- Costume Designing for Hollywood and Bollywood
- The Indian Fashion Industry and Traditional Indian Crafts
- Fashion and Theatrical Design
- A Theoretical Framework for the Creative Process of Theatrical Costume Design for Historically Set Productions
- Scenography and Costume in Japanese Kabuki Theater: Traditions and Modernity
Summary:
This article is based on costume designing for both Hollywood and Bollywood. The term costume can refer to wardrobe and dress in general, or to the distinctive style of dress of a particular people, class, or period. One of the more prominent places people see costumes is in theater, film and on television. Costuming, thus, is the entire coordination of the activities related to the attire of the actors in the film/television/play etc to represent them in a way so that people can relate to the character they portray. With the aim of studying the role of costume designers for films, this study was conducted through an internet search as a tool to gather information on the history of costume designing for Hollywood and Bollywood films, work of famous designers, role of dressmen and ‘dresswalas’. Having done a literature review, similarities were traced and analyzed in the costumes of famous characters in movies with similar plots in Hollywood and Bollywood popular movies. This paper reviews the developments in one of the under looked areas in Indian film making - costume design in the Indian Hindi films. It also focuses on the issues related to the changing trends of well known fashion designers costuming the Bollywood actors.
- Khaire, M. (2011). The Indian Fashion Industry and Traditional Indian Crafts. The Business History Review, 85(2), 345–366. http://www.jstor.org/stable/41301395.
Summary:
This study documents the emergence of the high-end fashion industry in India from the mid 1980s to 2005. Drawn from oral histories, magazine articles, and several databases, the study demonstrates that the Indian fashion industry's unique identity, based on heavily embellished traditional styles rather than innovative Western-style cuts and designs, was the result of the actions of early entrepreneurs.
- Mundkar, S, and Maliyah Mistry. “Costume Designing for Hollywood and Bollywood.” Research Gate, Jan. 2015, www.researchgate.net/publication/272885405_Costume_Designing_For_Hollywood_and_Bollywood.
Summary:
This research endeavors to undertake a comparative study delving into the realms of fashion design and theatrical costume design. The primary objective is to explore the similarities, differences, and potential avenues for interdisciplinary exchange between these two captivating disciplines. By thoroughly analyzing the creative processes, influences, objectives, and execution methods employed within fashion design and theatrical costume design, this study aims to illuminate the interconnectedness and distinctive characteristics that define each field. To accomplish this, an extensive review of scholarly papers and diverse sources, including reputable journals and research publications, serves as the foundation of this research. By conducting a comprehensive analysis, key themes, theories, and findings emerge, providing valuable insights into the shared elements and divergent perspectives between fashion design and theatrical costume design. Furthermore, this research delves into the profound impact of cultural influences, historical contexts, and pragmatic considerations on the design processes and outcomes within both disciplines. By exploring these aspects, the authors gain a deeper comprehension of the underlying factors that shape and mold artistic endeavors within the realms of fashion and theater. Ultimately, the purpose of this study is to foster a heightened appreciation for the creative pursuits inherent in fashion and theater. By shedding light on the intricate nuances of these disciplines, we aspire to inspire novel possibilities for imaginative expression, propelling the boundaries of creativity even further.
- Sajib, Tanjibul, and Emmanuel Nizam. “Comparative Study on Fashion and Theatrical Costume Design.” Research Gate, July 2023, www.researchgate.net/publication/372221615_Comparative_Study_on_Fashion_and_Theatrical_Costume_Design.
A Theoretical Framework for the Creative Process of Theatrical Costume Design for Historically Set Productions
Summary:
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.
- Jablon-Roberts, Sara & Sanders, Eulanda. (2018). A Theoretical Framework for the Creative Process of Theatrical Costume Design for Historically Set Productions. Clothing and Textiles Research Journal. 37. 0887302X1879632. 10.1177/0887302X18796320.
