Clothing and storytelling: Sustainable Transformations in Costume Design for scripted serial Television Productions

这个博士研究的目的是提高可持续性的脚本系列电视制作通过强调一个特殊的和重要的部分：服装设计。我专注于电视制作，因为它们的运行时间很长（例如，星星迷航：发现系列已经在多伦多制作了五年），这使得流程的有效控制和文档化成为可能。目的是发展知识，以支持服装设计的可持续转型的基础上，在一个系列的电视制作深入的案例研究。我的假设是，通过服装网络跟踪服装的生命周期，将揭示生态、社会和经济层面上更全面变化的障碍和机会，以实现娱乐业的可持续发展。其目的是评估和重新思考当前的生产模式，并与行业利益攸关方一起开发可持续转型的整体模式，以实现循环服装设计经济。这项工作计划分为三个步骤，概述如下。背景用英国戏剧倡议“绿色书”的Paddy Dillon的话来说，“如果你不改变关系[在生产的层次结构和他们的网络中]，你就不会改变系统。如果你不改变系统，你就不会改变结果，我们就不会走向可持续发展”（狄龙在Oistat的在线演讲中，2021）。

This Ph.D. research aims to improve sustainability for scripted serial TV production by investigatingone particular and vital part: costume design. I focus on TV productions because of their long run times(For example, the Star Trek: Discovery series has been in production for five years in Toronto), whichallows for efficient control and documentation of processes. The objective is to develop knowledge tosupport sustainable transitions in costume design based on an in-depth case study of a serial television production. My hypothesis is that following the life cycle of costumes through their networks willreveal barriers and opportunities for more holistic changes on the ecological, social and economiclevels towards sustainability in the entertainment industry. The aim is to evaluate and rethink currentproduction models and to develop, together with industry stakeholders, holistic models for sustainable transformation towards circular costume design economies. This work is planned in three steps,outlined below.BackgroundIn the words of Paddy Dillon from the UK theatre initiative 'The Green Book,' "If you don't change therelationships [within the hierarchy of a production and their networks] you don't change the system. Ifyou don't change the system, you don't change the outcome, and we're not moving towardssustainability" (Dillon in an online presentation at Oistat, 2021).