• Title/Summary/Keyword: western costume

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1950년대 동아일보 기사를 통해 본 한복 양상 연구 (A study on the aspect of Hanbok in newspaper article of the Dong-A Ilbo in the 1950s)

  • 조우현;박민재
    • 한국의상디자인학회지
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    • 제22권1호
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    • pp.45-59
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    • 2020
  • In the 1950s, Korea was forced to rely on foreign aid, relief supplies, and contraband because of the Korean War. At the same time, Western culture also flowed into the country rapidly, which is believed to have had a great impact on the Korean clothing culture of the time. It is thought that this trend could be found in magazines and newspapers of the time. In the 1950s, newspapers served as the main channel for information acquisition and dissemination. I would like to analyze this tendency focusing on a newspaper article in the Dong-A Ilbo in the 1950s. According to the article, the hanbok was viewed as an old custom that needed to be improved or old clothes that had to be changed to Western clothes. As a result, the doubles system of both hanbok and Western clothes collapsed, and hanbok changed to an evening or ceremonial dress. From the 1960s, Korean fashion quickly changed to a more western style.

파티에 대한 태도가 드레스코드 수용에 미치는 영향 (The Effects of Consumers' Attitude toward Party on Dress Code Receptiveness)

  • 서상우;이유리
    • 복식
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    • 제58권1호
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    • pp.104-115
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    • 2008
  • Party is an important communication method in the 21st century and this tendency is not exceptional in Korea. With this noteworthy phenomenon, this study summarized the concept and history of party first, and then analysed "belief - attitude - behavioral intention" model based on the one-dimensional attitude theory. The variables included in this research were western culture familiarity as belief factor, three variables evaluating the party culture(i.e., non-popularity of party, marketability of party, sociability of party) as attitude factor, and dress code receptiveness as behavioral intention factor. The samples of this study were 498 women in twenties and thirties from metropolitan areas in South Korea. SPSS 12.0 and AMOS 4.0 packages were used for statistical analysis. The results of this research are as follows: First, western culture familiarity had a significant effect on attitude toward party culture. Specifically, western culture familiarity negatively influenced the non-popularity dimension of party and positively influenced the marketability and sociability dimension of party. Second, attitude toward party culture significantly influenced the dress code receptiveness. Consecutively, all of three dimensions about attitude toward party culture positively influenced the dress code receptiveness. Managerial implications were provided.

복식에 있어서의 근대성의 의미 (Modernity in Costume)

  • 이재윤
    • 복식
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    • 제61권1호
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    • pp.124-131
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    • 2011
  • Modernity is commonly defined as a reflection of the features of modern society based on the historical experience of the West. As such, modernity includes involvement with political, economic, and social changes, a changing world-view, and changing trends in equality, gender roles, a desire for "the new," consumption, distribution based on mass production, and rational reform in fashion and dress. First and foremost, however, modernity in costume has been driven by the functional requirements of industrial capitalism. But while modernity has popularly been regarded as some sort of universal standard, in fact the West and the other societies have vastly different, unique, and particular experiences with their own respective histories of modernization. For this reason, cultural changes in the modernization process should be-indeed, must be-analyzed in the context of a country's own unique historical and cultural circumstances, rather than through the prism or strict adaptation of generalized Western concepts of modernization. Moreover, a "periodization" of the modernization of fashion and dress can be established by examining the characteristics of modernity in costume.

경마 기수복식 연구 (A Study on the Horse Owner‘s Colours(Horse racing silks))

  • 권미세
    • 한국의상디자인학회지
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    • 제1권1호
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    • pp.157-169
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    • 1999
  • This study has investigated the Horse Culture and the Horse Owner‘s colours(Horse racing silks or Jockey’s costume). The results of this study revealed that the jockey‘s costume of western as well as Korean’s. According to the “International agreement on breeding and racing” in order to avoid too much variation between basic colours, grades of colours and colour combinations, a standard for owner‘s colours and jacket design has been agreed. Racing colours registered before the present agreement will however be allowed. Every horse coming from abroad runs in the registered colours of its owner in the country where the horse is trained. There are unique Korean jockey’s costume, They are going to change jockey‘s costume to Owner’s colours.

