The purpose of this study was to analyze domestic research trends in film costumes and to suggest future research directions. 122 articles published in 17 KCI journals from 1996 to Oct. 2013 were classified by year, journal, research method, film genre, country of film-making, analyzed subject, and contents of research. Film costume-related research was initiated in 1996 and the largest number of articles were reported in 2005~2009. Many of these researches were reported in Journal of the Korean Society Costume. Most film costume-related researches were qualitative based on co-analysis of literature and film. Film analysis was done on melodrama genre and was done Korean or American film. Large portion of the research was on costume analysis. Film costume-related research was mostly focused on character's plasticity and symbolism.

Chinyoung(親迎) is one of the detailed procedures of a wedding ceremony, of which the bridegroom visits the bride's home to receive and bring her to his home. And, Procession Illustration (班次圖) is a type of drawing that shows how people of various social classes are arranged in their predetermined positions in a royal ceremony. Thus, 'Chinyoung Procession Illustration(親迎班次圖)' refers to the drawing of the march in the course of Joseon's royal wedding ceremony, in which the bridegroom receives and brings the bride to his home. This paper aims to reconstruct the Chinyoung Procession Illustration for a princess as an image, which has never been done. There are no drawings or pictures of the princesses' Chinyoung Procession, but only written records. Thus, we completed the Procession Illustration by dressing the participants in accordance with their social classes and arranging them in the march. The arrangements were based on historical records of social classes, positions, number, and costumes. As for the princesses' weddings in the late Joseon period, a total of 18 wedding records remain. We selected Princess Bok-On's (福溫公主: 1818~1832) wedding as the subject of reconstruction as it had the greatest number of participants. In addition, due to the great number of participants, this study limits its focus to the female participants, with the male participants to be examined in future research. The result confirmed that the number of participants in Princess Bok-On's Chinyoung Procession was 184, including the bride and bridegroom, and the number of female participants was 26 in total, including the princess and women placed around her. The women participants wore Rip(笠), Neoul(羅兀), Jeonmo(氈帽), Garima(加里磨), Noeui(露衣), Hwaleui(豁衣), Dangeui(唐衣), Jeogori(赤古里), Chima(赤亇), Malgun(袜裙), Daedae(大帶), Onhye(溫鞋), Dokhye(禿鞋).

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

Embroidery is called 'Ja-Su' in Korea. The purpose of this study is to present a method that utilizes the technology of traditional Korean embroidery to get a genuine feeling of tradition. This study was conducted in the following manner: first, Previous researches and references were used survey traditional embroidery techniques. Second, by using traditional embroidery techniques, the study attempted to develop a design of embroidery household Items with modern sense and practicality. The results of this study are as follows: This study has developed and produced embroidery household items that can be used in modern life by using traditional embroidery techniques. A total of 10 kinds of miscellaneous everyday life utensils and interior pieces were produced. Materials used in the embroidery production were made out of natural fabrics, such as cotton (Kwang-Mok, Mu-Myung), linen, cotton thread were used for a practical reason for practical reasons (i.e. being easily washable). Embroidery techniques used in this study were straight stitch, outline stitch, satin stitch, separate stitch, french knot stitch, long&short stitch, brick stitch, chain stitch, couching stitch, Pad stitch, and pine-leaf stitch. In order to further develop traditional embroidery, a technique passed down from the ancestors, it needs to change to become more suitable for modern life while maintaining the tradition.

This study aims to provide visual data from analysis of the Depaysement approaches with new viewpoints to inspire and develop new fashion window design ideas. The literature and existing researches related to Depaysement were analyzed for theoretical review, and Depaysement expression approaches were identified by expression characteristics. Theme concepts using traditional Korean images, which could be applied to fashion window displays in Korea, were established, and K(Korean)-fashion design was created to develop fashion window display design. Then, the Depaysement fashion window display was executed using Adobe Illustrator and Photoshop. The results of this study are summarized below. 'Change of forms and materials' could visualize the factors inducing curiosity, which can directly stimulate the consumption sentiment lying latent in the mind of observers by assigning new values to fashion goods displayed inside windows. Unconscious experience and remarkable stories, which are not possible to encounter in an everyday setting, can be visualized through the window display in 'heterogeneous combination of objects.' 'The location change of an object' could express the refreshing and shocking scene to give weird anxiety and mental contradiction to observers by fashion window display, which could break fixed idea of human beings. 'The change of object awareness' could express contradiction and denial, which could liberate the unconsciousness lying latent inside observers through fashion window display. 'Change of spatial awareness' could create the design which maximized the fashion images of goods displayed by helping the observers to change the space of their unconsciousness selectively at their will through the fashion window display with hidden, strange, ambiguous and variable image like a riddle.

