• Title/Summary/Keyword: traditional dress

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An Analytical Research on Exotic Tastes Reflected in Contemporary Men's Fashion - Focused on Collections from 2001 to 2010 - (현대 남성 패션에 나타난 이국적 취향(Exotic Taste)에 관한 분석 연구 - 2001년부터 2010년까지 발표된 컬렉션 중심으로 -)

  • Shin, Myung-Jin;Nam, Yoon-Sook
    • Journal of the Korean Society of Costume
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    • v.61 no.10
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    • pp.104-118
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    • 2011
  • The purpose of this study is to examine the recent various developments of men's fashion by analyzing how exotic tastes were presented in men's modern fashion from 2001 to 2010. For this purpose, a researcher reviewed relevant studies to identify the styles of exotic tastes that were reflected in men's modern fashion specifically in Chinese, Japanese, Indian, East Asian, American, North American and South American styles. Findings of this study is summarized as follows. Main examples of men's modern fashion were found in Chinese-style apparel such as the magwae, queue, coolie hat and the Mao jacket. The Kimono and the samurai robe, both of which best represent Japanese apparel and the Japanese traditional patterns also had an influence on men's modern fashion Indian style clothing such as dhoti, veshti and lungi which cover the lower body, vajani as loose trousers, kurta of full-over tunic form and turban also had an effect as well. The men's modern fashion is also impacted by Middle Asian styles that includes the thobe, sirwaal, futah, which is sort of a skirt that is long enough to cover the calf and whose front parts overlap each other, turbans and the hempen hood which is fixed with the agal. Exotic elements such as animal skins, body painting, tattoos and head dresses found in African styles can also be found in men's modern fashion. Parts of North American style influence come from the applications of Indians' costume and head dress. The surveyed men's modern fashion of the South America style was represented by the applications of natives' costume and Andean tunic, loincloth and shawl. In all of the exotic styles found in men's modern fashion, historicity, eclecticism, aestheticism and nature-orientation are implied. They are the source of inspirations that promote changes and diversity in men's modern fashion.

American Women's Adoption of Pants and the Changing Definition of Femininity during World War II

  • Lee, Yhe-Young;Farrell-Beck, Jane
    • International Journal of Human Ecology
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    • v.11 no.1
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    • pp.23-33
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    • 2010
  • Articles from The New York Times and magazines including Consumer Digest, Journal of Home Economics, Scholastic, Time and Woman's Home Companion were analyzed in this study and focused on the following research questions: How did the social situation influence American women's adoption of pants during World War II? How were the social opinions of women's adoption of pants? How did American women's adoption of pants and the social opinions on women's pants represent the process of change in the definition of femininity during World War II? Women were encouraged to wear pants in work places because many women had to work in defense industries and farms. Women had to wear pants during the winter to keep warm in order to conserve oil, rubber, and other materials. In addition, wearing men's clothes became a fashion trend among college women during this period. However, practicality was often not the primary thing alone to consider in women's fashion. Femininity was still important in women's fashion. There were criticisms over the women's adoption of pants. Regulations against pants were imposed on women, while there were women who wanted to dress like ladies even at defense industries. An abrupt change in women's gender roles and the increased adoption of trousers aroused social ambivalence about the traditional definition of femininity. Even though many women returned to their homes after the war, the social demand of practicality in women's day-time clothes during the war offered women the experience of comfort and practicality in pants. These experiences contributed to paving the way for more women to adopt pants and helped establishing a new definition of femininity after the war.

