• 복식
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• 제41권
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• pp.139-152
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• 1998

The purpose of this study is to consider what influences the Spanish folk costumes had on the ones of Latin America on Acculturation Phenomenon during Spanish reign over Latin America. As a method of doing this, the researcher compared and analyzed the style of dress such as color, material, design and accessories of Spanish folk costumes and the ones of Latin America, classifying them by male costumes and female ones respectively, by studying reference books, literature, and photographs related to the folk costumes and visiting this areas. The results of the study were summarized as follows; First, we can find out Spanish folk costumes were accepted to the folk costumes of Latin America just as it were. Second, Spainish folk costumes have been developed to be suitable for the climatic, geographical cultural characteristics of Latin America. Third, the folk costumes of Latin America become much simpler by the influence of Spainish culture. Fourth, as a result of cultural contact, mixture with Spainish culture, native folk costumes of Latin America had more various style. In conclusion, Spanish government over Latin America had given a cultural homogeneousness and colonial culture of Spain and traditional culture of Latin America have been mixed and created the present unique folk costumes of Latin America. Therefore good understanding and use of the sense of beauty of folk clothes of Latin America influenced by Spain culture will be helpful to enlarge creativeness of design of modern fashion.

• The International Journal of Costume Culture
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• 제2권2호
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• pp.119-126
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• 1999

The cultural art would be the most competitive commercial value in the 21st century. This research is about the stage costumes of the opera 'Ch'un Hyang Jeon'which is designed and made to fit modern times and the purpose is to set the opera 'Ch'un Hyang Jeon'as groundwork for the future opera of Korea. To extend the stage costumes of the Korea opera : First, We have to inform the world about our traditional costumes and design them to express our culture. Second, Not only the costumes but also the technical aspect such as stage music, setting, and lighting and the artistic aspect should be balanced in development. Third, We need a good training system for future designers of the stage costumes.

• 한국의상디자인학회지
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• 제14권4호
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• pp.139-150
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• 2012

This study aims to understand the importance of stage costumes, examine and analyze their theoretical ideas in order to propose new designs and support the studies and advances of stage costumes in play. The writer operated and produced the costume designs of Shakespeare's play, Measure for Measure as a costume director, which was played on September 16 to 17, 2011 at the Haneul Theater in the National Theater of Korea and on September 3, 2011 at the Jinnam Munye Theater. The study was followed by 1. Proposing a new modern point of view of the design of the traditional dresses in 16th to 17th centuries. 2. Expressing a symbolism based on personality, role and nature of characters in the play by a creative and modern image of the dress in color, line, and silhouette, which are basic factors of a clothes design.

• International Journal of Costume and Fashion
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• 제9권1호
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• pp.1-14
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• 2009

This study is intended to examine the modernization of Chinese costumes through historical events, and to analyze the characteristics of the costume modernization process. The modernization of Chinese costumes appears to have begun with the Opium Wars, and the Nanjing Treaty(1842), the Beijing Treaty(1860) and the official residence of western people in Chinese territory. Afterwards, in order to initiate change, the Chinese people themselves implemented the Westernization movement(1861-94), placing an emphasis on the westernization of external elements such as technology and form, but aspects such as costume, deeply saturated in their traditions, do not appear to have changed significantly. Despite self-empowering movements such as these, as western forces diffused deeper into the Chinese mainland, neo-intellectuals formed the axis of a revolutionary movement. A major example can be found in the Xinhai Revolution(1911) revolution, which forbade the binding of feet and shaving of frontal hair and partially implemented western formal dress. Through these factors, the modernization process of Chinese costume demonstrates characteristics of an adherence to traditional dress and partial acceptance of western attire. Through this, we may understand the modern costumes of China, which adhered more to tradition than Japan, which pursued western costumes actively within a similar period, and Korea, which rushed modernization due to Japanese authority.

• 한국의상디자인학회지
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• 제19권3호
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• pp.159-174
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• 2017

It is very important to preserve the form of traditional costumes and to set the prototype for the design and production of various Korean costumes. This study therefore attempts to analyze the Danryeung pattern methods in textbooks in order to propose a prototype of Korean costumes and a system suitable for modern men, focusing on the Danryeung of the Joseon Dynasty. The research method examined the flow of the Danryeung system in the Joseon Dynasty through previous studies and literature, and the portrayal of the appearance of people of the time through portraits and paintings. The purpose of this study is to analyze the measurements and patterns of textbooks' Danryeung based on the analysis of characteristics of the 5th Joseon Dynasty. From that, the study will analyze the differences between textbooks and artifacts and will propose a Danryeung system for the body shape of modern males in their 30s. In this study, it is meaningful to propose the guideline for the design modification of Korean costumes by providing basic data for subsequent productions.

