• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 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.

• Journal of Fashion Business
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• v.3 no.2
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• pp.49-58
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• 1999

The purpose of this study is to investigate a variety of the Indian costume of the Central-South America and to examine the relation and symbolization of each Indian culture arrd costume. A study's method is to be examined through literatues related to the culture and history of Central-South America Indian, photos and references related to costume. The results are as follows. First, an analysis of Indian male of Central-South America reveals that costume types are different according to cultural areas. Second, an analysis Indian female of Central-South America reveals tlrat costume types are differerrt according to cultural areas. Third, a study on colors and patterns of Indian costume and personal ornament in Meso-America culture area reveals that they were influenced on the Maya and Aztec Civilizations. Fourth, a study on colors and patterns of Indian costume and personal ornament in Andes cultural area reveals that they were influenced on the Inca Civilization. Fifth, a type of ponchos is commonly revealed in Meso America and Andes cultural areas because of particular climate. Sixth, a study on Tropical costume types reveals that they are very different from those of Meso-America and Andes culture areas due to its climate and terrain conditions.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.11
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• pp.1680-1691
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• 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 Fashion Business
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• v.6 no.6
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• pp.43-55
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• 2002

This study intends to consider the characteristics of Tudorian costume and find out how the thoughts and cultures in those days had influences on the costume trends of low and middle class. In terms of the Tudorian costume which generated new cultural mainstreams along with blossomed civil culture, this study focuses on the characteristics and trends of costume at low and middle class, which have been little addressed in studies on western costume history or related fields, turning from the costume of upper class based on wealthy noblemen who showed off its dignity and authority along with jewelry and gorgeous ornamental craftsmanship. This study used related pictures, museum material and other literatures as its reference. It first looked into the general characteristics of western costume and considered the characteristics of costumes popularized in professionals at middle class such as apprentice, yeomen and low-class people. Professional or other middle class almost typically used to wear tunic, doublet, shirts, coat or long gown. Black was mainly used as clothes color. Similarly to upper class, silk or velvet was very often used as material. People at low class enjoyed wear costumes with simple and easy style for working. They also preferred natural color and cotton or wool as material. This study intended to find out which type of costumes people at low and middle class enjoyed wearing, rather than compare costume between such two classes.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.79-95
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• 2006

The relationships between costumes and literature are the remarkable characteristics in the history of Japanese costumes. Among them, the literary designs which have literary subject matters seem unique to Japan. In Japan, the history of the literary design traces far back and its examples are abundant in various literatures in the Heian era. It is particularly notable that the literary designs take a relatively large part of Kosode pattern in the pre-modern period, the Edo era, which can be cleary seen in Kosodehinagata-bon, a collection of Kosode pattern of those era, in addition to various sources of extant relics or paintings. These literary designs lie the tradition of the literary lyricism as aesthetic sense in the japanese costume history. The literary lyricism means the lyrical mood evoked by literature. The purpose of this study is to examine how the literary lyricism which has supported those literary designs was formed and developed. The literary designs on costumes related with the relationships between literature and formative art, for example painting. Those typical example, which started in the literature tournament, utaawase, was devised for matching up with the character of the assembly. They continued as a sort of the intellectual amusements. In the pre-modern period, the literary designs developed In relation to not only subject matters but those expression. Moreover, it shows the extremely typical example that a series of Kosodehiinagata-bons, consisted solely of literary designs, was enjoyed as a device of reading materials like poem anthology.

• Journal of the Korean Society of Costume
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• v.60 no.6
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• pp.89-100
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• 2010

This study is intended to analyze current status of costume in the cultural industry and explore feasibility of integrating costume as important cultural contents in the digital era. Among the websites for contents as the cultural archetypes, some have strong foundations while others don't. First, as for various archetypal characters restored based on the Korean history, most of their clothes focus on shapes and colors but lack details. They should be produced in 3D to provide back views or textile patterns to users. To ease understanding of the history of costume, user-friendly services such as launch of a pop-up window when users click on specific contents in question should be available for detailed information. At least there should be a link to other related sites where users can conveniently find more details. Second, some sites have too much data under one subject, increasing complexity and undermining orderliness. As a result, it takes long time to identify the site map. In this case, it is required to rearrange the contents with Quick View by subject and related links for in-depth study. Third, each subject is important to develop the archetypes for a variety of purposes. Creation of design derived from them or their commercialization can be an example but these activities should not restrict imagination of users or degrade the value of the archetypes. Last, it is needed to adopt validation system to detect the needs for a regular update (renewal) and to fix errors. We found many servers whose operation is not stable in general. When these technical issues are addressed for stable operation, users will rely on the sites to utilize them for their purpose of developing the cultural archetypes. In conclusion, advancement of www.culturecontent.com is essential. Based on efficient management and operation of the system, the quality of contents would be increased and multi-faceted advertising campaigns focusing on needs should be launched, to promote application of the contents. This is the recommendation for the future of the cultural archetype industry in Korea.