Research on the Status of Domestic Wedding Industry - Focusing on Dress, Studios, Makeup Firms -

  • Shin, Kyeong-Seob
    • Journal of Fashion Business
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    • v.12 no.3
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    • pp.153-166
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    • 2008
  • The purpose of this research is to analyze the overall process of the wedding industry - arranging domestic wedding firms and formulating a database related to the business. Simultaneously, with all the data in hand the research attempts to seek flaws within the wedding industry and tries to offer solutions to revitalize the industrial section. Because the list of articles is enormously expansive, for the purpose of basic research, objects have been selected according to the process presented below. Wedding-product firms have been classified within the boundaries of dresses, studios, and makeup firms; distributing channels are mainly focused on wedding planners and related-consulting firms; related departments of universities and wedding organizations are illustrated as well. Due to the unorganized system of this particular field, the research process has been conducted with materials from personal experiences, newspapers, magazines, Internet websites, documents, and interviews with wedding-related firms and organizations, and professors. As a result, over 13 subjects which formulate a market structure of over 30 trillion won. However, due to lack of systemization of the industry, as it expands, numerous problems occur. Excessive competition between wedding-consulting firms and the lack of reliable education for wedding planners, unnecessary external investment and the lack of product research, false Information from the Internet puts the entire industry in a inefficient position. Organizations such as Korea Traditional clothes Industrial Union, Korea Wedding Consulting Association, Korea Martial Industrial Promotion Association(KOMIPA) etc, are made to seek for solutions. For the wedding industry to revitalize, wedding-product firms, wedding planners and consulting firms must maintain an organic relationship every season. They must systemize a proper distribution system, with wedding-product companies enhancing the quality of products, wedding planners organizing wedding plans with responsibility, and consulting firms focusing not only on profits. In order to make high-valued products, wedding-product companies must put their greatest effort in producing talented minds, and universities with related departments must do so as well. In other words, the industrial and educational section of our society must cooperate through a sophisticated system. In addition, related organizations must act to receive governmental support in order to support the industry.

A Symbolic Sense of Transvestism in the Renaissance Novels (르네상스 소설에서의 복장전도가 갖는 상징적 의미)

  • Lim, Juin
    • Cross-Cultural Studies
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    • v.19
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    • pp.149-179
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    • 2010
  • This article is concerned about the symbolic meaning of the transvestism Renaissance perspective through analysis of Triumph Over Persecution work and The Merchant of Venice, and Jealous Ioan Tornese. The transvestism is frequently present in the comedies of the golden age. A woman author Maria de Zayas has a special interest in female identity with critical and defying view. Also the subject of the transvestism in Spanish literature originated in Italian tradition. In Italian literature, there were two types of disguised women, who urge for love and warrior-heroine(amazon). Both types are also listed in Spanish literature. The dress-crossing heroine of Triumph Over Persecution displays a type of heroine, who corrects a male prejudice and reset a harmonious order. Shakespeare is also one of the Renaissance writers under the influence of the Italian Renaissance novel. Heroine of Merchant of Venice symbolizes a triumphant challenge against the blocks of the patriarchal system. In spite of the social system blocks, cross-dressing women may receive in the patriarchal scenes without problems. Based on the notion of paradox and irony, the Italian novel reflects popular psychology of the time when the link between the internal identity and social outside puts into question. The cross-dressing Torneses' wife, symbolizes the mockery or renaissance deception. Their deception emphasis on an ironic way in the point view of inhuman man who consider women material belongs to the man without any free-will. The costume of the characters make it possible to change their original identity into the other. From this point of view, we can say that the transvestism in these works could be interpreted in two ways: first, the destruction of the traditional categories of women's identity and second, the burlesque contempt on the patriarchal renaissance society.

The global response to K-POP idol group's New Hanbok: The case of Black Pink Fashion (K-POP 아이돌 그룹 신한복 스타일에 대한 글로벌 반응: 블랙핑크 패션 사례)

  • Choi, Yeong-Hyeon;Chen, Tianyi;Lee, Kyu-Hye
    • Journal of Digital Convergence
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    • v.18 no.12
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    • pp.533-541
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    • 2020
  • This study aims for investigating the consumers' reaction to the New Hanbok Style of K-pop idol groups. We collected YouTube videos and user comments that include 'Black Pink New Hanbok' as a keyword, applying social network analysis and sentiment analysis. First, the New Hanbok of Black Pink was designed as a mini-dress to make it easier to dance and turned out that it reinterpreted traditional elements modernly. Second, the issue about revealing costumes appeared as a keyword in domestic reactions, it did not appear in international reaction. Third, as a result of sentiment analysis, international audience viewed New Hanbok outfit more positively than domestic audience. This study is significant in that it suggests the direction to which New Hanbok should head to by investigating extensive consumers' reaction and finding out the positive and negative elements of New Hanbok.

