1.
Robert Edmond Jones
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Robert Edmond Bobby Jones was an American scenic, lighting, and costume designer. He is credited with incorporating the new stagecraft into the American drama and his designs sought to integrate the scenic elements into the storytelling instead of having them stand separate and indifferent from the play’s action. His visual style, often referred to as simplified realism, combined bold vivid use of color and simple, yet dramatic, born in Milton, New Hampshire, Jones attended Harvard University and graduated in 1910. Jones eventually moved to New York where, with friends made at Harvard, in 1913 Jones and several friends sailed to Europe to study the new stagecraft with Edward Gordon Craig in Florence. The school in Florence would not accept Jones so he went to Berlin instead and his innovative designs for Vladimir Rosings American Opera Company in 1927 and 1928 were praised by critics. Jones also brought his style to many productions put on by the Theatre Guild, with innovative designs for The Philadelphia Story, Othello. Jones’s biggest commercial success was with The Green Pastures, which, if we include its revival in 1951 and this revival was Jones’s last production. Other Broadway credits include Holiday, Mourning Becomes Electra, Ah, juno and the Paycock, and Lute Song. Jones was also the designer for some early three-color Technicolor films, such as La Cucaracha and Becky Sharp. Jones published many articles on design in the course of his career. His books include Drawings for the Theatre, and The Dramatic Imagination and his book The Dramatic Imagination is considered the definitive work on modern stage design in the first half of the 20th century. He died in the house he was born in on Thanksgiving Day,1954, in a time where theatrical set designs were extravagant and realistic, Jones counteracted the norm by creating simple or expressionistic sets and props. He was an unashamed pleader for beauty and, far more important, are attempting to express directly to the audience the unspoken thoughts of their characters, to show us not only the patterns of their conscious behavior but the pattern of their subconscious lives. We accept unthinkingly as objective transcripts of life, whereas in reality they are images of life. On stage we shall see the characters of the drama. The theater is a school we shall never have done with studying and learning, a stage setting is not a background, it is an environment. I think needs also actors who have in them a kind of wildness, an exuberance, a take-it-or-leave-it quality, I am indebted to the great Madame Freisinger for teaching me the value of simplicity in the theater. The sole aim of the arts of scene-designing, costuming, lighting, is, as I have already said, to enhance the natural powers of the actor
2.
Costume
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Costume is the distinctive style of dress of an individual or group that reflects their class, gender, profession, ethnicity, nationality, activity or epoch. The term also was used to describe typical appropriate clothing for certain activities, such as riding costume, swimming costume, dance costume. Appropriate and acceptable costume is subject to changes in fashion and local cultural norms, before the advent of ready-to-wear apparel, clothing was made by hand. Costume comes from the same Italian word, inherited via French, National costume or regional costume expresses local identity and emphasizes a cultures unique attributes. They are often a source of national pride, examples include the Scottish kilt or Japanese kimono. In Bhutan there is a national dress prescribed for men and women. These have been in vogue for thousands of years and have developed into a dress style. The dress worn by men is known as Gho which is a robe worn up to knee-length and is fastened at the waist by a called the Kera. The front part of the dress which is formed like a pouch, in olden days was used to hold baskets of food and short dagger, but now it is used to keep cell phone, purse and the betel nut called Doma. The dress worn by women consist of three known as Kira, Tego and Wonju. The long dress which extends up to the ankle is Kira, the jacket worn above this is Tego which is provided with Wonju, the inner jacket. However, while visiting the Dzong or monastery a long scarf or stoll, called Kabney is worn by men across the shoulder, women also wear scarfs or stolls called Rachus, made of raw silk with embroidery, over their shoulder but not indicative of their rank. Some stylized theatrical costumes, such as Harlequin and Pantaloon in the Commedia dellarte, exaggerate an aspect of a character, the wearing of costumes is an important part of holidays developed from religious festivals such as Mardi Gras, and Halloween. Christmas costumes typically portray characters such as Santa Claus, in Australia, the United Kingdom and the United States the American version of a Santa suit and beard is popular, in the Netherlands, the costume of Zwarte Piet is customary. Easter costumes are associated with the Easter Bunny or other animal costumes, in Judaism, a common practice is to dress up on Purim. During this holiday, Jews celebrate the change of their destiny and they were delivered from being the victims of an evil decree against them and were instead allowed by the King to destroy their enemies. A quote from the Book of Esther, which says, On the contrary is the reason that wearing a costume has become customary for this holiday. Buddhist religious festivals in Tibet, Bhutan, Mongolia and Lhasa and Sikkim in India perform the Cham dance, parades and processions provide opportunities for people to dress up in historical or imaginative costumes
3.
Film
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A film, also called a movie, motion picture, theatrical film or photoplay, is a series of still images which, when shown on a screen, creates the illusion of moving images due to the phi phenomenon. This optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession, the process of filmmaking is both an art and an industry. The word cinema, short for cinematography, is used to refer to the industry of films. Films were originally recorded onto plastic film through a photochemical process, the adoption of CGI-based special effects led to the use of digital intermediates. Most contemporary films are now fully digital through the process of production, distribution. Films recorded in a form traditionally included an analogous optical soundtrack. It runs along a portion of the film exclusively reserved for it and is not projected, Films are cultural artifacts created by specific cultures. They reflect those cultures, and, in turn, affect them, Film is considered to be an important art form, a source of popular entertainment, and a powerful medium for educating—or indoctrinating—citizens. The visual basis of film gives it a power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles to translate the dialog into the language of the viewer, some have criticized the film industrys glorification of violence and its potentially negative treatment of women. The individual images that make up a film are called frames, the perception of motion is due to a psychological effect called phi phenomenon. The name film originates from the fact that film has historically been the medium for recording and displaying motion pictures. Many other terms exist for a motion picture, including picture, picture show, moving picture, photoplay. The most common term in the United States is movie, while in Europe film is preferred. Terms for the field, in general, include the big screen, the screen, the movies, and cinema. In early years, the sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film, scripts, sets, costumes, production, direction, actors, audiences, storyboards, much terminology later used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images, the magic lantern, probably created by Christiaan Huygens in the 1650s, could be used to project animation, which was achieved by various types of mechanical slides
4.
Stage (theatre)
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In theatre and performing arts, the stage is a designated space for the performance of productions. The stage serves as a space for actors or performers and a point for the members of the audience. As an architectural feature, the stage may consist of a platform or series of platforms, in some cases, these may be temporary or adjustable but in theaters and other buildings devoted to such productions, the stage is often a permanent feature. There are several types of stages that vary as to the usage, the most common form found in the West is the proscenium stage. In this type, the audience is located on one side of the stage with the remaining sides hidden and used by the performers and technicians. Thrust stages may be similar to proscenium stages but with a platform or performance area that extends into the space so that the audience is located on three sides. In theatre in the round, the audience is located on all four sides of the stage, the fourth type of stage incorporates created and found stages which may be constructed specifically for a performance or may involve a space that is adapted as a stage. Since the Italian Renaissance, the most common used in the West has been the proscenium stage which may also be referred to as a picture frame stage. The primary feature is an opening known as the proscenium arch through which the audience views the performance. The audience directly faces the stage—which is typically raised several feet above front row audience level—and views only one side of the scene and this one side is commonly known as the invisible fourth wall of the scene. The proscenium arch evolved from the proskenium in Ancient Greek theaters and this was the space in front of the skênê or backdrop where the actors actually played. Stage floors were raked upward slightly from front to back in order to contribute to the illusion and also to make actors more visible to audiences. Subsequently, audience seating was raked, and balconies were added to give audiences a fuller view, by the end of the 19th century most stages had level floors, and much of the audience looked down on, rather than up to, the stage. The competition among royals to produce elegant and elaborate entertainments fueled and financed the expansion of European court theatres, the proscenium—which often was extremely decorative in the manner of a triumphal arch—framed the prospective picture. A wood grid above the stage supported pulleys from which wooden battens, the weight of heavy pieces was counterbalanced by sandbags. This system required the creation of a stage house or loft that was usually as high or higher than the proscenium itself. Theatres using these systems, which are manually operated by stage hands, are known as hemp houses. They have been supplanted by counterweight fly systems
5.
