• 복식
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• 제60권7호
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• pp.117-130
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• 2010

The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.

• 복식문화연구
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• 제14권1호
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• pp.16-26
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• 2006

There have been in the history of western costume a few studies on men's headgear that cannot be the second to the women's headdress in terms of the gorgeousness and variety whereas the studies on women's hair styles and head dresses have frequently been carried out. Such varieties of the headgear in terms of forms and ornaments have still been found with various types. Thus, the study on the change in designs and details of headgear and the recreation of them may contribute to the utilization of the fashion in current vogue and the guidance of the creation for the new design. The aim of this study is to find such changes in the designs and the methods for the production of bonnets which have played important roles to emphasize external characteristics of costumes. As a result, this study may provide key materials for the development of new designs. As with the previous studies on the women's headdress and men's hat, the methodology of this study is to recreate bonnets based on the literature review and the portrait analysis. this study will cover the eras from the late fifteenth century to the mid sixteenth century when bonnets began to be produced. First, the characteristics of hair styles and bonnets are to be reviewed for the selection of bonnets to be recreated. Next step is to make a literature review on the form, materials, colors and ornaments used for bonnets. Finally, the patterns of bonnets is to be illustrated for the reproduction of selected bonnets. Materials to be used in this study for such a reproduction are velvets, silks and wools as presented in the literatures and ornaments to be used are similar to those captured in photos.

• 한국콘텐츠학회논문지
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• 제10권2호
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• pp.184-192
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• 2010

감성마케팅의 시대라 불리는 요즘 현대인들에게 감성을 불러일으킬 수 있는 독립된 서체인 캘리그라피는 광고, 북디자인, 영화타이틀, 포스터, 패키지, BI, 패션에 이르기까지 다양한 분야에 활용되어지고 있다. 이에 인천시 계양구를 중심으로 캘리그라피를 사용한 옥외간판 100곳을 선정하여 업종별 캘리그라피 사용현황 및 활용실태와 표현도구별 분류, 색상 사용분석을 통해 캘리그라피가 옥외간판에서 활성화 될 수 있는 개선방안을 연구하였다. 그 결과 요식업종 뿐만 아니라 금융권이나 기업체 등 다양한 업종에서의 시도가 요구되어지며, 고비용으로 전문가에게 의뢰해 제작되어진 프랜차이즈의 브랜드 로고타입에서만이 아니라 영세 개인상점에서도 저비용으로 질 높은 캘리그라피 제작을 위해 지역사회를 중심으로 다양한 캘리그라피 교육프로그램 개발이 필요하겠다. 또한 세계화의 흐름 속에서 한글의 아름다움을 알리고 우리만의 독특한 거리 문화 창조를 위해 다양한 도구와 질감 표현들이 요구되어지며, 앞으로 옥외간판에서의 캘리그라피에 대한 연구들이 활성화 되어야 할 것이다.

• 복식
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• 제58권1호
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• pp.90-103
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• 2008

This study aims to examine the current state of wearing working clothes for the workers who work in Electric Technology Division, Korea Railroad Corporation, to identify inconveniences and problems in relation to the working clothes, and based on the examination, to find a way to improve them, creating a design of summer working clothes that will have more advanced functionalities including activity adaptability and comfort. Survey was conducted through direct observation and interview for Electric Railway Power Team. A total of 352 copies were collected and analyzed. Based on the results of questionnaire, an experimental clothes, the functionality of which has improved in terms of design, material, and patterns, was created. The followings are the results of the study. Easy activity, design, and comfort are required as functions of working clothes. In design related questions, the survey shows high dissatisfaction in the color of existing working clothes, and preferred colors are dark blue and gray. With regard to the method of zipping up the front side, zippers are preferred. Although many pockets on the existing working clothes have high satisfaction, dissatisfaction to pocket format is high. In material related questions, lower dissatisfaction is indicated for the sense of touch, ventilation and sweat absorption. It is shown that the areas frequently polluted include the lower part of pocket, the edges of sleeves and elbow areas on the jacket. The frequently polluted area of the trousers include knee areas, the edges of pants and buttocks. With regard to the areas where the workers felt discomfort when motion, discomfort is highly indicated with armpits and back on the jacket. Also discomfort is highly indicated with crotch, buttocks and knee areas on the trousers. In material related questions, lower dissatisfaction is indicated for the sense of touch, ventilation, sweat absorption.

