• International Journal of Costume and Fashion
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• v.14 no.2
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• pp.81-96
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• 2014

The meanings of colors vary with time and space. For the most important events in a person's life, such as wedding or funeral, people use color to symbolize their identities or roles. Traditionally, the colors of dress had indicated the wearer's age, class, or marital status in Korea. However, Korea's exposure to western cultures has affected in many dimensions of its modern history. Especially, influenced by social change, the traditional dress has undergone many modifications in forms, silhouettes, materials, and color. However, women's mourning dress has been maintained as a long lasting tradition and the use of white in mourning dress has been regarded as a norm until recently, while men have worn a regular black suit with a black tie. But, the shift from white to black in mourning dress has been observed in recent mourning practices. To examine this change of color in Korean traditional mourning dress, a historical approach utilizing multiple resources, such as interview, observations of events, documents, and archival records was applied.

• The International Journal of Costume Culture
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• v.13 no.2
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• pp.160-168
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• 2010

This paper examines a particular period in Japanese history. when clothing was systemically changed through government policy. It demonstrates the complex relationships between an Eastern nation and a Western clothing system. It also explores the complexity of roles which clothing plays in society, clothing which brands a nation as masculine, but which resists the discourses of modernity, which were found on native clothing. It demonstrates that native, Japanese clothing has always been developing to meet the needs of its wearers, according to technology, sumptuary laws and prevailing tastes, and therefore that fashion is not any more a product of Europe than it is of the East. It reveals the Japanese fashion system as a complex and multi-dimensional one, about surface design rather than change in shape, bur also being about inner and deep surfaces as well as outer surfaces for public presentation, and thus being a carrier for private as well as public discourses. This examination also demonstrates that whilst fashion may be intimately bound up with the forces of society and also politics, it is also a force which resists outside control, and develops because of the signification with which the embodied wearers endow it.

• The Research Journal of the Costume Culture
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• v.11 no.4
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• pp.513-524
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• 2003

The purpose of this study was to trace the development of Chintz pattern design through fashion history, and to focus on its application in modern times with special emphasis on filtered Chintz patterns. Chintz patterns use such motives as tree, animal, bird, and geometrical shapes, etc.. It reached the peak of its popularity with William Morris. His influence continued from the end of the 19th century through to the 20th century. Modern Chintz designs have been modified and diversified in different cultures through time, and such diversification & changes can be easily found in modern fashion. From previous studies and other related sources, we found that Chintz patterns were revived in modern fashion trends with some modification. We also discovered the importance of chintz pattern designs in ethnic and retro trends. Thus in conclusion, this study revealed the significance, flexibility, and lasting popularity of Chintz pattern designs in fashion history.

• Journal of the Korean Society of Costume
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• v.59 no.10
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• pp.124-136
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• 2009

This Study is on the Punggongyubodoryake. Punggongyubodoryak was the records and pictures written by Ohgyeongmun(吳景文, Painter) and Gangbonpungeon(岡本豊彦, a Japanese painter, 1773~1745). in 1832. Those records and pictures were about the gifts which Korea's King(宣祖, 1567-1608) sent to Doyotomi Hideyosi(豊臣秀吉, Pungsinsugil) in 1590. Most of the gifts were of the Korean costume, which meant that Korea recognized Doyotomi Hideyosi as the new general of Japan, Tokugawa Shogunate(幕府將軍). The pictures of every Clothing in punggongyubodoryake described forms of every cloth and delineated ornamental patterns and sizes of clothing as closely as actual, they were clothes of the Middle period of Chosun. the author of the study inferred that it would be one of the impotent materials in the history of the Korean traditional costume. Among the clothes, there were several danryeongs(단령, ceremonial coat), okgwan (玉冠 woman headdress with) and paeok(佩玉, pendents with jade stings) and choongdan(中單 ceremonial undercoat) and Sang(裳, ceremonial Skirts for man), gyeontongsuseulran (肩通袖膝襕, chinese coat) was recorded in punggongyubodoryake. they were not a set of clothes for ceremonial costume but a mixture of men's and women's costume, of korean and abroad styles. the author inferred that this phenomenon was actually a good proof that the gifts were sent to Hideyosi only as courtesy, which meant for downgrading the receiver.

