls to Real Actors

Costume design is a perfect fit for Laurel Schultz ’07

Costume Designs for \u3cem\u3eAda and the Engine\u3c/em\u3e

This poster showcases costume designs for the Linfield Theatre November 2017 production of Ada and the Engine by Lauren Gunderson. The costumes for Ada and the Engine served many purposes within the production. They established period and character, illustrated the passage of time within the play, and connected the realistic and conceptual aspects of the production. Ada has five separate looks as she transitions from a debutante under her mother\u27s power to a strong woman who has come into her own. Incorporating binary and mathematical motifs in the fabric supported Ada\u27s journey and character relationships. In addition to her roles as wife, mother, and daughter, Ada grapples with what it means to be a brilliant mathematician at a time when women were seldom recognized for their intellectual achievements. Even though illness robbed her of much of her life, Ada’s contributions to computer science live on after her. Ms. Olson received a Meritorious Achievement Award from the Kennedy Center American College Theatre Festival for the costume design for Ada and the Engine. This poster was presented at the February 2018 Region VII Kennedy Center American College Theatre Festival Costume Design Competition in Spokane, Washington. There Ms. Olson received the Barbizon National Award for Excellence in Costume Design, winning an opportunity to represent the region at the National Kennedy Center American College Theatre Festival in Washington, D.C. in April 2018

Precious?

The costume industry regularly utilizes vintage clothing for performance in theatre and film. Reflecting on garments previously encountered during a career in this industry, the authors contemplate the lives and purpose of such items and their role within a working costume store. Discussion with professionals from various backgrounds evokes a wide range of questions and differing opinions surrounding the idea of value in this context, producing a subjective reaction with no definitive answer. This article contextualizes these questions through the study of a single item of historical clothing currently used as costume, encouraging the reader to consider how the value of such pieces is perceived. The concept of the costume stock room as an accessible, living archive is explored in relation to the recognized traditional archival structure of a museum store where conservation and preservation have priority

Eco-cosplay: Upcycling as a Sustainable Method of Costume Construction

This research addresses sustainability in the apparel industry from the specific perspective of repurposing materials for use in costume development. Repurposing discarded materials, also referred to as upcycling, is examined as a viable approach to waste management and evaluated for its impact on sustainability in apparel and textile production, especially in relation to costume development. Current issues in sustainability in the apparel industry that are a focus for this research include waste from production as well as post-consumer waste. The project includes the design and construction of two costume pieces based on a style of costume known as cosplay. Cosplay is a subculture of costume enthusiasts that dress up to resemble one or more characters from a fan universe. The rise of popularity in cosplay contiguous to upcycling is one reason the project combines the two concepts. Secondly, cosplay costume development can repurpose materials beyond textiles, such as plastics, glass, metal, and wood. Finally, many cosplay hobbyists may have budget constraints that can be resolved by purchasing materials to upcycle from resale stores. Resale stores are a source of materials because the maintenance of the discarded materials removes a portion of cleaning from the project. Results of the research are the established efficacy of upcycling in costume development as an approach to waste management, the determination of acceptable aesthetic quality of upcycled costumes, and general guidance for cosplay participants to follow with the intention to utilize as much repurposed or upcycled materials as individual skills allow

User-driven design of robot costume for child-robot interactions among children with cognitive impairment

The involvement of arts and psychology elements in robotics research for children with cognitive impairment is still limited. However, the combination of robots, arts, psychology and education in the development of robots could significantly contribute to the improvement of social interaction skills among children with cognitive impairment. In this article, we would like to share our work on building and innovating the costume of LUCA's robot, which incorporating the positive psychological perspectives and arts values for children with cognitive impairment. Our goals are (1) to educate arts students in secondary arts school on the importance of social robot appearance for children with cognitive impairment, and (2) to select the best costume for future child-robot interaction study with children with cognitive impairments