• 복식문화연구
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• 제29권6호
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• pp.828-848
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• 2021

The purpose of this study is to analyze how modern fashion brands practice cultural sustainability by investigating the ways they use and reinterpret traditional culture and clothing. The transmission and reinterpretation of traditional cultural elements connect the past, present, and future. These forces also lead to the development of new creativity in the fashion industry. Three brands have been selected for case studies: Danha (Korea), Mittan (Japan), and Jan Jan Van Essche (Belgium). These brands possess in-depth understanding of traditional cultural elements, including clothing, dyeing techniques, and patterns unique to various regions and minority groups. The brands all make use of traditional cultural identities whose clothing contains the historical and sentimental values of various regions and ethnic groups. The use and mixing of various cultures can be seen as the respectful preservation of global culture. Also, in contemporary fashion, the use of traditional culture plays an important role in the presentation and development of creative designs. The use of traditional handicraft techniques and the use of traditional clothing in the past convey cultural diversity to future generations; they will have a lasting influence on future fashion trends. The results of the study show that cultural sustainability in contemporary fashion has been implemented through safeguarding and respecting indigenous cultures and developing cultural elements into creative design.

• 복식
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• 제62권1호
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• pp.120-136
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• 2012

This thesis takes an aim to investigate the relationship between the costume and enlightenment ideology by studying the change of costume, and reviewing the portraiture of Queen Marie Antoinette. The method of this research is to select the 29 pieces among the portraitures from 1770 to 1793, and to analyze the headdress, shape of robes and ornaments. The results are as follows. The first period(1770-1774): The costume in this period of Dauphin of France is described as vivid, and simple like her characters, and also represents her active lifestyle. The ideology of equality between the two sexes from the enlightenment slightly influence the costumes seen inside the portrait of Dauphin. The second period (1775-1779): This is the early period of the Queen's enthronement and also before her childbirth. The relatively small number of portraits showed her as an authoritative figure because her skirts were expanded with huge panier, the waist were tightened with corset, and her headdress was enlarged. Thus, this period could not be defined as the one of enlightenment philosophies in light of the persistent unsanitary construction of costumes distorting the body. The third period(1780-1789): There are many portraits depicting the Queen and her children. It is noteworthy that the English style picturesque garden was illustrated as a background while the costume was simple and sanitary, both being affected by the enlightenment. The last period(1789-1793): This is the period between the French revolution and the death of the Queen. The form of costumes was transformed into the neoclassic style, headdress was reduced in size, and was simplified as a result of complete change of costume for the enlightenment. This research is to be interpreted as a tool of study about the relationship of costume, society and ideological streams and also be a means of elucidating the contemporary times in view of the past ones.

• 패션비즈니스
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• 제17권4호
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• pp.22-39
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• 2013

This thesis aims to investigate the characteristics of the civil costume in Netherlands women and the way how the civil culture was reflected on these by analyzing the women's costume depicted in the works of the Johannes Vermeer regarded as the representative painter of Netherlands in 17th century. The method of study was to select 24 pieces of Vermeer's works among the 30 pieces, and were analyzed in detail. These were approved to be common civil costumes by researching the works of other painters in that era on the other hand. The result shows that the civil costume of Netherlands women from 1653 until 1675 was in the simple form of two pieces dress, and minimal decorations with simple hair style and headdress would take the constitution of the frugality, chastity and practicality as the mainstream, along with using the red, yellow and blue as the primary three colors on to the costumes. These characteristics might be ascribed to the Netherlands civil culture influenced by the Calvinism that emphasized the frugality and chastity, denouncing the luxury with supporting the religion and morality. This trend was also noted in the men's costume, giving evidence of the intimate relationship between the costume, religion and civil culture. This thesis might be a help to elucidate the relationship between the costume and cultural society, and be a affordable tools to study the contemporary costume.

• 대한가정학회지
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• 제11권3호
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• pp.247-261
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• 1973

In the past, what we call "fashion" was monopolized by only a small highly privileged group of individuals. To-day, we know that fashion field has become progressive democratization of taste not only in clothing, but in all expressions of contemporary living, from automobiles to refrigerators. So, we can find out how wonderful it is that our recent fashionable history was changed so fast. Whatever highly characteristic costume may be in the former, the way people dress was the reflection of their contemporary lives as well as their political status, economics, cultures, arts religions, so that a history of fashion is a history of life. Now, that categorical silhouettes make an exclusion across centuries of past history into the world of aesthetics, particularizes following ; symbolic voluminous toga of Roman authority, the religious but gorgeous Byzantine tunic, extravagant vertical bell-skirt of the Renaissance, the romantic Rococo style, the elegant crinoline and the bustle of the Cul de Paris of the nineteenth. It came true that women was intoxicated ostentations and elegances, since they had on ornamently costume which bear some relationship to the more formal Co-stesy, till the beginning of the twentieth. As Jonney Ironside said, "Nowadays, those exessive ornamentations and cumbersome design hardly belong to a civilization run by machines and in a hurry". These were once a sign of wealth and class ; at the beginning of the twentieth it was disappearing step by step. What is the reason\ulcorner At the end of the nineteenth, the emancipation of women, the movement of the Art Nouveau and the opening of the ready-made, have influenced on modern style, directly or indirectly. Finally, democratically popular costume was caused by fighting against the masculine prejudice excluded them from activities.hem from activities.