• Journal of the Korean Society of Costume
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• v.59 no.9
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• pp.115-130
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• 2009

A kind of Korean traditional jacket, Baeja, has been a Korean traditional costume equipped with practicality and formative aesthetics from the Three Kingdoms period to the Joseon Dynasty. Accordingly, the researcher of this study highly valued a modern sense of Baeja with various types of design and forms and attempted to make efforts to apply it into modern life. This study provided a new direction in the modernization work of traditional costumes by creating fashion images newly interpreted corresponding to a modern sense and trend through the application of formative characteristics and noticeable elements via the coordination of traditional Baeja and modern costumes. On the one hand, it would be meaningful in terms of contributing to the activation of traditional Hanbok by providing people with ample opportunities to wear it in modern daily lives variously. On the other hand, the actual purpose of this study was to perform a modernization work for traditional costumes by attempting to conduct a crossover that could let people move into other areas freely, that is, a creative and innovative research associating the area of costume history and that of coordination.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.152-162
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• 2012

The Purpose of this study was to investigate research trends of subject matter in fashion design aesthetic field in clothing and textiles and to suggest the information for the future directions for fashion business and research. 1089 articles with clothing and textiles subject matter, 523 articles with fashion design aesthetic field in the Journal of Korean Society of Costume from 2001 through 2010 were analyzed. The major conclusions of the study are as the following: 1. Fashion design aesthetic field took absolute majority in the researches of the clothing and textiles in the Journal of Korean Society of Costume, in the 2000s. 2. Fashion design aesthetic field showed more proportions in the latter half of the decade. 3. History of costume, fashion marketing field were followed. Textiles science field took extremely little proportion. 4. In fashion design aesthetic field, topic of fashion design elements and types took absolute majority. 5. Fashion aesthetics, fashion design development, makeup hair style topics were followed.

• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.74-84
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• 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.

• Journal of the Korean Society of Costume
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• v.5
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• pp.207-218
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• 1981

This study is the investigation of dressing the deceased Kings and the King's robes in the coffin in the Yi Dynasty of Korea. The Authentic Records of the Yi Dynasty and the Diaries of Sung Jung Won (承政院日記) are mainly referred to as the research materials. The Concrete contents are the robes of the 20th King Kyung long (景宗 : $1720{\sim}1724$) to the 23rd King Soon Cho(純祖 : $1800{\sim}1834) in the Yi Dynasty. As the result of the study, the kinds of the robes in dressing the decreased Kings and the Kings' robes in the coffin are more than forty. The kinds of textile fabrics are about fifty-seven, the kinds of colours of textile fabrics are twenty-nine. All the kinds of costume-from the Kings' ceremonial robes to the Kings' ordinary robes are generally collected, and these kinds of costume are of help for the study of the costume history in the Yi Dynasty. In this study I intend to end in presenting the research materials, and in the later study I have a mind to study each costume in the concrete.

• The Research Journal of the Costume Culture
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• v.30 no.4
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• pp.529-547
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• 2022

The purpose of this study was to understand the concept, form, and structure of the bata de cola through an investigation of the history of the costume and a study of the suitability of its functional elements during performance of 'Caña Flamenco'. Traditionally, Flamenco dance dresses were made by Spanish women from the lower classes, and the 'upward flow' of the dresses represented the women's individuality and unique style. The bata de cola, which appeared later, was an evolution of the Flamenco dress that was influenced by costume styles and silhouettes of the 19th and early 20th centuries, and it was made famous by Flamenco dancers. For practical costume production, a Flamenco artist who had performed in Spain and Korea was proposed as a study participant. The study was conducted using a stepwise wearing evaluation method whereby the Flamenco artist wore prototype dresses and evaluated whether they were practical for the required dance movements or not. A final bata de cola pattern was derived after the experiment was repeated five times based on the feedback of the Flamenco artist, focusing on the factors that were considered most important. Using stepwise clothing evaluation of the prototype, a costume that enabled the Flamenco artist to implement optimal movements was successfully produced.

• Fashion & Textile Research Journal
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• v.13 no.3
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• pp.309-320
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• 2011

Since Homeros in Greece, Mimesis was thought to be an art to imitate the nature, and it means an imitation of the nature classically. Mimetic theories were set to be a kind of art work in the era of Renaissance, and the terminology of mimesis was widely used to replace it with an originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in media costume design. For this purpose, I investigated the theories of the mimesis, categorized the definition, then applied those categories for media costume design. Documentary studies were conducted through aesthetics, fashion books and demonstrative studies were processed by analyzing photos from collection fashion magazines and media DVD, video, fashion site of internet. In the history of aesthetics, the mimesis could be defined into three categories; the external representation mimesis, the internal symbol mimesis and the multiful meta mimesis. In media costume, the representation mimesis included design historical point of view, a period that of 1900s and ancient representation mimesis. The internal mimesis included symbol of religion, character, riches, psychology and fear mimesis. The multiful meta mimesis included hybrid and distortion mimesis. Analysis on the mimesis expressed in media costume design fashion may provide an excellent method for understanding human aesthetic in costume.