• Fashion & Textile Research Journal
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• v.11 no.2
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• pp.193-199
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• 2009

Now, the proportion of musical was strength in the stage art part to the past considerably as called musical boom. After 1990's, as if it was rise as rise of musical exclusive theater, it was development seriously in Korean musical. But presently, the examined musical product state as the ratio of import musical and creative musical is about 6 to 4 or 7 to 3, it was a inferiority of creative musical in a flood of import musical. So, this study researched for example Kim Kyun Hyoung' writing and Yu Min Suck' production, creative musical 'This is my destiny...' - played by Dept. of multimedia and film, Honam University in september 2007 - this researcher should give much theoretical and substantial assistance to stage costume producer by studying about producing costume of a aria story, a mental state. As I have studied sofar, in designing a stage costume for musical, the overall comprehension of the musical actor's bodies have to be considered. Though performing the manufacture of the really performance work. It is a field that needs various professional knowledge, and only when a musical is produced based on such theories, it will be possible to deliver the theme of the me of the play more effectively, becomes help in the efficiently theatrical costume manufacture realistically and express the various symbolical meanings.

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.46-54
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• 2005

The Purpose of this research was focused on analyzing how costume was exactly researched for film in comparison with the original Renaissance costume, and how to change the degree of brightness and chroma in costume of two films, 'Shakespeare in Love' and 'Elizabeth: The Virgin Queen'. For these purpose, each costume of main seven scenes was analyzed in terms of silhouette, detail, and trimming. Color image, brightness and chroma of costume were compared with the color chip data from Samsung Design Net. As results, costume from two films had exactness in historical research. but the original costumes were modernly changed by the purpose of director. Color image of costume were used proper colors for the characteristic of the story. Costumes of heroine was numerically changed at the degree qf the brightness and chroma through story-going. By this change, director could effectively give dramatic rhythm for the story. The limitation of this research was that color analysis had been conducted on the screen, and this fact might mean the original colors of film might be different from those of screen.

• Journal of the Korean Ceramic Society
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• v.35 no.6
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• pp.535-542
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• 1998

SOI(silicon oninsulator) was fabricated through the direct bonding of a hydrophilized single crystal Si wafer and a thermally oxidized SiO2 thin film to investigate the stacking faults in silicon at the Si/SiO2 in-terface. At first the oxidation kinetics of SiO2 thin film and the stacking fault distribution at the oxidation interface were investigated. The stacking faults could be divided into two groups by their size and the small-er ones were incorporated into the larger ones as the oxidation time and temperature increased. The den-sity of the smaller ones based critically lower eventually. The SOI wafers directly bonded at the room temperature were annealed at 120$0^{\circ}C$ for 1 hour. The stacking faults at the bonding and oxidation interface were examined and there were anomalies in the distributions of the stacking faults of the bonded region to arrange in ordered ring-like fashion.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.170-183
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• 2008

The purpose of this study is to analyze the characteristics of different images of movie costume centering on the actresses. The perfect examples are the characters from the movie "The Devil Wears Prada", in which the film is about the fashion leaders of the world. This study consists of visual data as well as images including some scenes from the movie. The sources were collected from relative media, articles in journals, internet sites relating to the movies and photos and we have analyzed differentiated each of the character's wardrobes and its characteristics appearing in each image. The result of this study is as follows. First, the characteristic image of Andy, the main character (Anne Hathaway) in the movie changed dramatically. Andy'swardrobe is focused on the character's makeover in the movie as the character changes from a slob dresser to an assistant of the editor-in-chief of the number one fashion magazine in the world. Each scene definitely shows different styles of the latest premier designers' clothes and accessories. On the other hand, Miranda Priestly appears as the fashion leader and icon throughout the whole movie. Her career look in each scene was very chic and sophisticated in the office while her party dresses were sexy and glamorous in the movie where she was at many of the promotion parties and events. The second analysis of characteristic images of movie costumes is comparing the styles of Andy, Miranda and Emily(the other assistant of Miranda). Andy's wardrobe was divided Into two situations-before working for the magazine and while working for Miranda. As Andy's wardrobe began to upscale, the clothing images of Emily and Miranda became less fashionable. As a result of this study, the movie costumes played a vital role in expressing the changes and differentiating each character's images.