Summary:
The article explores the history of traditional Japanese Kabuki theater, the stages of its formation and the basic principles of dramaturgy in retrospective and in modern times, the role and symbolic value of costumes, as well as the general features of theater performances. The modern trends of the theater were analyzed and issues of the space of its scene were investigated. Obvious conservatism of kabuki and its fundamental dissimilarity to the theater of the European model were noted. The process of evolution of the Kabuki theater was studied, which responding to the challenges of modernity, acquires new elements and features, together give rise to the fundamentally new phenomenon in the theatrical art. It has been determined that the logic of construction and development of the theater and stage space in Japanese traditional Kabuki theater derived from the need for specific interaction between the performer and the audience. With the formation of the theater, its audience expanded at the same time, in particular due to the privileged strata. The premises of the theater and its stage also evolved. Eventually, the design features of Kabuki theater space became not only a prominent element in the interaction between the performers and spectators, but also an important factor that predominantly determined the characteristics of dramaturgy. In Japanese Kabuki theater, such methods as makeup, hair pieces and costumes are simultaneously those means of expression that are necessarily included in the process of staging a performance, and determine its content and storyline, as well as determine the nature of the performer’s acting. These means are kind of sign and symbolic system, which has to be read by the spectator in order to fully understand the nature of performance. The peculiarities of the costume allow us to read in advance nature of the character in performance, to guess his or her actions, etc. The peculiarity of Kabuki is that the play script is dictated by the performers themselves, but not by the scriptwriter. The director as an independent figure in Kabuki theater comes to the first plan only in the modern era, and it is mostly characteristic of innovative and experimental theaters. It is worth noting that given the challenges of modernity, Kabuki still acquires new elements and features, together generating a fundamentally new phenomenon in the art of theater, and in general, Kabuki remains a traditional theater.
- Kovalchuk, Olena & Bogdan, Daryna. (2021). SCENOGRAPHY AND COSTUME IN JAPANESE KABUKI THEATER: TRADITIONS AND MODERNITY. Research and methodological works of the National Academy of Visual Arts and Architecture. 45-51. 10.33838/naoma.30.2021.45-51.
 | This is a user sandbox of
Memelord7/Costume. You can use it for testing or practicing edits. This is not the sandbox where you should draft your assigned article for a dashboard.wikiedu.org course. To find the right sandbox for your assignment, visit your Dashboard course page and follow the Sandbox Draft link for your assigned article in the My Articles section. |
- Costume Designing for Hollywood and Bollywood
- The Indian Fashion Industry and Traditional Indian Crafts
- Fashion and Theatrical Design
- A Theoretical Framework for the Creative Process of Theatrical Costume Design for Historically Set Productions
- Scenography and Costume in Japanese Kabuki Theater: Traditions and Modernity
Summary:
This article is based on costume designing for both Hollywood and Bollywood. The term costume can refer to wardrobe and dress in general, or to the distinctive style of dress of a particular people, class, or period. One of the more prominent places people see costumes is in theater, film and on television. Costuming, thus, is the entire coordination of the activities related to the attire of the actors in the film/television/play etc to represent them in a way so that people can relate to the character they portray. With the aim of studying the role of costume designers for films, this study was conducted through an internet search as a tool to gather information on the history of costume designing for Hollywood and Bollywood films, work of famous designers, role of dressmen and ‘dresswalas’. Having done a literature review, similarities were traced and analyzed in the costumes of famous characters in movies with similar plots in Hollywood and Bollywood popular movies. This paper reviews the developments in one of the under looked areas in Indian film making - costume design in the Indian Hindi films. It also focuses on the issues related to the changing trends of well known fashion designers costuming the Bollywood actors.
- Khaire, M. (2011). The Indian Fashion Industry and Traditional Indian Crafts. The Business History Review, 85(2), 345–366. http://www.jstor.org/stable/41301395.
Summary:
This study documents the emergence of the high-end fashion industry in India from the mid 1980s to 2005. Drawn from oral histories, magazine articles, and several databases, the study demonstrates that the Indian fashion industry's unique identity, based on heavily embellished traditional styles rather than innovative Western-style cuts and designs, was the result of the actions of early entrepreneurs.
- Mundkar, S, and Maliyah Mistry. “Costume Designing for Hollywood and Bollywood.” Research Gate, Jan. 2015, www.researchgate.net/publication/272885405_Costume_Designing_For_Hollywood_and_Bollywood.
