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id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="costume design"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 12491</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: costume design</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12491</span> Formal Thai National Costume in the Reign of King Bhumibol Adulyadej</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chanoknart%20Mayusoh">Chanoknart Mayusoh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research about Formal Thai National Costume in the reign of King Bhumibol Adulyadej is an applied research that aimed to study the accurate knowledge concerning to Thai national costume in the reign of King Rama IX, also to study origin of all costumes in the reign of King Rama IX and to study the style, material used, and using accasion. This research methodology which are collect quanlitative data through observation, document, and photograph from key informant of costume in the reign of King Rama IX and from another who related to this field. The formal Thai national costume of the reign of King Bhumibol Adulyadej originated from the visit of His Majesty the King to Europe and America in 1960. Since Thailand had no traditional national costume; Her Majesty the Queen initiated the idea to create formal Thai national costumes. In 1964, Her Majesty the Queen selected 8 styles of formal Thai national costume. Later, Her Majesty the Queen confered another 3 formal Thai national costume for men. There are 8 styles of formal Thai national costume for women: Thai Ruean Ton, Thai Chit Lada, Thai Amarin, Thai Borom Phiman, Thai Siwalia, Thai Chakkri, Thai Dusit, and Thai Chakkraphat. There are 3 styles of formal Thai national costume for men: short-sleeve shirt, long-sleeve shirt, and long-sleeve shirt with breechcloth. The costume is widely used in formal ceremony such as greeting ceremony for official foreign visitors, wedding ceremony, or other auspicious ceremonies. Now a day, they are always used as a bridal gown as well. The formal Thai national costume is valuable art that shows Thai identity and, should be preserved for the next generation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=formal%20Thai%20national%20costume%20for%20women" title="formal Thai national costume for women">formal Thai national costume for women</a>, <a href="https://publications.waset.org/abstracts/search?q=formal%20Thai%20national%20costume%20for%20men" title=" formal Thai national costume for men"> formal Thai national costume for men</a>, <a href="https://publications.waset.org/abstracts/search?q=His%20Majesty%20King%20Bhumibol%20Adulyadej%20the%20Great%20King%20Rama%20IX" title=" His Majesty King Bhumibol Adulyadej the Great King Rama IX"> His Majesty King Bhumibol Adulyadej the Great King Rama IX</a>, <a href="https://publications.waset.org/abstracts/search?q=Her%20Majesty%20Queen%20Sirikit%20Queen" title=" Her Majesty Queen Sirikit Queen"> Her Majesty Queen Sirikit Queen</a> </p> <a href="https://publications.waset.org/abstracts/10856/formal-thai-national-costume-in-the-reign-of-king-bhumibol-adulyadej" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/10856.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">257</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12490</span> Utilising Reuse and Recycling Strategies for Costume Design in Kuwait Theatre </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ali%20Dashti">Ali Dashti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Recycling materials within the realms of theatrical costume design and production is important. When a Kuwaiti play finishes its run, costumes are thrown away and new ones are designed when necessary. This practice indicates a lack of awareness of recycling strategies. This is a serious matter; tons of textile materials are being wasted rather than recycled. The current process of producing costumes for Kuwait theatre productions involves the conception and sketching of costumes, the purchase of new fabrics, and the employment of tailors for production. Since tailoring is outsourced, there is a shortage of designers who can make costumes autonomously. The current process does not incorporate any methods for recycling costumes. This combined with high levels of textile waste, results in significant ecological issues that demand immediate attention. However, data collected for this research paper, from a series of semi-structured interviews, have indicated that a lack of recycling facilities and increased textile waste do not present an area of concern within the Kuwaiti theatrical costume industry. This paper will review the findings of this research project and investigate the production processes used by costume designers in Kuwait. It will indicate how their behaviors, coupled with their lack of knowledge with using recycling strategies to create costumes, had increased textile waste and negatively affected Kuwait theatre costume design industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume" title="costume">costume</a>, <a href="https://publications.waset.org/abstracts/search?q=recycle" title=" recycle"> recycle</a>, <a href="https://publications.waset.org/abstracts/search?q=reuse" title=" reuse"> reuse</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/71327/utilising-reuse-and-recycling-strategies-for-costume-design-in-kuwait-theatre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71327.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">166</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12489</span> The Use of Alternative Material to Fabric in Stage Costume</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Melahat%20%C3%87evik">Melahat Çevik</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The discovery of fabric has a quite old historical perspective because of veiling, heating and shelter needs of human. Since the days which fashion has a say, this situation has pasted beyond needs and has become status symbols. For the theater art drama which tell people by people, in the concern of reflecting daily life there will be such regards also we may see alternative products to artistically reshaped fabric. The stage is determined in the consensus of costume designer and director. Costume Designer does the research, taking into account the alternative products. Approaching nature as inventor, discovering products, shapes the work because in this work, cost is considerable. All types of fabric will be used but also new materials which are not presented to clothing industry yet are of great importance. In the discovery of new materials there priorities of the costume designer. In the scene everything should be determined in the axis of actor. The material discussed should have positive qualities which allow the performer to move and invigorate him or her in terms of physical and also should be positive in terms of health. This point must be approached in a more precise in high action plays and the obtained material should be tested before the presentation process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fabric" title="fabric">fabric</a>, <a href="https://publications.waset.org/abstracts/search?q=stage%20design" title=" stage design"> stage design</a>, <a href="https://publications.waset.org/abstracts/search?q=alternative%20materials" title=" alternative materials"> alternative materials</a>, <a href="https://publications.waset.org/abstracts/search?q=clothing%20industry" title=" clothing industry"> clothing industry</a> </p> <a href="https://publications.waset.org/abstracts/28421/the-use-of-alternative-material-to-fabric-in-stage-costume" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28421.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">576</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12488</span> Costume Design Influenced by Seventeenth Century Color Palettes on a Contemporary Stage</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michele%20L.%20Dormaier">Michele L. Dormaier</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of the research was to design costumes based on historic colors used by artists during the seventeenth century. The researcher investigated European art, primarily paintings and portraiture, as well as the color palettes used by the artists. The methodology examined the artists, their work, the color palettes used in their work, and the practices of color usage within their palettes. By examining portraits of historic figures, as well as paintings of ordinary scenes, subjects, and people, further information about color palettes was revealed. Related to the color palettes, was the use of ‘broken colors’ which was a relatively new practice, dating from the sixteenth century. The color palettes used by the artists of the seventeenth century had their limitations due to available pigments. With an examination of not only their artwork, and with a closer look at their palettes, the researcher discovered the exciting choices they made, despite those restrictions. The research was also initiated with the historical elements of the era’s clothing, as well as that of available materials and dyes. These dyes were also limited in much the same manner as the pigments which the artist had at their disposal. The color palettes of the paintings have much to tell us about the lives, status, conditions, and relationships from the past. From this research, informed decisions regarding color choices for a production on a contemporary stage of a period piece could then be made. The designer’s choices were a historic gesture to the colors which might have been worn by the character’s real-life counterparts of the era. