• 복식
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• 제60권3호
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• pp.123-137
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• 2010

The purpose of this study is contemplating and substantiating Korean Empire's court costume through relics and photos. Additionally, the meaning of the pattern of Mugunghwa as the national symbol in the court costume is considered. The results of this study are following. First, a phased introduction of western-style court costume was executed through Ulmi Reformation in 1895 and Court Costume Rule in 1900. U1mi Reformation was characterized by transitional reformation because newly introduced system and traditional costume consolidated in costume. Under Court Costume Rule, however, by accepting western-style on contemporary costume, modernized style was settled in every respect of form and matter. The court costume comprised bicorn, coat, vest, pantaloon, sword, sword belt, white collar and white gloves at audience with the Emperor. Second, by examination of the relics of Chigimgwan and Juimgwan, it was confirmed that the court costume was manufactured in foreign countries such as France and Russia on the basis of order. It was also identified by pictures that court costume was worn by diplomats dispatched. Third, the pattern of Mugunghwa in court costume was featured by embroidery of 6 petal pattern. And the pattern of Mugunghwa, as national symbol, has important meaning in view of history and national affection, while Japanese and European adopted the crest of the royal household. In summary, Korean Empire proclaimed modernized court costume institution to handle international relationship driven by West. It was uneasy reformation in adopting western court costume imported from overseas because its textile and style were completely different from traditional costume. However, the willingness of Korean Empire should be reevaluated in the history of Korean costume, in that Korean Empire established court costume proclaimed its sovereignty domestically and overseas, and that the pattern chosen as national symbol was that of Mugunghwa which is current national flower.

• 한국의류학회지
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• 제16권2호
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• pp.149-154
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• 1992

The objective of this paper is to find out the costume in the era of Practical Science through the books written by Yack-Young Chung. Conclusions are described as follows: 1. A disorder of a class system is to be seen from the correlation between the upper class costume and the lower class costume. 2. He made an effort to develope technics and enlarge the specialist for the revolution of costume system. 3. He stressed the thrift for the revolution of custom through clothing. 4. He insisted that the use of clothing be out of formal courtesy, from the fact he showed his idea for the basic courtesy.

• 복식
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• 제61권4호
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• pp.103-116
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• 2011

The purpose of this study is to investigate the revision of the western-styled court costume in the Daehan Empire. For this purpose, 1) historical documents were reviewed, 2) one set of the court costume of Chigimgwan and another set of the court costume of Juimgwan were probed, 3) the photos of people wearing court costume were analyzed. The results of this study are as follows. First, the $14^{th}$ Imperial order of "official costume statute" had been revised in 1904, 1905 and 1907 through official gazettes. The last version of official costume statute enacted the more detail than the first rule. Second, the $15^{th}$ Imperial order of "official costume rules" had been revised in 1904, 1905, and transformed into official costume rules reform on $12^{th}$ Dec., 1906. The revision in 1905 made gold embroidery of court costume more simple than the first rule. The form of court costume was totally revised by change of the shape of adjusting on the top in the revised rule of 1906. Third, the revision in 1905 was actually manufactured and worn by the people because it can be confirmed in the relics of the court costume of $2^{nd}$ Chigimgwan in Yonsei University Museum, and the court costume of juimgwan in Kwangju Municipal Folk Museum. The relics made by the revision in 1906 had not been reported until now, but they can be confirmed in the photos left. Fourth, the sovereignity of the Daehan Empire was actually lost by $22^{th}$ Imperial family order which urged the servant having the title of nobility of Japan to wear the court costume of Japan. Therefore, the endeavor of the Daehan Empire which wanted to establish and develop the costume system of modern independent nation was discontinued.

