• Title/Summary/Keyword: beauty of Korean costume

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The Expression of the Human Body in Modern Arts and the Formative Nature of Costume (현대 예술에 나타난 신체의 표현과 복식의 조형성)

  • 권기영;조현주
    • Journal of the Korean Home Economics Association
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    • v.40 no.6
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    • pp.1-19
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    • 2002
  • This study is to observe the meaning, aesthetic formative nature of the human body which has been not only a main issue and discussion object but also socially, culturally connected with clothing by contemplating it in the respect of the trend of art. Additionally, a work of contemplation about human body introduced to fashion design was analyzed to renew the meaning and value of the formative art inside the human body. The way and scope of this study is to contemplate the concept and meaning of human body, based on the documentary records such as art history and clothing history in the West society as a main theme. The results of the analysis were as follows: In the first place, the formative characteristics shown in the modem arts expressing the human body since 1990 which are cubism, futurism, metaphysical painting, dadaism, surrealism, pop art, happening, feminism, body art, and technology art are distortion, exaggeration and dismantling. Second, the aesthetic formative nature and meaning in the human body appear to be different according to the standard of ideal beauty of human body when we examine the expression of it from the aspect of art-history and the meaning of human body implied in it. Besides, human body is being used as a messenger which delivers the message of modem artist to other people. So the changed meaning of human body has affected the clothing and made it possible to manufacture and form new styles of clothing that have never been before. In conclusion, the human body in the modem era plays an important role as a brand-new formative medium of communication in the human society and contributes to the development which applies the aesthetic formative nature of the human body to fashion design.

A Study on the Development of Fashion Design by Aesthetic Finishing Decoration Techniques (심미가공의 장식적 기법에 의한 패션디자인 개발에 관한 연구)

  • Seoyun Lee;Youngjae Lee
    • Journal of Fashion Business
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    • v.28 no.1
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    • pp.131-148
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    • 2024
  • Among the various decorative techniques in fashion design, this study is to study the decorative effect of the aesthetic finishing technique on fabric. Despite the recent expansion of the use of decorative techniques by aesthetic finishing of fabrics, most of the studies have focused on one or partial techniques, and there has been no part on the use of broad techniques or the application of overall design. Therefore, the purpose of this study is to collect the expression techniques of aesthetic finishing and its fashion cases that have been sporadically performed by examining the decorative techniques of fabric aesthetic finishing as a whole, and to provide practical data, help design thinking, and further contribute to the development of higher value-added products. To this end, this study was conducted in parallel with theoretical consideration and empirical research. First, through the analysis of decorative images and fashion cases examined based on theoretical considerations, six creative costumes were planned and produced by reorganizing them according to the flow of modern fashion using a design concept. As a result, it was confirmed that each aesthetic finishing technique is an effective decorative technique that is applied and harmonized to a part or all of the costume to create a new and unique surface effect and formative beauty, and to increase strong visual effects and luxury. Therefore, through this study, it is expected that it will help satisfy the aesthetic sense of consumers seeking high-end and individualization in the future. Therefore, in future research, it is necessary to expand and deal with the aesthetic finishing of fabrics in more depth, and it is expected that multifaceted research and development will continue.

Design Development of Fashion Cultural Goods to which Korea Image is applied - mainly centering around the goods of scarf and necktie - (한국적 이미지를 응용한 패션문화상품디자인 개발연구 - 스카프, 넥타이 상품을 중심으로 -)

