• Journal of Fashion Business
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• v.2 no.1
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• pp.71-75
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• 1998

The Miaos who is the minority people mainly living in the southwestern part of China, expressed their indicator and solidarity through the costume in order to maintain their racial character while experiencing numerous adversities over thousands of years, where the costume has served as a source of cohesion as well as a primitive religious thought, and also showed their faith, desire, longing and aspiration. This study examined the Miao's traditional costume by classifying it into the following; hair style, headdress, upper and lower garments, and other costume. And the silver ornaments used for attire and their symbolic meaning were examined. The result of the study is summarized as follows. 1. The reason that types of the costume has been diversified is because there was promise of ancestors who intended to differently express the type of a kind as symbol of the racial branch that is the Miao's special type of society. Thus, the costume type could tell where a tribe live. Another reason is because only marriage between families with different surname but the same type of costume was accepted. 2. As women made and wore the costume themselves, it also served as a means of being proud of their skill or wealth, they tried to make it more beautiful and it was also used as a token of marriage or love between relatively enlightened men and women. 3. The design used on the costume was expressed as a symbolic meaning of indicator to strengthen the racial solidarity because it connoted worship to ancestors who had experienced lots of adversities. 4. The hair style was expressed in various styles by using Kache such as Chukye, Byunbal and Kokye. It is likely that ornaments used on the head of women in the form of cow's horn or silver crown were used as one of the methods to stress the valuableness of the cattle that were essential to agricultural life. In addition, various styles of turbans were used to indicate the respective regions. 5. Cock's feather ornaments or silver ornaments in the form of pheasant's feather on the edge of women's skirts, peasant's feathers that men wore on their head, or Baekjoui and men wore resulted from the Miaos' thought of adoration for birds, which implied a primitive religious meaning. 6. As the region where the Miaos live yields much silver, the silver ornaments were mostly used to be proud of wealth, which symbolized light and pureness.

• Journal of the Korean Society of Costume
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• v.19
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• pp.141-155
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• 1992

The Buddhist costumes, unlike the ordinary ones, have not been studied comprehensively due to their religious, non-popular and non-social features. In this regard, this paper aimed at reviewing the styles and symbolic Characters of the monks' dancing costumes for the traditional Buddhist ceremony of 'Spirit Vulture Peak'(The Intangible Cultural Asset No.50.) Here, the 'Spirit Vulture Peak Ceremony' is a kind of Buddhist ceremony commemorating the Buddha's preaches on the peak of Mt. Grdhrakuta by means of symbolized ritual and reformation procedures. The methodology of this study depended on the research of literatures, personal observation of the actual ceremony and the discussion with Priest Park Song-am. The dancing style of the Ceremony can be divided into four categories; the cymbal dancing., the drum dancing , the butterfly dancing and the column-beating dancing. And for the dancing costumes, the loose ritual mantle, the long-sleeve robe and the buddhist costume are used; the loose mantle and the long-sleeve robe are for the drum dancing. The style of the loose mantle is rectangular, sewn every odd knot between 5 and 25 ones. According to the record, its color was initially grey or red-yellow, but varied depending on the local rules. The four corners of the loose mantle have a rectangular-cloth embroidery of sky & king patterns, and the center is embroidered with the Sun'Moon designs or 'Om/Nan' letters in the Korean spells. The light of Sun/ Moon designs symbolizing the sky and the earth respectively are indigenous to a particular school in Korea. The long-sleeve robe has a traditional over-coat style. and is called otherwise of if some design is added. The total clothing or dancing costumes for the Ceremony include 'the Dae-ryung (meaning great peake)loose mantle', 'the White Paldad(meaning Chinese Character eight) long-sleeve robe and the peaked hat. The Dae-ryung mantle is a kind of ritual costumes with the shorter length than the ordinary mantles, and has a character 'Ryung' in Chinese spell attached with three to six colors. The White Paldae robe is shorter than the ordinary robes in the total length but longer in the length of sleeves. It is put on over the mantle from the left shoulder, and used often for the butterfly and column-beating dancings. It is hoped that this study will promote the study on the customs and rites of the Buddhism rather than on the thoughts, and contribute to the further studies.

• The Research Journal of the Costume Culture
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• v.1 no.1
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• pp.33-68
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• 1993

