• Journal of the Korean Society of Costume
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• v.58 no.10
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• pp.1-20
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• 2008

The purpose of this study is to analyze the formative characteristic of modern Tap dance costume according to its origin and kinds. For this purpose, the study explored the review of literature focusing on the historical back ground of Tap dance and investigated into the kinds of modern tap dance and the formative feature of the tap dance costume. Costumes of leading tap dancers in representative performances and movies are analyzed. The results are summarized as follows: The kinds of current tap dance could be categorized as three types of Jazz Tap Dance, Rhythm & Funk Tap Dance, Irish tap Dance as their development origin. The Tap dance widely distributed through the U.S. Hollywood movie, The Jazz Tap Dance costume was composed of magnificent and luxurious design applying the high fashion of the 1930s and 1950s in the male and female costumes. The U.S. Blacks' tap dance, Rhythm & Funk Tap costume had a close relation with resistant blacks' culture, and showing the type of free dressing not bound by previous tap dance dress. The Irish Tap Dance originated from Irish folk dance displayed the tap dance embroidered costume using the Irish traditional pattern. This study systemized the characteristic of the tap dance costume by kind, and explored the dress revealed at the tap dance as a symbolic system to the cultural zone where the dance is made.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.229-243
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• 2016

This article has significance in that it examines origin and developments of Baekje costume based on the validity of the reference material that can be used to infer the look of Baekje costume. On the basis of literature documents in Korea and China the shapes of it are examined, and the reliability of contents recorded in the sources is lexically reviewed. Errors related with features of the Baekje costume is minimized by investigating controversial issues in terms of periods and some parts which cannot be identified as the shapes of it. The changing aspects of the Baekje costume by flow of time can be observed based on various records in the literatures. The origin of it can be found in records regarding the costumes of Mahan and Buyeo. Baekje inherited the separate-type of costume structure from before the period of it, and possessed superior weaving technology. In the 3th century, the Baekje costume seemed to be established, and gradually developed from 4th to 5th century. As it continued to be developed, its frame was accomplished at the late 6th century. The shapes of it appeared to be further elaborated, specified, and therefore systematized in the 7th century.

• International Journal of Costume and Fashion
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• v.6 no.1
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• pp.71-83
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• 2006

This study is about how Art Nouveau and Art Deco clothing are represented in the costume design of film created after those periods and examines the recreation process of visual media. The costume design of The Wings of the Dove tried to reflect the mixture of fashion trends that could be seen during the times. Milly???s clothes seem to focus on recreating the special features of the 1900???s fashion trends more visually while Kate???s clothes are represented in a strong and simple way to emphasize her personality. The costumes in The Great Gatsby, tried to reinvent the 1920???s clothes in a romantic way. Daisy???s and Gatsby???s costumes were based on the aesthetics of the 1920???s clothing. but emphasized the symbolic nature of the characters to give a greater dramatic effect. By analyzing and comparing, it can be seen that, while costume design usually begin with painstaking research into the historical period in which the film is set it is often altered to highlight aspects of the story. such as the theme and the characters, in an effort to create a stronger dramatic effect. Costume design remains one of the most effective means for a director to visually express the personality and desires of a film???s characters. The ideal aim of costume design is to create something new but at the same time, remain true to the period by being grounded in accurate research.

• Human Ecology Research
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• v.55 no.5
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• pp.481-490
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• 2017

This study considered the performing arts culture with a focus on Palgwanhoe Ceremony and various stunt-songs and dance (Baekhee-Gamoo) from the Goryeo period as well as examined the characteristics of performing arts' costume for Baekhee-Gamoo shown in Palgwanhoe Ceremony. The Baekhee-Gamoo shown in the Palgwanhoe Ceremony included acrobatics, traditions from comic dramas, puppet shows, mask plays, and four musical troupe flowers of youth in the Silla Dynasty, who excelled in beauty, bravery and the military arts (Sasun-Akboo). These were performed on a wagon ship with dragon, phoenix, and elephant animal masks (Yong-Bong-Sang-Mageosun). The characteristics of performing arts' costume for each performing arts are as follows. First, the general costume of the time was used for performing arts' costume. There were no special costumes for performing arts and it was just transformed or added for the efficiency of acrobatics. Second, the reality was improved by focusing on the historical research on costume suitable for characters and background of events in the performing arts to clearly deliver the purpose of the ceremony and quickly arouse audience's curiosity towards the performing arts' costume for the tradition of comic dramas and puppet shos in the Palgwanhoe Ceremony. Third, magical powers and symbolism were expressed through masks and performing arts' costumes. Palgwanhoe Ceremony aimed for magical powers that could protect weak human beings from threats and repel everything unfair while also symbolically showing the deified being through the performing arts' costume.

• Journal of the Korean Society of Fashion and Beauty
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• v.4 no.2 s.8
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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.

