Any thoughts on the new P1harmony cb teaser/prologue? It visually reminds me a bit of A.C.E Fav Boyz mv (though nothing can hold a candle to that), so I was wondering if there is any basis for that
i'm pretty sure it's just a coincidence, since techno stuff has been on trend for the last little bit. the only real thing they share as a similarity is the neon colours; of course there is the 'tech' aspect, but the tech in the p1h vid is all retro + physical objects. the aesthetic that it looks like they're going for is like, teen hackers in a 90s movie, where the tech is used as a nostalgic callback. the fav boyz mv actually features almost NO tech at all, with the exception of the video camera bk is holding and like, steve aoki's mixing setup. everything 'futuristic' is done entirely through editing and on-set lighting. all those elements are of 'tech' that doesn't exist yet, making the fav boyz mv more akin to speculative science fiction, vs the p1h prologue that's very specifically grounded in existing and even old technology.
ok this took way longer than i expected because i got sidetracked looking at paintings and reading poetry and just admiring the mv, but it's finally finished!! let's talk about
higher
✨
i'm going to draw your attention to a few things.
firstly, these verses from rime of the ancient mariner by samuel taylor coleridge, published 1834:
The harbour-bay was clear as glass,
So smoothly it was strewn!
And on the bay the moonlight lay,
And the shadow of the Moon.
The rock shone bright, the kirk no less,
That stands above the rock:
The moonlight steeped in silentness
The steady weathercock.
And the bay was white with silent light,
Till rising from the same,
Full many shapes, that shadows were,
In crimson colours came.
A little distance from the prow
Those crimson shadows were:
I turned my eyes upon the deck—
Oh, Christ! what saw I there!
Each corse lay flat, lifeless and flat,
And, by the holy rood!
A man all light, a seraph-man,
On every corse there stood.
This seraph-band, each waved his hand:
It was a heavenly sight!
They stood as signals to the land,
Each one a lovely light;
This seraph-band, each waved his hand,
No voice did they impart—
No voice; but oh! the silence sank
Like music on my heart.
secondly, this ivan aivazovsky painting, chaos (the creation), c. 1841:
and thirdly, the memorial of percy shelley, who drowned in a boating accident at age 29, in 1822:
there's a common conflation between the romantic and the pastoral in the general cultural consensus because the pastoral a) has been around as an art term longer than romantic, and b) romanticism does use some similar imagery. but there is a key difference: the pastoral is specfically an idealization of 'the simple shepherding life,' often for high class and urban audiences who have no conception of the details of this life includes. one of the more famous examples is christopher marlowe's a passionate shepherd to his love, published in 1599:
Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
And we will sit upon the Rocks,
Seeing the Shepherds feed their flocks,
By shallow Rivers to whose falls
Melodious birds sing Madrigals.
And I will make thee beds of Roses
And a thousand fragrant posies,
A cap of flowers, and a kirtle
Embroidered all with leaves of Myrtle;
A gown made of the finest wool
Which from our pretty Lambs we pull;
Fair lined slippers for the cold,
With buckles of the purest gold;
A belt of straw and Ivy buds,
With Coral clasps and Amber studs:
And if these pleasures may thee move,
Come live with me, and be my love.
The Shepherds’ Swains shall dance and sing
For thy delight each May-morning:
If these delights thy mind may move,
Then live with me, and be my love.
whereas romanticism is a more pointedly specific movement that was active from around 1800 to 1850, primarily focused on intense emotion and catharsis as the primary experiential output of an artwork. which most prominently manifested in a deep fascination and glorification of the natural environment and historical nostalgia. the movement sprung from the german sturm und drang (literally storm and drive/stress) period of the late 1760s to early 1780s, which was a direct reaction to rationalism and enlightenment. romanticism had similar impulses; it was also a revival of medievalism and a reaction against the looming urban sprawl and mechanization of the industrial revolution. a typical romantic poem from one of the originators of the english movment william wordsworth, composed upon westminster bridge, september 3, 1802, originally published 1807:
Earth has not any thing to show more fair:
Dull would he be of soul who could pass by
A sight so touching in its majesty:
This City now doth, like a garment, wear
The beauty of the morning; silent, bare,
Ships, towers, domes, theatres, and temples lie
Open unto the fields, and to the sky;
All bright and glittering in the smokeless air.
