• 복식
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• 제60권4호
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• pp.146-161
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• 2010

The purpose of this study was to analyze the characteristics and images of costume colors in Korean Masque Drama. For this study, 242 color samples were selected by extracting digital color data by using the Eyedropper Tool of Photoshop 7.0. The RGB color data were transformed to HV/C and the attributes of color and tone were analyzed. Color images were analyzed with the IRI color image scale. As a result, neutral, red, purple blue, and yellow were found to be the most frequently used colors in the Korean Masque costumes. In the ton analysis, white tone showed high frequency and next orders were dp, s, v, b, sf. In the hue & tone, the most frequent color was white, followed by R(v), PB(dp), R(dp), YR(s), GY(s) and mGY. Color images were focused on dynamic, gorgeous, and natural images.

• 한국패션뷰티학회지
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• 제4권2호
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• pp.65-73
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• 2006

Lots of audience turn their eyes upon musical to satisfy various cultural desire. It is popular culture that was watched in culture contents industry. The stage costume which turn audience's eyes in musical the most is the sight art of stage to express visually actor(actress)'s personality, mental state, administrative position, age and the distinction of sex. This study researches designed stage costume which was based on time backgrounds and historical facts of reinvented clothes and its ornaments in Egypt by 'Sonia Rykiel' through musical, 'ten commandments' with special times. We collected home and abroad documentary records, Internet data. Moreover we viewed performance to analyze stage costume and brochure photograph data to study. In consequence the stage costume of musical 'ten commandments' found its way out of traditional clothes and its ornaments largely. We can recognize the stage costume as the most important part in drama by explaining the content on drama as costume through reinvented shape with modern sense and by taking charge of the principal part to lead atmosphere. In addition, thanks to the creative work of designer for stage costume, we can realize important intermediation to make higher artistic value of musical.

• 패션비즈니스
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• 제11권2호
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• pp.42-57
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• 2007

The purpose of study is to investigate costumes of the heroin in the opera which has performed by 4 different directors ; Metropolitan opera by Franco Zeffirelli, San francisco opera by David Hockney, Salzburg Festival by David Pountney and Korea Arena opera by Zhang Yi-mou. In these performances, Her costumes normally expressed the change of her characteristic from a haughty and cruel lady to a lady who realized a true love. The former is wearing exaggerative and splendid styles while the latter is wearing simple and ladylike styles. Costume styles of each performance are like this. In the Metropolitan's opera, costumes are very splendid using brilliant fabrics and accessories of Chinese peking opera. Their costume styles are influenced by Chinese 'Pao' which is similar to Ming Style. In the San Francisco's opera, costumes are very simple, specially pattern of dragons. This silhouette mixed Chinese style and western dress. In the Salzburg Festival's opera, costumes are based on simple western style but they expressed her mind effectively like a extremely long skirt which means her haughtiness. In the Seoul arena opera, costumes are based on Ming styles using silk which embroidered dragons, phoenixes and flowers.

• 복식
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• 제55권7호
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• pp.51-61
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• 2005

The purpose of this study is to identify function of make-up as an Important variable in terms of its influence to psychology of performers and outcome of their performance. From June to November 2004 performers in 4 types of fields, i.e., opera, musical, drama and dancing being performed in Seoul and Cheongju were chosen as subjects and totally 450 questionnaires were prepared and distributed and among them 416 were used as data for final analysis. For data analysis frequency analysis, factor analysis, T-test, one-way ANOVA, path analysis, chi-square test were conducted by means of SPS 12.0 and MOS 4.0 statistical programs and as ex post facto checking Duncan's multiful range test was conducted. Make-up is an important element in acting and it has great influence on level of psychological satisfaction of an individual. It was disclosed that psychological factor of concentration and lethargy have direct bearing on acting performance. In order to maximize actor or actresses performance skill perfect make-up is essential and role of make-up specialist can become a critical factor for inducing success in performance. Role and duty of make-up artists in terms of scope of their responsibility should be extended so that they may give their full support to the performers to be most successful in their performance.

• 복식
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• 제65권6호
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• pp.133-147
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• 2015

The aim of this study is to review the creative fashion installation of Henrik Vibskov, Danish designer. Its intention is to contribute useful information for more innovative fashion presentation. As a research method, document and case study were performed and his collections from 2004 F/W to 2016 S/S were analyzed. In fashion installation, the designer puts objects in meaningful spaces in order to convey a certain message, to make an integrated artwork, and to interact with spectator. It has been used in fashion exhibitions, as well as in the set design of fashion performance and fashion show. The results were as follows. Henrik Vibskov's fashion installation has three features, which are 1)conceptual theme approach that communicates a twisted and metaphoric message, with a poetic and interesting show title, 2) surrealistic scenography that plays with fragmentation of the human body, clustering of plastic and symbolic objects, innovative color transformations, and visual trickery between figures and the background, and 3) setting for multisensory performance that makes spectators interact by making artistic objects and surroundings, which stimulates the five senses. Henrik Vibskov's fashion installation can exist as an independent artwork, and not just as a supporting piece for a fashion show. It has both artistic and fashionable values, and can be an effective fashion presentation communicating his conceptual fashion themes.