  • Nam Jae-Kyung
    • Journal of Science of Art and Design
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    • v.6
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    • pp.249-266
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    • 2004
  • Nowadays more than 200 countries are living on the earth in international relation. Having their own culture and history, these countries constitute international society, creating their national image with their own identity based on the culture and history. Though each country has cultural goods in which it combines its culture and history to economic area, the global and cultural goods representing a country is not made in short term, but completed by the combination of its long tradition, cultural consciousness of the nation and artistic level. That is to say, the image developed by the country is naturally embodied in the goods and the world recognizes the image and confirms the goods. To embody such Korean and global goods, it is essential to put priority on the research of history and culture of our society. Needless to say, it is very important to find the value of our own differentiated beauty and apply it to each area of design industry. Recognizing the differentiated value of our own cultural originality, this research performs the design of scarf and necktie to exhibit Korean image in modern and fashionable ways for commercialization by developing design of fashion and cultural goods to which Korean image is applied. Through literature and various informations, the theme of design that can best convey Korean image is determined to be the national flag of Korea, Taegeukki and five cardinal colors and the researching method is as follows. First, though the area of developing designs of cultural goods is very wide and various including commerce, industry, products , fashion, handicraft and traditional handicraft, etc., this research sets the scope of developing design, focusing on the fashion accessories utilizing the textile design such as costume, scarf, necktie and so on. Second, the definition and scope of cultural goods and the present situation of domestic cultural goods will be examined. Third, the modelling property and symbolic meaning of the national flag of Korea (Taegeultki) and five cardinal colors, the theme of design will be studied. Fourth, on the basis of above research, scarf and necktie will be designed by modern and fashionable design to which Korean image is applied. Fifth, this is textured in textile printing and gradation for commercialization.

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Study on Image of Femme Fatale represented on Costumes in the Movie 'Chicago' (영화 '시카고'의 의상(衣裳)에 나타난 팜므 파탈 이미지 연구(硏究))

  • Kim, Ji-Young;Kan, Ho-sup
    • Journal of Fashion Business
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    • v.8 no.1
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    • pp.16-33
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    • 2004
  • Up to now, image of femme fatale has undergone constant transformation to be inherited and developed through various genres of movies. With few exceptions such cases have represented sensuality of women by costumes with the most distinctive and exaggerated sexuality. Temptresses in movies are mostly drawn as extravagant and gorgeous one or a gloomy and dreary woman. Such an image is reinforced with make-up, hair style, accessories, attitude and manner of talking. The movie 'Chicago' is a musical film that crosses the boundaries of reality and fantasy with dancing and singing. Its lighting, stage setting, powerful and sexy dancing augmented already exaggerated and sensual costumes. Following is the analysis of costumes for two heroines as images of femme fatale. Strong contrast of color among black, red and blue on see-through & stickingly tight body suit signifies liberal mind and arrogant charisma of Velma. The contrast, haughty gestures, cropped black hair and thick makeups represent sex appeal, aggressive image, and fearlessly determined character of femme fatale. Roxie wears decent dresses in front of public and gorgeous stage costume in fantasy to convey two images of bad girl and angel. Her body suit, showing off lustering materials and dazzling bead decoration, is rather loose but still displays her bodyline to emphasize sexiness for representation of desire in fantasy. Chastity and innocence are implied with the decency of dresses in reality. They were specially chosen to draw public sympathy and indicate cunning disguise of Roxy who desperately wants to realize her desire. These dauntless costumes, which sufficiently express inside aspirations of Velma and Roxie later denote open and realistic social yearning rather than fatal desire hidden behind sensual beauty. It doesn't exist as imperfect, unrealistic and socially disdainful ambition as the image of femme fatale of paintings and movies did before in history. Femme fatale is expressed with deep cleavage, silk dresses that explicitly display bodyline, sexiness of mesh stockings with garter belts. All of these won't be utilized as a negative tool to seduce and destroy someone anymore but rather, they should represent rightful and fair nature of humans such as men's curiosity who secretly steal a look at them or female sexuality that women spontaneously want to show off.

A Comparative Analysis of Movie Versions of "Snow White" (동화 "백설 공주"를 영화화한 작품들의 비교분석)

