• 복식
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• 제58권10호
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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.

• 복식
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• 제57권1호
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• pp.176-186
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• 2007

The purpose of this study is to reconstruct upper class women's costume of 'Mongol-pung' and 'Goryeo-yang' in a civilization-exchanged period between Mongolia and Korea, for making movie or soap opera costume and historical animation. 'Mongol-pung' was a cultural influence from Mogolia to Korea. For example, sleeveless bi-gap(比甲) and half-sleeved dap-ho(搭忽) were put on by many women at that time. On the basis of old literature, I suggest a 'Mongol-pung' costume as a set of seeran-chulrik(膝欄 terlig), em-broidered bigap, dapho of meat-red color for women. 'Goryeo-yang' was a cultural influence from Korea to Mongolia. Due to old poem of Yuan, 'Short outer Jacket with square neckline, half sleeves, and clear color(方領過腰半臂)' was a representative of 'Goryeo-yang' in Mongolian royal women's costumes. Many women were dressed in it with short inner jacket and wide skirt. In the case of making soap opera costume, the budget of broadcasting station, appearence of nowaday's actor and actress, similarity between old fabric and modern fabric must be considered altogether.

• 복식
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• 제57권2호
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• pp.86-99
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• 2007

In this study, the concept of play as an entertainment is redefined and applicable method of fashion design as a play are suggested by analyzing the feature of doll's costume design based on the play pattern. In literary study, the role of playing doll Is described and has been examined by the analysis of scholars' opinions. In positive study, the pattern and costume design of sample costume dolls are analyzed using 624 samples of the representative images collected from the literatures and real figures, and they are classified as collection dolls or fashion dolls in order to analyze the feature of fashion design in playing dolls. As a result of the analysis of doll's costumes based on its use, the costumers are divided into a real world costume which is similar to what human wear in daily life and a virtual costume which is used in the movie or play and the costumes only worn by the dolls. The examination of the type of costume worn by dolls, dress is principally dominant costume in collection doll, whereas in fashion doll, dress is still mainly worn but shirt blouse & pants, shirt blouse k skirt, jacket, coat, bathing suit. etc. are shown dispersedly as well. In the costume silhouette of dolls, collection doll uses mostly A line silhouette meanwhile fit and flare is mostly used in the fashion doll but other silhouettes are also relatively shown a lot. In the means of the color of the costume worn by dolls, collection doll is more similar to those in actual fashion design. On the contrary, the color of the costume that fashion doll is put on is more free and more various because the trendy rotors such as green, yellow, purple, etc are used.

• 복식문화연구
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• 제18권2호
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• pp.290-303
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• 2010

In this research, I compared and analyzed the 'factors of style' that expresses and visualizes the 'characteristics of characters' and the characters from three movies each that was filmed with Kang Ho Song and Keong Ku Seol who acted in many movies both. As the result, for the factors for actors' makeup design, since they have limited choices of textures, colors, and the range of changes, changing the tone of skin to light to dark implied the images of characteristics. Somewhat dark skin tone that was like tanned skin expressed the life style of the character who works for an active profession not for an intellectual position. For the factors of hair style, medium sized wavy hair that goes straight down forehead expressed the character's familiar and informal personality while short cut sized all back style hair expressed confidence, sociality, and logical personality of the character. The actors' costume was important to express the characteristics of characters such as changes of their mind, especially the costumes delivered symbolic meanings of the role of their social class, profession, and their financial state. In addition, there were common factors to create and design a character in terms of the changes of the actors' body shape; when the actor acted the character who has conflicts inside and sarcastic personality, they lost weight on purpose while they gained weight and made a barrel shaped body to act the character who is positive in every occasion and does not realize the real world or who is greed.

