B1A4 always brought something different to K-pop. Of all the boy groups K-pop provides us with, I think this quintet is the one I have personally neglected the most. Their brand of pop tends to lean at a more cheesy ballad angle, which is usually a big turn off for me. B1A4, however, bring a […]
https://kultscene.com/wp-content/uploads/2016/11/kFA16Mu.jpg14001400Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-11-29 13:42:092017-01-10 11:45:31B1A4’s ‘Good Timing’ Album Review
Fashion plays an important part in Korean films and K-dramas—from the Joseon era girls who are free to roam in boy’s clothing to the newly rich women obsessed with name brand items—clothing defines and transforms characters. There may be a reason that so many K-drama plots, both contemporary and historical, feature makeovers. Nothing visually symbolizes […]
https://kultscene.com/wp-content/uploads/2016/11/Untitled-design.jpg7681024Joan Vos MacDonaldhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoan Vos MacDonald2016-11-28 05:52:562016-12-01 11:48:34KBS K-drama designer Minjung Lee helps bring characters to life [INTERVIEW]
B1A4 always brought something different to K-pop. Of all the boy groups K-pop provides us with, I think this quintet is the one I have personally neglected the most. Their brand of pop tends to lean at a more cheesy ballad angle, which is usually a big turn off for me. B1A4, however, bring a […]
https://kultscene.com/wp-content/uploads/2016/11/kFA16Mu.jpg14001400Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-11-29 13:42:092017-01-10 11:45:31B1A4’s ‘Good Timing’ Album Review
Fashion plays an important part in Korean films and K-dramas—from the Joseon era girls who are free to roam in boy’s clothing to the newly rich women obsessed with name brand items—clothing defines and transforms characters. There may be a reason that so many K-drama plots, both contemporary and historical, feature makeovers. Nothing visually symbolizes […]
https://kultscene.com/wp-content/uploads/2016/11/Untitled-design.jpg7681024Joan Vos MacDonaldhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoan Vos MacDonald2016-11-28 05:52:562016-12-01 11:48:34KBS K-drama designer Minjung Lee helps bring characters to life [INTERVIEW]
B1A4 always brought something different to K-pop. Of all the boy groups K-pop provides us with, I think this quintet is the one I have personally neglected the most. Their brand of pop tends to lean at a more cheesy ballad angle, which is usually a big turn off for me. B1A4, however, bring a level of innovation to each song that moves them into a space that’s hard to define. To start, think of One Direction through the lens of Seo Taiji’s eyeglasses.
Their leader Jinyoung can probably be thanked for this as his move into producer and composer has not stopped their great run of form. New album Good Timing is probably their best to date. It’s a seriously smooth and diverse long player that retains a sense of playfulness on every track. Best of all Jinyoung and rapper Baro are all over the track list’s credits, a clear reason as to how they perform so well in their niche.
The album opens with one of K-pop’s patented abstract intros. “Intro” is an interesting little instrumental. A hollow percussive sound taps out a slow beat as sci-fi beeping synths fade in gradually. Those synths are the first sign of B1A4. They’re familiar to fans as a sound they use a lot, especially to contrast with their other signature instrument, the electric guitar. All of the different instruments seem to be reversed. This creates an odd atmosphere, a certain feeling of anxiety that is supplemented well as we move through the album.
Naturally the album then moves into lead single “A Lie,” a not quite ballad about an ending relationship. Like the intro suggested there’s a longing to Jinyoung’s lyrics that have accepted the loss even the pain carries on. Musically “A Lie” is B1A4 at their best. Mixing slight electronics with a band allows a balance of emotions. Pulsing processed drums provide a constant to the verses, giving them freedom to move around whether it’s the member’s vocals or Baro’s raps. The drums take a backseat for the chorus as it provides the emotional brunt of the song, Jinyoung’s falsetto pining as he says he was lying all this time.
“A Lie” epitomizes B1A4’s sound so well that they can move onto different, newer styles in the rest of the album. Tracks three and four provide some lovable pop. “Moment I Fall For You Again” is similar in structure to “A Lie” but takes a more soulful route. Its verses are loungy and its chorus is cheekily inquisitive compared to the passion of “A Lie.” By the time “Good Timing” comes along you’ll probably wish they had switched it up somewhat despite it adding more to the B1A4 brand. This time it’s a bit more ‘80s, the electronic drums are more clearly electronic, and the chorus has a much more prominent hook. I don’t know if I really like it but I do appreciate the fact that they go all out and give it a guitar solo. I mean, it has to be an upside given how few K-pop songs you can play the air guitar to.
