• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.14-27
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• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

• Proceedings of the Korea Society of Costume Conference
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• 2001.10a
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• pp.86-86
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• 2001

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.7
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• pp.1065-1077
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• 2010

This study researchers the libretto and the original novel of the opera to propose fashion styles and stage costumes for the opera, "La $boh\grave{e}me$." This article studied the meanings of the $boh\grave{e}me$ in the 1830's France and the characteristics of the $boh\grave{e}me$ that appeared in the original novel, "$Sc\grave{e}nes$ de la vie de $boh\grave{e}me$." The characteristics of bohemian fashion styles in the $Sc\grave{e}nes$ de la vie de $boh\grave{e}me$ were not normal, not related with trends, and not new. Before presenting the new fashion styles, this study examined the stage costume problems of La $boh\grave{e}me$ with five existing performance materials. In conclusion, this study proposed new stage costume designs that reflect more dramatic fashion expressions of the characters, expression on the passage of time, and contemporary fashion records.

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• Journal of Fashion Business
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• v.6 no.2
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• pp.17-28
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• 2002

With the most popular and beloved Verdi's "La Traviata" as the subject in the year 2001, which is the 100th anniversary of his death, the present study discusses the arias by the main character "Violetta" and the characteristics, images, clothes and their symbolism expressed through and stage costumes of major performances shown in Korea and abroad. Furthermore, the purposes of the present study are to propose a new fashion brand image called "Violetta look" by incorporating this image into current fashion to join fashion and stage, and to actually design and producing these clothes. Therefore, stage costumes of characters shown in the limited space called stage were connected with the study of characters' images and applied into the current fashion as a brand image, and from the industrial aspect, a high value added fashion brand image was created.

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.779-785
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• 2023

In the creation of non-verbal dance performance, stage costumes are an important element of visual expression and serve an expanded role in addition to its fundamental decorativeness, representation of status reflective of the historical setting of the act and functionality for the dance movement. We intends that the purpose of this research is to analyze the expanded role of the costumes in the creative ballet <'That' Girl>, and through this exercise, provide foundational data on and suggest new future directions for stage costume design. <'That' Girl> is composed of two acts, offering condolences and eliciting empathy by conveying the fear experienced by the victims of the time. The second dance act representing freedom and "Haan" requires this expanded application of costume design. The costume design was inspired by the "Statue of Peace" representing comfort women, and completed through three draft designs and material experiments testing the ease of operation of the strings and fabrics installed in the costumes as well as the functionality of the associated ballet movements. In conclusion, expansion of time & space, expansion of form and expansion of symbolic expression were shown in the dance of liberation using strings wrapped around the arms and through the cloth embodying 'Haan' hidden in front of the costume.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.61-71
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• 2006

The purpose of this study is to present a contents production process for costume design analysis by take advantage of the image media of Chinese historical backgrounds. The production process of contents for lectures on fashion design analysis can be summarized as follows: The contents for the design analysis of Chinese costumes can be divided into major media and supplementary media. Major media can be completed through the processes including the selection of Chinese historical backgrounds. images and media (video, DVD title or VOD), verification of image capture parts, image captures, and applications of PPT files. Supplementary media consist of production of analysis materials for each item and TPO, report preparation methods and discussions, and printed matters to be used at the stage of image comparison and verification. This way, a process applicable to the design analysis of Chinese costumes can be presented.

• 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.2
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• pp.82-97
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• 2013

The aim of this thesis is to investigate the change of men and women's costumes in late 18th century and early 19th century in view of its ideological streams by examining the portraits of the painter Jacques-Louis David. The method of investigation used was to select 29 pieces of portraits from 1766 to 1825, which showed the clear descriptions about the costumes and to analyze the costume's forms, ornaments and the headdress. The category was divided into 3 stages in terms of the changes in costume. The first stage, from 1766 until 1788, is the one of turnaround from the Rococo costume to the early neoclassical one. The typical Rococo costume was incrementally transformed into a simpler design without ornaments, and then natural silhouette in men and women's costumes started to appear from 1783 until 1788. This might be attributed to the neoclassical trend which was affected by the enlightenment ideology. The second stage, from 1788 until 1795, is the period of change from the costume of the early neoclassic style to the typical neoclassic style and also the time from the 1793 to 1795 was regarded as the peak of neoclassic style when the effect of enlightenment began to decrease while one of neoclassicism exerted its strong influence on the costume. The third stage, from 1795 until 1825, similar to the previous neoclassical style was also notable in its turning into producing the empire dress of Empire style. From 1820 on, it was a period that showed signs of influence from romanticism while the effect of neoclassicism started to become more diminished.

• Journal of Fashion Business
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• v.8 no.1
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• pp.16-33
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• 2004

Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.