• The Research Journal of the Costume Culture
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• v.10 no.4
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• pp.319-335
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• 2002

Nongae was the official Kinye(관기) who had exhisted, her portrait was enshrined at an ancestral tablet hall beside Choksukloo. This portrait of Nongae was a work of a painter, Un Ho-Kim. In any case, a study on the costume of the portrait of one person must be taken the costume of the period. This study investigates the character of clothing style in King Sunjo 26(1593) and in her present portrait. And so, her portrait who was enshrined at the place didn't agree with it's clothing in King Sunjo 26(1593) The results of this study are as follows : The portrait of Nongae took the costume style of the beginning of about 1910. and so this style was different from the style of costume, King Sunjo 26(1593). The style of costume, King Sunjo 26(1593) : Jacket : It's jacket was long(near hip) and broad, it's sleeve length was long, it's form was a straight line. Skirt : It's skirt was very long. It's silhouette was formed a soft line The costume of the figure in this picture in wrong from historical point of view. And so, the costume of Nongae in the portrait must adjust it in the clothing style of about 1593.

• The Research Journal of the Costume Culture
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• v.5 no.2
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• pp.217-244
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• 1997

This study is about the Korean Jockey's uniform, etc. and horse riding costume as the traditional riding culture grows. I studied informations from the Korea Racing Association's equestrian park, equine museum and Seoul Racecourse Trainers & Jockey's Association. The international regulations of riding costume are compared with Korean regulations, and I consulted some reference books, materials of sports wear and catalogues of some brands regarding horse equipment. The contents includes ; 1. Analysis of informations about horse racing 2. Study of racing, for detail comparative analysis on the following aspects ; -Symbolism, riding costume of jockey, that is, color·pattern·and some formal designs. 3. Suggestion for reasonable and fashionable riding costumes. In the aspects of design, there have not been any historical records, and material adjustments about riding costume in Korea. Therefore we should make more efforts to do developing our traditional costume culture. The result o this study is as follows ; 1. Riding is the sport of etiquette and manners. 2. Most of riding wears are the casual wear centered foreign licenced brands. 3. Study and investment upon specialized material development and processing technology are in demand 4. The need of the consumers are to be satisfied by the quality improvement of the native products design. In addition, we perform to horse racing which is fine play and leisure sports in current society. The horse riding will be a popular sports such as golf, wind surfing, skiing, etc. with the period including lots of kinds of leisure.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.142-155
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• 2005

This study shows historical Gagye(가계) The process of change and Characteristics through analysis on the old documents, related papers, and visual data, and represents its meaning in Korean Clothing history through analysis on originality of Korean Gagye(가계) style. Gagye(가계) is the cubic hair style which add other accessories on hair and is divided into two; Gagye(가계) and Chegye(체계) according to its material, role, and function. And Korean Gagye(가계) has been transformed suited to the times and showed various features according to pattern, wearing, and decoration aspect. In its style aspect, Korean Gagye(가계) style shows Hwangye type, Sseugae type, Gogye type, Dagye type, and Braided & coiled hair type. Each shows historical features. In its Wearing aspect, Gagye(가계) style shows Wearing ornamental hairpin on the head, Wearing Rag Ribbon on the head, and Attaching (Detaching) Wearing. And in its Decoration aspect, Gagye(가계) style shows decoration with accessories, one with flower arrangement, and one with shaking.

• The Research Journal of the Costume Culture
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• v.7 no.2
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• pp.225-229
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• 1999

The purpose of this study was to trace and to identify the origin and meanings of the word ho-su(胡神) that is found in historical documents of Chosun dynasty period. Historical documents, books, and other written materials from Korea and China were used for this research. The word ho-su(胡神) of Korea was originated in Chinese. At the first, ho-su(胡神) was a name of a kind of sleeves. It is long and wide round sleeves with narrow wrist parts. The character ho(胡) means a jaw, lower part of a jaw, a jaw hung down, hing down and lower part. Thus, the word ho-su(胡神) is a compound word made with character ho(胡) and character su(神) sleeve. The direct meaning of ho-su(胡神) in characteristic shape of the sleeves. The second meaning of the ho-su(胡神) is the name of a dress with long and wide round sleeves with narrow wrists. The name of the ho-su as a name of a dress was taken from the name of the ho-su(胡神), a kind of sleeves.

• Journal of the Korean Society of Costume
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• v.57 no.10
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• pp.142-155
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• 2007

The purpose of this study is to develop a fashion show model as a local festival program by designing the costumes of Chosun dynasty from later 16th century to early 17th century and planning a fashion show. The designed costumes are based on the life of the representative poetess, Maechang Lee, from Buan-gun, Jeollabukdo. The planning of the fashion show consists of seven stages, that is, finding a theme, composing the story, designing costumes, choosing music, planning intermission events, producing visuals and booklet, and directing model performances. This paper focuses mainly on finding a theme, composing the story, and designing costumes.