19th-Century Patterns for the Modern Body

With the development of society, people’s aesthetic needs for clothing are also changing. The emergence of national style has become a new trend in the field of clothing design. Yao costume language and modern fashion elements have many common features. Yao costume can be integrated from the details of costume elements, costume color matching, decorative techniques and costume elements. Modern fashion design is carried out in style and other aspects. Virtual reality technology is a technology of human-computer interaction using virtual technology. Modern virtual clothing design is that clothing designers use virtual reality design technology through vision, hearing and touch to design clothing under the virtual reality environment displayed by computer. A comprehensive technology integrating computer graphics, artificial intelligence, concurrent engineering, network technology, multimedia technology and virtual reality technology. Retain and develop the essence of national costume and apply it in modern society, which reflects the artistic expression and national cultural charm in modern costume design, improves the position of national costume elements in modern costume design, and plays an important role in promoting the excellent costume culture of ethnic minorities.

As a free creature that can fly in the sky, the bird has been an object of admiration and mystery and a mediator between human beings and the heavens. This study aims to clarify the aesthetic value of birds through study of the various expressions of the bird image on clothing and by the formative will of designers. Based on the general examination of the bird image through the study of documents, this study is composed of a case analysis, which reveals on modern fashion designs. Additionally, the forms of expression of the bird image are organized according to the stereoscopic expression of shaping, the relief expression of handicraft decoration, the flat expression of surface design, and the characteristic expression of wings and feathers. The aesthetic characteristics revealed by the expression patterns are metaphorical symbolism, surrealistic humor, lyrical naturalness, and fantastical femininity. Since antiquity, the bird image continuously recreated by artists has offered aesthetic value in terms of formativeness in the external form and symbolism in the internal form. This study would help to understand the diversity of creation in contemporary fashion design.

Traditional Chinese cultures are formed along the line of social development and reflect the developing situations of this aspect. The artistic concepts and charms of the intangible cultural heritages of arts and crafts in China strongly signify the history and cultures accumulated throughout 5000 years. The fashion design industry is currently confronted with a bottleneck due to the continuous development of social economy; hence, its development has been restricted to a certain extent. In regard to that, the related sectors in Shanxi emphasized on the integration and innovation of intangible cultural heritages of arts and crafts with modern fashion designs to lay the foundation for creation of modern arts. Therefore, this paper expounds the relationship between the intangible cultural heritages of arts and crafts and modern fashion design in addition to the significance and strategies for their integration.

This study is about the expression types and characteristics of Trompe l`oeil in modern fashion. The study defines the concept of Trompe l`oeil, examines the Trompe l`oeil in the surrealist works from which the Trompe l`oeil derives from, and analyzes the works that have emerged since 2000. The study used a collection of magazines such as Vogue, Gap, Fashion News, and the Internet. According to the findings, the expression types of Trompe l`oeil in modern fashion were seen in the human body, the wearing style, the details, and accessory effects of clothes. The modern fashion design using the Trompe l`oeil based on such external expressions was characterized by the following: first, the fashion design destroyed the concept of common sense and expressed the purity of the human spirit by revealing the human body hidden in clothes from the combination of clothes and the human body with surrealism. Second, the details or accessories of clothes were printed or painted as if they existed. Pleasure was expressed by applying Trompe l`oeil to the wearing methods and forms of clothes through the optical illusion of materials or colors. Third, the effects of an optical illusion were displayed by transforming and distorting the wearing style and reversing the front, back, exterior and interior of clothes; this optical illusion characterized the deconstruction expressed through the transformation of ideas.