• 복식
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• 제53권3호
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• pp.107-119
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• 2003

The purpose of this study is to explore ways toward the hat design development by looking into the formative and aesthetic characteristics of the works of Philip Treacy, the designer who raised hats to one of the important fashion accessories. This study concretely investigates the formative characteristics of Treacy's hats in terms of shapes, materials, colours and decorations. According to this study, the shape of his hats shows the natural and specific objects in three dimensions, not in basic shape of hats. He uses combination of a variety of materials, adding unique materials to existing ones, so that they not only create a specific atmosphere but also extend the limitation which used to be thought as materials for hats. In the field of colour, he mainly used black and white until 1999, but since 2000 he has been using vivid and splendid colors. And he uses feathers or nets for decorations of the hats. As the result of the comprehensive analysis of Treacy's works, this study characterizes his works by surrealistic, three-dimensional, rhythmic and future-oriented. Therefore, Philip Treacy's hat design can be defined three dimensional considering the formative beauty, and can be characterized by use of unique materials, vivid & bold colours, moderate decorations, f variety of lines, and asymmetrical structures. These characteristics show surrealistic, three-dimensional and futuristic message which rhythm can be felt. He presents unlimited capability in hat designs as a representative of human being's basic will for creating new ones beyond this real world. It is considered that this study can help broaden the limitation of the hat design which used to repeat simple forms in the Past and help explore ways for developmental direction of hat design in the future.

• International Journal of Costume and Fashion
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• 제5권2호
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• pp.55-67
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• 2005

The purpose of this study is to document an unidentified velvet fabric which is located in the Museum. The investigation was conducted by analyzing color, weaving technique. pattern of the study object. To identify the origin of the object, many references about color trends, construction methods and patterns were accessed. Two comparative objects which were dating from 1600 to 1699 in the Museum of F.I.T. were selected since they are similar to the study object. The results of this study can be summarized as follows; (1) The type of this study object is 'cut and voided velvet'. It is obtained establishing the motif as areas of cut pile so as to form a pattern, while leaving other areas of the grounded weave without pile. Two flowers and two tulips with S curved stems are composed as one unit in the vertical direction. (2) The colors used in this study object. which are ivory, smoke blue, medium orange, and yellow. are part of a new trend color in the $17^{th}$ century. (3) The vertical undulating stripe patterns are also of significance in this fabric. They seemed to be contemporary with the serpentine line which was common since the $15^{th}$ century and the vertical stripes pattern which appeared from the $16^{th}$ century. (4) The stylized tulip patterns of this study object began to appear in the early $17^{th}$ century. The stems and leaves of this patterns are less sinuous than the floral motifs of the later $17^{th}$ century. Therefore, the study object is dated to early in $17^{th}$ century because of the color combination. stripes. stylized tulips, leaves. and stems are showing the characteristics of this period.

• 패션비즈니스
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• 제6권2호
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• pp.29-40
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• 2002

Honor guards‘ dress represented by royal carriage parade. This thesis studies the ceremonial dress worn by the ceremonial troops during the Hwa-sung Hang-hang Ban-cha drawing (華城幸行班次圖) in the Chosun dynasty of King Jung-jo. The purpose of this study is to understand the national level ceremony by closely looking into the traditional ceremonial dress and the various signs that were used at these events thereby enhancing the cultural status of the Jung-jo King period. The Hwa-sung Hang-hang Ban-cha drawing(華城幸行班次圖) has its characteristics and also has commonality between the garments worn at these ceremonies. These garments are a traditional heritage brought down from many ages before and is a reflection of the changes that have occurred within our everyday life. Among these many records the Bancha-do(班次圖) is a representation of records that show what was worn by both nobles down to the ceremonial troops. The uniforms of the ceremonial troops were not only huge in size but also very diverse according to rank and grade. They used strong true colors with colorful flags, ceremonial items and musical instruments. These all added to the grandeur of the ceremony. The ceremonial flag was itself a symbol and was the core of the whole ceremony and parade. These ceremonial flags represented the heaven, sun, moon, hill and animals as well as supernatural gods. All these showed change in shape, color and content by age and time. Also the Yongmun Gichi(Dragon flag: 龍紋旗幟) is a supernatural being representing the power and wish of the ruler. The Chunsang-mun represents the indivisible relationship between man and heaven and also a metaphor for absolute power. A close look at ceremonial instruments show a direct representation towards power such as an axe, spear and sword and integrated with other large ceremonial items not only provided a shade but was also a representation of worship. These all were a more or less representation of authority. The musical instruments expressed the absolute authority of the ruler and maintained the marching order and also added grandeur to the parade. A summary of the ceremonial troops in the As seen above, these national ceremonies were a representation of the present power of authority and the will to rule. These ideas and the philosophy of “ruled by heaven” is represented here in the uniforms and the ceremony itself. The Bicentennial anniversary of the Nung - hang of February 1795 will be an excellent opportunity to show and inherit the tradition and recreation of our heritage. In this view we must look at the color and shape of traditional dress to be able to inherit and learn from our ancestors.