Theatre director
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The directors function is to ensure the quality and completeness of theatre production and to lead the members of the creative team into realizing their artistic vision for it. If the production he or she is mounting is a new piece of writing or a translation of a play, in contemporary theatre, after the playwright, the director is generally the primary visionary, making decisions on the artistic concept and interpretation of the play and its staging. Different directors occupy different places of authority and responsibility, depending on the structure, Directors use a wide variety of techniques, philosophies, and levels of collaboration. In ancient Greece, the birthplace of European drama, the writer bore principal responsibility for the staging of his plays, the author-director would also train the chorus, sometimes compose the music, and supervise every aspect of production. The fact that the director was called didaskalos, the Greek word for teacher, a miniature by Jean Fouquet from 1460 bears one of the earliest depictions of a director at work. Holding a prompt book, the central figure directs, with the aid of a long stick, from Renaissance times up until the 19th century, the role of director was often carried by the actor-manager. This would usually be an actor in a troupe who took the responsibility for choosing the repertoire of work, staging it. This was the case for instance with Commedia dellArte companies and English actor-managers like Colley Cibber, the modern theatre director can be said to have originated in the staging of elaborate spectacles of the Meininger Company under George II, Duke of Saxe-Meiningen. The management of large numbers of extras and complex stagecraft matters necessitated an individual to take on the role of overall coordinator. This gave rise to the role of the director in modern theatre, simultaneously, Constantin Stanislavski, principally an actor-manager, would set up the Moscow Art Theatre in Russia and similarly emancipate the role of the director as artistic visionary. The French regisseur is also used to mean a stage director. A more common term for theatre director in French is metteur en scène, post World War II, the actor-manager slowly started to disappear, and directing become a fully fledged artistic activity within the theatre profession. The director originating artistic vision and concept, and realizing the staging of a production, a cautionary note was introduced by the famed director Sir Tyrone Guthrie who said the only way to learn how to direct a play, is. To get a group of actors simple enough to allow you to let you direct them, most European countries nowadays know some form of professional directing training, usually at drama schools or conservatoires, or at universities. In the early days such programmes typically led to the staging of one major production in the third year. At the University of California, Irvine, Keith Fowler led for many years a programme based on the premise that directors are autodidacts who need as many opportunities to direct as possible. Under Fowler, graduate student directors would stage between five and ten productions during their residencies, with each production receiving detailed critiques. Directing is an artform that has grown with the development of theatre theory, with the emergence of new trends in theatre, so too have directors adopted new methodologies and engaged in new practices
6.
Scenic design
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Scenic design is the creation of theatrical, as well as film or television scenery. Scenic designers come from a variety of backgrounds, but in recent years, are mostly trained professionals. Scenic designers design sets and scenery that aim to fully immerse the viewer in the production, a designer looks at the details searching for evidence through research to produce conceptual ideas that’s best toward supporting the content and values with visual elements. The subject of, “How do we generate creative ideas. ”The most consuming part of expanding our horizons toward scenic concepts is more than witnessing creativity. It starts with us opening our mind to the possibilities, to have an attitude toward learning, seeking, and engaging in creativity and to be willing to be adventurous, inquisitive and curious. Whether outside or inside, colorful trees or concerts, star lit skies or the architecture of a great building, discovering what will best clarify and support the story being told. The scenic designer works with the director and other designers to establish a visual concept for the production. All of these required drawing elements can be created from one accurate 3-D CAD model of the set design. Scenic designers are responsible for creating models of the scenery, renderings, paint elevations. Prague, CZ What is Scenography Article illustrating the differences between US and European theatre design practices Special, WhatLinksHere/Julia Anastasopoulos
7.
Lighting designer
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The LD also works closely with the stage manager or show control programming, if show control systems are used in that production. The role of the lighting designer varies greatly within professional and amateur theater, for a Broadway show, a touring production and most regional and small productions the LD is usually an outside freelance specialist hired early in the production process. Smaller theatre companies may have a resident lighting designer responsible for most of the companys productions or rely on a variety of freelance or even help to light their productions. At the Off-Broadway, or Off-Off-Broadway level the LD will occasionally be responsible for much of the technical work that would be the work of the lighting crew in a larger theater. The LD must take account the shows mood and the directors vision in creating a lighting design. Because lighting design is more abstract than costume or scenic design. Various forms of paperwork are essential for the LD to successfully communicate their design to various members of the production team, examples of typical paperwork include cue sheets, lightplots, instrument schedules, shop orders and focus charts. Cue sheets are of the most value to stage management, the light plot is a scale drawing that communicates the location of lighting fixtures and lighting positions so a team of electricians can independently install the lighting system. Next to each instrument on the plan will be information for any color gel, gobo, or other accessory that needs to go with it, often, paperwork listing all of this information is also generated by using a program such as Lightwright. The lighting designer uses this paperwork to aid in the visualization of not only ideas but simple lists to assist the Master Electrician during load-in, focus, professional LDs generally use special computer-aided design packages to create accurate and easily readable drafted plots that can be swiftly updated as necessary. The LD will discuss the plot with the production manager. After the Electricians have hung, circuited and patched the lighting units, nevertheless, any errors of focusing or changes to the lighting plan are corrected only when the performers are not onstage. These changes take place during work or note calls, the LD only attends these notes calls if units are hung or rehung and require additional focusing. The LD or Assistant Lighting Director will be in charge if in attendance, if the only work to be done is maintenance then the Production or Master Electrician will be in charge and will direct the Electrics crew. After the tech process, the performance may go into Dress rehearsal without a ticketed audience and/or Previews with a ticketed audience, during this time, if the cueing is finished, the LD will sit in the audience and take notes on what works and what needs changing. At this point, the Stage Manager will begin to take over the work of calling cues for the light board op to follow. Often, changes take place during notes call, but if serious problems occur the performance may be halted. If the show is still in previews, then the LD will make changes, changes should not be made after the lighting design is finished, and never without the LDs approval
8.
Principal photography
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Principal photography is the phase of film production in which the movie is filmed, with actors on set and cameras rolling, as distinct from pre-production and post-production. Its start generally marks a point of no return for the financiers, feature films usually have insurance in place by the time principal photography begins. The death of a star before completing all planned takes. For example, sets are notoriously flammable, and most older studios feature water towers for that reason, furthermore, professional-quality movie cameras are normally rented as needed, and most camera houses will not allow rentals of their equipment without proof of insurance. Once a film concludes principal photography, it is said to have wrapped, in these circumstances, additional material may have to be shot. If the material has already been shot once, or is substantial, the process is referred to as a re-shoot, learning materials related to Filmmaking at Wikiversity Media related to Filmmaking at Wikimedia Commons
9.
William Charles John Pitcher
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William John Charles Pitcher, known as Wilhelm or C. Wilhelm, was an English artist, costume and scenery designer, best known for his designs for ballets, pantomimes, comic operas, Wilhelm was born at Northfleet, in Kent, England, the son of a shipbuilder. The young artist showed early promise, and J. R. Planché recommended him to design for the Theatre Royal, Drury Lane. There, Wilhelm created costumes, beginning in 1877, for works, including the famous pantomimes of Sir Augustus Harris and for others until 1897, including the spectacular drama. For Robert Courtneidge in Manchester, England, Wilhelm designed two Shakespeare plays, A Midsummer Nights Dream and As You Like It, Wilhelm also designed costumes for numerous pantomimes, including Cinderella, Dick Whittington, and Blue Beard. He also designed costumes for Jane Annie at the Savoy and for the Olympia, London spectacles Nero and his later costume designs included The New Aladdin, Edward Germans opera Tom Jones, Peter Pan, and The Arcadians and The Mousmé, among other musical comedies. Londons The Times wrote, Wilhelm excelled especially in rendering the spirit and detail of historical periods, to his imaginative gifts he added remarkable precision and firmness in execution and great ingenuity in the treatment of colour. Wilhelm also contributed a number of articles on the art of the theatre to The Magazine of Art and he died in London just short of his 67th birthday and is buried in Brompton cemetery
10.
