• Journal of Fashion Business
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• v.6 no.6
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• pp.68-77
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• 2002

In this study, based on Choi, Jong Rim's script (2000), the main characters' stage costume designs were presented with 15 illustrated pieces in terms of compounding the images of Korea and West. I considerered the main characters' social status and personality by each act and scene, as well as the correlation of the stage costume's minor theme, color and material. In expressing the stage costume, this study has chosen the formational method of the comparative design dimensions between costumes in 1650s Joseon and baroque period and used the joinder of flat pattern and draping in various parts of the costumes.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.137-150
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• 2009

Performance costumes are an important element in the stages which set the tones and embody characters in the performances. This study focuses on Gisaeng's costumes in folk dance performances when Korea experienced modernization from Joseon Dynasty, and aims to examine the features of the costumes as well as how the costumes both influenced, and got influenced by, the rapidly changing society. Gisaeng had been legal entertainment performers of the government in the Joseon Dynasty and, despite careful training and talents, had inferior social status in Joseon's social hierarchy system. In the modern society, a new system of Gisaeng emerged and the first public theater opened. The advent of theaters changed performance stages and the ways performances are conducted. This study investigated Gisaeng's performance costumes by the type of folk dances, such as monk dance, palace dance, Salfuri dance, Jangu dance, and Ip dance. The study brings light to three conclusions. First, as folk dances which had been performed by civil dancers were spread to Gisaeng, Gisaeng's costumes absorbed the costumes of civil dancers. Also, royal costumes appeared in folk dance performances. This can be viewed as mixture of royal and folk dance costumes, resulted from interactions between Gisaeng and civil art performers associated with the modernizing society and the weakening of the old hierarchical class system. Second, as performing arts on stages were modernizing, performance costumes changed accordingly. Thirdly, Giseang's costumes in folk dances also adapted the introduction of the western culture, which largely influenced the fashion trends of people in the early modern society in Korea.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.2
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• pp.146-155
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• 2011

This study examines the design characteristics of figure skating costumes by a content analysis of their design elements. The content analysis method for the study was used based on 185 photos of female figure skaters. A total of 218 coding units in 15 categories were used. In the category of color, unicolor costumes were the mainstay and represented 48.11% of the total costumes. Black costumes showed the highest rate (13.51%), followed by red (7.57%) and blue (7.03%). In the dual-color costumes, combinations of red and black and white and black, represented 4.32% of all costumes. A camisole was the most popular type of neckline (20.54%). Stand collars with neck decorations were found in 5.95% of the costumes. In addition, 98.2% of all figure skating costumes had decorations (crystal beads 21.86% were the most frequently used decoration type), 65.41% exposed all the shoulders and arms, 70.81% of the costumes did not have sleeves, 5.41% of the costumes had arm decorations, and 3.78% had wrist decorations. In the analysis of the hem of skirts, 32.40% had a curved line, 30.73% had a straight line, and 15.08% had an unrecognizable form. In general, the figure skating costumes have stand collars with neck decorations, arm and wrist decorations, and irregular skirt hems that are not found in everyday dresses. To emphasize and intensify a theatrical effect, the costumes were fabulously decorated with spangles, crystal beads, feathers, and lace; black, red, and blue were frequently used. The skirts had frills, fringe, flared lines, and beads on them to reflect the stage lights and emphasize movements.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.109-123
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• 2011

Postmodernism has affected general culture and arts as a powerful cultural image that has governed the later 20th century, and it is still a main subject as Zeitgeist representing modern society. Accordingly, this study is to verify the role and importance of the stage costume according to change of the art trend in the present age by clarifying relations between the postmodernism and the stage costume, and analyzing the postmodernism trend shown in postmodern classes. The postmodernism trend in costume is summarized as the deconstructionism, eclecticism and the populism. Hereunder is the conclusion of applying Postmodernism characteristics and creation mechanism commonly existing in theater and costume to the costumes of Korean theaters since 1990's. First, a deconsructionism trend of the Korean theater was visualized by the expression method of disembodiment and decomposition of stage costumes. Second, expression phase of interculturalism was concretely visualized through the stage costume, and it was considered that the postmodernism creation method. Third, a populism trend since 1990's was reflected to the stage costume, and deduced consensus with the audience and subculture familiar with the public as well as appeared as a phenomenon that emphasized a recreational elements. It is analyzed that this trend is a result that a concept of sportiveness was directly transferred through strong visual expression function of the stage costume. As a result of analyzing a Korean theater of the postmodernism disposition since 1990s, the costume reflected creational will of the postmodernism of works and played an important role as visual arts, created with a similar method and form.

• Journal of the Korean Society of Costume
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• v.15
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• pp.209-216
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• 1990

As was defined by Sarbin, the term "role" has been used to represent the behavior expected of the occupant of a given position or status. A specific role can not be successfully performed without the aid of the costumes. Costumes are adopted in relation with a specific role, and the change of role brings about the change of costumes, and the change of costumes makes influence on the wearers. The typical cases in which the costume help to make access to a specific role and can be. effectively exploited for role change are manifested in the plays of Shakespear. Thus, our goal in this article is to analyze the role of costume which appears in the plays of Shakespear. There, the disguise in costume brings about the change of action of the characters on the stage, the drama reveals the role of costume obviously. The roles of costume appeared most frequently are the disguise role and the situation role. The disguise role hides one's status, thereby makes possible acting other's position. And the disguise role can bring about the change of sex, age, occupation, status, atmosphere. The situation role of costume can be widely used for visualizing the psychological situation and external environments of the person on the stage. The suitable wearing of costume has functions of performing roles effectively.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.3
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• pp.1-17
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• 2020