• The Research Journal of the Costume Culture
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• v.11 no.1
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• pp.20-46
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• 2003

This study analyzes the garment decorations in the history of western costume based on their kinds and techniques, and consider the beginning and the development of costume decoration. The purpose is to promote a historical understanding of modern ornamentation. Based on the theoretical background concerning the origin and purpose of costume decoration, its symbolism and its relationship with images, this study classified the techniques and kinds of ornament and considered each costumes by their decoration. 1. The ornament was originated from the primitive custom of coloring the skin for the purpose of protecting the body, symbolizing the tribe, indicating the class, and threatening the enemies. As this custom changed into the decoration on the body as a form of tattoos or physical transformations, the practice of ornament seems to begin as a display of one's authority and wealth as well as a human instinct to decorate oneself beautifully. 2. The basic purpose of ornament is to look attractive by decorating oneself with ornaments. Addition of decorative design to the garment tends to complement the practical aspects of the whole clothing, and elevate its value and originality. 3. From the past, ornament has been used as a symbol of wealth and status. Originated from the desire to display one´s authority and power and to receive respect from others, the people's interest in ornament have rising. 4. The kinds and techniques of ornament can be classified into the structural and applied decorations. The former is decorating a part of a garment, such as the neckline, cellar, cuffs, or pockets. The latter includes braids, laces and embroideries. These ornament are diverse in their details and techniques, and should consider both functional aspects of clothing and its decorative functions emphasizing the aesthetic expressions. In the above considerations, we can see that costume ornament was most splendid in the premodern times and it was the simplest in the ancient times. And we also saw the possibility that decorative techniques could be created almost limitlessly.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.10-25
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• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• Korean Journal of Human Ecology
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• v.2 no.1
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• pp.129-141
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• 1999

The purpose of this study is to investigate the effect of historical costume style and painting on Vivienne Westwood design. For this purpose, the costume style after 16C and the rococo painting of 18C are researched. And through Westwood's recent designs, the external form and internal symbol are compared. The results of this study were as follows : 1. From Renaissance, Rococo, Crinoline, Bustle, S style were showed on Westwood design. 2. In external method, historical costume styles were expressed by silhouette, detail, costume item, textile and various cuttings. 3. In the case of painting, it focused on Rococo painting of 18C. Costumes in painting were realized or painting itself were used for textile. 4. Most of her design was cut in the round rather than in the flat, bold cutting and slash were employed. 5. These works are symbolizing the harmony of tradition and future, at the same time through the transformation of orthodox style, containing ridicule to the authority and a challenge to society as well as sex. These results let us know that Westwood is versatile to transform the history and harmonize the tradition and 20C Fashion successfully. (Korean J Human Ecology 2(1):129∼141, 1999)

• Journal of the Korean Home Economics Association
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• v.11 no.3
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• pp.247-261
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• 1973

In the past, what we call "fashion" was monopolized by only a small highly privileged group of individuals. To-day, we know that fashion field has become progressive democratization of taste not only in clothing, but in all expressions of contemporary living, from automobiles to refrigerators. So, we can find out how wonderful it is that our recent fashionable history was changed so fast. Whatever highly characteristic costume may be in the former, the way people dress was the reflection of their contemporary lives as well as their political status, economics, cultures, arts religions, so that a history of fashion is a history of life. Now, that categorical silhouettes make an exclusion across centuries of past history into the world of aesthetics, particularizes following ; symbolic voluminous toga of Roman authority, the religious but gorgeous Byzantine tunic, extravagant vertical bell-skirt of the Renaissance, the romantic Rococo style, the elegant crinoline and the bustle of the Cul de Paris of the nineteenth. It came true that women was intoxicated ostentations and elegances, since they had on ornamently costume which bear some relationship to the more formal Co-stesy, till the beginning of the twentieth. As Jonney Ironside said, "Nowadays, those exessive ornamentations and cumbersome design hardly belong to a civilization run by machines and in a hurry". These were once a sign of wealth and class ; at the beginning of the twentieth it was disappearing step by step. What is the reason\ulcorner At the end of the nineteenth, the emancipation of women, the movement of the Art Nouveau and the opening of the ready-made, have influenced on modern style, directly or indirectly. Finally, democratically popular costume was caused by fighting against the masculine prejudice excluded them from activities.hem from activities.