• Journal of Fashion Business
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• v.13 no.1
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• pp.51-66
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• 2009

The purpose of this study is to fashion-design the image of Cleopatra on the basis of Cleopatra's characteristic, clothing and its symbolic meaning shown in movie . In movie , Cleopatra(69B.C-30B.C) is described as passionate, intelligent, dignified person and even as enchantress. Costume that Cleopatra wears compound the type of ancient Egyptian costume in New Kingdom, the change of it, and the trend in the 1960's. Their color and pattern also symbolizes religion by adding ancient Egyptian myths to show the absolute royal authority. Therefore, design concepts, determined on the base of Cleopatra's characteristic and symbol meaning, are applied to make creative costume with Cleopatra's image of God Isis. In order to show Cleopatra's dignity, confidence, territorial ambition, black is used as a general base color. To represend Cleopatra's passion and the image of Isis, red is used. And the word 'Kemeto' represents all these symbols. As a whole, dress named 'Kemeto of Cleopatra' is designed and created.

• Journal of Fashion Business
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• v.13 no.1
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• pp.17-33
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• 2009

The purpose of this study is to find the character of Cleopatra (69 B.C-30 B.C) by analyzing materials about Cleopatra, and to figure out symbolism and costume presented in movie . Costume of the main character, Cleopatra, compound the type of Egyptian traditional clothes, the change of it, and the trend in the 1960's. And, the symbolic meaning of it is also reinforced by adding ancient Egyptian myth to it. This kind of symbol is usually represented in Cleopatra clothing, especially in weaving pattern, embroidery, and ornament. And color of the clothes not only have their on predominance, but also can have their meaning fade away by mixed with each other, and also the shape has relation with the meaning of color. To sum up, the color and pattern of ancint Egyptian Cleopatra as alive formalize the power that come from coherence with the sun god in the center, which a used to maintain the power of the king. Costume in movie also contained color and pattern as a symbol of religion to symbolize the absolute power of king. These kinds of symbols are reemerging through historical recurrences and exotic interests.

• Korean Journal of Human Ecology
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• v.8 no.1
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• pp.135-150
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• 1999

The purpose of this study is on the dance costume of ancient Egypt. First, after the present study looked onto a specialty of Egyptian dance, and then the present study classified Egyptian dress into type and form, quality of material and color tone, hair and headdress and other ornaments. Fundamentally, this study was intended to understand the traditional culture and to grasp the peculiarity of Egyptian dancing dress. This study was progressed as a theoretical research by using documents, photographs, literatures of museum, etc. The results of the study could be summarized as follows. Egyptian dancing featured the earliest form of stage dance in the world and improved religion dancing and sideshow dancing getting out of the form of primitive dance, and also there were professional dancers who developed highly skillful dancing technique. They played a role in disseminating it to many countries of the Mediterranean sea. Dancers of Egypt wore a variety of cloths like the general people. Accordingly, there were no big differences in qualify of material, color tone and other ornaments as well. Yet in accordance with improvement of dance, there was a show-up of clothing of professional dancers and changing of detail parts. So dancing dress was formed while distinguished from general clothing. Therefore, dancing dress of Egypt represents racial characteristics, activity, originality and pursues not authority, but respect of physical beauty or natural beauty.

• Journal of the Korean Society of Costume
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• v.39
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• pp.21-37
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• 1998

This study researchs forms of Egyptian religious dress for studying formation-process of religious dress and its ornament. The study goes abreast literature and the very spot's materials also divides god's dress, priest's. Ancient an egytian worshiped mainly animals, step by step animal's humanization. So gods were expressed animal's face and human's body. Egypt god's costume is 1st, to take off upper hament and wear loin cloth on trousers 2nd only to wear short sheath skirt. 3rd to wear shout sheath skirt and to skirt and to wear loin cloth on there 4th to cover whole body and to open hand like mummy. Egype goddess' costume is largely to wear long sheath skirt up to the ankle and we can see selkit goddess's figure that wearing kalasiris after new dynesty. Priest had been a bald head and worn loin cloth and surrounded leopard's skin on there, but after the period of empire, worn a wig and worn less stoically. Also god had hung the lion's tail at symbol of the dignity and priest had put on sandals for a ceremony.

• Journal of the Korean Society of Costume
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• v.1
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• pp.131-150
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• 1977

The new sense of costume is controlled by silhouette. The sense of the times is sensitively reflected in silhouette. For we can perceive the transition of the times through silhouette it is significant to know what course of changes the western costume, which almost became the international costume today, had been going through. I began with the definition and condition of silhouette in this study of silhouette. I took a general survey of silhouette study-ing various kinds of silhouette and the relation between the material and silhouette. I sought the factors which causec the changes in costume and also studies the process of the changes The process of the costume changes is studied by the order of ancient times, mediaeval times, mordern ages and present days. I selected one representative silhouette of women's costume of each period. The darpery form of the ancient time's costume became the tunic form and the tunic form became the tight tunic form today. From this we can perceive that the Gothic period was the limitation of westrn costume. It means that the ancient times was the period of drapery, the midiaeval times was the period of transition from tunic into tight tunic and the modern ages is the period of development of tight tunic. In Egyptian period thin materials were used for costume which was worn in exposed style. In Greek period the costume had the drapery style. The Roman's magnificent costume resembled the Greek's. The mediaeval costume was formed in Byzantium where the northern Europe style of costume was mixed with the gay oriental costume. The Romanesque and Gothic period followed the Byzantine period completing the midiaeval costume. Tight tunic is developed in modern ages. Italian fashion of tight tunic was the first fashion of the modern ages. Germanic and spanish fashion came after it. As Baroque period opened the French royal costume became magnificent and added Brition fashish to it. With the commencement of the modern ages the royal fashion came to an end. Modernages became peaple's period and the costume was simplified. After the First world wav designers and fashion books appeared with the development of technology. Thus the period of fashion industry came. For the designers in 20th country competed to create new designs, the fashion was changed year by year. The simplicity and practicality are not ignored in design, arid the designers added more atristic sense to dresses.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.157-173
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• 2001