This creative research aims to produce deluxe ready-to-wear fashion by elevating local culture into modern fashion designs that have aesthetic and exclusive value. The main focus of the creation is to enrich the variety of Indonesian culture-based fashion designs through a practice-led research approach. The traditional house of the Tengger Tribe was chosen as the main source of ideas because of its unique architectural form and the philosophical values contained therein, which are still rarely explored in the fashion world. The creation process consists of four stages, namely: exploration of the source of ideas, design, realization of the work, and presentation of the work. In the exploration stage, visual studies and literature studies were conducted regarding the visual characteristics and philosophy of the traditional house of the Tengger Tribe. Next, these ideas were translated into fashion designs with an artistic and functional approach. The resulting works are three ready-to-wear deluxe characters, consisting of two women's outfits and one men's outfit. The techniques used in the realization process include semi-couture and fabric manipulation with stylized embroidery applications that represent the architectural elements of the traditional Tengger house. The results of the work were presented in a theatrical fashion show with the theme "BHUMIBRAMA" held in the courtyard of the Rectorate of Surabaya State University. This performance showcases the synergy between fashion, local culture, and artistic expression, which not only presents visual aesthetics but also builds a cultural narrative about the cultural heritage of the Tengger Tribe through the medium of fashion.

This research analyzes the late Joseon`s variously developed characteristics of women`s underwear and its formative elements, and ultimately aims to apply such characteristics to designing modern outfits. The main purpose of the presented work is to give guidelines on utilizing the fashion legacy in a various way, and inheriting the traditional concept of beauty by developing it into modern fashion designs. The designing and producing of the work is based on the analysis of previous researches, genre paintings, and traditional costumes in museums. Based on this research, the application of traditional underwear design to today`s outfits involves the following points. First, the presented work features the formative outlines of traditional underwear as an inspiration for outer garments. Secondly, various traditional textiles are used such as ramie fabrics, damask silk, silk fabrics, fur, etc. for four seasons and they are turned to practical use for modern outfits. Third, colors of choice are white and low saturation colors to create an elegant and serene atmosphere. Finally, traditional sewing techniques are specifically applied to modern fashion designs. Included are: Nubim technique, Gob-sol technique, and the patching method. This work pursues the design of practical use by tying up clothes with straps and knots to prevent them from falling off.

Theatrical costume designers are a unique group of people who tap into several different areas in their quest to communicate a character to an audience—they are fashion designers, visual artists, researchers, historians and psychoanalysts. Additionally, they help establish the tone and style of a production as well as the visual through line. This research study sought to understand how costume designers accomplish the task of visually creating a character and to understand if there is a universal process for the designers. Another purpose was to understand how imagination and creativity come into play in the costume design process. Available literature relating to the creative and the costume design processes were reviewed, six common phases were identified, and these phases were then utilized as a lens through which to view four of the nine 2005-2015 Tony Award winning costume designers. Data from video, print, and audio interviews were analyzed and coded according to the six common phases revealing that there are, in fact, commonalities between and characteristics of the creative and costume design process that could be immediately applied to costume designers and students of costume design.

This paper analyzes the Chinese folk children’s and adult women’s bellyband, in order to explore it’s cultural connotation and artistic characteristics, and dig out useful elements for modern clothing design. This paper adopts the research methods of literature analysis, physical investigation, and modern works analysis. Through the analysis of the children’s bellyband, mainly by its summarized origin and customs, we believe that the bellyband not only has practical function and rich artistic elements, but also is the carrier of thick family love and has reference value for modern children’s clothing design. For the adult female bellyband, through the analysis of the traditional culture from the perspective of emotion, this paper believes that the shape of adult female bellyband is constrained by feudal etiquette, but its sewing process reflects women’s wisdom. At the same time, the color matching and pattern composition of bellyband are the expression and catharsis of women’s emotion. Based on this, this paper puts forward suggestions for modern clothing design, innovating the embroidery and patchwork process of bellyband, bionic modeling design. We believe that the embroidery technology, patchwork technology and pattern cultural connotation of bellyband can be combined with modern fashion design.

