• 복식문화연구
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• 제19권1호
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• pp.83-95
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• 2011

Today, a variety performance premiered in Korea, works of art as an advanced production planning and production system is becoming. Accordingly, the field of stage costume also increased collaboration with foreign producers and production systems and the advancement of the stage costume are required are becoming. The opening performance of the 30th anniversary of the Seoul Theater Festival was selected as Towol Theater Theater in 2009, April 16 to 26 of Picasso's women's costume is the study of production systems. This work directing and stage design by inviting domestic producers from foreign fields, and co-authored the work in the field of stage costumes in collaboration with foreign producers that are worth study and research work. In this study, this work has a practical study of costumes throughout the production system, an advanced stage costumes to contribute to the development of the field. The research methodology book data, collected papers, Internet resources through research and theoretical studies play 'Picasso's women's stage production of the award total to an empirical study was undertaken. The results of this study are as follows. First, the costume director for making a scholarly grasp of the direction of the investigation is ongoing throughout the process of creating the costumes. Second, foreign producers and co-author of the stage when the award, if other than purely domestic producers and create costumes to build production systems. Third, foreign producers and co-costume design and costume making coherent explanation for the processing of the list(Costume Breakdown List) are developed. Fourth, the actual performance over the director's intention to visualize the presentation was good enough, and the idea of the costume crew was taken to the director's idea of directing a play that reflected the will has a big meaning.

• 복식
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• 제62권6호
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• pp.98-111
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• 2012

The purpose of this study is to examine how the Hanbok is expressed in the ballet performances through the 'La, Chun-hyang', a classic Korean ballet. 'La, Chun-hyang', was performed from 2009 and 2010, but there were some differences in choreography by the director's intention. According to these changes, the methods of expression of ballet objects were changed as well. Therefore, totally different personalities were shown despite the fact that theses were same performances. Every costume objects in dance performances like the ballet can be used to express the story and the characters. Moreover, the object designs of Hanbok portray creativity and originality that simultaneously refers to history. In order for stage costume objects to popularize, the making method and process have to be developed like the objects of the Hanbok that signified historicity.

• 복식문화연구
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• 제12권4호
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• pp.599-613
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• 2004

The purpose for this paper is to find the common characteristics of Korean traditional clothing, which is largely affected by Chinese arts and culture. There are many different theories about Faking Opera＇s orgine but an established character is an ensemble song and dance. It virtually represent overall Chinese arts. There are four characters in the Peking Opera ; Sheng, Dan, Jing, and Chuck. Sheng is divided into Nosheng, Sosheng, Musheng and Hongsheng based on their dramatic skills. Also, Sheng requires various acting skills : song, dance, dialogue, act and fighting skill. Peking Opera＇s stage costume was set up in Qing dynasty though it＇s style was embellished with mainly Ming dynasty＇s clothing style. The rankings and personalties of the role are strictly applied to decide what to wear. Artistic exaggeration, symbol and transfiguration, use of colors are equally important in planning the stage costume.

• 복식문화연구
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• 제16권5호
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• pp.878-890
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• 2008

As a pioneer of modem dance, $Lo{\ddot{i}}e$ Fuller($1869\sim1928$) was important because she introduced a free style dance using a new style of stage costumes. Also, $Lo{\ddot{i}}e$ Fuller was an important motif in $fin-de-si{\grave{e}}cle$, French arts, posters, sculptures, and so forth. This study aimed to clarify the characteristics of Fuller's dance and costumes, and to analyze the modernism in both. To better understand Fuller's dance, this article talks about research on Fuller's career, dance, and Fuller's own biography. Stage costumes, letters for patent, and photographs were are also studied. The most important elements of Fuller's dance were her costumes and the electric lights which could make free style expressions a fantastic representation of dance. To clarify the modernity of Fuller's dance, first of all, this study researched Fuller's career in dance and then analyzed representations of Fuller's dances in visual arts; posters, sculptures and lastly, the characteristics of Fuller's stage costumes. As a result, this article analyzed characteristics of Fuller's dance in three points. First, Fuller used sculptures of silk cloth's drapery to express physical movements and actions. Second, Fuller used lighting and electrical effects that had just been developed in the late 19th Century. Third, Fuller made an application for patents against stage costume and stage mechanisms for her original shows. This study focused on $Lo{\ddot{i}}e$ Fuller's stage costumes which played a main role in expressing fantastic sculptures for the first time in costume, visual arts, and dance studies. This study clarifies the characteristics of the stage costumes in Fuller's dance and is estimated as pioneering and fundamental research.

• 복식문화연구
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• 제17권3호
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• 복식
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• 제61권1호
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• pp.109-123
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• 2011

Postmodernism has affected general culture and arts as a powerful cultural image that has governed the later 20th century, and it is still a main subject as Zeitgeist representing modern society. Accordingly, this study is to verify the role and importance of the stage costume according to change of the art trend in the present age by clarifying relations between the postmodernism and the stage costume, and analyzing the postmodernism trend shown in postmodern classes. The postmodernism trend in costume is summarized as the deconstructionism, eclecticism and the populism. Hereunder is the conclusion of applying Postmodernism characteristics and creation mechanism commonly existing in theater and costume to the costumes of Korean theaters since 1990's. First, a deconsructionism trend of the Korean theater was visualized by the expression method of disembodiment and decomposition of stage costumes. Second, expression phase of interculturalism was concretely visualized through the stage costume, and it was considered that the postmodernism creation method. Third, a populism trend since 1990's was reflected to the stage costume, and deduced consensus with the audience and subculture familiar with the public as well as appeared as a phenomenon that emphasized a recreational elements. It is analyzed that this trend is a result that a concept of sportiveness was directly transferred through strong visual expression function of the stage costume. As a result of analyzing a Korean theater of the postmodernism disposition since 1990s, the costume reflected creational will of the postmodernism of works and played an important role as visual arts, created with a similar method and form.