This study was conducted to demonstrate the differences in people's beauty involvement, hair attitude and cognitive in accordance with their interest in celebrities and television. Also, the difference between cognitive age and real age was studied. Research subjects were females aged 20s to 50s living in Seoul and the surrounding metropolitan areas. The SPSS 19.0 was used for data analysis. The results were as follows: First, the involvement in TV entertainers' was categorized into "TV entertainer fashion fan group," "TV entertainer follower group," and "TV program interest group." Second, The involvement of beauty was divided into skin management and expression, body management, makeup and hair attitude. The factors for hair attitude come from the following four actors: "hair creator fan group", "hair homeostasis-oriented," "hair differentiation factor," and "hair personnel-oriented group." Third, the analysis for the differences in the involvement of beauty based on the people's interest in TV appearances of entertainers was that there was a significant difference in skin care and expression, body management, makeup and hair attitude. The interest groups for the entertainers' TV appearances showed the highest in all of the above categories. Fourth, The analysis for the cognitive age for the "TV entertainer interest group" showed little difference in cognitive age, age of sensibility, age of physical appearance, behavior age, and age of interest. Fifth, The result for the difference in the actual age and cognitive age for different age groups showed that there was a little difference in average cognitive age including the age of sensibility, age of physical appearance, behavior age, and age of interest.

This study views the shadows cast by the light and a subject provides new interpretations rather than it simply being an additive product. Particularly in fashion photograph, light and shadows are often used as tools to convey meaning. Accordingly, this study aims to classify the utilization of the shadow created by light and deriving its expressive characteristics in fashion photograph. To achieve these research aims, literature and case studies were conducted. The results are as follows. First, the shadows were mainly focused on a subject. Secondly, shadows caused by lighting is casted directly into the inside of the main subject in a frame takes a role of omission or emphasis. Third, shadows caused by a second unseen object outside the frame are utilized with the main subject in the frame. Based on these results above, spatial third dimensionality, optical illusion and accentuation were derived as expressive characteristics of the shadow in fashion photograph. As such, in fashion photograph, shadow is an important element for photographers. The variability of the shadow makes it possible for creative changes as its amount, angle and direction can be altered by adjusting the light in accordance with the intention of the artist. Therefore, its utilization methods will be diversified hereafter. Accordingly, it is required to recognize that shadow may be recreated as an independent object in fashion photograph.

The study aims to determine the significance and characteristics of self-similarity inherent in natural objects or phenomena, the existence of self-similarity in design created by fashion designers, and the traits and internal significance implied in self-similarity and their effects on fashion. The subject of the study is Viktor & Rolf, and the scope of the study is the collections created from 2001 to 2014, which include designs implemented in their early years and those unveiled in the media. Self-similarity means attributes of a fractal structure appearing without change in the original form, even after modification of scale or direction in terms of shape or phenomena. As self-similarity is applied to the arts and design sectors, it leads people to pay attention to fundamental characteristics and intrinsic forms as a factor of expressing a unique creative world. Analysis of Viktor & Rolf collections generated ribbons, overlapping/juxtaposition, side decorations and exaggerated design elements as basic units of self-similarity. These factors had self-similarity rates as high as 84%. Self-similarity was established as design elements formed in the incipient stage were repeated in a certain form, and continued for a long period of time. It served as an element that recognizes design and a fashion designer at the same time. Characteristics of self-similarity appearing in Viktor & Rolf collections can be summarized as homeostasis based on an equivalent relationship, balance based on self-organization, reducibility into essential elements, and uniqueness based on odd shapes. These characteristics influenced the pursuit of consistent brand image, the maintenance of a fashion designer's creative world, the formation of styles and the expression of a fashion designer's identity.

Performing arts offer fun and knowledge and are directed for various purposes. Performing arts are also used as a means for education. Children's English media musical, 'The Magic Flute' is the performance reflecting all these. The author of this study took part in stage costume production, and this study was carried out aiming at designing and producing stage costume in line with educational purpose and intention. This study consists of an analysis stage for the existing performances of 'The Magic Flute', and a stage costume design and production stage for children's English media musical, 'The Magic Flute', First, this study classified and analyzed the stage design and stage costume design of the existing 'The Magic Flute' by concept, and then, examined their features, respectively. and this study unfolded the stage costume concept, based on the analyses of existing performance's stage costume and the characters' personality and features described in the current study subject's script. As the last step of this study made each character's stage costume. A total of 69 costumes for stage costume were made for 7 types of characters. This study is considered to have huge significance in that the stage costume was developed for 'The Magic Flute'.