Summary:
This research endeavors to undertake a comparative study delving into the realms of fashion design and theatrical costume design. The primary objective is to explore the similarities, differences, and potential avenues for interdisciplinary exchange between these two captivating disciplines. By thoroughly analyzing the creative processes, influences, objectives, and execution methods employed within fashion design and theatrical costume design, this study aims to illuminate the interconnectedness and distinctive characteristics that define each field. To accomplish this, an extensive review of scholarly papers and diverse sources, including reputable journals and research publications, serves as the foundation of this research. By conducting a comprehensive analysis, key themes, theories, and findings emerge, providing valuable insights into the shared elements and divergent perspectives between fashion design and theatrical costume design. Furthermore, this research delves into the profound impact of cultural influences, historical contexts, and pragmatic considerations on the design processes and outcomes within both disciplines. By exploring these aspects, the authors gain a deeper comprehension of the underlying factors that shape and mold artistic endeavors within the realms of fashion and theater. Ultimately, the purpose of this study is to foster a heightened appreciation for the creative pursuits inherent in fashion and theater. By shedding light on the intricate nuances of these disciplines, we aspire to inspire novel possibilities for imaginative expression, propelling the boundaries of creativity even further.
- Sajib, Tanjibul, and Emmanuel Nizam. “Comparative Study on Fashion and Theatrical Costume Design.” Research Gate, July 2023, www.researchgate.net/publication/372221615_Comparative_Study_on_Fashion_and_Theatrical_Costume_Design.
A Theoretical Framework for the Creative Process of Theatrical Costume Design for Historically Set Productions
Summary:
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.
- Jablon-Roberts, Sara & Sanders, Eulanda. (2018). A Theoretical Framework for the Creative Process of Theatrical Costume Design for Historically Set Productions. Clothing and Textiles Research Journal. 37. 0887302X1879632. 10.1177/0887302X18796320.
Summary:
The article explores the history of traditional Japanese Kabuki theater, the stages of its formation and the basic principles of dramaturgy in retrospective and in modern times, the role and symbolic value of costumes, as well as the general features of theater performances. The modern trends of the theater were analyzed and issues of the space of its scene were investigated. Obvious conservatism of kabuki and its fundamental dissimilarity to the theater of the European model were noted. The process of evolution of the Kabuki theater was studied, which responding to the challenges of modernity, acquires new elements and features, together give rise to the fundamentally new phenomenon in the theatrical art. It has been determined that the logic of construction and development of the theater and stage space in Japanese traditional Kabuki theater derived from the need for specific interaction between the performer and the audience. With the formation of the theater, its audience expanded at the same time, in particular due to the privileged strata. The premises of the theater and its stage also evolved. Eventually, the design features of Kabuki theater space became not only a prominent element in the interaction between the performers and spectators, but also an important factor that predominantly determined the characteristics of dramaturgy. In Japanese Kabuki theater, such methods as makeup, hair pieces and costumes are simultaneously those means of expression that are necessarily included in the process of staging a performance, and determine its content and storyline, as well as determine the nature of the performer’s acting. These means are kind of sign and symbolic system, which has to be read by the spectator in order to fully understand the nature of performance. The peculiarities of the costume allow us to read in advance nature of the character in performance, to guess his or her actions, etc. The peculiarity of Kabuki is that the play script is dictated by the performers themselves, but not by the scriptwriter. The director as an independent figure in Kabuki theater comes to the first plan only in the modern era, and it is mostly characteristic of innovative and experimental theaters. It is worth noting that given the challenges of modernity, Kabuki still acquires new elements and features, together generating a fundamentally new phenomenon in the art of theater, and in general, Kabuki remains a traditional theater.
- Kovalchuk, Olena & Bogdan, Daryna. (2021). SCENOGRAPHY AND COSTUME IN JAPANESE KABUKI THEATER: TRADITIONS AND MODERNITY. Research and methodological works of the National Academy of Visual Arts and Architecture. 45-51. 10.33838/naoma.30.2021.45-51.
| This is a user sandbox of
Memelord7/Costume. You can use it for testing or practicing edits. This is not the sandbox where you should draft your assigned article for a dashboard.wikiedu.org course. To find the right sandbox for your assignment, visit your Dashboard course page and follow the Sandbox Draft link for your assigned article in the My Articles section. |