Browsing by Subject "estetiikka"
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(2016)Gender is usually seen as a binary system which is divided into men and women. It is defined socially and within a society, it can be seen especially in the ways we dress ourselves. We connect through clothes to the gender we feel as our own and the differences between genders are essentials in how we dress. Drag is a form of theater which was born in the gay community. It consists of forming an illusion of a gender other than one's own. Camp is essential to drag. It is a style which is formed of contradictions, exaggeration, theatricality and irony. Drag queens represent and make parody of stereotypical feminine behavior and the way women dress. The goal of the study is to investigate the way drag queens dress and how their dress is related to gender. How does femininity appear in the way drag queens dress? How do drag queens play with gender stereotypes and how it can be seen in the way they dress? The data of the study consisted of nine photographs of drag queens. I collected the photographs from the Instagram accounts of the drag queens. I analyzed the data with an aesthetic-semiotic model that was based on the aesthetic analysis model by Marilyn DeLong (1998). The model had three stages, which were 1) the observation of the pictures as wholes, 2) the separation of the wholes into visual parts and 3) the interpretation of the wholes. Drag queens based their appearance on typical feminine features which were often exaggerated. Their appearance was also contradictory and ironic. Drag queens used the stereotypical image of women in the way they dress but their characters were not based only on that. They use femininity as a tool for self-expression. Outfits that are assembled with care are based on creating an illusion in which drag queens use recognizable feminine elements.
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(2021)The study examines consumers’ views about cosmetic packaging. Previously, this topic has been studied as the acquisition of packaging at the store in which the focus has been on the color, materiality, and ecology. Natural and organic cosmetics have recently gained scholarly interest, yet, the packaging itself has not. This study is interested in what the visuals, colors, materials and recycling aspects of cosmetic packaging mean to consumers. The phenomenon is examined as the use of packaging and from the perspective of everyday aesthetics at home. The data was collected as pair interviews (n=12) using semi-structured theme interview and stimulus material (biodegradable cosmetic packaging). The interviewees were 26–67 years old. The data was analyzed by using qualitative content analysis. This study contributes to the discussion about aesthetic meanings of cosmetic packaging by focusing on the ecological aspects and the challenges related to recycling. Earlier studies have mainly studied food packages. In this study, cosmetic packaging was seen as a part of everyday aesthetics and the items were seen as visually pleasing and a part of interior decoration. Consumers associated the visual aspects and colors with their identity and self-expression. On the one hand, the packaging conveys about everyday and affordable cosmetics, and on the other hand, about luxurious and high-quality cosmetics. Through the packaging material and colors, consumers conclude how ecological of the product and packaging. Consumers combine the material of cosmetic packaging and the amount of material with the environmental friendliness and recyclability of the packaging. Consumers identify the prevalence of plastic use, the overpacking of cosmetics and the empty space of packaging as ecological challenges for cosmetic packaging. With regard to packaging material, more choice was seen in food, and the purchase of food was also perceived to be more important from an ecological point of view than the purchase of cosmetics. Recycling is challenged by unclear materials for consumers, multi-material packaging, different coatings and the fact that packaging cannot be easily emptied. Consumers therefore wish clearer recycling instructions for packaging. The recycling of packaging inks proved to be an unknown topic. However, in the case of color recycling, the materiality of the colorant, its separation from the packaging material, and the toxicity and harmfulness of the colors to nature were considered.
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(2016)This thesis is a study of film costumes in The Great Gatsby movies. Earlier research has shown that film costumes have many meanings. They carry the story forward, build the characters and act as visual elements. A costume designer collaborates with other professionals such as a director and a scenographer to create the meanings of the film costumes. According to a movie research theory, there are four concepts of time in cinema: the time of the narrative, the time when the text that the film is based on was written or published, the time when the movie was completed and the audience ºs time. The research aims to describe how the 1920s (the time of the narrative and its writing) fashion is interpreted in two different remakes of The Great Gatsby. The objective of this thesis is also to analyse how the times when the movies have been made effect costumes. I analysed the sign language of the film costume in these two remakes using the semiotic and the aesthetic method. The primary data consisted of The Great Gatsby movies from 1974 and 2013 as well as F. Scott Fitzgerald ºs novel by the same title from the year 1925. As secondary data I used articles in which the movie creators were interviewed, and film reviews. In this thesis, the leading lady Daisy's costumes were analysed in three different scenes applying fashion photograph analysis and Henry Bacon's model of four motivations. In The Great Gatsby movies, the time of making the film is manifested especially in looseness or tightness of the costumes and their shape. Also in the accessories, hair and makeup you can see traces of the time when the movie was made. There were elements both the time of the story and the time when the movie was made. Film costumes are compromises between the fashion of the time of the narrative and the film's creation. The visual hints need to be subtle enough to make the costume believable in portraying the time of the story but new enough to be interesting to the audience. It is more important to create the feeling of the time of the narrative than to copy the fashion exactly. A movie's creators construct film costume, so ultimately it represents their style.
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