• 복식
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• 제64권6호
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• pp.47-64
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• 2014

A variety of traditional costumes have been developed in Asia due to different natural and cultural environments and they are still worn by people in many areas. Traditional costumes in Asia have been formed under the influence of various ideologies, as well as technology and social structure. Three Asian religions(Buddhism, Hinduism and Islam), which have undeniably strong influence on traditional Asian cultures, have great effects on the styles of traditional costume in each region of Asia. The purpose of this study is to compare the characteristics and aesthetic values of traditional Asian costumes. To do this, the author used images of traditional costumes, which were taken in person by the author, in each region of Asia as reference. Unlike the traditional costumes in the West, which expose the body shape, traditional Asian costumes have nonstructural features in construction, form and wearing rules. They are also decorated with religious symbols and other ornaments, which is different from functional and non-decorative modern clothes. Each traditional Asian costume has unique characteristics. The costume under the influence of Buddhism shows the beauty of concealment that features trans-spatiality and abundant silhouette. On the other hand, the Hindu costume shows the beauty of symbolization represented by very colorful and complex ornaments, while costume in the Islam regions shows the beauty of restraint with clothes that wrap up the body in accordance with its strict religious discipline. Asian religions also represent philosophy, culture as well as an ethnic group. They have influenced entire Asian cultures including the arts, aesthetics and social structure and decided the style of costumes.

• 복식
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• 제26권
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• pp.69-85
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• 1995

Recently Southeast Asia has developed, so the world concerns about these regions. Ethnic fashion in 90's is mostly the influence of these regions' folk costume. The purpose of this study is to review aes-thetic aspects of folk costume in Southeast Asia, to investigate the influence on modern fashion and to predict the possibility of Asia fashion's adaption to modern fashion and to help the cre-ation of fashion design. First of all, the folk costume in Southeast Asia is classified drapery style and sarong style. These non-west clothing appeal to modern fashion as the oriental tranditional beauty. Ethnic fashion appeared in 1990's is attempted to be more complex and variable than the pre-vious ethnic fashion. Asian ethnic fashion influenced from folk costume of Southeast Asia is-wholly or party-the style, color, motif from each country's folk costume. And each country's unique art became the motive of the creative design. Specially, Aosai and Quan in Vietnam and sar-ong style in most Southeast Asia are important motives expressing minority's nostalgia. These are expressed in variable ways. Which are harmonized with latest other fashion trend : retro style and naturalism, Layered look, hippie look, unfinished sewing technic and manual technic are used one image matched the folk costume of Southeast Asia which is natural. Another characterstic in Asian ethnic fashion is a multi-ethnic. This harmonizes the different culture between the Orient and the West beyond the age and culture, and combines each folk costume. It is involved that the fashion can develop indivisual country's costumes mixed with her own unique characteristics and the fashion break the traditional concept and disagree with a certain coordinate rule and it indicates that the fashion shows various style, mood, volume and room as well as space. Like this recent Asian ethnic fashion comes to us in a strange favor. The people who are tired of traditional western civilization's outcome will receive a great tastes from the Asian ethnic fashion.

• 복식
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• 제5권
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• pp.237-246
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• 1981

This is a report of author's stay in the U.S. as an exchange scholar. During her stay from Dec. 1979 to Dec. 1980, she participated in costume studies at Pratt Institute, New York City and looked into materials of North Asian historical costumes. The author notes that the curriculum of costume studies in the U.S. place weight upon costume history, e.g., the master's program in costume studies of New York University requires 18 points in history courses out of 54 points required for the degree. The author also notes the leading role of the Costume Institute, the Metropolitan Museum of Arts in performing research works for the studies. As to the study of North Asian costumes, the author's work in the U.S. has been somewhat disappointing. She points out difficulties for a Korean researcher to access to basic materials which are scarce outside of China and Russia. She asserts, however, the comprehension of the history of North Asian costumes as a whole is essential to understand the characteristics of ancient Korean costumes. The author insists the costume history courses in Korean colleges are not appropriate as a apart of costume studies. Noting the costume education in the U.S. clearly aims at the training of costume professions, the author proposes the objective of costume education in Korea be redefined, and the teaching of "History of Korean Costumes" be reconstituted as to be suitable for it.

• 복식문화연구
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• 제15권4호
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• pp.593-603
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• 2007

The purpose of this study is to study the Central Asian costumes($1{\sim}7C$) and develop new design items and suggest new brand launching. Korean apparel industry has been suffering from imbalance of supply and demand caused by the sagging economy and too many apparel companies. Due to the several years of recession, clothing consumption decreased and foreign brand's market share got bigger. As a result, managing a company became difficult and it is time for Korean apparel industry to enter the global market. We need a brand with new image and design that has big potential of purchasing power not only in Korea but also in China, and furthermore in global market. But even nearby Chinese market already became very competitive. One way of approaching Chinese fashion market is to find something special, for example, their historical background. Central Asian culture and costumes, a part of China, has both Eastern and Western culture. No other apparel industry had interest in the Central Asian costumes yet. Therefore, through their costume, a fresh design idea can be suggested.