• 복식
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• 제67권4호
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• pp.38-57
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• 2017

Traditional costume in Indonesia represents identity of a person and it displays the origin and the status of the person. Where culture and religion are fused, the traditional costume serves one of the most functions in rituals in Bali. This research aims to analyze the characteristics of Balinese costumes by focusing on the Legong dance costume. Quantitative research was performed using 332 images of Indonesian costumes and 210 images of Balinese ceremonial costumes. Qualitative research was performed by doing field research in Puri Saba, Gianyar and SMKN 3 SUKAWATI(Traditional Art Middle School). The paper illustrates the influence and structure of Indonesian traditional costume. As the result, focusing on the upper wear costume showed that the ancient era costumes were influenced by animism. They consist of tube(kemben), shawl(syal), corset, dress(terusan), body painting and tattoo, jewelry(perhiasan), and cross. The Modern era, which was shaped by religion, consists of baju kurung(tunic) and kebaya(kaftan). The Balinese costume consists of the costume of participants and the costume of performers. Bali dancing is grouped into Wali dance(sacred), Bebali dance(theatrical), and Balih-balihan dance(entertainment). The Legong dance is included in the Balih-balihan dance, and its costume developed from 1920 until present. The characteristics of Legong dance costumes are 'Theatrical,' 'Angelic,' 'Charming,' and 'Decorative.' In conclusion, the balance of religion, culture, and art gives a unique trait in Bali. The Balinese social system, which is based on Hinduism, has influenced art and its function. This relationship creates a strong structure to the Balinese ceremonial costume, especially the Legong dance costume.

• 한국의류학회지
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• 제4권1_2호
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• pp.49-56
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• 1980

Because of the scarcity of data, a study of costume during the Baikje period can be made imaginarily only with historical records as data. According to records, Baikje costume was almost the same as that of the Koguryo period. Consequently, we may well imagine Baikje costume by means of studying such materials as the mural paintings found in Koguryo tombs and the remains found in the royal tomb of Munyung. The basic form of costume of the Baikje period, therefore, might have been like this: Both male and female wore a kind of jacket(유: JEOGORI) and trousers(고: BAJI) with female-wearing skirt (상: CHIMA) thereon. Both men and women wore overcoat(포: DURUMAGI). They used to wear headdress(관모) and used leather shoes(화) Such a form of costume can be found in the costume of HANIWA(식륜) of Japan, which belonged to the costume of HOBOK (호복) of the northern area. Under the SHIMNEUK-PUM-KWAN-KE(십육품관계) system, that is, 16 grades of official ranks, officials of the Baikje dynasty wore clothes, coronets and belts, all of which differed from one another in colors, according to ranks. Such a system of Baikje might have influenced the KANI-JUNI-KAI (the 12-grade color discrimination of the coronet, 관위십이계) for the government officials of ancient Japan the Suiko period. For the study of such matters, I have tried to review the flow of the Korean culture into ancient Japan in the field of costume.

• 복식문화연구
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• 제17권4호
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• pp.583-599
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• 2009

The purpose of this study is to analyze movie costume of main character and find design characteristic and historical spirit focusing on the movie, in which Ishioka Eiko, Japanese movie costume designer constructing unique design world, participated. The study captured images of three movies such as , and with Digital Multimedia Converting System and analyzed them by focusing on the pictures showing designer's intention and design characteristic well among acquired 319 pictures. The costumes addressing movie costume designer's sense of values are recreated as future-oriented new works and are expressed as creative costumes by acquiring inspiration from past factors, dissolving them and applying up-to-date technology. Movie costume shall reflect historical spirit of our age as movie shows social cultural trend including fashion trend of manufactured age. Ishioka Eiko has searched for the design, which is proper for three principles such as 'be unique', 'be eternal' and 'be innovative' and from the result of analyzing movie costume, it is found that she showed characteristics of symbolism(transmission of the sensitivity), ornamentalism(effective representation as a decorative effect attention) and multiculturalism(harmony of time and culture) as well as uniqueness. The movie costume are different mutually and create new hybrid culture, in which different costume cultures are mixed with current costumes without the restriction to other culture. It is proper for the age of globalization and localization so it is expected that the multiculturalism will be enlarged more.

• 한국의류학회지
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• 제20권5호
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• pp.860-869
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• 1996

This study is a research for an idea of costume containing clothing system in the early Practical Science School. The result are described as follows 1. Bak-Kyem, Han got a critical thought and attitude to seek for practical and rational as pect. Because that he studied an original text and wanted to find a basic meaning. And the result, he made a Pang-Ryeong Symeui. 2. Hwyeng-won, Rue contended that we had to model after chinese costume system to seek for a correct clothing system to harmonize with our culture and regulation. And he sought for the original courtesy because that his basic idea of reformation in the clothing system was an ancient system. But when there was a remedy, he suggested a new system. 3. Ik, lee considered a clothing system with a critical and investigated attitude. In the clothing system, he wanted to keep an original courtesy. But he asserted a constant reformation in evil tradition. He pursued a rationality not to be tied a formality, and he had also a flexibility to recognize real customs.

