• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.11
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• pp.1598-1610
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• 2007

The knit design of this study was developed from reconstruction of Gustav Klimt images including gorgeous colors, symbolic lines, patterns and decorations, and the purpose was laid at making of unique, creative costume image with modem sense and adding artistic value on crochet knit wears. As for the contents and method of this study, We analysed formative aspects of Gustav such as line, color and shape Klimt in his art, and reviewed the cases where his works had been employed in modern costume. The conclusions are as follows; First, painting is important motif for contemporary costume design, and according to the individual thinking and expression, can be a major momentum for development of original design. Especially the organic lines and decorative patterns of Gustav Klimt paintings were suitable for rich decorative motif of costume design. Second, the unique colors of Gustav Klimt paintings can, if introduced to costume, allow new color combination. Third, crochet technic, by the texture of material, can present rich expression even with the basic knitting only. The embroidery metallic thread which is the main material for this study, was good for expression of gorgeous and classy image, in spite of the difficulties from its typical luster and embossed feeling. And the mohair, used as decorative motif, allowed more three dimensional expression with its rich voluminous and tangling property. Fourth, in applying Gustav Klimt paintings to costume design, other technics such as knitting, beading, applique, and patchwork helped creation of more unique clothes, presenting possibilities of rich artistic expression.

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.55-70
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• 2012

In 16th century, during renaissance time, Britain's queen Elizabeth I, as a means to express her authority, had an exaggerated clothing styles and was the fashion leader of the time. Thus, through a media of Cinema, tried to find out the characteristics and different aspects of the history of clothing styles, of how they changed, ascertained, restored, and reappeared in the modern time. The research was based on the consideration of Elizabeth I's 33 portraits and her clothing styles; and the research is also from analysing the movies from 1937 to 2007, a total of 9 Cinema and 102 clothes. Movie costumes' most important mission is representing the cinema's timely and spatial background. Thus, it is inevitable that ascertaining and restoring Elizabeth I's portrait should be done. However, the movie costume has to show her dramatic lifestyle, dignity, absolute authority, and other visual images. In addition, the costume has to contribute in making artistic effect and thus the creativity of a designer to satisfy all these needs should be added. Based on the findings from the research, the characteristics of Elizabeth I's Cinema costume are first, ascertaining and restoring portraits, second, mixture of silhouette and detail depending on time period, third, partial change on clothing style design, fourth, emphasis of ruff collar, fifth, magnification colors, sixth, avoiding excessive swelling and decoration, and applying modern style on Protective costume. Thus, based on the research, creative design in Cinema clothing, plays an important part in the history of clothing design. I hope this research could work as a foundation reference for clothing design's history.

• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.5
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• pp.691-703
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• 2013

The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.99-111
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• 2005

The research analyzed the clothing attitude which it follows in type of performance musical instrument and a design preference moral difference. The result which tries to observe the clothing attitude which it follows in type of performance musical instrument and a design preference moral difference, it was visible a difference little by little. When comparison it tries the design which it prefers but consequently most in type of performance musical instrument, the big difference is not born and not to be putting the difference of the preference design which it follows in type of musical instrument specific your neck line, color, and silhouette of the vocal musician or wind music performer. When seeing whole, the clothing attitude regarding a performance luck compared to considered seriously an aesthetic pursuit and a convenient characteristic and harmonious, there design preference is the clothes which have no sleeve, neckline like camisole, black and pastel color, design with lots of decorations, princess silhouette, and they prefer the fabrics which have softness to it. Now, I want to introduce restriction of this research and proposal. First, the fundamental research of performance's clothes is insufficient with restricted point and the literature investigation is difficult, second, it was difficult to stretch the whole market for performers because of limitation for research volunteers. Only few volunteers are from college who are majoring in music.

• Proceedings of the Korea Society of Costume Conference
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• 2004.10a
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• pp.70-71
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• 2004

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.137-144
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• 2006