Percy Anderson
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Beginning with The Yeomen of the Guard, Anderson designed the costumes for all the original productions of the Savoy Operas. He continued to design costumes for DOyly Carte revivals in the twentieth century, including for Trial by Jury. Pinafore, The Pirates of Penzance, Patience, Iolanthe, Princess Ida, Ruddigore, The Yeomen of the Guard and he designed the costumes for Henry James’s ill-fated theatrical effort, Guy Domville, The Times was not impressed by either the play or the costumes. He designed the costumes for the hit musical San Toy in 1899, The Duchess of Dantzic in 1903, the Royal Opera House also commissioned Anderson to design costumes in 1900. Andersons designs were used in a number of Broadway productions. Described as a dainty, naughty, rococo man, Anderson had private means, and for a time roomed with Morton Fullerton and he was part of a circle of rich, artistic homosexual men, who included Lord Ronald Gower, the courtier Alec Yorke and Hamilton Aïdé. In the 1910s, Anderson was closely associated with the young novelist Hugh Walpole, as a painter, Anderson achieved a modest success, and his portraits hang in the collections of the National Portrait Gallery, the Louvre, and the British Museum. He illustrated the 1907 book, Costume, Fanciful, Historical and Theatrical, Anderson died in Kings College Hospital, London, in 1928, aged 76 or 77. Hugh Walpole Sutton Publishing, Stroud, ISBN 0-7509-1491-2 Mainwaring, Marion, mysteries of Paris, the Quest for Morton Fullerton, University of New England Press,2001 Rollins, Cyril and R. John Witts. The DOyly Carte Opera Company in Gilbert and Sullivan Operas London, Michael Joseph Ltd
11.
Programme (booklet)
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A programme or program is a booklet available for patrons attending a live event such as theatre performances, fêtes, sports events, etc. It is a printed leaflet outlining the parts of the event scheduled to take place, principal performers, in the case of theatrical performances, the term playbill is also used. It may be provided free of charge by the event organisers or a charge may be levied, at a theatre, opera, or ballet performance it is usually given at the door in the United States, while it is usually sold in the United Kingdom. The Broadway programme is similar to a network, in that it makes its money from selling advertisements. A programme company pays the theatre for the rights to produce the production’s programmes, for example, the programme for the original production of Man of La Mancha contained articles by the staff about how the production was created. The first theatre programmes were issued in the century in magazine format. The original theatre programme first appeared in the 18th century, the early playbills were basic, with only enough pages to list the cast members and information on the plays locale and scenes. There were usually four pages, the cover advertised the show, a back page displayed the theatre layout. Not all early programmes were printed, but written by hand or cut, the latter was especially done by theatre entrepreneur Sarah Baker, who owned several theatres in Kent, during the late 18th century. In early British theatre the cast was very important, audiences were very familiar with leading actors and a particular player could draw a larger crowd. This sometimes resulted in property damage and physical assault, programmes were not only distributed in theatres, but also on the streets. The distributors were often women who worked for the theatre by selling oranges as refreshments to audiences and it has been alluded to that these women were also prostitutes. However, there was still a large rate of illiteracy among theatre goers and this resulted in companies of actors traversing urban streets with a beating drum while announcing upcoming venues. By the 19th century, the programmes, similar to todays, were being printed, however, the earlier playbills of the 18th century still contained more designs and information about a production. By 1884, advertisements became an appearance in playbills. Beginning in New York City, the first company to specialize in printing theatrical programmes was founded by an Ohio business man, by 1911, the company was called the Strauss Magazine Theatre Program. On September 23,1920, the company, then known as the New York Theatre Program Corporation, advertised its sales at a million and this corporation was the early foundation for the modern day magazine, Playbill. During World War II, British theatre programmes underwent a change as the government placed restrictions over paper use
12.
Edith Head
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Edith Head was an American costume designer who won a record eight Academy Awards for Best Costume Design, starting with The Heiress and ending with The Sting. Born and raised in California, Head managed to get a job as a sketch artist at Paramount Pictures. She first acquired notability for Dorothy Lamour’s trademark sarong dress, Head was considered exceptional for her close working relationships with her subjects, with whom she consulted extensively, and these included virtually every top female star in Hollywood. After 43 years she left Paramount for Universal, possibly because of her partnership with Alfred Hitchcock. She was born Edith Claire Posener in San Bernardino, California and her father, born in January 1858, was a naturalized American citizen from Germany, who came to the United States in 1876. Her mother was born in St. Louis, Missouri in 1875, the daughter of an Austrian father and it is not known where Max and Anna met, but they married in 1895, per the 1900 United States Federal Census records. Just before Ediths birth, Max Posener opened a haberdashery in San Bernardino which failed within a year. In 1905 Anna married mining engineer Frank Spare, from Pennsylvania, the family moved frequently as Spares jobs moved. The only place Head could later recall living in during her early years was Searchlight, Frank and Anna Spare passed Edith off as their mutual child. As Frank Spare was a Catholic, Edith ostensibly became one as well and she became a language teacher with her first position as a replacement at Bishops School in La Jolla teaching French. After one year, she took a position teaching French at the Hollywood School for Girls, wanting a slightly higher salary, she told the school that she could also teach art, even though she had only briefly studied the discipline in high school. To improve her skills, at this point rudimentary, she took evening classes at the Chouinard Art College. On July 25,1923, she married Charles Head, the brother of one of her Chouinard classmates, although the marriage ended in divorce in 1936 after a number of years of separation, she continued to be known professionally as Edith Head until her death. In 1924, despite lacking art, design, and costume design experience, later she admitted to borrowing other students sketches for her job interview. She began designing costumes for silent films, commencing with The Wanderer in 1925 and, by the 1930s, had established herself as one of Hollywoods leading costume designers. She worked at Paramount for 43 years until she went to Universal Pictures on March 27,1967, possibly prompted by her work for director Alfred Hitchcock. Heads marriage to set designer Wiard Ihnen, on September 8,1940, over the course of her long career, she was nominated for 35 Academy Awards, annually from 1948 through to 1966, and won eight times – receiving more Oscars than any other woman. Although Head was featured in studio publicity from the mid-1920s, she was originally over-shadowed by Paramounts lead designers, first Howard Greer, Head was instrumental in conspiring against Banton, and after his resignation in 1938 she became a high-profile designer in her own right
13.
Adrian (costume designer)
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Adrian Adolph Greenberg, widely known as Adrian, was an American costume designer whose most famous costumes were for The Wizard of Oz and other Metro-Goldwyn-Mayer films of the 1930s and 1940s. During his career, he designed costumes for over 250 films, on occasion, he was credited as Gilbert Adrian, a combination of his fathers forename and his own. Adrian was born on March 3,1903 in Naugatuck, Connecticut, to Gilbert, contrary to some sources, Adrians father Gilbert was born in New York and his mother Helena in Waterbury, Connecticut. It was his grandparents, who were immigrants, joseph Greenburg and his wife Frances were from Russia, while Adolph Pollak and Bertha Pollak were from Bohemia and Germany, respectively. He entered the New York School for Fine and Applied Arts (now Parsons School of Design in 1920, in 1922, he transferred to NYSFAAs Paris campus and while there was hired by Irving Berlin. Adrian then designed the costumes for Berlins The Music Box Revue, Adrian was hired by Rudolph Valentinos wife Natacha Rambova to design costumes for A Sainted Devil in 1924. He would also design for Rambovas film, What Price Beauty, Adrian became head costume designer for Cecil B. DeMille moved temporarily to Metro-Goldwyn-Mayer and Adrian was hired as costume designer at the studio. While DeMille eventually returned to Paramount, Adrian stayed on at MGM, in his career at that studio, Adrian designed costumes for over 200 films. During this time, Adrian worked with some of the biggest female stars of the day like Greta Garbo, Norma Shearer, Jeanette MacDonald, Jean Harlow, Katharine Hepburn and he worked with Crawford 28 times, Shearer 18 and Harlow 9. He worked with Garbo over the course of most of her career, the Eugénie hat he created for her in the film Romance became a sensation in 1931 and influenced millinery styles for the rest of the decade. Adrian was behind Crawfords signature outfits with large pads, which later spawned a fashion trend. Adrian was most famous for his evening gown designs for these actresses, Adrian was also well known for his extravagant costumes, as in The Great Ziegfeld and opulent period dresses such as those for Camille and Marie Antoinette. Adrian famously insisted on the best materials and workmanship in the creation of his designs, Adrian is perhaps best known today for his work on the 1939 movie classic, The Wizard of Oz. Adrian designed the films red-sequined ruby slippers for Judy Garland, Adrian left MGM in 1941 to set up his own independent fashion house, though he still worked closely with Hollywood. Though he was gay, he married Janet Gaynor in 1939, possibly in response to the anti-gay attitudes of the movie studio heads. They retired and remained married until his death in 1959, Gaynor and Adrian had one son, Robin. After leaving MGM, he established his own fashion house and he had been repeatedly courted by retailers to design for public sale, but rebuffed these offers
14.