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=broken%20color%20palette" title="broken color palette">broken color palette</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20color%20research" title=" costume color research"> costume color research</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20design" title=" costume design"> costume design</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20history" title=" costume history"> costume history</a>, <a href="https://publications.waset.org/abstracts/search?q=seventeenth%20century%20color%20palette" title=" seventeenth century color palette"> seventeenth century color palette</a>, <a href="https://publications.waset.org/abstracts/search?q=sixteenth%20century%20color%20palette" title=" sixteenth century color palette"> sixteenth century color palette</a> </p> <a href="https://publications.waset.org/abstracts/87451/costume-design-influenced-by-seventeenth-century-color-palettes-on-a-contemporary-stage" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87451.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">175</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12487</span> Properties of Bacterial Nanocellulose for Scenic Arts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Beatriz%20Su%C3%A1rez%20L%C3%B3pez">Beatriz Suárez López</a>, <a href="https://publications.waset.org/abstracts/search?q=Gabriela%20Forman"> Gabriela Forman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Kombucha (a symbiotic culture of bacteria and yeast) produces material capable of acquiring multiple shapes and textures that change significantly under different environment or temperature variations (e.g., when it is exposed to wet conditions), properties that may be explored in the scenic industry. This paper presents an analysis of its specific characteristics, exploring them as a non-conventional material for arts and performance. Costume Design uses surfaces as a powerful way of expression to represent concepts and stories; it may apply the unique features of nano bacterial cellulose (NBC) as assets in this artistic context. A mix of qualitative and quantitative (interventionist) methodology approaches were used -review of relevant literature to deepen knowledge on the research topic (crossing bibliography from different fields of studies: Biology, Art, Costume Design, etc.); as well as descriptive methods: laboratorial experiments, document quantities, observation to identify material properties and possibilities used to express a multiple narrative ideas, concepts and feelings. The results confirmed that NBC is an interactive and versatile material viable to be used in an alternative scenic context; its unique aesthetic and performative qualities, which change in contact to moisture, is a resource that can be used to show a visual and poetic impact on stage. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biotechnological%20materials" title="biotechnological materials">biotechnological materials</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20dance" title=" contemporary dance"> contemporary dance</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20design" title=" costume design"> costume design</a>, <a href="https://publications.waset.org/abstracts/search?q=nano%20bacterial%20cellulose" title=" nano bacterial cellulose"> nano bacterial cellulose</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20arts" title=" performing arts"> performing arts</a> </p> <a href="https://publications.waset.org/abstracts/144789/properties-of-bacterial-nanocellulose-for-scenic-arts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144789.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">101</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12486</span> Evolution of Pop Art Pattern on Modern Ao Dai</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mai%20Anh%20Pham%20Ho">Mai Anh Pham Ho</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ao Dai is the traditional dress of Vietnamese women that consists of a long tunic with slits on either side and wide trousers. This is the Vietnamese national costume which most common worn by women in daily life. The Vietnamese men may wear Ao Dai on special occasions like New Year Eve or Wedding Ceremony. Ao Dai is one of the few Vietnamese words that appear in English language dictionaries. Nowadays, there are variations in modern Ao Dai that consist of a short tunic on knee and slim trousers with the other materials like kaki or jeans. This paper aims to apply Pop art pattern on modern Ao Dai through the image of Vietnamese women by modifying the creation process of fashion design. It reflects on how modern culture is involved in Ao Dai and how it affects on fashion design. The research method of this paper is done through surveying the various examples of technological applications to fashion design, then the pop art pattern with the image of Vietnamese women is applied on modern Ao Dai. The results of this paper have shown through the collection of modern Ao Dai with three artworks applied the pop art pattern. In conclusion, the role of fashion technology supports and evolves the traditional value in order to establish the Vietnamese national personality as well as distinguish to other cultural values in the world. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=pop%20art%20pattern" title="pop art pattern">pop art pattern</a>, <a href="https://publications.waset.org/abstracts/search?q=Vietnamese%20national%20costume" title=" Vietnamese national costume"> Vietnamese national costume</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20ao%20dai" title=" modern ao dai"> modern ao dai</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion%20design" title=" fashion design"> fashion design</a> </p> <a href="https://publications.waset.org/abstracts/58634/evolution-of-pop-art-pattern-on-modern-ao-dai" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58634.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">281</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12485</span> Cultural Semiotics of the Traditional Costume from Banat’s Plain from 1870 to 1950 from Lotman’s Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Glavan%20Claudiu">Glavan Claudiu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> My paper focuses on the cultural semiotic interpretation of the Romanian costume from Banat region, from the perspective of Lotman’s semiotic theory of culture. Using Lotman’s system we will analyse the level of language, text and semiosphere within the unity of Banat’s traditional costume. In order to establish a common language and to communicate, the forms and chromatic compositions were expressed through symbols, which carried semantic meanings with an obvious significant semantic load. The symbols, used in this region, receive a strong specific ethnical mark in its representation, in its compositional and chromatic complexity, in accordance with the values and conceptions of life for the people living here. Thus the signs become a unifying force of this ethnic community. Associated with the signs, were the fabrics used in manufacturing the costumes and the careful selections of colours. For example, softer fabrics like silk associated with red vivid colours were used for young woman sending the message they ready to be married. The unity of these elements created the important message that you were sending to your community. The unity of the symbol, fabrics and choice of colours used on the costume carried out an important message like: marital status, social position, or even the village you belonged to. Using Lotman’s perspective on cultural semiotics we will read and analyse the symbolism of the traditional Romanian art from Banat. We will discover meaning in the codified existence of ancient solar symbols, symbols regarding fertility, religious symbols and very few heraldic symbols. Visual communication makes obvious the importance of semiotic value that the traditional costume is carrying from our ancestors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20costume" title="traditional costume">traditional costume</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=Lotman%E2%80%99s%20theory%20of%20culture" title=" Lotman’s theory of culture"> Lotman’s theory of culture</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20culture" title=" traditional culture"> traditional culture</a>, <a href="https://publications.waset.org/abstracts/search?q=signs%20and%20symbols" title=" signs and symbols"> signs and symbols</a> </p> <a href="https://publications.waset.org/abstracts/123159/cultural-semiotics-of-the-traditional-costume-from-banats-plain-from-1870-to-1950-from-lotmans-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/123159.