• 복식
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• 제64권1호
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• pp.31-44
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• 2014

The purpose of this study was to identify the characteristics of stage costumes of a children's play and to creatively design them for the play, 'The Nutcracker', in an attempt to expand the means of expressing designs for stage costumes for children's plays. The Nutcracker, a play written by the German author, E. T. A. Hoffman in 1816, is better known today through its ballet adaptation by Tchaikovsky, and various versions have been presented by ballet companies and drama producers. The characteristics of the stage costume in a children's play are visual artistry, decoration, activity, and visual attention. The costume shows visual artistry because stage costumes with high artistry can increase the elements of fantasy and visual satisfaction in a play for children. The various decorative elements in stage costumes can help capture the attention of children and enhance their interest in the play. As dynamic movement and lines are often used to prevent children from becoming bored, activity must be taken into account when designing stage costumes. Visual attention is required to help children become better immersed in a play, and color selections for the stage costumes need to be emphasized. Thirteen characters were selected to develop a total of 13 pieces of stage costume in a standard size for a 9-year-old child. The design was focused on enhancing the fantastic elements and the entertainment value, and diversified surface decoration techniques were applied to the costume to draw the attention of children and express the formative beauty.

• 복식
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• 제62권2호
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• pp.40-54
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• 2012

The significance of this research lies in the analysis of that appears in the comedy . It also aims to propose conceptual and analytical costume designs that emphasize the formal aspects of play by reflecting on the comical elements simultaneously. , the subject of this study, was played on November 12, 2009 at the Small Theater (Dalohreum Theater) in the National Theater as a celebration of the 40th anniversary of Suwon Women's College. The costumes were designed by this researcher and were produced in collaboration with the Creative Performances Research Institute (Suwon Women's College). The comic elements were categorized into deconstruction, deviation and unexpectedness according to previous studies on the humorous nature of comedy, and their aesthetic meanings were applied to the costumes. The designs that reflect the comic elements are as follows. The costume design reflecting deconstruction is a way that disassembles and recombines constructive aspects of clothing. It consists of seam margins outside or just left disassembled without sewing, dismantling the boundary of outerwear and underwear. The costume design reflects deviation because reformed shapes of collars, the variation of length and closure of skirts deviate from the traditional style. These are designed by distorting traditional designs with deviation and transcend of tradition. The costume designs the reflect unexpectedness integrates both tradition and the contemporary, and use materials of diversity and heterogeneity, and these are composed of external formats the result from incongruity. Because comic elements are metaphysical concepts that carry meanings that are difficult to define according to the country and period, it is required to analyze, organize and utilize their characteristics and meanings of each period. Since this study analyzed the comical elements of a play and applied them to costume design, it is hoped that a follow-up study of analytical costume design is be done, and that more diverse and more creative costume designs are in the next generation.

• 복식
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• 제66권4호
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• pp.77-93
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• 2016

The purpose of this study is to analyze the stage costumes of Michael Jackson, and how it was reflected in contemporary fashion. The study reviewed fashion related articles, book, journals, and online fashion sites in order to look at the stage costumes used by Michael Jackson from 1979 to 2001 from 'Off the wall' to 'Invincible'. The study examined the 2001 S/S~2016 S/S seasons of the world's 4 major $pr{\hat{e}}t$-${\acute{a}}$-porte collections to identify cases that used at least two fashion factors of Michael Jackson's style. The study result is as follows: First, Michael Jackson wore black tuxedoes with bow ties, ankle-length pants, white socks, black loafers, arm bands and other various accessories. Second, many of Jackson's fashion traits, such as military style golden embroidery detail and emblems, Brandenburgs, and also appeared in many collections. Third, Jackson's glitter style included spangle and cubic accessories, which were used along with hologram and metallic materials. Accessories, such as cubic gloves and socks, and fedoras were worn with the costume. Lastly, his diverse style, which included fencing shirts, letterman jacket and magic suits, can be found in different forms in modern fashion. Michael Jackson was one of the trendsetters in popular fashion in the 1970s~1990s, and continuously inspires fashion designers in the 21st century. In this aspect, the Michael Jackson style is deemed highly significant in the fashion history.

• 복식
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• 제61권2호
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• pp.72-87
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• 2011

The 21st century are seeing a large number of performing arts, and one of them, opera is evolving, transforming itself as one of total arts. Besides, the costume in performing art which play a major role in opera's visual impact, characterize figures, set the tone for performance and greatly contribute to the perfection of the stage. Under these circumstances, the study developed designs of stage costumes and built a full-scale production of the Magic Flute, one of three greatest Mozart operas. The opera based on a fiction, is still popular today since it is a fantastic fairy tale introducing moral and ethical lessons. The play's background itself is Egypt. But due to its fairy-take-like storyline, it has been performed focusing on various concepts rather than on costumes prepared through background research. As such, this study conducted research on designs of stage costumes that contains the element of Egypt and also take athleticism and comfort into consideration. The results derived from the study were as follows. First, traditional dresses of ancient Egypt were used as a basis while adding some modem touch in terms of forms or colors, which resulted in a new design. Second, a variety of images were captured using textures and colors that fit the characteristics of attributes of the figures. Third painting techniques were used to help highlight the symbolic image of Egypt-simple, not heavy and extravagant-with fairy-tale-like fantasy.