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Origin and Development of Costumes
A costume is a set of clothing that originated in a particular historical era or nation, according to fashion terminology. The clothing used in earlier ages is a mere shadow of the ultra-modern attire worn now. The Latin term “consuetudo,” which refers to an entire set of outerwear, is where the word “costume” originates. In addition to serving as a means of covering and adorning the body, costumes also act as an important non-verbal channel of communication that helps to determine a person’s cultural identity, including their community or country of birth, during any particular historical moment.
A costume is the unique way that a person or group of people dress that expresses their social class, gender, profession, ethnicity, nationality, activity, or era. The phrase has also historically been used to refer to conventional attire suitable for particular hobbies, such as riding, swimming, dancing, and dressing up. Changes in fashion and regional cultural norms might affect what is considered proper and acceptable dress. However, sable is used more in carriages, over some smart attire fit for an afternoon event, and laced with real lace over ivory satin.
The phrases “dress,” “attire,” and “wear” have increasingly taken the place of this widespread usage, and the term “costume” is now only used to describe odd or out-of-date clothes as well as clothing meant to convey a shift in identity, such as mascot, Halloween, and theatrical costumes. Clothing used to be created by hand before ready-to-wear clothing became popular. As recently as the turn of the 20th century, “costumiers,” frequently women who managed enterprises that satiated the demand for the intricate or personal feminine costume, such as millinery and corsetry, produced it when it was made for commercial sale.
Origin and Development of Costumes
The Greek poet Thespis invented theatrical garments in the sixth century BCE, and they have since been referred to as “Thespis’ robes.” Athenians generously spent money on the set and costumes for the drama competitions. Early tragedies included actors dressed in elaborate, lengthy robes akin to those used by Dionysian priests. Aeschylus created the buskin, an elevated boot known in Greek as a kothornos, to make the main performers appear taller and more important (plural: kothornoi).
Mediaeval Costume
Mystery plays were first performed in front of an altar in a church with priests and other clergy members dressed in clerical robes. The miracle plays, which recounted events from saints’ lives, were first performed by actors and clergy. Adam and Eve were dressed in tight-fitting white leather, God in bishop’s robes, and Jesus in a plain white robe, according to inventories of made and purchased clothing. Biblical figures like Cain, Abel, Joseph, Lazarus, and others showed up wearing modern attire like hoods, pourpoints (doublets), or flowing dresses. By just placing a kerchief on the head, a female character was identified. Priestly vestments continued to be the primary attire when the performances were moved outside the church in the 12th century.
Renaissance-era Costume
Along with religious performances, secular theatre began to emerge in the early 14th century in the form of celebratory spectacles, royal and diplomatic entrances, marriages, and other opulent entertainments that surrounded the royal courts. A monarch would travel in grand style, complete with heraldic garb, with a large entourage, while approaching a town or domain. These entries included a number of stages that were stopped at various points along the way. Mimes and tableau vivants were performed in attire resembling that of mystery and morality plays. Renaissance designers looked to the tales and legends of Greece and Rome for inspiration as the influence of the church gradually waned and classical concepts began to gain popularity.
18th- and 19th-century Clothing
The customary attire for the male dancer saw some colourful and humorous Rococo changes thanks to Jean-Baptiste Martin, who was hired as the Paris Opéra’s designer in 1748. Martin’s ballets incorporated Inca, African, Chinese, and Mexican themes, and under his leadership, the tonnelled assumed an oval form.
Louis-René Boquet, Martin’s successor, brought to the theatre all the refinement and grace witnessed in the Rococo court circles of Louis XV. His creations, which were theatricalized, take on the most recent, in-vogue silhouette. Bouquet attire was fragile, synthetic, and pastel in colour, embellished with garlands and Rococo splendour. The French concepts were copied throughout Europe; however, the English and German copies lacked Boquet’s intuitive sense of style. By the 19th century, historical attire was becoming more widely known, but other critics disagreed, saying it undermined the plot. Early 19th-century civil rules were very helpful to those who wanted to modify theatrical garb. Classical robes and tunics with Greek and Roman-inspired patterns became popular, and flat slippers took the place of high heels.
Twentieth-century and Later Costume
The beliefs of the English actor and designer Edward Gordon Craig and the Swiss stage designer Adolphe Appia at the start of the 20th century advocated for symbolism and expressed a strong opposition to the naturalism of the Meiningen Company and the Moscow Art Theatre. Appia promoted theatre costumes that inspire and suggest rather than imitate historical lines. The quick rhythms and pace of modern dance as it developed provided the costume designer with fresh difficulties and opportunities for distinctive work. Worldwide social upheaval occurred during the second half of the 20th century, but it was more pronounced in the United States and Europe, where costume design captured the shifts. Using cutting-edge tactics and techniques, directors like Jean-Louis Barrault in France and Jürgen Flimm in Germany, as well as theatre companies like the Living Theatre, explored political and social concerns. Regardless of how societal developments altered the way stories were delivered in theatres, the design maxim that costumes must express a play’s mood and spirit remained constant across the wide range of presentational styles. Through the dawn of the twenty-first century, the design principle was still in use.
Conclusion
Over the past century, fashion garments have seen a significant evolution. According to the fashion definition, a “costume” is a collection of clothing that originated in a certain country or historical era. From the dawn of humankind until the ultramodern era, fashion and trends have evolved considerably. Most of the attire used now has roots that go back almost as far as history. There are many additional costume styles based on figures and numbers from past or present-day life in addition to the typical Halloween costumes of monsters, colourful fiends, and other spooky creatures. Retracing humanity’s path through the progression of fashion while looking back to the dawn of man’s clothing and costume
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