Reviewed by: Violence in the Hill Country: The Texas Frontier in the Civil War Era by Nicholas Keefauver Roland Christopher Menking (bio) Violence in the Hill Country: The Texas Frontier in the Civil War Era. By Nicholas Keefauver Roland. (Austin: University of Texas Press, 2021. Pp. 288. Cloth, $45.00.) For many Americans, Texans included, the Texas Hill Country remains a unique and little-known region. In Violence in the Hill Country, Nicholas Keefauver Roland delves into the violence that engulfed the Hill Country in the Civil War era and investigates possible causes for the spike in deaths during this period. His analysis covers the years roughly spanning 1850 to 1880 and addresses twelve Texas counties that experienced an increase in wartime violence. Roland argues that the uptick in violence during these years was a result of the struggle for power between Confederates and Unionists. He uses David Kilcullen’s model, originally created to explain urban insurgencies, to provide a theoretical framework in which to place the competing interests in the region. While the model provides a useful tool to help understand the increased violence, other factors beyond a high-level struggle for power came into play in a region like the Hill Country. Before the Civil War, the Hill Country existed on the western frontier of settled land in Texas. The prewar experience of limited governmental oversight and low taxation created among the settlers a unique mix of staunch independence and self-reliance in defending their homesteads from Native American raids. Their reaction to the Confederate government’s new imposition of taxes and draft of Hill Country residents may have contributed to the hostilities. The author weaves a detailed and well-researched narrative of the years before, during, and after the Civil War, providing the reader with a vivid image of Hill Country life during this time. The use of primary sources, including government records, memoirs, letters, and newspapers, provides a depth to the narrative. Roland, however, makes limited use of important secondary sources written over the past few decades that would have provided additional historical context. He does an excellent job of placing events within a larger historical narrative, one of the book’s primary historical contributions, but by neglecting some of these secondary sources, he misses important explorations of the timing of the violence. For example, works related to the Great Hanging at Gainesville, a mass killing of Unionists in North Texas, would have enriched Roland’s discussion of the loss of life in the Hill Country. Also, sources relating to the guerrilla and partisan violence in Missouri and Kentucky should have been included, particularly because Roland mentions these similar cases without accompanying citations. The author’s highly readable prose brings such events as the Nueces Massacre to life. The massacre is little known or discussed outside of the Hill Country, even in Texas. Roland’s book provides the first major effort to [End Page 571] place the massacre within the context of the larger historical narrative of the Civil War era, and also to offer an explanation as to why it, and general violence, gripped the region. This important contribution to the historiography begins to fill in a long-standing gap in Texas and Civil War history. Readers interested in the American Civil War, Texas history, or the Texas Hill Country will all benefit from this book. Roland makes a diligent effort to create a framework for using the Hill Country in the Civil War era as a template to analyze similar regions that experienced waves of violence and partisan warfare. The author discusses several factors that contributed to the rise in wartime violence: poverty, which resulted from a lack of marketable resources and a wartime drought; the withdrawal of the U.S. Army and the income it provided; geographic isolation; and cultural aspects, such as a sense of racial superiority, hypermasculinity, and a tradition of vigilantism. Considering that vigilantism, race-based lynching, and more conventional violent reprisals persisted into the late nineteenth and twentieth centuries, Roland’s narrative begins to offer origins for the violence that continued in the region. Overall, Roland has created a well-written work that greatly enhances the historiography related to...

The tie-dyeing art has experienced a perfect evolution from the traditional craft to the modern application until today. The tie-dyeing art is full of resplendence and glamour due to both the aesthetic perception retaining of traditional craft and the creation and the blending of modern sc ience. The pattern of tie-dyeing is full of excellent color match, which is natural and unsophisticated; the style of tie-dyeing is rich and coordinate. The application of tie-dyeing contains not only in modern clothes and costume accessories, but also in ornamentation, home textiles and soft furniture. The craft of tie-dyeing makes the combination of elegance and time in fashion design.

This dissertation examines three different types of animation produced in three different historical contexts: traditional paper and cel animation created in the United States during the Progressive era; limited animation made for television in postwar Japan; and stop-motion puppet animation from Soviet-era Czechoslovakia. By juxtaposing major shifts in animation aesthetics and modes of production with contemporaneous cultural discourses regarding labor, embodiment, and subjectivity, I argue that the development of each of these methods attests to a co-constitutive relationship between animation as a form and the social construction of the body in modernity. Furthermore, by making legible the networks of power that connect character and artist, worker and management, and subject and state, animation reproduces and interrogates the tensions between bodily autonomy and automation that define modern life. Consequently, the form asks us to consider what it means to be in a body, to control a body, to be a body subject to control.Chapter 1 traces the development of the studio labor model in the United States, its origins in theories of scientific management, and its implications for the animator, as represented through the increasingly contentious relationship between creator and creation. Chapter 2 investigates the relationship between postwar Techno-Orientalism and the rise of Japan's mecha anime industry, showing that animators used limited animation techniques and humanoid robot characters to explore cultural anxieties regarding modernization. Chapter 3 analyzes the reconstruction of Czech animation in the postwar era, particularly the use of stop-motion puppetry to spread populist messages of resistance under the guise of folk tradition. Across different periods and nations, in its various forms and traditions, the history of animation traces the increasing commodification and industrialization of human life. Therefore, I conclude by addressing the globalized animation industry of the present day, from the rise of digital animation to the emergence of generative artificial intelligence. In doing so, I explore the implications of these forms of alienation on the already fragmented modern body, making a case for animation not only as an art form but as a way of being and thinking.--Author's abstract

