• 한국의류학회지
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• 제35권12호
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• pp.1409-1417
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• 2011

This study examines King Louis XVI costumes and his portraits according to symbolic meanings. This study analysis of costumes comes from portraits related various domestic and overseas literature, preliminary study papers, and web sites. Omnipotence, activity, nobility, openness and benevolence were distinguished in the symbolic meaning expressed in the portraits of King Louis XVI. Louis XVI in a portrait was drawn with god or expressed as a martyr and symbolically showed the omnipotence of god. Louis XVI was symbolized as almighty god by maximizing the authority and dignity of the king through the hands of justice that were used as a background or portrait accessory and a costume with the symbol of House of Bourbon. Kings of many generations were expressed as authoritative through portraits. However, Louis XVI showed a proletarian aspect in ordering portraits to reflect the daily working image of communicating with citizens. Active images such as the king riding a horse or administering the state affairs were emphasized in a political and military perspective; in addition, the benevolence of the king was symbolically presented through a family portrait. This symbolically signified that the king is a warm-hearted person who passionately takes care of state affairs and loves the people through a noble element coming from pastel colors and attributes of red colors. Historically, the political incompetence and indifference of kings was fragmentally emphasized; however, these portraits considered the king as one who tried to fulfill duties as the true king with a great interest in politics and the people.

• 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.

• 복식
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• 제53권1호
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• pp.1-15
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• 2003

This study as one of a series of systematic studies about dancing costumes will compare the costumes of the middle age with their normal style of dress. In brief, this study wants people to know about middle a9e dancing costumes and understand the culture in the middle ages. It was found that people's everyday clothes in the middle age such as Surcot. Surcot-ouvert, Pourpoint, Houppelande were used as dancing costumes. They were, however. changed from the public's clothes which were tight and long. Rather than wearing costume over others. dancers wore costumes which had slits on skirt or sleeves to increase motion. With the Wild Man of the Wood's which only nobles used for their dancing costumes. costumers highlighted the beauty of human body There were various costume materials used in the middle ages like silk. cotton fabrics, linen or brocade. These materials were used for Surcot and Pourpoint as dancing costumes. The naturalness of nature or geometric patterns also was expressed on the costumes. Further about those patterns, because the development of stained glass, vivid colors were used especially red, light green, blue etc. As for the hair styles used, dancers let their hair down and put a jeweled crown over their hair. In summation. dancers wore the same clothes that normal People did, but the costumes were different depending on social status and gender. The costumes of ordinary people's were based upon ordinary clothes that moved and emphasized the dynamic motion. On the other side, the court dancers' costumes were very fancy. symbolizing a measurement of nobles' from wealth and authority. as well as an expression of a sense of beauty, The main features of middle ages follows. : To emphasize vitality, there were long slits on the side of skirt. Hair decorations and jewels are more used than in the ancient age's. To hide a dancer's social status. they could use a mask. Wild Man of the Wood's was used for the body makeup. All these features of the dancing costumes must contribute to the progress of the dance in the middle age's.

• International Journal of Costume and Fashion
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• 제5권2호
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• pp.46-54
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• 2005

The Purpose of this research was focused on analyzing how costume was exactly researched for film in comparison with the original Renaissance costume, and how to change the degree of brightness and chroma in costume of two films, 'Shakespeare in Love' and 'Elizabeth: The Virgin Queen'. For these purpose, each costume of main seven scenes was analyzed in terms of silhouette, detail, and trimming. Color image, brightness and chroma of costume were compared with the color chip data from Samsung Design Net. As results, costume from two films had exactness in historical research. but the original costumes were modernly changed by the purpose of director. Color image of costume were used proper colors for the characteristic of the story. Costumes of heroine was numerically changed at the degree qf the brightness and chroma through story-going. By this change, director could effectively give dramatic rhythm for the story. The limitation of this research was that color analysis had been conducted on the screen, and this fact might mean the original colors of film might be different from those of screen.