A Study on Characteristics Analysis of Chinese Qipao Design in the Perspective of Cultural Level (중국 치파오 디자인의 문화 차원에서의 특성 분석)

  • Yang, Bei;Chang, Juyoung
    • The Journal of the Korea Contents Association
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    • v.21 no.5
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    • pp.905-917
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    • 2021
  • Qipao is a national costume of China and a representative Chinese symbol with unique cultural meanings. This study first outlines the concept and development history of Qipao, sorts out existing literature, and summarizes the five elements of Qipao through previous study. Then, based on the theory of cultural levels and design characteristics, focusing on the design characteristics of the three levels of the outer level, middle level and inner level of culture, it analyzes the specific meaning of the five elements of Qipao. Through research, it was found that there are various developmental relationships between the three levels of culture for each element of Qipao. Through the study, it is found that Qipao, as a typical Chinese dress, not only has the research significance of design, but also has rich cultural connotations and diversified information on social, economic, technological, and fashion development. This study can enable us to fully understand the historical and social value and modern significance of the Chinese Qipao, and can provide basic data for fashion design researchers. This study is a basic research for the modernization of traditional Chinese clothing.

The Effects of Kisaeng's Clothes on General Women's Fashion in the Late Choson Dynasty (조선후기 기여복식이 일반부녀자 복식에 미친 영향)

  • 김나형;김용서
    • Journal of the Korean Society of Costume
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    • v.39
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    • pp.113-123
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    • 1998
  • This study focuses on the effects of the clothes worn by kisaeng; courtesans trained in singing and dancing, on changes in female psychology as reflected in general women's fashions during the later years of the Chosun dynasty. During this period, the social order had broken down considerable, due in part to the introduction of Roman Catholicism, and in part to the actions of Sil-hak, who emphasized open-ness and practicality in the organization of social affairs. This freer social environment disrup-ted the established social hierarchies. The kisaeng were among the first to respond to the new social mores by adopting more colorful, sensual, and individualized fashions. Their social position allowed them to reflect the new aesthetics of the time right away. Those aesthetics seemed to lay great emphasis on the artistic effects of contrast. The kisaeng would adorn their heads with large Kache (an elaborate wig or hairdo typically reserved for use by women in full formal dress). In contrast to this conspicuous hairstyle, they typically wore very tight-fitting Jogori (short-cropped Korean traditional jackets for women) around their upper torsos. The long skirts emerging from beneath these short jackets would typically flare out dramatically, with the aid of petticoats. However, these skirts would be bound at the waist with a sash, increasing the sexual suggestiveness of the clothing by drawing at-tention to the hips, and by exposing the bottom frills of the petticoats, or the wide pantal-oons and other undergarments the kisaeng wore to add volume to their skirts. The relative freedom enjoyed by the kisaeng to experiment with new fashions was not widely shared by most women. This generated envy from women of the noble classes, who were more bound by convention, and restrained from adopting such a mode of dress. It also generated envy from women of the humble classes, who saw the kisaeng as working little for their wealth, and yet dressing every day in finery that the average women would only ever be able to afford on her wedding day. This envy directed at the relative freedom/wealth of the kisaeng by women who faced greater socioeconomic constraints was given cultural expression through the adoption of elements of the kisaeng's fashion in the fashions of both noblewomen and humble women in old korea. The luxurious Kache sported by the kisaeng had in fact been borrowed from the habitual attire of upper-class women. So to distinguish themeselves from the kisaeng, they began to abandon these elaborate hairstyles in favor of traditional ceremonial hoods (Nel-ul-a thin black women's hood) and coronets (Suegaechima). This supposed reaction to the abuse of the Kache by the kisaeng still remained influenced by the kisaeng still remained influence by the kisaeng, however, as these headdresses became adorned with many more jewels and decorations, in imitation of the kisaeng's adaptations of the coronet. At the same time, noblewomen began sporting the Jangwue ; a headdress previously worn only by kisaeng and lower class women, and lower class women were then permitted to wear the Kache at weddings. All women behan to wear shorter, tighter Jogori jackets, and to add volume to their skirts. They also attached frills to their under-garments in imitation of the kisaeng's exposed petticoats and pantaloons. The impact of kisaeng fashions was thus deep and widespread, and can be understood as an expression of women's longing for freedom from socioeconomic constraints in the late Chosun dynasty. This study adopts an interdisciplinary ap-proach to the understanding of historical changes in women's fashions. Such interdisciplinary work can greatly enrich the study of fashion, often narrowly focused on clothing morphology and broad generalizations about society. For this reason, specific dynamics of feminine psychology in the late Chosun dynasty were elaborated in this study, to provide a deeper under-standing of the changes in fashion underpinned by them. If more such detailed analyses are undertaken, a whole new understanding of changes in fashion can be generated, and perhaps a transformation of the field of fashion history can be ultimately achieved.

