• International Journal of Costume and Fashion
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• v.9 no.1
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• pp.44-58
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• 2009

The purpose of this study is to examine the unique differentiation of dance-sports costume design and improve the professionalism of design in this field. for this, the documentary study and practical case study have been executed. the visual data in 'weave' prosperity data and a dance-sports technical book are used. The results of this study are as follows. First, dance-sports costume has the general character of dance costume, and it belongs to the category of stage costume. Second, the physical characteristics peculiar to dance-sports costume come from its specialized usage in dance-sports. Third, the design of dance-sports costume changes accordingly with the situation it is worn: exercise costume, party costume, competition costume. Fourth, arranged dance-sports costume trends since 1998. It had shown biennial changes in shilhouette.

• 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 Korean Society of Clothing and Textiles
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• v.27 no.3_4
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• pp.310-321
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• 2003

The purpose of this study is clarify the formative characteristic of dance costume design and analyse stage effect based upon the formative factors. Classified design element of dance costumes by line, silhouette, color, material, lighting, and also this based on content analysis method about each formative factor of costumes that showed 10 dance performances which practically be performed and made. And individually interviewed the professional dance composers and dancers who participated in the performances fer objectivity and specialty of this study. The results were as follows; 1. Dance costume contains and harmoniously expresses theme of a dance work, formative characteristic of fashion design, movement and character of the dancers, lighting effect. 2. Korean creative dance costume is effectively expressed with formative factors of traditional costumes and modem sensibility and symbolic expression of image-centered. 3. Costume line is affected by dancer's movement and it's possible to be different effect that the atmosphere or stage effect by the original form of line and the expression method. 4. Costume color is effective to inform that dancer's character and image of a dance work. 5. Costume material is most important to consider that the dancers and the atmosphere and the image of a dance work. 6. Lighting effect can inform various feel of dancer's dance.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.1-7
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• 2003

The purpose of this study contains evaluation of techno-cyber fashion, specifically in the area of dancing costume which symbolize the stage performing art of techno-cyber fashion's formative elements. The way of study is to make foundation with the theory and picture backgrounds to analyze the fashion trends and finally produce symbolic dance costume which applies modern dance stage costume design to techno-cyber elements. The 'Adieu 1999' is the modern dance work contains social mood in retrospect of 20 century and prepare 21 century. To make design of dance costume, apply the simple geometrical pattern design which utilize techno-cyber element like hi-tech fabrics, see-through and image of band and finally produce costume both 20 and 21 century.

• International Journal of Human Ecology
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• v.15 no.2
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• pp.23-31
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• 2014

Neo-Confucianism was the dominant ideology of the Joseon Dynasty Korea. Male and female costumes reflected a clear distinction in male and female sex roles. This study analyzes cross-dressing in sword dance performances. The research method examines relics, paintings, pictures, and documents relevant to sword dance costumes as well as for the military. The results are: First, the composition of sword dance costume was jeogori (upper garment), skirt, and shoes with military costume of jeollip (hat), jeonbok (long vest), and jeondae (belt). Second, the sword dance costume and military costume are very similar except for the basic inner wear, shoes, some details and methods of wearing. Third, the sword dance costume gradually adopted military items and features. The sword dance costume was basically female, with overall additions of a male costume, to express an androgynous image; however, the cross-dressing phenomena in the sword dance were not intended for the pursuit of sexual pleasure.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.149-161
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• 2008

The purpose of this study is to consider the origin and kinds of tango and to analyze formative characteristics of tango dance costume. On the basis of the review of literature about tango, photos of tango dance and modern fashion collections designed by tango themes are analysed to examine design elements which are essentially considered in dance costume design. The result of this study are as follows: This study shows the different characteristics of tango dance costume depend on the kind of tango. In case of Argentina tango, sheath silhouette dress and black color are preferred, for Continental tango, fit and flare silhouette which gives convenient movement in dress and white color emphasize the elegant movement are preferred. America tango accentuates the body movement by fitted silhouette, metallic materials, and bead trimmings in dress. The result of the analysis of recent fashion collection shows that characteristics especially strong and sensual tango are mainly an inspiring motive and reinterpreted by designers in modern fashion.

