• 복식
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• 제67권1호
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

• 복식
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• 제57권10호
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• pp.129-141
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• 2007

In the cultural realm of Hinduism centering around India, traditional costumes such as Sari, and Dhoti are worn up to date under the influence of religious faith, tradition, and fundamentalism. The purpose of this study is to clarify the religious meaning of unstitched traditional Indian costume and inquire into the figurative beauty of it. This study revolved around India, and the aesthetic feature affected by hinduism was examined based on the literature references and the figurative feature and aesthetic value of unstitched costume were analyzed. The most important feature of Indian costume is the unstitched costume without joining pieces of cloth by using a needle and thread, symbolizing the purity based on the cosmology of Hindu. In the unstitched costume of India, natural drapery that is the large cloth, slipped or tied on body, wrapping it affluently, is emphasized. Unstitched costume of India, based on cosmology of Hindu and the concept of purity, is still broadly worn by people under the influence of fundamentalism and conservative atmosphere. Religious idea is expressed and a beauty of concealment, emphasizing the chastity, is shown in the unstitched costume of India, while a beauty of nature is distinctively revealed in the non-structural and asymmetric drapery costume due to the unique wearing style. In addition, 'A beauty of symbolism' appears in the wearing method, color, the part of wearing, and ornament. Religion has affected overall culture that is inclusive art, aesthetics, and social structure and has contributed to the formulation of costume style. Unstitched costume of India is the unique tradition of India and identity, based on the religious idea.

• 복식문화연구
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• 제22권1호
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• pp.167-182
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• 2014

This study researched the symbolic meaning of the costume colors in the independent film . The purpose of the study is to shed light on the relation between a film and the clothing color by exploring the symbolic meaning of costume colors as based on place images and as reflected in characters' internal psychological states and situations. The conclusions of this study are as follows. First, the colors primarily presented were neutral shades of black and white or dark, almost-black tones, representing the negative narrative structure and depicting the image of a human being. Second, a series of bright blue shades were presented to reflect the positive narrative structure of a human being returning successfully to reality. Third, the application of color, involving both the psychological aspect as well as the symbolism of color, was effectively delivered to the audience. Fourth, the emphasis on color in the smallest details of costumes was analyzed, and it was found that symbolic color effectively communicated the whole image of transformation as the story progressed, clearly delivered delicate emotional messages, and contained symbolism relating to particular places and situations.

• 패션비즈니스
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• 제20권3호
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• pp.68-88
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• 2016

The purpose of this research is to investigate the characteristics of Chinese minority women's waistbands, in view of their lifestyle, costume, and symbolism. The research method combined literature research and case study. In the case study, this research targeted the secondary data of a total of 215 pieces from books, articles and the internet. A total of 5 pieces per each representative women's waistband of 43 minorities, excluding those who did not wear a waistband, we collected. We then quantitatively analyzed the form and decoration of the waistbands. As a result of considering the form, the waistbands of Chinese minorities per region were closely related to the costumes, mainly showing high similarity in respect to color and decoration. Moreover, the decorations of the waistbands were most often made from their own area's special products, such as silver, bronze, cotton, and linen, amongst other. The form and decoration of the Chinese minority women's waistbands were all connected with functionality, aesthetic impression, and symbolism, which can be said to be an important part of understanding Chinese minority costume culture. This research contributes to the development and preservation of Chinese minorities' costume culture by considering and analyzing unique costume factors besides giving excellent fashion design ideas for contemporary fashion.

• 한국의류학회지
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• 제21권4호
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• pp.677-688
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• 1997

The purpose of this study was to find out the symbolism of religious costume which has showed the religious belief system through costume practice and culture. Indian Religious costume each has its own mark was investigated in this study. In India, religion is a way of life. It is an integral part of the entire Indian tradition. The results were as follows; India's several main religions are Hinduism(About 80% of population) , Islam (About 11% of population) , Sikhism(less than 2% of population) , Jainism(less than 1% of population) , Buddhism(less than 1% of population) and Christianity(About 3% of population but excluding here) Religious faith system which symbolized Godhood, spiritualty, ascetics, restraint, chastity, sacred and dignity gave a certain shape to each color, ornaments, dressing and marking of religion costume. In connection with religion costumes, there were Hindu's Tika, sacred ash, long hair, knot and holy band (Yajnopavita) , Buddhist's kayysa and tonsures, Jams' no covering, Muslim's chador and skullcap, Sikh's turban (with no cutting hair) , comb, steel bracelet, drawers, sword or dagger. The characteristics, head especially of thebody and white in the colors were made much account for India religion costume. Traditional costume seems to be worn at the present times in India. But apparently these costume associated with religion costume because of Hindu more than 80% of population.

