Thesis (BTech (Fashion Design))--Cape Peninsula University of Technology, 2010 / This research was conducted to find a natural and functional alternative to commercialised bridal wear in South Africa, for a South African market base, which is holistically sustainable in light of the global paradigm shift towards sustainability. In order to find what the alternative would be I have questioned the symbolic meaning behind the product being presented to the South African bridal apparel market, and the bridal apparel consumer's views and attitudes towards commercialised bridal wear. For the research I have reflected upon theories of sustainability (Slow Design, Cradle to Cradle, and Design for Environmental Sustainability) which provided the main theoretical underpinning for product development, guiding material choice and usage, as well as production process in order to achieve a holistically sustainable product. My supporting theory, Representation, gives meaning to the idea of an alternative to the 'big white dress' being equally as 'bridal`, as Representation states that any object could substitute as a symbol for something else. Inspiration from a self-reflecting road trip through the Karoo as well as tracing my family heritage in Bloemfontein provided the back drop for my bridal range. The Karoo landscape inspired my garment aesthetic and natural fabric usage. I wanted a theme of old-fashioned romance to come through as the essence of my range - inspiring the garments to compliment the rite of passage to which they belong, and not to dominate the meaning of the ceremony. Therefore the garments could easily be adapted to a second function through styling and/or dyeing. The range consists of ten outfits, and comprises of men's and ladies wear.

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This thesis examines the multiple factors which have influenced costume design in film history by observing the various representations of the historical figure Cleopatra in motion pictures. Beginning with a brief history of the changing role of the costume designer in film, and a brief history of both the historical and legendary Cleopatra, this paper then analyzes the factors that have influenced costume design in four specific films about Cleopatra: Cleopatra (1917), Cleopatra (1934), Caesar and Cleopatra (1946) and Cleopatra (1963). Criteria for examination of costume design in these films includes previous precedents and contemporary screen conventions, the background and style of both the director and costume designer, the ramifications of the Motion Picture Association Code, studio influence and trends of contemporary fashion. Transcribed drawings of the various costumes which appear in the aforementioned films of Cleopatra, and still photographs from these films are included to supplement written observations. / Master of Fine Arts

Typescript, etc. / Digitized by Kansas State University Libraries

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Call number: LD2668 .R4 1967 S391

Thesis (M.B.A.)--Boston University

Digitized by Kansas Correctional Industries

The chant shakes the crowd, uncorking the energy of the masquerade. This is our stomping ground. Nothing can hold us back. We display ourselves, we play ourselves. Uncontrolled bodies pelt rhythmically. Bouncing backsides, arms and legs move in all directions. In a mess of sweat, feathers, and beads, this ‘Jumbie’ is ready to come out. As I rush the stage, the music hits me. I am speechless, breathless, and removed. Out of body, I see the chaos on the streets below. I see the colors, the costumes, the mass of open mouths, singing and laughing. The crowd climaxes, delivered from reason. In that moment I saw the sweet revelry of an island I felt, more than ever, I belonged to. I wondered what that feeling was, why it happened, and when it would happen again. This is not an everyday occurrence; this is inexplicable excitement. It swamps all the senses. It is addictive; like a drug it keeps you coming back for more. It is an out-of-body experience and an opportunity to express your shadow self. Trinidad’s Carnival was introduced by the French and adapted by Trinidad’s diverse population. Trinidadian’s reinvent and revitalize new forms within carnival: it is uniquely theirs. The participants revel in a festival that is not only excessive, but also temporal, occurring outside of ordinary life. In the festival, everything is upside down and inside out. This inversion is expressed in laughter. The people of Trinidad communicate in the playful and sensuous nature of the carnival costume. They mock the seriousness of the political world, rejecting state and class. A medium for humor, the costumes stand in for the bodies we do not have; ambivalently, they both degrade and regenerate. Costumed, Carnival embraces laughter and the grotesque, and gives the community identity. The chaos of parade, music, and dance fuses the body with the costume, transforming the individual, freeing him from inhibitions. For a brief moment it allows the body to engage in its own ideal, becoming something that it is not. The fusion of body and Carnival costume tells the untold story of the masquerader. The four costume designs shown here are grotesque, making extreme exaggerations and unfathomable representations of the body, violating the idealized, classical body. The costumes portray the carnival body in the act of becoming, taking inspiration from earthy worldliness, while also giving out to it. Costume enables the individual to wake an essential connection to the community, becoming part of something larger. In this new connection we are emotionally reborn; Carnival moves us beyond our bodies and into the experience of ecstasy.