“Nightmare” arrives at a great time on the album and probably provides Good Timingwith the impetus it needed to keep it going. “Nightmare” is a hazy reggae track that jettisons the structures and sounds we’ve gotten used to over the first four songs. Interestingly as well, B1A4 uses synths to create the sound coupled with a classic reggae beat. Eventually reverbing guitars and hammond organs bring the highlight in the second half of the verses. As the title informs us, it’s not a sunny reggae track. Not quite on the dub spectrum but there’s an uneasiness to the way it sways.
The album’s opening half is characteristic of the consistency and skill of B1A4. Their unique flavour permeates throughout an album that does not stop giving. “Sparkling” is synth-led urban pop that goes past just sparkling and pops right out. Shimmering synths lead up to the chorus, which then has a guitar take over funk duties as it becomes more chant-like. Baro shines here along with CNU, whose voice has fragility to it that brings out great emotion. “To My Star” provides the smoothest moment yet, with Its synths well supported by keys to make a chilled slow jam before it picks up again.
“Melancholy” does a great job of masquerading B1A4’s anxiety. It’s a contradiction of sounds and words that somehow comes together. Similar to their punchy and weird single from 2013 “What’s Happening,” “Melancholy” has tiny details and big transitions that move the song to place we could never expect. Its effusive synths and dazed vocal delivery constantly clash with the repetition of the word “melancholy.” It’s a mess of tones and ideas that feels true to the melting pot of emotions that exist in this album.
The energetic high of “Melancholy” gives way to a more subdued conclusion. Ballads “I Will Find You” and “Together” have some nice intricacies although do nothing to stand out here. “Drunk On You” meanwhile is a wavy hip-pop track that shows how best to make a predominantly rap sounding song sound good with a pop angle. But, let’s be honest, put B1A4’s vocalists on any track and it’d be hard to not make at least a little delightful.
B1A4’s plight is that they are too unique. In Korea they may have once been popular but now that heavy hip-hop and EDM sounds dominate boy groups it’s hard to see them finding a lot of success. That being said they may attract a more mature ballad-loving audience looking for something to spice up their usual coffee-shop playlists (no pumpkin spice jokes please). Similar to Beast who were more known at home for their mid-tempo tracks. Even internationally their boy next door image is taken over by newcomers like Astro who appeal to on much easier levels than B1A4.
No matter what though, Good Timing shows the diversity B1A4 can find within their own style. Given the length of a full album we get a number of great ideas and sounds that all mesh well together as Good Timing traces the steep highs and deep lows of any relationship. Songs are clustered together in terms of positive and negative views of the relationship. It’s hard to keep up with where they are in the relationship but by the time “Melancholy” comes along it’s impossible to even know what to think anymore. In the best possible way, the album itself is as much of an enigma as B1A4.
What’s your favorite song from B1A4 and this album? Share your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/11/kFA16Mu.jpg14001400Joe Palmerhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoe Palmer2016-11-29 13:42:092017-01-10 11:45:31B1A4’s ‘Good Timing’ Album Review
Fashion plays an important part in Korean films and K-dramas—from the Joseon era girls who are free to roam in boy’s clothing to the newly rich women obsessed with name brand items—clothing defines and transforms characters. There may be a reason that so many K-drama plots, both contemporary and historical, feature makeovers. Nothing visually symbolizes change and new confidence quite like new and more flattering clothing. Costume designers know that costumes have a lot to say. According to designer Minjung Lee, no one should take costuming for granted.
The outfits are an essential part of historical Korean dramas, contributing to both character development and cinematography. Historically accurate costumes help recreate eras so vividly that viewers feel temporarily transported in time. Those are the clues that Lee seeks to express when she envisions drama costumes.
Currently a visiting scholar at UC Davis, Lee worked as a costume designer for KBS Artsvision for 10 years. She focused on costume design because of her interest in the history of Korean clothing, but also because she was fascinated by the psychology of fashion.
“I really wanted to read someone’s mind, to understand why they wore what they did,” Lee told KultScene.
This vision to see clothing as a reflection of personality helped Lee create costumes for characters in a range of KBS historical dramas. From the royal robes created for Kim So Eun in Empress Cheonchu: The Iron Empress to Kim Hyun Joong‘s Inspiring Generation wardrobe, Lee researched and created authentic designs that helped bring the characters to life.
Lee’s first experience creating a costume did not live up to her expectations. It happened in middle school, when her class was planning a costume parade. She knew what she wanted to be but the costume did not exist, so she had to make it.
“I wanted to be a tree but then I thought, how do you make a tree? I had to figure it out, to find out where there were fabric stores in Seoul. My mother didn’t even know. It was my first costume and it was not very good.”
The tree costume, fashioned from nylon tent material, may have disappointed her but that did not discourage Lee from studying fashion for her undergraduate degree then going on to pursue a master’s degree in Korean costume and a PhD in the aesthetics of dress at Seoul National University.
