• 복식
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• 제51권4호
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• pp.43-56
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• 2001

Articles on fashion of major daily newspapers for about one years after I.M.F. system were analyzed. The influence of I.M.F. system, values, the importance of costumes at economic crisis were studied through fashion at that time. The major conclusions of the study are as follows : 1. Costumes made in Korea, national brands In Korean words, practical styles, multi-functional design, economic tastes and mixed fashions were emphasized. 2. The sound and patriotic values were pursued through domestic fashion and creative ideas were developed to overcome economic crisis. 3. The meaning of costumes was still important under shrink of consumption. Costumes were useful tools to estimate ability and express aesthetic appreciation. The sound fashion trends under I.M.F. system reflect the reflection on overconsume and the will to overcome economic crisis. Such trends should be fixed for the establishment of economic prosperity for the nation.

• 한국의류학회지
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• 제33권7호
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• pp.1014-1024
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• 2009

The cultural content industry can be stimulated by the production of content based on Korean traditional culture such as Korean court culture. At present, the use of royal costumes of various Korean dynasties for content creation is rare. Less than ten government-supported projects managed by the Korea Culture & Content Agency (KOCCA) are related with Korean royal costumes. Only a handful of tourism-related cultural products (e.g., souvenirs and theme parks) are related to this subject. Fortunately, there are many events that demonstrate traditional court ceremonies; however, there is a need for more investment in academic research to ensure accurate reproduction. There are a number of issue in utilizing traditional royal costumes to produce cultural content that include: a lack of understanding the importance of Korean royal costumes, discrepancies of the content produced based on the historical context, a lack of public knowledge or support, and the lack of the historical accuracy of reproduced content. In order to benefit the most from royal costumes, this article suggests recreating the costumes as a source for further content creation, the development of a database to store information by design features and itemized topics, along with the active support of the government.

• 복식문화연구
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• 제9권2호
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• pp.259-276
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• 2001

Hitchcock, "a master of the thriller" "leading figure of thriller", was famous for his work style. He never starts filming until completing a perfect conception in his mind before shooting. He started filming after getting a perfect filming plan adding a picture even one detailed shot picture. Also the movie costumes was not an exception in his movie. He put more main object to express a symbolic meanings by recreating movie costumes which were fit to drama′s subject than function which spoke for contemporary popularity also he guides actors to put on the movie costumes examined previously to shape a definite visual character in that works. This research intends not only to look into symbolic and expressive means of dresses through the movie costumes on thriller appeared in Hitchcock′s movie, but also the comprehension width by grasping importance of the movie-costume and dress image in the movie. Hitchock made about 55 movies, mostly thriller movies, from Number 13(1922) n unfinished work to family plot(1976) ones posthumous work. This research examined his the second half of term works(after 1950) such s Rear Window(1954), Vertigo(1958), Psycho(1960), Torn Curtain(19660, Topaz(1969) and Frenzy(1972) which are generally familiar to the public. In conclusion, we can find that the thriller movie costumes as well s the other movie and appeared a character of the film′s characters, social rank, economic level, personality. But expecially, a costume of Hitchcock′s thriller movie can be contained a characteristic factor of a kind of five.

• 복식
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• 제55권7호
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• pp.1-21
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• 2005

The purpose of this research was to re-illuminated the artistic value of costumes that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde an. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the style of art that Larionov and Goncharova introduced in the 20th century. The research method defined the formation and the progress of the development of the Rayonism centering the works of art by Larionov and Goncharova. Based on this method, larionov and Goncharova designed the set and the costumes for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing an. The result were as follows. First of all, Larionov's costumes of art were all manufactured based on the theme of nature and genesis. In other words, Larionov represented the sun as a humanistic god through the white night, the natural weather condition of northern Russia. His costumes also displayed the symbolic meaning of the personification of animals like birds and cats, which emphasized the importance of both nature and tradition. However, he used Rayonism expression when he designed costumes by applying the nature themes. On the other hand, Goncharova applied the Spanish passion, the Russian folk art lubok, and goldern cockerel or religious icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume design. her design displayed the Rayonism influence through the separation between the lines and the surfaces, whic defined the costumes as a decorative art experiment. Therefore, the study of Larionov and Goncharova had one realize that Rayonism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Larionov and Goncharova reflected the miracle of the transformation of the 20th century in their costume designs.

