Browsing by Subject "pukusuunnittelu"

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  • Rostedt, Pilvi (Helsingfors universitet, 2015)
    The aim of this study was to design a costume for a Christian dancing group, and also to discuss clothing principles, which need to be taken into consideration in a Christian context. The idea was that the material produced in this study and design process, could also be used by other Christian dancing groups in their problems related to clothing. The research question is: What kind of costume is suitable for Christian dancers? This study was carried out as a design project. In the designing group there were nine members, who are all Christian dance enthusiasts in need of dancing costumes. In the iterative design process the modelling and evaluating of the costume alternated. In the process, I partly applied collaborative design. During the design process and evaluation the costume was analyzed according to the FEA-model, which includes the aspects of functionality, expressiveness, aesthetics, and culture. At the end of the process, the dancing group had a model of a versatile costume, which the dancers found very acceptable. Members of the design group are able to utilize this material later on when designing new costumes. This research will benefit the growing number of Christian dancers, Christian dancing in general and also reflection on the relation of dancing, clothing and Christian faith.
  • Avikainen, Elisa (Helsingfors universitet, 2016)
    The main interest of this study was scenographer Kirsi Manninen and her career as a costume designer in Winter Circus of Hurjaruuth. The purpose of this study was to describe the costume designing processes in Winter Circus productions and to find out what possibilities and challenges circus sets to costume designing. Referring to previous studies (Checkland, 1986; Seitamaa-Hakkarainen, 2000; Zeisel, 1984) designing processes can be seen as movements between different levels, where reality and idea levels are compared to each other. Designing is also seen as iteratively moving process, where the completed products are created via many acceptable solutions. This study is qualitative and its manner of an approach is a case study. Material for this study was gathered with a theme interview from Kirsi Manninen. Material was analyzed adapting to theoretically orientated content analysis. Baseline of the study was designer-orientated nor than production-orientated. The centre of the analysis was not about the themes or details of circus productions but designering and artefacts behind them. This study showed that Manninen's designing process proceeds iteratively between four different dimensions. As a result of collected material of this study and referring to previous models there was a model created that describes Manninen's designing process in circus productions. The dimensions, based on collected material were named as team, user, substance and composition. A costume designer is working in a part of multi-artistic team. This team creates the whole play in tight co-operation. Theme of the play defines the baselines for working. Each costume is designed individually for a user, taking into account personal features, movement, safety and character that are performed. Costumes and the substance transmit different kind of moods and messages. They have also a magnificent role as a storytelling part of the play. The final costume and the composition of it are formed by color, shape and material, applying different kind of techniques.
  • Kujala, Tiina (Helsingin yliopisto, 2020)
    Abstract The aim of this study is to research and describe how the criteria in designing and manufacturing of a figure skating dress are formed and how the aspects of functionality, expressiveness and aesthetics show from dressmaker’s point of view. The study seeks to answer the question: what kind of process the design and manufacture of figure skating costume typically is and how to reach an understanding with the customer about the implementation of the costs of the dress and other details. The aim is to describe the nature of the maker’s work, the challenger and prospects from a perspective of an entrepreneur. There have been only few previous studies of competitive sports covering the fields of arts and skills comparable to figure skating, and those have often focused on mapping the client’s point of view. In this study the focus is on the design process and the voice with maker. The costumer ordered for seasonal competition programs, are few custom-made outfits in the field of sports. Hence, their position is of interest of the increasingly commercial sports business. The study is made by using and thematic interview conducted remotely using the Zoom program for online meetings. The interviewee was a costume designer and maker Titta Kettunen, whose design studio Ateljee Titta Kettunen is currently one of the most popular costume making companies in the Finnish figure skating community. The interview questions were pre-designed to cover perspectives of design principles based on FEA model by Lamb and Kallal (1992). Also, to answer research questions about factors make up the quality and design criteria for figure skating costumes consist of, from the perspective of the costume designer and, on the other hand, what is the design process about. The study aims to describe what emphasis the components receive according to the customers’ needs and wishes and the realities of implementation. Quality is referred to through Garvin’s (1988) classical definitions of quality and the study seeks to describe how different budgets and realities affect the quality of the costumes. Images of varying figure skating outfits selected by the interviewer were used as support and foundation for the interview. The Atlas.ti program was used to save and extract the material, in which the interviewee’s answers were classified by theme. The interview took 1,5 hours. Based on the study; figure skating outfits are valued, and the clients are willing to pay for handcrafted product made in a peasant, themed and individual purposes. There will probably be a demand for costumes now and in the future, if the thematic consistency in the programs remains a special feature of the sport. Costumes live in time and the digitalized world has been reflected in costume technical innovations, but due to the (new) media, costume must withstand a close-up. Costume maker’s professionalism, fluency, reliability, sport and customer knowledge and pricing ability, alongside up-to-date methods and material handling are a key to costume design company’s success now and tomorrow.