• 패션비즈니스
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• 제13권1호
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• pp.17-33
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• 2009

The purpose of this study is to find the character of Cleopatra (69 B.C-30 B.C) by analyzing materials about Cleopatra, and to figure out symbolism and costume presented in movie . Costume of the main character, Cleopatra, compound the type of Egyptian traditional clothes, the change of it, and the trend in the 1960's. And, the symbolic meaning of it is also reinforced by adding ancient Egyptian myth to it. This kind of symbol is usually represented in Cleopatra clothing, especially in weaving pattern, embroidery, and ornament. And color of the clothes not only have their on predominance, but also can have their meaning fade away by mixed with each other, and also the shape has relation with the meaning of color. To sum up, the color and pattern of ancint Egyptian Cleopatra as alive formalize the power that come from coherence with the sun god in the center, which a used to maintain the power of the king. Costume in movie also contained color and pattern as a symbol of religion to symbolize the absolute power of king. These kinds of symbols are reemerging through historical recurrences and exotic interests.

• 복식
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• 제56권5호
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• pp.1-12
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• 2006

The result of this study can be summarized as follows. First, the result of the examination about the theoretical background of the monochrome was influenced by the minimalism and modernism, and consequently the abstract expressionism which is the main trend of the modern painting was formed basing upon the plane feature and unicolor character, and it was recognized that the custom of the plane feature was implied into the monochrome. Second, the aesthetic characteristics such as the beauty of body, beauty of simplicity, beauty of nature, beauty tradition, and beauty whole of the Korean monochrome paintings in 1970s were expressed in the modern fashion as follows. The beauty of body can be told as the dress which exposes the body or See-through look in the modern fashion. The beauty of simplicity is expressed as the most simple and non-decorating minimalism element. The beauty of nature is expressed by using the natural and convenient color without any artificiality. The beauty of tradition is expressed in the Han-bok natural white material. The beauty of whole is easily expressed by using repeated print, partition or overall harmonized beauty.

• 복식
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• 제55권8호
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• pp.144-153
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• 2005

The purpose of this study is to make a Web Color Data Base for practical design system for domestic fashion industry. The market segmentation was based on the results of the previous studies and the characteristics of fashion consumers. Finally, the 14,121 color samples are collected from the survey of 55 manufacturers of domestic fashion industry and 116 fashion brands of major department stores. These color samples are analyzed by the Munsell's H V/C and CIE L*a*b* value. The representative colors are selected concerning the density in CIE L*a*b* color space and the distance between the color samples. As a result, We suggested 2213 representative colors. Also, this color data was constructed on Web site. The data were sorted by the market, season and color code. In addition, the representative color sample book was made for the prototype of .

• 복식
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• 제50권4호
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• pp.5-20
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• 2000

Through his geometric design, the Cyprus born fashion designer Hussein Chalayan raises intriguing questions about the very fact of wearing clothes. By purposefully displacing the function of each part of the clothing, such as neck line, hem line, seam, sleeve, etc., Chalayan transforms the meaning of the body that wears clothes. of the human subject as a sovereign possessor of the clothing and the visibility related to fashion. This transformation is achieved by distorting the spaces of his clothing in an unorthodox way. This thesis argues that the significance of such a practice can not be properly understood without relation to the current debate on deconstructionism under way in humanities. Instead of immediately negating the modern frame of Ideas and practices, deconstructionism asks what the assumptions for the modern regime of truth is. In this process, things that lead human beings to sovereign master of knowledge and truth such as reason, subject, body and vision are questioned. In the same context, Chalayan's design not only forces us to rethink the very function of dividing inside and outside by the clothing but also the meaning of boundary operating in numerous sites of modern life. As the human subject is not something pre-given but constructed according to the cultural representation, to which the clothing belongs, fashion can be evaluated to be an active ingredient of constructing the subject. Therefore, Hussein Chalayan's design is at the cross road between the modern and the postmodern regime of fashion.

• 복식
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• 제50권4호
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• pp.53-61
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• 2000

The purpose of this study is to classify the characteristics of color communication tools and the color range applied in the Korean fashion industry. To collect the color sample and related references, a questionnaire was distributed during the time period, December, 1995 to June, 1996. From the responses, 2641 color samples used by 109 domestic brands, from 1993 spring/summer to 1996 spring/summer, were collected and analyzed. The data was measured by L*a*b*, and the H V/C formula found in the Munsell notation was used to calculate the data. To classify the color range served for the fashion industry, the distribution of colors are analyzed by difference of season and fabric. The results of this study are as follows : 1. Dominant colors in the Korean fashion industry are Red, Yellow-red, Yellow, purple-blue and low chromatic range colors. 2. While high value colors, such as pale, light greyish, light, dull, dark and vivid tone colors, are dominant in the spring/summer season, low value colors, such as greyish, dark greyish. and deep tone colors and warm colors such as Red, Yellow-red, are prevalent in the fall/winter season. 3. The number of colors commonly used for color planning is less than 20 colors, and both hue and tone are considered important when making color selections. 4. All brands take consumers' color preferences into consideration for color planning, and most of them also take color trends into account. 5. Hue and tone color characteristics analyzed by types of fabrics show more seasonal influence than the fabric itself.