• 복식
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• 제63권1호
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• pp.42-55
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• 2013

As performing arts including operas are getting popular these days, the importance of stage costumes is strengthened. Stage costume is one of the artistic requisites for opera performance, it plays an important role in describing the play's situation, the director's style and the person's character. Nevertheless the study regarding the opera's costumes is not active, especially the comparative study on the same opera's costumes performed by different opera companies have hardly been made. Therefore this study compared 5 Manon Lescaut opera performances: the Metropolitan Opera(1980), the Flemish Opera(1991), the Metropolitan Opera(2008), the Seoul Metropolitan Opera(2010) and the Vienna State Opera(2010) and made clear the difference between the four. From this study, we can get the following conclusions. First, the Metropolitan Opera's costumes in 1980 act and in 2008 act ascertained Rococo dressing. Because the costume designer for both acts was the same person, the general costume styles of the two acts are similar. Second, as for the Flemish Opera and Seoul Metropolitan Opera, there was a significant drop in fancy details and trimmings in the costumes. But the costumes made strong impressions dues to its color and luminosity contrast. Third, Vienna State Opera costumes had the boldest designs and it reflected modern designs as well. This study is meaningful in that it is based on the comparison study on the same opera stage costumes designed by different directors. Afterward this study is expected to contribute toward study on opera stage costumes and stage costume's development.

• 복식문화연구
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• 제27권4호
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• pp.353-367
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• 2019

These days, costumes of Korean creative dancing performances have been changed to be modernized and to be out of traditional regulation, as the representation of the Korean styles were replaced by other props and art devices. In this article, we have applied the emotions expressed in Jin-Yi Hwang's sijos (Korean traditional poems), to Korean creative dancing costumes in modern style. chose three typical sijos from her six pieces, titled "Green mountain is like what I've meant", "To Byeokgyesoo in Cheongsan-ri" and "Dongjibam ginaginbam". In brief, Jin-Yi Hwang expressed her "everlasting love and emptiness", "temptative conciliation" and "eager waiting" these three sijos, respectively. The character of Jin-Yi Hwang was shown in many TV soap operas and films, and the costumes were either much modernized, and not accurately based on the sijos she had written. Thus, we designed, made flat sketched, and fabricated three Korean creative dancing costumes from the three sijos, listed. We tried to highlight the aesthetic impression and the activeness of the dancing costumes, using both traditional and modern Korean fabrics. Since Korean dance costumes had not yet been inspired from Jin-Yi Hwang's sijos, we discussed the importance of the fabric items, as well as the visual, auditory, and tactile characteristics of the costumes and dancers to emphasize Jin-Yi Hwang's expressed emotions.

• 복식
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• 제50권3호
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• pp.13-30
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• 2000

The purpose of this study was to analyzed the types of Deformation dipicted on the late 1990s western costumes. The late 20th century cultural experience or lifestyle is interpreted with 'popular culture' ,popular culture is described as cultural phenomenon in postmodern condition. Contemporary popular culture may no longer be strictly 'working-class' as the idealistic purists of political formalism would like to , but does emerge from subordinate cultures, from the inventive edges of the consensus, and from the previously ignored and suppressed. It gestured through a widening democratization of styles, sounds and images, to an important remarking , to new possibilities , new perpectives, new projects. The growing importance of popular culture as a source for change of expression in the art, expecially new desire and will of artists has been caused lots of ' Deformation' in their works. Deformation, doesn't mean to represent object faithfully as it were seen through the artist's eyes. In a sense it implies that artists deform it with conscious or unconscious form. So in this study , the phenomenon of the postmodern western costumes is to describe ' formative language' called 'Deformation.' and it is classified three types, that is, 'Deformation of human-body image.' , Deformation of silhouette.' 'Deformation of detail.'. First , Deformation of human-body image is represented by deconstructive , subversive image in western costumes, a lot of costumes types of deconstruction have been shown by fashion designers are emphasized empathy with Deformation of human-body image. Second, Deformation of silhouette is also represented subversion of traditional manner and ultiity, underwear and outwear structure and ugly image. parody image of postumodernism , and so on. Above all, the late 1990s western costumes with Deformation of silhouette was an infinitely larger and more complex world than it appeared from outside and has expressed as a rejection against the values which traditional aesthetic concept had pursued, And parody through the change of internal meaning is to bring about parodox, irony, contempt, satire , unexpectedness by applying the original to inapproporate subject through its substition, inversion. Third, Deformation of detail is represented overdecoration, exaggerative distortion of for , overlapping and fetish image, parody image, kitsch image, and so on , Once fetish achieve a certain' style factor' among trendsettler, they are picked up by internationally famous fashion designers, The characteristics of kitsch are overdecoration , unfitness , imitation , used western costumes.

• 한국의상디자인학회지
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• 제14권4호
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• pp.139-150
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• 2012

This study aims to understand the importance of stage costumes, examine and analyze their theoretical ideas in order to propose new designs and support the studies and advances of stage costumes in play. The writer operated and produced the costume designs of Shakespeare's play, Measure for Measure as a costume director, which was played on September 16 to 17, 2011 at the Haneul Theater in the National Theater of Korea and on September 3, 2011 at the Jinnam Munye Theater. The study was followed by 1. Proposing a new modern point of view of the design of the traditional dresses in 16th to 17th centuries. 2. Expressing a symbolism based on personality, role and nature of characters in the play by a creative and modern image of the dress in color, line, and silhouette, which are basic factors of a clothes design.