In the new media age, the importance of personal style is highlighted, as the fashion recipients independently create their own images by transforming and recombining the fashion information gathered from the fashion blogs - the most representative form of social networks. The study aims to identify the types and styles of imaginary ego-images represented on the personal fashion blogs as a new space of self-expression, based on Lacan's gaze; the imaginary of the unconscious world and the ego-concept. According to literature search, the imaginary ego-image is classified as narcissism, regression, identification, and virtuality. In the case study, Narcissism is represented mostly as bloggers' satisfaction and beliefs about their fashion styles. The degeneration represents childhood images including a mother, as well as retro and vintage images that recreate the fashions of bygone eras - such as medieval, $19^{th}$ or 20th century fashion. Identification is the connection with the various areas of culture and art, especially movies and music. Virtuality represents hypothetical situations of mythical, fairy tale-like, surreal, or dreamlike atmospheres and hypothetical bodies that appear removed, disassembled, or crooked. The imaginary ego-images emerged on the personal fashion blogs are also classified into specific style depending on the attributes of the ego images-such as kidult style, retro style, ethnic style, and surreal style.

This study focuses on Yusam, a military raincoat that was worn during the Joseon Dynasty. The purpose of this study is to review the types and management system of Yusam. Documentary records, paintings and relics were used as research materials. Yusam was recorded as either Yusam(油衫) or Yu-ui(油衣) in writing. It usually looked like a skirt and was worn like a cape, but there were differences in length. Some of them took the form of a short coat with half-sleeves and side slits. Research analysis results of Silrok, Ilseongrok and the archives of the military camp in the later Joseon are as follows: First, Mokyusam and Jiyusam coexisted as military raincoats. Mokyusam was made with cotton and perilla oil, while Jiyusam was made with traditional Korean paper, a cotton edging and perilla oil. Second, the differences between general Yusam and military Yusam include the material of the clothing, the materials for waterproofing, the color, and the manufacturer. Third, each military camp supplied soldiers with hundreds to thousands of Yusam. Military officers and King's guards wore Mokyusam because Mokyusam was higher than Jiyusam. Fourth, soldiers Yusam together with Yujeongeon, Chorip, Galmo, or Hwihang as a hat. Fifth, the higher the rank, the higher the price of Yusam and the longer the term of usage. On the other hand, as the rank got higher, the cost of the supplementary oil rose, while the duration of usage got shorter.

This study attempted to comprehend the usage of the modular system in fields through literature review and objective research, as well as analysis of its expression characteristics in fashion. It tried to provide inspiring visual data for the fashion design of the modular system. After analyzing architecture and product-related books, Internet data and advanced research, the four expression characteristics of the modular system were obtained. Firstly, the formative expression characteristics of the modular system in fashion were simplicity, extensibility, variability and diversity. Secondly, of the formative expression characteristics expressed in modern fashion, simplicity (30%) was the highest, followed by extensibility (27%), diversity (22%) and variability (21%). Thirdly, simple silhouette and structure were used to express simplicity, usually simple geometric figures. In contrast, extensibility was expressed through the expansion and exaggeration of the area, length and volume of the clothes. In terms of variability, the typical characteristics of modules were reflected. For diversity, heterogeneous materials were used, and informality was expressed.

The term "new woman" (신여성 [Sinyeoseong], 新女性) refers to an idealized image of contemporary women during the so-called modern period in East Asia. In Korea, these "modern girls" were also referred to as modan (毛斷), or "cut-hair", reflecting changes in appearances that rejected the traditional value system in favor of "the new" in everyday life. Although it was used to refer to the perceived educated leaders of this new period, it also had the negative connotation of referring to frivolous women only interested in the latest fashion. The popular discourse on this "new woman" was constantly changing during this early modern period in East Asia, ranging from male-driven women's movements to women-driven liberal and socialist movements. The discourse often included ideals of what constituted female impeccability in women's domestic roles and enlightened views on housekeeping, yet in most cases the "new woman" was also expected to be a good wife and mother as well as a successful career woman. The concept of the "new woman" was also accompanied by an upheaval in women's social roles and their physical boundaries, and resulted in women repositioning themselves in the new society. The new look was a way of constructing their bodies to fit their new roles, and this again was rapidly reproduced in visual media. Newspapers, magazines, and plays had gained immense popularity by this time and provided visual material for the age with covers, advertisements, and illustrations. This research will explore the fashion of the "new woman" through archival resources, specifically magazines published in the 1920s and 1930s. It will investigate how women's appearances and the images they pursued reflected the ideal image of the "new woman." Fashion information providers, trendsetters, and levels of popular acceptance will also be examined in the context of the early stage of the fashion industry in East Asia, including production and distribution. Additionally, as the idea of the "new woman" was a worldwide phenomenon throughout the 19th and early 20th century, the effect of Japanese colonialism on the structure of Korean culture and its role as a cultural mediator will also be considered in how the ideal image of beauty was sought, and whether this was a western, colonial, or national preference.