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">145</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12484</span> From Research to Practice: Upcycling Cinema Icons</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mercedes%20Rodriguez%20Sanchez">Mercedes Rodriguez Sanchez</a>, <a href="https://publications.waset.org/abstracts/search?q=Laura%20Luce%C3%B1o%20Casals"> Laura Luceño Casals</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the rise of social media, creative people and brands everywhere are constantly generating content. The students with Bachelor's Degrees in Fashion Design use platforms such as Instagram or TikTok to look for inspiration and entertainment, as well as a way to develop their own ideas and share them with a wide audience. Information and Communications Technologies (ICT) have become a central aspect of higher education, virtually affecting every aspect of the student experience. Following the current trend, during the first semester of the second year, a collaborative project across two subjects –Design Management and History of Fashion Design– was implemented. After an introductory class focused on the relationship between fashion and cinema, as well as a brief history of 20th-century fashion, the students freely chose a work team and an iconic look from a movie costume. They researched the selected movie and its sociocultural context, analyzed the costume and the work of the designer, and studied the style, fashion magazines and most popular films of the time. Students then redesigned and recreated the costume, for which they were compelled to recycle the materials they had available at home as an unavoidable requirement of the activity. Once completed the garment, students delivered in-class, team-based presentations supported by the final design, a project summary poster and a making-of video, which served as a documentation tool of the costume design process. The methodologies used include Challenge-Based Learning (CBL), debates, Internet research, application of Information and Communications Technologies, and viewing clips of classic films, among others. After finishing the projects, students were asked to complete two electronic surveys to measure the acquisition of transversal and specific competencies of each subject. Results reveal that this activity helped the students' knowledge acquisition, a deeper understanding of both subjects and their skills development. The classroom dynamic changed. The multidisciplinary approach encouraged students to collaborate with their peers, while educators were better able to keep students' interest and promote an engaging learning process. As a result, the activity discussed in this paper confirmed the research hypothesis: it is positive to propose innovative teaching projects that combine academic research with playful learning environments. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=cooperative%20learning" title=" cooperative learning"> cooperative learning</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion%20design" title=" fashion design"> fashion design</a>, <a href="https://publications.waset.org/abstracts/search?q=higher%20education" title=" higher education"> higher education</a>, <a href="https://publications.waset.org/abstracts/search?q=upcycling" title=" upcycling"> upcycling</a> </p> <a href="https://publications.waset.org/abstracts/160029/from-research-to-practice-upcycling-cinema-icons" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160029.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">78</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12483</span> Fashion Utopias: The Role of Fashion Exhibitions and Fashion Archives to Defining (and Stimulating) Possible Future Fashion Landscapes</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vittorio%20Linfante">Vittorio Linfante</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Utopìa is a term that, since its first appearance in 1516, in Tommaso Moro’s work, has taken on different meanings and forms in various fields: social studies, politics, art, creativity, and design. The utopias, although of short duration and in their apparent impossibility, have been able to give a shape to the future, laying the foundations for our present and the future of the next generations. The Twentieth century was the historical period crossed by many changes, and it saw the most significant number of utopias not only social, political, and scientific but also artistic, architectural, in design, communication, and, last but not least, in fashion. Over the years, fashion has been able to interpret various utopistic impulses giving form to the most futuristic visions. From the Manifesto del Vestito by Giacomo Balla, through the functional experiments that led to the Tuta by Thayath and the Varst by Aleksandr Rodčenko and Varvara Stepanova, through the Space Age visions of Rudi Gernreich, Paco Rabanne and Pierre Cardin, and the Archizoom’s political actions and their fashion project Vestirsi è facile. Experiments that have continued to the present days through the (sometimes) excessive visions of Hussein Chalayan, Alexander McQueen, and Gareth Pugh or those that are more anchored to the market (but no fewer innovative and visionaries) by Prada, Chanel, and Raf Simmons. If, as Bauman states, it is true that we have entered in a phase of Retrotopia characterized by the inability to think about new forms of the future; it is necessary, more than ever, to redefine the role of history, of its narration and its mise en scène, within the contemporary creative process. A process that increasingly requires an in-depth knowledge of the past for the definition of a renewed discourse about design processes. A discourse in which words like archive, exhibition, curating, revival, vintage, and costume take on new meanings. The paper aims to investigate–through case studies, research, and professional projects–the renewed role of curating and preserving fashion artefacts. A renewed role that–in an era of Retrotopia–museums, exhibitions, and archives can (and must) assume, to contribute to the definition of new design paradigms, capable of overcoming the traditional categories of revival or costume in favour of a more contemporary “mash-up” approach. Mash-up in which past and present, craftsmanship and new technologies, revival and experimentation merge seamlessly. In this perspective, dresses (as well as fashion accessories) should be considered not only as finished products but as artefacts capable of talking about the past and of producing unpublished new stories at the same time. Archives, exhibitions (academic and not), and museums thus become powerful sources of inspiration for fashion: places and projects capable of generating innovation, becoming active protagonists of the contemporary fashion design processes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=heritage" title="heritage">heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20and%20fashion%20interface" title=" costume and fashion interface"> costume and fashion interface</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=language" title=" language"> language</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20research" title=" design research"> design research</a> </p> <a href="https://publications.waset.org/abstracts/126307/fashion-utopias-the-role-of-fashion-exhibitions-and-fashion-archives-to-defining-and-stimulating-possible-future-fashion-landscapes" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/126307.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">114</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12482</span> Costume Portrayal In K. Asif’s Mughal E Azam</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anketa%20Kumar">Anketa Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Rajantheran%20Al%20Muniandy"> Rajantheran Al Muniandy</a>, <a href="https://publications.waset.org/abstracts/search?q=Rishabh%20Kumar"> Rishabh Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For centuries, Indian costumes are admired for their great aesthetics, functional and narrative qualities. The purpose of the current study is to investigate the role of costumes as visual narratives in Hindi Cinema as Filmmaking is simply one of the most recent manifestations of the human desire to tell stories in which costume acts as a tool to be read as an Intertext by the viewers watching the films. The problem that promoted this study arose when clothes become an interesting topic when examined within the social structures in which they are worn. It is this visual image of dress worn by the character that is investigated in this research through Hindi Cinema of the 1960s, which was a reflection of the society in the realistic form. This research intends to integrate the application of Roland Barthes Semiotic theory in analyzing main movie characters in the National Award-Winning Hindi movie Mughal e Azam (1960). The research helps in filling the gap between the singular level of interpretation and another level that offers a solution towards bridging the gap in viewers' manifold interpretation of a particular movie product. This study focuses on how visual appearance communicates for building up of perception and can relate to notions of realism, defining cultural identity and status in the society. The research methodology is subjected analytical technique that employs in this research is qualitative and descriptive in nature with the use of the Freeze frame technique. The portrayal of costumes is explained with Barthes' principles of Semiotics. The freeze-frame technique stops the motion of the film on a single frame and allows the chosen image to be read as a still photograph. The finding during this research into costume portrayal in the movie was that freezing the frame in midst of running the films attracted attention towards intricate costume details, leading to record the nuanced observations of this minutiae during the movie. Given that during the application of interpretation while watching K Asif’s Mughal e Azam focused on certain aspects of costumes of the king. On the same idea, further research can be employed to strengthen the relation between costumes and visual narration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=character%20portrayal" title="character portrayal">character portrayal</a>, <a href="https://publications.waset.org/abstracts/search?q=costumes" title=" costumes"> costumes</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20cinema" title=" Indian cinema"> Indian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20significance" title=" visual significance"> visual significance</a> </p> <a href="https://publications.waset.org/abstracts/142687/costume-portrayal-in-k-asifs-mughal-e-azam" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142687.