• Journal of the Korean Society of Costume
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• v.45
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• pp.103-120
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• 1999

The purpose of the study is to show concretely the design features due to cltohes image after classifying the clothes image examining relations between clothes images and design factors. Samples of the study were 507 female university students. Materials of the study were 309 slide film using the spring and fall issues of magazines and catalogues in 1996 and 1997. SAS PC was used to analyze materials and finally priniciple component analysis the analysis by quantification theory 1. The results of the study were as follows. The most important images of clothes were fashion dignity activation and simplicity. In the relationship between the main image and item factor, one-piece jumper half-coat culotte skirt pantaloons and slim pants had an important effect on the fashion image while two-piece jacket, blouse, straight pants had an effect on the dignity image and three-pice, T-shirt, shirt-vest pantaloons normal pants culoote skirt and gather skirt strengthen active image. In the relationship between the main image and silhuette X-silhouette fitting upper and lower clothes upper clothes having waist line or hip bone length and mini-skirt were the factors that raisen fashion image. And in the A-, X-, Y-silhouette having normal fit upper clothes below the knee length skirt and the upper clothes below the hip line were main factors in dignity image. And H-silhouette big size sleeves mini-skirt the upper clothes below hip line were the factors that strengthened the active image. In the relationship between fashion image and detailed factors roll stand and sports collar set-in and shirt sleeves having 5-rate and long sleeves strengthened fashion image. And flat tailored collar boat and high nceckline and bow detail set-i sleeve had an important effect on the dignity image. And shirt collar boat and V-neckline shirt dolman and 7-rate sleeves were the factors that raise active image.

• Textile Coloration and Finishing
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• v.19 no.6
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• pp.21-27
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• 2007

The factors which affect the absorption and diffusion of disperse dye in print paste for polyester film were investigated using film roll method. When Emvatex print paste of different disperse dye concentrations were fixed by high temperature steaming(HTS) for 2 hr at $190^{\circ}C$, the dye uptake and diffusion distance of 50g/kg dye concentration for PET film were very low, but those of 100$\sim$300g/kg were increased with increasing dye concentration. It was found that sodium alginate(5%) was more effective for the absorption and diffusion of disperse dye to PET film than CMC(3%) and Emvatex(18%), and Emvatex showed comparatively low absorption in three thickeners used. The dye uptake and diffusion distance of disperse dye in sodium alginate paste for PET film were increased with increasing paste thickness to $160\sim180{\mu}m$, but were decreased at $200\sim220{\mu}m$ in both fixations of baking and HTS for 2 hr at $190^{\circ}C$, and were far more largely increased by fixation of HTS than baking because steam was very important for fixation. Also it was confirmed that dye uptake was slightly increased as steam supply pressure was raised from 1 $kg/cm^2$ to 2 $kg/cm^2$, andthe dye uptake and diffusion distance of disperse dye were outstandingly increased with raising fixing temperature from $170^{\circ}C$ to $190^{\circ}C$ and fixing time from 0.5 hr to 3 hr in the fixation of HTS.

• Journal of the Korean Society of Costume
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• v.57 no.7
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• pp.122-136
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• 2007

All costumes used for dramatic effect delivers the character's individual data such as sex, age, social position, job, personality, and sense of values in the scene and leads the progress of drama as a media that describes psychological condition and image of the drama etc. symbolically. Therefore, it has a meaning of finding out the importance of film costume, recognizing the traditional culture through the expression and creativity limited to the age in expression, finding out the unique Korean beauty and succeeding it to the future generation. The film is the first costume drama in Korea, which is remake work of Lt;Les Liasions dangereuses, 1782> in the age of the King Jeongjo in Joseon Dynasty. And is comic costume drama that the story goes as a man of the noblest birth debuts as a filthy novel writer. Both films have remarkable grace, elegance and magnificence as having Joseon Dynasty on the background, and treats irregularities and dissipation hidden in the noble society that looks elegance on the surface. There are three aesthetic symbolism in films, naturalism neat beauty, traditionality expressed.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.3
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• pp.69-83
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• 2013

