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This article spotlights the work of Eileen Sullivan and her career as a wardrobe mistress, later wardrobe supervisor, which included working on the James Bond films from Dr No (1962) until You Only Live Twice (1967). It will further consider how her career and role as a wardrobe mistress and supervisor changed within the British film industry from the mid-1940s until the mid-1980s, through personal papers shared by her family with me. Alongside this, the article draws upon papers available in the Film Finances Archive, the British Film Institute (BFI) and the British Library. This article will work to redress the absence in scholarship on the labour provided by costume workers below that of the costume designer, which as Melanie Williams (2016) has previously recognised, has been rendered invisible despite their costume work appearing on screen that contributes to the overall visual coherence of a film's design. It will also address the difficulties of researching the work of wardrobe personnel who have hitherto remained unacknowledged in broader scholarship, and analyse the role of the wardrobe mistress and supervisor including agency and labour, and the impact of caring responsibilities on this 'gendered' role. [ABSTRACT FROM AUTHOR]

High requirements for specialists, specifically in the field of Design, who can quickly respond to modern socio-economic conditions and work effectively in a market economy necessitate a substantial upgrade of the professional education system for training costume designers. This study aimed to substantiate and implement the methodology for developing professional competencies of future costume designers in higher education institutions in Kazakhstan. The methodological approach of this experimental study was based on the development of a methodology for developing the professional competencies of the future costume designer and readiness components: motivational, cognitive-activity, creative, and reflective. The content of the basic terms "professional competence" and "designer's professional competence" was determined; their signs and features were covered, and and a methodology for developing professional competencies of the future costume designer in the design system was developed and implemented. In the conducted experimental study at the ascertaining stage of the experiment at Makhambet Utemisov West Kazakhstan University, methodological tools were developed to increase the readiness of the future costume designer to develop professional competencies in the design system. After conducting an experimental study, promising areas for improving the methodology for the readiness of a future costume designer to develop professional competencies in the design system in higher educational institutions of Kazakhstan were formed. The practical value of the study lies in training a specialist who can implement scientific ideas and developments in the field of fashion design in Kazakhstan. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Luminous skins are interactive, light-costume hybrids that reimagine the boundaries of the performers' physical bodies, broadcast their feelings, and alter their environment. The costumes are the central element of a performance that requires no stage space, no fixed lighting, no wall outlets, and no lighting technicians. The performers manage to dance through the darkness with the light they wear. The costumes are equipped with sensors and actuators that communicate wirelessly in real time with other scenographic elements. Together, they form a swarm-based scenography that involves close coordination between the performers and responsive technology to create visually dynamic and immersive atmospheres. [ABSTRACT FROM AUTHOR]

Copyright of Saudi Art & Design Journal is the property of Saudi Art & Design Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Over the years, studies in prosthetic artistry and costuming in Nollywood films have been used to strike the right balance between visual spectacle and narrative impact. Being that narrative coherence is essential in Nollywood's storytelling thus, these effects have helped to create a major impact on the characters' appearance and believability. Although one of the essential parts of the visual aspect of modern cinema, but the inability of the Nollywood designers to seamlessly integrate prosthetic artistry and character costuming that improves on the visual elements of Nollywood films forms the major drawback to this research study. Based on this outlook, the paper investigates prosthetics and character costuming in Nollywood video films and seeks to determine the challenges faced by Nollywood designers in achieving effective prosthetic artistry and character costuming. The paper through a critical analysis and two randomly selected Nigerian Video films- Biyi Bandele's Blood Sisters (2022), and Inawadolu Greg's Egwonga - the deadly god (2013) explores how Nollywood designers integrate prosthetics artistry and costume design within the vibrant landscape of Nollywood narratives. However, the paper discovers that Nollywood designers are faced with myriad problems such as striking a balance between spectacle and authenticity in historically informed films, budget and time constraints, lack of technical advancements and innovations, limited resources, etc. The paper therefore concludes that achieving effective prosthetics artistry and character costuming in Nollywood films will set the stage for an intriguing analysis, creativity, resourcefulness, and impacts on extravagant cultural expression and authenticity. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Ensino em Artes, Moda e Design is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article offers information on the feminist histories of the costuming film with a case study of the costume designer Gordon Conway and her relatively brief career in the British film industry. It examines Conway's public pronouncements on film costume, which highlight her acute awareness of costume's filmic utility. It discusses costume's complex chain of labour and suppliers, reconstructing the world of Mayfair sewing and the making cultures that costumed films in 1930s Britain.

