• 복식문화연구
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• 제19권5호
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• pp.1102-1118
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• 2011

The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for the future education of the department of movie costume design. For a study method, literature relating to movie costumes and underwear as well as captured images from 29 historical dramas set in Europe between the $16^{th}$ and the $18^{th}$ century was reviewed. Among them, data from 17 movies where underwear and crinoline were observed was analyzed. Historical movies, set in the $18^{th}$ century Europe exposed underwear more frequently and decisively than movies set in the $16^{th}$ and $17^{th}$ centuries. For the figure wearing underwear, its expression effect was maximized by the implication function of costumes. Underwear can easily express the time and space background and symbolize the character's social and economic position, attitudes, and values. In addition, the exposure of underwear can reveal characters' internal expressions, such as mental status, taste, temper, intention, mood, time and space display. The result of observing the underwear shown in movies reveals that underwear plays a subjective role in expressing ideal femininity as a woman of a particular age, modesty, social position symbolism and eroticism that depended on the situation. It is expected that the study will provide an opportunity to reconsider the function of underwear, which is different from the meaning of costume history, and its role as a means of communication by considering the change of underwear by age.

• 한국의류산업학회지
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• 제12권6호
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• pp.821-829
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• 2010

The men's costume of eighteenth century showed feminine image of elegant decoration through the influence of social feminine atmosphere. As years go, heading towards the end of the eighteenth century, most of men's wear were simplified except vest, which had gorgeous decorations showing feminity. Therefore, men's vest of eighteenth was regarded as good item to apply to modern women's wear. The men's vest design of eighteenth century were divided into three types due to the passage of time, they showed the difference in the length, detail and trimming. Cutting lines in the modern fashion are used to give comfort and show the three-dimensional body silhouette. Also, cutting lines, as a decoration element, can define the costume's image and characteristics. Therefore, by using cutting lines, we can represent historical costume as modern costume and men's wear as women's wear. I made five women's costumes applying design characteristics of the men's vest of the eighteenth century. These five women's costumes have decorative aspect of men's vest of eighteenth century and simple aspect of men's costume. I applied dart manipulation in several different ways to make various cutting lines for women's costume. These cutting lines were emphasized by matching various colors and patterns of fabrics. I made small buttons and cords of these various fabrics. I sewed fabric buttons on five costumes for the purpose of function and decoration like buttons of the men's vest of eighteenth century. I applied fabric cords to decorate five costumes in various way. We should further study how to express important characteristics of historical costumes as modern costume in many ways.

• 복식
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• 제65권1호
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• pp.136-149
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• 2015

This research aimed to study the making of western men's coats in the early 19th century. First of all, the study figured out the concepts and forms of western men's tops in the early 19th century by collecting and categorizing pictures including engravings, paintings and pattern books, and literature data. Second, this research identified the patterns, sewing, and design techniques by examining the pattern books on men's clothing in the early 19th century, and analyzed the preserved costumes to restore the selected models. Third, this research presented historical evidences and patterns after designing a men's tailcoat of the early $19^{th}$ century and checking the fit based on the analyzed forms and design techniques. The research discovered that the analyzed results between the tailcoat forms depicted in literature, pictures and pattern books and preserved costumes were almost identical. From this, it can be assumed that the tailors followed a manual when designing garments during that time given the similarity between historical records and remaining items. In addition, it can be seen that the forms and designing methods of men's clothing in the 19th century were almost similar to that of the modern menswear, despite the differences in producing process.

• 한국의류학회지
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• 제46권1호
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• pp.147-164
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• 2022

The aim of this study was to reproduce the ordinary attire of Yi Seung-hyu, a civil official and writer of the late Goryeo, which will be used to make a his portrait. The reproduced costume consists of a single-layered pyoui (表衣) and jungdan (中單), lined jeogori and baji, and geon (巾), created with reference to historical documents, materials, and portraits. The pyoui was made with samcheokbe, with an H-shaped neck-shoulder band, an oblique single collar, and rectangular gussets. Two skirts were attached on the inside at the back, similarly to dopo. The jungdan also has an oblique single collar, but has an I-shaped neck-shoulder band and triangular gussets. A flat felled seam stitch, whip stitch, and French seam stitch were used in the hemlines and seams of the pyoui and jungdan. The jeogori and baji were made with toju (土紬), and small ties were attached to stabilize them. The geon is a long, oblique hat, which has folded side lines, and was made with flexible black hangra and using a French seam stitch and backstitch. The results include the elements of "restoration, historical research, and portrait costume", and will be maintained as the cultural heritage of Samcheok City.

