• Journal of Fashion Business
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• v.1 no.2
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• pp.20-30
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• 1997

The purpose of this study is to examine the influence of European middle class, ethos to costume. This study is concerned with historic situation about enlightment and French revolution, and the change process of costume before and after the French Revolution. In order to investigate the relationship, this studies include the phenomenon of costume in the basis of thoughts of the age (enlightment), political event (French revolution) and social system (middle classes). The Influence of enlightment to costume of man and children were which emphasized practical aspect. Children costume was developed independently from costume of adult before French revolution. French revolution played a roll in silhouette, color, texture of costume for man. Especially pantalons which names Sans-culotte generalized as modern clothing for man. Women freed from corset because of the influence of neo-classicism for a while. However, costume of woman did not change much because women were excluded from of enlightment.

• Fashion & Textile Research Journal
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• v.4 no.1
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• pp.11-18
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• 2002

The purpose of this study was to investigate the characteristic and composition factor of Japanese costume design. The stimulus were 25 contemporary costume design which represented the traditional image of Japanese. The main survey of questionary consisted of their evaluation of the Japanese costume image by 26 semantic differential bipolar scales and the subjects were 99 female students majoring in clothing and textiles. The data were analyzed by Factor analysis, Multidimensional Scaling Method and Regression Analysis. The major findings were as follows. As a result of design analysis, contemporary Japanese costume design which represented the traditional image had traditional form, color, texture, pattern, etc. Through factor analysis about Japanese costume image 7 factors were identified; Attractiveness, Attention, Cool and warm, Neatness, Activeness, Maturity, Classics. According to image positioning, Japanese costume design was classified by simple-decorative, soft-hard. As the result of regression analysis, The preference of Japanese costume image was related to attractive factor.

• The Research Journal of the Costume Culture
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• v.7 no.1
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• pp.52-67
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• 1999

A Study on the Drapery Presented in Costume The purpose of this study is to find esthetic characteristic of a drapery costume throughout Greece costume and modern fashion. For this purpose, documentary studies were proceed. And photos of the drapery costume were analyzed. Drape is the hang or fall of fabric when made into a garment is an important quality to consider indesigning. Fabric falling in folds in the garment as seen on statues of ancient Greece ; most outstanding modern versions made by designer Gres and Vionnet. Greek costume was in drapery types mostly and a feature created the vest esthetic effert on simplicity with ornament of drapery. Grecian were expressed pure beauty and natural beauty throughout their drapery costume. Madame Gres is widely considered one of the most talented greece for inspiration of the couture, ranked by many with Vionnet. They shows in their mastery of Greek draping -el-egance and simplicity- And also, they always implicity emphasized the relationship between clothing and the female body. Therefore drapery costume admired beauty of pure human body Clothing is expressed which wanted to get the nature and human, search for the losed nature of modern men. In conclusion, the characteristic of drapery costume from ancient greece to modern, timeless concerned human\`s lives and recurring humanity.

• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.671-682
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• 2003

The purpose of this study is to analyze styles of costume and understand meanings related to costume embodied in the images of Buddha in Baekche period. Visual and textual analysis of the paintings include the images of Buddha in Baekche period was used for the research. The results of this study were summarized as fellows; Budah's hair style is identified as simple, Gae. Buddha wears Sanghati(outer wear) made of Tongeun and Peundanwoogeun, and many cases Sanghati made of Tongeun are usually seen. Three kinds of upper garment were identified; Samkaksika, right and left crossed upper garment, and Peunsam. Samkaksika was frequently seen in the paintings. Lower garment was a Nirasana reach to the ankle, was worn with a belt. Two skirts were also seen occasionally. The symbolic meaning of costume of Buddha was related to its religious meaning and identified as majesty and saintliest, which is harmonized with her simple costume styles. The wrapped style of costume, which did not show the contour of the buddha's body adds mystery. Also, the styles of costume created by different wrapping methods signify originality.

• Journal of the Korean Society of Costume
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• v.59 no.3
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• pp.157-165
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• 2009

This study intends to discuss the efficient stage costume design that uses costume-rentals and production method as a realistic alternative for production of stage costume of low budget performance. Directly participating in the costume design and production of the performance , this researcher applied the methodology of corroborative study on the basis of production process and results by referring to the papers and literature published by academic society for the theory necessary for study. Centering around the western costume in the stage costumes of , the scope of study was the costume of Paris, France prevalent at the end of the 19th century which is epochal background of performance. In spite of its merit of reducing production charge and production in the low budget performance, costume-rentals is subject to the lack of considering unitγ with other visual factors and limit in reflecting the creativity of costume designer. The following actions shall be taken to solve such problem. First, it is essential to set production direction and plan that meets budget and work concept. Second, it is required to highlight the characteristic factor of the age which is the background of work so as to grant the sense of age and to produce the visual unity of costume by supplementing the costume composition. Third, it is necessary to make large effect with low lost by using costume articles that can express the characteristics of the age. Fourth, it is required to efficiently reflect the transformation of design by minimizing the damage of costume through research on the sewing method and materials as well as creative idea. In this way, the efficient stage costume could be realized in the performance with low budget by approaching costume-rentals in the viewpoint of costume design, transforming it in accordance with work concept and adding the visual factors.

