• The Research Journal of the Costume Culture
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• v.25 no.3
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• pp.375-390
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• 2017

The aims of this research were to characterize magic realism by analyzing existing magical reality literature reviews and research and to identify material that may inspire ideas for stage and film costume design by analyzing and drawing design characteristics and magic realism of costumes from Director Tarsem Singh's movie, 'Mirror, Mirror'. For the methodology, characteristics of magic realism in literature and, movies were analyzed, with a theoretical consideration of these materials on magical realism. Data on costume design and magical realism characteristics for use in the analysis were collected from the main characters of 'Mirror, Mirror' as well as from other characters. The result of this analysis was the emergence of five common characteristics of the magic realism Historicity, the most remarkable characteristic seen in Tarsem Singh films, was expressed through the symbolic meaning and decorative patterns shown by the traditional-style costumes, colors. Symbolization was expressed through the symbolic meaning, decorative elements, and traditional clothes, as shown by the colors and forms of the costumes. Fantasy was expressed through the colors, decorative elements, forms of traditional clothing, and forms with symbolic meaning. Reproducibility was expressed through the method of decorative element, symbolic meaning, traditional forms and de-structural clothes. Ambiguity, which can be associated with the combined characteristics of historicity and fantasy, was expressed in the clothes worn in the scenes that confounded time and space within the film.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.3
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• pp.1-17
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• 2020

The Peking Opera is one of the most representative cultural aspects of China. It includes China's traditional specialties, such as stage performance, stage background, and costumes. The purpose of this study is to investigate the characters and the costume characteristics of the Peking Opera to present fashion design. This research is meaningful for spreading the Peking Opera to the world by applying China's traditional costumes to fashion design. Based on the cultural background of the Peking Opera and the analysis of the opera costume, four sets of women's clothes were made by using the traditional Chinese elements. The conclusions are as follows. First, traditional features such as patterns, colors, and styles from Peking Opera costumes were used in fashion design. The colors and patterns use Chinese traditional aesthetics to carry out contemporary fashion design and apply creative materials. Second, the neoprene used to create the items is a material suitable for the modern design of the traditional Peking Opera costumes. Neoprene has good elasticity and can be cut and sewn in a variety of ways. It can also satisfy the three-dimensional atmosphere and rich morphological changes found in Peking Opera costumes. In addition, a combination of thin chiffon and mesh materials is also suitable for the development of modern designs. Finally, in order to show the effects of traditional works, the patterns were finished by hand-painting. The hand-painted works were then scanned and printed on the material by the digital printing techniques. At the conclusion, the traditional features and feelings of the contemporary designs were presented.

• Journal of the Korean Society of Costume
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• v.35
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• pp.265-279
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• 1997

Through eight folding screens for Chac Rae and ban Cha Do we have learned the costumes of people who participate in Chac Rae ceremonty being accompanied by social positions. Firstly the costumes of crown prince can be classified in two parts. One is costumes of Chac Rae befor Kwan Rae the other is costumes of Chac Rae after Kwan Rae Also we know the costumes of Chac Rae before kwan Rae is consisted of SSangdonggae Gong-jungchak Chilchangbok Mean-while the crown prince wore Myunbok at chac rae after Kwan rae. Second Chakbongdo tell us various types of Youngbok by blue-black and red colored chulik Third we can see Uijangsu who wore Sangbok on Chakbongdo and know their brilliant costume colors on ban Cha Do through Hongmo on Chunguei Chungmo on honguei Hongmo on Honguei violet-Lip on honguei mean-while Kyokun wears Hongmo on Honguei and hoimo on Hoiuei. Forth regarding the costume of Byulgam Chakbongdo appears Chogun on Hongpo belting blue belt wearing blackboots Meantime ban Cha Do shows Chogun on Hongpo wearing shoes. As reviewed above we know various color and types of costumes through Chakbongdo & Ban Cha Do on Crown prince Chacraedogam and would lide to deepen Chac Rae of crown prince including the costumes of Chac Rae of the crown princess the eldest son of the crown price the eldest brother of the king.