• 한국의류학회지
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• 제34권2호
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• pp.336-344
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• 2010

Stage costumes are characterized by the importance as a medium of total visual expression on a synthetic art and need to be designed more effectively. This study followed the stage costumes of the play 'Long long time ago whuo-ee whuoee' which participated in the China-Japan-Korea University Theatre Festival. By consisting of the framework of a Korean story that tells and expands the visual expression province by the access method of a producer, the unique costume in the play was created by the dyeing of the traditional hangi. First, the use of hanji in theater represents originality and a fresh variation with the formative beauty of stage costumes in accordance with hanji that conforms to the recreation of tradition. Second, the dip dyeing technique made it possible to express colors limitlessly and the airbrush dyeing technique along with dyeing twice could account for the weak points of the color. As a result, the color brought effect as expected. Third, the weak points were supported by a Jumchi technique that created the fibroid material tangled with stronger adhesion in the creation of a hangi costume. In addition, dyed hangi was attached to the outer fabric. It allowed the costume to have a unique texture that was both soft and tough. This enforced the visualization of the costume and durability to prevent possible damage by the performers. Forth, pieces of hanji were attached to the damaged parts of the costume after re-visiting the dress rehearsal. As a result, the stage costumes represented the shabby clothes that express the social class of the characters. A new understanding of the excellence of traditional hanji was found and confirmed the possibility of it as a material for stage costumes through the study.

• 한국의류학회지
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• 제31권12호
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• pp.1761-1771
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• 2007

시각적 효과를 내기 위해서 혹은 상징적 연출효과를 기대해서이던 간에 무대의상 제작에 있어 인위적 과장은 무대 위의 연출을 돋보이게 하는 중요한 표현 기술 중 하나이다. 본 연구의 목적은 무대의상의 역사를 공연예술사에 나타난 다양한 무대연출의 극적 효과를 보다 잘 표현하기 위한 노력의 결과물이라 보고 특히 제2차 세계대전 이후 유럽에 나타난 연출사조를 무대의상의 소재연출과 제작기술을 통해 이해해보는 것이다. 무대의상을 단순한 장식과 시각적 표현도구로 바라보지 않고 연출의 의도를 극적으로 전달 할 수 있는 표현 도구로 보는 관점은 제2차 세계대전을 기점으로 확연히 드러나므로 본 연구범위는 무대 의상의 위상이 단순한 장식뿐만 아니라 극적표현력까지도 포함하는 제2차 세계대전 이후부터 20세기 말까지 제한하였다. 연구방법은 먼저 무대의상 제작 시 사용되었던 소재의 간단한 사적 고찰을 살펴보고 제2차 세계대전 이후 나타난 유럽의 공연예술 사조를 대표할 수 있는 다섯 개의 무대연출 사조를 심미적, 창조적 기여도를 기준으로 다음과 같이 선별하였다. 1) Jacques Copeau의 단순화된 무대, 2) Bertolt Brecht의 정형화된 무대, 3) Grotowski의 본질적인 무대, 4) Robert Wilson의 측정된 무대 the Master, 5) Philippe $Decoufl\'{e}$의 포스트 드라마틱 무대. 각 사조별 사회문화적 맥락과 활용 가능한 소재의 발전과 무대의상에 미친 영향 그리고 그에 따른 무대의상의 소재연출과 제작기법의 다양화 등을 분석해 보았다. 무대의상은 연출의 의도에 따라 무대미술에서 차지하는 그 중요성이 때론 부각되기도 때론 감소하기도 했음을 알 수 있었는데 그 연구결과는 다음과 같다. 1) Copeau의 단순화된 무대를 위한 의상:배우의 제스처를 강조하기 위해 의상의 단순성 부자 2) Brecht의 정형화된 무대를 위한 의상: 의상의 인위적 정형성은 배우의 연기와 거의 동등한 중요성으로 인식 3) Grotowski의 본질적 무대: 무대 위 배우의 존재감을 강조하기 위해 의상이 거의 사라짐 4) Robert wilson의 측정된 무대: 무대 미술 구성 요소들(조명, 음향, 소품, 배우, 극본) 중 의상은 구체적 구성 요소 중 하나로서 배우의 몸과 동등하게 격상됨 5) $Decoufl\'{e}$의 포스트 드라마틱 무대: 멀티 테크놀로지 시대에 접어들면서 의상의 다기능성으로 배우의 몸을 대체할 수 있게 됨. 본 연구의 결과 무대의상의 위상이 연출의도를 추론 해 볼 수 있을 정도의 독립적 공연예술 작품으로 인정됨을 알 수 있었으며 무대의상의 위상이 변함에 따라 의상 제작가의 위상 또한 연출자의 의도대로 옷을 만드는 단순한 기술자가 아니라 고도의 지식과 경험을 요하는 만능 예술인으로서의 자질을 갖춰야하는 것으로 점점 바뀌어 가는 사실 또한 알 수 있었다.