• 패션비즈니스
• /
• 제18권2호
• /
• pp.1-13
• /
• 2014

This study examines research trends in the dissertations and journal articles on stage costume so as to provide basic information on directions for future studies. The data was collected from the theses of domestic journals of the Korean Studies Information (KSI) which were published until December, 2012 and retrieved by a keyword related to the "design of stage costume", "costume for performing art", and etc. Theses and articles for the analyses were a total of 200 published. Reviewing the theses by dividing the times into 8 Chronicles of 5 years in each term. The findings of the study are as follows: According to the chronological analysis, there has been a steady increase in the rates of the musical, ballet, dance, and circus costume and cutting edged technology such as LED has been utilized in the performing art, currently. The real production and making up of the costumes have been increasing as well by replacing of illustration and rendering of the costumes. In the recent costume of the performing arts show the tends of the visual effects and up-sizing, comprehensiveness and fusion. From the analysis of the background of the work, those were confirmed that the most common historical period was modern period, and places were France, England, and Egypt. In regard to research themes and methods, many of research papers utilized content analysis method, character analysis method as research methods. The most popular presentation of the costume designs was "rendering", "costumes schedule" and "illustration". However, development and explanation of the patterns was insufficient and constructions methods and real works(costumes) were usually omitted in the articles.

• 한국의상디자인학회지
• /
• 제12권3호
• /
• pp.105-119
• /
• 2010

The style of costumes which dancers put on for dancing on a stage reflects the times, culture, and traditionality of movements in dancing. Accordingly, everyday dresses are adopted as the stage costumes in some cases and stage costumes lead the trend in other cases. Furthermore, like stage costumes in other genres, dancing costumes put more emphasis on expressive features in the functions of clothing unlike everyday dresses. In particular, dancing costumes shall sufficiently and delicately express each movement using the costumes as well as rhythms and melodies of music for dance. Ballet which is the representative western dance was derived from the world "Ballare" meaning "dance" in Italian. As shown in the change of word, ballet started in Italy. In Italy taking initiatives for all artistic activities in Europe as leading Renaissance in the 15th century, ballet started as the court dance and favored by French. Then, ballet flourished in France and was developed to the Romantic ballet in the 19th century. During the Renaissance, the early stage of ballet development the dancers put on the dresses which were in fashion at that time on the stage. The dancing costumes added the decorative features suitable for the characteristics of main actors or actresses and contents of dances to the dresses in fashion at relevant times in 17th and 18th century. "Panier", the dancing costume in the 18th century, was sensationally popular among women. As described above, the study on the features of dancing costumes by times not only arranges the costumes in each times but also investigates emotions and artistic and aesthetic values of those who lived in the relevant times. Furthermore, it is the way to experience the height of fantasy and beauty.

• 한국의상디자인학회지
• /
• 제22권3호
• /
• pp.1-17
• /
• 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.

• 복식
• /
• 제63권6호
• /
• pp.1-13
• /
• 2013

The purpose of this study is to examine the trend of plural eclecticism in costumes appearing on the stages of the world's top 4 musicals based on the general researches and establishments made of the mentioned concept. The conclusions of this study are as follows. First, the aspects of eclectics appearing in overall pieces can be defined as situational eclecticism. It can be attributed to the dramatic elements contrasted in the storyline of the musical and occurs in mixture with various situations. Showing combinations of costumes from varying situations at once in the same stage makes the audience feel the dynamic elements of the piece. Second, the aspect of temporal eclecticism, which can be seen in the 'Phantom of the Opera' regarding mixture of crinoline style and art nouveau style, resulted from the partial mixture of classical elements for maximizing visual beauty in the historical pieces. Third, the aspect of spatial eclecticism can be observed in the musical 'Miss Saigon', which used costumes that combined multicultural elements by exposing different spaces and cultures such as America and Vietnam. It eclectically expresses the unique cultures and costumes of each country. Fourth, 'Les Miserables' shows the aspect of situational eclecticism, through its use of mixture of situations in various aspects, and in particular, the male and female costumes that blur the boundaries of life, death, and costume, the mixture of people's costume and aristocrat's costume, and the situational elements where the good and evil are contrasted are integrated eclectically to make the story dramatic.

• 한국의상디자인학회지
• /
• 제9권3호
• /
• pp.115-132
• /
• 2007

The purpose of this research is that to study of musical performer's purchasing behavior, satisfaction and design preference, and to give the information for better performance costume market based on that result. The target for the survey is limited only for above 4th grade female students and have experienced more than three times of performances. Total 364 questionnaires are used for this research. The SPSS was used for the analysis. The results were, first, in the survey of place of purchasing, specialty shop for musical performance shop was the most. The most group for the budget that they spent was under 100,000 Won. Rational price for costume would be 150,000-300,000 Won. Most people purchase costume before 2 weeks and compare 3-4 stores mostly. There were not many complaints about being comfort for costume itself. The preference for costume was different depends on not only scale of performance but also whether solo, duet or trio or more. Also harmony with other person costume was most consideration factor when they perform duet or more. For the choice of shop factor following were considered the most important; various selections, kindness of sales persons and possibility for trying various costumes. However, locations of shop or delivery service were not important relatively. For the choice of costume factor, design color, comfort and functionality were considered the most important but price, quality and decoration were not. For 'the satisfaction after purchase costume' factor, people's opinions, best appearance on the stage and meeting image with themselves were considered the most important. Second, on the subject for 'design preference of costume based on type of performance', people chose different color of dress depends on what types of performance. In case of solo, they prefer vivid primary color; in case of trio or more, they prefer black; in case of duet, they prefer pastel tone. As for preference of sleeve design, all of them prefer non-sleeve type.