• 복식
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• 제64권3호
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• pp.126-141
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• 2014

The purpose of this study is to analyze the specific mimesis types of common character costumes in MMORPGs, which have stories that are very similar in structure to ancient myths and fantasy novels. As the subject of the research I have selected "Diablo 3" created by the American video game developer, Blizzard Entertainment Images of 5 characters, for both genders - Barbarian, Witch Doctor, Monk, Demon hunter, Wizard - were compiled for a total of 10 images, and these images were compared to popular archetypes in mythology, religion and literature. analyzed them separately according to the mimesis type. For this study, Articles and books containing the Aesthetics, Mimesis and Digital culture were researched in order to study the costume features and the Mimesis types and compare them to the costumes in the MMORPG. Firstly, the character Barbarian is a successor of the barbarian character of the previous product. The outfit worn by the game figure is based on the common images expressed in the movie . The makers created an analogous-imitation mimesis by replicating the image in an exaggerated and grand form. Second, the character Witch Doctor derived its motif from the Voodoo cult, and was expressed in analogous-imitation mimesis, using the very shades and patterns used in real life. Third, the character Monk, blending the image of a priest in Eastern Europe and images of its oriental counterparts, was expressed in transposition-diversion mimesis. Fourth, the Demon Hunter took the source of its inspiration from the image of a Witch hunter in the medieval times. The game character has a sharper sleeker figure than its model, and uses more acute shapes and darker gloomier colors expressed in an analogous-imitation mimesis. Finally, the character Magician took a formless character and expressed it in transposition-diversion mimesis taking as its basis some fantasy novels.

• 복식
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• 제59권1호
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• pp.106-118
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• 2009

This research is about the changes in the images of Bond and Bond Girl in '007' Series. And it examined through the social background of England from 1960s to 2000s and the costume in the film. The results were as follows: As the era of young fashion was opened after 1960, there was a big change, but Bond was expressed as a hero who had strong male chauvinism of the English aristocratic circles. However, after 1990s, he wore comfortable clothes and he underwent all sorts of hardships. On the other hand, Bond Girl had the image of a sexual target. However, after 1990s, she had sharp appearance and smart brain. Besides, she had professional ideas of a given work and she was changed into a healthy image. Second, Bond's job was an English secrete agent, but Bond Girl had no particular job in 1960s. In 1980s, various professional jobs appeared and in 1990s and 2000s, the professional job which was directly related with Bond's duties appeared. Third, Bond's upper class image was expressed by tuxedo, suit, black, gray, navy, beige, brown, and ivory. His hair was 2:8 parting or Dandy all black style produced his dignified and neat image. After 1990s, he often had casual dress, which created a comfortable image. Bond Girl was expressed feminine style by bikini, underwear, long dress, sky-blue, violet, black, simple costume. After 1990s, she wore a suite, one-piece, or a combat uniform, which showed her professionalism. especially Bond Girl's red dress was used as a psychological color to express temptation, enemy, and betray.

• 한국의류학회지
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• 제35권4호
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• pp.396-407
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• 2011

Various media are expanding the fantastic expression methods and sphere wider than now. As an intermediate for expressing fully self-desires, fashion of the day has surfacing an important concept called fantastic that does not exist and surpasses reality in expressing the ideal body of a desiring body. Goth and cospre are personal expressions of movie costumes that visualize virtual reality as representative of fantastic fashions. The fantastic is a modem concept putting together SF, fantasy, magical realism, fable, and surrealism. Studies in fashion fields related to fantastic have treated fantastic illiberally and peripherally owing to the centering on the SF genre or fantasy. The thesis that dealt with an important fashion as an external favorite as well as the socio-cultural contents of the expressed body in genre expression remains inadequate. In research methods, this study carried out theoretical reviews on the concept and characteristic of the fantastic through literature data that includes local and international theoretical books, monographs, and dissertations that are related to the fantastic. The experimental analysis was executed by collecting fashion works shown after 2000 and included in special fashion editions, collection magazines, Internet materials, and monographs. The results show that the categorization of expression characteristic (according to fantastic spheres) appeared as 5 kinds such as uncanny borderline, cyborg grotesque, heroic superman, myth allegory, and unconscious meaninglessness.

