무대의상에 나타난 다원적 절충주의 경향에 관한 연구

전여선(Yuh Sun Jun),김장현(Jang Hyeon Kim),김영삼(Young Sam Kim) 한국복식학회 2013 服飾 Vol.63 No.6

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.

반사회적 의식이 반영된 시대복식의 특성에 관한 연구

전여선(Yuh Sun Jun),김영삼(Young Sam Kim) 한국복식학회 2012 服飾 Vol.62 No.6

The style of a dress allows important characterization of an era since they reflect contemporary politics, society, culture and arts. Within a same category, period costumes develop into styles that reflect specific consciousness. The research method and the scope of the study are as follows: the research adopts a historical study method and a comparative research from a microscopic point. The scope includes resistance costumes that proceed with sans-culotte that comprises of the resistance party during the 18th French Revolution (1783-1799), and also a Hippy style which was popularized during the 1960s and 1970s for its anti-war movement. We researched both similarities and differences of design factors reflecting resisting consciousness in costumes that affected costume characteristics related to their socio-cultural background. Sans-culotte and the Hippie style reflect a common denominator in anti-social resisting customs. First, they show common characteristics that combine fashion trends of resistant element and design features. Second, they have common features which are the characteristics of deviation. On the other hand, these two customs also present a discriminative denominator in anti-social resisting customs. In the case of sans-culotte, they tend to symbolize confrontation by dividing into two equal parts: the old and new mode. Sans-culotte confronts the conventional mode and promotes practical costume styles based on justice standpoints. First, hippies pursue an exposition of individual emotions that disclose internal meanings of love and desire. Second, they focus on subjective characteristics and chase after masteries and pleasures by expressing intensity. Third, it extends and develops folk costumes from many countries that reveal ethnic trends. Therefore, this research compares and contrasts different changes in the fashions of revolutionary periods, and aims to recognize the relationship between design and costume characteristics, thus contributing to the predictions of future changes in fashion.

예술적 패러다임 전환기에 나타난 서양 여성 복식의 미적 특성과 현대적 표현

전여선 ( Yuh Sun Jun ),김영삼 ( Young Sam Kim ) 한국의류산업학회 2014 한국의류산업학회지 Vol.16 No.6

This study investigated the relationship between inner characteristics manifested through the characteristics of artistic styles and formativeness manifested through external expressions of architectural styles in the early Medieval Period and early Renaissance Period. The method applied to this study is as follows. First, a historical document research was conducted centering on academic theses, related books, and academic databases; in addition, a case study identified the aesthetic characteristics of women``s clothes. The conclusion of this study is as follows. First, the following is the analysis of the relationship between the artistic mode and architectural formativeness in the early Medieval Period and early Renaissance Period that represent a turning point in artistic paradigms. Second, the inner characteristics and eclecticism of the artistic mode literally appear in the formativeness of architectural style in the early Medieval Period, and the eclecticism in the architectural style appears to be expressed through a combination with new styles based on the application of the retro mode such as the eclectic adoption of cultural styles of various regions based on the tradition and technology of ancient Rome. Third, the trend of the aesthetic characteristics commonly appear in the modern style of expression related to the aesthetic characteristics of western women``s clothes in the early Medieval Period; in addition, the early Renaissance Period was analyzed as decorativeness and respectively manipulability.

Considerations in Health monitoring Planning of a Newly Constructed Animal Facility

Kyoung-Sun Lee,Hyo-Sang Lee,Ig-Jun Cho,Sang-Woo Kim,Eun-Hee Kim,Hyung-Soo Yuh,Jong-Man Kim,Bynug-Han Lee,Byung-Hwa Hyun 한국실험동물학회 2014 한국실험동물학회 학술발표대회 논문집 Vol.2014 No.8

Costume color design as a symbolic expression in the independent film <Bittersweet Life> : Images in situations of movie location

Kim, Jang-Hyeon,Jun, Yuh-Sun,Kim, Young-Sam 服飾文化學會 2014 服飾文化硏究 Vol.22 No.1

This study researched the symbolic meaning of the costume colors in the independent film <Bittersweet Life>. The purpose of the study is to shed light on the relation between a film and the clothing color by exploring the symbolic meaning of costume colors as based on place images and as reflected in characters’ internal psychological states and situations. The conclusions of this study are as follows. First, the colors primarily presented were neutral shades of black and white or dark, almost-black tones, representing the negative narrative structure and depicting the image of a human being. Second, a series of bright blue shades were presented to reflect the positive narrative structure of a human being returning successfully to reality. Third, the application of color, involving both the psychological aspect as well as the symbolism of color, was effectively delivered to the audience. Fourth, the emphasis on color in the smallest details of costumes was analyzed, and it was found that symbolic color effectively communicated the whole image of transformation as the story progressed, clearly delivered delicate emotional messages, and contained symbolism relating to particular places and situations.

