• Journal of the Korean Society of Clothing and Textiles
• /
• v.40 no.6
• /
• pp.1085-1099
• /
• 2016

This article is designed to establish fundamental design criterion for theme park cast costumes in accordance with play type and space. There is an understanding that theme parks act as a play space that is designed to meet diverse playing desires. To analyze cast costumes, the theme park - 'Everland' in South Korea as an example, area was divided into attraction space and non-attraction space. Attraction space is mainly for full-scale play content areas and the non-attraction space is to enforce the attraction space experience. Roger Caillois's play theory states that there are 4 play types; Illinx, Mimicry, $Ag{\hat{o}}n$, and Alea. All 4 play types were shown through attraction and Mimicry at non-attraction. Each cast costume was analyzed in terms of apparel design elements - silhouette, textile, color, detail, and props - related to play type facility and cast role. Criteria for theme park cast costume designs were suggested based on the results. Illinx cast members who fulfill a safety-checking role wear high chroma warm color costumes with the accent on details in bodice cutting lines, collar edges, pockets, buttons and decorative ornaments. A complementary contrast is also used. The guidance cast in Illinx may wear a suit in bright/vivid color. Mimicry guidance cast costumes show meticulous perfection in imitation with the figure in its space. From head to toe, color, textile, and silhouette - every detail and even props should match the character. $Ag{\hat{o}}n$ cast costumes are strictly limited in detail and decorative ornament usage as well as in color, since they are in charge of the management and operation of a competition. Alea cast's role is a self-demonstrator. Alea cast members should be a real tarot card reader. However, a manual should control their costumes. A total of 10 cast roles at a non-attraction space should be designed to show job patterns clearly in accordance with the whole theme at the park.

• The Research Journal of the Costume Culture
• /
• v.10 no.4
• /
• pp.404-418
• /
• 2002

The pattern of a dance had changed and made a progress delicately according to the change of the myth, religion, and civilization. One genre which had experienced the change for the dance is a mask dance. This dance started from wishes to adore spirit or god with imitated masks of native animals and desire to identify with nature. After the middle ages, it finally became to approach to the artistic state. In that dance, there was used a role of the head of the family which was strongly adapted to the shape of the mask as performing casts After studying symbolic characteristics of the mask dancing, we could conclude these as fol1ows.: First, Masks symbolized the totemism that adores spirit or god. This kind of whole masks were consistently used. Second, Mask was worn for expressing a dancer's cast well. This function of performing cast was in the primitive ages. However at the age which was characterized as the age of the art, the expression of using a mask became various. Third, Mask was mostly related to the head of the family and appeared with the desire to be others not themselves. Since the middle ages, this tendency continued to the modern dance. Now we can see this type at the carnival. The mask was not only an effective means of dance but also an expression of totemism, performing cast, and the head of the family. Therefore it contributed to the growth of the dance a lot.

• Journal of the Korean Society of Costume
• /
• v.48
• /
• pp.53-70
• /
• 1999

The theatre costume in English Renaissance which is scarce in its historical materials can be inferred and imaginarily reconstructed from classifying it according to types of theatre costumes and considering its specific form in that age. The history of fashion could be also approached in the light of theatre costumes and it might be some help to the present theatre costume. Thus the purpose of this thesis is for contributing to the study of theatre costume by inferring the English Renaissance theatre costume from classifications and research of its pattern in detail. This thesis consists of the overview of the periodical background of English Renaissance and then analysis of the stage surroundings ar that time and classification of the theater costume acording to the types and finally inferences of the pattern of forms of the theatre costume. The theatre costume in English Renaissance can be divided into these group:(1) for foreigners such as Roman Turk Spanish and Jews (2) for supernatural beings such as a nymph god, goddess, ghosts, and witches(3) for professionals such as a clown, a clergyman. doctors and senators(4) for cast of animals such as a lion a bear and pigs. In the Elizabethan period theatre costumes were used together with Elizabethan costumes on the stage. Generally the theatre costumes in the age were typically made of very expensive materials and spectacles to the audience and compensating for the poor stage settings.

• Journal of the Korean Society of Costume
• /
• v.38
• /
• pp.83-100
• /
• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• Journal of the Korean Society of Costume
• /
• v.58 no.10
• /
• pp.123-134
• /
• 2008

The purpose of this study is to examine the postmodern characteristics in global fashion advertising. This analysis of postmodern print campaign strategies will increase the understanding of global fashion consumer and assist in establishing global advertising strategies for domestic fashion brands. 2006 A/W and 2007 S/S magazine campaigns for 190 fashion luxury brands were are collected, which were uploaded on the WGSN website. All advertising campaigns were analyzed in terms of postmodern features by four fashion professionals. As a result, major findings are as follows; First, advertising model stereotype was deconstructed. Besides young celebrities, ad models such as real people and old or childish celebrities were cast. Second, expression technique was deconstructed. Chromatic harmony was broadened to include black and white advertising, additive and subtractive color mixing. Innovative layout techniques such as collage were used. And also narrative structure was deconstructed. Third, diverse issues such as environmental message, globalization, fantasy, feminism, everyday life were expressed as advertisement appeals.