Though old generation criticizes on costume play that it is accepted by young generation without any criticism, it is gaining popularity and is settled with unique Korean characteristics. The study is to understand the characteristics of costume play and investigate on the attitude of costume players enjoying it. For this study, a survey was conducted on costume players who order tailor-made costumes or rent them by using references, existing papers and internet sites. The results are as follows. 1.37% of costume players live in Seoul and Gyeonggi area, 37% in Gyeongsang-do and Busan with 21% in other areas. Two areas shows higher rate than any other regions, as Seoul Comic and Busan Comic are held regularly and there are faster exchange with Japanese culture in these areas with enough money 2. Among costume players, female accounts for 73.7% with 26.3% male. It shows that female likes costume play more than male. It is because woman responds actively to what she likes than man does. The number of male is steadily increasing. By age, high school student is 40%, middle school student is 36%, older than 20 is 16% with 3% of elementary school student. 3.61% of them like the reproduction of character costumes, 14.7% like Pancos and another 14.7% likethe reproduction of character costumes and creation. 69.5% participates in costume play both in groups and individuals, 26.3% in groups and 4.2% in individuals. 45.3% participates in comic more than 8 times in a yew, 43.2%, 1-2 times and 11.6%, 3-4 times. Mostly they want $50,000{\sim}80,000$ won costume. 4. on the criticism of old generation that costume play is nothing but the imitation of Japanese culture, 87.4% of the respondents answered 'absolutely not' They think costume play is one of their favorite cultures. 5. on the parents response to costumeplay, 87% of the respondents answered 'Ethey understand', 13% said 'they cannot understand and dissent'. The respondents said costume play didn't affect their school records with 25% respondents who said they got better grades.

• Fashion & Textile Research Journal
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• v.12 no.5
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• pp.564-573
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• 2010

The purpose of this study is to investigate decoration techniques applied to the Korean traditional costume of modern style which are shown in special monthly magazines relevant to the traditional magazine. Findings of the study can be summarized as follows. The types of decoration techniques applied to the Korean traditional costume are largely classified into single and composite types. In the traditional costume of the former type, a quite many of gold and silver foils and embroideries are found. While, in that of the latter type, a combination of two different decorations, embroideries and seonchigi or multi-colored stripes and seonchigi is often used. These decoration techniques are usually applied to some parts of the costume like git, kkeutdong or cuffs, somae or sleeves, seop, goreum or coat strings, jacket or jeogori, the lower hem of the skirt and between joined parts in the skirt. Used together with the techniques, patterns are usually applied onto embroideries and gold or silver foils. Most of the patterns are flower in shape. The main material of the Korean traditional costume is fabrics that have no pattern on the surface and are commercially available irrespective of season. Git used for jeogori is largely classified into dangko git and donggrae git in type. Its color is in most cases same as the main color of jeogori. Keutdong for jeogori is usually 4 to 5.5 cm in breadth, classified as type II. Its color is in most cases white. Goreum for jeogori is usually large in length. Its color is most cases same as that of jegori or reddish purple or blackish red purple.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.26-39
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• 2012

This study intends to reconsider pleat, which was undermined as something too simple to express the details for women's costume, by focusing on the aesthetic value of plea in men's costumes in the west before the 20th century. Furthermore, based on the aesthetic value of the pleat, diverse studies on contemporary men's costumes shall help to attempt to set up a basis for the new mode of men's costume. The pleat, a component in the costume since the ancient times, had unique characteristics including functionality, a sense of volume, directing effect that is caused by line repetitions and formativeness that results through elasticity. First, the aesthetics of the pleat before the 20th century shows rhythmic sense through the repetition of the pleat line as shown in the drape type costume, and it also shows a sense of volume as the pleat is moved along the motion of the body. Second, it shows functionality as the expansion of space moves in accordance with the motion of body sets up an internal space of the costume that facilitates body motion. Third, the pleat extends two dimension space into three dimension space using its elasticity. It exaggerates specific parts of the costume while ignoring body shape in order to symbolize status and authority of men. Fourth, it unifies the costume by wrapping the body by using quadrangle cloths with drapers, and expanding the silhouette with the pleat artificially to conceal the physical character and personality of the wearer. The physical character of the wearer disappears into the space made by the pleat. The pleat reveals the voluptuous beauty within.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.4
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• pp.173-182
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• 2010

In this study, textile designs were developed by applying Norigae for motives, were digital-printed for it's eco-friendly, delicate and short printing time and as final products, necktie, bag and bedding was developed with them. The purposes of this study were to develop a unique textile design, and then to enhance the competitiveness of Korean textile industry in the world market and pass down a Korean traditional fiber art cultural legacy. The results are as follows Norigaes are a sort of Korean traditional ornaments worn on women's Korean traditional costume. These can vary in color, material, shape, composition and said to have very high artistic value from the standpoint of the modern view. And these are symbols of happiness and women's longing of Korean traditional society. So Norigaes are worthy of applying Korean traditional motive for modern textile design. The textile designs applied a Norigae in this study were estimated comparatively high.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.