• 패션비즈니스
• /
• 제2권3호
• /
• pp.121-136
• /
• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• 복식
• /
• 제15권
• /
• pp.217-231
• /
• 1990

The purposes of this study were to research 1) the background of origination, 2) the process of development and 3) the influences to modern clothing culture of American sportswear. The most Influential sportswear designers in America from beginning period to present : such as Claire McCardell, Calvin Klein, Ralph Lauren and Donna Karan were selected to study their life and achievements in the world sportswear market. The Results were as follows : 1) World War I & II have caused the greatest changes to modern history America became the center of world economy, society and culture. Politically, they have influenced democracy world-wide and raised the social status of women. The free American women enjoyed sports, Jazz drinking and car-driving. The advanced technology have accelerated mechanization and mass-production to the fashion industrv. 2) The above historical backgrounds have caused to change women's clothing to casual, practical and simple form. Dorothy Shaver at Lord & Taylor began promoting American designers who created the original American spirit. Claire McCardell created the seperated American sportswear to become world-wide fashion. Calvin Klein and Ralph Lauren, the sportswear designers who have the unique American feeling have come to have riches and fames equal to the top designers in Paris. 3) The American sportswear and fashion industry influenced Paris Mode, the traditional Haute Couture to open Pret-a-porter-a-porter. The concept of seperated coordination in American sportswear have promoted the advanced marketing techniques and merchandising systems to modern ready-to-wear industry. Fashion in 1980s have increased the mutual interdepedence between the American sportswear industry and the creative Paris Mode. And then, the fashion world in 1990s and 21C will be changed and developed on the basis of American sportswear mechanism.

• 복식
• /
• 제58권3호
• /
• pp.131-148
• /
• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• 복식
• /
• 제57권5호
• /
• pp.123-139
• /
• 2007

Since the late 1980's, the number of research papers published in the Journal of the Korean Society of Costume(JKSC) has increased. The JKSC is usually known for its focus on issues relevant to the aesthetics of dress, fashion design, and the history of Western or Oriental dress. The main goal of this paper is to link the academic importance of the fashion marketing field to the expansion of the journal and society. First, we defined the scope of the fashion marketing field, based on a literature review and general practices of other competitive societies and journals. First, we reviewed the curricula of the fashion marketing field from 49 universities in Korea. Next, we examined the research topics and methodology of 271 papers in the fashion marketing field published in JKSC since its first issue in 1977. By comparing the findings from the curricula and research, we drew conclusions for the fashion marketing field of the journal and society. We found that the approximately 80% of the fashion marketing courses provided at the undergraduate level are related to merchandise planning and selling processes from the company perspective. However, in more than 85% of the research papers, consumer characteristics and decision-making processes were the main focus and were used as key variables. These findings imply that more various methodological approaches are required for the research to enrich the theoretical background which, in turn, can support curricular development in fashion marketing field. The fashion marketing field in JKSC and society should make the most of accumulated knowledge in product design, symbolic aspects of fashion, and the qualitative approach in the research topics of the JKSC and society.

• 한국의류산업학회지
• /
• 제23권6호
• /
• pp.744-757
• /
• 2021

This study aims to develop a bodice and a jacket in 3D of the late 19th to early 20th based on the pattern drafting book of Gordon S. S., which contains body measurement method and pattern drafting system. The findings of this research are as follows. First, female tops of the late 19th to early 20th century are categorized as outer, jacket, vest, and bodice. Of these, this study highlights the jacket, which can be divided into 4 types: 4 kinds of basic jacket, 2 kinds of riding jacket, bolero jacket, and newmarket jacket. Second, by referring to Gordon's pattern drafting system and book, a bodice was developed in 3D format based on the adherence to the following steps: analysis of the pattern drafting system, pattern drafting, 3D virtual simulation, 3D virtual fitting analysis, and the pattern correction. A bodice pattern corrected by 3D virtual clothing simulation results was proposed. Last, a basic sleeve and collar pattern for a basic jacket was drafted, which was followed by the correction and transformation of the bodice pattern. The jacket developed shows great fit except for the issues at the armhole line and shoulder, which were caused by the unique shape of the sleeves(big sleeve head) of the time. The study attempted to develop the past costumes in 3D, providing the basis for interdisciplinary research in the field of fashion history field and suggesting a new approach for the virtual restoration of costumes. Future studies should target to 3D virtual simulation in accordance to the 3D avatar pose in the developed virtual costume.

• 복식
• /
• 제60권2호
• /
• pp.81-98
• /
• 2010

This study aims to examine the subjects of cultural power of the modernism and post modernism eras, and analyze how the change of power and subjects influenced fashion throughout the history from the microscopic perspective, and thus to explain the social relationship of the fashion phenomenon. The study findings can be summarized as follows. First, as the post modernism era which was being formed centering around Europe that was pursuing Haute Couture and formal masculine suits ended and the post modernism era started, America became the center of the world power, and the American equalitarianism and growing wealth among the general public spread over the world, and as a result, the ready-made clothes were propagated over the world, and various subcultures came to have multi-national tendency in the New Media society. Second, in the modernism era, the high class, whites, males, and the pre-existing powerful class were the subjects of cultural power. Although this changed in the post modernism era, as some of power moved from the high class to the middle class, the economically affluent general public, still the western world, males, and whites held the center of power. However, later, females, youths, the third world nations, and so on emerged as minor power, and when the New Media society started, the structure developed so that everyone can share cultural power.

