• 한국의류학회지
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• 제35권6호
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• pp.687-699
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• 2011

Folk costumes in East Asia are characteristic in their colors of the five-element colors based on natural colors or achromatic colors (such as white or black) that imply the beauty of nature or the beauty of naivety. The Asian look adopts forms of Asian costumes into western costumes in terms of structure, silhouette, ornament, pattern, and color; in particular, color had very limited attributes. This study is a comparative study on colors, shown in East Asian folk costumes and the Asian look. It discovered the differences of color in East Asian folk costumes and the Asian look to discuss the backgrounds of difference. For research, it simultaneously conducted literary reviews and empirical research based on the Asian look. Asian colors that appeared in some costumes of the Asian look were influenced by East Asian costumes, while the primary color of playfulness or color for low chroma or black exuding a contemporary nuance (common in the western fashion) were prevalent. This revealed that the costume that had the attribute of playfulness in terms of structure, ornament, or patterns is adopted in western fashion through the fusion of eastern forms and pastiche. Colors of the Asian look are different from those of East Asia with superficial imitation, in which all the East Asian spirits and symbolism are lost. While folk costumes of East Asia hold symbolism derived from Asian spirits, the Asian look disintegrates the ideology of East Asian costumes and replaces it with a Postmodern playfulness.

• 패션비즈니스
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• 제19권3호
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• pp.14-30
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• 2015

The purpose of this study is to establish how main characters' mental states are expressed through costumes and makeup by understanding and analyzing the relationship between the costumes and the makeup in the movie "Anna Karenina" and to compare the 19th century Russian costumes. The study methods are a literature review and an empirical case study. The results are as follows. First, the costumes in "Anna Karenina" are a mixture of late crinoline and early bustle style in general. However, the costumes were altered after the actress's movements and acting were considered. Regarding colors, Anna wears a lavender robe as the virtuous wife, a wine-colored robe for love and death, and a white robe for innocence, thus reflecting her mental states; through the colors, her changes of mental state are expressed. Second, the costumes of Alexei Vronsky, are similar in style and colors to those of mid-late 19th century Russian military uniforms. White, blue and black costume colors are used to describe his situations and emotional changes. Third, Alexei Karenin wears 19th century costumes of dark and achromatic colors without decorations, representing his conservative, authoritative character. However, he showshis rage with a wine and red-colored costume at the end of the movie. Fourth, regarding the makeup in the movie, Anna wears makeup of a soft pink-gold color influenced by 19th century naturalism. Male characters express their characteristics with their beards and hair styles. Vronsky's Hollywood mustaches and wavy blonde hair show his charm, and Karenin's chin curtain beard and bald head reveal his conservative character. The costumes of the three main characters in the movie are not very different from 19th century style in general, but mental states and situations are expressed through accessories, and colors maximize all of the effects. Through this research, it is illustrated that the costumes and makeup in a movie can not only express characters' emotional changes but also show the relationships between the characters in different scenes.

• 복식
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• 제56권8호
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• pp.35-44
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• 2006

The purpose of this study was to comparatively analyze the characteristics of traditional costume colors of Korea China Japan with quantitative methods. The range of this study was limited to the costume colors from 16th to 19th century. For this study 1333 color samples were collected by measuring with a spectrophotometer. The results of this study are as follows: Red, Yellow Red, Yellow and Purple Blue had been used in common for the traditional costume colors of Korea, China and Japan. Yellow of Korea, Purple Blue of China, Yellow Red of Japan showed the high frequency. Red, an asian preference color, had most frequently used in korean traditional costumes. Pale toned Yellow and Yellow Red, high saturated Red and low valued Purple Blue had been preferred for korean traditional costumes. The preferences of high saturated Red and low valued Purple Blue were based on the Five Element theory and the pale toned Yellow and Yellow Red were used with the preference of White and natural colors. In China the traditional costume colors had used with the Five Element theory also but they had preferred Purple Blue, deep & strong toned Red to Yellow Red and Yellow, Yellow Red, Purple and grayish colors had been frequently used in japanese traditional costumes. In the results of color distributions in $L^*a^*b^*$ color space, korean and chinese traditional costumes colors concentrated in some areas like Yellow, Yellow Red, Red and Purple Blue. Japanese costumes colors showed the even distribution with the diverse toned colors. Korean traditional costume colors corresponded with the Five Element theory rather than China and Japan. Japan had used the costume colors with the racial sensibility rather than conceptual color theory.

