• The Research Journal of the Costume Culture
• /
• v.17 no.3
• /
• pp.396-406
• /
• 2009

Drapery costume started with using one fabric to loosely wrap around one's body without using technical skills or needlework. Drapery becomes a beautiful and indeterminate form of pleated costume which determines the costume silhouette and serves as an essential component for the composition of artistic costume. The purpose of this study was to examine the aesthetic characteristics of drapery costume using literature review. The study methods include considerations of the formation process of drapery costume with the analysis of costume in pictures. For modern costume designs, the study analyzed the designer's dress with a focus on drapery forms, which appeared in the collections from 2001 to 2007. First, drapery costume contains the beauty of human body. Drapery costume reveals the smallest movement of the body. The beauty of drapes, which is naturally revealed along the curve of the body, and the pleats which form on the soft cloth create the beauty of body. Second, drapery costume has rhythmical beauty. Drapery pleats feature not only functions, but also unique formativeness that provides rhythmicity and regular or irregular direction effects by line. Third, drapery costume features elegant beauty. Bias cutting by draping can effectively express the elegant characteristics of the fabric. In making a piece of clothing, the composition method can express elegant beauty by covering up the shortcomings of the fitting and by fitting to the body line without cutting the fabric, or fitting it by bias cutting.

• The Research Journal of the Costume Culture
• /
• v.7 no.1
• /
• pp.13-26
• /
• 1999

The purpose of this study was to identify the origin of diversity of costume material caused by environmental difference. For this purpose, this research involved theoretical studies and studies based on historical data obtained from previous related studies. The common truth was proved that environmental including the geographical distribution of plants and animals determines costume material. Also, It was found that the unique traditional costume styles were developed through unique combination of costume material and their culture. The major results of this study are as follow : 1. The traditional costume of North American Indian was well-developed and closely related to geographical distribution of plants and animals. Also, their costume was so diverse that it could not be categorized. 2. The traditional costume of North American Indian showed ideal har mony between nature and human being surrounding environment into their costume. 3. The application of plants and animal materials into their costume was one of the environment-friendly human activity and it seems to give us an important message.

• The Research Journal of the Costume Culture
• /
• v.7 no.1
• /
• pp.82-99
• /
• 1999

The purpose of this study was to investigate the traditional costume colors in ancient Korea. The results of this study can be summarized follows : The traditional costume colors in ancient Korea was affected on Chineses goverment official\`s costume colors, specially in Tongil Silla Dynasty. Goverment official\`s costume colors were purple(紫), red(赤), yeoolw(黃), blue(靑). The traditional Korean colors for clothes were devided in the white costume for low class and the colored costume of high class. The traditional Korean colors for colthes became fixed in the later Chosun dynasty, According to developing of dyeing technic, the prohibition of red costume for low class made for wear red undercloth. And on account of costume color in sumptuary law occured the transition of costume color. As transition of costume color, yellow(黃) changed in light in light yellow(松花色), purple(紫) did in dark green purple(茶割) Also it was found that the traditional Korean color for clothes was many kinds of soft, deep, natural colors out of red(紫)·yellow(黃)·white(白)·black(黑)·blue(靑).

• Journal of the Korean Society of Costume
• /
• v.59 no.3
• /
• pp.42-54
• /
• 2009

The purpose of the study was to grasp problems through a basic survey of actual conditions of the Korean traditional costume industry and to grope a plan to settle the problems. The results were as follows. Operating Status: Rates of the companies' establishment were reduced in 2000s and their sales were also reduced. Status of Goods Development: Korean traditional costume manufacturers and Korean traditional costume textile fabric companies had the highest rate in non-trademark production. Korean traditional costume textile fabric companies and Korean traditional costume rental companies had high rate in self-design. However, Korean traditional costume manufacturers used textile companies' catalogue with the highest rate. Status of Demand and Supply in Human Resources: In human resources needing most, Korean traditional costume manufacturers were tailors, Korean traditional costume textile fBbric companies were salespersons and Korean traditional costume rental companies were designers. Status of Management and Marketing: Causes of difficulties in management were the market slump and the spreading of products made in China. They had a direct publicity through people around mainly. Therefore, it was urgently necessary to introduce special marketing methods. In an investment plan within three years in the future, about 70% did not have an investment plan. Opinions for Promotion of Korean traditional costume: In the government's support policy they wanted, construction of social atmosphere for Korean traditional costume-wearing and Korean traditional costume related educational support had the highest rate. Most of the companies answered that specialized Korean traditional costume agencies were necessary.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.17 no.2
• /
• pp.27-43
• /
• 2015