• 한국생활과학회지
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• 제15권6호
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• pp.1063-1071
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• 2006

Fetishism, which has been a taboo for a long time, is stimulating the modem people's emotions by being reborn as a fashion trend by a number of designers like Jean Paul Gaultier, Vivienne Westwood and Claud Montana. Especially, Jean Paul Gaultier, called the bad boy of the fashion industry, is leading the Paris fashion world by expressing his unique fetish elements with his fantastic and uncommon ideas-males' wearing of skirts, wearing underwear like outer garments. Therefore, this study is aimed at investigating how his fetishism is shown in his works, understanding his fetish fashion world in the modem fashion and offering a new stepping-stone for fashion designers to actively participate in new fashion areas. Its results are as follows. First, it was found that the sensual designer Jean Paul Gaultier has been expressing his unique fetish elements in his collections like the following three styles of fetishism-fetishism by physical emphases, fetishism by items, fetishism by material. Second, the symbols of voluptuous beauty reflecting his own fetishism could be found in his movie costumes, license areas and given plots. Third, the work describing Jean Paul Gaultier's fetishism as a fetish image with the concept of Fantasy of Missing was evaluated as a successful work to express an internal sexual desire.

• 복식
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• 제54권6호
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• pp.91-100
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• 2004

The purpose of this study is to evaluate the influence of T-shirt as a movie costume on the modem mass fashion. The way of study is to analyze the changes of men's image with T-shirt as Hollywood actors costume in 50's and 60's. The costumes create the characters with meanings and symbols moreover they lead fashion as well as promoting artistic value of films. At the end of the 19th century, this shirt learnt the ropes in the U.S. Navy well before it won the hearts of sportsmen and workers alike, with its twin virtues of comforts and hygiene. When American soldiers returned home after World War II showing their T-shirts in the sweltering heat of the Tropics, their shirts were as heroic as they were. Furthermore the new stars of Hollywood, going by such names as Marlon Brando and James Dean, gave the T-shirt its rebel cachet and showed the whole world. Be it tom open on Marlon Brando's torso in Elia Kazan's 'A Streetcar Named Desire', or peeping out dazzlingly white from under James Dean's red jacket in 'Rebel Without a Cause', the T-shirt flaunted its sexuality and emanated the sweet smell or revolt. It would be the banner of rebellion for a whole generation. The T-shirt had finally found its way into the history of fashion and was there to stay.d was there to stay.

• 한국의류학회지
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• 제36권9호
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• pp.966-978
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• 2012

Fashion exhibitions in museums and galleries is a form of fashion communication media. This thesis examines the messages, objects, and space of fashion exhibitions as fashion communication media as well as analyzes the method of fashion communication. This thesis first provides a theoretical study on fashion exhibition and conducts a case study of the 2012 Nora Noh Retro Exhibition La Vie en Rose (2012/5/23-6/2, Horim GNB Gallery, Seoul), dedicated to the first Korean female fashion designer. The message of the exhibition was the fashion philosophy and the fashion style of the designer as well as the intention of the curator. The objects presented were the dresses kept by the loyal customers of the brand, and the homage items by designers of present generation. The space designs of the exhibition were the layout and total coordination of the opening event. The methods of fashion communication for the fashion exhibition, in the case of the La Vie en Rose exhibition, were communicated (1) from the past to the present, (2) from designers to celebrities and (3) from the designer to the celebrity and the viewers. From the past to the present, the designer's style throughout the 60 years of her fashion career is conveyed to the present generation fashion people, in the form of homage designs and collaboration works. From designers to celebrities, her fashion philosophy was delivered in the form of movie and stage costumes. Some present generation celebrities tried reinterpretations of the garment. From the designer to the celebrity and the viewers of the exhibition, the intention of the curator and the designer were individualized and internalized by the viewers.