“My mother wanted me to be a doctor, but my talents fell somewhere between the scientific and artistic,” said Lee. “I Ioved to draw but was not talented enough to be an artist. Nothing looked like I wanted it to. Textiles seemed like a good way to combine the scientific and artistic.”
Her university studies included dyeing, printing, design, illustration, and marketing. Lee became so interested in the psychology of clothing that she briefly considered a career in psychology. Then she received her first costume request: The priest at the church she attended asked her to make him an authentic Gogoryeo era (37 BC–668 AD) costume, because he was studying martial arts.
Fulfilling that request was a challenge for Lee, as much of the dress history she studied in the past had focused on Western fashion. So she took a class in Korean dress history but there were few illustrations of what Goryeo era clothing actually looked like. Descriptions of Goryeo period clothing was mostly gathered from tomb paintings and the rare intact clothes displayed in museums were those worn by nobles. Rare Goryeo-era artifacts were mostly stored in North Korea, and while Lee attended school even scholarly access was limited. There was no way to know what colors people wore, or what patterns tailors used. Despite the challenges Lee was determined.
She contacted the costume department at KBS and asked to visit their storehouse to see costumes of that period. They agreed. “They could have rejected me but they let me look at the clothes in their warehouse.”
Exploring the KBS warehouse was so much fun Lee decided not to major in psychology but take a course in 10th century history. She eventually she became a costume designer at KBS Artsvision.
“After I got acquainted with the people at KBS I knew I had to become a costume designer,” she said. “I didn’t know anything about being a costume designer, no idea what was involved, but I knew I had to do it. I thought if I can interpret raw data into costumes, it will be perfect.”
Part of the motivation was the clothing, but also because Lee herself is a fan of Korean dramas. “I love every kind of TV,” she said. For a decade she worked on a variety of dramas, set in different centuries.
Once she starts working on a drama wardrobe, Lee says it is an all-consuming process and that she can think of nothing else. After she reads the script, Lee begins to research costumes of the period and create a wardrobe that best portrays the characters. She researches textiles and pays painstaking attention to the details–from hats to belts to jewelry– that make clothes seem authentic. Based on her research, she also has to create a budget and stay within it, oversee the production of all the drama’s clothes, manage fittings, and supervise alterations that might be required while filming. After the drama is over, the clothes must be collected and catalogued before storage.
Her roster of dramas includes Empress Cheonchu: The Iron Empress (2007), King Geunchogo: The King of Legend (2010), which she won an award for, The Princess’ Man (2011), Jeon Woo Chi (2013) and Inspiring Generation (2014).
Despite the rigorous research that goes into costume design, some historically accurate details may not be appreciated by a drama’s cast or crew. When Lee’s research led her to design clothing with sleeves that passed the fingertips, the crew was not pleased.
“The staff got mad at me because the sleeves dragged and ripped off, so I had to shorten them,” she said.“[And] sometimes the actors do not feel the clothes are flattering so they have to be altered.”
After years of designing costumes set further in the past, Minjung Lee designed clothes for the 20th century historical drama Inspiring Generation, set during the era of the Japanese Colonial Rule of Korea (1910 to 1945). “The clothes in such dramas are more realistic since they are well documented,” she said. “It makes it less of a challenge, but easier to replicate.”
Lee also hopes to design costumes for films, citing The Royal Tailor, starring Park Shin Hye, as an excellent example of faithful costume replication. “The costume designer was brilliant, one of the best. I actually made my dream come true by pursuing textiles, but I want to be a designer like her. That is my ideal.”
The costumer has written about dress aesthetics in the era represented in Inspiring Generation in her PhD dissertation, “Dress and Ideology during the 20th Century of Korea,” where she examined the clothes and ideology of that time. She presented a paper “Fashioning identity and Ideology in Inspiring Generation” for a Fashion in Fiction conference and recently also spoke about the era at a Fashion Institute of Technology conference in New York.
Minjung Lee is currently living in the U.S. and taking a sabbatical from her design work while serving as a visiting scholar at the University of California-Davis in the Textiles and Clothing/Women and Gender Studies departments. When she returns to Korea in February, she plans to write more about the significance of fashion. “Academia does not always respect dress,” she said. “They take dress for granted and fail to see it in the social context in which it originated.”
What do you think of Lee’s take on K-drama fashion? What’s your favorite historical drama fashion? Share your thoughts about this article in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.
https://kultscene.com/wp-content/uploads/2016/11/Untitled-design.jpg7681024Joan Vos MacDonaldhttps://kultscene.com/wp-content/uploads/2018/02/KULTSCENE-LOGO-2018-TRANSPARENT-RED.pngJoan Vos MacDonald2016-11-28 05:52:562016-12-01 11:48:34KBS K-drama designer Minjung Lee helps bring characters to life [INTERVIEW]
