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Critical Costume 2018 Book of Abstracts and Biographies (In alphabetical order of surname) Laurence Ayi En découdre A film extracted from a four hour duration performance where I’m unstitching a woman’s suit. The french title is "En découdre’’ which could be translated in "To unstitch" but really means "in battle”. Duration : 4’32’’ "En découdre" happens in the space of an operating theater. It is a question of having to do it entirely with the object / patient and since from this act, nothing will be left, except the void contained in the object, the intention might be to stage a graft: recovery of the object in the juxtaposition of its parts (the concept of me-skin of Anzieu) or body-unity, where the self is constituted of an imaginary that unifies (partial objects), recycling (more political deconstruction ... Or to stage an autopsy, where there, the body / suit will be the object of a waste… Bio: Laurence Ayi is a set and costume designer and visual artist. She develops work around clothing as a metaphorical space, container of an inner theatricality that emerges as a living painting set in (e)motion thereby put into action by the viewer's gaze and imagination. The object-costume is an actor. Currently a part-time lecturer at the university of arts Laurence Ayi is also in the second year of a PHD degree at the CNSAD-PSL (Conservatoire National Supérieur d'art dramatique de Paris - and Paris-Sciences et Lettres). Her thesis subject is The ritual of dressing as mechanism of transition from clothing to the costume. To say that this ritual is a act of performative theater from which arises the object- costume as a living visual-art. The point of view starts from the wearer and moves towards the eye of the viewer. It is to say, a vision that leads to a reading. Her research focuses on the ritual of dressing from birth to death, paralleling and questioning precisely the ritual of dressing of the actor before entry on stage and the one that consists of dressing a dead person before entry into "the other world" as in her sense these two instants (of performance?) hold a strange similarity. A secret ceremony that is not given to an audience. Linnea Bågander CUTTLEFISH – Another body This work aims to explore other types of preforming bodies. Bodies extending themselves into material and creating expressions based on the body in a dialogue with materials expression. Through this aiming to remove connotations associated with the body through this create for the audience an experience of freedom of imagination. Fashion design involves an aesthetics that is based the body as form and is often changed in form according to norms, trends and ideals, shaping by “artificially changing the body’s silhouette and sometimes altering its natural structure” (Koda, 2012). Further, the alterations of dress affect how the body behaves and moves by restricting, enhancing (Bugg, 2006) and enabling movements through both physical and psychological means. In Cuttlefish, the body is instead altered in movement qualities and through this as form. The visual removal of the body, contributed to experienced new bodies, it became something that the viewer can relate to on an emotional level as they became new personas and identities. Audience experience a large vary of emotions and personal associations many of them concerning identity; who we are and how we exist together. CUTTLEFISH credits: Choreographer: Nicole Neidert Cast: Linn Ragnarsson, Viktoria Andersson, Anton Borgström Costume design: Linnea Bågander Sound design: Elize Arvefjord Light design: Ulrich Ruchlinski Premier: September 26th 2017 Falkhallen, Falkenberg, Sweden Additional performances: Byteatern Kalmar, Konserthusteater Karlskrona, SPIRA Jönköping, Region Teatern Växjö, Skånes Dans Teater Malmö. Bios: Linnea Bågander is PhD-student in Artistic Research, Fashion Design, University of Borås. Through collaborations within the field of dance she is exploring dress as performative element. Before staring her PhD program, she was working with dance, performative art and film as costume and set designer. www.linneabagander.se https://www.instagram.com/linnea.bagander/ Donatella Barbieri Ethics of embodiment and dispersion of agency in costume. In the ephemeral laboratory space that performance-making can provide and as part of artistic enquiry, costume emerges from a situated practice, based on materiality, movement perception and our being-in-the-world, and can then be a phenomenon, a doing, an originator, not simply a passive describing of a pre-existing idea. A new materialist and phenomenological methodology of costume therefore engages bodies and materials as equally active elements. How then is the designer’s own embodied subjectivity as body-in-the- world implicated from the start, when matter may provide the primary source of knowledge? This presentation will discuss ethical frames in relation to the body in movement and practices of performance generation through engagement in matter and costume, asking how might the author have considered these in