• The International Journal of Costume Culture
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• v.9 no.2
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• pp.125-132
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• 2006

This Study in order to review the history of our children's costumes, this study examined the socio-cultural background of Chosun dynasty and then, reviewed children's costumes comprehensively during that period according to their considerations, kinds, colors and patterns. In addition, this study explored the possibility of making use of the characteristics of children's costumes during Chosun dynasty, since it was perceived that if our children should be dressed in a traditional costume designed with some traditional costume characteristics and ornaments, our tradition would be enlivened in their life and spirit. It is results can be summed up as follows; Our traditional costumes consisted basically of Yu(襦), Go(袴). Sang(裳) and Po(袍) and additionally of Headgear(冠帽), Dae(帶), Hwa(靴) or Yi and Beosun, which must prove that the Korean people is cultural people. Our ancestors were dressed first in Yu(襦), Go(袴). Sang(裳) and Po(袍) to be supported by dae(帶). Our traditional costume style was 'front adjustment' or otherwise, left or right adjustment. Commoners' costumes would change after the series of foreign invasions and again during mid-late Chosun dynasty. During the period of King Sukjong, Jeogori was far shorter and smaller, while China was more diversified and voluminous enough to look like a jar.

• Journal of the Korean Society of Costume
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• v.31
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• pp.17-31
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• 1997

The Heian Period(794-1192) was the period when luxury and elegance flourished. Gorgeous colors were adopted for the costumes and an el-egant assortment of colors prevailed. Representatiove of such costumes is kasane-no-irome. The world Kasane-no-irome originally came from two colors on both sides of one of the japanese kimonos called Uchiki. In later times it turned to indicate the combination ef-fect of colors of several Uchiki's worn in layers one over the other. This paper describes in de-tail the kasane-no-irome in both meanings. In so doing I distinguish two different kinds of kasane-no-irome using a Chinese character for the formed and for the latter though both are pronounced Kasane in the Japanese language. Part one of this paper which concerns the color combinations of presents typical 148 samples through reproduced dyeing clothes by Matumoto. Part two describes the color com-bination of which was so called Junihitoe. It presents typical 41 samples from reproduced dyeing clothes by Matumoto. The purpose of this study was to investigate the characteristics of color distribution and the structure of color combination in Kasane-no-irome. Therefore we obtained the following results in Kasane-no-irome. 1. The color combination of Kasane-no-irome came from the natural color harmony there-fore the names of kasane-no-irome which adopt the names of flowers and leaves of the foure seasons. Accordingly the seasons for wearing them are fixed. 2. In the hue the most frequent appearance was green. And in the tone the most frequent apperance was moderate. 3. In the color combination the most fre-quent type were monochromatic combination and contrast combination.

• Journal of the Korean Society of Clothing and Textiles
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• v.44 no.5
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• pp.856-877
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• 2020

This study examines how class differences are expressed through costumes based on the costumes of characters in Bong Joon-Ho's film . Based on Video on Demand (VOD), the main situations in which characters' costumes change in the play were captured and used as analysis data. Colors, textures, and color symbol were analyzed to find the formative properties shown in the characters' costumes. The results are as follows. The home wear of Kim's family were unsuitable for the top and bottom, faded clothes, and the vague boundary between outdoor and indoor clothes appeared. In comparison, Park's family's home wear was featured a modern and elegant design, a clear distinction that suited purpose and situation. Analysis of street wear showed that the Kim's family had a big difference before and after getting a job, and Park's family wore different costumes for the purpose of going out. Social class expressed in the film costumes were shown to have the characteristics of intrinsic class invariance, temporary class changes, differences in class expression by age, and differences in costume choice by class.

• Journal of Digital Contents Society
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• v.19 no.8
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• pp.1453-1462
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• 2018

In this paper, we look photographes of costumes and composed them as image files by extracting only costume part of the photograph excluding the background part. And we calculated representative color value to implement smart costume coordination program using complementary colors corresponding to representative color values in the costume area. And then, We have solved the problem of over-segmentation caused by extracting the costumes area by applying an anisotropic diffusion algorithm that can remove the noise of the image and flatten the gradient. In order to satisfy users' various needs, we plan to add not only complementary colors coordination but also more various color scheme.

• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.185-194
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• 2004

This study examined the characteristics of 45 sects of seven new aboriginal religious groups in Korea including Jeungsan sect, Tangun sect, Soowoon sect, Won Buddhism, Bongnam sect, Gahksedo sect, Shamanism sect that had given a considerable influence on the modem Korean society since the end of 19th century through the field study and the review of documents. The purpose of the study was to elucidate how their religious ideas were reflected in their ceremonial costumes and what characteristics these costumes had. The results were as follows: 1. The new religious groups in Korea modified or mixed the designs or the names of existing outfits to convey their ideas or beliefs through their costumes. 2. The costumes of new religious groups had common characteristics of the times, Korean tradition and ancestor worship. 3. All the ceremonial costumes symbolized the creeds and ideas of each religion in their names, designs, and colors. The names of the costumes such as Way-Robe, Law-Robe, and Ceremony-Robe, and of the headpieces such as Sky-Crown, Lotus-Crown, Ceremony-Crown, and Sevenfold-Crown, for instance, were related with Buddhism, Taoism, and Confucianism. The most common design of costume was consisted of traditional hanbok and some type of headpiece and robe for men, and hanbok modified to Western-style for women. Most sects adopted hanbok as their ceremonial costume, but they tend to simplify its design. The color scheme of the costumes reflected the influence of the Yul-Yang and Five Elements idea but the colors varied depending on seasons and occasions to suit their creeds and philosophy. 4. These religious costumes were worn at various ceremonies, ritual, and various anniversary services for the master and other dignitaries of the sect to render greater piety to those gatherings, to distinguish the sect from other religious groups, to clarify the meaning of the ceremony, and to heighten the devout feelings of the participants. Thus, the structure (the symbol, names, and types of the outfit, and their color scheme) and religious background of the costumes of the new aboriginal religious groups in Korea turned out to have inherited and mixed various elements of traditional Korean outfits and those of existing religions to symbolize their religious ideas.

• Fashion & Textile Research Journal
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• v.9 no.5
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• pp.486-492
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• 2007

The purpose of this study is to investigate the characteristics of the men's costumes of the ruling class of the Heian period by studying the costumes demonstrated in the ${\ll}$Won-si-mul-eo-heo-gwon${\gg}$, a picture album of the Heian period. The findings of this study are as follows. The costumes shown in the ${\ll}$Won-si-mul-eo-heo-gwon${\gg}$, can be classified into two types. One of the types is the costumes that were newly made in the Heian period such as Jik-eui, Su-eui, Ha-seub, Sok-dae-jang-sok. The other type, period including Omoja, Ji-gwan, Pyo-go is the costumes that were made by modifying the costumes of the previous. The costumes of the Heian period were evolved into a new type of outfit by changing the way of wearing them, their form, and their color. The costumes became various in types, became bigger in form, and used various colors. As a result, the costumes of the Heian period were developed into more colorful and fancier compared to those of the previous period. The costumes of the Heian period can be interpreted as japanized-embracing and japanizing the culture of the continent-costumes of the previous period rather than as simply copying the costumes of the continent. The driving force of this phenomenon can be analyzed as the effect of japanization that was widespread in the culture in general of the Heian period. This japanization made it possible to create peculiar and genuine costumes of the Heian period.

• Journal of the Korean Society of Costume
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• v.52 no.4
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• pp.111-123
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• 2002

The purpose of this study is to correctly understand the shaping process of Mongolian women's costumes, which had close connection with Korean costumes. 'Nomadic' factors of Mongol costumes are trousers and jacket, with deel(袍) pleated in the waistline for horse riding, and knee-covering narrow-sleeved long dress for men and women alike for protection against the cold. However, Married women wore bogthag(gogo: ) containing symbols derived from nomadic way of life. 'Foreign' factors are divided into two kinds; foreign culture applied to Mongolian costumes(woven stuff, Koryo style), and transformation in costumes to adjust to the environmental alteration owing to extended territory(pigap(比甲), Jacket and skirt), the last of which served as the chief distinction between nomadic and Y an fashions. 'Religious' factors are unique patterns and colors while retaining their symbolism. Some aspects(mongke tengri or eternal sky) of Shamanism is reflected in avoidance of washing, while positive effect of Lamanism is evidenced in yellow cosmetic applied on the forehead and 16 sky devil dance clothes.dance clothes.