Festival costume shown in festival parades targeting historical events or figures helps to understand the theme of festival and grants visual effects and at the same time, is an important factor to identify then-cultural environment. Accordingly, this study aims to make a periodic review of traditional costumes used in parades for Hanseong Baekje Cultural Festival and Yeongam Wangin Cultural Festival which are both the festivals that backgrounded Baekje period, make a comparative analysis of the archetypes of reproduction costume vs Baekje costume, understand the problems of festival costume, and seek developmental directions. After making a comparative analysis of reproduction costume shown in festival parades, it was found that king costume, queen costume, governmental official costume, and humble class costume were all different from Baekje costume in terms of configuration, materials, color, shape, and creating method of costumes, and problems were drawn. When it comes to costume items, Pasul and Danryungpoh that didn't belong to Baekje period were worn. The problems in color research can be identified in governmental official costume. The problems in type of costume are shown in the length of po worn outside, margin of width, and degree of restoring accessories. Therefore, it seems to be necessary to convey and identify costume creating method by festival parade-related persons.

• Journal of the Korean Society of Costume
• /
• v.38
• /
• pp.83-100
• /
• 1998

The purpose of this study is to figure out how stage costume of Peking Opera communicates what the character wants to inform to spectator. The stage costume means the clothing, shoes, headdress, accessory that the cast is worn for communicating personality of character. Stage costume not only reveals the character of new spirit who the director and the work is like to create, but also makes the style of play harmonizing with the atmosphere of the work. So, the stage costume in the play is a sort of symbol system that forms the depth of play. The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera don't have the same rank system with real history costume and don't have demarcation according to period and history. Only it is that transformed and created the real history costume with Chinese fine view and made how they wear Chinese fine view and made how they wear the costume according to position, age, personality of character in the play. In the stage costume of Peking Opera, the color is cultural language that director can communicate to spectators and can inform spectator of sex, age, personality, position of the character. The color of the stage costume of Peking Opera reflects the principles of Yin and Yang and the five elements of the Chinese cosmogony. The pattern of decoration also makes the personality and characteristic of the character. The dragon pattern symbols the authority and majesty, so only the character of high position can use it. The pattern of tiger and leopard symbols bravery, so the military officer can use it. Civil officer decorates with the pattern of Japanese apricot, orchid, chrysanthmum, bamboo that symbols integrity and honor. The stage costume of Peking Opera communicates the identity of character with the special form of costume. Kanjien is a costume of the young priestess, Houyi is the Sunwukong'costume. Chayi is a costume of boatman. Lingzi, Sweixiu, Kaoqi is the props for the foramtive effect of stage costume, also they play an important part in expressing the emotion situation. In the result of study, we could know that the form, color, pattern of the stage costume and props of Peking Opera play important parts in communicating informations that let spectator can understand the play. So, the stage costume of Peking Opera is an‘picturizing costume’that the form, color, pattern of the stage costume is a sort of symbol system. It makes spectator feels actually the viewing Peking Opera.