• 패션비즈니스
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• 제1권3호
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• pp.60-70
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• 1997

The purpose of this study is to survey the sales of brassieres positively those of elderly women's (aged 50 or older) ones in particular through 72 sales outlets and thereby, in order to present the more comfortable brassiere models which can serve to reinstate elderly women's constitution and provide the useful basic data to brassiere makers and distributors for their business. The results of this survey and the suggestions therefrom can be summarized as follows; 1) Brassieres usually sell at 10,000-20,000 wons, which allows for 15% or more margin rate. Brassieres are disposed through bargain sales once or twice every year where their price are discount 10% or higher. Meanwhile, the majority of the brassieres distributors maintain more than 15% stock rate. The accumulated stocks are primarily disposed through return to makers or bargain sales. About 15% of the brassieres sold are returned by consumers to distributors to be replaced. 2) About a half of distributors operate some or other types of sales education programs. Most of these distributors feel that their educational program have been effective which suggests the effectiveness of sales educational program. On the other hand, 83.3% of the distributors operate in-house repair shops, while the absolute majority of them brief their customers on how to wear brassieres or clean them. 3) Because elderly women's understanding of brassieres sizes is very poor, they tend to ask help of the 'sales people about their sizes before purchasing and proper one personally. In other words, it has been disclosed that old women respond positively to seller's recommendation for their brassiere sizes. 4) It has been found that the brasseries sizes purchased by old women most are. 85A, 90A and 85B in their order, which suggests that the most popular size for under bust circumference is 85~90cm, while their primary cup size is "A". 5) The type of brasseries favored most by elderly women is the "full-cup" type, while their most favorite brassiere design is a soft and simple one. The colors preferred most by them are white, beige and pink in their order. 6) When being consulted by elderly women, sales people experience various difficulties due to their poor understanding of sizes and complaint about prices. Lastly, it has been found through this survey that elderly women want to see some sales promotion material featuring their brassiere sizes and their production arid ask the brasseries makers to produce more diverse brasseries sizes.

• 복식
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• 제57권3호
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• pp.90-107
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• 2007

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. Also, operas are increasingly performed outside traditional theaters as the boundaries between stage and audience become less obvious. Accordingly, stage costumes are being differently designed than before. New attempts are being made to look costumes in a harmony with increasingly streamlined stage machinery. This helps increase public attention on operas, consequently promoting the opera industry. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust," which was played in Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes of the crowd are drawn from this study. A variety of splendid pink dresses, ribbons, dolls, hand mirror, and hair bands were used to express haughty girls with "Princess Syndrome." Fashion models, the envy of all woman, wore fashionable clothes including luxury dresses, fur-coats, high heels, purses, and hats, Models also had big shopping bags and gift boxes to symbolize shopping lovers in a modern society. Gay men wore tight leather trousers and vest and sleeves shirts with deeply cut neckline to express their preference for feminie style. their clothes were splendid colors that normally women liked such as gold, purple, light green, scarlet, and silver. Soldiers were in combat uniform representing their participation in the war. In particular, clothes stained with dirt, iron helmet, crutches, and canteens were used to vividly express soldiers coming back home from the war. Modern opera costumes now help reduce the time and space between stage and audience, improve economic efficiency, and meet the audience's needs for various style.

• 한국의류학회지
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• 제31권8호
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• pp.1297-1309
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• 2007

The purpose of this study is to investigate the effect of shirt color, tie color, tone, perceiver' gender on impression formation by applying tone-in-tone coloration of shirt and necktie: coloration of two colors. This experiment was designed to utilize the $2{\times}6{\times}4{\times}2$ factorial designs. and they are shirt color(red, blue), tie color(red, yellow red, yellow, green, blue, purple), tone(vivid, light, dull, dark), and perceiver' gender(a male, a female). The experimental materials developed for this study were a set of stimulus and response scales. The stimuli were 48 upper body photographs which were color outputs by CAD system(4D-box program). The subjects of this research were 288 male and 288 female college students. There were established impression dimension from factor analysis 27 bi-polar adjectives and investigated the effect of interaction between each variable affected impression formations. The items of the adjectives are classified into 4 Impression dimensions: activity, potency, attractiveness, and tenderness. Shirt color, tie color, tone, and perceiver' gender influenced on impression formation. Specially, tie color and tone influenced on the 4 impression dimension greatly by interaction as well as independently. As a result tie is very important clue of impression formation in tone-in-tone coloration of shirt and necktie. Even though tie occupies only a small area in men's clothes it has great effect since it is close to the face.