• The International Journal of Costume Culture
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• v.4 no.2
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• pp.138-145
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• 2001

This study aims to compare the beauty of costume in the Gothic with that of Renaissance periods. By analyzing the beauty of costume which reflects the ideal of the age, this study attempts to provide the insight which can predict the beauty of future costume The characteristics of Gothic costume is the from of the loose enveloping of the body, which can be accounted for from the influence the Christian religion, and the emphasis on the vertical line influenced by the steeple in the Gothic architecture expressing the enthusiasm of the religion. The emphasis on height in the Gothic cathedrals was reflected in the hennin, pointed shoes, and lengthy sleeves of Gothic dress. The beauty of Gothic costume lies in the from of slender, the emphases on the vertical line, the we of heraldry and parti-color, and pointed hat and shoe. The Renaissance architecture shows a broad horizontal appearance. There is the similarity between the Renaissance costume and Renaissance architecture. The beauty of Renaissance costume lies in the form of the exposing body, the exaggerated silhouette, the emphasis on the horizontal line, the use of ruff and slash in order to display the beauty of human body and the beauty of cubic. The ideal beauty of Gothic and Renaissance costume was influenced by the spirit the age and was in contrast.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.1-21
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• 2017

The Korean folk drama is one of the traditional art performances of Korean folklore, and it is usually characterized by mask dances. An investigation on the costume of Korean folk drama is of great historical significance because they present the variety of typical costume according to the characters. The Sandae-Nori drama of Seoul Gyeong-gi province which was designated as im- portant culture property, has the closest form to general Korean folk costume. The usual characters have their typical costume and reflect the costume of the latter Choson Dynasty period. The costumes are used as a tool of the drama to indicate the character, and the impression of the dance. The costume of the Korean folk drama is made to indicate the character because it is for the play. What is more, the costume of the Sandae-Nori drama of Seoul Gyeong-gi province shows the general aspect of folk costume of the world, which remains as the symbol of the traditional culture and shows more decoration and visibility.

• The Research Journal of the Costume Culture
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• v.18 no.1
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• pp.44-63
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• 2010

The purpose of this study was to examine the process to manufacture costume design of main female characters of TV historical drama and suggest the costume, which is developed with contemporary taste. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The study results were as follows. The costume was decided by researching historical investigation material on the basis of synopsis, grasping director's basic intention, setting design direction, preparing design map of each character, selecting style, detail, fabric and color, manufacturing sample and performing camera test. The design concept of was Modern & Chic & Clean, short & fitted chogori, chima with wide & abundant cocoon silhouette, clean & bright colors and 100% silk fabric. For the design discrimination of royal semi-formal costume, color was used to symbolize character and pattern was used to symbolize social status. In addition, detail change was adopted depending on the body shape of actor and there was almost no design discrimination in silhouette and fabric. Petticoat of the west, modernization of transitional pattern and change of detail were adopted as design elements to add contemporary taste.

• Journal of the Korean Home Economics Association
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• v.23 no.2
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• pp.1-11
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• 1985

RESULTS : Considering the archaeological evidences, it is velieved that the southern culture centered in KuSu and the Nothern Culture centered in the centeral Japan, specially at the estern Japan, existed together with the culture come through the southern regions and northern regions of Japanese Islands in Jomon Culture and Yayoi Culture period. As the center of territory moved from KuSu to GiNae in Tumulus Culture period, two-pieced style of the northern people who have already there became prevalent. The costume of Tumulus Culture period was developed from the coexistence f southern style and northern style to the merge of the two styles by the nomads come from Korean Peninsula. The riding costume was propagated by Koreans, and the style used in Korean Peninsula was more deeply influenced to the costume of the ruling class. The costume of Asuka Culture and MakuHo Culture period succeeds the costume of Tumulus Culture period without wide difference. But the costume of Korean Peninsula lied more deeply as the root of Japanese Costume. While the costume of the ruling class was changed into Tang's style, the costume of the masses was under the influence of the costume of Korean Peninsula. It became the base of current Japanese Folk Costume.

• Journal of the Korean Society of Costume
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• v.1
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• pp.21-48
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• 1977

Ka Rae Do Gam Eui Gue(嘉禮都監儀軌) is records of wedding ceremonies of empresses and crown princesses in Yi Dymasty. This recors shows the sorts of court costume and the required quantity of dress material. And illustrations of ceremonial procedure in the Eui Gue give us an obvious picture of those clad in the costume. This study aims at analysing the secords of female costume and inuuiring into the transitional process of the conrt costume.