• 패션비즈니스
• /
• 제28권1호
• /
• pp.51-67
• /
• 2024

Recently, as the "Kidult" culture has become the culture of life, the vintage fashion doll market is rapidly emerging. This change, coupled with a tendency to cherish childhood memories among adults, shows a phenomenon that vintage dolls are gaining popularity. This study explored the possibility of creative fashion doll clothing design, aiming to satisfy consumers' more diverse and unique emotional needs and provide new perspectives and inspiration to the doll fashion industry and the fashion doll industry. Therefore, this study attempted to propose a fashion doll costume design using the Y2K fashion style that is currently popular. Based on publications and prior research considerations, the Y2K fashion style could be categorized into four main styles: 'Future Technology', 'The Matrix', 'Millennium Spice Girl', and 'Harajuku'. Based on characteristics of these four styles, this study designed and produced eight stylish doll costumes incorporating the Y2K style under themes of 'Ex Machina', 'Digital Warrior', 'Rebelious Sugar', and 'Harajuku Dopamine'. This can inspire fashion doll costume design and production based on trendy styles. This study can be a useful foundation for presenting more diverse directions for fashion doll costume design.

• 디지털융복합연구
• /
• 제12권4호
• /
• pp.461-466
• /
• 2014

일본시리즈게임<삼국지>가 부각되면서 아시아게임시장에서는 삼국지의 유행이 불기 시작하였고 삼국지의 전통문화자원이 게임문화산업의 유형으로 탄생되었다. 이와 더불어 전통문화를 선양함과 동시에 경제적 효과의 이중효과를 나타냈다. 유비(刘备), 관우(关羽) 등 캐릭터가 여러 문화산업분야에서 개발됨에 따라 특정된 역사인물의 국제화외형디자인이 디지털아트분야로 주목받게 되었다. 본 논문은 삼국문화와 삼국무장에 대해 분석하고 고전소설 삼국지:(중국<삼국연의三国演义>)등에 의거하여 한국과 중국에서 개발된 삼국지 게임에서 관우(关羽)를 중심으로 무장캐릭터 실제 예를 들어 관우(关羽)의 조형, 복장, 무기, 색채 등을 비교분석하여 역사인물 게임캐릭터의 국제화추세를 탐구하려고 한다.

• 한국의류산업학회지
• /
• 제14권5호
• /
• pp.701-712
• /
• 2012

This study examines the various expressions and immanent value of fashion and beauty style based on Craig Owens's Allegory theory. I analyzed four application elements of Borrow, Site Specificity, Accumulation of Strategy, and Hybridization in? Ladygaga's Music Videos. The results are as follows. 'Borrow' presents a kitsch style and playful Pop-art style, transformation of gender from Mini Mouse body suit, telephone headpiece, and can hair. 'Site specificity' presents the temporarity of fashion material through rebirth, aging, natural extinction from the chain over the black jump suit, crime scene tape, and skull-face makeup with masculine style. 'Accumulation of strategy' presents a futuristic chic fashion style from a layered style, retrospective fashion, repetition and duplication in Music Videos. It shows the physical beauty of an Asian warrior style in Poker Face. 'Hybridization' present Cyborg feminism and 'Will of Power' from iPOD LCD glasses and Pyro-Bra. The Pyro-Bra represents how the female body can be used as a weapon in the outfits of Lady Gaga. In addition, Immanent value is as follows. Textual interaction with high art is accomplished through a combination of contemporary social and cultural significance to understand the cultural code and to extend the value. Combined with high culture, popular music genre is accomplished through musical appreciation by a woman in fashion styling and sensual pleasures of the body as a tool to express a sublime advantage. Fashion style is accomplished by overcoming a self-transcendent body image representation. The way in which mutual coupling dismantling, destruction, and uncertainty is to re-launch the static, with a pluralistic context of Textuality.

