• 복식
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• 제50권6호
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• pp.5-20
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• 2000

This paper aims at analysing the formative character of the Korean Shaman's Costume in the area of Hong -Sung, Choong -Nam. Korean shamanism has been the core of the traditional folk religions. so that it has had a great effect upon the formation of Korean's mind and custom. And its magical power remains unabated even today. Modern shamanism in the Hong-Sung area has been changed under the influence of the shamanism in the Seoul-Koungki area. Therefore modern shaman's costume in the Hong-Sung area is similar to shaman's costume in the Seoul-Koungki area. Modern shaman's costume in the Hong-Sung area has only 5 or 6 kinds. These consist of Pulsajangsam, Chulik, Kugunbok, Mongduri and Wonsam. But there are some differences between modern shaman's costume and traditional costume in the formative character, Modern shaman's costume in the Hong-Sung area has became simpler in the formative character and more gorgeous in color or adornment than that of the traditional costume.

• 복식문화연구
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• 제2권2호
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• pp.317-335
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• 1994

The purpose of this thesis is to analyze the relation of the mentalistics linguistics and costume, and to clarify the relationship between language as psychological expressions and costume to understand the phenomena of human costume behavior more deeply and comprehensively. As for the analysis of he costume phenomena, Noam Chomsky's psychological linguistic theory were applied to costume system. In this respect, particularly, by means of Chomsky's later theory(1965), the costume behavior were analyzed. The followings are the findings of the analysis : 1. The Syntactic Component: (※ See Full-Text) 2. The Semantic Component. The costme behavior is similar to a language system. Just as one morpheme or a phrase and phrases make different sentences, so various methods wearing costume make different sentences, so various methods wearing costume make different forms is costume. Language and costume have dictionary entry showing the meaning of vocabulary, and rules combining the individual meaning of the dictionary entry to complete the sentence.

• 복식
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• 제60권3호
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• pp.10-25
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• 2010

The culture of the play of Korean ancient times is well described in the mural painting of Goguryeo. The example is people appearing in the play painting of performance, dance, hunting, and acrobatics out of 20 mural painting of genre. Their costume is broadly classified into performance, dance, hunting, and acrobatic costume and can be subdivided according to the types of costume. First, the head gear of play costume reflected the formality and social conditions of play. In the performance and hunting costume, all performers wore gwanmo(official hats), which seemed to make it a rule to wear gwanmo. Gwanmo was borrowed intactly from Goguryeo without any changes or decorations, which showed that the status symbolism of head gear was applied intactly to play costume. Second, the play costume of Goguryeo enhanced efficiency by blending daily costume with elements and decorations needed for play performance. Specifically the change of length was prominent: the short sleeves of jeogori(traditional blouse), the long sleeves of dance costume, and fastening below the knee or putting into the long shoes to shorten the length of baji(traditional pants). Finally, as it is well known that there was some differences in the expression modes of daily clothes in Goguryeo between Tonggu and Pyeongyang. Similarly, play costume tried to change costume according to the subject of play but maintained the locality and peculiarity of Goguryeo costume. Although performance costume showed many local differences, it also had similarity and peculiarity. In dance costume, long sleeves and patterns which frequently appeared in the Tonggu area reappeared in the Pyeongyang.

• 복식
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• 제67권4호
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• pp.38-57
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• 2017

Traditional costume in Indonesia represents identity of a person and it displays the origin and the status of the person. Where culture and religion are fused, the traditional costume serves one of the most functions in rituals in Bali. This research aims to analyze the characteristics of Balinese costumes by focusing on the Legong dance costume. Quantitative research was performed using 332 images of Indonesian costumes and 210 images of Balinese ceremonial costumes. Qualitative research was performed by doing field research in Puri Saba, Gianyar and SMKN 3 SUKAWATI(Traditional Art Middle School). The paper illustrates the influence and structure of Indonesian traditional costume. As the result, focusing on the upper wear costume showed that the ancient era costumes were influenced by animism. They consist of tube(kemben), shawl(syal), corset, dress(terusan), body painting and tattoo, jewelry(perhiasan), and cross. The Modern era, which was shaped by religion, consists of baju kurung(tunic) and kebaya(kaftan). The Balinese costume consists of the costume of participants and the costume of performers. Bali dancing is grouped into Wali dance(sacred), Bebali dance(theatrical), and Balih-balihan dance(entertainment). The Legong dance is included in the Balih-balihan dance, and its costume developed from 1920 until present. The characteristics of Legong dance costumes are 'Theatrical,' 'Angelic,' 'Charming,' and 'Decorative.' In conclusion, the balance of religion, culture, and art gives a unique trait in Bali. The Balinese social system, which is based on Hinduism, has influenced art and its function. This relationship creates a strong structure to the Balinese ceremonial costume, especially the Legong dance costume.

• 복식
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• 제61권4호
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• pp.103-116
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• 2011

The purpose of this study is to investigate the revision of the western-styled court costume in the Daehan Empire. For this purpose, 1) historical documents were reviewed, 2) one set of the court costume of Chigimgwan and another set of the court costume of Juimgwan were probed, 3) the photos of people wearing court costume were analyzed. The results of this study are as follows. First, the $14^{th}$ Imperial order of "official costume statute" had been revised in 1904, 1905 and 1907 through official gazettes. The last version of official costume statute enacted the more detail than the first rule. Second, the $15^{th}$ Imperial order of "official costume rules" had been revised in 1904, 1905, and transformed into official costume rules reform on $12^{th}$ Dec., 1906. The revision in 1905 made gold embroidery of court costume more simple than the first rule. The form of court costume was totally revised by change of the shape of adjusting on the top in the revised rule of 1906. Third, the revision in 1905 was actually manufactured and worn by the people because it can be confirmed in the relics of the court costume of $2^{nd}$ Chigimgwan in Yonsei University Museum, and the court costume of juimgwan in Kwangju Municipal Folk Museum. The relics made by the revision in 1906 had not been reported until now, but they can be confirmed in the photos left. Fourth, the sovereignity of the Daehan Empire was actually lost by $22^{th}$ Imperial family order which urged the servant having the title of nobility of Japan to wear the court costume of Japan. Therefore, the endeavor of the Daehan Empire which wanted to establish and develop the costume system of modern independent nation was discontinued.