Never did sun more beautifully steep
In his first splendour, valley, rock, or hill;
Ne'er saw I, never felt, a calm so deep!
The river glideth at his own sweet will:
Dear God! the very houses seem asleep;
And all that mighty heart is lying still!
this romantic fascination with nature was underpinned by the philosophy of the sublime, generally agreed to be first treatised by edmund burke in 1756, the theory was also written about by kant and hegel. in the simplest of terms, the sublime is a quality of greatness beyond calculation, imitation, and human comprehension. the sublime is twofold; the greatness of the ocean is beautiful, but its power is also terrifying, and the experience of the sublime is to feel those two at once. to be in awe and also to be horrified of its ability to sink ships and drown a life in a tempermental change of tide.
let's take a quick detour to talk about
clothing
in the present day we have become much more lax thanks to the aesthetic movement in the late nineteenth century, but back in the early victorian period there are still highly structured rules about when and what clothing one can wear in public. and the clothing itself is also highly structured. anyone with a passing understanding of the victorian era knows about the whole flashing of the ankle thing and corsets galore, and it is true that the general day to day garments cover a lot of area. for men in particular, this manifests in no less than three layers in public at all times: shirt, waistcoat, and suit jacket, with a coat or mantle overtop in colder temperatures. this also includes a variation of a neck tie (depending on what year), hat, gloves, and any other decided upon accessories (this can also include a corset and other padded structural underpinnings).
an important tangent to mention here is that this is the uniform of the upper classes, although the rules do apply to the lower classes if they wanted to appear 'sophisticated.' the working man's uniform was also shirt, waistcoat, trousers, but the difference here is in the textiles themselves; the colours tended to be much more drab, with less complicated patterns. obviously due to the price fabric itself, but also due to the labour of laundry. an indicator of class here is the white shirt itself and its pristine implications. (there is a longer conversation here about the invention of neckties and detachable collars and cuffs, but that's for another day).
the silhouettes are very important to note here in the higher mv, as they are directly referential to the 'romantic poet' archetype of loose shirt and tight pants that we see in popular culture. but as i've just said, the reality is that men of the era were not dressed like this out in public. this look is essentially underwear; the implications are salacious. so where did this come from? well, we can blame it mostly on lord byron, who by all accounts was the first western 'rockstar.' notoriously called 'mad, bad and dangerous to know' by lady caroline lamb (a married women he publically had an affair with), byron was openly bisexual and deeply hedonistic with a lot of questionable habits, but his poetry was so popular that he was known to have women following him in the street and gathering in large quanities to see him at salons. and this was close to three decades before lizstomania. his close friends and contemporaries included percy and mary shelley, with whom he lived with abroad in italy for some time (this living arrangement resulted in the writing of both frankenstein and john polidori's the vampyre). byron's reputation was so eclipsing that the image of the lush poet lazing in his undergarments has become its own genre of romantic, slightly removed from the movement byron was writing in. it's also worth it to point out that there are no official portraits of byron dressed like this from the time. the visual assumption is somewhat apochryphal.
now let's get into some specifics. a.c.e is not unfamiliar to this silhouette; as previously mentioned in this post i wrote about their styling, the boxy loose upper and fitted lower is their general mode for their styling because of its emphasis on legs. cactus was the most extreme example of this, and to prove my point, this specific silhouette is extremely common in classical ballet:
1. vaslav nijinsky, giselle, 1911
2. nehemiah kish, george balanchine's ballo della regina, 2011/12
higher fits very neatly into this same category: we have an emphasis on the legs through tightly fitted garments and also through light reflective textile, as well as a secondary emphasis on arm and shoulder movements with looser fit shirts. plus, the shirts are made from fabrics that have good drape and flow, and mimic the visual effects of water:
there are also several instances of scale patterning and wetlook hair styles, further elabourating on the siren theme. and the jewelry is the same, purposefully cut clear stones for oceanic sparkle or pearls, the gem directly born from water, as highlighting accents to specific parts of the body - namely eyes, hands, and torso:
the body jewelry also serves a double purpose in addition to being sparkly; it gives a semblance of shape to their torsos so their movements aren't totally lost in the shroud of their shirts, and it also invokes some of that salacious element that us as a modern audience doesn't necessarily perceive in the same way when we see a man wearing only a shirt. all of these points are especially prominent in the stage costuming. concerning the veils, these are an aesthetic choice following the theme of depicting water without actually using water. the song has a very breathless quality to it, and the lyrics directly make reference to water and breathlessness, so it only makes sense to have a physical manifestation of struggling to breathe.