• 패션비즈니스
• /
• 제24권5호
• /
• pp.158-176
• /
• 2020

The purpose of this study was to examine the cultural diversity in terms of costumes by analyzing the costumes depicted in the early Kushan Dynasty relics, Tillya Tepe. As a research method, literature research and artifact analysis were conducted in parallel. The type of costume worn by the king (or priest) was in the type of a jacket and skirt, which was thought to be of Persian influence. The Greek god of Dionysos was wearing a costume with Danryong (團領) and narrow sleeves, a nomadic type of Central Asia. It could be seen that costumes were transformed into indigenous elements of the region. The shape of the helmet worn by the warrior was a Greek-Macedonian helmet. However, details were transformed into indigenous elements of the Kushan dynasty. The clothing of a nobleman riding a carriage was an element of dress that was observed in Chinese po(袍), and was an unusual element not found in nomadic peoples. There were goddesses wearing Greek robes like Aphrodite in Tillya Tepe's relics. On the other hand, there were goddesses who did not wear Greek chitons like the Greek goddess Athena. Instead, they wore high-waisted robes worn by the Orient goddesses. In addition, after Kushan occupied India, there were Indian elements believed to be expressed by accepting Indian culture. These elements were combined with regional orient elements of the Kushan dynasty, Central Asian elements, and Kushan's own elements. Thus cultural diversity emerged in the costumes depicted in Tillya Tepe artifacts.

• 복식
• /
• 제60권7호
• /
• pp.117-130
• /
• 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.

• Weed & Turfgrass Science
• /
• 제6권1호
• /
• pp.1-10
• /
• 2017

생물제초제의 이용은 농업에서 지속성을 향한 중요한 단계로 활용 될 수 있을 것이다. 유기농업 및 종합잡초관리는 보존농업에서 합성제초제와는 다르게 한 종류의 잡초관리기술에 의존하지 않아야 하며, 생물제초제는 다른 잡초관리기술과 동시에 평가되는 것이 바람직할 것이다. 우리나라 실정에 적합한 세균 및 진균으로부터 유래한 상업용 생물제초제를 선발하여 유기농업 농가에서 영농부가가치가 높은 고소득 작물을 대상으로 생물제초제 실용화 가능성을 검토할 가치가 있을 것이다. 또한 유기영농 과수원에서 비선택적으로 잡초를 방제하기 위하여 상업용으로 시판되는 옥수수 글루텐 가루 제제와 각종 식물정유 제제 등 제품에 대한 실용화 연구가 필요할 것이다.

• 복식문화연구
• /
• 제24권6호
• /
• pp.839-853
• /
• 2016

This study proposes that Malevich's 1913 performance "Victory Over the Sun" was not just Cubo Futurism, but that it produced Suprematism in the early 20th century. "Victory Over the Sun" did away with traditional set and costume design and a call to the Russian avant garde. Therefore, this study analyzes the characteristics of set and the costume design in "Victory Over the Sun", and considers how it impacted twenty-first century fashion designers like Margiela. The results of the study are as follows: first, Margiela reinterpreted the characteristics of the costumes featured on "Victory Over the Sun" from a cubist perspective and represented geometric spatial structures and mechanical human images through changes in methods and materials. second, he designed costumes by applying to the set and costumes expressed black & white images on "Victory Over the Sun". and third, Margiela reinterpreted the warrior image using geometric forms and colors in a creative way. Contemporary fashion designers, including Margiela, express their artistic creativity through various representational and materials choices. They want to convey their subjective personality and emotional sensibility to the public by mixing and deforming existing arts like painting, sculpture, and crafts to create new images. Thus, the creative intentions of the latest fashion designers have expanded art of costume design, exemplifying the process by which art is evolves and is made new.