• 한국의상디자인학회지
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• 제22권1호
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• pp.15-32
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• 2020

This study aims to develop contemporary fashion designs from the unique Yao minority costumes and to explore the possibility of developing creative designs by using knitting materials. The research method is based on the cultural clothing and costumes of the Chinese ethnic minority, as well as literature concerning the Yao costumes and photo data to investigate the cultural background and characteristics apparent in Yao costumes. The overall design characteristics of Yao costumes are as follows. First, the shape of Yao costumes are divided into straight-lined short tops with pleated skirts or shorts, or cardigan tops with pants and aprons, or long shirts, pants, and a belt. Each variant of tribal clothing is different. Second, the colors used are mainly black or dark blue, and these are accented by other colors, such as red, orange, yellow, green, blue, and white. Third, the clothing patterns are mainly in plant, animal, natural, geometric, and human, etc. motifs. The most common patterns in daily life are the patterns using geometric shapes, plants, or animals. Using the background of the unique lifestyles of the Yao ethnic minority, this study applied hand knitting and jacquard techniques for a knit fashion design. In order to develop traditional patterns, Yao patterns were entered into an Illustrator and SDS-ONE APEX3-4 was used for simulation. Using wool fibers as the raw material; the knitting machine used a Bird's eye Jacquard technique-10GG. The results of this research and design work were as follows. First, the knitted clothing design using Yao clothing elements has significance for the development and flexible use of ethnic elements in contemporary creative design. Second, the straight cut design using hand-knitted and jacquard-knit fabrics can minimize waste materials and provide more possibilities for sustainable design development. Third, it provides additional methods for the combination of hand-knitting and jacquard knitting fashion design.

• 복식
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• 제57권9호
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• pp.161-176
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• 2007

The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the correlation between the wedding dress style and the fashion style in those days and the influence of the wedding dress style on contemporary's styles. The materials of this study were 9 wedding dresses owned by the Historical Costume and Textile Collection at the University of Connecticut in USA. The dresses were made during the mid and late Victorian Age. As for silhouette, the bustle style was popular in the 1870s and 1880s, and the hourglass style in the 1890s, and different from contemporary dresses there were no big differences in structural pattern and details between ordinary dresses and wedding dresses. In addition, colored wedding dresses were used until the mid and late Victorian Age, but since the wedding ceremony of Queen Victoria in 1840, white wedding dress was widely accepted and settled as the tradition of today's wedding dresses. While the Western dress style had been basically a one piece style, there appeared simple two piece designs in which the upper garment was separated from the lower one, from the mid Victorian Age. This is considered the reflection of those days' pragmatic social trend in dress style. It seems around 1875 when asymmetric design was first introduced in the Western dress style, which had been mostly symmetric. The asymmetric style that pursued atypical beauty, though not common during the late Victorian Age, shows a change in the typical Western dress style. With regard to dress making techniques, sewing machines were distributed widely during the early Victorian Age but they were not used in all parts of dress. Most of details and trimming works were done manually and some parts were attached and detached by hand sewing. In addition, not like today, there were no generalized rules of making such as the form of closings and composition.

• 복식문화연구
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• 제15권6호
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• pp.1053-1062
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• 2007

This study purposed to restructure representative traditional patterns formatively, manufacture actual cultural products with traditional dyeing technique using persimmon, and commercialize the results of the research. Traditionally in Korea, the dying of natural fiber such as cotton, flax and silk with persimmon was called Galmul dyeing, and clothes made through Galmul dyeing were called Galot. Galot was very useful because it is strong, does not pick up dirt easily, dries easily, and is cool in summer. In addition, cloth dyed with persimmon becomes stiff, so it does not need to be starched or ironed after washing. Moreover, it does not transmit heat under direct rays and is highly air-permeable, so it is cool and useful for standing the heat. In this study, we used traditional persimmon dyeing technique, printing traditional patterns fit for contemporary people's aesthetic sense not through dip-dying but through printing. When persimmon dyeing is used in expressing patterns, it produces not only visual effect but also embossing effect due to the characteristic of persimmon that makes printed patterns stiff, so we can obtain unique texture distinguished from other printing methods. We chose seven motive patterns, which were lotus pattern symbolizing eternal life, peony pattern symbolizing wealth and rank and prosperity, character Su(壽) pattern widely used as a symbol of health, bird and cloud pattern in the Goryeo Dynasty, Sahapyeoeuisohwa(四合如意小花) pattern printed on brocade in the Goryeo Dynasty, lattice pattern, cloth pattern on wall paintings from the Period of the Three Kingdoms. From each pattern chosen as a motive was extracted unit patterns and the original pattern was restored using Adobe Illustrator. Restored patterns were restructured to be applied to cultural products fit for contemporary formative sense. Fabrics used in dyeing were cotton, linen, ramie, silk, and polyester. Although the same persimmon dyeing was applied, we produced different feelings of patterns using various fabrics and in some cases gold and silver powder was added for the effect of gloss in addition to the embossing of patterns. Using printed fabrics we manufactured tea pads, place mats, cushions, wrapping cloth for gifts, wallet, lampshades.