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우전(Khotan)의 복식에 관한 연구 (A Study on the Costume of Khotan)

  • 김소현
    • 복식
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    • 제34권
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    • pp.169-182
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    • 1997
  • Focusing on khotan located in the southern Silk Route which was one of the most important kingdoms in the Tarim Basin this study attempts to examine the changes of costume in Khotan by compar-ing the costumes in the painted panel showing the story of silk princess with the excavated costumes from ancient tombs. Furthermore this study attempts to inves-tigate the impacts of cultural exchange be-tween China and its western neighboring country Eastern and Western Turkestan on costume. Excavated costumes from the Shanpula ancient tomb in the region of Khotan and from ancient Niya in the esat-ern border of Khotan and discoveries from Rawak and Dandan-oilik near by Yotkan the ancient capital of Khotan are exam-ined. Basic Khotan's costume was the two piece style of tops and trousers. Over the basic costume wearing a top wear with half sleeves was popular. Skirt was worn by women. Even though there were many kinds tops were classified into the two types kaftan and tunic. Thouth Khotan maintained a association with China for a long time the style of Khotan costume had imbued to China. Top wear with half sleeves was worn frequently in Khotan. Also in China top wear with half sleeves was worn as over-wear which was called ban-xiu ban-bi bei-zi Costume style of China is covering the body profoundly and wrapping front edge toward the right. The types of chi-nese top wear with half sleeves for exam-ple round-neck·confronting front edge crossing-neck·confronting front edge tu-nic type discord with the traditional chi-nese costume style There were many cas-es that half sleeved top wear was worn as over wear in T'ang dynasty. The phenom-enon was due to the prevalence of 'ho' (foreign) and half sleeved top wear was introduced by the countries to the west of China Khotan. A round neck garment was a general type for the men of cuntries to the westof China. Also Chinese wore round neck garment since South and North Dynasty The type of Chinese round neck garment was not tunic but kaftan. From costume relics and ancient paintings the type of Khotan's round neck garment was tunic which was recorded on the Chinese histori-cal documents as " guan-tou-shan" that is tunic the type of persian costume, Even thgough the painted panel showing the sto-ry of silk princess was made in the it me when Turks was a dominion on Central Asia Khotan's costume style was not changed toward Turk's costume style and remained tunic style.

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이국적 패션 이미지 지각에 미치는 성별과 교육 효과 (Effects of Gender and Education on the Perception of the Exotic Fashion Image)

  • 정유진;정인희;최수현
    • 복식
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    • 제59권1호
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    • pp.14-28
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    • 2009
  • Exoticism, by definition, is 'the charm of the unfamiliar', usually because of associations with a distant country. In the western-centric world, exoticism implies non-western or oriental style. The purpose of this study was to identify Koreans' perception of "Exoticism", and to compare the perception of exotic fashion image according to gender and education differences. Empirical study was composed of two parts focusing on gender and education effects respectively. For the first part, data were collected by self-administered questionnaires distributed to 280 respondents at 2 universities and 2 high schools during August and September 2005. The sample was consisted of 140 male and 140 female. A measurement, including 24 image adjectives to evaluate 16 fashion stimuli, was developed. Data were analyzed by descriptive statistics, correlations, t-test, and MDS. There was no difference in the perception of exotic fashion image according to gender. Both gender groups perceived exotic image as western image and non-exotic image as oriental image. Thus it could be said that Koreans perceive western-based fashion as foreign and exotic. This finding implies the relativity of "Exoticism." In the second part, the measurement and the analysis methods were the same with the first part. The respondents were consisted of 70 fashion majored female students and 70 non-fashion majored female students. There was considerable difference between fashion and non-fashion major groups in their perception of exotic fashion image. Whereas non-fashion major group perceived exotic image as western image and non-exotic image as oriental image, fashion major group perceived exotic image as both western and oriental image. This result suggested that fashion major group have western-centered conception as well as general perception character of Korean.

서양 복식사에 나타난 의상장식에 관한 연구 (A Study on the Ornaments in Western Dress History)

  • 이순홍
    • 복식문화연구
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    • 제11권1호
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    • pp.20-46
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    • 2003
  • This study analyzes the garment decorations in the history of western costume based on their kinds and techniques, and consider the beginning and the development of costume decoration. The purpose is to promote a historical understanding of modern ornamentation. Based on the theoretical background concerning the origin and purpose of costume decoration, its symbolism and its relationship with images, this study classified the techniques and kinds of ornament and considered each costumes by their decoration. 1. The ornament was originated from the primitive custom of coloring the skin for the purpose of protecting the body, symbolizing the tribe, indicating the class, and threatening the enemies. As this custom changed into the decoration on the body as a form of tattoos or physical transformations, the practice of ornament seems to begin as a display of one's authority and wealth as well as a human instinct to decorate oneself beautifully. 2. The basic purpose of ornament is to look attractive by decorating oneself with ornaments. Addition of decorative design to the garment tends to complement the practical aspects of the whole clothing, and elevate its value and originality. 3. From the past, ornament has been used as a symbol of wealth and status. Originated from the desire to display one´s authority and power and to receive respect from others, the people's interest in ornament have rising. 4. The kinds and techniques of ornament can be classified into the structural and applied decorations. The former is decorating a part of a garment, such as the neckline, cellar, cuffs, or pockets. The latter includes braids, laces and embroideries. These ornament are diverse in their details and techniques, and should consider both functional aspects of clothing and its decorative functions emphasizing the aesthetic expressions. In the above considerations, we can see that costume ornament was most splendid in the premodern times and it was the simplest in the ancient times. And we also saw the possibility that decorative techniques could be created almost limitlessly.

