• Journal of the Korean Society of Costume
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• v.36
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• pp.149-165
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• 1998

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.109-123
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• 2006

Cosplay is compound of 'costume' and 'play' and teenagerses disguise equally with populace star or cartoon master who like and it is typical culture of character generation as play that imitate to dress and hair style, gestures. Type of cosplay costume get devided as following according to cosplay object. Animation cosplay costume represent person who appear in cartoon and animation equally. Fan cosplay costume imitates entertainer or celebrity. Game cosplay costume represent character of internet on-line Same. Movie cosplay costume is more realistic than animation or game Character as that imitate moviestar. Character cosplay costume is used by commerce purpose brand or event. Characteristics that appeared commonly in types of cosplay costume are as following. First, cosplay costume is consisted of peculiar mechanism that cosplayer perform series progress such as work selection, design development, manufacture, production, acting alone in aspect of Performance costume. Second, according to cosplay object, degree of representation became different. Character is stronger, because the characteristic is emphasized, tendency that degree of reproduction becomes low showed. Third, cosplayer's distiction appeared according to material selection, design development method and analysis.

• Journal of the Korean Society of Costume
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• v.60 no.4
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• pp.45-57
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• 2010

The costume in musical is an important visual factor that contributes to the level of stage completion by for the character and overall atmosphere of the whole play. Besides, as if it is has a fixed times in the drama, it has to produce to consider an opinion of producer to express the theme, atmosphere of a play and especially in the period adventure drama, to revive as it is historical dress, there is not creation at stage of today. This research is studied into the stage costume of the musical 'Jekyll and Hyde' an adapted to express image of good and evil in the one character. For this research, it researched costume of Victoria period in England, study character of main actor by analysis of the play in an original work, examine the stage costume of the musical 'Jekyll and Hyde' performed in the inside and outside of the country. In the musical stage costume, by character difficult of stage costume, factor of design feature divided to good and evil and compare feature design of stage costume, research new design express method to consider musical acting, moreover through designing and producing the costume to be suitable for the content of the work. This research consists of research and actual production of work, study of documentary records, collection and analysis of overseas performances, news releases, video material and internet research were the methods of this study.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.1-21
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• 2017

The Korean folk drama is one of the traditional art performances of Korean folklore, and it is usually characterized by mask dances. An investigation on the costume of Korean folk drama is of great historical significance because they present the variety of typical costume according to the characters. The Sandae-Nori drama of Seoul Gyeong-gi province which was designated as im- portant culture property, has the closest form to general Korean folk costume. The usual characters have their typical costume and reflect the costume of the latter Choson Dynasty period. The costumes are used as a tool of the drama to indicate the character, and the impression of the dance. The costume of the Korean folk drama is made to indicate the character because it is for the play. What is more, the costume of the Sandae-Nori drama of Seoul Gyeong-gi province shows the general aspect of folk costume of the world, which remains as the symbol of the traditional culture and shows more decoration and visibility.

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

• Fashion & Textile Research Journal
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• v.6 no.1
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• pp.85-92
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• 2004

Costume plays have been of interest to young people in the recent years. The much increased interest in costume plays has prompted many researchers to verify the behavior characteristics of costume players Despite the importance of the costume play, there has been no systematic study of it. The purpose of this study is to demonstrate the influence of life style on behavior characteristics of the costume player. The subjects of this study were members of the web sits(www.cosmaker.com). A total of 155 subjects responded to the questionnaires and the 143 responses were used for further data analysis. The data was analyzed by factor analysis, cluster analysis, and one-way ANOVA. These were the results of the stud: First, costume player groups are classified into three sub-dimensions: other people-oriented, show-off oriented, and exclusive ego oriented. Second, the behavior characteristics of costume player are significantly shown among those groups.

• Proceedings of the Korea Society of Costume Conference
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• 2001.10a
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• pp.86-86
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• 2001

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.14-27
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• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.1-15
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• 2013

The stage costume in theater, along with the stage art, is the element that has the biggest visual effect in helping the audience to understand the theater. Nevertheless, in the domestic theater production system, compared with the other public performance products, the stage costume has been rented or purchased due to the lack understanding of the importance of the stage costume and budget problem, and thus the role of the stage costume has been undervalued. Such a phenomenon is more noticeable in the small scale theater. However, in this play White Neutral Nation (Original: Andorra), the production team and the directing team recognized the importance of the costume in the early stage of production, and accordingly lots of efforts, such as staff meetings and budget allocation, were made for the stage costume. As a result, the entire production process of the stage costume could be examined. Recently, performance culture in Korea has made rapid progress and diverse forms of public performances are created and planned. Accordingly, the level of audience has been rising and the interest in the stage costume is also rising. So, it can be said that not only the stage costume but also the production system that makes it are important. This research examined the production process of the stage costume only of the play White Neutral Nation but it is considered necessary to make researches on the production process of the stage costume used for the theater of different themes and public performances of different kinds and to systematize their production process of the stage costume.

• Journal of the Korean Society of Costume
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• v.57 no.8
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• pp.99-113
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• 2007

The performing art represents joy, anger, sorrow and pleasure through acting and dance, and is told to be a composite art represented by make-up, setting, costume and props. Therefore, it can be said that make-up is an important medium of stage art. Make-up in stage art is a kind of communication with audiences through understanding personalities of characters as demanded by scenarios. Due to the creative stage make-up which meets the character in the play relevant to these contents of the play, the conceptual study on stage make-up design for visual expression coincide with the intended character is needed. In this study, I investigate theoretical, universal, and psychological personality types by analyzing basic appearance features based on the physiognomy(face-reading) related from the psychological theories. And visualized through illustration according to personality types to apply for the characters in the play.