• 복식
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• 제66권6호
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• pp.17-31
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• 2016

The purpose of this study is to perform historical reconstruction of the court dress coat in the Daehan Empire in order to make replicas of the artifacts. Following steps were undertaken in the study : literature research of the laws of the era, drawing of the design, embroidering gold work, and tailoring of the coat. Embroidering and tailoring experts were consulted to complete an accurate reconstruction of the dress court. The results of this study are as follows. First, Juimgwan's coat, which was the Court Costume Rule in 1905 was selected as an experimental coat. It was revision of the Court Costume Rule in 1900. The process of selection was based on the amount and easiness of embroidery. Second, the design of the back bodice, chevron, pockets and collar is reflected the pattern of the preceding research, which was analyzed from the laws, the drawing document[Gwanbokjandoan], and artifacts. Third, the gold work embroidery in the back bodice, chevron, pockets and collar was done. The embroidery material were composed of gold threads, such as rough purl, smooth purl, check purl, pearl purl, rococo, and spangle. Couching was used as an embroidery method. The coat was tailored after embroidering. The coat and the buttons were made after analyzing the artifacts. The result of this study can be utilized in the field of historical reconstruction of artifacts in the museum, the designing of stage costume in the performances of reenactment events, drama, and movie of Daehan Empire. Furthermore, this study is anticipated to contribute to the fundamental research of culture contents.

• 복식문화연구
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• 제6권4호
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• pp.213-228
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• 1998

The purpose of this study is to defined the conception and characteristics of Post-Modernism and dealt with how they are expressed in costume. Major characteristics of Post-Modernism are Historicism, Pluralism, and Eclecticism and these are reflected in the costume. 1. Historicism of Post-Modernism is a trend recreate artistic symbolism which Modernism lacked in reference to historical factors of the past. It has been as a trend of restoration and an ornamental trend can be included in the category of historicism in that it restored historical ornaments. 2. Pluralism of Post-Modernism means an open-hearted attitude toward everything. In costume, it has been expressed as a trend of mixed fashion style such as ecology, street fashion and futurism, collapse and mix of genres, diversity of materials and emphasis on texture caused by assemblage, change of the use to escape from the conventional system and avant-garde. 3. Eclecticism of Post-Modernism is expressed as a blended fashion style based on the principal of de-dualism. It has several trends ; exotic trend by mixing both oriental and western culters, androgyny which is a mixed image of an and woman, and a trend to use many kinds of materials together influenced by collage which is an eclectic mode.

• 복식문화연구
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• 제8권1호
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• pp.87-101
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• 2000

The purpose of study is explaining the Historicism as a result of compromise, historical eclecticism, between historical things and current cultural background instead of regarding it as an imitation from the past. It means that external factors in history help internal esthetic value surface out as costume. Fashion s history is more than the classified thing according to the appearance with the changes of the times. Intrinsic cultural elements should be added in creating new fashion. One of the different features between Modernism and Post-modernism. When coming to the period of Post-modernism, it connected with the historical factors to make something new by fragmenting, magnifying, or minimizing them. This is calles 'Historicism'in the world of art. It revived the past, not the past itself, in new ways : quotation, reuse, metaphor, and mixture. To represent the image, parody, pastiche, or bricolage was usually used. In post-modernism fashion, parody is a technique for imitating the past or the preceding forms with artists'own critical points of view. This technique gives us shock or surprise by using satirical, ironical or paradoxical expressions. pastiche shares the same part with parody in imitating particular or unique style, and it can be renamed empty parody, because it doesn't have any hidden motivation or satirical impulse. bricolage is a mixture of quotations from other works. It contains fragments that deepen the image. Like the techniques uttered above, the revival of history through parody, pastiche or bricolage is historical eclecticism and it is included in Historicism.