• 복식
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• 제61권2호
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• pp.20-31
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• 2011

Decentralization is an effort to liberalize people from its character of neutralizing or restraining people while indwelling in the previous thought system. Decentralization in fashion is one of the phenomenon of post-modernism fashion, and it is closely related to de-culturalism, crossover, abolition of rank, and etc, and it is in line with Asian look which includes orientalism fashion. The study intends to consider the Phenomenon of Decentralization of Asian Look and its Method depicted in the western fashion. The study focuses on documentary data, and the it is held with the basis of Asian look shown in western fashion. If ideology which influenced the formation of folk costume of Asia, Asian look is the dissolution of such ideology, and post-modern amusement is substituting it. The most conspicuous characteristic of decentralization phenomena of Asian look is pastiche which is a combination and reallocation of external style of many cultural zones and many folk costumes, and it shows mutual irrelevance, and it is a neutral imitation which has internal meaning and humor disappeared. Also, Asian look shows characteristics of parody and irony, which are reversal characteristics of aesthetic value which is expressed through methods of addition, modification, distortion, exaggeration, inversion, dissolution, and etc. Parody which is expressed through imitation regarding previous style shows effect of humor or satire, but its characteristics show that it expresses respect or admiration regarding the original The method of irony is showing sarcasm with ironical method regarding the peculiar style of Asian folk costume, and it pursues unexpected shock and joy, and it is closely related to orientalism fashion. Expansion and constancy of Asian look reflects the interest regarding folk of Asia and Asia, and it is a movement which intends new attempt by abolishing stereotype, and furthermore, it is expressing liberty of humans.

• 한국의상디자인학회지
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• 제15권4호
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• pp.47-61
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• 2013

This paper compared and analyzed costume design shown in two movies that was adapted from the same original work, 'Snow White'. One movie consists of a western director and a western designer team while the other movie is shot by an Asian director and an Asian designer team. Two movies show similarity and difference in expression of characters in 'Snow White'. The findings are as followed;- Both movies project an image of modern women, which is mainly represented by active and confident women, However, Ishioka Eiko, the costume designer of < Mirror, Mirror >, created unique costume in the movie by applying splendid and vivid colors to western costume to make exotic feeling. On the other hand, Colleen Atwood, who was inspired by costume in each historic period and region of the Western. created costume that was closer to the tradition of the Western in his movie, < Snow White and the Huntsman >. The purpose of this study is to help the Korean movie industry to find a way to advance to the world market by fully understanding how the Easterners and the Westerners feel and express 'Snow White'. Moreover, this study may present a chance to review importance and value of the movie costume design area.

• Acta Via Serica
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• 제6권2호
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• pp.1-20
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• 2021

The Taq-i Bustan reliefs are representative works from the Sassanian dynasty of the 4th to 7th centuries. This study analyzes the costumes depicted in the Taq-i Bustan reliefs to gain understanding of the phenomena of cultural exchange between the East and West by observing the foreign cultural elements appearing in the Sassanian costumes of that time. Literature study and artifacts analysis were conducted in parallel. External elements appearing in Taq-i Bustan's costume were Greek-Roman and Central Asian. The tunics and trousers of the gods and the trousers of kings (Ardashir II, Shapur II and Shapur III) were made of thin fabric and showed many wrinkles, a characteristic of Greek and Roman clothing. On the spandrel above the arch of the great grotto of Khusrau II are depicted the goddesses of Victory, in a Greco-Bactrian style. Among the costume elements of Taq-i Bustan, there were also Central Asian elements observed. One Central Asian costume element was the round clasp ornament for tying the trousers. The side slits and hem of the tunic were presented in the style of the Sogd clothing of Central Asia in the 6th and 7th centuries, while the pearl rounded pattern was activated in Sogd, Kucha and Kizyl in the 7th and 8th centuries. These reliefs are considered important evidence of eastern influences in Sassanian culture.

• International Journal of Costume and Fashion
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• 제2권
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• pp.73-85
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• 2002

• 복식
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• 제23권
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• pp.79-97
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• 1994

The purpose of this study is to survey of Korean costume cultural assets in overseas museum collections. Cultural Assets represent the cultural heritage. Also costume is one of cultural assets. In 1980's the Korean government and scholars surveyed Korean cultural assets. One of their finding was that Korean objects exists some countries. Unesco delared that cultural assets illegally taken a way to foreign countries should be returned to their nations. However, few objects had been returned to korea. Today museum professional designing their exhibited and collections try to both enlighten experts and instruct and please amateur enthusiasts. Exhibitions are one of the most effective means of stimulating interest in cultural objects and ideas : they reflect prevailing cultural , intellectural and political trends. The 1893 Chicageo Exposition was the first international exhibition in which Korea has ever taken part. Overseas museum held many Asian exhibitions however Korean exhibitions have been held much less frequently than those of most other Asian countries. (China, and Japan). Some of Korean art Collection have historical and artistic valuable , most overseas museum' collection are of low value and non-informative . Several museums in United States that have Korean costume : some of these museums have highly valuable historical and contextural objects. It is my hope that the information in this paper will be of use for those interested in learning more about Korean culture.

• 복식문화학회:학술대회논문집
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• 복식문화학회 2001년도 International Costume Culture Conference
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• pp.48-48
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• 2001