• The Research Journal of the Costume Culture
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• v.26 no.4
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• pp.613-631
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• 2018

The purpose of this study is to collect and analyze costumes presented in international dance sports competitions, and summarize the features of Latin American dance costumes' design. As for research methods, standards of Latin American dance costume design were analyzed via a literature review on dance sports. The scope of the study extended for six years from 2010 to 2015 to include the, top three UK Latin American dance competitions. The results are as follows. First, the silhouette analysis determined that the X silhouette to the lead with, -145 costumes (78%), followed by the H silhouette at 25 (13%), and other at 16 (9%). Amongst those there were 174 one-piece dresses (94%). Furthermore, the analysis on colors of Latin American dance sports costumes revealed that, amongst the 186 costumes, 115 were without color (62%), Bl(black) is the most frequent with 37%, then Wh(white) with 21% and Gr(gray) with 4%. Costumes with colors, based on the six basic colors in the Munsell color system, are comprised most often of red with 12%, the followed by Y(yellow) at 10%, B(blue) at 8%, YR(yellow-red) at 4%, P(purple) at 2%, and G(green) at 2%. Thirdly, the cloth materials of Latin American dance costumes are recognized through image inspection. Among visually recognizable materials, beading materials are the most common with 104 costumes (60%). Shiny materials like mesh, chiffon, organza, lace and burn-out are in 36 costumes in total (19%). Other cloth materials included Luster materials and; non-sheen materials, which were in 46 costumes (25%).

• Journal of the Korean Society of Costume
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• v.61 no.6
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• pp.15-37
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• 2011

This study is on dancing dresses of the costumes of Gum-Mu(劍舞, sword dance) in southern, central, and northern region of Korea, focusing on the origin, characteristics and the way of dance. The reason why the Gum-Mu is full of local color is that royal Korean Gisaeng(妓生) and local Gisaeng returned to their hometown and propagated this dance to each regional Kyobang. They combined court sword with each local dance and music and formed the present style of regional Gum-Mu. Dance and music native to area, which has formed today's regional Gum-Mu. The composition of current dancing costume of the sword dance is Jeogori, Chima, Jeondae(戰帶), Jeonrib(戰笠), Kwaeja(快子) Also, The complement colors harmonizing with color of Yin-Yang & Five Elements. which are yellow, blue, white, red, and black, are usually used. And the masculinity in dance were expressed withmore use of blue, and red in the opposite but if a sword dance takes on masculine character, blue color is more used, if feminie character, reddish colors, such as pink and red, are used. Thus, JinJu, Honam, Haeju, Pyeongyang dancing Suit of Gum-Mu feature blue color, Tongyeong, Kyeonggi, Court(seoul)dancing Suit of Gum-Mu feature reddish color.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.10-25
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• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.1-15
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• 2010

Fashion designer Jean Paul Gaultier incorporated his own boundless and unique artistic Into his design of dance costumes, presenting an unobstructed imaginary world that was filled with freedom, which is no less than one would expect from the one-time enfant t${\'{e}}$rrible of Paris fashion. This creativity of Gaultier was made possible only through the fantastic partnership he formed with the French modern dancer, R${\'{e}}$gine Chopinot. Gaultier and Chopinot shared a deep-rooted sympathy that enabled their own artistic worlds to fully mingle and cross over, resulting in a doubled synergy of their talent and their fame. This study analyzed 11 dancing costumes created through the collaborated efforts of those two enfants t${\'{e}}$rribles, one from the fashion industry and the other from the world of dance. The following are the results of my analysis. Gaultier's dance costumes served as a artistic venue for experimenting with a number of creative inspirations lurking in his mind, which were sometimes expressed in pr${\^{e}}$t-${\`{a}}$-porter collections. Instead of the decorative and expressive features of conventional dance costumes, his was the revival of the dancer's persona as a human being, ablaze with individuality and uniqueness. He pointed out that there is no good in the distorted turturro's fixed point of view, and the great joy of an opposing way of thinking that overturned the established. Leotard material was used as a second skin by transforming it into various styles and delivering his message. In addition, obscene and sexual expressions were delivered in a direct narrative. His eccentric ideas provided entertainment while showing his oppositional way of thinking. In the dance, the effect of the costumes was doubled by the use of cumbersome and exaggerated accessories, which is generally forbidden in modern dance.