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">186</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12481</span> From Ritual to Entertainment: Echoes of Realism and Creativity in Costumes of Masquerades in New Nigerian Festivals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bernard%20Eze%20Orji">Bernard Eze Orji</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The masquerade, which is the most popular indigenous art form in Africa, is obviously identified by its elaborate, weird, and opulent costumes. The costume is the major essential accouterments in the art of the masquerade. From time past, masquerades have performed and enjoyed the freedom associated with its inscrutability and mystification solely because of its costumes. Noninitiates and women watched masquerades from a distance due to the reverence attached to its costumes and performances. In fact, whether in performance or as an item of art, the masquerade costume was seen as an embodiment of a tradition of liveliness, showiness, secrecy, and sacredness. This liveliness and showiness transformed masked characters who are believed to be possessed by spirits of ancestors and animals that inhabited the costumes. However, with the translocation of masquerade in new festivals such as carnival and state-sponsored cultural days, its costumes have been reduced to a mere item of entertainment and aesthetic values. The sacredness and reverence which hitherto elevated masquerade art to the point of wonderment have given way to an aesthetic appreciation of ingenious and individual creativity deployed in these festivals. This is as a result of the realistic and artistic creations that pervade masquerade costumes and masks in these festivals. It is a common sight to see such masquerades of animal and human genera like a lion, elephant, hippopotamus, and antelope; Agbogho Mmuo, Adamma, and Nchiekwa, respectively. This creative flair has emerged to expunge the ritual narratives associated with masquerades in the past. The study utilized performance analysis and aesthetic theory to establish that the creative ingenuity deployed by fine artists and mask designers who combine traditional artifacts to achieve modern masterpieces for the masquerades of the new festivals have reduced the ritual trappings and hype ascribed to masquerades in indigenous societies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume%20and%20mask%20designs" title="costume and mask designs">costume and mask designs</a>, <a href="https://publications.waset.org/abstracts/search?q=entertainment" title=" entertainment"> entertainment</a>, <a href="https://publications.waset.org/abstracts/search?q=masquerade" title=" masquerade"> masquerade</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a> </p> <a href="https://publications.waset.org/abstracts/113845/from-ritual-to-entertainment-echoes-of-realism-and-creativity-in-costumes-of-masquerades-in-new-nigerian-festivals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/113845.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12480</span> A Comparative Study of Costumes for Religious Festivals in ASEAN Countries</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jaruphan%20Supprung">Jaruphan Supprung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Aims of this research were to study the major religious festivals of merit making and joyful celebrations (nationwide) in each country of ASEAN countries and to compare the costumes for these major religious festivals among these countries. This documentary research employed qualitative research methodology. The findings of the research disclosed that there are 28 main religious festivals in ASEAN countries: 3 Islamic festivals in Brunei Darussalam such as Hari Raya Aidiladha Festival, Mauludin Nabi Festival and Hari Raya Aidilfitri Festival; 2 Buddhist festivals in Cambodia such as Pchum Ben Festival and Khmer New Year Festival; 3 Islamic festivals in Indonesia such as Eid al-Adha Festival, Maulid Nabi Festival and Eid ul-Fitr Festival; 5 Buddhist festivals in Laos such as Boun Awk Pansa Festival, Boun Pha Vet Festival, Boun Pi Mai Festival, Boun Khao Pradabdin Festival and Boun Khao Salak Festival; 3 Islamic festivals in Malaysia such as Hari Raya Aidil Adha Festival, Maulidur Rasul Festival and Hari Raya Aidilfitri Festival; 4 Buddhist festivals in Myanmar such as Thadingyut Festival, Tazaungmon Full Moon Festival, Htamane Festival, and Thingyan Festival; 2 Christian festivals in Philippines such as Christmas Festival and Feast of the Santo Niño; Only 1 Buddhist festival in Singapore: Festival of Vesak Day; 4 Buddhist festivals in Thailand such as Songkran Festival (Thai New Year), Sart Thai Festival, Khao Pansa Festival and Awk Pansa Festival; and only 1 Buddhist festival in Vietnam: Tet Nguyen Dan Festival. For the comparison of the costumes for these major religious festivals, it can be concluded that the most popular style of male costume for religious festivals in ASEAN countries consists of stand-up collar (100%), long sleeves (100%), shirt (90%), and long pants (100%), and the most popular style of male costume for religious festivals in ASEAN countries consists of round neck (90%), long sleeves (80%), blouse (60%), and maxi tube skirt (80%). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume" title="costume">costume</a>, <a href="https://publications.waset.org/abstracts/search?q=religious%20festival" title=" religious festival"> religious festival</a>, <a href="https://publications.waset.org/abstracts/search?q=ASEAN%20countries" title=" ASEAN countries"> ASEAN countries</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20and%20performing%20arts" title=" visual and performing arts"> visual and performing arts</a> </p> <a href="https://publications.waset.org/abstracts/5496/a-comparative-study-of-costumes-for-religious-festivals-in-asean-countries" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/5496.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">300</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12479</span> Application of 3D Apparel CAD for Costume Reproduction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zi%20Y.%20Kang">Zi Y. Kang</a>, <a href="https://publications.waset.org/abstracts/search?q=Tracy%20D.%20Cassidy"> Tracy D. Cassidy</a>, <a href="https://publications.waset.org/abstracts/search?q=Tom%20Cassidy"> Tom Cassidy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 3D apparel CAD is one of the remarkable products in advanced technology which enables intuitive design, visualisation and evaluation of garments through stereoscopic drape simulation. The progressive improvements of 3D apparel CAD have led to the creation of more realistic clothing simulation which is used not only in design development but also in presentation, promotion and communication for fashion as well as other industries such as film, game and social network services. As a result, 3D clothing technology is becoming more ubiquitous in human culture and lives today. This study considers that such phenomenon implies that the technology has reached maturity and it is time to inspect the status of current technology and to explore its potential uses in ways to create cultural values to further move forward. For this reason, this study aims to generate virtual costumes as culturally significant objects using 3D apparel CAD and to assess its capability, applicability and attitudes of the audience towards clothing simulation through comparison with physical counterparts. Since the access to costume collection is often limited due to the conservative issues, the technology may make valuable contribution by democratization of culture and knowledge for museums and its audience. This study is expected to provide foundation knowledge for development of clothing technology and for expanding its boundary of practical uses. To prevent any potential damage, two replicas of the costumes in the 1860s and 1920s at the Museum of London were chosen as samples. Their structural, visual and physical characteristics were measured and collected using patterns, scanned images of fabrics and objective fabric measurements with scale, KES-F (Kawabata Evaluation System of Fabrics) and Titan. Commercial software, DC Suite 5.0 was utilised to create virtual costumes applying collected data and the following outcomes were produced for the evaluation: Images of virtual costumes and video clips showing static and dynamic simulation. Focus groups were arranged with fashion design students and the public for evaluation which exposed the outcomes together with physical samples, fabrics swatches and photographs. The similarities, application and acceptance of virtual costumes were estimated through discussion and a questionnaire. The findings show that the technology has the capability to produce realistic or plausible simulation but expression of some factors such as details and capability of light material requires improvements. While the use of virtual costumes was viewed as more interesting and futuristic replacements to physical objects by the public group, the fashion student group noted more differences in detail and preferred physical garments highlighting the absence of tangibility. However, the advantages and potential of virtual costumes as effective and useful visual references for educational and exhibitory purposes were underlined by both groups. Although 3D apparel CAD has sufficient capacity to assist garment design process, it has limits in identical replication and more study on accurate reproduction of details and drape is needed for its technical improvements. Nevertheless, the virtual costumes in this study demonstrated the possibility of the technology to contribute to cultural and knowledgeable value creation through its applicability and as an interesting way to offer 3D visual information. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20clothing%20technology" title="digital clothing technology">digital clothing technology</a>, <a href="https://publications.waset.org/abstracts/search?q=garment%20simulation" title=" garment simulation"> garment simulation</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20Apparel%20CAD" title=" 3D Apparel CAD"> 3D Apparel CAD</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20costume" title=" virtual costume"> virtual costume</a> </p> <a href="https://publications.waset.org/abstracts/84859/application-of-3d-apparel-cad-for-costume-reproduction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/84859.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">221</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12478</span> Case Study of Human Factors and Ergonomics in the Design and Use of Harness-Embedded Costumes in the Entertainment Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marielle%20Hanley">Marielle Hanley</a>, <a href="https://publications.waset.org/abstracts/search?q=Brandon%20Takahashi"> Brandon Takahashi</a>, <a href="https://publications.waset.org/abstracts/search?q=Gerry%20Hanley"> Gerry Hanley</a>, <a href="https://publications.waset.org/abstracts/search?q=Gabriella%20Hancock"> Gabriella Hancock</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Safety harnesses and their protocols are very common within the construction industry, and the Occupational Safety and Health Administration has provided extensive guidelines with protocols being constantly updated to ensure the highest level of safety within construction sites. There is also extensive research on harnesses that are meant to keep people in place in moving vehicles, such as seatbelts. Though this research is comprehensive in these areas, the findings and recommendations are not generally applicable to other industry sectors where harnesses are used, such as the entertainment industry. The focus of this case study is on the design and use of harnesses used by theme park employees wearing elaborate costumes in parades and performances. The key factors of posture, kinesthetic factors, and harness engineering interact in significantly different ways when the user is performing repetitive choreography with 20 to 40 lbs. of apparatus connected to harnesses that need to be hidden from the audience’s view. Human factors and ergonomic analysis take into account the required performers’ behaviors, the physical and mental preparation and posture of the performer, the design of the harness-embedded costume, and the environmental conditions during the performance (e.g., wind) that can determine the physical stresses placed on the harness and performer. The uniqueness and expense of elaborate costumes frequently result in one or two costumes created for production, and a variety of different performers need to fit into the same costume. Consequently, the harnesses should be adjustable if they are to minimize the physical and cognitive loads on the performer, but they are frequently more a “one-size fits all”. The complexity of human and technology interactions produces a range of detrimental outcomes, from muscle strains to nerve damage, mental and physical fatigue, and reduced motivation to perform at peak levels. Based on observations conducted over four years for this case study, a number of recommendations to institutionalize the human factors and ergonomic analyses can significantly improve the safety, reliability, and quality of performances with harness-embedded costumes in the entertainment industry. Human factors and ergonomic analyses can be integrated into the engineering design of the performance costumes with embedded harnesses, the conditioning and training of the performers using the costumes, the choreography of the performances within the staged setting and the maintenance of the harness-embedded costumes. By applying human factors and ergonomic methodologies in the entertainment industry, the industry management and support staff can significantly reduce the risks of injury, improve the longevity of unique performers, increase the longevity of the harness-embedded costumes, and produce the desired entertainment value for audiences. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ergonomics%20in%20entertainment%20industry" title="ergonomics in entertainment industry">ergonomics in entertainment industry</a>, <a href="https://publications.waset.org/abstracts/search?q=harness-embedded%20costumes" title=" harness-embedded costumes"> harness-embedded costumes</a>, <a href="https://publications.waset.org/abstracts/search?q=performer%20safety" title=" performer safety"> performer safety</a>, <a href="https://publications.waset.org/abstracts/search?q=injury%20prevention" title=" injury prevention"> injury prevention</a> </p> <a href="https://publications.waset.org/abstracts/138010/case-study-of-human-factors-and-ergonomics-in-the-design-and-use-of-harness-embedded-costumes-in-the-entertainment-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138010.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">90</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12477</span> Getting Back Out There Looking like That: A Visual Critique of Rebecca Welton’s Costuming in Reference to Female Representation in Television</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abigail%20R.%20Gardner">Abigail R. Gardner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the rise of big budget television comes a demand for more nuanced characters. However, female characters are often underdeveloped, especially those who do not fit neatly into societal norms. This study examines how Ted Lasso’s Rebecca Welton challenges this idea by using her on-screen fashion to mirror her motivations and character development. Through detailed analysis, this research explores how Rebecca’s wardrobe adds depth to her character, contrasting traditional strategies of costuming female characters in mainstream movies and television. While women, especially older women, are getting more screen time, very few have been given a wardrobe to reflect their dynamic characters. Rebecca’s costumes represent a form of visual storytelling typically reserved for film, but with the rise of single-camera television, there is an opportunity to redefine the relationship between women and fashion on screen. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume%20design" title="costume design">costume design</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20and%20media" title=" gender and media"> gender and media</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20storytelling" title=" visual storytelling"> visual storytelling</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20in%20television" title=" women in television"> women in television</a> </p> <a href="https://publications.waset.org/abstracts/191201/getting-back-out-there-looking-like-that-a-visual-critique-of-rebecca-weltons-costuming-in-reference-to-female-representation-in-television" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/191201.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">17</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12476</span> Influence of the Popular Literature on Consciousness of the Person</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alua%20Temirbolat">Alua Temirbolat</a>, <a href="https://publications.waset.org/abstracts/search?q=Sergei%20Kibalnik"> Sergei Kibalnik</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhuldyz%20Essimova"> Zhuldyz Essimova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The article is devoted to research of influence of the modern literature on the consciousness of the person. Tendencies and features of the progress of the historical-cultural and artistic process at the end of XX–the beginning of XXI centuries are considered. The object of the analysis is the popular literature which has found last decades greater popularity among readers of different generations. In the article, such genres, as melodramas, female, espionage, criminal, pink, costume-historical novels, thrillers, elements, a fantasy are considered. During research, specific features of the popular literature, its difference from works of classics is revealed. On specific examples, its negative and positive influence on consciousness, psychology of the reader is shown, its role and value in a modern society are defined. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=the%20popular%20literature" title="the popular literature">the popular literature</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20person" title=" the person"> the person</a>, <a href="https://publications.waset.org/abstracts/search?q=consciousness" title=" consciousness"> consciousness</a>, <a href="https://publications.waset.org/abstracts/search?q=a%20genre" title=" a genre"> a genre</a>, <a href="https://publications.waset.org/abstracts/search?q=psychology" title=" psychology"> psychology</a> </p> <a href="https://publications.waset.org/abstracts/34025/influence-of-the-popular-literature-on-consciousness-of-the-person" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34025.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">299</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12475</span> Aesthetic Analysis and Socio-Cultural Significance of Eku Idowo and Anipo Masquerades of the Anetuno (Ebira Chao)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lamidi%20Lawal%20Aduozava">Lamidi Lawal Aduozava</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Masquerade tradition is an indigenous culture of the Anetuno an extraction of the Ebira referred to as Ebira chao. This paper seeks to make aesthetic analysis of the masquerades in terms of their costumes and socio-cultural significance. To this end, the study examined and documented the functions and roles of Anipo and Idowo masquerades in terms of therapeutic, economic, prophetic and divination, entertainment, and funeral functions to the owner community(Eziobe group of families) in Igarra, Edo State of Nigeria, West Africa. For the purpose of data collection, focus group discussion, participatory, visual and observatory methods of data collection were used. All the data collected were aesthetically, descriptively and historically analyzed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aesthetics" title="Aesthetics">Aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=" title=" "> </a>, <a href="https://publications.waset.org/abstracts/search?q=Costume" title=" Costume"> Costume</a>, <a href="https://publications.waset.org/abstracts/search?q=" title=" "> </a>, <a href="https://publications.waset.org/abstracts/search?q=Masquerades" title=" Masquerades"> Masquerades</a>, <a href="https://publications.waset.org/abstracts/search?q=" title=""></a>, <a href="https://publications.waset.org/abstracts/search?q=Significance." title=" Significance. "> Significance. </a> </p> <a href="https://publications.waset.org/abstracts/117160/aesthetic-analysis-and-socio-cultural-significance-of-eku-idowo-and-anipo-masquerades-of-the-anetuno-ebira-chao" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/117160.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">163</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12474</span> Research on Comfort Degree Design and Practical Design of Wearing Type Headphones</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kuan-Wu%20Lin">Kuan-Wu Lin</a>, <a href="https://publications.waset.org/abstracts/search?q=Tsu-Wu%20Hu"> Tsu-Wu Hu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In recent years, product design has already begun to comfort and humanize, and for different user needs to design products, In particular, closer relationship with the people of the products, Such as headphones and other consumer electronics products. In this study, will for general comfort design principles and field survey results through the use of a headset, including adolescents, young and middle-aged groups such as three users, Further identify the general design principles belong to the headset comfortable design. The study results will include the significance of headphones design and differences between product design principles, Provide the basis for future product design. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=wearing%20type%20headphones" title="wearing type headphones ">wearing type headphones </a>, <a href="https://publications.waset.org/abstracts/search?q=comfort%20degree%20design" title=" comfort degree design"> comfort degree design</a>, <a href="https://publications.waset.org/abstracts/search?q=general%20design%20principles" title=" general design principles"> general design principles</a>, <a href="https://publications.waset.org/abstracts/search?q=product%20design" title=" product design"> product design</a> </p> <a href="https://publications.waset.org/abstracts/50161/research-on-comfort-degree-design-and-practical-design-of-wearing-type-headphones" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/50161.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">327</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12473</span> Using Mind Mapping and Morphological Analysis within a New Methodology for Teaching Students of Products’ Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kareem%20Saber">Kareem Saber</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Many products’ design instructors search for how to help students to develop their designs simply by reducing design stages and extrapolating simple design process forms to achieve design creativity. So, the researcher extrapolated a new design process form called “hierarchical design” which reduced design process into three stages and he had tried that methodology on about two hundred students. That trial had led to great results as students could develop their designs which characterized by creativity and innovation. That proved the success and effectiveness of the proposed methodology. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mind%20mapping" title="mind mapping">mind mapping</a>, <a href="https://publications.waset.org/abstracts/search?q=morphological%20analysis" title=" morphological analysis"> morphological analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=product%20design" title=" product design"> product design</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20process" title=" design process "> design process </a> </p> <a href="https://publications.waset.org/abstracts/122030/using-mind-mapping-and-morphological-analysis-within-a-new-methodology-for-teaching-students-of-products-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/122030.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">177</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12472</span> A Comparison of Design and Off-Design Performances of a Centrifugal Compressor</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zeynep%20Ayta%C3%A7">Zeynep Aytaç</a>, <a href="https://publications.waset.org/abstracts/search?q=Nuri%20Y%C3%BCcel"> Nuri Yücel</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Today, as the need for high efficiency and fuel-efficient engines have increased, centrifugal compressor designs are expected to be high-efficient and have high-pressure ratios than ever. The present study represents a design methodology of centrifugal compressor placed in a mini jet engine for the design and off-design points with the utilization of computational fluid dynamics (CFD) and compares the performance characteristics at the mentioned two points. Although the compressor is expected to provide the required specifications at the design point, it is known that it is important for the design to deliver the required parameters at the off-design point also as it will not operate at the design point always. It was observed that the obtained mass flow rate, pressure ratio, and efficiency values are within the limits of the design specifications for the design and off-design points. Despite having different design inputs for the mentioned two points, they reveal similar flow characteristics in the general frame. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=centrifugal%20compressor" title="centrifugal compressor">centrifugal compressor</a>, <a href="https://publications.waset.org/abstracts/search?q=computational%20fluid%20dynamics" title=" computational fluid dynamics"> computational fluid dynamics</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20point" title=" design point"> design point</a>, <a href="https://publications.waset.org/abstracts/search?q=off-design%20point" title=" off-design point"> off-design point</a> </p> <a href="https://publications.waset.org/abstracts/147046/a-comparison-of-design-and-off-design-performances-of-a-centrifugal-compressor" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/147046.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">144</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12471</span> On the Difference between Cultural and Religious Identities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mputu%20Ngandu%20Simon">Mputu Ngandu Simon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Culture and religion are two of the most significant markers of an individual or group's identity. Religion finds its expression in a given culture, and culture is the costume in which a religion is dressed. In other words, there is a crucial relationship between religion and culture which should not be ignored. On the one hand, religion influences the way in which a culture is consumed. A person's consumption of a certain cultural practice is influenced by his/her religious identity. On the other hand, cultural identity plays an important role in how a religion is practiced by its adherents. Some cultural practices become more credible when interpreted in religious terms just as religious doctrines and dogmas need cultural interpretation to be understood by a given people in a given context. This relationship goes so deep that sometimes the boundaries between culture and religion become blurred, and people end up mixing religion and culture. In some cases, the two are considered to be one and the same thing. However, despite this apparent sameness, religion and culture are two distinct aspects of identity, and they should always be considered as such. One results from knowledge, while the other has beliefs as its foundation. This essay explores the difference between cultural and religious identity by drawing from existing literature on this topic as a whole before applying that knowledge to two specific case studies: Christianity and Islam in some African and Asian countries. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=knowledge" title=" knowledge"> knowledge</a>, <a href="https://publications.waset.org/abstracts/search?q=belief" title=" belief"> belief</a> </p> <a href="https://publications.waset.org/abstracts/148478/on-the-difference-between-cultural-and-religious-identities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/148478.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">192</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12470</span> The Role of Industrial Design in Fashion</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rojean%20Ghafariasar">Rojean Ghafariasar</a>, <a href="https://publications.waset.org/abstracts/search?q=Leili%20Nosrati"> Leili Nosrati</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The article introduces the categories and characteristics of cross-design, respectively, between industry and industry designers, artists, brands and brands, science, technology, and fashion. It focuses on the combination of technology and fashion cross-design methods, corresponding case studies on the combination of new technology fabrics, fashion design, smart devices, and also 3D printing technology, emphasizing the integration and application value of technology and fashion. The document also introduces design elements into fashion design through scientific and technological intelligence, promoting fashion innovation as well as research and development of new materials and functions, and incubates an ecosystem for the fashion industry through science and technology. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fashion" title="fashion">fashion</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a>, <a href="https://publications.waset.org/abstracts/search?q=industrial%20design" title=" industrial design"> industrial design</a>, <a href="https://publications.waset.org/abstracts/search?q=crossover%20design" title=" crossover design"> crossover design</a> </p> <a href="https://publications.waset.org/abstracts/174832/the-role-of-industrial-design-in-fashion" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174832.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">92</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12469</span> Emulation Model in Architectural Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=%C3%96.%20%C5%9Eenyi%C4%9Fit">Ö. Şenyiğit</a>, <a href="https://publications.waset.org/abstracts/search?q=A.%20%C3%87olak"> A. Çolak</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It is of great importance for an architectural student to know the parameters through which he/she can conduct his/her design and makes his/her design effective in architectural education. Therefore; an empirical application study was carried out through the designing activity using the emulation model to support the design and design approaches of architectural students. During the investigation period, studies were done on the basic design elements and principles of the fall semester, and the emulation model, one of the designing methods that constitute the subject of the study, was fictionalized as three phased “recognition-interpretation-application”. As a result of the study, it was observed that when students were given a key method during the design process, their awareness increased and their aspects improved as well. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=basic%20design" title="basic design">basic design</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20education" title=" design education"> design education</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20methods" title=" design methods"> design methods</a>, <a href="https://publications.waset.org/abstracts/search?q=emulation" title=" emulation"> emulation</a> </p> <a href="https://publications.waset.org/abstracts/77529/emulation-model-in-architectural-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/77529.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">236</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12468</span> Exploring the Dualistic Nature of Design: Integrative Perspectives and Methodological Approaches in Design Research</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Joni%20Agung%20Sudarmanto">Joni Agung Sudarmanto</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The concept of design has historically been elusive and characterized by its fluidity, leading to divergent viewpoints on its fundamental nature. Guy Julier views design as inherent in material culture, while Sanders sees it as a collective endeavor focusing on the outcome. Design's dualistic nature, procedural and outcome-oriented, spans various domains, including objects, individuals, and the environment. This comprehensive view of design challenges the notion that design practice is distinct from research, highlighting their shared exploratory nature. The article explores methodological techniques in design research and the three prevalent approaches: "into design," "through design," and "for design." The contradictory meanings of design arise from its etymology and its duality as both process and result, leading to its integrative nature across objects, humans, and the environment. The parallels between design and research activities, underscoring their exploratory and knowledge-generating nature, are situated within creative research, challenging the perception of design practice as separate from research endeavors. The "into design" approach encourages interdisciplinary collaboration, enriching design research with diverse perspectives. The "through design" approach bridges theory and practice, producing more practical outcomes. The "for design" approach supports specific design solutions, providing designers with valuable guidance. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=dualistic%20nature%20of%20design" title="dualistic nature of design">dualistic nature of design</a>, <a href="https://publications.waset.org/abstracts/search?q=integrative%20perspectives" title=" integrative perspectives"> integrative perspectives</a>, <a href="https://publications.waset.org/abstracts/search?q=methodological%20approaches" title=" methodological approaches"> methodological approaches</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20research" title=" design research"> design research</a> </p> <a href="https://publications.waset.org/abstracts/174843/exploring-the-dualistic-nature-of-design-integrative-perspectives-and-methodological-approaches-in-design-research" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/174843.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">71</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12467</span> Quality Assurance in Software Design Patterns</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rabbia%20Tariq">Rabbia Tariq</a>, <a href="https://publications.waset.org/abstracts/search?q=Hannan%20Sajjad"> Hannan Sajjad</a>, <a href="https://publications.waset.org/abstracts/search?q=Mehreen%20Sirshar"> Mehreen Sirshar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Design patterns are widely used to make the process of development easier as they greatly help the developers to develop the software. Different design patterns have been introduced till now but the behavior of same design pattern may differ in different domains that can lead to the wrong selection of the design pattern. The paper aims to discover the design patterns that suits best with respect to their domain thereby helping the developers to choose an effective design pattern. It presents the comprehensive analysis of design patterns based on different methodologies that include simulation, case study and comparison of various algorithms. Due to the difference of the domain the methodology used in one domain may be inapplicable to the other domain. The paper draws a conclusion based on strength and limitation of each design pattern in their respective domain. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design%20patterns" title="design patterns">design patterns</a>, <a href="https://publications.waset.org/abstracts/search?q=evaluation" title=" evaluation"> evaluation</a>, <a href="https://publications.waset.org/abstracts/search?q=quality%20assurance" title=" quality assurance"> quality assurance</a>, <a href="https://publications.waset.org/abstracts/search?q=software%20domains" title=" software domains"> software domains</a> </p> <a href="https://publications.waset.org/abstracts/25836/quality-assurance-in-software-design-patterns" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/25836.