  • Lee, Youn H.
    • Cartoon and Animation Studies
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    • s.30
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    • pp.245-262
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    • 2013
  • This paper analyzes three feature films that are based on Brothers Grimm's "Snow White": Disney's Snow White and the Seven Dwarfs (1937), Tarsem Singh's Mirror Mirror (2012), and Rupert Sanders' Snow White and the Huntsman (2012). Disney's animation, not the original literature, is the archetype of the later films. Grimm's fairy tail does not include the kiss of Prince Charming that saved Snow White which is, in fact, borrowed from "Sleeping Beauty", nor Snow White's rapport with animals. In Snow White and the Huntsman 's case, the costume of protagonist is similar with Disney's film and some shots are almost identical with Disney's version in terms of composition and angles. Nevertheless, these films show their originality with markedly different visual styles. Mirror Mirror and Snow White and the Huntsman have achieved reasonable success at the box office despite of relatively simple and predictable narratives due to the power of spectacle. While Disney's Snow White displays the model of witch that later becomes prototype of many movies, Mirror Mirror represents the unique magical world, a trompe-l'oell that can only done by director Tarsem, and Snow White and the Huntsman successfully visualizes Freudian concept of 'the uncanny' itself.

A Study on the form of korean Women's Hair Style-From the Viewpoint of Woman's Hair Style in Cho-Sun Dynasty- (한국 여성의 수발양식 관한 연구 -조선시대 여성 수발법을 중심으로-)

  • 정상숙;조효순
    • Journal of the Korean Society of Costume
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    • v.41
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    • pp.95-105
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    • 1998
  • SOO-BAL(Hair Style) is a method Which match hair style to face and clothes with using hair covering and protecting the head. Also SOO-BAL includes personal ornaments using to avoid one's hair be disheveled. In a standpoint of beauty and spirit, etiquette SOO-BAL is a very important thing as one being dressed up. Until now, since just a form of hair style have been studied, hair styling process is nothing to be known and studied. Time after time, our unique traditional SOO-BAL is forgotten with clothes and then this th-esis will be classified hair styling form follow-ing a form of hair style in royal palace of the C-hosun dynasty. According to the record of HAE DONG HISTORY, it shows the same of attire between Ko-rean and chinese style in ae of the chosun. The reason in that there were no any certain boundary border and the interaction of culture between two countries was happened spontaneously at ancient time like the GOCHO-SUN age. Until the period of the three states, the korean attire be changed had gone with chinese one s-imilarly. The chinese form gave to influence on the EONJIN MEURI·POON-GI-MYEONG MEURI·JJO-CJIN MEURI·MOOK-EUN GOONG-BAL MEURI·OL-LIN MEURI·SSANGSANG-TU ME-URI be drawn wall painting in the KOKUR-YU. And a gold chignon accesso-ry unearthed in a MOO-RYOUNG royal mausoleum is proof of the korean attrire be changed with chinese. In the shilla dynasty at three years after Cjin-Deuk(A.D. 649) reign. It was recorded that the dynasty let women wear the form of chinese attire. Also in the koryo dyn-asty, a rod-like hairpin (BIN-YEU) and DANG-GI employing EON-JIN MEURI was used. The SOO-BAL based on the Confucianism had lots of regulations which limited to use ornaments with classes of society in the CHOSUN dynasty. Until YOUNG CHO and CHUNG CHO period. EONJIN MEURI be decorated GACHAE was announced by dynasty as ind-ulging in luxury. Women of yangban used a rod-like hairpin and a chignon accessory made by jewerly. And 1-owly women weared a rod-like hairpin made of born and wood to perfom EONJIN MEURI with PUNCHAE. Most unmarried women decorated with DDA-AH-NEULIN MEURI, GUI-MIT MEURI, specially in palace with SAE-ANG MEURI. At palace, one put on a full dress with KEUN MEURI, and a simple dress with ER-YEO MEURI be decorated DDERL-JAM The CHOP-JI MEURI manifested social rank, class. Kids at CHO-SUN age had BA-DUK-PANMEURI and JONG-JONG MEURI. The ornament things are GACHE, DDERL JAM with EON-JIN M-EURI, and all kinds of rod-like hairpin and chignon accessory used in JJOK MEURI. IN DANGGE, JE-BI-BURI DANGGI used by ummarried women. DO-TOO-RAK DANGGI and AP DANGGI on a dress suit, and BE-SSI DANGGI used by 3∼4 years ungrown kids etc. were used. And at palace, kinds of CHUPJI used with JJOK MEURI showed social rank. In CHOSUN age, women want to keep shiny hair washed at TA-NO festival day, a treatment of bald hair used a forked remedy. In CHOSUN age, woman Soo-Bal hair style has DAE-SOO·DDEU-KOO-JI MEURI·CHO-P-GI MEURI·EON-JIN MEURI·SAE-ANG MEURI· and so on. We could find out Soo-Bal was developed very well by these variety hair styles. I attatched all of the hair style pictures step by step, and also explained detail my research foll owing these pictures.

