Sewing Pain: Using Costume To Bring The Clinical Body Forward

This article looks at how memory of pain and physical change provoked by surgery can be translated into costume design (understood as an extension of the performer’s body in action). My main question is in what way the construction of a performer’s secondary skin—bringing her wounds outward and forward through the sculpting of fabric into form, texture and color—can mediate between performer and spectator and shape her extended body. By making the performer’s embodied knowledge visible through costume, costume is used to enlarge her capacity for expression. Gesture and movement are central to a costume designer’s creative process. In the case of Anticorpos we were working also with actress Isabel Craveiro’s personal memories of body change. It was crucial that the design incorporated the performer’s verbal and sensual account of the multiple surgeries she had been subjected to over the course of 4 years. As she made these visible through action, I used them to inform the costume design which in turn allowed her to choose what to show and when. Fabric would at times constrain her body into a new shape, at other times expand her gestures.

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THE HISTORICAL/ CULTURAL INFLUENCES ON STAR WARS CHARACTER QUEEN PADME COSTUME DESIGN

Journal of Art & Architecture Research Studies - JAARS ◽

10.47436/jaarsfa.v1i1.22 ◽

2020 ◽

Vol 1 (1) ◽

pp. 142-155

Author(s):

Marwa Auda

Keyword(s):

Creative Process ◽

Cultural Influences ◽

Costume Design ◽

Star Wars ◽

Character Design ◽

Design Idea

The research is about the role of the costume designer and the extent of its effectiveness in achieving the balance between character design that reflects the ideals and goals of movie, and finding the appropriate reference, whether historical or civilized influence, through the design idea on which it is based. For example, the research was taken from the costume design of the star wars movie in a condition that applies to the elements of a suitable design and limited the analysis On Queen Padmé character from the series of star wars movies, the research mentioned three costumes that appeared during the film; throne room gown with its elements inspired in the creative process of design, the lake gown, and the travel gown with its details which Inspired by different civilizations like old historical Russian dress.

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Creative Design of Decorative Additions in Fashion Design

Journal of Techniques ◽

10.51173/jt.v2i2.176 ◽

2020 ◽

Vol 2 (2) ◽

pp. 38-45

Author(s):

Salah Abed alganee Abed alganee hussen ◽

Faten Ali Hussien

Keyword(s):

Creative Process ◽

Analytical Approach ◽

Costume Design ◽

Fashion Design ◽

Base Form ◽

Predominant Form ◽

Fashion Designer ◽

Formative Variables ◽

Creative Role

The decorative additions were a distinctive part and a prominent place in fashion design, which produced variants in the context of the form of supplements, whose parts are associated with the design of the costume. The presence of decorative additions may be excessive and may be taken as a predominant form, depending on the creative level of the designer in relation to the physical composition of the addendum, its type, location and methods of showing it in the fashion design of women. "What is the role of decorative additions and their effectiveness in fashion design? Objective of the research: "Know the creative role of decorations additions by revealing the vocabulary of addition and modalities in the design of women's fashion for the fashion designer (Zuhair Murad). " The theoretical framework included: decorating in fashion design, adding decorating as a creative process.. The research followed the descriptive-analytical approach, and the sample of the research was chosen intentionally, represented at the level of show and methods of creative formation of decorative additions in fashion design. The research reached the most important results such as the applied structural designs within the structure of the costume, using the cuttings, the folds and the collars as an additive associated with the construction of the uniform, emerged as formative variables of the same cloth material. And the simplistic addition showed that decoration retain the base form of the uniform, while the other showed the existence of multiple and complex decorative materials, both showing the correlation of the shape of the content in the costume design.

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Behind the Scenes: Costume Design for Television: There are Many Things you Don't Know About the League of Gentlemen

VIEW Journal of European Television History and Culture ◽

10.18146/2213-0969.2013.jethc041 ◽

2013 ◽

Vol 2 (4) ◽

pp. 15

Author(s):

Gamze Toylan

Keyword(s):

Design Process ◽

Creative Process ◽

Costume Design ◽

Television Production ◽

Award Winning ◽

Insight Into ◽

Shed Light

Focusing on the award winning costume designer Yves Barre’s work for The League of Gentlemen (BBC, 1999-2002), this article explores the role of the costume designer in television production. Using an anthropological method that combines original interviews with Barre, Steve Pemberton (one of the writer/performers) and Jon Plowman (the executive producer) as well as second hand material such as DVD extras, the article provides insight into the show’s creative process. The underlying objective is to shed light on the costume design process – an understudied stage of television production.

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A Creative Process in the Art of Costume Design

Clothing and Textiles Research Journal ◽

10.1177/0887302x9000900104 ◽

1990 ◽

Vol 9 (1) ◽

pp. 27-36 ◽

Cited By ~ 5

Author(s):

Albert Rothenberg ◽

Robert S. Sobel

Keyword(s):

Creative Process ◽

Costume Design

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A Theoretical Framework for the Creative Process of Theatrical Costume Design for Historically Set Productions

Clothing and Textiles Research Journal ◽

10.1177/0887302x18796320 ◽

2018 ◽

Vol 37 (1) ◽

pp. 35-50 ◽

Cited By ~ 1

Author(s):

Sara Jablon-Roberts ◽

Eulanda Sanders

Keyword(s):

Data Analysis ◽

Creative Process ◽

Symbolic Interactionism ◽

Costume Design ◽

Role Playing ◽

Theoretical Framework ◽

Production Factors ◽

Historical Accuracy

Millions of Americans see theatrical productions every year, each with performers clothed via costume design. The purpose of this study was to systematically examine the creative process of costume design for historically set theatrical productions. Sixteen Broadway costume designers were interviewed. Data analysis revealed that though each designer and every production is different, these costume designers approached historically set productions similarly. They believed that the presentation of history is essential, but they have their own inclination toward historical accuracy. Guided by their inclinations, they designed costumes by considering three independent production factors (applicability, attainability, and performability) and implementing four iterative strategies (incubation, research, role-playing, and historical manipulation). Through these findings, the authors developed a theoretical framework for the creative process of costume design for historically set productions. Semiotics and symbolic interactionism were applied. Analysis showed that both were unconsciously embraced by the contemporary Broadway costume designers who participated in this study.

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