• Journal of the Korean Society of Clothing and Textiles
• /
• v.32 no.11
• /
• pp.1680-1691
• /
• 2008

This study examines how the development and value of dresses shown in MBC historical dramas have changed with the overall change of the dramas. As for the research method, the second data analysis was done with literature study which was supplemented with interviews with the wardrobe team of MBC production design center. Historical dramas produced by MBC have gone through the developmental period, legitimate historical drama-oriented period, stagnant period, and historical dramas-modernized period. The value of costume in each period is as follows: Costume in the developmental period is considered only as part of drama setting. During legitimate historical drama-oriented period, it carries value as educational data and historical replica produced by historical research. Production design including costume obtains its own value in the stagnant period although the production of historical dramas decreases dramatically. And lastly, in the historical dramas-modernized period, costume starts to have commercial value as cultural contents. Historical drama costume may contain important value in terms of education and history, even though there has been controversy on TV historical dramas' role: they should focus on reproducing historical facts or they should support writers' creativity.

• Journal of the Korean Society of Costume
• /
• v.38
• /
• pp.17-29
• /
• 1998

The purpose of this paper is to explore a new methodology for the historiography of Korean cos-tumes. In particular, I focus on the possibility for systematic, historical methods appropriate for the history of Korean costumes. First, I characterize the general historiography of costumes as involving two aspects-one as the social science and the other as historical science(Geschichteswissenschaft). My contention is that any historical study of costume should be established on the intersection of social and historical studies, and their entangling relations with many a neighboring field of sciences. It requires in other words, an interdisciplinary approach that combines various methodologies of social sciences as well as those of history. Second, I present an overall review of the historical methodology with a special emphasis on the“Quellenkunde”of orthodox historiography. Building on the review, third, I pay attention to recent innovations in historical methodologies, such as“New History”that draws on history, sociology and social history, and their applicability to the history of Korean costmes. In this regards. I adress among others, the following theoretical perspectives : 1) comparioson and comparative history, 2) the formatived and paternal approaches toward the history of costume, 3) particulartiy and universality of Korean costume. I conclued that the history of Korean costumes should broaden its theoretical horizon in order to accomodate a wider range of research agenda, including costumes of neighboring cultures, while remaining sensitive to new theories and methods of the neighboring social historical sciences. For this purpose, it is emphasized that an international collaboration among researchers of the region, as well as that across the different disciplinnary boundaries, is indispensable for successful studies that can embrace diverse fields and areas.

• The Research Journal of the Costume Culture
• /
• v.18 no.1
• /
• pp.44-63
• /
• 2010

The purpose of this study was to examine the process to manufacture costume design of main female characters of TV historical drama and suggest the costume, which is developed with contemporary taste. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The study results were as follows. The costume was decided by researching historical investigation material on the basis of synopsis, grasping director's basic intention, setting design direction, preparing design map of each character, selecting style, detail, fabric and color, manufacturing sample and performing camera test. The design concept of was Modern & Chic & Clean, short & fitted chogori, chima with wide & abundant cocoon silhouette, clean & bright colors and 100% silk fabric. For the design discrimination of royal semi-formal costume, color was used to symbolize character and pattern was used to symbolize social status. In addition, detail change was adopted depending on the body shape of actor and there was almost no design discrimination in silhouette and fabric. Petticoat of the west, modernization of transitional pattern and change of detail were adopted as design elements to add contemporary taste.

• Journal of the Korean Society of Costume
• /
• v.62 no.8
• /
• pp.118-133
• /
• 2012

A historical research on the costume of memorial service officials during the period of late 18th century, King Jeongjo period, is performed for an accurate reconstruction of the memorial service for King Danjong, which is a part of King Danjong Cultural Festival held at Yeongwol. This paper summarizes the results of the research as follows: 1. Jangneung memorial service is held only on Hansik day and the procedure follows the rule based on Gukjooryeui(國朝五禮儀). The service was first held in 1791 for King Danjong and his royal followers. 2. The rule based on Chunkwantonggo(春官通考), defines the king's tomb memorial services and attendees. King Danjong's memorial service follows the rule regarding its attendees and the attendees include high-ranking local government officials, local confucian scholars, and service men. 3. The costume of attendees for the King Danjong's memorial service is as follows: 1)Dangsangkwan(堂上官) and Danghakwan(堂下官) wear Sangbok(常服), which consisted of Samo(紗帽), Heukdanllyeong(黑團領), Pumdae(品帶), and black boots(黑靴). 2)Local confucian scholars wear their uniform consisting of Yukeon(儒巾), Dopo(道袍), Sejodae, and black boots. 3)Service men wear their uniform consisting of Jeonjakeon(典字巾), red-robe with rounded collar called Hongui(紅衣), Kwangdaw hoe(廣多繪), and Uuhae(雲鞋).