• 복식
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• 제54권5호
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• pp.1-12
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• 2004

This Study has examined characteristics of the popular culture of the contemporary fashion show by each element as follows The fashion show place expanded its area when It moved its center because of not only the use of ordinary and public friendly place but also adjacent places post-modernism thought. The installation stage was produced by organic combination with the stage using object: The technology for the stage has produced dynamic variability and variety enough to expand the stage. The dramatic element of production technique was introduced to the fashion show to shorten gap with ordinary life and transfer a theme by facial expressions, gesture and pose. etc of a model In addition. its performance element combines other genre freely to be one time and viewers' participating type technique. At the minimalism element, clothing functions moderately as main factor of the fashion show: Technical elements are added to emphasize future Images. At sound tracks and sound effects, the show's overall atmosphere has been revived to remake various genre of music and improve images. At the fashion model, objective appearance boundary is collapsed to expand model concept and make tools of their own. The fashion show has external values of active movement of associated industry as well as economic boost enough to produce jobs, and internal values to provide aesthetic rest and satisfactions to let the ones. who are isolated from recreation values and the society, establish friendly relations with the society

• 복식문화연구
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• 제29권2호
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• pp.222-239
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• 2021

In this study, six mainland Chinese designer brands-Xander Zhou, Sankuanz, Sean Suen, Feng Chen Wang, Pronounce, and Angel Chen-were selected that had their works presented at both Chinese and global fashion shows between 2016 and 2021. By analyzing the design characteristics of each brand, it is possible to understand the style characteristics and trends of Chinese menswear designs. A case study approach was adopted utilizing literature data, whereby 1663 photos were collected from the fashion information website POP (www.pop-fashion.com). Changes in Chinese men's image and the menswear market were identified. The design characteristics of modern Chinese menswear are as follows. First, the results from analyzing the target brands show that each brand has a distinct personality. Compared with the traditional or formal style, urban casual and sports styles (based on street style) account for a larger proportion. Second, the boundaries between different styles are becoming ambiguous, and contrasting styles are harmoniously expressed by breaking down boundaries through changes and combinations of colors, materials, and details. Third, after examining the overall trend, 2018 was a watershed point, after which the design trend has changed from either conservative or exaggerated to a practical and everyday style, demonstrating a genderless trend.

• 한국가정과학회지
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• 제4권1호
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• pp.121-133
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• 2001

The purpose of this thesis is to investigate the way how the image of Korean costume could be introduced into the world fashion market, and appreciated by foreigners. For this purpose. 1 focus on analyzing the works of Lee, Yong-Hee presented in Pret-a-Porter Paris Collection and interpreting the image of Korean costume in her works. I propose some imperative factors essential to promote the participating of Korean costume into the world fashion market. Firstly. the Korean costume should be reevaluated and moderated in a degree, to be acceptable or accessible to foreigners. Secondly, the commerciality is to be stressed in the light of fashion industry dealing with the practical function of the costume. Thirdly, Our open-mindness to other culture would also make our costume to be more prevalent in world fashion market paradoxically. The Seoul Collection in 2000 fall was opened by Korean government on the recognition that the fashion industry is highly productive and helpful not only in cultural basis but in economics.

• 복식
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• 제62권5호
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.

• 복식
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• 제59권3호
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• pp.157-165
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• 2009

This study intends to discuss the efficient stage costume design that uses costume-rentals and production method as a realistic alternative for production of stage costume of low budget performance. Directly participating in the costume design and production of the performance , this researcher applied the methodology of corroborative study on the basis of production process and results by referring to the papers and literature published by academic society for the theory necessary for study. Centering around the western costume in the stage costumes of , the scope of study was the costume of Paris, France prevalent at the end of the 19th century which is epochal background of performance. In spite of its merit of reducing production charge and production in the low budget performance, costume-rentals is subject to the lack of considering unitγ with other visual factors and limit in reflecting the creativity of costume designer. The following actions shall be taken to solve such problem. First, it is essential to set production direction and plan that meets budget and work concept. Second, it is required to highlight the characteristic factor of the age which is the background of work so as to grant the sense of age and to produce the visual unity of costume by supplementing the costume composition. Third, it is necessary to make large effect with low lost by using costume articles that can express the characteristics of the age. Fourth, it is required to efficiently reflect the transformation of design by minimizing the damage of costume through research on the sewing method and materials as well as creative idea. In this way, the efficient stage costume could be realized in the performance with low budget by approaching costume-rentals in the viewpoint of costume design, transforming it in accordance with work concept and adding the visual factors.