The proposed paper concerns with fashion and clothing as visual and semiotic signifiers of both the individual and society in William Shakespeare's The Tragedy of Macbeth and its representations in other media: film (costume design) and haute couture (fashion design). As such, the language of fashion and the vestimentary frame of Shakespeare's tragedy are used as tools for visual and semiotic reading of sociocultural anxieties between the individual and the society as expressed through art. Given rich symbolic and metaphoric value of the language of fashion in Macbeth through which Shakespeare conceptualises his characters and their relationships with the societal framework they inhabit, the paper will thus demonstrate how such a relationship can be conveyed through film costume and fashion design. Analysed representations will consider costume design by Jacqueline Durran for Justin Kurzel's film Macbeth (2015) and fashion design by Alexander McQueen and his collection The Widows of Culloden (2006). In such analysis, fashion is, as fashion theorist Elizabeth Wilson defines it, seen as a cultural metaphor for the body and the material with which we write or draw a representation of the body into our cultural context.

Reviewed by: Macbeth Thomas Price Campbell Macbeth Presented by Arizona Opera in co-production with Seattle Opera at Phoenix Symphony Hall, Phoenix, Arizona. October12-14, 2006. Directed by Bernard Uzan. Set and costume design by Robert Israel. Conducted by Joel Revzen. Lighting design by Christopher Akerlind. Lighting recreated by Connie Yun. Flight direction by Brent Gibbs. With Lori Phillips (Lady Macbeth), Louis Otey (Macbeth), Peter Volpe (Banquo), Jianyi Zhang (Macduff ), Jamie Flora (Malcolm), Randy Fenton (Duncan), Anthony Constantino (Fleance), Kara Harris (Lady-in-waiting), Andrew Gray (Doctor), Juan Aguirre (Servant and Murderer), Christopher Herrera (Apparition 1), Will Smith (Apparition 2), James Mendola (Apparition 3), and others (Chorus). As Ayanna Thompson's "Program Notes" explain, "Macbeth is uniquely suited to adaptation because it investigates the very line between the timely and the timeless." Thus the combination of ultra-slick, modern staging and nineteenth-century military costuming felt eerily appropriate as Arizona Opera's production of Verdi's Macbeth asked the audience to process a modern adaptation of a nineteenth-century, Italian, operatic adaptation of an early-seventeenth-century English play. The adaptation into opera of Shakespeare's dark Scottish tragedy provided Verdi a [End Page 81] mechanism to work out a number of interpretive issues for his audience. In turn, Arizona Opera's altered version of Verdi's libretto pointed up Professor Thompson's claim that Macbeth remains capable of speaking across time and in the immediate present. Click for larger view View full resolution Figure 1. Macbeth, presented by Arizona Opera in co-production with Seattle Opera. Photograph courtesy of Arizona Opera. At numerous moments when the audience might have imagined a plot strand bound to its historical context, the opera also offered a more contemporary issue for consideration. Timeless in the Macbeth legend is the examination of the politics of ambition. Arizona Opera cut whole lines and entire characters from the libretto.. The effect was to force the audience's attention on the dilemma facing Macbeth by the end of the first act. Common to most adaptations of Macbeth, the company pitted Macbeth's urge to climb socially without the accordant mens rea against Lady Macbeth's almost insatiable urge to climb at any cost. Not tied to eleventh-century Scotland, seventeenth-century England, or nineteenth-century Italy, the transhistorically human misgivings about vaulting ambition became even more intense when rendered in operatic performance. Minus characters like Shakespeare's equivocating Porter [End Page 82] or his memory-keeping Ross and Old Man, the stripped-down cast of characters in the opera was left to lay out the critical conflict, and it was only through the operatic adaptation that they were able to do so. The medium itself became a kind of bodiless character. Without the extensive psychological exposition to which audiences are typically privy in theatrical performance, characters were still able to convey the emotional intensity connected to the proposed murder of the king by way of musical repetition. Foreshortening both Shakespeare's play and Verdi's libretto, much of the story's argumentative dialogue that paints the inversion of Macbeth's "manly readiness" and Lady Macbeth's "womanly defense" was condensed into the repeated lines sung "ensemble" that occupied a huge portion of the recitative in the first act: Macbeth I shall hear Duncan's holy virtues Thunder vengeance at me like angels of wrath. Lady Macbeth You are bold, Macbeth, but have no daring. Binding this central exchange, Lady Macbeth's short, leading questions and Macbeth's almost forced answers, bore striking resemblance to the Greek dramatic deployment of stichomythia. Shakespeare is famous for having put this poetic technique to use in moments of violent dispute, but the operatic adaptation intensified the gravity of the conflict when sung loudly and at incredible pace. This particular exchange (similar to most between Macbeth and Lady Macbeth) occurred center stage as Macbeth slowly sunk into a chair, cowering from his wife, while Lady Macbeth stood tall, and moved literally in front of Macbeth, blocking him entirely from the spotlight that illuminated her figure, making her quite literally the central actor of the scene. As both the heavily edited libretto and the stage positioning forced Lady Macbeth to the center of...