• The International Journal of Costume Culture
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• 제4권1호
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• pp.9-17
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• 2001

The purposes of the study are to find out the effect of clothing colors on perception of stimulus ages, occupations and images using stereotyping and color vision theories. The research method is a qualitative study and materials developed for the study are a set of stimuli and open-ended responses. The subjects were 1138 undergraduate students in Taejoen city, Chungbuk province. The data is analyze using content analysis, supplementary frequency and χ²analysis. The results are as follows : 1) The colors in Korean traditional costumes affected on the wearer's age perception : The red ensemble give the wearer the youngest look while the gray give the oldest look. 2) Mono-color ensemble wearers tend to give older look than bi-color ensemble wearers. 3) The chima colors and the jogori colors have similar impact on the wearer's age perception. 4) On image perception the jogori colors have more impact than the chima colors. 5) The colors in Korean traditional costumes are the clues to estimate the wearer's occupation.

• 감성과학
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• 제21권3호
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• pp.115-128
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• 2018

티베트 고원에서 살고 있는 티베트인 또는 장족은 오랜 역사와 자연환경에 순응한 자신만의 독특한 생활양식을 가지고 있어 독자적인 의복문화 형태를 지닌다. 복식 중에 색채, 문양, 도안의 사용에서 종교적인 의미를 나타낼 뿐 아니라, 복식을 통해 자신의 생활의 희망과 자연을 존중한 마음을 강하게 표현하고 있다. 티베트 민족 복식의 색채 상징성에 관한 고찰을 통하여 티베트족 문화의 특수성을 이해하고자 장족 복식에 사용된 색채를 분석하고 그들만의 색채의 의미를 고찰하였다. 장족의 색채인식, 상징성을 색의 사용 예시와 출현빈도를 중심으로 살펴보았다. 연구방법으로는 복식사진의 색채 수집 및 분석을 실시하였는데 I.R.I HUE-TONE 시스템에서 매칭 색상과 색조를 찾는 방식이었다. 장족 복식도서의 칼라사진과 청해 장족문화박물관의 장족 복식을 직접 촬영한 사진, 인터넷 박물관의 복식사진 등 총 96장의 사진이었다. 결과는 첫째, 세상을 구성한다고 생각하는 가장 주요한 요소를 5가지 색 장오색에 연결하여 각 색마다 자연적 의미를 부여하는데, 빨간색은 불, 파란색은 하늘, 흰색은 구름과 흰 눈, 초록색은 초원, 노란색은 대지를 각기 상징한다. 둘째, 홍과 녹, 흑과 백, 홍과 남, 황과 자색 등 강렬한 색채조화를 이루도록 대담한 색채를 사용하고 있는 것이 특징이다. 셋째, 티베트인들의 특유한 심미관을 표현하는데 색의 일반적인 감성을 대부분 따르지만 그들만의 감성이 들어있는 색상이 존재하였다.

• 복식
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• 제14권
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• pp.167-183
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• 1990

As an attempt to view Chason costume from a aesthetic perspective, the aesthetic values of the Choson people, as expressed through the aesthetic characteristics of costumes, are pursued in this study. To appreciate the beauty of the traditional Korean costume, the following aesthetic characteristics of Choson costumes are investigated: form, color, pattern, material and ornament. From the view point of aesthetics, this study shows that Choson costume had comfortable and voluminous forms with beautiful curved lines and rhythm. The most favored colors were white and natural colors of materials. However unusual combination of colors such as the contrast of black and white, the harmony of the primary and rainbow colors were often used. Patterns revealed two aspects : while subdued patterns generally prevail, at times the unexpected beauty of primary colored patterns draws our attention. Smooth natural materials were preferred. Ornaments both for practical and decorative purposes were used together with certain colors and patterens, indicating wearer's status and warding off the evil's spirits. The aesthetic values in costumes as expressed through the aesthetic characteristics can be classified into the following categories: the beauty of nature, the beauty of personality, the aesthetics of evil's eye and the beauty of tradition. The beauty of nature, as appreciated by the Chason people through their prevailing nature, the "Pung-rew Spirit" and through their Worship of Heaven, produced aesthetic characteristics in harmony with nature. The beauty of personality influenced by the ethical standard of Confucianism produced aesthetic characteristics in costumes, through which the appropriate personality was shown for the appropriate social status. On the other hand, the aesthetics of evil's eye, rooted deeply in Folk religion and Shamanism, contributed to various aesthetic characteristics, which strongly inclined to sorcery and symbolism through choice of patterns, colors and ornaments. Finally, the beauty of tradition, which was based on the ethics of Confucianism and the Choson people's conservative tendencies, demonstrated the strong tendency to adhere to the external characteristics of the Choson costume. These aesthetic values were the yardsticks of the aesthetic judgment of the Choson people. These values influenced Chason people in designing costumes and in appreciating the beauty of costumes. The aesthetic experience and attitudes of the Chason people, which were based on these aesthetic values, represented their aesthetic consciousness and desires.