• 패션비즈니스
• /
• 제3권3호
• /
• pp.49-57
• /
• 1999

In this study, the researcher studied the historical background and the traditional culture about dress of Bouyei People of Guizhou Province. The resuits of the study ara as follows. 1. Women's dress and adorment can be categorized into three styles. In the Zhenning, Guanling and Puding regions and northwestern areas of Guizhou Province, women usually wear blouses with overlapping necks, batik pleated skirts and long aprons. They also wear embroidered kerchiefs or turbans. In the suburbs of Guiyand City and Southwestern Guizhou Province, women like to wear blouses with buttons arranged diagonally on the front, trousers, blue or black and white check cloth kerchiefs. In the Luoping region, women wear blouses with loose sleeves and buttons arranged diagonally on the front and loose-legged trousers. 2. Men usually wear shirts with buttons down the front or arranged on the front, trousers and calottes. 3. Most of their dress materials are white and coloured handwoven, tie-dyed or batik cloth. The exquisite technique of batik and tie-dyeing has a long history, which began to become prevalent in the Song Dynasty. 4. Now, people use all kinds of techniques to make their dress and adornment, including batik, tie-dyeing, cross-stitch, brocade and embroidery, which reflect their peculiar aesthetic temperament.

• International Journal of Costume and Fashion
• /
• 제7권2호
• /
• pp.49-63
• /
• 2007

In this study, we inquire into the general concepts of eroticism as it appears in literature and the arts, and use this as a foundation to meditate on the eroticism of attire throughout history. We also ascertained external forms based on the range of "The way we look" by Delong. In this way we inclusively studied both the content and form of modes of eroticism in the perspective of Brodsky's "linked solution." The original concept of eroticism is a technique by which one attains physical passion, referring to a nature which is deeply rooted in the cultural traditions, myths, habits. religion and arts of mankind, inducing expressions of sensual love. We integrated this eroticism in 4 categories: sensuality, which induces beauty; naturality, denoting idealization or rational beauty; primitivity, characterized by grotesque expressions or direct and natural sexual depictions; and symbolism by which sex is symbolically or mechanically projected. The concept of eroticism contains both positive and negative aspects, but rather than dealing with sex in a mechanical or perverted manner to express eroticism, it is more appropriate to guide the direction of modes of eroticism by stimulating the "desire to show" and the "desire to see" with the dialectic of obstruction and exposure as a figurative expression of true passion, and narcistic phenomena in which beauty is expressed through exaggeration or magnification and adhesion.

• 패션비즈니스
• /
• 제8권2호
• /
• pp.116-125
• /
• 2004

In the history of western costume, women's hairstyle and headdress have been fluently studied but men's headgear has not. To study and manufacture headgear designs and details, which indicate varieties in forms and ornaments, can be utilized for the fashion currently in vogue. Purpose: the purpose of the study is to investigate one of the headgear, the hat in terms of shift in design and manufacturing method, and to study through manufacturing in order to do a literature review by era and to provide information as the source in new design. Study method and scope: Like previously manufactured and presented bonnet of women's headdress or headgear, the hat in the study was manufactured on the basis of literature review and portrait analysis. Target era is from the late 16th century to the early 17th century when the hat was used. The hat to be manufactured was selected by investigating the details such as hair style and hat features using literature. The pattern of the selected hat was analyzed, and velvet, silk, and wool were used as the materials as in the literature. Ornaments used similar things as in the photos.

• 복식문화연구
• /
• 제23권1호
• /
• pp.74-84
• /
• 2015

The purpose of this study is to examine symbolic meanings of costumes shown by portraits of King Henry VIII and use them as basic data for research on costume design of historical dramas in the Renaissance or on King Henry VIII's costume. This study attempted analysis of symbolic meanings from the paintings-related various domestic and overseas literatures, preliminary study paper, and web sites etc. The symbolic meanings expressed by the portraits of King Henry VIII are characterized by authority, innovation performance, authority, masculinity, innovation performance, artistic taste, intellectual charm, intrepidity and benevolence. Especially, the portraits of King Henry VIII symbolized his masculine beauty by emphasizing sexual attractiveness that cannot be seen in portraits of other kings through broad shoulders and exaggerated codpiece which are the zenith of masculine beauty during the Renaissance age. Through the image of King Henry VIII which was painted with jester or barber surgeons, his characteristic and open mind thinking highly of the technique and human life was also expressed. In the portrait of King Henry VIII, various images set in knights' tournament, playing a musical instrument and reading a book as well as the image of wearing a parliament costume were shown, highlighting King Henry VIII as a person good at both literary and martial arts with open and innovative personality than any other kings in history.