• Human Ecology Research
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• 제52권6호
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• pp.551-560
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• 2014

In this study, we have focused on various types of costumes for traditional Ganggangsullae and daily dance Ganggangsullae. To analyze their costumes, spot photographs of Ganggangsullae contests from 2011 and 2013 were collected from the Department of Culture and Tourism, Jindo County Office and the Jeonnam Information & Culture Industry Promotion Agency. Costumes were analyzed by categorising them as type, shape and color. Traditional Ganggangsullae costumes are two types: traditional hanbok and saenghwal hanbok. Traditional hanbok design dates back to the late Joseon dynasty and saenghwal hanbok design to the middle Joseon Dynasty. They reflects confucianism, a male-dominated society, totemism, shamanism and Yin-Yang and the five elements theory in agrarian society and community life. Daily dance Ganggangsullae has various types of costumes such as the fusion hanbok, saenghwal hanbok, cheering uniform and casual wear. They show modern color schemes. There is not any magical meaning from Yin-Yang and the five elements theory. Instead, they have individualism, liberty, equality and welfare in information-oriented society. So its costumes are easy and comfortable clothes. But traditional hanbok, fusion hanbok and saenghwal hanbok are inspired from Korean identiry. Even though traditional Ganggangsullae and daily dance Ganggangsullae have different costumes and ideology, they have a common denominator 'playfulness.' It will function as a key for Ganggangsullae to be performed continuously over the period.

• 대한가정학회지
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• 제48권6호
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• pp.9-16
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• 2010

The formative exaggeration phenomenon, which makes the plastic space, escaping from the form peculiar to the human body, is being developed into the more diversified and abstract structure. This study analyzed the form and shape of costumes with objective attitude through the use of an oppositional concept method, which Delong presented from the formative viewpoint. Delong's theory, which was presented in this study, can be said to be one index that analyzed the form and shape of costumes. The costumes of the Renaissance Era, in which formative exaggeration is remarkable, are determinate in that they are closed and static, and can be classified into part, planer separation, and flat. The costumes of the Baroque and Rococo Eras are divided into similar formative perspectives, and can be said to be open, whole, and integrated due to indeterminate and diverse decorations. Entering modern times, the formative-exaggeration phenomenon in costumes of the Romantic Era are characterized by closed, part, and planer separation similar to costumes of the Renaissance Era. However, in the aspect of sleeve design and decoration, the characteristics of determinate and indeterminate were considered.

• The International Journal of Costume Culture
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• 제6권1호
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• pp.30-37
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• 2003

The most distinctive feature of the costumes of the Arctic regions from Alaska to Siberia centering around the Bering Sea connecting Asia to North America, is that each tribe makes clothes adequate to the climate and their lifestyles with animal hides obtained from hunting in their habitation. Furs or fish skins, the main materials for clothing, are characteristically cut into many pieces, and thus piece-joining patchwork is used to make or decorate garments. Patchwork is the technique that can create new designs with 3-dimensional and various combinations by modifying the simple materials, and also has the advantage of fitting the body without a certain cut line. Therefore, the patchwork found in the Arctic costumes may be developed from folk costume designs with limited materials like fur into new ones for modern or future costumes.

• 패션비즈니스
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• 제3권2호
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• pp.37-47
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• 1999

In the 17th century, Europe had changed from medieval feudalistic ages into an absolute monarchy taking Catholicism and absolute monarchism together. On the other hand, Holland achieved prosperity in economy, culture, and arts through gradual enlightment of the people by winning independence from Spain, and religious reformation. The culture dress and its ornaments at the time was led by the governing class such as royal families and its aristocracy in Europe, while Holland, united republic country at the time, brought civil costume nationwide wholly by civil class and its effect to other neighboring countries in Europe. In addition, the origin of modern dress and its ornaments dates back to that time. Moreover, civil-looking dutch paintings found its sources in routine daily life and became realistic. With this respect, in this research, we put our purpose of the research in making a better and more understanding of the modern costume and its ornaments and exploring the spirit of human beings by analyzing dutch civil costumes shown in these artistic works. It is very important that this research is rather renovational comparing with prior ones focused on those of ruling classes. As a result of the research, the distinguished parts of the civil costumes appeares as following beauties. First, functional beauty was respected such as natural waist line, peplum, gather of the skirt and sleeve, apron, head towel were some of the examples to those in their costumes and its ornaments. Second, with respect to humanity under rough natural surroundings and long struggle with outside tribes, humanity of costume was brought by optimistic and even free mind to them. The three quater sleeve showed wrist and deep-cut decollete in their dress and ornaments. Third, with respect to simplicity, religious effect on the leading civil class demanding self-abstinence, frugality, and thrift in their way of life resulted in black-tone simple costumes with white collar in their costumes and its ornaments.

• 한국의상디자인학회지
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• 제22권3호
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• pp.1-17
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• 2020

The Peking Opera is one of the most representative cultural aspects of China. It includes China's traditional specialties, such as stage performance, stage background, and costumes. The purpose of this study is to investigate the characters and the costume characteristics of the Peking Opera to present fashion design. This research is meaningful for spreading the Peking Opera to the world by applying China's traditional costumes to fashion design. Based on the cultural background of the Peking Opera and the analysis of the opera costume, four sets of women's clothes were made by using the traditional Chinese elements. The conclusions are as follows. First, traditional features such as patterns, colors, and styles from Peking Opera costumes were used in fashion design. The colors and patterns use Chinese traditional aesthetics to carry out contemporary fashion design and apply creative materials. Second, the neoprene used to create the items is a material suitable for the modern design of the traditional Peking Opera costumes. Neoprene has good elasticity and can be cut and sewn in a variety of ways. It can also satisfy the three-dimensional atmosphere and rich morphological changes found in Peking Opera costumes. In addition, a combination of thin chiffon and mesh materials is also suitable for the development of modern designs. Finally, in order to show the effects of traditional works, the patterns were finished by hand-painting. The hand-painted works were then scanned and printed on the material by the digital printing techniques. At the conclusion, the traditional features and feelings of the contemporary designs were presented.