Dynasty (1981 TV series)
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Dynasty is an American prime time television soap opera that aired on ABC from January 12,1981 to May 11,1989. The series, created by Richard and Esther Shapiro and produced by Aaron Spelling, revolves around the Carringtons, Dynasty stars John Forsythe as oil magnate Blake Carrington, Linda Evans as his new wife Krystle, and later Joan Collins as his former wife Alexis. Dynasty was conceived as ABCs competitor to CBSs prime time series Dallas, ratings for the shows first season were unimpressive, but a revamp for the second season that included the arrival of Collins as scheming Alexis saw ratings enter the top 20. By the fall of 1982, it was a top 10 show, the series declined considerably in popularity during its final two seasons, and it was ultimately cancelled in the spring of 1989 after nine seasons and 220 episodes. A two-part miniseries, Dynasty, The Reunion, aired in October 1991, Dynasty was nominated for a Golden Globe Award for Best TV Drama Series every year from 1981 to 1986, winning in 1984. The series spawned a line of fashion and luxury products. Esther Shapiro claimed that an inspiration for the show was I, Claudius, the working title for Dynasty was Oil, and the starring role originally went to George Peppard. Peppard, who had difficulties dealing with the somewhat unsympathetic role of patriarch Blake Carrington, was replaced with John Forsythe. Dynasty finally premiered on ABC as an event on January 12,1981. As Dynasty begins on January 12,1981, powerful oil tycoon Blake Carrington is about to marry the younger Krystle Jennings, though devoted to Krystle, Blake himself is too preoccupied with his company, Denver-Carrington, and blind to Krystles predicament. Meanwhile, Fallon, better suited to follow in Blakes footsteps, is underestimated by and she channels her energies into toying with various male suitors, including the Carrington chauffeur Michael Culhane. At the end of the premiere episode Oil, Steven finally confronts his father, criticizing Blakes capitalistic values. Blake explodes, revealing the secret of which Steven thought his father was unaware, Blake is disgusted by Stevens homosexuality, in counterpoint to the Carringtons are the Blaisdels, Denver-Carrington geologist Matthew — unhappily married to the emotionally fragile Claudia — is Krystles ex-lover. Blake is further enraged when Steven goes to work for longtime friend Matthew, though previously in a relationship with another man, Steven finds himself drawn to Claudia, who is putting her life back together after spending time in a psychiatric hospital. Fallon makes a business deal with Blakes old friend and more-powerful business rival Cecil Colby. Blake is arrested and charged with murder, and an angry Steven testifies that Teds death had been the result of malicious intent. A veiled surprise witness for the prosecution appears in the season finale The Testimony, in the first episode of the second season, titled Enter Alexis, the mysterious witness removes her sunglasses to reveal British actress Joan Collins as a new arrival to the series. Alexiss testimony notwithstanding, Krystle is immediately put off by the former Mrs, the season finale sees Blake left for dead on a mountain after a fight with Nick
15.
Mad Men
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Mad Men is an American period drama television series created by Matthew Weiner and produced by Lionsgate Television. The series premiered on July 19,2007, on the cable network AMC, after seven seasons and 92 episodes, Mad Mens final episode aired on May 17,2015. According to the pilot, the phrase Mad men was a slang term coined in the 1950s by advertisers working on Madison Avenue to refer to themselves. The plot focuses on the business of the agencies as well as the lives of the characters, regularly depicting the changing moods. Season one begins in March 1960 and moves through November 1970 by the conclusion of season seven, throughout its run, Mad Men received widespread critical acclaim for its writing, acting, and historical authenticity, it has won many awards, including 16 Emmys and five Golden Globes. The show was also the first basic cable series to receive the Emmy Award for Outstanding Drama Series and it is widely regarded as one of the greatest television series of all time. In 2000, while working as a writer for Becker. Television producer David Chase recruited Weiner to work as a writer on his HBO series The Sopranos after reading the script in 2002. It was lively, and it had something new to say, here was someone who had written a story about advertising in the 1960s, and was looking at recent American history through that prism. Weiner and his representatives at Industry Entertainment and ICM tried to sell the script to HBO and Showtime. The Sopranos was completing its final season then, and the network happened to be getting into the market for new series programming. Weiner listed Alfred Hitchcock as an influence on the visual style of the series. He also was influenced by director Wong Kar-wai in the music, mise en scène and he also says that Mad Men would have been some sort of crisp, soapy version of The West Wing if not for The Sopranos. Tim Hunter, the director of a half-dozen episodes from the shows first two seasons, called Mad Men a very well-run show and he said, They have a lot of production meetings during pre-production. The day the script comes in we all meet for a first page turn, then theres a tone meeting a few days later where Matt tells us how he envisions it. And then theres a full crew production meeting where Matt again tells us how he envisions it. The pilot episode was shot at Silvercup Studios and various locations around New York City and it is available in high definition for showing on AMC HD and on video-on-demand services available from various cable affiliates. Each episode had a budget between US$2–2.5 million, though the episodes budget was over $3 million
16.
Patricia Field
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Patricia Field is an American costume designer, stylist and fashion designer. Field was born in 1942 in New York City to an Armenian father and a Greek mother and she was raised in Manhattan and Queens, and has claimed credit for inventing the modern legging for womens fashion in the 1970s. She is the owner of the eponymous boutique Patricia Field, Field met Sarah Jessica Parker during the filming of 1995s Miami Rhapsody. They became friends and worked together on the television series Sex, before the first season of Sex and the City, Parker and Darren Star asked Field to design the costumes for the series. During Fields tenure as designer on the series, the show became well known for the fashions. For her work on Sex and the City, Field was nominated for five Emmy Awards, with one win and she is one out of six honorees of the 2008 Reel Time Film Festival. She went on to return as costume designer for the movie Sex and the City and the sequel Sex and she worked in the Asian market by creating the fashion behind the Chinese feature film 杜拉拉升职记. Fields television credits include Hope & Faith and Ugly Betty and she served as costume designer for the feature film The Devil Wears Prada, for which she was nominated for an Oscar for Best Costume Design. Field, who is lesbian, was for many years romantically involved with costume designer Rebecca Weinberg, with whom she partnered on Sex. Field appeared as the first guest judge during the first season of the Bravo reality television series Project Runway. Her eponymous boutique was featured in a 2007 episode of Kathy Griffins reality show My Life on the D-List, in 2011, she designed most of the outfits for the characters in a Taiwan drama called Material Queen. In 2016, Field sold her iconic retail property on the Bowery, after being in business for 50 years, Field is currently the costume consultant on the TV Land series, Younger. The charities Field supports include COAF and The Lower Eastside Girls Club and her support also extends through numerous LGBT organizations. Among others, Fields influences include, John Galliano, Diane von Furstenberg, on 25 February 2011, Dior announced that it had suspended its head designer John Galliano following his arrest over an alleged anti-semitic assault in a Paris bar. The next day, The Sun published a video on their website, in which Galliano hurls anti-semitic insults at a group of Italian women, people like you would be dead. Your mothers, your forefathers would all be fucking gassed, in a statement, Natalie Portman, an Oscar-winning American actress who is Jewish and whose great-grandparents died in Auschwitz expressed disgust at John Gallianos comments. Field defended Galliano by sending an email blast to 500 friends, blogs, but people in fashion dont recognize the farce in it. All of a sudden they don’t know him, but it’s OK when it’s Mel Brooks The Producers singing Springtime for Hitler
17.
Costume coordination
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Costume coordination is a method of dressing actors, employees or a person or group for theatrical productions and any venue requiring a fully realized character. Just as with costume design, the costume creates the over all appearance of the characters, sometimes coordinators may have a small budget to augment the existing stock or alter it for production needs. Many theatres with smaller budgets regularly reuse existing stock, especially older companies with large costume warehouses, coordination of costumes is also required at theme parks and festivals which require performers and dancers to have a consistent appearance, or maintained as originally designed
18.