specific aspects of her practice-based research. It will compare an embodied materiality and a post-humanist perspective using examples of physical and movement interaction with materials, to ask how in a transforming world do we ethically engage with our own emergent practices while discussing costume from a material, performative, dynamic and spatially engaged perspective. Biography Donatella Barbieri has been researching costume as a different way of both making and perceiving performance for nearly twenty years. Her recent publication, Costume in Performance: Materiality, Culture and the Body has been short-listed for the Society of Theatre Research Book Prize and her costume-based works have been displayed and performed in the UK and internationally. Stephanie Blythman Fantasy Costume: Myth and Race in Early Seventeenth Century French Court Spectacle Throughout the costume design drawings of Daniel Rabel for Louis XIII’s court ballets there appear a number of otherworldly spirit characters clad in skin-tight, black costumes. Alongside these sit designs for African characters in the ballet des nations part of the performance, which show the performers in similar blackface, as well as clothing much closer to French costuming conventions for mythical roles. The playing of blackface had long been part of European spectacle, with the demonic characters in the religious plays of the medieval period being costumed in this manner. During the sixteenth century as European explorers travelled ever further afield, cultural exchange between the Ottomans and European powers strengthened, and the reformation saw a waning in the religious aspects of theatrical production, the performance of blackface also changed. The spirits were secularised and ‘real’ black characters appeared on stage, often alongside each other. What do such conventions say about early modern ideas of race and nation? How do these performances differ from later performances of race? Do the materials used in the costuming matter? What of the context? These are some of the questions that this project is attempting to answer. Bio: While completing her BA in Drama Studies and French at Trinity College Dublin, Stephanie became interested in the performativity of early modern stage costume. Her current research continues work begun in her dissertation on seventeenth century French stage costume for the V&A/Royal College of Art MA in History of Design. Lauren Boumaroun Whose Design is it Anyway?: The Ethics of Adapting Screen Costume for the Retail Fashion Market This paper explores the ethics of screen costume adaptation. When film or television costume designs are licensed to clothing companies for adaptation into everyday fashions, the owner of the intellectual property (IP) profits from it. However, the IP owner is most often the studio who produced the film, not the designer of the original costumes. While this is standard practice, it is not necessarily ethical. Is it fair for a designer’s work to be replicated or adapted without them profiting from it? Should they receive residuals from sales of garments and other products based on their designs? In this growing industry of costume adaptation, where is the line between inspiration and theft? By comparing and contrasting iterations of this practice when designer’s names are associated with the fashion collection (such as Janie Bryant’s Mad Men collection for Banana Republic) and those when they are left out (like Her Universe’s Black Panther collection), I address these issues. Alongside historical precedent and similar contemporary situations, I look to scholarship on creative labor, intellectual property, media licensing and franchising, and fashion copyright. Ultimately, I argue for a revised model of costume adaptation in which the original costume designer receives credit and compensation. Bio: Lauren Boumaroun is a PhD candidate in Cinema and Media Studies at the University of California- Los Angeles. Her dissertation, Everyday Cosplay: Engaging with Film and Television through Costume and Clothing, combines production and fan studies in an examination of costume adaptation and cosplay in the everyday. Brenda Brandley Costuming as an (un)ethical act: Morality and Costume Costume is only as sensual as the body beneath. We both defy and embrace morality by our costume. Is it the body that titillates or represses or is it the costume? We choose our costume and hence the interaction between who we intrinsically are and what we portray to the world. Historically, we are imprisoned by the restraints of society, the decision to expose and cover up certain body parts dependent upon government, church, men, the morality norms of the day. Contemporary restrictions are fewer, subtler, at times non-existent, hanging onto historical confines by threads pulled by designers, celebrities, the morality norms of today. This three-dimensional piece explores the awareness of morals in costume, historically and current. Costume is our front, our persona, who we are, who we want others to think we are.

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