The Peking Opera is one of the most representative cultural aspects of China. It includes China's traditional specialties, such as stage performance, stage background, and costumes. The purpose of this study is to investigate the characters and the costume characteristics of the Peking Opera to present fashion design. This research is meaningful for spreading the Peking Opera to the world by applying China's traditional costumes to fashion design. Based on the cultural background of the Peking Opera and the analysis of the opera costume, four sets of women's clothes were made by using the traditional Chinese elements. The conclusions are as follows. First, traditional features such as patterns, colors, and styles from Peking Opera costumes were used in fashion design. The colors and patterns use Chinese traditional aesthetics to carry out contemporary fashion design and apply creative materials. Second, the neoprene used to create the items is a material suitable for the modern design of the traditional Peking Opera costumes. Neoprene has good elasticity and can be cut and sewn in a variety of ways. It can also satisfy the three-dimensional atmosphere and rich morphological changes found in Peking Opera costumes. In addition, a combination of thin chiffon and mesh materials is also suitable for the development of modern designs. Finally, in order to show the effects of traditional works, the patterns were finished by hand-painting. The hand-painted works were then scanned and printed on the material by the digital printing techniques. At the conclusion, the traditional features and feelings of the contemporary designs were presented.

• 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.60 no.8
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• pp.132-150
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• 2010

The purpose of this research was to study the forms and styles of the costumes in the Peking Opera of China and to figure out the symbolism and aesthetic value of the costumes. The research was done using documentary Peking Opera, the costumes can be seen as a special kind of language which audience members can clearly understand it. Therefore, the spectators can understand instantly the sex, age, personality, and position of the character by seeing the style, color, and patterns of the costumes. As a result, one can call the costumes of Peking Opera, "picturizing costumes". The typical costumes are mangpao, pi, kao, xiezi, yi. Mangpao is the ceremonial robe often used by emperors and officials. It can be worn by lao sheng, xiao sheng and wu sheng. Bright yellow and apricot yellow colors are used exclusively by those who play the parts of emperors, foreign rulers, princes and the Monkey King. The next costume style to be discussed is Pi. Pi is the informal dress for the emperor, and young officials that are involved in civilian or military duties. The third costume style to be explored is Kao: the garment that a stage warrior wears when going into battle. This warrior can have three kinds of armor: the hard armor, the soft armor and the newly revised armor. Fourthly, the costume that is the most commonly worn, xiezi, is examined; it is the informal coat for every one regardless of one's age, sex, role, or level of nobility. Finally, the last of the typical costumes is Yi; this costume category includes numerous kinds of costumes, such as kaichang, baguaiyi, fayi, guanyi, yulinjia, kanjian, toupeng, jianyi, etc

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.62-75
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• 2005

This study is focused on main performers' stage costumes in the 'Swan Lake', a masterpiece of classical ballet, which Is newly represented by Matthew Bourne, a choreographer. The objectives of the study is to help understand a trend of costume in modern public performance and art. First, this paper is attempted to describe the concept and the elements of ballet costume, secondly, to consider the performance generally, and finally to analyze main performers stage costumes. This study was performed by two processes; The first was to visit theaters to view the performances in person: the classical ballet by the Bolshoi Theater Ballet, the performance by Korea national ballet academy and the Matthew Bonne's modernly redefined ballet. The second was to review the regarding literatures and DVD. There are two apparent characteristics of main performers' stage costumes in modern-style ballet compared with classic-style ballet. First, there is an approach to gender identity; the character of swan with the classic tutu that has been the culmination of femininity in the classic-style ballet, used to be represented in an established idea on ballet costume, is now substituted by a creative idea, male ballerina and trouser-style ballet costume. Second, there is an approach to breaking the convention on the purpose of emphasizing popularity arousing real sympathy and art value. Also, modern-style ballet introduces bare body and ffot rather than tutu and toe-shoes, and adapts items from casual outfit fitted in earh performer's character with a present-day life.

• Journal of the Korean Society of Costume
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• v.65 no.5
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• pp.126-141
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• 2015

The purpose of this study is to examine the works of choreographer Philippe $Decoufl{\acute{e}}$ and the performance costumes designer Philippe Guillotel, and identify the intrinsic values shown in the formative characteristics in their works. And it proposes a vision and a direction for the development and performance of modern fashion phenomenon of media convergence performing arts complex. The results were as follows. First, the performance characteristics shown in Philippe $Decoufl{\acute{e}}$'s art pattern applies dynamic improvisation, decategorization reflected in the media interactivity, time and space of a variable scalability, complex artistic genres and transcends cultural boundaries. Second, the characteristics of the performance costume can be described as a co-existence between dynamics of aesthetic layers, 'Media body' represented by the interaction of the compounds with the technology, and integrated variable expandability. And aesthetic values inherent in the performance costumes are summarized as abstraction, playfulness, reproducibility, and theatricality. Modern fashion performance and limited production of the center 'costumes' in the fashion images can be used in diverse ways, and innovative marketing has gone through a change in image production. Metaphysical text of the advanced performance genre can be presented in a new perspective to fashion derivatives 'Media body'. And the aesthetics of popular culture kitsch, the grotesque, and surrealism in theater will produce creative stage direction.