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현대여성(現代女性)의 의복의식(衣服意識)에 관한 조사(調査) 연구(硏究) - 서울 지역(地域)의 양복(洋服) 착용자(着用者)를 중심(中心)으로 -

  • Lee, Hee-Myung
    • Journal of the Korean Society of Costume
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    • v.2
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    • pp.73-88
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    • 1978
  • This article is an attempt to explain, at least in part, the contemporary Korean women's consciousness of Western Dreasses. As time changes, the role of clothing undergoes varisous transitions, while values and ways of life are constantly in change. It is, therefore, proper and appropriate to recognize as among the major aspects of social psychology such phenomenon as interests, understanding of clothing, the choice of a dress, and attitudes toward clothing, etc. The purpose of this study is to discover problems concerning and their clothing and their solutions, by means of a surveying approach. The method of research used is based upon questionares distributed to parents of first-year pupils in elementary schools and to female clerks working in offices, covering the period from August through October, 1976. The number of the questionares distrubuted totalled 600, and 526 were returned to the research to be utilized for analysis. The contents of the survey included such things as values concerning clothing, kinds of clothing and their practical use, the selection of clothing and the method of purchase, fashions, etc. The classification of aquisition are self-made clothing, clothing made to order and ready-made materials. It is composed of 25 items, including affirmative reasons as well as negative ones. The processing of the material returned was made by using the computer, and based upon classifications such as ages, monthly income, occupations; thus diagraming the result in percentages. The conclusion made and the improvements proposed are as follows: 1. The values of clothing were placed on the expression of the wearer's personality (32.7) and on eauty(28. 6%). The lower age group places is stress upon the expression of personality, while the higher age group stresses beauty. About 50% of wearers are contented with their clothing, their clothing, the rest of whom them indicating their dissatisfaction with what they wear. As to designs at the time of selection, about 46% indicated their preference of personal expression, 31.8% on usefulness. In selecting material, practicality is emphasized; in selecting patterns, single color is preferred. In short, personal expression and esthetic values are primary, with consideration of practicality in mind. 2. The classification of clothing according to their uses indicates the highest numbers in normal wear (home wears) and clothings to be worn outside home. As to evening dresses, (party dress) only one or two articles were checked by many, and no such article was clamed to be possessed by most. The highest ratio of wearing was shown in the case of home wear (47.3%) and clothing to be worn outside the home, which is 55.8%. The budget for one article of clothing was greatest in the case of home wear, and clothing worn outside the home. Many used both kinds of articles for the same purpose. It is desirable, therefore, that the kinds of clothing should be varied according to the purpose for which they are worn, and that clothing appropriate for that purpose should be worn. 3. The motivation for purchasing clothing was highly chosen in the item of seasonal change, which was 55.7%; Clothing deliberately made was indicated by 45.2%. In the mothods of purchasing clothing, clothing made to order and ready-made was indicated by 44.4%, which is the highest; Clothing made to order was 25.4%, and self-sewing was 1.1%, which is the lowest. (1) In the case of self-sewing, "I like it but it is very hard," was checked by 43.6%; "It is so difficult that I cannot wear such clothing" was checked by 13.3%. From these, we can conclude that the questionees are willing to make clothing by themselves, but techniques involved in sewing and at her problems involved in the skill are complicated but when those problems are eliminated there is a possibility for practice. The response checked by questionees concerning the self-sewing was, "It's economical", which is a clear indication that many questionees are positive for self-sewing. It is generally believed that ready-made clothing is cheaper, but it is not necessarily so. In consideration of the quality of clothing, self-sewing is a necessity, and it is desirable that it should be encouraged. (3) Problems involved in ready-made clothing, such as designs, skills, size (fitting) should be eliminated. When these problems are scientifically gotten rid of, it is possible that affirmative returns will be expected. Affirmative responses such as "Ready-made clothing is economical," "You can select there on the spot," are good signs that many women expect to wear ready-made clothing. It is in this sense that the prospect for ready-made clothing is brighter when much development for ready-made clothing is on the way. 4. Much concern for fashion are checked in such item of questions as "Fashionable clothing in the show window," "Clothes worn by women." The first item was checked by 50.1 %, and the second was checked by 48.6%. The reason for following fashion is "Because many people wear them," which was indicated by 30.4%. The reason for not following fashion is "It is too expensive," which was checked by 29.6%. The 26.2% of the answers indicated that "Fashionable clothing is devoid of personality," The influences of fashion over the development of fashion over the development of clothing are two-fold: Esthetic and active. It is not to be deniable that people follow fashion more or less. 1978.9>

