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Costumes du Maroc
This book shows a wide variety of designs allowing the reader to discover masterpieces of weaving and embroidery in Morocco. This book is the first to offer a vast panorama of this exceptional heritage from Mediterranean coast to the Sahara. The author presents a research in textile in Morocco over the last forty years.
Book
Costume in Performance
This beautifully illustrated book conveys the centrality of costume to live performance. Finding associations between contemporary practices and historical manifestations, costume is explored in six thematic chapters, examining the transformative ritual of costuming; choruses as reflective of society; the grotesque, transgressive costume; the female sublime as emancipation; costume as sculptural art in motion; and the here-and-now as history. Viewing the material costume as a crucial aspect in the preparation, presentation, and reception of live performance, the book brings together costumed performances through history. These range from ancient Greece to modern experimental productions, from medieval theatre to modernist dance, from the “fashion plays” to contemporary Shakespeare, marking developments in both culture and performance. Revealing the relationship between dress, the body, and human existence, and acknowledging a global as well as an Anglo and Eurocentric perspective, this book shows costume’s ability to cross both geographical and disciplinary borders. Through it, we come to question the extent to which the material costume actually co-authors the performance itself, speaking of embodied histories, states of being, and never-before imagined futures, which come to life in the temporary space of the performance. With a contribution by Melissa Trimingham, University of Kent, UK.
eBook
Costuming the Shakespearean Stage
Although scholars have long considered the material conditions surrounding the production of early modern drama, until now, no book-length examination has sought to explain what was worn on the period's stages and, more importantly, how articles of apparel were understood when seen by contemporary audiences. Robert Lublin's new study considers royal proclamations, religious writings, paintings, woodcuts, plays, historical accounts, sermons, and legal documents to investigate what Shakespearean actors actually wore in production and what cultural information those costumes conveyed. Four of the chapters of Costuming the Shakespearean Stage address 'categories of seeing': visually based semiotic systems according to which costumes constructed and conveyed information on the early modern stage. The four categories include gender, social station, nationality, and religion. The fifth chapter examines one play, Thomas Middleton's A Game at Chess, to show how costumes signified across the categories of seeing to establish a play's distinctive semiotics and visual aesthetic.
eBook
Costume
What does it mean to people around the world to put on costumes to celebrate their heritage, reenact historic events, assume a role on stage, or participate in Halloween or Carnival? Self-consciously set apart from everyday dress, costume marks the divide between ordinary and extraordinary settings and enables the wearer to project a different self or special identity. Pravina Shukla offers richly detailed case studies from the United States, Brazil, and Sweden to show how individuals use costumes for social communication and to express facets of their personalities.
eBook
Designing Hollywood
Since the 1920s, fashion has played a central role in Hollywood.
As the movie-going population consisted largely of women, studios
made a concerted effort to attract a female audience by
foregrounding fashion. Magazines featured actresses like Jean
Harlow and Joan Crawford bedecked in luxurious gowns, selling their
glamour as enthusiastically as the film itself. Whereas actors and
actresses previously wore their own clothing, major studios hired
costume designers and wardrobe staff to fabricate bespoke costumes
for their film stars. Designers from a variety of backgrounds,
including haute couture and art design, were offered long-term
contracts to work on multiple movies. Though their work typically
went uncredited, they were charged with creating an image for each
star that would help define an actor both on- and off-screen. The
practice of working long-term with a single studio disappeared when
the studio system began unraveling in the 1950s. By the 1970s,
studios had disbanded their wardrobe departments and auctioned off
their costumes and props. In Designing Hollywood: Studio
Wardrobe in the Golden Age , Christian Esquevin showcases the
designers who dressed Hollywood's stars from the late 1910s through
the 1960s and the unique symbiosis they developed with their
studios in creating iconic looks. Studio by studio, Esquevin
details the careers of designers like Vera West, who worked on
Universal productions such as Phantom of the Opera (1925),
Dracula (1931), and Bride of Frankenstein (1931);
William Travilla, the talent behind Marilyn Monroe's dresses in
Gentleman Prefer Blondes (1953) and The Seven Year
Itch (1955); and Walter Plunkett, the Oscar-winning designer
for film classics like Gone with the Wind (1939) and
An American in Paris (1951). Featuring black and white
photographs of leading ladies in their iconic looks as well as
captivating original color sketches, Designing Hollywood
takes the reader on a journey from drawing board to silver
screen.
eBook
The Italian Costumes Study by Victor Meirelles
This article analyzes twenty-one works belonging to the collection “The Italian Costumes,” made by Victor Meirelles in Italy between 1853 and 1856 and preserved in the museum named after the artist in Florianopolis, Brazil. The analysis focused on the identification of the common components of the works in terms of six aspects: ambience, position, body, costumes, colors, and shapes. In this article, only the first two aspects are addressed. The traces that indicate some of the artist’s motivation when producing the collection are highlighted: the conjectural, which is linked to the sale of engravings of regional human types in Italy in the nineteenth century; the structural, or the education offered during the artist’s era; and the ideological, including national and romantic propositions, biased toward the Nazarene movement. From the analysis of ambience and position, two hypotheses are discussed to demonstrate that the collection is not only focused on the improvement of the drapery technique but also a source of income and inspiration for Victor Meirelles that defined his poetics during his life. The divulgation of the results also aims to methodize the collection’s knowledge and encourage deeper studies of the same or similar collections. Future work is justified and important, given the fact that the current research is the only work of this magnitude about the Italian Costumes collection.
Journal Article