Fursuit
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Fursuits can be worn for personal enjoyment, work or charity. Unlike mascot suits, which are affiliated with a team or organization. Fursuiters may adopt another personality while in costume for the purpose of performance, fursuits are typically sold online by commission or auction, but can also be sold at conventions. Most fursuits are created by specialized online businesses if they are not self-made, workmanship quality varies widely depending on the cost of the suit and skill of the maker. A fursuit may cost more than a thousand dollars, the primary supplies are foam, fake or faux fur, silicone, and buckram and plasticard to make the eyes. Many suits include special padding or undersuits to give the character its desired shape, other suit variations include the partial suit, which only has a mask, gloves, a tail, and possibly feet, with regular clothing covering the rest of the body. Three-quarter suits also include part of the body, like the torso or legs and this type of fursuit works well for characters who only wear a shirt without pants or just a pair of pants without a shirt. Quadsuits are designed with arm-extending stilts so that the wearer can walk on all fours, fursuits can be expensive to clean. Animal costumes have been part of culture since prehistorical times. Fursuits are worn to furry conventions and other such as anime or gaming conventions. Fursuits may also be worn in public, some fursuit owners use their suits as temporary costumed characters to bring attention to an event or charity. A subset of fursuits more resemble creature suits and may be used in live action role-playing games or films, creature suit Costumed character Cosplay Fur clothing
19.
Cosplay
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Cosplay, a contraction of the words costume play, is a performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture and a use of the term cosplay applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject, favorite sources include manga and anime, comic books and cartoons, video games, and live-action films and television series. The term cosplay is a Japanese portmanteau of the English terms costume, the term was coined by Nobuyuki Takahashi of Studio Hard while attending the 1984 World Science Fiction Convention in Los Angeles. He was impressed by the hall and the fans and reported on both in Japanese magazine My Anime. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound, costume becomes kosu, Costume parties or fancy dress parties were popular from the 19th century onwards. Most specific costumes described therein are for historical figures although some are sourced from fiction, one of the earliest recorded examples of costuming based on an existing character from popular media were costumes based on A. D. Condos science fiction comic character Mr. Skygack, from Mars, in 1908, a Mr. and Mrs. William Fell attended a masquerade at a skating rink in Cincinnati, Ohio wearing Mr. Skygack and Miss Dillpickles costumes. Shortly after, in 1910, a woman won first prize at masquerade ball in Tacoma. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman, paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon, david Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume. Other costumed attendees included guest of honor E. E. Smith as Northwest Smith and both Ackerman and Douglas wearing their futuristicostumes again, masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food, contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a Hunchbackerman of Notre Dame costume to the 3rd Worldcon in 1941, which included a designed and created by Ray Harryhausen. Douglas wore an Akka costume, the mask made by Harryhausen, to the 3rd Worldcon. Rules governing costumes became established in response to specific costumes and costuming trends, the first nude contestant at a Worldcon masquerade was in 1952 but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to No Costume is No Costume rule, which banned full nudity, mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon in 1974
20.
Costume party
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A costume party or a fancy dress party is a type of party, common mainly in contemporary Western culture, where guests dress up in costumes. Costumed Halloween parties are popular in the United States, Canada, Australia, typical events for Australians that involve dressing up are the Sydney Gay and Lesbian Mardi Gras, the staff Christmas party and cricket matches. One of the oldest examples of fancy dress being worn in Australia is on display at the Western Australia Museum. It was a fancy dress costume worn by Miss Rita Lloyd, aged nine. Its a tradition to have a party at a university graduation. The origins of fancy dress parties in the United Kingdom can in some respects be traced to masked balls of the 18th century period, in the period to 1850, fancy dress balls were a typical part of the social life of music festivals. Common costumes of the period were historical characters, generic historical or regional clothing, abstract concepts. Popular characters included, for women, Marie Antoinette and Elizabeth I, notable amongst early events in the 20th century was the Chelsea Arts Club ball. Such events were often elaborate affairs and for the most part confined to those with considerable means, amongst the general population, costume parties also occurred with increasing frequency from the late 1940s onward, although for the most part the costumes were simple affairs until the mid-1970s. Prior to cheap imports from the Far East, most costumes were either hired. Retail purchased costumes are, in respect of the UK, a modern phenomenon although accessory items had been available for some time. Since the increased rate in late 1990s onwards saw the many materials / products being imported from the Far East. This has seen the price of purchased costumes becoming more and more affordable, coupled with the modern trend in costume parties, retro fashion as a costume theme is also popular, the costumes to some extent parodying or pastiching the fashions of earlier decades. Amongst the most popular parodied costumes are, Audrey Hepburn, Madonna in her stage outfits. Fancy dress parties are popular year round in the United Kingdom, the 1996 novel Bridget Joness Diary features the classic British costume party theme Tarts and Vicars at which the women wear sexually provocative costumes, while the men dress as Anglican priests. Fancy dress parties have held by the British Royal Family. In late nineteenth century New York, costume parties were popular amongst the affluent, costumes were typically historical European aristocracy. Authenticity was important, even extending to using actual period elements, for example, Cornelia Bradley-Martin attended her own ball dressed as Marie Antoinette, wearing jewellery actually owned and worn by Antoinette herself
21.
Masque
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The masque was a form of festive courtly entertainment that flourished in 16th- and early 17th-century Europe, though it was developed earlier in Italy, in forms including the intermedio. Professional actors and musicians were hired for the speaking and singing parts, in the tradition of masque, Louis XIV of France danced in ballets at Versailles with music by Jean-Baptiste Lully. The masque tradition developed from the elaborate pageants and courtly shows of ducal Burgundy in the late Middle Ages, masques were typically a complimentary offering to the prince among his guests and might combine pastoral settings, mythological fable, and the dramatic elements of ethical debate. There would invariably be some political and social application of the allegory, such pageants often celebrated a birth, marriage, change of ruler or a Royal Entry and invariably ended with a tableau of bliss and concord. Masque imagery tended to be drawn from Classical rather than Christian sources, Masque thus lent itself to Mannerist treatment in the hands of master designers like Giulio Romano or Inigo Jones. The New Historians, in works like the essays of Bevington, in English masques, purely musical interludes might be accompanied by a dumbshow. The rustic presentation of Pyramus and Thisbe as an entertainment in Shakespeares A Midsummer Nights Dream offers a familiar example. Spectators were invited to join in the dancing, at the end, the players would take off their masks to reveal their identities. A descriptive narrative of a processional masque is the masque of the Seven Deadly Sins in Edmund Spensers The Faerie Queene, a particularly elaborate masque, performed over the course of two weeks for Queen Elizabeth, is described in the 1821 novel Kenilworth, by Sir Walter Scott. Later, in the court of James I, narrative elements of the masque became more significant, plots were often on classical or allegorical themes, glorifying the royal or noble sponsor. At the end, the audience would join with the actors in a final dance, Ben Jonson wrote a number of masques with stage design by Inigo Jones. Their works are thought of as the most significant in the form. Sir Philip Sidney also wrote masques, william Shakespeare wrote a masque-like interlude in The Tempest, understood by modern scholars to have been heavily influenced by the masque texts of Ben Jonson and the stagecraft of Inigo Jones. There is also a sequence in his Romeo and Juliet. John Miltons Comus is described as a masque, though it is reckoned a pastoral play. Reconstructions of Stuart masques have been few and far between, part of the problem is that only texts survive complete, there is no complete music, only fragments, so no authoritative performance can be made without interpretive invention. In the 18th-century, masques were even less frequently staged, but because of its ephemeral nature, not a lot of documentation related to masques remains, and much of what is said about the production and enjoyment of masques is still part speculation. While the masque was no longer as popular as it was at its height in the 17th Century, during the late 17th century, English semi-operas by composers such as Henry Purcell had masque scenes inset between the acts of the play proper
22.