now let's talk about
mise-en-scène
unlike most kpop mvs, I would argue that higher is not a spectacle in what we normally see spectacle to be. the overwhelming visual saturation of goblin (and the goblin remix) is more in line with what we expect, but how do you follow that, top it? the answer is that you don't. you aim for something with a completely different feel, which is exact what they did with higher.
the performing arts did not escape romanticism. the very start of the movement, sturm und drang, is actually named from a specific play written by friedrich maximilian klinger that premiered in 1777. the plays of the brief period are characterized by extreme and passionate emotions, and were siblings to one of the most famous genres of theatre, the melodrama. meant to appeal directly to the emotions of the audience using sensationalist plots and stock characters, the melodrama was the predominent form of entertainment in victorian england and gradually developed a specific form of its own. in this period we also start to see the development of 'stagecraft' into the recognizable form that it takes today. footlights, limelight/spotlighting, the separation of house and stage lighting, fly galleries, elevator platform mechanics, and the first (purported) western use of rear projection are all innovations of the late 18th and 19th centuries, as melodramas were known to have very intricate and spectacular stagings. and to go along with these stagecraft mechanics we see the rise in designated stage crews, which were predominantly off-duty sailors looking to make money. the rope systems that made up the fly galleries were very similar to that on ships, and much of the terminology and supersitions crossed over: this is the origin of the term 'rigging' being used for suspending set elements, and also the origin of the 'don't whistle in a theatre' superstition. as sailors communicated with whistle patterns on ships, the same system was adopted for changing scenery, and therefore whistling a random pattern could potentially drop a setpiece on an unsuspecting victim.
so with all this backstory out of the way, what is the very first full location we see? a stage, complete with forced perspective via the painted fabric legs (the side panels) and borders (the wavy upper panels). we even have a flat painted backdrop with a projection screen and hanging overhead lamps. there's also a second interior set, a desk in what looks to be a study of some kind. bit self explanatory on this one, taking the poet notion on the nose.
the locations have a bit of an obtuse arc, but it's there when you look for it. it starts interior spaces, where the ideas of sublime attempted to be recreated for the viewer. then it moves to transitory spaces; portions of nature isolated from a whole environment, interjections of human architecture into natural spaces:
(the white hut structure in the greenhouse is reminiscent of a skene (literally hut/tent), which is the structure at the back of the stage in ancient greek theatre used for the actors to change their masks and costumes. it was originally temporary, but slowly transformed into permanent stage architecture)
and then finally outdoors, into the sublime itself:
jwm turner, crossing the bridge, 1815
lastly,
lighting
there's a very clear lighting pattern here, primarily in light and dark. the base colour story is fairly simple complementary pairs; there's a lot of purple/red and green, and blue and yellow/amber, with everything relatively on the same tonal level. there are deliberate interjections of heavily saturated red for specific effect. there are also, most notably, a 'dark' version of all the sets. obviously as a reference to the eclipse that we see in the mv and in the concept photo series, but also as a reference to that darker undercurrent of the sublime, the upsetting, the uncanny, and the terrifying:
And the bay was white with silent light/Till rising from the same/Full many shapes, that shadows were/In crimson colours came.
Hello there! I'm curious to know your thoughts about a.c.e 👀 I find them to be really interesting especially with fashion and their debut cactus will forever remain a fave for the choreo especially.
hello!! i actually got another ask about their styling a couple of days ago, it seems like we've all got a.c.e on the brain because of the steady stream of frankly ridiculous teasers that they keep dropping on us. so i'll use this one to talk about their choreo and then keep an eye out for the other one about the styling (costume takes a lot longer for me to write about and i'm colour picking from as many of their music show stages as i can find, which is taking a while). i'm going to do at least goblin but i might end up doing all their title tracks because their stylists are very good.
ok lets talk choreo! i'll start with cactus, since as you said it's their debut stage, and then i'll talk about a few things from some of my favourite choreos of theirs, because otherwise i'll be here all day.