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A Study on the Genre Painting by Gisan Kim, Jun-Geun as Export Painting (수출회화로서 기산 김준근(箕山 金俊根) 풍속화 연구)

  • Kim, Soo-Young
    • The Journal of Art Theory & Practice
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    • no.8
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    • pp.89-119
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    • 2009
  • Kim, Jun-Geun(Gisan) was a late 19th century Chosen dynasty painter who created numerous genre paintings for West European clients in the newly opened treaty ports of Wonsan, Busan and Inchon. The treaty ports in the late 19th century Chosen represented of the crossroads the economy, values, and the institutions of the West European powers. In particular, the agriculture-based economy, Confucianism, and land-owner noble class started being eroded by a commerce-based economy, the values of Christianity, West European institution, and a new class of people who amassed wealth from commerce. As Kim, Jun-Geun's paintings were created for sale to West European clients, they exhibit characteristics that are distinct from the traditional genre paintings in terms of presentation style and the selection of the subject matters. The export genre painting originated in the 18th century around Guangdong, China. Broadly, there are two styles of genre paintings: the Guangzhou style and Ningbo style. Kim, Jun-Geun's paintings resemble the Ningbo style. The Ningbo style tends to highlight the main subjects, form an album of small paintings, and provide a simple treatment of the scenes without the background. Kim, Jun-Geun's paintings cover most aspects of life of common people of his time, ranging well beyond the subjects matters of the traditional genre paintings. His subject matters include the scenes of funeral, folk games, Buddhist and ancestor worship, prison and punishment, shaman custom, debauchees, government officials' formal trips, beggars and handicapped, etc. Many of the subjects are the neglected and the oppressed of the society. And he presents in detail the dress and its ornament that the subjects wear, and all the utensils and things around them. Besides, his subjects' faces are generally expressionless, and their postures are stiff; as such, the feeling of liveliness or movement is lacking. It may be the results of Kim, Jun-Geun's taking the other perspective, namely of his West European clients, rather than his own. The adoption of the other perspective may in turn be a product of the Social Darwinism and the new sense of values that accompanied the infusion of Christianity and West European institutions. Kim, Jun-Geun's portrayals of his subjects appear to reflect the attributes with which the West European Orientalists' of the period characterized the people of the Far East, namely, backwardness, barbarity, irrationality, violence, and mysticism.