• 패션비즈니스
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• 제14권3호
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• pp.52-63
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• 2010

The Hanryu(韓流) phenomenon in and around Asia looks like slowing down lately. At that time, the research about contents that can inform the high traditional culture of Korea is useful. The references which can make a study about cultural clothes, especially paintings, let us to infer the life of the people of that period. In this research, I try to study the characteristics of customs, symbol and costumes by analyzing the paintings of Shin, Yun-Bok who was genre painter of the late Chosun. The mens are wearing dopo(道袍) and are putting sejodae(細條帶) around their waists and gat(黑笠). Also, We can see many different types of job such police, official man, a buddhist priest, a barmair, kisaeng and shaman through the costume. Most of women in the paintings, They are wearing Deep blue skirts, banhwoejang pale tone jeogori and tress. We discussed the common lives of the people through genre painting. They have satire, humor, and symbolism. Also, we can look into the various lifestyles, customs of times and seasons, ceremonial occasions, civilian beliefs, and plays ransmitted from the past. The philosophy in Shin, Yun- Bok's genre painting, is close to Taoism not Confucianism.

• 한국의류학회지
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• 제11권2호
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• pp.69-89
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• 1987

The objective of this paper was to identify the general concept of subculture; to assess the symbolism of youth subculture style, such as Teds in the 40's, Mods in the 50's, Skinheads and Hippies in the 60's, and Punks in the 80's, giving an inspiration to many high fashion designers. The data were collected from eye-wittness reports, interviews, magazines such as Vogue, The Face, and The Sunday Times, postcards, and photos taken by authors. Youth subcultures were symbolized as 1) a social protest and disaffection against social class and racism, 2) an expression of shock value for nihilism, anarchism, and vandalism, 3) a meaningful sexual fetishism concerning gender confusion, and 4) an emotion of rage, fear, and alienation among working class youth. One cultural form in a subculture is its 'style.' Costumes, appearances, and accessories such as hair style, make-up, and jewellery were playing an important role in forming a subcultural style. The symbolism of youth subculture was well depicted on their clothing styles, which had influences on Zandra Rhodes's, Body Maps', and Hyper and Hyper's fashion design.

• International Journal of Human Ecology
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• 제9권1호
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• pp.29-40
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• 2008

This study clarified the classifications of Vietnamese traditional patterns and analyzed the symbolic meanings that reflect the emotional and cultural background of the Vietnamese. The type and symbolism of Vietnamese traditional patterns were analyzed through research on the history of Vietnamese costumes, the history of Vietnamese arts, the history of Vietnamese traditional culture, and a Vietnamese museum survey. The results of this study were as follows: 1. Animal patterns are diverse and include dragons, unicorns, tortoises, phoenixes, cranes, lions, bats, tigers, and buffalo patterns. 2. Dragon patterns are the most utilized pattern for practical purposes. They are often used in royal costumes, Vietnamese traditional dresses, mandarin boots, bamboo fans, silk, satin, ceramics, and other detailed decorations. 3. The patterns symbolized fortune that meant good luck and longevity so people can live long and happy. Then the symbolic meanings of patterns were followed by prosperity, nobleness, apotropism, prolificacy, and wealth. 4. Since the most of animal patterns have symbolic meanings of fortune and longevity, animal patterns can be utilized as the source of traditional patterns of design inspiration for the development of Vietnamese modern patterns and the application on Vietnamese fashion products.

• 복식문화연구
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• 제5권2호
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• pp.217-244
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• 1997

This study is about the Korean Jockey's uniform, etc. and horse riding costume as the traditional riding culture grows. I studied informations from the Korea Racing Association's equestrian park, equine museum and Seoul Racecourse Trainers & Jockey's Association. The international regulations of riding costume are compared with Korean regulations, and I consulted some reference books, materials of sports wear and catalogues of some brands regarding horse equipment. The contents includes ; 1. Analysis of informations about horse racing 2. Study of racing, for detail comparative analysis on the following aspects ; -Symbolism, riding costume of jockey, that is, color·pattern·and some formal designs. 3. Suggestion for reasonable and fashionable riding costumes. In the aspects of design, there have not been any historical records, and material adjustments about riding costume in Korea. Therefore we should make more efforts to do developing our traditional costume culture. The result o this study is as follows ; 1. Riding is the sport of etiquette and manners. 2. Most of riding wears are the casual wear centered foreign licenced brands. 3. Study and investment upon specialized material development and processing technology are in demand 4. The need of the consumers are to be satisfied by the quality improvement of the native products design. In addition, we perform to horse racing which is fine play and leisure sports in current society. The horse riding will be a popular sports such as golf, wind surfing, skiing, etc. with the period including lots of kinds of leisure.

• 패션비즈니스
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• 제6권2호
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• pp.17-28
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• 2002

With the most popular and beloved Verdi's "La Traviata" as the subject in the year 2001, which is the 100th anniversary of his death, the present study discusses the arias by the main character "Violetta" and the characteristics, images, clothes and their symbolism expressed through and stage costumes of major performances shown in Korea and abroad. Furthermore, the purposes of the present study are to propose a new fashion brand image called "Violetta look" by incorporating this image into current fashion to join fashion and stage, and to actually design and producing these clothes. Therefore, stage costumes of characters shown in the limited space called stage were connected with the study of characters' images and applied into the current fashion as a brand image, and from the industrial aspect, a high value added fashion brand image was created.