The purpose of this paper is to survey the influence of the culture change on the dress and personal adornments, and to survey the change of factors from the August 15. 1945 to 1960, in connection with the social and cultural background, applying B. Malinowski′s "Theory of Culture Change" which means an acculturation is the change′s elements of the dress and its ornaments. It is remarkable that the dress and personal adornments of Korean women after August 15, 1945 has great change from the traditional dress of the thousands years. Through the Liveration on August 15, 1945, American military government and the establishment of the Korean government, American democracy has brought many changes on Korean society. Advancement of education, an society with developed economic life, and introduction of scientific skill have influenced on the women′s way of thinking and a style of behavior and the view of value. The acculturation, the supply of mass communication, introduction of new institution and the reorganization of the old institution, the change of the economic situation, the change of the educational system, the change of the point of value, the development of scientific skill have greatly influenced on the dress and personal adornments. Modern dress and personal adornments of Korean women has the following developing procedure. The Liberation from Japan on the 15th, of August, 1945, the stationing of American Soldiers during hte Koran War, returning of the oversea′s brethern, and the mass communication have the direct and indirect contact with western civilization, and bring the occasion of development of the modern dress of Korean women. The increase of mass communication, such as radio, TV, newspaper, magazines and the frequent fashion shows showed fine design and practical western style dress to the women. This was the real beginning of the western style dress in Korea. By the increase of employment and the improvement of the economic situation, the consumption of clothing and the adornments was increased, so that a wide variety of fashions was set, and numerous kind and form of dress came in. As the increase of the number of women students, their practical and free dress life demanded western style dress. After the Liberation from Japan, the open-door policy of sex, public morals and traditional ethics became lax, and in this disordered society, indecent expose of the body was common. By the different kind of technological development, the form, fabrics, colors and patterns in clothes were much influenced and the hair style, make up, shoes and adornments were much influenced too. As shown above, the change of the dress has the same connection with that of society and culture. This shows that the dress and personal adornments represent clearly the cultural phenomenon of the society and cultural change of the society.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.115-134
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• 2009

This study is about Christian Dior's and Martin Margiela's fashion works that create 'New look' which leads the periodic ideology, philosophies, circumstances and the trend at that time. For the systematized interpretation, this study investigates the iconology of E. Panofsky, E. H. Gombrich and N. Goodman. Based on their theories, iconological analysis paradigm is made into four phases: I. Recognition of iconological form, II. Analysis of External Elements, III. Analysis of symbolic meanings and artistic will and IV. Aesthetic enjoyment and communication with a viewer. Christian Dior treats woman as a organic and architectural structure. He falls in love with himself such as narcissus and woman who wears his works. Dior's ego is visualized by woman and his works which are the symbol of narcissism and beauty. Martin Margiela makes form of clothes and at the same time destroys. Margiela deconstructs aura of clothes and tries to make it unfamiliar. Also he changes traditional idea of beauty and creates 'ugliness' which is a notion of dialectic. Margiela transforms elements of clothes which brings variation of thinking and makes it possible to create new look. Christian Dior and Martin Margiela are the creators of new look which visualizes the notion of habitus that is the space of self-exists. Fashion dose not have to be what people wears but it could be an image itself. It means that fashion is a part of ontology and it is a 'New look' which is based on economy, the standard of periodical beauty and ideal aspects. The creation of clothes is a work of embodiment of human being where it constructed or deconstructed.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• The Research Journal of the Costume Culture
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• v.23 no.4
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• pp.661-672
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• 2015

In this study, nine scarf designs expected to be effective for accent design for the fashion style of new senior women were suggested by reflecting purchase behavior and scarf preference after conducting surveys and an analysis by targeting 136 new senior women in order to propose scarf design-matching with the preferences of new seniors. As a result of the study on the scarf purchase features of new seniors, it was revealed that the purchase time for scarves was mainly autumn and winter, even though it is regardless of season, and in spring and summer, they seldom purchased scarves. The purchase frequency was four times a year, and what they first thought of at the time of purchase was represented in the order of color, design, and the material of the scarf. They most preferred department stores, mixed and achromatic colors, cotton and silk fabrics, natural and geometric patterns, and long scarves of a rectangular shape. In the case of the consumer attributes of scarves, it was revealed that $50^{th}$ desired more individuality-oriented, unique scarf designs than $60^{th}$, and $60^{th}$ desired scarf designs with convenient management considering others' attention compared with $50^{th}$. As concepts for scarf designs, the aspects of individuality, co-existence, and maturity were extracted by reflecting the features of new senior women, and a total of nine scarf designs were suggested by developing three sub-designs for each concept.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.125-136
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• 2018

This study classified and analyzed the assignments for the Hanbok skill contests between 1998 and 2017 so that the Korean hanbok can be properly passed down. this study proposes a variety of useful values for the Hanbok culture industry by providing basic data on various Hanbok making techniques to the Hanbok artisan. The results of the analysis of 39 assignments for the Hanbok skill contest are as follows. Firstly, The 20 assignments presented in the Local Skills Competitions consisted of 13 tasks (65%) in formal wear and 7 tasks (35%) in casual wear. Formal wear is mainly comprised of men's and children's wear (85.7%). There are Pungcha Baji, Sagusam, Kkachi Durumagi, Jeonbok & Bokgeon, Durumagi, and others on the formal wear of men'schildren's wear. In casual wear, 66.7% of women's wear such as scarves, skirts, jeogori, Hwejang Jeogori & chima were on the list of assignments. Secondly, All of the 19 assignments presented in the National Skills Competitions were in adult suits. Thirteen tasks (68.4%) were in formal wear and 6 tasks (31.6%) were in casual wear. Nine out of the 13 formal wear tasks (69.2%) were men's clothes. In 6 assignments of the casual wear, men's and women's clothes were presented three times each. Formal wear that had many assignments was the men's Chulik, which was presented three times in 2006, 2008 and 2016. Thirdly, Eighteen (90%) of the 20 assignments presented at the Local Skills Competitions were for lined clothes, and the remaining 2 (10%) were for unlined clothes. Eleven tasks (57.9%) out of the 19 assignments presented in the National Skills Competitions were for lined clothes, and 8 tasks (42.1%) were for unlined clothes.