ok jesus christ cactus is a fucker of a choreo to debut with. and it really set the standard for what their choreos would be, which is namely a lot of speed isolation and really fast footwork. in cactus specifically (but also in most of their other choreos) they do a whole lot of quick geometric movements with very specific stop points, which are interspersed with more fluid movements, so in order to dance it you obviously have to have good body control, but you also have to have a really good memory/memorization skills to remember where those switchups are. i think my favourite iteration of the cactus choreo is their relay dance; it's really clear that they thought about where the switches were going to be and overall it just looks so sharp, especially right at the end. it might be my favourite relay choreo. also hotpants.
i think my favourite choreo of theirs is for take me higher! i just said in my seventeen performance unit ask that it's really hard to make a kpop choreo interesting with only four members, but this is a perfect example of how to do that! most of the formations are really tightly packed using longitudinal lines, so when they are doing unison choreo, there's a subtle visual difference. there are actually very few moments in this choreo where all four of them are doing the exact same movements. 95% of the time they're either on different longitudes, different height levels, or they're facing different directions. the only moments where they are doing the exact same thing in a horizontal line are here and here; both of them are for about five seconds each, and they're used mainly for emphasis on the formation changes.
i also really like the undercover choreo, particularly the opening move, but also undercover is just a great song. also their use of backup dancers in goblin is really interesting; in savage (which i think is their first title track that they promoted with backup dancers), the dancers don't actually contribute anything to do the choreo, they're just there as extensions of the lines. but the goblin choreo loses all its impact without them. they have specific functions in the opening and they use them for big and unusual stage pictures, most notably the grid formation and then with the sleeves at the end. it's cool to see the evolution of their choreo so quickly and i'm really excited to see what the new comeback choreo looks like.
Hey, in honor of A.C.E. coming back soon would you mind talking about their outfits and makeup in their Favorite Boy comeback (or really any of their outfits/make up cause their stylists is a god and deserves a kiss on the forehead)? They have some of my favorite styling of any boy group currently. Undercover Byeongkwan in the black and yellow crop top with the pony tail lives in my mind rent free and I’m not complaining. I especially loved the mesh of modern and traditional in Fav Boys.
yes!!!! ok be prepared people this is basically a love letter to a.c.e's stylist, whoever you are please my dms are open i just wanna talk (and maybe also get married, your choice)
(also this is really long because there's a lot of pictures, so sue me)
ok there's three main things i want to touch on here that are all contributing factors in a.c.e aesthetics hitting every time: colour theory, silhouette, and pattern matching. alright let's go!
colour theory
so i won't explain all of colour theory because i’m not as good as i should be with the actual theory, but here’s the basics. colours are divided into groups: primary, secondary, and tertiary. here’s a fun diagram i stole from google:
in centre you have the primary colours (red/blue/yellow), then you have the secondary colours, made from mixing the primary colours (orange/green/violet), and then the tertiary colours are made from mixing the primary and secondary colours (yellow orange/red orange/red violet/blue violet/blue green/yellow green). there are some commonly associated schemes that are known to ‘look good’ to the human eye:
complementary, where you pair two colours directly opposite each other on the wheel (red/green, blue/orange, purple/yellow)
analogous, which is a base colour with accents from the colours directly next to it (red base, orange/violet accent),
triadic - either base colour with accent colours equidistant from it (green/orange/violet), or base colour with split complementary (violet base, yellow green/yellow orange accent)
tetradic - this is essentially a combination of two or more of the previous, usually a double complementary or an analogous triad with a complimentary accent (red/green with red violet/yellow green, orange/blue with yellow orange/blue violet)
now there’s a lot more getting into tone, value, and saturation, but these are the basic hue combinations that we most commonly see. kpop styling sometimes veers wildly from these rules, but they aren’t hard and fast so it usually isn’t a big deal. plus a lot of styling is supposed to be a bit visually overwhelming anyways, so i’m not exactly counting it against anyone. but what makes a.c.e’s styling look so nice, even though it often isn’t that complicated, is that they always stick to a specific palette. like i went all the way back through their instagram and ALL their public appearances are coordinated:
even their dance practice videos, of all things!