Masquerade ball
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A masquerade ball is an event in which the participants attend in costume wearing a mask. The Bal des Ardents was held by Charles VI of France, and intended as a Bal des sauvages and it took place in celebration of the marriage of a lady-in-waiting of Charles VI of Frances queen in Paris on January 28,1393. The King and five courtiers dressed as wildmen of the woods, with costumes of flax, when they came too close to a torch, the dancers caught fire. Such costumed dances were a luxury of the ducal court of Burgundy. Masquerade balls were extended into costumed public festivities in Italy during the 16th century Renaissance and they were generally elaborate dances held for members of the upper classes, and were particularly popular in Venice. They have been associated with the tradition of the Venetian Carnival, with the fall of the Venetian Republic at the end of the 18th century, the use and tradition of masks gradually began to decline, until they disappeared altogether. They became popular throughout mainland Europe in the 17th and 18th centuries, sometimes with fatal results, gustav III of Sweden was assassinated at a masquerade ball by disgruntled nobleman Jacob Johan Anckarström, an event which Eugène Scribe and Daniel Auber turned into the opera Gustave III. The same event was the basis of Giuseppe Verdis opera A Masked Ball, most masks came from countries like Switzerland and Italy. Londons public gardens, like Vauxhall Gardens, refurbished in 1732, and Ranelagh Gardens, provided optimal outdoor settings, throughout the century, masquerade dances became popular in Colonial America. Its prominence did not go unchallenged, a significant anti-masquerade movement grew alongside the balls themselves, the anti-masquerade writers held that the events encouraged immorality and foreign influence. In the 1770s, fashionable Londoners went to the organized by Teresa Cornelys at Carlisle House in Soho Square. Masquerade balls were set as a game among the guests. The masked guests were dressed so as to be unidentifiable. This would create a type of game to see if a guest could determine each others identities and this added a humorous effect to many masquerades and enabled a more enjoyable version of typical balls. One of the most noted masquerade balls of the 20th century was held at Palazzo Labia in Venice on 3 September 1951. It was dubbed the party of the century, a new resurgence of masquerade balls began in the late 1990s in North America. More recently, the party atmosphere is emphasized and the formal dancing usually less prominent, less formal costume parties may be a descendant of this tradition. The picturesque quality of the ball has made it a favorite topic or setting in literature
23.
Parade
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A parade is a procession of people, usually organized along a street, often in costume, and often accompanied by marching bands, floats or sometimes large balloons. Parades are held for a range of reasons, but are usually celebrations of some kind. In Britain the term parade is usually reserved for military parades or other occasions where participants march in formation. In the Canadian Forces the term also has less formal connotations. Protest demonstrations can also take the form of a parade, the parade float got its name because the first floats were decorated barges that were towed along canals with ropes held by parade marchers on the shore. Floats were occasionally propelled from within by concealed oarsmen, but the practice was abandoned because of the incidence of drowning when the lightweight. Strikingly, among the first uses of grounded floats — towed by horses — was a ceremony in memory of recently drowned parade oarsmen, today, parade floats are traditionally pulled by motor vehicles or are powered themselves. A grand marshal is a title given to an individual by the organizing committee of a periodic parade event. Similar to guests of honor at fan conventions, a marshal is selected on any basis relevant to the theme or nature of the parade. Multiple grand marshals may often be designated for an iteration of the parade, some parades, such as pride parades, may select a Community Grand Marshal or other designations alongside a Grand Marshal to lead the front or other parts of the parade. Since the advent of technology, it became possible for aircraft. A flypast is a parade of anything from one to dozens of aircraft. They are particularly common in the United Kingdom, where they are associated with Royal occasions. Similarly, for ships, there may be a sail-past of, the longest parade in the world is the Hanover Schützenfest that takes place in Hanover every year during the Schützenfest. The parade is 12 kilometres long with more than 12,000 participants from all over the world, among more than 100 bands and around 70 floats
24.
World Costume Festival
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The World Costume Festival is an international fashion festival held every two years in the Philippines city of Vigan City in Ilocos Sur. The event showcases indigenous and modern costumes geared towards live performances, such as drama, festivals, events and it emphasizes apparel for special ritual occasions or theater performance work as opposed to regular fashion apparel. Its organizers aim to promote tourism as well as encourage native loom-weaving, there is an emphasis on fabric materials and Philippine weaving methods such as batik, abel, and piña, from different parts of the Philippines. A festival was held in Vigan City in the last week of April in 2013, there are reports of the event either becoming an annual event or being held every two years. The event coincides with fashion festivals held in different cities in the Philippines, the event was described as a preview for the World Stage Design Festival in Cardiff, Wales. The primary focus of the event is a costume competition, the highest award at the festival is the Golden Kneeling Carabao Trophy, the carabao is a Philippine water buffalo sometimes found in swamps. In addition to the competition, the event has workshops, classes by designers, conferences. There is a parade down the cobblestone streets of Vigan. The event has jubilant colors as well as a body-painting competition, the Manila Standard described the event as kaleidoscopic with people wearing costumes from the historic past
25.
Costume design
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Costume design is the envisioning of clothing and the overall appearance of a character or performer. Costume may refer to the style of particular to a nation. In many cases, it may contribute to the fullness of the artistic, the most basic designs are produced to denote status, provide protection or modesty, or provide visual interest to a character. Costumes may be for a theater, cinema, or musical performance, Costume design should not be confused with costume coordination which merely involves altering existing clothing, although both create stage clothes. Four types of costumes are used in design, historical, fantastical, dance. Village festivals and processions in honor of Dionysus amongst the ancient Greeks, are believed to be the origin of theatre, the sculpture and vase paintings provide the clearest evidence of this costume. Because of their style of theatre many masks were used giving each character a specific look. Some masks were constructed with a cheerful as well as a side on the same face in an attempt to indicate a change in emotion without a change of mask. The same is true for the Romans, who continued the mask tradition, stereotypical characterization was key when clothing performers for this style of theatre. In most instances actors had to supply their own costumes when playing a character found in daily life, later, in Elizabethan performance during the 1500-1600s in England, costume became the most important visual element. Garments were very expensive because only the finest fabrics were used, ordinarily, fashionable garments were used in both comedy and tragedy until 1727, when Adrienne Lecouvreur adopted the much more elaborate and formal court dress for tragedy. Her practice soon became standard for all tragic heroines Major actors began to compete with one another as to who would have the most lavish stage dress and this practice continued until around the 1750s when costumes became relevant to the character again. Art began to copy life and realistic characteristics were favored especially during the 19th century, for example, Georg the second, Duke of Saxe-Meiningen took personal interest in the theatre and began managing troupes. He advocated for authenticity and accuracy of the script and time period and he also made sure the materials were authentic and specific, using real chain mail, armor, swords, etc. No cheap substitutes would be allowed, in August 1823, in an issue of The Album, James Planché published an article saying that more attention should be paid to the time period of Shakespeares plays, especially when it comes to costumes. In the same year, a casual conversation led to one of Planchés more lasting effects on British theatre, Planché had little experience in this area and sought the help of antiquaries such as Francis Douce and Sir Samuel Meyrick. The research involved sparked Planchés latent antiquarian interests, these came to occupy an increasing amount of his later in life. Despite the actors reservations, King John was a success and led to a number of similarly-costumed Shakespeare productions by Kemble, Planché also wrote a number of plays or adaptations which were staged with historically accurate costumes
26.
Body painting
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Body painting, or sometimes bodypainting, is a form of body art. Unlike tattoo and other forms of art, body painting is temporary, painted onto the human skin. Body painting that is limited to the face is known as face painting, body painting with clay and other natural pigments existed in most, if not all, tribalist cultures. Often worn during ceremonies, it survives in this ancient form among the indigenous people of Australia, New Zealand. A semi-permanent form of painting known as Mehndi, using dyes made of henna leaves, was and is still practiced in India]. Since the late 1990s, Mehndi has become popular amongst young women in the Western world, many indigenous peoples of Central and South America paint Jagua Tattoos, or designs with Genipa americana juice on their bodies. Indigenous peoples of South America traditionally use annatto, huito, or wet charcoal to decorate their faces and bodies, huito is semi-permanent, and it generally takes weeks for this black dye to fade. Actors and clowns around the world have painted their faces—and sometimes bodies—for centuries, more subdued form of face paints for everyday occasions evolved into the cosmetics we know today. Body painting is not always large pieces on fully nude bodies, even today there is a constant debate about the legitimacy of body painting as an art form. Body art today evolves to the works more directed personal mythologies, as Jana Sterbak, Rebecca Horn, Youri Messen-Jaschin. Body painting is used as a method of gaining attention in political protests. French artist Yves Klein is perhaps the most famous for this, the effect produced by this technique creates an image-transfer from the models body to the medium. This includes all the curves of the body being reflected in the outline of the image. This technique was not necessarily monotone, multiple colors on different body parts sometimes produced interesting effects, Joanne Gair is a body paint artist whose work appeared for the tenth consecutive year in the 2008 Sports Illustrated Swimsuit Issue. She burst into prominence with an August 1992 Vanity Fair Demis Birthday Suit cover of Demi Moore and her Disappearing Model was part of an episode of Ripleys Believe It or Not. Body painting festivals happen annually across the world, bringing together professional body painters as well as keen amateurs, body paintings can also typically be seen at football matches, at rave parties, and at certain festivals. The World Bodypainting Festival in Pörtschach in Austria is the biggest art event in the bodypainting theme and this particular form of creative art is defined Skin Art. The 1960s supermodel Veruschka is a much appreciated muze for bodypaint artists, images of her in the book Transfigurations by photographer Holger Trulzsch have frequently been emulated
27.