• 대한가정학회지
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• 제48권5호
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• pp.17-24
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• 2010

Although design, color, and material are important elements in stage costumes, stage lightning also plays significant role in the presentation of stage costumes. Costumes color, material and perception can be significantly influenced by visual effects. Stage illumination can be arranged or managed so that colors are closely related to or enhanced or change the effects of costume colors on the runway or display at specific times. The results of this thesis are as follow; 1) Fabric tone, name, brightness, and chroma of colors were changed by the colors of stage lighting. 2) An achromatic color was changed to a chromatic color after being combined with colors of stage lighting. 3) Stage illuminations can make fabric, colors look similar to stage colors. 4) Plain satin silk fabric which reflects light shows high brightness and chroma after being influenced by stage lighting its shining effects and color changes were clear and apparent. 5) Velvet pile fabric which absorbs light shows low brightness and chroma after being influenced by stage lightning its shining effects and changes of colors were not clear and apparent. In conclusion, natural lights did not significantly influence fabric colors and perception, while artificial lights had wide range of effects on fabric colors and perception.

• 복식
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• 제23권
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• pp.53-65
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• 1994

The images signifying flight in modern costumes are not made of one characteristic but the combination of complex meanings. Among the distinctive features some of them are as follows. First, the flying styles found in the costumes showed the birds as agents which sent human spirit to the celestial body. By simplifying the images of the wings connecting the present age with the heavenly body, the transforming emotions towards rhythm, direction, and organic curves transcending the real objectively constitutes a new space for expression. Second, colors appeal directly to man's emotions and incites emotional responses. The flying was shown in lines and colors. By using horizontal , vertical, oblique, and spiral lines and contrasted and paralleled colors, man's desire to fly dwells in newly colored space by reflecting speculative emotion through uniting surface. Third, the flying except for the costumes can be found in the advertisement through model's pose and camera technique, the flying itself is described through model's pose, the materials of the costumes, details, and sustaining stuffs. This symbolizes man's wish towards the unknown world vividly and dynamically. As discussed above the spirit of flying was, when expressed distinctively , in accordance with the varying cultural traits and transitions. The shape made by the vitality of symbolizing flying birds and animals along with the flying in the natural aspects such as wind and cloud were reappeared, simplified and symbolized , in modern costumes as consituting a new modeling space.

• 패션비즈니스
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• 제15권5호
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• pp.144-160
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• 2011

This study investigated the colors of the costumes and backgrounds of characters in the films "Thirst" and "Mother" from an integrated perspective. As a study method, ten scenes per film, which contained the characters and backgrounds from the start to the end of the DVDs of "Thirst" and "Mother" were examined. For integrated color analysis of the costumes and backgrounds, the colors of the captured scenes were simplified to extract representative colors, and then color palettes were presented according to the ratio of area. The colors of costumes were analyzed by recognition through the eyes based on the I.R.I. Hue and Tone 120. Furthermore, the color images of the two films were analyzed using the I.R.I. adjective image scales and the I.R.I. color image scales. The colors of the film "Thirst" were generally low in brightness and high in chroma. They are characterized by dark, gloomy toned-down background in the first half, highly chromatic vivid background in the second half, and the contrast of purple blue colors and red colors. The colors of the film "Mother" are characterized by complementary colors between background and costume colors, and various tones of blue and green colors. From the aspect of color tones, they were relatively high in brightness compared to the film "Thirst" but low in chroma. On the I.R.I. adjective image scale, contrasting adjectives were extracted simultaneously from the film "Thirst" as the adjectives were evenly distributed at hard, dynamic and static, whereas the adjectives extracted from the film "Mother" were distributed at hard and statistic. On the I.R.I. color image scale, both films were located at hard, but the film "Thirst" was located at dynamic whereas the film "Mother" was located at static.

• 한국의류학회지
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• 제34권12호
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• pp.2006-2021
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• 2010

An authentic national spirit in media (particularly films), traditional images, and color preferences is expressed through movies that are melted in local traditions. This study suggests a direction regarding the characteristics for historical costumes by examining traditional color images and cultural preference in the Chinese film (1987), a representative film that deals with Chinese history and traditions. This movie can illustrate the correlation between the temporal backgrounds and the costumes in the movie with the criteria of Eastern color systems. The results of this research are summarized as follows. First, the image of Chinese traditional colors represented in many parts of and the cultural preferences that underlies their works through the expression of traditional colors. The scenes of traditional costumes and colors express the visual embodiments of the costumes that reflect a specific status, ceremony, or ritual. Second, the traditional colors used in the movie are based on the Yin-Yang theory. Particularly, Red, Yellow, Black is mostly used for ordinary clothing. Third, there are some differences in the use of color arrangements, that change regarding the use of traditional colors according to images and situations that follow the intention of the director. Planning the color arrangements is considered an engaging connectivity between traditions and images in the movie and it is extended or reduced based on cultural preferences. Fourth, the increase and decrease of color arrangements is distinctively represented as the story of the movie proceeds.