The image of Raffaella Carrà has been defined as the result of a blending of all kinds and subcategories related to the figures of both "showgirl" and "anchorwoman" within the entertainment industry. Carrà has managed to survive the wear and tear of screen presence, on the one hand, because of how her star image has developed/transformed over time and, on the other hand, because her character has always been constructed and defined in advance, through complex aesthetic operations. Carrà, framed as an artisan capable of fashioning her own self, contributed to the creation of a consistent model, impervious to fashion because it represents, in its own way, an achieved classicism. This timeless and boundless success is due to the outfits created by the greatest costume designers of Italian television. Hundreds of dresses were made for Carrà in over fifty years of TV presence: unique pieces, eternal images, garments that, in many cases, have gone down in history as much as the performances of Raffaella. Corrado Colabucci created her original and timeless style, contributing to building her first public image; Enrico Rufini uncovered Carrà's navel in Canzonissima (Raiuno, 1958-1963, 1968-1975); Luca Sabatelli and Gabriele Mayer gave her the shining. However, the star always wanted the final say on her look, sometimes even selecting different models and reconstructing a new one that would guarantee her glitz. Thus, costume designers always had to deal with Carrà's self-determination strategies and ideas of how to build her own character, allowing her to be easily recognized by the public. Through a detailed analysis of Carrà's clothes in public service television programs in the 1970s and 1980s - such as Canzonissima, Milleluci (Raiuno, 1974), Fantastico (Raiuno, 1979-1992, 1197-1998) - the article aims to demonstrate the key contribution of costume and make-up in the process of defining and transforming a character who, through glitz and hyper-dressing, established herself in the collective imagination, irreversibly influencing Italian popular culture. With these excessive outfits (impractical in the viewer's wardrobe), an expression as much of her personality as of the mastery of costume designers, Raffella Carrà became an explosive icon of femininity and the "queen of Italian TV". [ABSTRACT FROM AUTHOR]

In Kelantan, the traditional pattern that existed in the designing the costumes for 'Makyung' exhibits the combination of organic and geometric styles. This balances and reinforces every produced design. The use of aesthetical values in designing patterns with underlying decorations is directly created to mirror the activities within its social community through resources that reflect their customs and culture. Based on the displayed designs, we can learn one branch in JKKN's 'Makyung' performances in Kelantan. The research on the conservation of aesthetical values in designing traditional pattern for 'Makyung' costumes is a qualitative research, carried out descriptively through observing and analysing the performances, as well as interviewing the costume designer which entails the analysis of aesthetical and sociocultural values to explain the connection and role of the traditional designs in the costumes. The result of this study on the conservation of aesthetical values will be able to help the society to understand the development of ideas, creativity, aesthetical values, and meaning in every performance as well as the factors that support the process of designing traditional patterns for JKKN's 'Makyung' costumes in Kelantan based on its sociocultural system. [ABSTRACT FROM AUTHOR]

Edith Head, possibly Hollywood's most iconic costume designer, won a record eight Oscar statuettes for Best Costume Design. Despite her popularity, Head has also sparked controversy; many detractors question her talent as a designer by arguing that her success rested merely on her self-promotional efforts rather than her work inside the wardrobe department. This article explores Head's career vis-à-vis the discourses surrounding her public persona to understand how she constructed her image as Hollywood's most famous costume designer, surviving for over five decades in an industry fraught with constant economic and political turmoil. In doing so, this article will shed light on the activities assigned to her as head of costume during and after the studio era. [ABSTRACT FROM AUTHOR]