• 한국의상디자인학회지
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• 제8권2호
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• pp.109-123
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• 2006

Cosplay is compound of 'costume' and 'play' and teenagerses disguise equally with populace star or cartoon master who like and it is typical culture of character generation as play that imitate to dress and hair style, gestures. Type of cosplay costume get devided as following according to cosplay object. Animation cosplay costume represent person who appear in cartoon and animation equally. Fan cosplay costume imitates entertainer or celebrity. Game cosplay costume represent character of internet on-line Same. Movie cosplay costume is more realistic than animation or game Character as that imitate moviestar. Character cosplay costume is used by commerce purpose brand or event. Characteristics that appeared commonly in types of cosplay costume are as following. First, cosplay costume is consisted of peculiar mechanism that cosplayer perform series progress such as work selection, design development, manufacture, production, acting alone in aspect of Performance costume. Second, according to cosplay object, degree of representation became different. Character is stronger, because the characteristic is emphasized, tendency that degree of reproduction becomes low showed. Third, cosplayer's distiction appeared according to material selection, design development method and analysis.

• 복식
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• 제64권7호
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• pp.114-127
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• 2014

Performing arts offer fun and knowledge and are directed for various purposes. Performing arts are also used as a means for education. Children's English media musical, 'The Magic Flute' is the performance reflecting all these. The author of this study took part in stage costume production, and this study was carried out aiming at designing and producing stage costume in line with educational purpose and intention. This study consists of an analysis stage for the existing performances of 'The Magic Flute', and a stage costume design and production stage for children's English media musical, 'The Magic Flute', First, this study classified and analyzed the stage design and stage costume design of the existing 'The Magic Flute' by concept, and then, examined their features, respectively. and this study unfolded the stage costume concept, based on the analyses of existing performance's stage costume and the characters' personality and features described in the current study subject's script. As the last step of this study made each character's stage costume. A total of 69 costumes for stage costume were made for 7 types of characters. This study is considered to have huge significance in that the stage costume was developed for 'The Magic Flute'.

• 한국의상디자인학회지
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• 제5권2호
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• pp.47-55
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• 2003

This study was aimed at analyzing the woman costume presented in the korean modern novel by continuity, mixture, and discontinuity. For the costume analysis, the korean modern novel written from 1910 to 1945 were used. The results of this study were as follows: 1. Continuity: It doesn't mean discontinuity from the past but succession and development of the past, which explains about the costume culture for the period from 1910 to 1919. During this period, people tended to wear korean traditional costume in an effort to maintain their national identity. 2. Mixture: It means the effort to synthesize and develop past, present and future, which explains about the apparel for the period from 1920 to 1937. During this period, western culture was introduced much into korea to be established as part of our people's life. The new generation of women who studied abroad introduced the western costume throughout the cities, while the convenient western costume served to improve korean traditional costume. 3. Discontinuity: It means a conscious departure from the past as well as a critical reaction to the past, which explains about the costume culture for the period from 1938 to 1945. For this period, western costume was popular among new generation of women, while it was more diversified with increasing population wearing them. Many country men and women proceeded to wear the western costume.

• 한국의상디자인학회지
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• 제2권1호
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• pp.133-145
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• 2000

Costume in movies are used as an instrument to signify the personality image and status of characters, and even the main theme of movie itself. The purpose of this paper is to verify the feministic meaning of bloomer costume used in movie, 「OSCAR and LUCINDA」. The bloomer costume was anti-fashion in crinoline period, when women was normally not allowed to put on trousers. To achieve the purpose, I used content analysis to obtain meanings from existing literature and video tapes(including, slides and pictures). Bloomer costume, introduced by Mrs. Amelia Bloomer at 1850s, is an anti­fashion to express women's right to wear trousers that were exclusively used by men since the medieval age. In this sense, bloomer costume itself is a costume expressing values of women's emancipation movement. In 「OSCAR and LUCINDA」, heroine, Lucinda, with bloomer costume is described as a woman who has strong motivation toward work, who actively looks for a man she loves, and who has free­will to involve herself in what she wants, even gambling. This is not surprising in a sense that Lucinda's bloomer costumes itself signifies the meanings of feminism. I found that bloomer costume was well described in the movie from the historical point of view. But some details, including type of trousers, were expressed without strict historical evidence. Overall, it is certain that 「OSCAR and LUCINDA」, with a heroine wearing bloomer costume was a big step towards women's emancipation in movies.

• 복식
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• 제48권
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• pp.133-150
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• 1999

In future what kind of costume do we wear\ulcorner We can guess it is in advance through movie. Movie is a comnipresent medium and a mode of expression that reflect a distintive feature of the times like fashion. In many case costume design which belongs to a special era is based on the historic costumes but ostume design for future movie depends on the creativity of costume designer and director. Therefore it is interesting to research how costume designer get his/her design concept for future ccostume in movie how he/hse express his/her design concept through his/her costume and can we convince the design comes true practically in future. In this study I analyze the costume design of masterpieces among SF Film: (Metropolis/1926) (2001: A Space Odyssey/1968) (Star Wars/1977) (Blade Runner/1982) (The 5th Element/1977) Because this study is analyzed not through the original article but just through movie it has some limitation in exact materials or color.