Transactions : The Images of Chinese Traditional Colors and Cultural Preferences -Focus on the Movie Costumes of <The Last Emperor>-

( Young Sam Kim ),( Yuh Sun Jun ) 한국의류학회 2010 한국의류학회지 Vol.34 No.12

An authentic national spirit in media (particularly films), traditional images, and color preferences is expressed through movies that are melted in local traditions. This study suggests a direction regarding the characteristics for historical costumes by examining traditional color images and cultural preference in the Chinese film <The Last Emperor> (1987), a representative film that deals with Chinese history and traditions. This movie can illustrate the correlation between the temporal backgrounds and the costumes in the movie with the criteria of Eastern color systems. The results of this research are summarized as follows. First, the image of Chinese traditional colors represented in many parts of <The last Emperor> and the cultural preferences that underlies their works through the expression of traditional colors. The scenes of traditional costumes and colors express the visual embodiments of the costumes that reflect a specific status, ceremony, or ritual. Second, the traditional colors used in the movie are based on the Yin-Yang theory. Particularly, Red, Yellow, Black is mostly used for ordinary clothing. Third, there are some differences in the use of color arrangements, that change regarding the use of traditional colors according to images and situations that follow the intention of the director. Planning the color arrangements is considered an engaging connectivity between traditions and images in the movie and it is extended or reduced based on cultural preferences. Fourth, the increase and decrease of color arrangements is distinctively represented as the story of the movie proceeds.

Costume color design as a symbolic expression in the independent film <Bittersweet Life> : Images in situations of movie location

Jang Hyeon Kim,Yuh Sun Jun,Young Sam Kim 服飾文化學會 2014 服飾文化硏究 Vol.22 No.1

This study researched the symbolic meaning of the costume colors in the independent film <Bittersweet Life>. The purpose of the study is to shed light on the relation between a film and the clothing color by exploring the symbolic meaning of costume colors as based on place images and as reflected in characters' internal psychological states and situations. The conclusions of this study are as follows. First, the colors primarily presented were neutral shades of black and white or dark, almost-black tones, representing the negative narrative structure and depicting the image of a human being. Second, a series of bright blue shades were presented to reflect the positive narrative structure of a human being returning successfully to reality. Third, the application of color, involving both the psychological aspect as well as the symbolism of color, was effectively delivered to the audience. Fourth, the emphasis on color in the smallest details of costumes was analyzed, and it was found that symbolic color effectively communicated the whole image of transformation as the story progressed, clearly delivered delicate emotional messages, and contained symbolism relating to particular places and situations.

한국 영화와 TV드라마 전통복식에 나타난 색 이미지와 상징성

김영인(Young In Kim),전여선(Yuh Sun Jun) 한국복식학회 2008 服飾 Vol.58 No.2

3D 프린팅 기술이 접목된 여성 슈즈 디자인의 조형적 특성

김영삼(Young-Sam Kim),전여선(Yuh-Sun Jun),박근정(keun-Jung Park),김장현(Jang-Hyeo Kim) 한국복식학회 2016 服飾 Vol.66 No.8

오트 쿠튀르 패션쇼 피날레의 브랜드 이미지 추구에 따른 패션디자이너 의상 연출 유형 및 특성에 관한 연구

김지우 ( Ji U Kim ),전여선 ( Yuh Sun Jun ),김영삼 ( Young Sam Kim ) 한국의류산업학회 2016 한국의류산업학회지 Vol.18 No.5

This study analyzes and classifies dresses by fashion designers worn in 10 fashion show seasons for hautecouture finales over the last five years(from 2011 S/S to 2015 F/W). The analysis of dresses are divided into 6 sections: classic image brands, new launching brands, designer``s image changing brands, continuous image brands, reentry collections brands, and non-continuous participated collection brands. In addition, fashion designer dress types based on this analysis are as follows. First, the type of individual image displayed positively appeals individual identity in fashion shows when wearing clothes like a fashion icon or model. Second, the type of personality orientation shows the personal image of the fashion designer rather than a brand image when expressing a favorite dress. Third, the type of reflecting the season trend shows seasonal trends by wearing a similar dress that match with the fashion show theme. Fourth, the type of consistent brand image means a dress by a fashion designer that meets a characteristic image of a brand that appeals to many people. Fifth, the type of original and typical fashion designer is a casual style(like a shirt and pants) that most people consider a fashion designers dress when leading and operating their own fashion show.