• The Research Journal of the Costume Culture
• /
• v.2 no.2
• /
• pp.415-443
• /
• 1994

This thesis, drastically breaking from the prior form of art, searched mutual relationship between surrealism centering around surrealism which tried to liberate the spirit of humanbeing by investigating internal world of the humanbeing. That is to say, it is the purpose of this thesis to study the relationship between artistic trend and costume by grasping how the artistic trend of an age was specifically accepted and expressed to the modern costume as the foundation of fashion. Followings are the searched results for searching mutual relationship of the surrealism and modern costume. At first, surrealism made it possible from modern costume to an expression of formative art, and at the same time emerge from existed uniform costume, and thus presented new possibility to the harmony of costume and art with fresh and avant-garde sense. Second, by being applied the expressing method of depaysement which could materialize surrealistic image to the modern costume from various angels, and thus it suggested new aesthetic conception different from general conception of the traditional costume. Third, with regard to modern costume, introduction of various object due to thought of surrealism was a new and innovative attempt, and thus it suggested infinitive possibility of creation. So, it suggested that we could thrown away a fixed idea and that every objects could be moulded. As the result of the afore-said, wide application of the idea and formative feature of surrealism with regard to modern costume did not only ring the diversification and individualization of the costume escaped from the past traditional idea, but also at the same time prepared modern costume with the moment to develop as a formative arts.

• The Research Journal of the Costume Culture
• /
• v.14 no.1
• /
• pp.108-127
• /
• 2006

The purpose of this study is to examine the principles of clothing design and the way of design approach in Lamanova. She caused a revolution in the art of dress and created the foundation for costume design theory. She Addressed Art in everyday life to self-taught dressmakers. The distinguishing feature of the design is simplicity and functionality. In an article "The Russian Style", Lamanova raised the question of the new Soviet costume and traditional costume. In "On Contemporary Costume" she classified the new forms of clothes into everyday and holiday attire, showed the principles of costume, and analyzed in detail the necessity of constructing a costume to suit the individual figure. In "On the Rationality of Costume", she found a basis theory for clothing design which is for whom, from what, and for what purpose. Lamanova's theory was made public in full in 1928 and was presented at the exhibition of Handmade Textiles and Embroidery in Women's Contemporary Costume. The main contents are the costume's purpose, it's material, the figure of its wearer, and its form. She argued that the new costume could be in line with the new life and her theory could be the creed of clothing designers. The principles of Lamanova's theory can still be applied today, not only in Russian traditional and contemporary costume, but in contemporary world fashion.

• The Research Journal of the Costume Culture
• /
• v.1 no.1
• /
• pp.11-17
• /
• 1993

The purpose of this research was to examine the relationships between Korean and Manchu costume terminologies. The results of the analysis of this study were as follows: Is was found that some of the Korean costume terminologies were derived from the Manchu costume terminologies. It was also found that some of the Koran and Manchu costume terminologies were closely related to each other. It also appeared that Korean, Manchu, and Mongolian costume terminologies were heavily influenced by the Chinese costume terminologies.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.3 no.2
• /
• pp.75-86
• /
• 2001

The article is alms to investigate the characteristics, the originality, and the interest of fashion design of costume play, which is recently specifically popularized among young fashion mania. The influence of commercialization power of the Disneyland and the animation characters of Japanese caricatures makes the costume play to be one of the main new generation culture. Since the costume play just begins at this moment, the full understanding of the costume play is hard because of the small amount of the materials and happenings of the phenomena. However it reveals the design trends and creativity of the new generation. As the investigation of costume play fashion and the types of costume play, the following results are obtained. 1. The originality of the costume play is thought to be induced from the mask which is used against the ghost in primitive ages, the fancy parade of halloween festival, commercial advertisements of Disneyland, the Japanese caricatures, and the animation games. 2. The distinctive characteristics of Korean costume play shows the massive behaviour, which is different from the individualized costume play in Japan. This facts show the parts of the interest culture of the persons who has the equal interest. The costume play is applied as the sound showing culture, in which the young generation express and enjoy themselves by"kki" - the passion of young energy. 3. The boom of costume play introduce the increased number of costume play shop, pro model, and designer. It also introduce the interest of the new fashion design for the young generations. Thus it is expected the new fashion infra structure in near future.ar future.