• Journal of the Korean Society of Costume
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• v.56 no.3 s.102
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• pp.12-27
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• 2006

The purpose of this study was to analyze the mental, social and aesthetic facets contained in ancient shining costumes and to find out the internal meaning of ancient shining costumes that they wished to express. This study was based on the theoretical data regarding the materials, types, and characteristics of the shining costumes. Egypt, Rome, Greece and several Mesopotamian countries have been included as a scope of research. The literature examination skill was applied for the research. The internal meaning of ancient shining costumes could be understood as an instrument of expression regarding religion, social status and beauty.

• Journal of the Korean Home Economics Association
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• v.48 no.5
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• pp.17-24
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• 2010

Although design, color, and material are important elements in stage costumes, stage lightning also plays significant role in the presentation of stage costumes. Costumes color, material and perception can be significantly influenced by visual effects. Stage illumination can be arranged or managed so that colors are closely related to or enhanced or change the effects of costume colors on the runway or display at specific times. The results of this thesis are as follow; 1) Fabric tone, name, brightness, and chroma of colors were changed by the colors of stage lighting. 2) An achromatic color was changed to a chromatic color after being combined with colors of stage lighting. 3) Stage illuminations can make fabric, colors look similar to stage colors. 4) Plain satin silk fabric which reflects light shows high brightness and chroma after being influenced by stage lighting its shining effects and color changes were clear and apparent. 5) Velvet pile fabric which absorbs light shows low brightness and chroma after being influenced by stage lightning its shining effects and changes of colors were not clear and apparent. In conclusion, natural lights did not significantly influence fabric colors and perception, while artificial lights had wide range of effects on fabric colors and perception.

• The Research Journal of the Costume Culture
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• v.4 no.3
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• pp.447-464
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• 1996

In this study, observations were made on costumes of romantic ballet. Twelve ballets of romantic period were selected for this study; La Sylphide(1832), La Filledu Danube (1836), Le Diable Boiteux(1836), La Gitana(1838), La Gipsy(1839), La Tarentule(1839), L'Ombre(1839), Giselle(1841), La Peri(1843), La Esmeralda(1844), Pas de Quatre(1845), la Fille de Marbe(1847). Romantic age was acceptance of the ballerinas as the central figure on the stage. Famous ballerinas in romantic age were Marie Taglioni, Fanny Elβler, Carlota Grisi, Fanny Cerrito, Lucile Grahn. Romantic style of dancing sprung onto the stage of the Paris Oepra with M. Taglione's first performance of La Sylphide in 1832. Ballet costumes n romantic period except La Gipsy were with low decolletage, very short transparent sleeves that decorated with shining band or small cuffs, and the waist of the fitted bodice dipped to point in front decorated with sash or jewel. The form of skirts was bell-shaped and reached middle calf. That style became stereotype for ballet costume and called ballet blanc.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.69-83
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• 2013

This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.