• 복식
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• 제58권10호
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• pp.1-20
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• 2008

The purpose of this study is to analyze the formative characteristic of modern Tap dance costume according to its origin and kinds. For this purpose, the study explored the review of literature focusing on the historical back ground of Tap dance and investigated into the kinds of modern tap dance and the formative feature of the tap dance costume. Costumes of leading tap dancers in representative performances and movies are analyzed. The results are summarized as follows: The kinds of current tap dance could be categorized as three types of Jazz Tap Dance, Rhythm & Funk Tap Dance, Irish tap Dance as their development origin. The Tap dance widely distributed through the U.S. Hollywood movie, The Jazz Tap Dance costume was composed of magnificent and luxurious design applying the high fashion of the 1930s and 1950s in the male and female costumes. The U.S. Blacks' tap dance, Rhythm & Funk Tap costume had a close relation with resistant blacks' culture, and showing the type of free dressing not bound by previous tap dance dress. The Irish Tap Dance originated from Irish folk dance displayed the tap dance embroidered costume using the Irish traditional pattern. This study systemized the characteristic of the tap dance costume by kind, and explored the dress revealed at the tap dance as a symbolic system to the cultural zone where the dance is made.

• 복식
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• 제61권7호
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• pp.67-79
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• 2011

This study is to design a ball-jointed doll costume with historical research in clay female doll's costume from Hwangsung-dong tomb of the Silla Dynasty[新羅] in 7C. This clay female doll's costume was characterized by slim silhouette, long sleeves, no neckline, side slit, high waistline, and bun on the back neck of representative of the early era. According to literature of 7-8C and textile relics, it is presumed that she wore short Jeogori[短衣, Dan-eui] with long sleeves and two layered skirt, and Dan-ryeong(團領) could be added as attachment that is reflective of the time era. For making design costume, Ra[羅, silk gauze] was used for long Dan-ryeong, plain silk and brocade[錦, Geum] for Dan-eui and skirt as a special textile of this period. Waist dart and small snap were added to the costume of ball-jointed doll because of hardness and curvy shape of doll's body, without contradicting traditional value. For better use of this study and cost reduction purposes, development of production system for traditional doll costumes should be considered.

• 한국콘텐츠학회논문지
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• 제12권2호
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• pp.52-59
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• 2012

최근 LED는 조명, 광고판, 디스플레이 등 다양한 분야에 널리 활용되고 있다. 이번 연구에서 우리는 공연에서 사용하기 위한 무대 의상에 LED 기술을 융합시키는 방법을 다룬다. 우리는 공연 환경의 요구 조건들을 충족시키기 위해서 무선 네트워크, 임베디드 시스템, 컨트롤 재킷, 디지털 스킨, 패턴저작도구로 구성된 디지털 의상 플랫폼을 제안하며, 이것은 LED 조명 효과를 가진 디지털 의상을 만드는데 활용된다. 임베디드 시스템은 무선 네트워크를 통해 공연 제어 시스템으로부터 제어 신호를 받고 그에 따라 실시간으로 LED 빛의 색 변화를 제어한다. 임베디드 시스템을 장착할 수 있도록 설계된 조끼 형태의 컨트롤 재킷은 임베디드 시스템과 LED를 연결하는 커넥터 역할을 하고, LED가 디자인된 외피 개념의 디지털 스킨은 연출가의 의도에 따라 의상에 디자인된 LED에 의해 그 자체로 발광체가 된다. 패턴저작도구는 타임라인 기반으로 LED 빛의 색이 변화하는 다양한 패턴들을 만드는 것을 도와준다. 디지털 의상은 새로운 형식의 움직이는 조명으로 활용되며 무대 표현 기술의 확장을 가능하게 한다. 우리는 디지털 의상 플랫폼을 적용한 디지털 의상을 제작하여 실제 공연에서 사용함으로써 디지털 의상 플랫폼의 안정적인 사용성과 활용 가능성을 검증하였다.