In fashion, there are various cultural aspects that exist in complexity, where according to the era, even fashion items newly develop and prevail into various designs in the organic function with reality of related cultural phenomenon and aesthetic aim. Among the fashion items, the shoe is historically considered as the shield from lust and also the provision of praise against the most emotional incitement. Mankind has started wearing shoes out of the functional purpose of protection since the ancient Egyptian times. Thereafter humankind has been creating shoes artistically in respect to shape, color, and quality of material, etc, as an expression of aesthetical awareness and introspective desire for beauty. As modern fashion increasingly regards the total fashion image much more important than each items consisting the whole outfit, the role of shoe became essential more than ever. Contrary to its relative importance, little academic attention was given to this area yet, while prestigious museums and galleries in Europe and the USA have held exhibitions of shoes in view of both historical and artistic aspects. This study aims to make a historical inquiry of western shoes. through which their aesthetic values can be drawn. Literature on this subject including aesthetics, history of costume and arts were referred. Fashion magazines and catalogues were investigated for additional information. The process and results of this study are meant to be a suggestion not only to further studies but also to artistic and creative shoe design. Originated for the functional purpose, shoes have evolved in various shapes with different meanings attached to it. When the technological development made the satisfaction for functional needs possible, the intrinsic attribute, the aesthetic value was pursued. The historical contemplations of shoes from Egyptian times to the 1990's led to the results that the intrinsic aesthetic value of shoes can be summarized as follows: 1) protection and extension of body, 2) need for decoration, 3) erotic expression, 4) symbol of dignity and class, 5) fashion.

• The Research Journal of the Costume Culture
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• v.7 no.2
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• pp.211-219
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• 1999

The purpose of this study was to trace and identify termilogies recorded im kei lim yu sa. ma(麻), kyun(絹), po(布), je(苧), and je-po(苧布) were included in this study. For the analysis of this research comparative analytical methods was employed. Some significant findings and results of this study can be summarized as follows : 1. Text : hemp is called san(麻曰三). The word san of Koryo was derived from Indian sann, san, sana, sunn, 2. Text : Kyun is called jyi or kib(絹曰及). The word jyi(及) of Koryo was from jyi or kib() of Silla. 3. Text : Hemp cloth is called bey(bei), pey(pei), bai(布曰背). Be (베) has two meanings of hemp cloth and cloth in Korean. In the text it is interpreted as hemp cloth. 4. Text : Ramie or China grass is called mar, maw, mao, mu (毛). (苧曰毛). It is considered that the word mau(mo in Korean) (毛) in text is correct and word mau(毛) meaning China grass of Koryho is derived from mah or mak that is an old Egyptian name for flax or linen. The word mau(mo) (毛) of Koryo seems to be a transliteration of mah(or mak) in Korean or a variety of it. 5. Raime cloth or China grass cloth is clalled mau shy (苧布曰毛施). Silmar words to mau shy(毛施) of Koryo were found in Chinese, Manchurian and japanese as well as in Ancient Hebrew.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.41-53
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• 2014

Contemporary fashion designers are keen on linking the past and the present through culture and fashion by the attempt to investigate and research on the costumes recorded in its history and to reinterpret it on their own terms. Covering the history of culture ranging from the 70s and 80s to the ancient Greek and Egyptian periods, these reinterpretations also reflect the latest fad of the times in which a fashion designer lives and works. Above all, Rococo costume from the eighteenth century is one of the fashion styles adored by fashion designers. What constitute the costume of this period creating the image of sensual women are not only the form of outfit, colors, the design of accessories, shoes and hairstyle but also the details such as frills, ribbons and flower decorations. In contemporary times, the original Rococo style has been modified and turned into various styles in the haute couture and street fashion. These modernized styles include Rock Rococo, Modern Rococo, Lolita Look, Gyaru Fashion and etc., all of which adopt the Rococo style and consider it as the symbol of feminine beauty. However, their approaches to the original Rococo style differ from each other. Hence, advocating the elegance of women is not invariably the case. Often, the interpretations of the Rococo are unconventional, defiant and wild. And, sometimes, these new versions of Rococo are overly exaggerated and emphasized or, reversely, reduced. In this research, various references on the Rococo elements such as colors, forms, accessories and detailed features that has influenced on the contemporary fashion will be analyzed. This analysis will demonstrate how the Rococo style of the eighteenth century has been integrated into contemporary fashion giving birth to new Rococo fashion styles.