• 복식문화연구
• /
• 제26권4호
• /
• pp.563-582
• /
• 2018

In ancient times, hairstyle varies according to tribes. Because it is a social product that depends on status, class, and gender within the tribes, research on the hairstyle is an important source for studying the culture of the tribes. The purpose of this study is to analyze hairstyle of the Scythians and to understand the culture of the Scythians. Furthermore, the purpose is to identify the ethnic group based on this research. And it is intended to use the results as a comprehensive resource for research on the origins of Korean ancient costumes. As a research method, literature study and artifact analysis were performed concurrently. Data for artifact analysis were taken directly from the Eremitage Museum in St. Petersburg, Russia, where the researcher visited for this study. The conclusions of this study are as follows: Hairstyle of the Scythians were classified into three types: straight hair, braided hair, and tied hair depending on social status, age, and region. Straight hair was usually seen with kings, royalty, and warriors, and the hair length varied according to their status. Braid hair appears by a depiction of an old man and young Scythians. Tied hair was observed in the warrior. The beard was divided into chin-beard and mustache. Long chin-beards and mustaches were mostly observed in the ruling classes, while medium length chin-beards and short mustaches were considered the most common form of beard because they appeared in most classes. The young Scythians, regardless of their status, had no beard.

• The International Journal of Costume Culture
• /
• 제6권1호
• /
• pp.38-51
• /
• 2003

Peking Opera, one of a representative Chinese dramas, is a synthesis of drama and stage art. Peking Opera's stage costume was set up in Qing dynasty though its style was embellished with mainly Ming dynasty's clothing style. The special patterns in the clothing were very important because they classified social rankings. There are two kinds of roles in Peking Opera. Sheng stands for male roles and Dan stands for female roles though Dan had traditionally been acted by male actors with female attire until the ruling of the People's Republic of China. There are five different kinds Peking Opera's stage costume. First, Mang is a formal dress for kings and generals. It is a very delicate long Po with special patterns. It has several names depending on the color and shape of a dragon. Second, Pee is a casual attire for kings, government officials, and their families. It is also a long Po with front opening and symmetrical neckline. Third, Kao is an armor of warrior which is made not for protection in a real war but for ornament of a formal dress. Kao reflects the wearer's authority when the wearer stays still, but it is a comfortable clothing for big dancing moves once the wearer starts dancing. The wearer puts a banner into the shoulder to alarm tension of a war. Fourth, Cheup is an outfit that one wears the left part adjust to the top. There are different lengths of Cheup and it has a straight neckline. There are twenty-one different kinds of Cheup according to its shape and color. Last, Yi is name for the rest of Peking Opera's stage costume other than Mang, Pee, Kao, and Cheup.

• Parasites, Hosts and Diseases
• /
• 제52권1호
• /
• pp.57-62
• /
• 2014

Biting midges (Culicoides: Ceratopogonidae) were collected by Mosquito Magnet$^{(R)}$ traps at the Neutral Nations Supervisory Commission (NNSC) camp and Daeseongdong village inside the demilitarized zone (DMZ) and near the military demarcation line (MDL) separating North and South Korea and at Warrior Base (US Army training site) and Tongilchon 3 km south of the DMZ in northern Gyeonggi Province, Republic of Korea (ROK), from May-October 2010-2012, to determine their seasonal distributions. A total of 18,647 Culicoides females (18,399; 98.7%) and males (248; 1.3%) comprising 16 species were collected. Overall, the most commonly collected species was Culicoides nipponensis (42.9%), followed by C. erairai (29.2%), C. punctatus (20.3%), C. arakawae (3.3%), C. pallidulus (1.8%), and C. circumscriptus (1.4%), while the remaining 10 species accounted for only 1.1% of all Culicoides spp. collected. The seasonal distribution of C. nipponensis was bimodal, with high numbers collected during May-June and again during September. C. erairai was more frequently collected during June-July, followed by sharply decreased populations from August-October. C. punctatus was collected in low numbers from May-September with high numbers collected during October. C. erairai was predominantly collected from the NNSC camp (85.1% of all C. erairai collected) located adjacent to the MDL at Panmunjeom in the northernmost part of Gyeonggi-do (Province), while other sites yielded low numbers of specimens.