this is especially true with their performance costumes:
i'm not saying anything really revolutionary here, most groups get colour matching down correctly, but a.c.e's stylists have really nailed down matching the tone and saturation as well as the hue. here's a couple of examples from concept photos:
complementary - full saturation green base, desaturated red (pink) as accent
analogous - full saturation violet, pink, and magenta with desaturated and black accents
triadic - all desaturated
complementary - full saturation red base, varying degrees of desaturation for accent colours
this is fun, let's do some more! this time from their performance costumes:
analogous (monochrome) - full saturation yellow green, desaturated accents
tetradic (analogous with complementary accent) - full saturation red, desaturated violet/red/blue, desaturated green as accent)
triadic (equidistant) - full saturation red/blue with desaturated yellow, desaturated accents
tetradic (double complementary) - full saturation red/green as main pair, desaturated blue/orange as secondary pair, full saturation yellow as accents
starting to see it? you can do this with pretty much any of their styling; i've watched a lot of their performances and i don't think i've seen a single one that didn't follow a really strict colour palette. (ok there were like two savage stages that were not quite as good, but you can tell the stylist was trying to bring them in line with the current 4th gen styling and it didn't work so it didn't last).
costume colours and lighting
this is an important aside in relation to the mvs. whoever edits their mvs is really good at colouring. a big part of colour theory is tone, which is how 'warm' or 'cool' a colour is. it's super important in lighting; the colour wheel is split in half, with yellow through red-red violet categorized as warm, and yellow green through blue and violet as cool. a really easy way to visualize this in lighting is through the light from different types of lightbulbs: led lights are cool toned (they are often slightly bluish), and old style halogen lights are warm toned (they are amber tinged). tones are a thing that kpop videos seem to have a fleeting relationship with; sometimes they're used effectively and sometimes they are not. a big thing that a lot of kpop mvs do is really quickly switch tones in colouring, without connecting the intentions of the colours. here's some examples: ateez's fireworks mv, and oneus' no diggity mv. the fireworks mv has this really weird desaturated balance between warm and cool tones specifically in the interior shots, where they somehow managed to overblow both at the same time, which ends up making it look like they were trying really hard to make a cool tone yellow. you can actually feel your eyes relax in that first shot that takes them outside, because the balance is much more natural. and the no diggity mv.... i love it but it's so chaotic. everything is on high saturation all the time and there's no real limitation on the palette, established connection between colours or arc in the colour story, so the cuts between colours and shots feel more random than intentional. now lets look at some a.c.e mvs in comparision, first: undercover. for starters there's an immediate establishement of red and white/black, with a mild green accent. then it continues to a stronger green/teal, with brown as an extension of red (same undertone). there's a colour shift at the first chorus, where they are in the analogous full saturation violet/pink outfits that i mentioned previously, but they actually desaturate and de-value the hues with edit in order to have it match the tone of the room. the second colour shift is for the second rap break, with byeongkwan and wow in yellow main on black and white backgrounds, but that same level of yellow saturation only appears at the rap break specifically, it's absent from the rest of the mv. and then there's a third colour shift on the last chorus, where they pump up the blue and magenta in order to emphasize the climax of the song.
second, for something a bit crazier: goblin. it follows almost the same pattern as undercover; starting with a strong establishment of red/white/black, but then it jumps into full saturation green and teal as the other main colours. again there's a colour switch at byeongkwan's second rap break, and after than we start to see that deeper saturation blue and pink/purple more, but the main colours are still red/white/black.
ok that's enough about colour, now let's talk about
silhouette
this is maybe a little bit more vague and difficult to describe, but whatever. silhouette is pretty much exactly the way it sounds, it's the overall shape of the body. clothing and body type play equal roles in how silhouette is perceived, but clothing can do a lot to either disguise or transform the body. now there isn't really that much variation in body type in kpop; it's a microcosm of small differences between a lot of very fit people, which has been normalized as "default" by society at large for the last while. i'm not going to get into body politics here, because we all know that kpop dudes are not the median average male body type, but they are for the sake of what we've been socialized to think of as looking attractive so the rest of this is going to operate from that assumption. and when you have five dudes who are pretty smack in the middle of that slight variation (none of them are the largest nor the thinnest, they're all about the same middling height), you've got pretty much free reign to put them in whatever you want and they'll still look hot. kpop styling has a dubious relationship to actual wearable clothing, but it is all costuming so it's not necessary for it to be wearable everyday clothing. but since view in 2015 there's been a dramatic increase in "normal" clothing as performance costume, and the thing about normal contemporary clothing is that it's actually very difficult to style in a convincing way. because it's the trends that the general public is the most familiar with, it's the easiest for them to pick apart where the flaws are. this is all preface to say that there are often common silhouettes that are popular with specific trends. in 2012-2013 there was that sweater tucked into circle skirt with big scarf trend, in the 2007 was like baggy everything and layered tshirts, etc, and 2018-2019 was big colourful patterned shirts. sound familiar? it should, take me higher came out in summer 2018! now there's a debate here (like with most pop culture and celebrity) whether or not kpop is following trends or setting them, and both points are true, but personally i'm of the opinion that kpop is kind of a median between the two; it's not setting trends because it's often taking directly from the fashion industry and/or other popular culture, but it is popularizing them in a way that said trend may not have otherwise. there's a lot of digressions in this section but i'm hoping this will help you see my point.