This volume addresses representations of war and peace in various media, ranging from literature to film, photography, the visual arts, and music. Underlining the importance of an inter-disciplinary study of images of war and peace, the essays collected in this volume analyse how the choice of medium has contributed to shaping images of war in different historical contexts. Topographically, the focus is on wars in Europe, the United States, and Canada, yet the essays also address the global dimensions of warfare. A first section discusses general considerations regarding the representation of war, including socially and culturally engendered concepts of war, ideological attitudes and issues of language. The following sections concentrate on the American Civil War, with a comparative outlook on the 1930s Civil War in Austria, on representations of war by Canadian artists, and on the two World Wars. Here, a section on the First World War emphasises the iconographic significance of that war as the first industrialized inter-state war in history. Other essays deal with the inter-war period, and with the Cold War and after, when asymmetrical forms of war like the “war on terror” or the militant suppression of groups of the population began to blur conventional boundaries between war and peace.

The present study aimed to investigate the evolution of rhythmic gymnastics costume design, in particular their aesthetic, functional and cultural components, with an emphasis on the integration of traditional national elements into the modern context. The study examined the costumes of athletes from such countries as Ukraine, China, the USA, Japan, and Uzbekistan. The materials included visual sources, technological documentation and the requirements of international regulations that define design standards, as well as scientific media publications. The study included an analysis of the historical stages of costume development, cultural symbols and innovative technologies used in their creation. The results of the study showed that the evolution of costume design reflects the complex interaction between cultural identity, technological progress and sports requirements. It was found that modern costumes strike a balance between functionality and artistic expression through the introduction of innovative materials, such as elastic mesh and thermoregulated fabrics, as well as the use of decorative elements such as rhinestones and appliqués. Ukrainian costumes demonstrated uniqueness through the integration of traditional ornaments into modern designs, while Chinese designs were marked by a harmonious colour palette that reflected cultural heritage. American costumes emphasised patriotic motifs through the use of national colours and intricate patterns. The analysis confirmed that international standards are an important factor influencing the creation of costumes, ensuring safety, comfort, and aesthetics. The conclusions of this study highlighted the importance of a harmonious combination of traditions and modern innovations in creating costumes that meet aesthetic and functional requirements. The findings open up new perspectives for research in the field of sportswear design, in particular in the context of the use of nvironmentally friendly materials and the impact on the psychological state of athletes.