• The International Journal of Costume Culture
• /
• v.9 no.2
• /
• pp.104-112
• /
• 2006

The studies on impression formation usually have focused on the effect of certain appearance features which elevates perceptual evaluation. This study tried to find out whether there is a consensus on impression formation between the perceived person and the perceiver and if the gender is any significant variable to cast any difference on the impression evaluation. Seven photos of voluntary students in ppt file were projected to 143 students attending a university psychology class and were subjected to a impression evaluation questionnaire consisting of 28 adjective scales. The analysis of result revealed: 1) There was a significant difference between the impression evaluation scores of the perceivers and the perceived; the self evaluation of the perceived person was higher than the perceivers' evaluation. 2) There was also a significant evaluation score difference between the genders of the perceivers; the female perceivers rated the stimuli higher than the male perceivers. There was no interaction effect between the genders of the perceivers and the perceived.

• Journal of the Korean Society of Costume
• /
• v.64 no.7
• /
• pp.82-96
• /
• 2014

This study views the shadows cast by the light and a subject provides new interpretations rather than it simply being an additive product. Particularly in fashion photograph, light and shadows are often used as tools to convey meaning. Accordingly, this study aims to classify the utilization of the shadow created by light and deriving its expressive characteristics in fashion photograph. To achieve these research aims, literature and case studies were conducted. The results are as follows. First, the shadows were mainly focused on a subject. Secondly, shadows caused by lighting is casted directly into the inside of the main subject in a frame takes a role of omission or emphasis. Third, shadows caused by a second unseen object outside the frame are utilized with the main subject in the frame. Based on these results above, spatial third dimensionality, optical illusion and accentuation were derived as expressive characteristics of the shadow in fashion photograph. As such, in fashion photograph, shadow is an important element for photographers. The variability of the shadow makes it possible for creative changes as its amount, angle and direction can be altered by adjusting the light in accordance with the intention of the artist. Therefore, its utilization methods will be diversified hereafter. Accordingly, it is required to recognize that shadow may be recreated as an independent object in fashion photograph.

• Journal of the Korean Society of Costume
• /
• v.66 no.2
• /
• pp.1-14
• /
• 2016

This study was intended to investigate the influences that consumer's price sensitivity, bundle discount type, and price level of the male cosmetics have on consumer attitude. The design of this research was comprised of $2{\times}2{\times}2$ mixed design studies. The first element was high price sensitivity vs. low sensitivity, the second element was the bundle discount type (mixed leader vs. mixed-joint), and the third element was the price level of male cosmetics (high-price brand vs. low-price brand). The results of this study showed that price sensitivity, bundle discount type and price level of male cosmetic had a statistically significant interaction effect on the consumer's quality perception. The quality perception of low-cost brands for high price sensitivity/mixed-joint bundle group was low. The quality perception of low-cost brands for mixed-leader bundled groups did not change significantly even when the price sensitivity became higher. However, it can be seen as the same result that the overall value is higher when suggested the price information in Mixed-leader bundle than Mixed-joint bundle. In particular, this study suggests that price information should be presented in mixed-leader bundles for high price sensitivity and low cast brands.

• Journal of the Korean Society of Costume
• /
• v.5
• /
• pp.165-171
• /
• 1981

During the period of 3rd Tae-Jong and 4th Se-Jong, Yi Dynasty has established sound basis for ruling power and aristocratic social cast system. And the regulation for official dress has also been firmly established during the same period. The establishment of KWAN BOK SACK (Office of Hat-Dress) in 16th year of Tae-Jong (1416 A.D.) and the enforcement of KWAN BOK JI JAE (System of Hat and Dress) in 8th year of Se-Jong(1426 A.D) indicates the completion of system of official dress in the dynasty. In this study, the author tried to find out the concept of color in the ruling society since the concept of color in KWAN BOK JI JAE, which is the social reglation in the fendal dynasty, had greatly been influenced by these class of people. Effort has also been given to investigate what motivated the establishment and enforcement of KWAN BOK JI JAE, through the descriptions revealed in SE-JONG SILLOK. It can be concluded in the first that, in KWAN BOK JI JAE no new color concept appeared and its significance only remains on the fact that it establshed the social regulations which were existed before. And secondly, the works of Se-Jong in KWAN BOK JI JAE, in contrast to his magnificance in other fields, only showed great influence of toadyism (Chinese culture).

• Journal of the Korean Society of Costume
• /
• v.33
• /
• pp.5-25
• /
• 1997

The purpose of this study was to analyze the characteristics of the Junk Art represented in the second half 20the century fashion. The highly developed material civilization resulted in human alienations environmental distruption. By this fact human being of the 20the century was to overcome social com-plexity. In this respect this research was focused that how the characteristics of the junk Art was expressed in the second half 20th century fashion. The concepts of the Junk Art lied in the creation of art work in the 2-dimentional plane of 3-dimentional space through the application of all junks (wood pieces industrial debris trash ready-made goods etc) cast by the mod-ern industrial society and the mass production system. Juck Art had been further envigorated in the footstep of the development of the collage method based on the creation of object aes-thetics. And junk artists have untitled social environments with art by assembling junks as a way of exploring the material world of cur-rent society and provided infinite possibilities of expressional medium and technique. Above all junk Art has been reflected in the fashion as well as other art. Especially a lot of the fashion design by the use of junks and the expressive image of junks is produced in the 20th century. That is many of fashion designers have always been aware of what is happening in the arts and have always been able to use the dis-coveries and ideas of the artist to help them solve design problems and creat fashion which are new inventive and reflective of their time. The fashion designers of the junk fashion design could be said to have presented much more possibilities and new development for-mulas to modern fashion design and provided a new order of other formative arts. Unlike the negative and destructive punk cyberpunk fashion junk fashion was a positive and optimistic aesthetics. junk fashion that keeps pace with science and the development of technology is devoted to trying to grasp the real form of ultimate re-ality.