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Kalko O.V. Silhouette forms and constructive features of the costume of the main heroine of the historical film (on the example of the screen adaptation of V. Shakespeare’s comedy). Journal of Clothing Science. 2024; 9(3). Available at: https://kostumologiya.ru/PDF/04IVKL324.pdf (in Russian).

Silhouette forms and constructive features of the costume of the main heroine of the historical film (on the example of the screen adaptation of V. Shakespeare’s comedy)

Kalko Olga Viktorovna
Krasnodar Polytechnic Technical College, Krasnodar, Russia
All-Russian State University of Cinematography named after S.A. Gerasimov, Moscow, Russia
E-mail: evpatorianka@gmail.com
ORCID: https://orcid.org/0009-0007-5649-1055

Abstract. The article examines the main silhouette and constructive-decorative features of the historical costume of the 16th century and the costume of the character of the film adaptation of W. Shakespeare’s «Twelfth Night» 1955, directed by J. Frida. The hypothesis is put forward that the key aspect in the development of stage and film costume is the silhouette basis of the product, and the color palette, ornamental and decorative filling are secondary. The author proposes a justification for the need to use a historical source of creativity for the design of stage and film costumes. The work used the method of historical analysis of fashion, the method of compiling comparative characteristics of costume details. It is necessary to analyze the fashionable elements of clothing of the Renaissance era based on the portrait painting of this period. It is proposed to determine the approach of the artist to the costume to the use of the silhouette base of the historical model-analogue for the design of the film costume. The author highlights the possibilities of the modern graphic editor Adobe Illustrator in creating a sketch project of a historical costume for the film industry. The author’s sketches of a historical costume are offered. Based on the received sketches, a comparative characteristic of the key elements of the historical source of creativity — the costume of the 16th century and the film costume is given. As a conclusion, a description of the similarity and differences of the silhouette forms of the costume, the features of its details and their influence on the formation of the image of the character of the historical film is made. The hypothesis about the predominance of the silhouette base over other aspects of costume design for a historical film, theatrical production and other screen arts is confirmed.

Keywords: historical costume; fashion analysis; portrait painting of XVI century; renaissance; comedy of V. Shakespeare; adaptations of literary works; film costume; historical film

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