• 복식문화연구
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• 제13권5호
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• pp.763-776
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• 2005

The purpose of this study is to analyze the glamour image in contemporary women's fashion since 1990. The method of study is to analyze the documentary and fashion magazines about the glamour images. Most of all, glamour has been composed by connection of hollywood film industry and fashion. Glamourous body image showed sensual, threatening and vague body. Formative characteristics in fashion showed a tight silhouette, neglige, lace look, dress showing neck and shoulder, fur coat, stiletto, diamond, gold, big and thick jewelry, satin, velvet, lace, mink and fox fur, etc. Internal meaning was a fantasy, ideal, wealth, fame, hyper-feminity, vagueness, vulgarity, sexuality, mystery, professional, fatalness, aggressiveness and evil. Since 1990, the glamour images in fashion were as follows; First, the glamour with hyper-feminity showed a classical femme-fatal image as fearful existence with a power more than allure. Second, the glamour with vulgarity showed an exaggerated, cheap and popular kitsch image, which have intense colors, lavish surfaces and excessive sexual signs. Third, the glamour with classical sensuality showed a hi-glamour image of hollywood actresses being active from 1930 to 1950, which was expressed glittery dress, stole, diamond, fur wrap, hill, luxury dress. Fourth, the glamour with sexual perversion showed an erotic, vague and sexual drag image, and fetish costume. Fetishistic elements were rubber, PVC, stiletto, thick and high boots and corset and particularly, they were a main method of expression of glamour image. Fifth, the glamour with future image showed a mechanical and mysterious image and it was a conscious style by metallic, plastic and sleeky fabric. In conclusion, glamour fashion image is an ideal beauty type of women and will exist as a meaningful aesthetic sign in women's fashion.

• 문화기술의 융합
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• 제9권5호
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• pp.779-785
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• 2023

비 언어극인 무용에서 무대의상은 시각적 표현에서 중요성을 갖고 있다. 특히 창작무용에서 무대의상은 기존의 기본적인 역할인 장식성이나 신분을 나타내는 시대성 그리고 동작을 위한 기능성 이외에 좀 더 작품에 밀접하게 관련된 확장적 역할을 하고 있다. 우리는 본 연구를 통하여 창작 발레 <'그' 소녀>의 작품에 나타난 무대의상의 확장성을 분석하는 것이 목적이며, 이를 통해 무대의상 디자인에 기초 자료를 제공하고 새로운 방향성을 제안하는 여 연구의 의의를 부여하고자 한다. 창작 발레극 <'그' 소녀>는 피해자들이 겪었을 공포와 공감을 통해 전달하고자 하는 위로를 주제로 2개의 막으로 구성되었으며, 2막의 해방과 '한(恨)'의 춤에서 의상의 확장된 역할이 요구되었다. 의상 디자인은 위안부를 형상화한 '소녀상'에서 영감을 받았으나, 발레 동작의 기능성과 의상에 장치된 끈과 천의 운용의 용이성 등의 전제조건을 바탕으로 3개의 초안 디자인과 재질의 실험을 거쳐 완성되었다. 결론적으로 해방의 춤에서 사용된 끈과 '한(恨)'을 표현한 천을 효과적으로 사용하여 무대의상의 시·공간의 확장성, 조형의 확장성, 상징적 표현의 확장성이 나타남을 알 수 있었다.

• 복식문화연구
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• 제15권5호
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• pp.902-915
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• 2007

This study examines decorative features found in the traditional costume of the Miao, one of the minority groups in China, and adapts them for the development of modern Korean-style fashion designs in order to present visual sample data and to introduce techniques. As for the research method, both literature and visual data are examined: the former includes Miao-related books and theses; the latter, pictures from various documents and real-life data in the possession of Seoul Women's University. The study result is as follows: 1. The basic structure of Miao costume is consist of a Caftan-type upper garment and an accentuated lower garment, pleats skirt although they are decorated luxuriously with various techniques such as delicate embroidery and dyeing. 2. Details and trimmings in modern shapes are developed and presented by adding modern materials to satin, twists, cross-stitch embroidery, stripe patterns, geometrical patchwork, machine pleats and smoking, trimmings of fringe & feather, and the border line decoration of coloration, braids, piping, embroidery, belts tied and wound with colorful threads. 3. Detachable accessaries such as front reinforcement strips, back reinforcement strips, belts, decorative aprons and patchwork skirts are developed and designed by adapting highlighted layered effects. 4. The silver decoration used as an necessary by the Miao is suitable for modern fashion design in futuristic sense. Various techniques and decorative features of Miao costume display their true value all the more in modern fashion stream in which ethnic trends draw much attention.