Mexican folklórico dance (also known as Mexican folkloric ballet) is a dance form and tradition that is rooted in the cultural diversity of Mexico and has a prominent presence in the USA. The dances, music, and costumes are all embedded with the historical and socio-cultural traditions of the communities from where they originate and are therefore crucial aspects of Mexican folklórico that should be included in the archives. Current holdings in Arizona include records on Mexican folklórico dance, but these are limited to audio recordings, visual materials, and written materials, nothing on costumes. As such, this paper argues for their inclusion in the archives by applying a participatory approach and a post-custodial strategy, which will accomplish the following: (1) By involving the community in the archiving process, more accurate records of the costumes can be created; and (2) By utilizing a post-custodial strategy, the archives collaborates with the records creators/owners (e.g., costume designers, dancers, or directors) so that the records are still able to be processed, with the original record returning to the creator/owner, while a copy remains in the archives so that others can access it. This process will ensure that the costumes are not de-contextualized by being completely removed from their communities and that they remain with those individuals who have years of experience taking care of them and know how to keep them in presentable conditions. [ABSTRACT FROM AUTHOR]

Over the last three decades, the study of film costume design has become a burgeoning field that predominantly engaged with the cinematic costume and its relationship with the female spectator. As film scholars have seldom looked at or worked with the actual garments, little to no academic attention is spent on the knowledge, experience, and invisible work of the costume designers and executers working in this field. This article implements the research methodology of material culture analysis, established in the field of fashion studies, but neglected in the area of film costume design studies. By stepping into the physical world of costume objects, the material culture analysis allows us to look beyond film costumes as kinetic, immaterial film images, and enables us to elucidate the histories and esthetics of garments that were created for specific film performances. Through an archival encounter with an extant costume object, an understanding of the creative and collaborative work conducted in the wardrobe department is facilitated. The central case of this paper is the mink dress of Lady in the Dark, a lavish musical drama set in the fashion industry, and directed by Mitchell Leisen, who started his career as a costume designer. [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study examines the similarity of two unique positions in Hollywood—a costume designer and a production designer. It applies traditional job analysis and job evaluation methods in an industry with little history of doing so. Job data from interviews, questionnaires, and secondary sources were content analyzed for themes and categories. Quantitative data were collected and analyzed for supplemental evidence in comparing the similarity of the two positions. The study incorporated criteria from the California Fair Pay Act of 2016 in the assessment. Eight subject matter experts (SMEs) provided both narrative and quantitative data in response to the comprehensive job analysis. The results of the study show that these positions are sufficiently similar according to the criteria set forth in the California Fair Pay Act, raising issues concerning observed pay disparities between these positions. The findings also support the use of traditional methods of human resource management and industrial and organizational psychology in novel industries with unique positions. Finally, conclusions, limitations and implications are considered. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

With antiracial manifestations and the interest in this collective action, fashion through styling represents and instrument of expression and social reflection. This study aims to analyze the stylings of Ibrahim Kamara from the perspective of afrofuturism. The approach is necessary because it is known that stylings are created to communicate and Kamara recognizes the body with a biopolitical character, body-history, creates narratives with the protagonist of Afro-descendants in peripheral scenarios. Method addresses Gillian Rose´s visual methodology (c2016), starts with styling from the perspective of fashion photography until the case study of Kamara´s stylings arrives; and afro-descendants in fashion editorials. It is analyzed that Kamara problematizes the visual references to break aesthetically with the centralizing, normalizing and traditional power propagated by Europeanized, Americans, white and traffic views through reflections on the future of society. However, fashion visually expresses these resistance behaviors and the styling is one of the practices that contributes to an image construction of a social nature.