Clothes show not just the different social status of people, but the ideology and value of former society through pattern, colour, materials, shapes, etc. The purpose of this article is to fill the academic blank of this part by researching the pattern of fabric design in Jing Pai(Beiing style) and Hai Pai(Shanghai style) cheong-sam during the period of the Republic of China. The contrastive analysis of regional pattern between Jing Pai and Hai Pai cheong-sam expect to provide the theoretical basis for the former fashion designers and scholars. There are three approaches in the article: Data collection method, comparison method and Combining theory with practice method as film. Regarding components of pattern, both Jing Pai and Hai Pai cheong-sam have mostly single or composite pattern like plants. Further the most of Jing Pai cheong-sam pattern is traditional flower pattern. But Haipai cheong-sam patterns have some western flower pattern. Beside that, it have some geometry pattern. Regarding arrangement of the pattern, both cheong-sams have scattered dot style, the border style, and pictures style. But continuous type of Jing Pai cheong-sam is less while Hai Pai cheong-sam is the most. Comparing Jing Pai cheong-sam color of patterns in "Moment in Peking" is unadorned and types are simple as chinese traditional clothes; However, "In the Mood for Love" introduces us various material colors, new types of patterns and extraneous characteristic geometry patterns of Hai Pai cheong-sam. Generally speaking, the main characteristic of Jing Pai cheong-sam is traditional and conservatism. It keeps Chinese traditional pattern and culture to the most extent. However, Hai Pai cheong-sam are confluent and open with absorbed external culture and techniques which are endowed new artistic color.

• Fashion & Textile Research Journal
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• v.16 no.4
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• pp.543-553
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• 2014

This study analyzes the visual image and the symbolic image of the 'New Woman' main female characters' costumes in three films: , , and , set in the Korean Empire Period and filmed in the last 10 years. The findings are as follows. First, on the visual image by formative characteristics, Gibson girl style was reflected in Western costume design. Korean costume design is based on a traditional style (or modified in some parts). Second, the three films have the same historical background on the visual image by the fidelity of historical research; however, the fidelity of historical research differs and varies with the personality of characters or situations in the films. Third, all three films share the symbolic image by characteristics of characters and 'New Woman' aspect with the same historical background and 'New Woman' female character in common; however, the personality and 'New Woman' aspect of the characters were somewhat different. There was also a distinct difference in the symbolic image of Western and Korean costumes. Western and Korean costumes signify externality versus internality and denial versus the affirmation of national identity in ; dailiness versus ceremonialness and dynamics versus statics in ; and independence versus conformity and variability versus continuity in .

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.14-28
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• 2013

This study attempts to systematically analyze a red carpet style. I have researched the Academy Awards called representative film awards which symbolizes international fame and the Grammy Awards which is the most prestigious award in the music industry by subdividing into formative elements such as silhouette, color, fabric, pattern, detail, accessory, fashion image, and so on from 2000 to 2012. Firstly, when it comes to silhouette, mermaid silhouette accounts for the highest proportion in the Academy Awards. Compared to this, fit silhouette is shown almost the same percentage as the mermaid silhouette in the Grammy Awards. Secondly, with regard to color, black color has not only the highest percentage but also examples of different unit forms such as various color, showy gradation and single colors. Various colors in the Grammy Awards have similar percentage in comparison with the Academy Awards. Thirdly, in terms of fabric, silky material is often used most, which looks like putting more weight on dresses for the formative elements of clothes. Fourthly, in pattern, patternless dresses are represented by high percentage at both the Academy Awards and Grammy Awards. Dresses with patterns have mild, stylistic elements and geometric designs. The Grammy Awards shows many different unique patterns, color and size, compared to the Academy Awards. Fifthly, in detail, frill and ruffle ornaments are shown most at the Academy Awards and Grammy Awards. Especially in the Grammy Awards, beads ornaments are used most. Sixthly, in accessory, there are many accessories of graceful, elegance styles in the Academy Awards. On the contrary to this, there are many accessories to effect on many performances of large, fancy, unique styles. Seventhly, elegance images of a goddess style among fashion images emerge as fashion of the Academy Awards. In spite of romantic styles in the Grammy Awards, many various images are the same rate as there, which means different appearance of experiment and sensational styles.