• Journal of the Korean Society of Costume
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• v.39
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• pp.167-179
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• 1998

The objective of this study is to examine the costumes of the period covered in the writings of Shilhak (practical science) scholars and to research the history of costumes and their characteristics by examining how they are worn in genre paintings which are said to describe the actual life of the period. This should be studied in order to correctly establish the history of costumes. To begin with, through the writings of the representative Shilhak scholars who are thought to have affected the changes in ordinary costumes for woman, this study examined how ordinary woman of the period looked in their costumes and how they regarded various costumes they had. Then, how their viewpoints of costumes influenced ordinary costumes was investigated. Not only relics, but what was commonly worn, as they appeared in the genre paintings that contain information about daily living of that period, were researched chronologically. The results of this study showed that the change in ordinary costumes for woman in the late Chosun period was affected by Shilhak scholars who had ideologies of Shilsakusi (use of positive methods in studying), Yiyonghusaeng (the promotion of commerce and industry and the development of techonologies), and Ky ngsech'iyong (pursuit of stability in a rural economy). Moreover, after those changes there were many more changes. However, the criticism of costumes of that time and the will of revolution affected some time, costumes changed directly. The forms of the costumes had been changed in a variety of ways following the tendencies of the times, but the origin of today's hanbok (Korean traditional dress) had already been fixed in the late Choson period. Yet, today's hanbok are for special occasions, not worn as ordinary clothing. Thus, there are several reasons why the hanbok is not suitable for daily life. One of the reasons is that Korean could not cope with the western costumes indepen-dently imported during Japanese occupation in the last period of the Choson Dynasty and con-tinuing the Japanese Colony. Thus, only a part of the ordinary costume of the late Choson period has remained until now.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.117-130
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• 2010

The four walls of mural paintings in Afrasiab, Samarkand, have discovered: the indian-concept east wall, the west with the paintings of envoys from a number of countries bringing in King's letters or gifts, the south describing traditional ceremony celebrating the new year, the north with a picture of a Chinese princess on board beside hunting scenes. Overall, Sogdians in Afrasiab mural paintings of 7th century had following costume codes: a very short haircut or the Turkic queue, a rather-narrow-sleeved caftan with round-neck, a belt and boots. The west wall showed various costume style of a set of envoys from countries. First, a Turkic envoy had 3-6 rows of long plaits, wearing a caftan with two lapels and a belt - interestingly, Sogdian and Turkic nobles didn't wear pochettes. Second, a Chaganiyan had a hairband on his short hair, and his colorful round-neck caftan is decorated with animal-patterned medallions and a golden belt. Third, a Chach wore a jewelled hairband, putting gaiters on his pants. Forth, a Chinese was in putou with a round-neck caftan, and with a belt and sword around his waist. Lastly, also appeared a Koguryo envoy in white putou with a double-bird-feathered crown on top, wearing a long-sleeved yellow v-neck top, a belt, narrow-cuffed pants and boots. Identical to the Sogdian statues excavated in various regions of China are the appearance of big eyes and nose -similar to the warrior stone in Korea- a hairband, and a pochette down from the waist line. During this period, white and red were considered as prevailing colors for clothing: red and yellow among Turks. The costumes of characters in Afrasiab mural paintings were preferably made with the animal-patterned, sophiscated samite Zandanachi of Sogdiana.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.64-76
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• 2014

This study aimed to analyze the expressive characteristics of design elements and fashion images shown in wedding dress styles in the 2000s. The findings were as follows. First, in wedding dress style the fashion images analysis showed that classic images appeared the most frequently, and fantastic, modern, kitsch, sexy, futuristic and ethnic images appeared the most, respectively. Second, design elements analysis of fashion images concluded that as for the appearance frequency of the silhouette, A line was the highest in classic, fantastic and kitsch images and H line was the highest in ethnic, modern, futuristic and sexy image. As for the appearance frequency of the necklines, bared top neckline was the highest in all of the fashion images. As for waistlines, natural waistlines except modern image of obscure waistlines appeared the most frequently in all of the images. As for sleeve, sleeveless appeared the most frequently in all of the images. As for material, see-through was the highest in ethnic, classic, sexy, fantastic and kitsch images. Luster material was the highest in modern and futuristic image. As for colors, white and achromatic, traditional wedding dress color, appeared the same in all of the seven fashion images, but chromatic colors appeared the most frequently in ethnic images. Third, the distinguishing expression features of fashion images shown in the wedding dress style of the times is as follows: 'Total fashion in wedding dress style', 'Emphasizes sexy image expression in wedding dress style', 'Various co-existence of wedding dress style', and 'Avant-garde expression in wedding dress style'.