This essay is a reflecting text discussing how a makeup- and costumedesigner could be restricted or inspired by the limits of a perfomers body during the creative process of designing for performing arts. The relationship between the designer and the performer could be a creative tool but it could also hinder the design to fully flourish.

Ett undersökande i hur skådespelarnas kroppar kan användas i en designprocess för att fördjupa kostymdesignen och karaktärsgestalltningen.

This essay explores how you can listen to the textiles and how costume can be the startingpoint of movement. I have been working together with other artistic diciplines and together we have created a dance performance by the name Tiny Monument, which premiered at Kulturhuset stadsteatern, Fri Scen Kilen the 15th of May 2024. The essay itself is secondary to the video which will give you the essay audiably together with pictures and filmed material.

This text is about costume in transformation.

A reflection on how and why historical dress is used in the performing arts, methods for approaching historical dress and their opportunities and challenges, with regards to aspects such as historical fidelity and historical authenticity. Exploring the concept of "period costume" and its potential. Based on my graduation project, where I worked as a costume designer for Länsteatern på Gotlands production of Maratondansen (2024, original title They Shoot Horses, Don't They?), a narrative that takes place in 1935.

Många spel använder sig av en historisk, eller historiskt inspirerad, miljö. För att effektivtskapa inlevelse och förståelse i en tid som är annorlunda från vår är karaktärsdesign ett viktigtverktyg; hur spelets protagonist ser ut kan vara en av de första sakerna spelaren får se. Detfinns spridda åsikter om hur man bäst använder detta i relation till historiska miljöer; vissaanser att historisk korrekthet är det allra viktigaste för att representera världen som denverkligen var, andra anser att världen känns mer verklig om man anpassar den så att enmodern publik lättare kan relatera. I detta arbete undersöks hur spelare uppfattar historisktkorrekta karaktärer och historiska karaktärer baserade på den populärkulturella bilden averan, och vilken version de helst skulle spela som, i form av en enkät där respondenterna gavsina åsikter om tre karaktärsdesigner som representerade en legosoldat från 1500-talet, medolika nivåer av historisk korrekthet. Undersökningen visade att preferenser kan varieramycket från person till person, men att många faktiskt uppfattade karaktärsdesignen somstämmer överens med tidigare media-avbildningar av tidsepoken som mer historiskt korrektän den som är baserad på historiska källor.

This essay explores drag as an artform, guided by the lens of queer theory, offering insights into the nuanced expressions of drag. Exploring three theatrical productions across genres like modern dance, opera and musical theatre, the study focuses on character portrayal and design, seeking to understand the essence of drag and why certain cross- dressings are more closely associated with drag than others. By combining performance analyses with existing research on drag, this paper reveals the complex and dynamic nature of drag culture. With a particular emphasis on the exploration and subversion of gender norms, the study sheds light on how drag is portrayed and understood within the Swedish theatrical context through Matilda the Musical, Askungen and Everlasting Event. Through this investigation, the essay offers valuable insights into the evolving role of drag as a form of artistic expression and social commentary.

This study examines how costume design is used as a narrative and functional part of video game character design. The purpose being how costume design is currently utilized, what common design trends can be found and in which instances costume design goes against the functionality and believability of the character. One character from each top selling single player third person game between the years 2015-2018 were chosen for the sample. A character analysis and a coding scheme were created to find common design trends used to visually display information to players. The results showed a prevalent use of real-world cues and signs to visually display instant information. Contradicting real-world cues used together can show a divergence from reality, but even with a lack of real world examples a uniform design language can be seen. The results also show the use of objects with contextual meaning being an important part of costume design, giving it more depth. The instances found of contradicting costume design were predominantly used to make the character stand out or to emphasize their attractiveness. / Denna studie undersöker hur kostymdesign används som en narrativ och funktionell del inom design av spelkaraktärer. Syftet är att se hur kostymdesign nuvarande används, vilka vanliga design trender som kan hittas och vilka instanser som finns där kostymdesign går emot trovärdighet och funktionalitet. En karaktär från varje toppsäljande spel med enspelarläge och tredjepersons perspektiv mellan år 2015-2018 valdes. En karaktärsanalys och ett kodschema skapades för att hitta gemensamma design trender som används för att visuellt förmedla information till spelare. Resultatet visar en övergripande användning av signaler från verkligheten för att visuellt förmedla omedelbar information. Motsägande verkliga signaler som visas tillsammans kan påvisa en avvikelse från verkligheten men även scenarion med en avsaknad av verkliga exempel kan ett uniformt designspråk ses. Resultaten visade även den vikt som läggs på användningen av objekt med kontextuell mening för att ge kostymdesigner mer djup. Instanser där kostymdesign sågs som motsägande var mestadels för att få karaktären att stå ut eller för att framhäva attraktiva drag.

This study focuses on how taste can be perceived visually between two families in the first season of Netflix’s Bridgerton (2020) with a focus on costume, color and taste. Through the use of qualitative, comparative and semiotic methods, taken from a contemporary Western perspective, screenshots from two separate scenes will be analyzed to examine how the families convey a difference in taste and class based on theory by; Beverley Skeggs, Maria Sturken & Lisa Cartwright, Pierre Bourdieu and Gunther Kress & Theo Van Leeuwen. The results convey that taste and class is perceived depending on how the families’ costumes, focusing on color and fabric, work together with each other. One family shows a consistent use of color and fabric that portray a sense of unity, while the other family focuses on displaying individuality and personality traits through their costumes. Additionally, visual parallels are drawn between Bridgerton and the 2015 adaptation of Cinderella, particularly in how the costumes of Cinderella and her stepfamily may subconsciously influence the audience's interpretation of the characters in Bridgerton. This paper includes a design documentation after page 38 with the name “Mångfald i illustrationer” that is a fictional project in the form of an image bank for the organization Bris. The purpose was to create new illustrations for their website under the section "Vanliga ämnen" that were relatable to the target audience; teenagers between the ages of 13-18. The result is twelve illustrations that can be used in various ways in relation to the section "Vanliga ämnen", that feel inviting and contemporary for the target audience.