Disguise
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A disguise can be anything which conceals or changes a persons physical appearance, including a wig, glasses, makeup, costume or other items. Camouflage is a type of disguise for people, animals and objects, hats, glasses, changes in hair style or wigs, plastic surgery, and make-up are also used. Disguises can be used by criminals and secret agents seeking to avoid identification, in comic books and films, disguises are often used by superheroes, and in science fiction they may be used by aliens. Dressing up in costumes is a Halloween tradition, in comic books and superhero stories, disguises are used to hide secret identities and keep special powers secret from ordinary people. For example, Superman passes himself off as Clark Kent, sherlock Holmes often disguised himself as someone else to avoid being recognized. In science fiction, aliens often take on an appearance wearing human suits as a disguise. In epic poetry, Odysseus uses the disguise of a beggar to test his familys, Disguise is sometimes used in criminal activity and in spying, and is a common trend in detective fiction and in spy stories. Arsene Lupin is feared in Maurice Leblancs stories because of his ability to disguise himself. The Clay Camel, one of Mandrake the Magicians foes, is considered the Master of the Disguise, because he is able to mimic anyone, impersonator Mask Alter ego Carnival in the Netherlands
28.
Fake moustache
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Fake Mustache is also the name of a book by Tom Angleberger. A fake moustache or false moustache is an item of prosthetic make-up used in dressing-up, acting, espionage, Fake moustaches are made in different ways, but usually require the wearer to use adhesive to affix the moustache to his face. National fake moustache day in the United States is on 24 February, the most notable fake moustache of all-time was probably worn by Charlie Chaplin for his role as The Tramp. He initially wore it as a means of disguising his youth for the role, groucho Marx also used a fake moustache during his years in vaudeville and in the early Marx Brothers movies. However, his was drawn onto his lip with grease paint, in later life he grew his own, real moustache. It, along with his cigar and waggling eyebrows, were his famous trademark, in Dayton, Ohio, there is a group who gathers to celebrate the hoy of the fake moustache. The Gem City Fake Mustache Society meets monthly for various events, some events include 5K races, Kansas City has been said to have the premiere fake moustache club in North America. The Kansas City Fake Mustache Club has over 500 members throughout the world, including KCFMC Chapters in Chicago, Salt Lake City, and Pittsburg, Kansas
29.
Inflatable costume
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An inflatable costume or air-inflated costume is a costume that is inflated around the wearer by means of a battery-powered blower that sucks air into the costume. These costumes usually stand 9–10 feet tall when inflated, inflatable costumes are typically used by mascots and started appearing in the 1990s. One of the first inflatable mascots was Lil Red of the University of Nebraska-Lincoln, most NBA teams own an inflatable costume. In the UK inflatable costumes are becoming popular, and many people are wearing them for fun at parties etc. These are smaller versions of the worn by mascots in the US. They are used by stepping into the costume, turning on the electric fan and then pulling a drawstring at the neck. Popular costumes include the inflatable sumo wrestler, ballerina and cowboy
30.
Zentai
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Zentai is a term for skin-tight garments that cover the entire body. The word is a portmanteau of zenshin taitsu, Zentai is most commonly made using nylon/spandex blends. Morphsuits has achieved commercial success internationally. Between January and late October 2010, the company shipped 10,000 to Canada alone, morphsuits brand has actively tried to disassociate themselves from the existing zentai community, occasionally being listed as the products co-inventor. Superfan Suits acknowledges in interviews that the outfits have existed previously, the term morphsuit has become a generic term in the process, one New Zealand-based newspaper refers to competing brand Jaskins as one of the main online morphsuit brands. Jaskins company founder Josh Gaskin says their origins are unclear, pegging the first usage with Its Always Sunny in Philadelphia, the costumes are seen at major sporting events in North America and the United Kingdom. They created internationally recognized personalities out of The Green Men, two fans of the Vancouver Canucks NHL team, various professional street dance/hip hop dance groups use the outfits, such as The Body Poets in the United States, and Remix Monkeys in the United Kingdom. Full-body suits are used by animators, the colors offered allowed the person wearing the chroma key suit to be lifted easily from a video image. A British theme park offered free admission for those in zentai in the colours of their park logo, since Zentai cover ones face, a fine of up to €150 is issued to those who wear them publicly in France. Furthermore, some leagues, such as Major League Baseball. Will Doig, Men Who Love Lycra, The Daily Beast,3 March 2010, the Zentai Project Site dedicated to people wearing zentai in public
31.
Folk costume
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A folk costume expresses an identity through costume, which is usually associated with a geographic area or a period of time in history. It can also indicate social, marital and/or religious status, such costumes often come in two forms, one for everyday occasions, the other for festivals and formal wear. Following the outbreak of nationalism, the peasantry of Europe came to serve as models for all that appeared genuine. Their dress crystallised into so-called typical forms, and enthusiasts adopted that attire as part of their symbolism, in areas where Western dress codes have become usual, traditional garments are often worn at special events or celebrations, particularly those connected with cultural traditions, heritage or pride. International events may cater for non-Western attendees with a dress code such as business suit or national dress. In modern times, there are instances where traditional garments are required by sumptuary laws, in Bhutan, the traditional Tibetan-style clothing of gho and kera for men, kira and toego for women, must be worn by all citizens, including those not of Tibetan heritage. In Saudi Arabia, women are required to wear the abaya in public. Tibet – Chuba Inner Mongolia – Deel Japan – Kimono, Junihitoe, Sokutai Korea – Hanbok Mongolia – Deel Taiwan – Hanfu, Every ethnic group in the country has their national costume. Kebayas, sarongs and the Beskap jacket of the Javanese and the Kain batik, vietnam – Áo giao lĩnh, Áo dài, Áo tứ thân, Áo bà ba. Abkhazia – Chokha Armenia – Each region has its own style of folk costume, kuwait – Thawb Oman – Dishdasha Ossetia – Chokha Qatar – Kandura Palestine – Keffiyeh, Taqiyah, Palestinian costumes. Saudi Arabia – Thawb, Ghutrah, Agal, Bisht, Abaya, Jilbab, Niqab Syria – Dishdasha Turkey – Fez, Kaftan, Shalvar. United Arab Emirates – Kandura Yemen – Similar to Saudi Arabia, scotland – Highland dress, Kilt or trews, tam oshanter or Balmoral bonnet, doublet, Aboyne dress, and brogues or ghillies. Greek fishermans caps in many villages by the Aegean sea. Italy – Italian folk dance costumes, Roman clothing, Toga, Stola South Tyrol – Tracht, slovenia – Gorenjska noša Spain – Every autonomous region has its own national costume. For example, Bavarias well-known Tracht, Lederhosen and Dirndl, liechtenstein – Tracht, Dirndl Netherlands – Dutch cap, Klompen, poffer Switzerland – Every canton has its own specific design of a national costume. A good example is seen in the attire of Paul Bunyan. Deep South and other parts of the American South – Traditional Southern US wear includes white seersucker suits and string ties for men and these short pants remained commonplace among young urban American boys until the mid 20th century. Nantucket – Summer residents of Nantucket will often wear Nantucket Reds, amish, the Pennsylvania Dutch and some sects of Mormon fundamentalism preserve traditional 19th century clothing styles
32.
French Quarter Mardi Gras costumes
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The French Quarter neighborhood of New Orleans, Louisiana is the center of the citys Carnival celebrations, especially on Mardi Gras Day. This part of town is crowded with tourists and locals, with the former more numerous in the Upper Quarter, the latter in the Lower Quarter. There are numerous parties and more than one costume contest, some krewes parade in the Quarter after starting earlier in the day in other parts of town. Faubourg Marigny Mardi Gras costumes New Orleans Mardi Gras
33.