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">521</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12466</span> An Exploratory Study of Chinese Paper-Cut Art in Household Product Design </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ruining%20%20Wu">Ruining Wu</a>, <a href="https://publications.waset.org/abstracts/search?q=Na%20Song"> Na Song</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Paper-cut, as one of the Chinese traditional folk decoration art, has become a unique visual aesthetic characteristics of the Chinese nation in the long-term evolution of cultural symbols. Chinese paper-cut art is the treasure-house for product design in natural resources. This paper first analyzed Chinese folk art of historical origin, cultural background, cultural values, aesthetic value, style features of Chinese paper cut art, then analyzed the design thought and design cases of paper-cut art application in different areas, such as clothing design, logo design and product design areas. Through the research of Chinese paper-cut art culture and design elements, this paper aims to build a household product design concept of Chinese traditional culture. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=paper-cut%20art" title="paper-cut art">paper-cut art</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=household%20products" title=" household products"> household products</a>, <a href="https://publications.waset.org/abstracts/search?q=design" title=" design"> design</a> </p> <a href="https://publications.waset.org/abstracts/64971/an-exploratory-study-of-chinese-paper-cut-art-in-household-product-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64971.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">613</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12465</span> The Development of Statistical Analysis in Agriculture Experimental Design Using R</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Somruay%20Apichatibutarapong">Somruay Apichatibutarapong</a>, <a href="https://publications.waset.org/abstracts/search?q=Chookiat%20Pudprommart"> Chookiat Pudprommart</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of this study was to develop of statistical analysis by using R programming via internet applied for agriculture experimental design. Data were collected from 65 items in completely randomized design, randomized block design, Latin square design, split plot design, factorial design and nested design. The quantitative approach was used to investigate the quality of learning media on statistical analysis by using R programming via Internet by six experts and the opinions of 100 students who interested in experimental design and applied statistics. It was revealed that the experts’ opinions were good in all contents except a usage of web board and the students’ opinions were good in overall and all items. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=experimental%20design" title="experimental design">experimental design</a>, <a href="https://publications.waset.org/abstracts/search?q=r%20programming" title=" r programming"> r programming</a>, <a href="https://publications.waset.org/abstracts/search?q=applied%20statistics" title=" applied statistics"> applied statistics</a>, <a href="https://publications.waset.org/abstracts/search?q=statistical%20analysis" title=" statistical analysis"> statistical analysis</a> </p> <a href="https://publications.waset.org/abstracts/2748/the-development-of-statistical-analysis-in-agriculture-experimental-design-using-r" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/2748.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">368</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12464</span> International Comparison in Component of Design-Potential</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kazuko%20Sakamoto">Kazuko Sakamoto</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It is difficult to explain the factor of design preference only in culture or a geographical environment. It is necessary to turn one's eyes also to the factor in an individual. The purpose of this research is to clarify design potential which is inherent in consumers. Design potential is the consciousness and interpretation to an individual design. That is, it catches quantitatively the preparatory state which faces design. For example, a mobile phone differs in designs, such as a color and a form, by the country or the area. It is considered because a regional consumer taste exists. The root is design potential. This consists of design participation, design knowledge, and design sensitivity. Having focused this time is by design sensitivity, and international comparison of the Netherlands, Bangladesh, China, and Japan was performed. As a result, very interesting finding has been derived. For example, although Bangladesh caught the similarity of goods by the color, other three nations were caught in the form. Moreover, although the Netherlands, Bangladesh, and China liked symmetry, only Japan liked asymmetry. This shows that history and a cultural background have had big influence to the design. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design-potential" title="design-potential">design-potential</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20difference" title=" cultural difference"> cultural difference</a>, <a href="https://publications.waset.org/abstracts/search?q=form%20characteristic" title=" form characteristic"> form characteristic</a>, <a href="https://publications.waset.org/abstracts/search?q=product%20development" title=" product development"> product development</a> </p> <a href="https://publications.waset.org/abstracts/67486/international-comparison-in-component-of-design-potential" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67486.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">377</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12463</span> Designing for Wearable Interactions: Exploring Care Design for Design Anthropology and Participatory Design</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Wei-Chen%20Chang">Wei-Chen Chang</a>, <a href="https://publications.waset.org/abstracts/search?q=Yu-Cheng%20Pei"> Yu-Cheng Pei</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research examines wearable interaction design to mediate the design anthropology and participatory design found in technology and fashion. We will discuss the principles of design anthropology and participatory design using a wearable and fashion product process to transmit the ‘people-situation-reason-object’ method and analyze five sense applied examples that provide new thinking for designers engaged in future industry. Design anthropology and Participatory Design attempt to engage physiological and psychological design through technology-function, meaning-form and fashion aesthetics to achieve cognition between user and environment. The wearable interaction provides technological characteristics and semantic ideas transmitted to craft-cultural, collective, cheerful and creative performance. It is more confident and innovative attempt, that is able to achieve a joyful, fundamental interface. This study takes two directions for cultural thinking as the basis to establish a set of life-craft designs with interactive experience objects by users that assist designers in examining the sensual feelings to initiate a new lifestyle value. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design%20anthropology" title="design anthropology">design anthropology</a>, <a href="https://publications.waset.org/abstracts/search?q=wearable%20design" title=" wearable design"> wearable design</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20communication" title=" design communication"> design communication</a>, <a href="https://publications.waset.org/abstracts/search?q=participatory%20design" title=" participatory design"> participatory design</a> </p> <a href="https://publications.waset.org/abstracts/83409/designing-for-wearable-interactions-exploring-care-design-for-design-anthropology-and-participatory-design" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/83409.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">237</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12462</span> Aqua Logo Design 2013 Decomposition and Meanings</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Peni%20Rizki">Peni Rizki</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This article presents decomposition on Aqua logo design 2013 as well as exploration on the meanings denoting marketing resolution. In the analysis, it is described decomposition details on Aqua logo design 2013, a semiotics implementation on marketing enterprise. 2013’s design is different in parts from its first establishment in 1973. Upon that, design elements such as pictures and colors are examined in semiotic theories of sign utilized as directives to the meaning constructed. Each part of the design is analyzed based on its significations that generate denotation and connotation as well as myth. At the end will be concluded the converses of Aqua logo design 2013 in reflection to its initiated marketing creativity; what pictures and colors do in it. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=design" title="design">design</a>, <a href="https://publications.waset.org/abstracts/search?q=aqua" title=" aqua"> aqua</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=signification" title=" signification"> signification</a> </p> <a href="https://publications.waset.org/abstracts/45954/aqua-logo-design-2013-decomposition-and-meanings" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/45954.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">377</span> 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