Performance Costume

Sofia Pantouvaki is Professor of Costume Design for Theatre and Film at Aalto University, Finland. Her scenography and costume design credits include 80 theatre, film, opera and dance productions in major European venues. She is Principal Investigator of the Costume Methodologies research project; Vice-Head for Research, OISTAT Costume and Co-Convener, Critical Costume and IFTR Scenography. Recent works include Tribes – A Walking Exhibition (with Sodja Lotker, 2017) and Dress in Auschwitz (2021).Peter McNeil FAHA is Distinguished Professor of Design History at the University of Technology Sydney, Australia, and was formerly Distinguished Professor at Aalto University, Finland. His monograph ‘Pretty Gentlemen’: Macaroni Men and the Eighteenth-century Fashion World is forthcoming with Yale University Press.

• List of FiguresNotes on ContributorsForeword - Maija Pekkanen (Costume Designer, Finland)Foreword - Simona Rybáková (Costume Designer, Czech Republic)AcknowledgementsIntroduction: Activating Costume: A New Approach to Costume for Performance - Sofia Pantouvaki (Aalto University, Finland) and Peter McNeil (University of Technology Sydney, Australia)Section 1: Interpreting and Curating Costume1.1 Real or Virtual?: Studying Historical Costume Drawings and Sketches - Margaret Mitchell (University of the Incarnate Word in San Antonio, Texas, USA)1.2 Cooking: Studying Film Costume Design - Drake Stutesman (Barrymore Film Center, Fort Lee, USA)1.3 Displaying Stage Costumes: Exhibitions at the National Centre for Stage Costume, France - Delphine Pinasa (Centre National de Costume de Scène, France)Snapshots1.4. Cross Cultural Costume Research: Beijing Opera Costumes - Alexandra B. Bonds (University of Oregon, USA)1.5. Reading Maltese Carnival Costumes - Vicki Ann Cremona (University of Malta)1.6. Curating Costume – Reflection - Aoife Monks (Queen Mary, University of London, UK)Section 2: Personalities in Costume2.1. Costume Centre Stage: Re-Membering Ellen Terry (1847-1928) - Veronica Isaac (university lecturer and freelance consultant, UK)2.2. ‘On and Off the Stage’: Costume, Dress, and Locating the Actor-Manager’s Identity, 1870-1900 - Helen Margaret Walter (Plymouth University and the University for the Creative Arts, Epsom, UK)2.3. Extravagance, Expense and Notoriety: Gaby Deslys’ French Costumes in America, 1911-14 - Emily Brayshaw (University of Technology Sydney (UTS), Australia)Snapshots2.4. A Foreign Affair On and Off Screen - Christina M. Johnson (FIDM Museum at the Fashion Institute of Design & Merchandising, Los Angeles, USA)2.5. Recording Costume Design in the Theatre and Performance Collections at the V&A: Vivien Leigh and Oliver Messel - Keith Lodwick (Victoria and Albert Museum, UK)Section 3: Costume Voices, Costume Histories3.1. The First Premiere and Other Stories: Towards a History of the Costume Design Profession in Finland - Joanna Weckman (independent post-doctoral costume researcher, exhibition curator, lecturer and costume designer, Finland)3.2. Spinning Yarns: Locating, Learning and Listening in the Social World of Popular Hindi Film Costume Production - Clare M. Wilkinson (Washington State University, USA)Snapshots3.3. Hollywood Costume: A Journey to Curation - Deborah Nadoolman Landis (UCLA David C. Copley Center for Costume Design, USA)3.4. ‘The Getting of Wisdom’: Learning from Anna Senior - Jennifer Gall (National Film and Sound Archive ofAustralia)3.5. Design for TV: Costume and Contemporary Clothing - Chrisi Karvonides-Dushenko (costume designer in theatre, film and television, USA)Section 4: Costume and the Body4.1. The Body as the Matter of Costume: a Phenomenological Practice - Donatella Barbieri (London College of Fashion, University of the Arts London, UK)4.2. The Body as Site: Interdisciplinary Approaches to Dress in/as Performance - Jessica Bugg (London College ofFashion, University of the Arts London, UK)4.3. ‘Aware Wearing’ - a Somatic Costume Design Methodology for Performance - Sally E. Dean (interdisciplinary choreographer, performer, teacher and somatic practitioner, Europe, Asia and USA)Snapshots4.4. Costuming the Foot: a Designer/Performer’s Personal Artistic Methods - Alexandra Murray-Leslie (artist, researcher, performer and co-founder of the international art collective Chicks on Speed, Australia)4.5. Costume and the Modernist Body: Fashioning August Strindberg - Viveka Kjellmer (University of Gothenburg, Sweden)Section 5: Costume and its Collaborative Work5.1. Building Costumes, Building Language in the Costume Workshop - Madeline Taylor (Queensland Universityof Technology and University of Melbourne, Australia)5.2. Fitting Threads: Embodied Conversations in the Costume Design Process - Suzanne Osmond (National Institute of Dramatic Art in Sydney, Australia)Snapshots5.3. Haptic Descriptions – Costume Design by Gillian Gallow and April Viczko - Natalie Rewa (Queen’s University,Canada)5.4. The Costume Designer´s ‘Golden List’ of Competence - Christina Lindgren (Oslo National Academy of the Arts (KHiO), Norway)Section 6: Costume and Social Impact6.1. Exploring Rossini’s Berta: Young Audiences and the Agency of Opera Costume - Sofia Pantouvaki (Aalto University, Finland)6.2. Designing Hospital Clown Costumes: Psychological and Social Benefits for Finnish Children’s Healthcare - Merja Väisänen (Aalto University, Finland)6.3. Costume of Conflict - Mateja Fajt (independent costume designer and researcher, Slovenia)Snapshots6.4. From Effect to Affect: the Costumed Body and the Autistic Child - Melissa Trimingham (University of Kent, UK)6.5. ‘Designing Tsunami’: Costume Evolution from Documentary to Surrealist - Michiko Kitayama Skinner (University of Miami, USA)6.6. The Collaborative Process of Costume Creation: Travesties in São Paulo - Fausto Viana (São Paulo University (USP), Brazil)

The ambition and reach of this collection is superb and timely. For those of us working in the area of design, education and practice, this is the book we have been waiting for. [...] Performance Costume contains diverse, yet complementary, perspectives offering a rich and textured resource and is the most significant contribution to the expanded field of costume studies to date.