• 복식
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• 제26권
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• pp.251-264
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• 1995

The purpose of this study is to introduce and research the traditional Korean costume collections of Dr. McCune who was born in Pyung-Yang in 1907 and resided until her marriage to George S. McCune in about 1930. Her collections consist of three categories : children's costumes, adults' costumes, access-ories. The characteristics of collections are summorized as follows : 1. Deep wrappings are found at the front part of the top clothing when worn. The front gusset (SUB) has been dramaticaly tilted due to the difference in lengths of the top and bottom parts of the front gusset. 2. Assymetry was one of the principles of decorating Korean costumes. The assymetry were repeated at the GIT and SUB of CHOGORE with patchwork patterns. 3. Primary colors were favored in Korean costume. Hue contrast in color combinations was prefered as well, such as : yellow CHOGORE and purple blue CUFFS, a red SUN pattern matched with green embroidery. 4. Surface patterns were not so popular in Korean costumes, while the most colorful and fabulous patterns were shown through the various embroidery artifacts. Patterns were used as a way of expressing of their desires or longings in Korean costumes. The main themes of the patterns were longevity and happiness. The patterns such as peony, lotus, chrysanthemum, bamboo and bat were implying symbolism at that time. 5. Natural materials were prefered for the garments, Silk and cotton were used as the main materials of the costume collections. Studies of Korean Costume collections owned by international collectors are meaningful to boost the arena of Korean Costumes as well as fill up the vacancy left by lost costume artifacts.

• 복식
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• 제58권10호
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• pp.52-64
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• 2008

The purpose of this study is to analyze the characteristics of Seon that was expressed in the costumes of worldly figures illustrated in Koryo Buddhist paintings. Findings of the study can be summarized as follows. Out of the above mentioned costumes, except those for Buddha and Bodhisattava, most were actually worn by people of Koryo. Shown in the paintings, the patterns and decorations of Seon are more brilliant and diverse in part of worldly figures than in that of Buddhist figures. For men, Seon was mainly used to robes for Buddhist priest while, for women, costumes for the queen and noble women. Seon was applied to costumes for both men and women, especially Po for ritual purposes. Besides, it was sometimes used to Buddhist priests' robes and women's Banbi and chima. The patterns of Seon were usually single in composition style and scattering in arrangement style. Whether applied to costumes for men or women, Seon usually had complementary colors that were harmonized.

• 한국의상디자인학회지
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• 제11권2호
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• pp.85-98
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• 2009

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yo tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery pattern has a high artistic value in that its shapes are diverse and splendid and each one has its own peculiar elegance. As for the research method, I examined the Yo tribe's history, culture, traditional costumes and design patterns through related books, research papers, internet sites, and etc. The results of the paper are as follows. The Yo tribe's costumes consist of a jacket, trousers or a skirt, an apron and a belt. Although the color of the costumes is all black, there are splendid embroidery decorations with the colors of red, orange, yellow, green and white on the chest or shoulder part of a jacket, the adjusting lines, cuffs, or a part of a trousers and aprons. The types of the patterns represented in the Yo tribe's traditional costumes are related to nature, ancestor worship, ethnic legends, history, religion, and agricultural lives. The method by which the Yo tribe expressed on their costumes is a "peach-blossom" technique, which uses cross-shaped embroidery with wrap and woof threads. Because it is not apt to express delicate and detailed patterns, the Yo tribe's patterns tend to show abstract and geometrical forms.

