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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
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
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 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
Fashioning Spanish Cinema
Costume design is a crucial, but frequently overlooked, aspect of film that fosters an appreciation of the diverse ways in which film and fashion enrich each other. These influential industries offer representations of ideas, values, and beliefs that shape and construct cultural identities. In Fashioning Spanish Cinema, Jorge Pérez analyses the use of clothing and fashion as costumes within Spanish cinema, paying particular attention to the significance of those costumes in relation to the visual styles and the narratives of the films. The author examines the links between costume analysis and other fields and theoretical frameworks such as fashion studies, the history of dress, celebrity studies, and gender and feminist studies.
Fashioning Spanish Cinema looks at instances in which costumes are essential to shaping the public image of stars, such as Conchita Montenegro, Sara Montiel, Victoria Abril, and Penélope Cruz. Focusing on examples in which costumes have discursive autonomy, it explores how costumes engage with broader issues of identity and, relatedly, how costumes impact everyday practices and fashion trends beyond cinema. Drawing on case studies from multiple periods, films by contemporary directors and genres, and red-carpet events such as the Oscars and Goya Awards, Fashioning Spanish Cinema contributes a pivotal Spanish perspective to expanding interdisciplinary work on the intersections between film and fashion.
eBook