• The Research Journal of the Costume Culture
• /
• v.17 no.6
• /
• pp.1112-1128
• /
• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• Journal of the Korean Society of Costume
• /
• v.61 no.1
• /
• pp.124-131
• /
• 2011

Modernity is commonly defined as a reflection of the features of modern society based on the historical experience of the West. As such, modernity includes involvement with political, economic, and social changes, a changing world-view, and changing trends in equality, gender roles, a desire for "the new," consumption, distribution based on mass production, and rational reform in fashion and dress. First and foremost, however, modernity in costume has been driven by the functional requirements of industrial capitalism. But while modernity has popularly been regarded as some sort of universal standard, in fact the West and the other societies have vastly different, unique, and particular experiences with their own respective histories of modernization. For this reason, cultural changes in the modernization process should be-indeed, must be-analyzed in the context of a country's own unique historical and cultural circumstances, rather than through the prism or strict adaptation of generalized Western concepts of modernization. Moreover, a "periodization" of the modernization of fashion and dress can be established by examining the characteristics of modernity in costume.

• Fashion & Textile Research Journal
• /
• v.16 no.4
• /
• pp.543-553
• /
• 2014

This study analyzes the visual image and the symbolic image of the 'New Woman' main female characters' costumes in three films: , , and , set in the Korean Empire Period and filmed in the last 10 years. The findings are as follows. First, on the visual image by formative characteristics, Gibson girl style was reflected in Western costume design. Korean costume design is based on a traditional style (or modified in some parts). Second, the three films have the same historical background on the visual image by the fidelity of historical research; however, the fidelity of historical research differs and varies with the personality of characters or situations in the films. Third, all three films share the symbolic image by characteristics of characters and 'New Woman' aspect with the same historical background and 'New Woman' female character in common; however, the personality and 'New Woman' aspect of the characters were somewhat different. There was also a distinct difference in the symbolic image of Western and Korean costumes. Western and Korean costumes signify externality versus internality and denial versus the affirmation of national identity in ; dailiness versus ceremonialness and dynamics versus statics in ; and independence versus conformity and variability versus continuity in .

• Journal of the Korean Society of Costume
• /
• v.61 no.7
• /
• pp.67-79
• /
• 2011

This study is to design a ball-jointed doll costume with historical research in clay female doll's costume from Hwangsung-dong tomb of the Silla Dynasty[新羅] in 7C. This clay female doll's costume was characterized by slim silhouette, long sleeves, no neckline, side slit, high waistline, and bun on the back neck of representative of the early era. According to literature of 7-8C and textile relics, it is presumed that she wore short Jeogori[短衣, Dan-eui] with long sleeves and two layered skirt, and Dan-ryeong(團領) could be added as attachment that is reflective of the time era. For making design costume, Ra[羅, silk gauze] was used for long Dan-ryeong, plain silk and brocade[錦, Geum] for Dan-eui and skirt as a special textile of this period. Waist dart and small snap were added to the costume of ball-jointed doll because of hardness and curvy shape of doll's body, without contradicting traditional value. For better use of this study and cost reduction purposes, development of production system for traditional doll costumes should be considered.

• Journal of the Korean Society of Costume
• /
• v.20
• /
• pp.63-72
• /
• 1993

The concept of style provides a useful structure in history of Art. In aspect of formative art, dress and art work are alike, so style is a useful concept in the historical methodology on dress. The main purpose of this study was to apply the art criticism to the historical methodology on dress. For this purpose, documentary studies about style as a tool of historical research were proceeded. The results were as follows : 1. The concept of style consists of the external form and the internal meaning as double roots. Therefore, it's indispensable that the two asp-ects of style, form and meaning, must to be harmonized to describe the historical phenomena in dress. 2. The change pattern of style in dress is not always predeterminate and regular according to the cyclical theory. From the alternative point of view, the change pattern of style could be to describe the continuous theory proposed by kroeber, Brodsky. The whole change of style is considered "liked solution" by this theory.is theory.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.41 no.3
• /
• pp.407-419
• /
• 2017

Based on clothing prohibition modelling characteristics, this paper studies historical costumes through the traditional Chinese historical dramas of the 'Kang-Qian' heyday during the 'Qing Dynasty'; represents the research object as a representative Chinese historical drama. This paper systematically analyzed the utilization and reflection of royal women clothing prohibition. The results of the study are as follows. The royal women clothing prohibition of this drama shows three aspects of characteristics found in traditional Chinese costume modeling. First, some special colors that integrated ancient and modern styles were mainly used in this drama such as champagne color, wine color, and macaron color. Second, it mainly utilized the modelling of modern artificial pigments and floral patterns that are different from Chinese traditional female costumes of the 'Qing Dynasty'. Third, stage costumes for this drama are focused more on using a personality method to reflect the beauty of each actress by the application of individual elements. This study analyzed and studied the clothing prohibition of female costume from to show the traditional Chinese costume prohibition in a Chinese historical drama as well as reveal a few aspects of traditional female costume characteristics in the 'Kang-Qian' heyday during the 'Qing Dynasty'. This study examined traditional female costumes characteristics in modern historical dramas based on different figures and dynasties as well as discussed the factors at a deeper level and from varied aspects.