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Annie Holt identifies the roots of contemporary Euro-American
practices of costume design, in which costumes are an integrated
part of the dramaturgy rather than a reflection of an individual
performer's taste or status. She argues that in the period
1820-1920, as part of the larger project of modernism across the
artistic and cultural field, the functions of "clothing" and
"costume" diverged. Onstage apparel took on a more specific
semiotic task, acting as a fresh channel for the flow of
information between the performer, the literary text, and the
spectator. Modernizing Costume Design traces how five kinds of
artists - directors, performers, writers, couturiers, and painters
- made key contributions to this new model of costume design. Holt
shows that by 1920, costume design shifted in status from craft to
art.
Annie Holt identifies the roots of contemporary Euro-American
practices of costume design, in which costumes are an integrated
part of the dramaturgy rather than a reflection of an individual
performer's taste or status. She argues that in the period
1820-1920, as part of the larger project of modernism across the
artistic and cultural field, the functions of "clothing" and
"costume" diverged. Onstage apparel took on a more specific
semiotic task, acting as a fresh channel for the flow of
information between the performer, the literary text, and the
spectator. Modernizing Costume Design traces how five kinds of
artists - directors, performers, writers, couturiers, and painters
- made key contributions to this new model of costume design. Holt
shows that by 1920, costume design shifted in status from craft to
art.
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