• 한국의상디자인학회지
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• 제2권2호
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• pp.113-136
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• 2000

Problems and improvemental measures for the historical inquiry of TV drama costumes and for the reproduction of them were investigated. For this study, the MBC historical drama 'The way of the Great King' started on march 24 in 1998 and ended on september 26 in 1998 was selected as the subject. The reasons why the drama was selected are as follows. First, the historical background was the time of King Young ＆ drama introduced various kinds of costumes Joungjo, which is the starting era of traditional costumes peculiar to Korea. Second, the based on the historical inquiry of that time. There is a limitation in the process of historical inquiry about the costumes of that time because we don't have enough research data such as relics, remains, references, literary works, pictures, etc. Although, in some cases, exact historical inquiry about the costumes were made, they could not be reproduced in the original forms due to several reasons: the absence of the materials of that time, structural changes including length and size for convenience of action, alterations of the manufacturing method for the reuse, addition of the gorgeous and various olors for the enhancement of image quality, variations in colors according to the actor's character, modulations of the structures and colors by the producer's intention, and the restraints in time and money for manufacturing. In view of these situations, it seems to be difficult for us to settle the problems occurring between the historical inquiry about the traditional costumes and the reproduction of them in drama. However, the costumes presented in historical drama have the meanings to provide informations of that time with TV audience. Therefore I think that it is necessary to narrow the gap between the historical inquiry of TV drama costumes and for the reproduction of hem, First, It should be restrained that each broadcasting stations show the costumes under the similar situations of the same age in different ways. Second, We need to unify the inquiry systems concerning historical drama costumes, In addition to this, it is also necessary for broadcasting stations to establish internet sites of traditional costumes for communication.

• 복식
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• 제61권2호
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• pp.32-46
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• 2011

The study researched the characteristic of helmet and armor reflecting Joseon Dynasty by focusing on the helmet and armor appearing in dramas, the Tear of Dragon and King Sejong, whose common point is the historical background, the early Joseon Dynasty, among the historical dramas, which are manufactured on the basis of historical person or age. First, the helmet and armor appearing in historical drama was reproduced on the basis of historical record depending on age. In the early Joseon Dynasty, helmet was classified into cheomju and wonju and armor was classified into chalgap, swaejagap, gyeongbeongap, dujeonggap and dudumigap. In drama, the Tear of Dragon and King Sejong, for helmet, cheomju and wonju were used and for armor, chalgap, dujeonggap and dudumigap, whose type and manufacture method were similar to that of historical record, were reproduced. Second, the helmet and armor appearing in historical drama searched for function. In drama, the Tear of Dragon, rather than heavy iron, plastic and textile were used and the metal scale inside armor was removed. In drama, King Sejong, the weight of armor was decreased by removing the metal scale inside armor and easy wearing was secured by using velcro. Third, the helmet and armor appearing in historical drama expressed various dramatic interpretations. In drama, the Tear of Dragon, the same color as that of armor was adopted for helmet to provide stable and unified feeling. Visually splendid display was added to armor by matching powerful prime color and glossy metal. In drama, King Sejong, modem sense was added to helmet and armor by actively using pastel color reflecting modem fashion.

• 한국의상디자인학회지
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• 제16권4호
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• pp.49-62
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• 2014

This study is intended to historical research the Jebok(ritual robes) of Jirisan Namakje. Joseon Dynasty established Five Manners as a country-ruling policy on the basis of Confucianism, the religious clothes-wearing method has been established through Sejong Silok Five Manners and the ritual robes system of all the government officials has been handed down to the end of Joseon Dynasty. The ritual robes of all the government officials was worn at the timed of the religious ceremony included ritual manners, and ritual robes are composed of Yanggwan, Ui, Sang, Jungdan, Peasul, Hwan, Wu(a cord, a leather belt, a belt, jade, a mace, Bangsimgokryeong, Mal, Ri, etc., and the rank was classified by the number of the veritical line of Ynaggwan, a leather belt, Hwan, Wu and jade and typeof a mace. "Jongmyouigwe" during the reign of king Sukjong described exactly the Uicha and textile of the ritual robes at that time, the textile Ui used Heukju as same as "Jegiakgidogamuigwe", and jade was used only in case of the first rank ritual official and other government officials did not wear jase. Also, it was revealed that all officials used a wooden mace, and in case of Husu, the first rank ritual official used Jikseong and other official used a picture.