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한복의 형태적 특성 분석에 따른 현대 패션디자인 개발 (Modern Fashion Design Development using Morphological Characteristics of Hanbok)

  • 박명희;심상보
    • 복식
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    • 제66권2호
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    • pp.134-147
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    • 2016
  • The mainstay of modern fashion design has always been Western costumes. Though Asian costumes do get featured in collections at times, most instances are just instances of the western culture showing curiosity toward non-mainstream costumes. Until recently, Japan, which has been the most active in cultural exchanges, has been the main recipient of these curiosities, and has been used as the representative style and culture of East Asia. What needs to be let known is that Korea has its own costume style and culture, which have been developed according to its tradition and beliefs. Hanbok, which is the representative traditional costume in Korea, has existed since the beginning of the Kochosun dynasties. I started this study to figure out the design source of Hanbok's shape and develop it into a modern costume. In the fashion industry, "Mandarin Collar" and "Kimono Sleeve" are common terms, And I hope that words like 'Korean Collar' and 'Hanbok Sleeve' will one day become a household term. Hanbok contains Korea image. And its shape is formed depending on how Koreans have been treating all sorts of objects or things for many years. If my study can identify and express the unique Korean way of pattern and considering clothes, which is clearly different from those of China and Japan, I will be able to establish a concept of 'Korean style', that people of the world could come to recognize.

영화 「아가씨」 의상 색채 연구 - 여주인공 히데코 의상을 중심으로 - (A Study on the Costume Color of the Film 『Handmaiden』 - Focused on the Heroin 'Hideko's costumes -)

  • 양정희
    • 한국의류산업학회지
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    • 제20권3호
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    • pp.257-265
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    • 2018
  • This study investigated the colors of the costumes in the film 'The Handmaiden'. The author categorized and examined the hue and tone of the main character's costume as well as provided an adjective image surveyed from the standpoint of the audience in order find if the intended story of the director is delivered to the audience through costume colors. Study method analyzed 25 set costume colors of the heroine 'Hideko'. The color analysis were analyzed by capturing DVD images that showed the costume of 'Hideko'. The colors of costumes were analyzed by recognition through the eyes based on the IRI, Hue, and Tone 120. In addition, the analysis of the IRI adjectives image were conducted through the survey. Costume hue of the heroine 'Hideko' in the film 'The Handmaiden' were black, yellow, white, green, and purple. There were many colorful costumes in the movie. Tones were very pale, deep, bright, vivid, strong, and pale. Chroma were evenly distributed and brightness were distributed in the order high, middle, and low. They were interpreted as the intention of showing the situation and psychology of 'Hideko' in various scenes of the film through various costume colors. Color images of the film 'The Handmaiden' were classified as feminine, mature, classy, delicate, classic, noble, polished, refined, showy, western, mellow, pure, and decorative.

A Comparative Study on the Sleeve Patterns of Women's Costume of the 16th Century - Focus on the Joseon Dynasty and European Monarchy -

  • Chon, Eun-Sun
    • 패션비즈니스
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    • 제12권3호
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    • pp.62-71
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    • 2008
  • Costume elements are closely related with human living environment and also play an important role in the costume patterns. The East and the West have influenced and adopted each other's culture through mutual trade, which are well reflected in costume patterns and textile patterns. These days world wide fashion shows the designs applying costume details of the East and the West, which is much affected by the orientalism. The purpose of this study is to compare the sleeve patterns which take an important part in women's costume design of the Joseon Dynasty and the European Monarchy in the 16th century. Korean women's costume showed sleeves in rectangular shape with same width and long length, together with cuffs. Later they changed to diagonal shape of getting narrower toward the wrist. Western women's costume showed sleeves with puff and slash patterns. Then they were classified into French, British and Spanish styles which were getting narrower toward the wrist. Later they adopted the shape of leg of mutton which was puffed in middle and narrower toward the wrist. I n Korea and Europe, they showed respective changes in sleeve patterns, but also similarity of getting narrower toward the wrist. The East and the West are now exchanging their culture in every aspect such as politics, economics and social matters. Costume fashion is not an exception. The characteristic designs of traditional costumes are shown on global fashion, which is influenced by the orientalism.