using take me higher as a specific example, you can clearly see that a.c.e is sticking to a specific silhouette within the group, which is a boxy/loose upper with a fitted lower. which you can see really clearly in this stage, this stage, this stage, this stage, and honestly pretty much every stage for this comeback. sometimes they'll have a slight variation where one of them is wearing a longer shirt, but otherwise it's pretty consistent. this is actually a really common silhouette for them, because it puts emphasis on their specific style of choreo, which is fast footwork. you can see it to the extreme in their main cactus styling, which goes the whole nine yards, fully making their legs the focus and going so far as to embellish them:
this silhouette also shows up for callin', where they're wearing boxy hip cut bomber jackets, and for the majority of the undercover styling, which is cropper military(ish) jackets. and it's shaping up to be similar for higher, so i'll talk more about it when i get there.
they have a consistant look for the goblin stages too, which is hanbok over a tight fitted underlayer. each of their hanbok are different cuts, which you can see with wow's cropped jacket and skirt combo, but it makes the same shape as the others. and in the goblin mv, most of their looks take a traditional silhouette and pair it with modern fabrics and patterns, and combining modern accessories with modernized traditional ones.
sticking to an internal silhouette is not the common mode for most boy group stylings at the moment. there's usually an adhesion to a specific colour scheme, but i have not noticed the same kind of care taken to silhouette. there's usually an adhesion to a member specific shape, but the general shape of the group is not usually as considered. you can see it in ateez's fireworks styling (yes i'm going to use it again, the styling was very weird and i never really talked about how weird it is). in the intro you've got tight pants, loose pants, short jackets, suit jackets, AND a long jacket. and then it's the same kind of variety in the rest of their outfits. if anyhting i'd say the emphasis was meant to be on shoulders, because of the point choreo; and yunho, hongjoong, san, and wooyoung all have some kind of shoulder padding, but that's only half the group. and the stage outfits are not any better. there's the infamous ketchup packet outfit, this naruto themed styling, this inexplicable bdsm football themed styling, and whatever this snakeskin theme is meant to be. it's all over the place! there's some performer specific shapes (hongjoong with the shoulder pads and hip length jacket, san with crop top, yeosang sleeveless) but if you were to just look at the shape of the outfits regardless of colour and pattern, you'd have no way to tell if they were all in the same group.
ok now lastly, let's quickly talk about
pattern matching and texture
this section won't be as long, but i wanted to cover it because even though it's a small and subtle thing, it does a lot in the visual long run. the general rule with patterns is that you don't combine patterns of the same size. this is kind of hard to explain without a visual reference so here's a few examples:
(not my photos, these are from scott schuman's blog the sartorialist)
small check, even smaller pinstripe
mid-size print on pant, large print on scarf
small shirt stripe, mid-size print on tie, mid-large print on scarf
small print on zip jacket, mid-size on scarf, large plaid on jacket
like all fashion and like everything else i've talked about here, this isn't a hard and fast rule, but it does generally look the most harmonious. a.c.e really nails this in the take me higher stages, which you can see here:
(in addition to using different pattern sizes, they're using different colours as well to make it less visually busy)
(bonus! see if you can name the type of colour stories!)
the goblin stages utilize a combination of texture and pattern matching, where the hanbok are a mix of different fabrics (raw silk, embroidered satin, organza) with different patterns, overtop plain underlayers, or when they aren't in hanbok their outfits are very heavily embellished to add visual interest, but are unpatterned fabrics.
in conclusion: good and cohesive colour stories, emphasis on uniform silhouettes and variety in patterns and textures. they also are very specific with accessories, and use them to emphasize key features.
ok! i think that's all i want to cover for this post, because this is already so long. but i've started on the write up for higher already, so i might get into some of my points here in more detail because i'll be talking about one specific thing instead of like......all of it.