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Case study of Lighting method to improve TV news viewers' attention span -Based on KBS News 9 Lighting Method Analysis- (TV뉴스 시청자의 집중도 향상을 위한 조명 기법의 사례 연구 -KBS 9시 뉴스 조명 기법 분석을 중심으로-)

  • Han, Hak-Soo
    • Journal of the Korea Society of Computer and Information
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    • v.14 no.12
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    • pp.97-107
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    • 2009
  • Television News has significant impact on the information analysis of viewers by delivering world news to anonymous individuals everyday. We need to pay more attention to resolution considering the fact that even slight facial expression and the dress of TV anchor can be noticed by viewers in the high definition age, called HD TV, by radical changes in broadcasting situation. As a result, the beauty of expression that lighting technology has is extremely important in the high definition age. In news broadcast, as a phenomenon according to this change in trend, people have been looking for change in order to break with traditional TV news production by adopting DLP(Digital Lighting Processing) or LED(Light Emitting Diode). This effort has contributed to creating proper picture quality appropriate for HD TV. Nowadays Digital imaging is creating new trend in TV news production method from traditional analog-based lighting environment thanks to the development of IT(Information Technology) and digitalized lighting equipment. This change has led to building of HD studio and appropriate sets and lighting system. There are film set and projector which projects image on the screen and PDP, LCD, and DLP which has been used widely in recent years and LED which is often used as background in news program as examples, which has appeared since 1990s with HD TV. In this article, I analyzed the KBS News 9 lnce 1990s with in order to research the influence of television image component on the alyzed the KBS of TV article, I. I wille uggest the category of TV anchor image formulation in delivering information by means of lnce 1990s with based on the analysis result.

Characteristics of Places to Visit and Hanbok-Trip Class as a Landscape Prosumer - Focused on Gyeongbokgung Palace - (경관 프로슈머로서 한복나들이 향유계층과 방문 장소 특성 연구 - 경복궁을 대상으로 -)

  • Jeon, Seong-Yeon;Sung, Jong-Sang
    • Journal of the Korean Institute of Landscape Architecture
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    • v.45 no.3
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    • pp.80-91
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    • 2017
  • This study identifies factors of Hanbok-trippers - a term for people who dress in Hanbok(Korean traditional costume) while going on a trip - who converge on Gyeongbokgung Palace by determining the characteristics of class, places to visit and preferred places. This study interprets the voluntary hobby activities of Hanbok-trippers from a viewpoint of a landscape prosumer and the meaning of the urban landscape. As a result of in-depth interviews, on-site survey, and observation surveys focused on Hanbok-trippers, there were various levels of participants. They are classified into three groups - leading group, entry group, temporary-experience group - according to their cognitions, types of Hanbok use, activities, etc. The leading group and entry group are a voluntary hobbyist class due to the ongoing tendencies of their participation. There are differences in the purpose and factors of visiting Gyeongbokgung Palace as a place for a Hanbok-trip. The leading group visited Gyeongbokgung Palace for cultural activities, regular get-together, public relations, and as a gathering place to go neighboring destinations. In this case, the main factors of the visit are the traditional landscape, convenient transportation, chances for traditional culture exhibitions and events in Gyeongbokgung Palace and its neighborhood. The entry group visits Gyeongbokgung Palace because of its traditional landscape and cultural activities nearby. The traditional landscape and many Hanbok-trippers are main factors of visiting Gyeongbokgung Palace for the Temporary-experience group. This study found that Gyeongbokgung Palace has a new sense of place of 'Introductory course of Hanbok-trip', 'Hanbok Playground' because temporary-experience group visits there to experience a Hanbok-trip for the first time. Hanbok-trippers consume places and landscape in actual places offline, producing a new landscape at the same time, and has the characteristics of a 'landscape prosumer' by producing landscape images online through their own personal or social media. Their colorful and voluntary movements contribute to the dynamism of the urban landscape and can become a new cultural asset for the city. The voluntary hobbyist class can be considered a new type of participants in bottom-up planning such as urban regeneration and place marketing. This study has significance in that it conceptualized the 'landscape prosumer' through the voluntary hobbyist class of Hanbok-trippers with the concept of the 'prosumer' that has been studied only in the consumer studies and marketing fields, and has identified the significance of the urban landscape.