• 한국의류산업학회지
• /
• 제10권2호
• /
• pp.138-146
• /
• 2008

Opera costumes are a tangible medium to directly affect how opera singers performed. Therefore, stage costumes have been designed in various ways to reflect intentions of directors. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust" which was played in Sung-Nam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the supporting actors are drawn from this study. Martha wore a grey jacket and a long skirt with slash. Grey suit symbolized chastity but tight long skirt with slash means sexy. Valentin wore military and combat uniforms to express that he was a soldier. The military uniform represented the situation before the war and the combat uniform symbolized the situation after the war. Rather short trousers, a white tweed jacket, purple flower ornament, a light green vest, and a beret were used to express Wagner, who looked ridiculous and always tried to flirt. Overalls, a blue jumper, and a scarlet baseball cap were used to make Siebel look naive and homely. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency and meet the audience's needs for various style.

• 패션비즈니스
• /
• 제4권2호
• /
• pp.127-140
• /
• 2000

The purpose of this study was to research and design stage costumes of Whangjinie focusing on inner image of Whangjinie, present stage costumes of new image. Four steps were taken in order to achieve this purpose. The first step was to investigate the old documents and prior research about literature world of Whangjinie. The second step was to analyze stage costumes of Whangjinie which were worn in opera, movie. The third step was to design and make the stage costumes according to new images Whangjinie which were extracted from above two research results. The new images of Whangjinie are as follows 1. Whangjinie as a kisaeng(professional entertainer) She thirsted for new, materialistic love though she failed in love everytime. 2. Whangjinie as a woman. She had a hard time by feeling an irresistible yearning for lover 3. Whangjinie as a poet. She expressed as a poetry her vanity and loneliness of life. Using above three images, this study designed four new stage costumes of Whangjinie and two designs of them were made really. But this study didn't present historic costume of her age but expressed modern mood in color and form.

• International Journal of Costume and Fashion
• /
• 제6권2호
• /
• pp.11-27
• /
• 2006

The purpose of this study is to develop highly valued fashion cultural items using Korean face and human images to enhance global competition. The methods of this study include: historical study on the face/human images which appear on the dress; design by stage according to Lamb & Kallal's apparel design process; development of products using digital textile printing technology; and case study by objective evaluation through Grant's alpha-beta model. The procedure and the results of this study are as follows: First, in the problem identification stage, the need to develop fashion cultural products of Korean face/human images which are symbolic, aesthetic, and functional was recognized in order to enhance global competition. Second, in the preliminary idea stage, the fashion cultural products and the components that meet the above 3 standards for design were determined and first design was drawn up. The source of the design was extrapolated from face/human images, which appeared on the murals of the ancient Korea, the portraits and custom paintings from the Chosun Dynasty. From these images, a total of 7 design series of T-shirts with an "ULGUL" logo, scarves, and artwalls were developed using "obangsaek" which are five Korean traditional colors including red, blue, black. white, and yellow on cottons and silks. Third, in the design refinement stage, based on the preference survey, more varying design methods were used to develop 25 new designs. Fourth, in prototype development stage, based on the preference survey conducted on fashion professionals and general public from the previous stage, which showed preference for T-shirts and scarves, 3 designs on T-shirts and 2 designs on scarves were printed and produced using the DTP (Digital Textile Printing). Fifth, in the evaluation stage, Grant's alpha-beta model was used to perform comparative evaluation on the symbolic, aesthetic, and functional criteria of the new designs over the existing ones. The new designs received excellent results in all three criteria and a special recognition was given to symbolism of the new designs.

• 복식문화연구
• /
• 제26권4호
• /
• pp.503-518
• /
• 2018

The purpose of this study is to illustrate the design of safety suits based on energy-harvesting technology, particularly targeting street cleaners who must work at night with high mobility. The design focuses on applying lightweight energy-harvesting tools and illuminant into the wear. The design development reflects feedback from testers collected via survey constituting a key methodology. The development process has two main stages. Each stage uses a process of design prototyping, internal examination, test sampling, test wearing, and wearers' feedback via survey that consists of questions on visibility, wearing convenience, and washability. The first stage results show the design of safety suits with energy-harvested LED illuminant inserted and the survey results collected from street cleaners dressed in 4 sample and 80 actual suits in total. Improved based on the first-stage survey results, the second stage designs the suits with detachable energy-harvested EL tape. From these 5 sample and 30 actual second-stage suits, the additional survey indicates that this second-stage design facilitates more visibility and convenience in washing and wearing than the first-stage design. Accordingly, one can expect that this new design can apply not only to safety suits for night workers but also to handicapped or outdoor sportswear applications in the future.

• 복식
• /
• 제62권5호
• /
• pp.125-137
• /
• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.