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A Study of the Standard of Costume life in the Chosen Dynasty Period -Focus on Literature- (조선시대의 의생활규범에 관한 연구 -문헌을 중심으로-)

  • Hyun Jin Sook;Min Gil Ja
    • Journal of the Korean Society of Clothing and Textiles
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    • v.9 no.2
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    • pp.67-74
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    • 1985
  • According to the records that all the people in our country were taught the way of braiding the hair and hatting in the first year of 'Tangun' (the founding father of the Korean nation) and that the discipline between sovereign and subject, man and woman, and the standard of food, drink and dwelling were originated from that year, it seems that all the people in our country had lived with keeping a certain standard of food, clothing and shelter, and with maintaining the order in life from ancient times. So, our country have been called 'the Eastern Land of Courtesy' and also regarded as 'the country of the true gentle-man' which was characterized as the custom of a humane, and as the country that had the immortality since a benevolent person lived to a great age. Thus, all the people in our country have lived with keeping and maintaining a certain standard of all aspects in life, and the philosophy in life that we have today was established by the influences of our characteristic thought, Confucianism, Buddhism, Taoism and Christianity, especially the life style in the Chosun Dynasty Period have strong influence on our today life. Thus, the contents concerned with the standard of custume life among those of all life in the Chosun Dynasty Period was studied, and clothes itself is unable to give expression to its ends but when the relationship that is, the inter-harmony among clothes, the body which will be dressed in, and the inherent psyche in that body is formed, then the ends, the complete beauty will be expressed. Though there were many studies dealt with clothes itself, no one was concerned with the all kinds of standard in activities that the dresser should keep, so the purpose of this article is that as above. The literature search is used as the research method. The eight books, 'Noneo' (the Analects of Confucius), 'Yeogi' (the Book of Courtesy), 'Sohak' (the book of Precepts for child-ren), 'Yeosaseo'(the Women's Four Books), 'Sasojeol'(Korean Scholars' Minor Principles) 'Eonhaenaehoon' (Private Moral Instructions for Women), 'Woo-am seonsaeng kyenyeoseo' (Master Woo-am's Cautions for Girls) and 'Kyoobangkasa' (the Lyric Lines of the Boudoir) that had influenced the whole field of life in the Chosun Dynasty Period are analyzed, selected and finally arranged for studyilng the foundation of culture of the clothing and for helping to that culture in modern and future life. The results are as follows: 1. The standard of the clothing life in the Chosun Dynasty Period had deeply rooted in the teaching of confucianism, but also had been influenced by the custom which rooted in our people. 2. There is the emphasis upon the trinity among mind, clothes and activities in the clothing life. 3. The clothing and hat have to be dressed symmetrically in full of all required elements, 4. There is the harmony between the clothing with hat and environments or surroundings. 5. The true elegance in the clothing life will be realized not by the exterior outfit but by the interior outfit with the attitude of chastiny. In conclusion, as the material of clothing life in the Chosun Dynasty Period has the characteristics of the simplicity, the cleanliness, the elegance and the refinement, our clothing life is to be mastered with the simplicity, the cleanliness and the elegance in that life and with the harmony between the inside and the outside.

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