Halloween costume
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Halloween costumes are costumes worn on or around Halloween, a festival which falls on October 31. An early reference to wearing costumes at Halloween comes from Scotland in 1585, there are many references to the custom during the 18th and 19th centuries in the Celtic countries of Scotland, Ireland, Mann and Wales. It has been suggested that the custom comes from the Celtic festivals of Samhain and Calan Gaeaf, wearing costumes and mumming has long been associated with festivals at other times of the year, such as on Christmas. Halloween costumes are based on frightening supernatural or folkloric beings. However, by the 1930s costumes based on characters in media such as film, literature. Halloween costumes have tended to be mainly by young people. The wearing of costumes at Halloween may come from the belief that supernatural beings, or the souls of the dead, the practice may have originated in a Celtic festival, held on 31 October–1 November, to mark the beginning of winter. It was called Samhain in Ireland, Scotland and the Isle of Man, the festival is believed to have pre-Christian roots. It was seen as a time, when the spirits or fairies. It was believed that the Aos Sí needed to be propitiated to ensure that the people, from at least the 16th century, the festival included mumming and guising, which involved people going house-to-house in costume, usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, impersonating these beings, or wearing a disguise, was also believed to protect oneself from them. It is suggested that the mummers and guisers personify the old spirits of the winter, F. Marian McNeill suggests the ancient pagan festival included people wearing masks or costumes to represent the spirits, and that faces were marked with ashes taken from the sacred bonfire. In parts of southern Ireland, a man dressed as a Láir Bhán led youths house-to-house reciting verses—some of which had pagan overtones—in exchange for food, if the household donated food it could expect good fortune from the Muck Olla, not doing so would bring misfortune. In 19th century Scotland, youths went house-to-house with masked, painted or blackened faces, in parts of Wales, men went about dressed as fearsome beings called gwrachod, while in some places, young people cross-dressed. Elsewhere in Europe, mumming and costumes were part of other yearly festivals, however, in the Celtic-speaking regions they were particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers. It has also suggested that the wearing of Halloween costumes developed from the custom of souling. At Allhallowtide, groups of people would go door-to-door, collecting soul cakes – either as representatives of the dead. The soulers typically asked for mercy on all Christian souls for a soul cake, the practice was mentioned by Shakespeare his play The Two Gentlemen of Verona
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Santa suit
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A Santa suit is a costume worn by a person portraying Santa Claus. Sundbloms work did standardize the western image of Santa, and popularized the image of the red suit with fur trim. This has become the image of the American Santa, while in some European countries where Saint Nicholas remains popular, the first appearance of a modern Santa Claus, complete with what we consider to be the Santa suit was in drawings by Thomas Nast. Nasts original drawings were of a small Santa who could slide down chimneys and he was also the first to draw Santa wearing a red suit with fur lining, a nightcap, and a black belt with a large buckle. Prior to Nasts work, Santas outfit was tan in color and this change is often mistakenly attributed to the work of Haddon Sundblom, who drew images of Santa in advertising for the Coca-Cola Company since 1931. The Coca-Cola Company itself has attributed the red color of the suit to Nasts earlier work, prior to the Coca-Cola advertising, the image of Santa was in a state of flux. He was portrayed in a variety of forms, including both the forms and in some cases as a gnome. It was Sundbloms work which standardised the form of Santa to the earlier Nast work, there are regional differences in the type of suit that Santa Claus wears. Typically in the United States, he wears a white fur trimmed red jacket and pants with a broad buckled belt, a matching hat and black boots. In European countries such as Austria, with Saint Nicholas still remaining popular, the outfit is closer to that of the saint, being a long robe and a Bishops mitre
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Costumed character
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A costumed character wears a costume that usually covers the performers face. These range from theme park walk-around or meetable characters, the mascots of corporations, schools, some costumes cover the performers face, others, especially those in theme parks, may leave the performers face visible. Marvel Comics characters can be found in all of their parks, except for in Florida, great Wolf Resorts - feature characters of characters like Wiley, Violet, Sammy, Oliver, Rachel and Brinley. Universal Park and Resorts - feature a variety of characters from dozens of movies, TV shows, six Flags parks — feature Time-Warners Looney Tunes cartoons, DC Comics superhero characters, and Scooby-Doo characters. Seaworld Parks and Resorts - Outside of their original characters like Shamu and they also own the shows own theme park, Sesame Place. Other theme parks, as well as international expositions and fairs, costumed characters are intended to add to the fantasy experience by enabling visitors to encounter and interact with fictional characters, such as mascots for a company or organization. The characters are portrayed by employees in costume, some of the costumes merely consist of clothing and makeup, while those for non-human characters generally conceal the performer entirely and include a full-head/body mask. At the largest theme parks, popular costumed characters are accompanied by one or more assistants in regular park uniforms, who handle customer service, security. This minimizes the necessity for performers to break character to deal with those kinds of issues, when a performer really needs a break, they simply give a prearranged signal, and their handler will then assure patrons the character will be back momentarily. All theme park operators that present costumed characters enforce strict character performance regulations so that performers are never out of character by visitors. In the case of more elaborate costumes, they are never seen with their head off, a related rule is that performers costumed as the same character are supposed to avoid being seen side-by-side by the public. The Japanese name for costumed performers is kigurumi, the name comes from the Japanese verb kiru and noun nuigurumi. Japans kawaii aesthetic means that mascots are used for promotional purposes. These mascots are often constructed with an appearance that is more chibi than Western mascots, with a head that encompasses the performers entire upper body. Other mascots more greatly resemble anime characters, animegao is a type of kigurumi used to portray anime or cartoon characters. The face of the performer is fully covered with a mask. Animegao costumes are used both in professional shows and by cosplayers, sometimes called dollers, who make custom masks of various characters. It is still a minor part of the cosplay scene in Japan, though around 2005, it began attracting attention in other countries, including the United States, Canada
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Dance costume
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A dance costume is the clothing worn by a dancer when performing before an audience. A dance costume may be designed for use in a specific dance work, or it may have a traditional design, such as those used in some ceremonial. Typically, dance costumes are designed to harmonize with the dance, a costume may portray or relate to some characteristic, mood, or theme of the dance. It may fit loosely or it may be form-fitting to emphasize the form of the dancers body, costumes are designed in accordance with aesthetic requirements, the anticipated movements of the dancer, and budget. Various people may collaborate in designing a costume, including the choreographer, costume designer, costume maker, in the nineteenth and twentieth centuries, Marie Camargo influenced changes in dance costumes by abandoning the traditional corset and dancing barefoot with exposed arms and legs. Later, Isadora Duncan introduced a new look to costumes, inspired by the Greeks, of tunics and scarves that conformed to body shape. The amount of light a material absorbs and reflects may be a factor in material selection, also, dance is about movement, so the way a fabric hangs or moves on the dancer is important. Lightweight materials such as move faster and easier and tend to flow around the body. Stretchable fabrics such as jersey, silk, chiffon, Georgette, natural materials such as Cotton or silk are typically used when the costume is to be dyed because they absorb dye well. Stiff fabric is used to create a boxy, square. Costume color can be used isolate a dancer, and a costumes colors usually contrast with the lighting, accessories, also, color can influence audience emotions and, as a result, costume colors may be chosen according to their relevance to the emotions expressed in the dance. For example, violet may impart a cold feeling and red may evoke a warm feeling, colors can also be symbolic, for example, green creates a feeling of envy and white evokes purity. Costumes will sometimes incorporate layers of colors that are revealed when the dancer moves, Costume colors may be used to enhance body line and form, and they may be chosen to complement the dancers body shape or skin color. Darker colors can make the dancer appear slimmer, whereas lighter colors tend to make the dancer appear larger, loud prints or bold color combinations are often avoided as they can distort the body lines and, in the case of tights, tend to make the dancer look larger. Also, strong, intense colors may tire the eyes, color transitions are often implemented using gradients, as sharp color contrasts tend to visually chop the body into sections. Costume texture and patterns can emphasize or minimize parts of a dancers body, for example, vertical lines visually lengthen and thin the body, and horizontal lines shorten and widen it. Stencils are commonly used when drawing or spraying onto costume fabric, when applying appliqué to stretchable material, the dancer will typically wear the costume so that the design will not be distorted. Some dance styles require a type of dance shoe
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