• 복식문화연구
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• 제11권2호
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• pp.253-262
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• 2003

The purposes of the study were (1) to analysis Korean traditional wedding costumes through families's wedding photographs from 1940 to 2000, and (2) to categorize bride and groom's costumes according to the wedding time by means of a time series analysis. (3) to find out functional relationship among changes in garment types, garment details, embellishments and colors. The study was a documentary research and data were collected from 390 family wedding photographs by a convenient sampling. The data were analyzed by qualitative and quantitative method and the statistic used were frequency, content analysis, and cross-tab analysis. The results were as follows; First, the garments of wedding couples were categorized into 5 period according to garment's characteristics. 1. The period between 1940～1959 : Korean traditional wedding costumes and western style wedding costumes were existed together in Korean wedding culture. 2. The period between 1960～early 1970's western wedding costumes were dominated. 3. The period of late 1970's : wedding couple's costumes became more formal and decorative. 4. The period of 1980's : introducing see-through materials for brides and tuxedo suit for grooms. 5. The period of 1990's : extravagance in shapes and exposure. Second, there were significant relationships among brides's dress types and neckline, glove length, embellishments and transparency of materials and among groom's garment types and necktie types, types and color of shirts, vests. Third, the time series analysis of bride and groom's outfit produced 5 schematic expressions of wedding outfits according to the period.

• 패션비즈니스
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• 제15권3호
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• pp.67-83
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• 2011

Korean film "Swiri"(1999) as well as a popular film is the first Korean blockbuster Film. In addition, the number of viewers is very common in Korea a large ripple effect that Korea film "Swiri" in his works were selected to act as a hero and contextual significance confrontation between the two figures through the symbolic analysis of clothing styles and colors Analyzing the meaning of space and a scene in the background with the colorful costumes and would like to study. In detail, the film's central character theme and image suggesting that dramatic reversal the character's personality through the clothes I was expressed through clothing styles and colors were analyzed with symbolism. Korean film "Swiri" the film's DVD player application from the situation or story that is considered to be important psychological conflicts selected twenty-seven screens in the study were collected still images. Data collected for the effect of color contrast and color analysis technical. The center of the video footage, the film's main characters costumes and background colors of the space was to examine the significance and symbolism.

• 복식
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• 제62권5호
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• pp.125-137
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• 2012

This study examines the stage costumes of the creative musical 'Hyecho', which was performed six times in the Chung Ang Art Center hosted by Chung-Ang University's performance & media agency from December 20 to 22 in 2006. The stage costumes were made based on these basic design elements of stage costumes that were dyed : line, silhouette, material, and color. First, the creative musical 'Hyecho' presents a new form of fusion theatre, which blends Korean traditional music and dance with videos. Thereby, the musical has opened a new phase in Korea's creative performing arts. Second, in musical performances that combines dance and songs, stage costumes should be made not only to attract the audience's eyes, but also not to interrupt actors' vocalizations and movements by taking their physical features into account. Also, costumes should be made in consideration of their relationships with visual elements, including stage settings and lighting. Third, the musical features fusion-style stage costumes, which combines Hanbok, the Korean traditional costume, and Indian traditional costumes with modern costumes. For the line and silhouette, costumes show the beauty of curves through the curves of Hanbok and India's traditional costumes and also through irregular pleats of pants. Also, by using cotton materials, which is easy to dye and not readily deformed, costumes feature colors that are found in nature through a gradation dyeing technique. In doing so, it offers visual amusement to the audience by making stage costumes look like a beautiful painting. Fourth, the stage costumes of the chorus feature costumes that use lining and pleated skirts using belts, and various accessories, including necklaces that use strings in order to express evil spirits. Since there is not much time to change costumes during a performance, using such items are helpful to show the unique characteristics of actors effectively during the limited time. Also, coordinating with the lighting director allows the costume designer to make better costumes for the chorus and make the performance more dramatic. Finally, it was not necessary to wash the costumes of the chorus of the fusion musical Hyecho 2006 since it was performed only six times. However, when using dyed costumes for the long-term performance, it might cause problems such as bleaching that result from the washing of costumes and low durability that can result in the deformation of costumes. As performing arts are made in various forms and are diversified, it is needed for stage costumes to change accordingly through new attempts and various ways of expression.