• 복식
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• 제64권6호
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• pp.65-77
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• 2014

This paper is on the reproduction of kwanmo, which is worn by the dancers in Taepyeongjiak at the National Classical Music Institute, focusing on Jinhyunkwan, Pybyun, Buyongkwan. Taepyeongjiak is a performance of the court banquet called Hoeryeyeon held during the 15th year of Sejong'reign(1433). The Hoeryeyeon performances were held on January 1st and December 22nd, to strengthen the good relationship between the King and his officials. The reproduction of kwanmo worn by the dancers was reproduced for the modern performances on the basis of the literature and relic research. The results of the study are as follows. Jinhyunkwan is the kwanmo that is associated with the literature and it comes from an old Chipokwan, is confirm that liang(梁) of Chipokwan's characteristic vanished. Pybyun is kwanmo which is associated with the military, comes from Jeolpung. The incision line was formed to make the corn shape, and this became the liang(梁). Buyongkwan is corolla adorned with lotus, and is highlighted with colored string of beads. Unlike other corollas, its gilt lotus was adorned with purple-yellow braids.

• 복식
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• 제57권1호
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• pp.130-146
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• 2007

Thought of postmodernism accepted between variety and differentiation is characterized by variability and indeterminacy aimed at continuous change. For that reason, modern fashion has been grouping a lot of manners for creation of the various different form and structure. This paper studies the characteristics of the folding system, which expands efficiency of the spatial utility and shows various forms. Folding system expressed in modern fashion could be divided the pleats, which were made of the folding, and the dreaperies, which were made of bending. This selects the pleats as a enlarged concept of the folding system that contains between the former and the letter. Pleats did not mean two dimensional folding surfaces, but three dimensional spatial structures. For understanding of the folding system as a three dimensional spatial structure, this is utilized with the thought of the 'le pli' of G.W.Leifniz and G.Deleuze. The pleats expressed in modern fashion can subdivided into 4 sets; crinkle system, origami system, fractal pleats by folding system, and drapery system. And Formative characteristics of the pleats are analyzed with enlargement, fluidity, deconstruction, irregularity.

• 복식문화연구
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• 제15권6호
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• pp.996-1007
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• 2007

This study was focused on recognitive reaction. The purposes of this study was to analyze the fashion brands through correlation analysis between top of mind, recall, recognition, impact index and consumer behavior, and to identify the graveyard brand, niche brand and core brand. 33 questions about 20 fashion brands were asked to 442 males and females from the middle school students to age of 40. Data were analyzed mean, standard deviation, frequency, and correlation by using SPSS 12.0. The results were as follows: 1. Top of mind, recall and recognition affected recognizing the brands and including evoked setting, but it didn't lead the customer to purchase the brand. 2. Although top of the mind and recall are high, the percentage of purchasing the brand is relatively low if a consumer doesn't own the brand. 3. Brands 'B', 'L', 'PF', 'D' and 'BM' were represented as niche Brands which had high recognition and memory. 4. Brands 'TB', 'I', 'EN', 'ML', 'E' could be Graveyard brands that need special management. 5. Brands with the high impact index were 'A', 'T', 'I', 'C' and 'B'. These brands were recognized as the core brands by consumers.

• 복식문화연구
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• 제9권1호
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• pp.11-18
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• 2001

The purpose of this study is to survey women′s poor breast shapes depending on their ages and breast types, and thereupon, analyze the differences and correlations among them, and thereby, provide for some basic data useful to the development of the comfortable brassiere which can serve to correct the poor breast. 1. As a result of categorizing the types of schematic breast sides, "type 1" was characterized by medium lower part, greatest pro trusion of breast itself, volumed upper part and visible breast outside, while "type 2" be characterized by medium lower part, most flatness, poor upper part, smallest outside size and medium outside, and "type 3" was characterized by least poor lower part, medium protrusion of breast, poor upper part, medium outside size , and "type 4" was characterized by poorest lower part, medium protrusion of breast, poor upper part, medium outside size and poorest outside. 2. The breast locations could be categorized depending on brest side types; "type 1" a higher location of breast than the other types, "type 2"had a lower location of breast except for the nipples thant the other types, "type 3" had the lowest location of breast and "type 4" had a comparatively low location of breast but had the highest nipples.

• 패션비즈니스
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• 제12권2호
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• pp.12-27
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• 2008

The purpose of this study is to study main characters' (Roxie Hart, Velma Kelly) costumes and color images in the movie "Chicago". First, regarding the costumes and color images in characters, Roxie's straight silhouette slip in skin tone reflected her frailty and monotonous routines in reality. On the other hand, a white beaded dress showed her fame-hungry and self-absorption in fantasy. Also, a low waistline blue dress and a see-through black dress with a white collar were to disguise her guilt and draw sympathy to win a suitcase. Black and contrasting colors of red and blue body-suit style dresses expressed Velma's sensual attraction, aggressiveness, and desperation. Second, these images were reinforced by color images in the backgrounds in the film. On the scene of Velma's 'cell block tango', black and red showed her strong character. Contrasting colors of the red and blue expressed Velma's desire and despair in her act of 'the desperation'. As for images of black color on Roxie's stages, they represented her self-absorption and frustration of failing to attract public attention. On the ending of duet performance of Roxie and Velma, the yellow of the background expressed success and joy in life.