The purposes of the study were to identify laces located on the fifteen white dresses worn between 1900 and 1922. The dresses selected for study were chosen from the Dallas Fashion Museum located at North Texas State University. All laces were identified and the history of each lace was traced.

By use of qualitative, semiotic analysis of screenshots taken from Part I of the three-part anthologyfilm The House (2022), an adult stop-motion animation using puppets, the clothing of the charactersis analysed to examine how they convey class and power based on theory by Stuart Hall, PierreBourdieu, Beverly Skeggs and Marita Sturken & Lisa Cartwright. The text further uses fashionhistory to contextualise and interpret visual references to British monarchs Elizabeth I and Henry VIII. The study finds Part I of The House portrays the anxiety and exploitation of the working-classcharacters through the colour, number of layers, fabrics, references and changes in the characters’costumes in a way that lines up with the arguments presented by Bourdieu and Skeggs about culturalcapital and popular representation of the working class. Part I’s construction of class may not reflectthe diversity of class experiences found in the real world, but through further analysis including thetwo other parts of The House this reading may differ as those include other characters and settings.

This thesis documents my process as the Costume Designer for the University of Central Florida Conservatory Theatre’s production of Richard O’Brien’s musical, The Rocky Horror Show. The production opened on March 29, 2007 and ran for fifteen performances in the University of Central Florida’s Mainstage Theatre before closing on April 15, 2007. This document presents the analysis, research, and design process that I used to create the costume design for the performance. In this thesis, I document how I combined my own analysis and research with that of the director and design team to take the design from concept, through construction, to completion. This thesis will contain specific information on my design process including an analysis of the script, research, preliminary sketches, final designs, photographs of the production, and all paperwork I generated for the show. A journal of the challenges and solutions that I encountered during the design and construction process are included, along with a self evaluation and reflection on the finished production.

A reflection on the costume design process for the theatrical production of Taylor Mac’s The Lily's Revenge: A Flowergory Manifold, with book and lyrics by Taylor Mac and music by Rachelle Garniez. The production was directed by Jen Onopa. Performed at the Fine Arts Center, University of Massachusetts Amherst, April 20th to April 29th, 2018. The Lily’s Revenge is a piece of queer durational theater that tells the story of a Lily who falls in love with a bride and goes on a journey to become a man, so she can marry her. Along the way she faces challenges that force her to evaluate who she is and what love is. Taylor Mac uses multiple theatrical structures, establishing expectations and disrupting them while simultaneously disrupting heteronormative societal expectations. The audience is challenged to consider alternative possibilities for what constitutes happiness in our society, to open their minds to different possibilities of love. At once epic and intimate, ridiculous and real, this is a play rife with contradiction and possibility. I reflect on the challenges posed by this production, from the ethical considerations of representing the LGBTQ community on stage as a heterosexual cis-gendered woman, to the logistical challenges that accompany a four-hour long piece of theater with five acts set in unique settings and theatrical modes. I walk through the design process from the early research phase to the final design decisions. I examine the collaboration between myself and my team, how their input helped shape the designs. I explore the production process and my experience in guiding this massive show through the costume shop. I reflect on how I have grown through this experience—my work on this production has been exemplary of my time at UMass in that I have grown both as an artist and as a person. Art is a way of exploring the world and our relationship to it, of thinking about and questioning who we are as people, how we relate to other people, how we can make change in both regards. There is always something to learn about yourself through each production.

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The subject of this thesis is to document and reflect upon the design process for Temple University’s planned production of Rachel Atkins’ adaptation of William Wycherley’s The Country Wife. This account will discuss the process from inception through when production was postponed for public health reasons due to the global pandemic caused by the novel coronavirus COVID-19. This work will also serve to provide detailed descriptions of the costumes to be used by the costume shop to re-mount the production in August 2020. / Theater

The purpose of this thesis is to examine the conceptual and actualized costume designs for Euripides' tragedy, The Trojan Women. This production was presented in Burruss Auditorium, Friday, March 27,Saturday, March 28 and Sunday, March 29, 1981. / Master of Fine Arts

Thesis (M.A.)--Miami University, Dept. of Theatre, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 84-87).

A presente dissertação discorre a respeito da parceria do cenógrafo-figurinista-artista visual Flávio Império com o diretor-dramaturgo Fauzi Arap em Pano de Boca, primeira peça escrita por este, com foco na montagem de 1976, realizada no Teatro Treze de Maio, em São Paulo. O texto, dividido em três planos, apresenta no primeiro duas personagens-personagens, criadas por um autor invisível e que dialogam com a platéia, sem o uso da \"quarta parede\", no segundo, uma atriz que questiona as fronteiras entre a vida e a arte e, no terceiro, um grupo teatral que decide o futuro de sua trupe, trancado, no plano ficcional, dentro de um teatro abandonado. À luz de textos de Foucault, Nise da Silveira, Pirandello, Chevalier e de textos e obras de Fauzi e Flávio, a dissertação aborda sincronicidades e busca similitudes entre o plano ficcional de Pano de Boca e a realidade do teatro paulistano dos anos 1970, além de pôr em cena os lendários teatros Arena e Oficina, e o show Opinião / This dissertation discusses about the partnership between the set and costume designer and visual artist Flavio Império and the playwright-director Fauzi Arap in Pano de Boca, first play written by Arap with a focus on the 1976\'s production, held at the Teatro Treze de Maio, in São Paulo. The text, divided into three levels, presents on the first one two characterscharacters, created by an invisible author, that dialogues with the audience without the use of the \"fourth wall\"; on the second one, an actress blurs the limits between life and art; on the third, a theatrical group decides about the future of the troupe, locked in the fictional plan inside an abandoned Theatre. Pursuant to Foucault, Nise da Silveira, Pirandello, Chevalier, texts and artworks of Fauzi and Flávio, the dissertation deals with synchronicities and searches for similarities between the fictional plan of Pano de Boca and the reality of São Paulo\'s Theatre in 1970\'s and brings into the scene the legendary Theatres Arena and Oficina, and the show Opinião.