• Journal of the Korean Society of Costume
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• v.43
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• pp.283-298
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• 1999

Bei-Wei(北魏) arose from Ta-ba clan(拓拔氏), a race belonging to Xian-bei(삼배) and it was the first foreign dynasty that reigned the central area of China in A.D 386-534. Xiao-wen-di(孝文帝) found it necessary to adopt the ruling mechanism of Han race's 'Sino-centralism' so as to establish orthodoxy of Xian-bei dynasty. He ordered Xian-bei people to channge their own costume for the costume of Han race. Costume was one of ruling means in Xiao-wen-di's case. However the revolutionary policy of Sinonizatio by Xiao-wen-di brought abuot serious conflicts and confrontations among classes of Xian-bei Xiao-bei wore their own costume and opposed Xiao-wen-di(孝文帝)'s policy Consequently Xian-wen-di(孝文帝)'s Sinonization policy accelerated the downfall of Bei-Wei(北魏). In the course of reformation and downfall of Bei-Wei(北魏) costume played an important role of representing national indentity.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.3_4
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• pp.454-463
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• 2002

The purpose of this thesis is to understand the role and meaning of costumes in feudal dynasties through Ideology, Content, and Consequence of Costume Policy of Qing. And this is to investigate the Ideology of Costume Policy as the first strep. The ideology of the costume policy of Qing dynasty stemmed from the ethnic identity. Huang-tai-ji(황태극) was not only the emperor, but the Qing's principle costume policymaker. He thought that the Man people's horse-riding and archery was the basis of their nation and their costume was vital to these abilities. Therefore if thar changed to the large sleeve costume of the Han people, they would lose their ethnicity. Hurting-tai-ju succeeding emperors continued the ideolo효 of retaining ethnicity.

• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.5
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• pp.654-666
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• 1999

Korean Costume has long history and functional aesthetic value compared with the traditional costume of other contries. But nowadays korean Costume is becoming more and more distant from the people in the world wide current. To domiciliate and spread out the Practical Korean Costume which the goverment selected as CI symbol representing Korean culture in the trend of times. We investigated and analysed systemically the consciousness of customers and the details of design. This study consist of theoritical study and positive study. Theoritical study has the esthetic characteristic(structure characteristics formative characteristic and the characteristic of color) As the conciousness of people change in modern life which everything change in high speed the esthetic characteristics of Korean Costume have changed in structure.

• Journal of the Korean Society of Costume
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• v.48
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• pp.53-70
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• 1999

The theatre costume in English Renaissance which is scarce in its historical materials can be inferred and imaginarily reconstructed from classifying it according to types of theatre costumes and considering its specific form in that age. The history of fashion could be also approached in the light of theatre costumes and it might be some help to the present theatre costume. Thus the purpose of this thesis is for contributing to the study of theatre costume by inferring the English Renaissance theatre costume from classifications and research of its pattern in detail. This thesis consists of the overview of the periodical background of English Renaissance and then analysis of the stage surroundings ar that time and classification of the theater costume acording to the types and finally inferences of the pattern of forms of the theatre costume. The theatre costume in English Renaissance can be divided into these group:(1) for foreigners such as Roman Turk Spanish and Jews (2) for supernatural beings such as a nymph god, goddess, ghosts, and witches(3) for professionals such as a clown, a clergyman. doctors and senators(4) for cast of animals such as a lion a bear and pigs. In the Elizabethan period theatre costumes were used together with Elizabethan costumes on the stage. Generally the theatre costumes in the age were typically made of very expensive materials and spectacles to the audience and compensating for the poor stage settings.

• Korean Journal of Human Ecology
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• v.10 no.2
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• pp.225-235
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• 2001

The purpose of this study is to find out the changes for the first birthday's costume in westernizing Korea society of the twentieth century. For this study, I analysed the related literature for the first half the twentieth century due to the lack of relevant photographs, while I used the method of content analysis of 136 photographs for the second half of the twentieth century. According to the analysis of photographs, first birthday's costume for girls dressed up was more different than those for boys. But first birthday's costume items for boys were more than those for girls. Generally first birthday's costume consists of Bokkon Jeonbok Jeogori(Sackdong) and Baji for boy's, Chima and SackdongJeogori for girl's. Because the meanings and look of Hogun, Durumagi, Sagusam, Busun and Baeza are good, those items might be to used for first birthday's costume in the future. To establish better first birthday's culture and costume in Korea, it is important to educate people involved in related business for traditional costume. Because most of first birthday's costume are usually borrowed for photographs. Also item and design for the first birthday's costume should be studied in order to improve traditional cultural products.

• The Research Journal of the Costume Culture
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• v.10 no.3
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• pp.283-292
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• 2002

This study is to examine the costume and features in Asuka period and the results are as follows. Asuka period is the time that the country loader positively imported the continental civilization, founded a new country organization in political society and accepted Buddhism and exerted his best passion for its thriving. As the result of examining the costume and features of Asuka period when the requirement for accepting the foreign culture was met via the present costume regulation and relics material, it was found that the costume had a considerable difference between of the ruling classes with government official and noble as the center and the common people. As for the costume of the ruling-classed official and noble, Korean and Chinese costume regulation was introduced, court dress, ceremonial dress, and uniform were dressed. The composition of costume with introduction of new clothes including Wio, Baedang, Seup, Pil, Kyongsang, for the ruling classes was diversified as well. As the result of looking the clothes for the present ruling classes via the existing and the contemporary relics, it was found that the clothes consisted of Eui and Gon or Eui and Sang style in principle and Po with Banryung or Sooryung was worn over what. However, for the common people, mainly man wore Eui and Gon and woman Eui and Sang, which was the traditional costume style in the ancient tomb days.

• Journal of the Korea Fashion and Costume Design Association
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• v.15 no.4
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• pp.47-61
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• 2013

This paper compared and analyzed costume design shown in two movies that was adapted from the same original work, 'Snow White'. One movie consists of a western director and a western designer team while the other movie is shot by an Asian director and an Asian designer team. Two movies show similarity and difference in expression of characters in 'Snow White'. The findings are as followed;- Both movies project an image of modern women, which is mainly represented by active and confident women, However, Ishioka Eiko, the costume designer of < Mirror, Mirror >, created unique costume in the movie by applying splendid and vivid colors to western costume to make exotic feeling. On the other hand, Colleen Atwood, who was inspired by costume in each historic period and region of the Western. created costume that was closer to the tradition of the Western in his movie, < Snow White and the Huntsman >. The purpose of this study is to help the Korean movie industry to find a way to advance to the world market by fully understanding how the Easterners and the Westerners feel and express 'Snow White'. Moreover, this study may present a chance to review importance and value of the movie costume design area.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.203-223
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• 1994

This study intends to look through the development of female costume during the 100 years after the flowering time. By refocusing on the flow the Korean female costume, this study present representative costume style of that time and find out the fashion cycles. For this purpose, the clothes during the 100 years (from 1890 to 1993) were observed and changes of female costume, hair style and shoes were observed. Literature review and content analysis method used. The results of this study are as follows : For Korean costume, there were little changes in basic styles and only the jacket and skirt lengths were changed. After 1960s, as modernization of socio-cultural aspects were processed, Korean costume became formalized and structure of costume was duplicated. In the 1960's mint skirts and pantalons won popularity. In the 1970's , diverse modes including mini, midi, maxi, pantalon, hot pants appeared, and especially the jeans were popular. In the 1980's big & loose silhouette was in fashion in the beginning, and fit & flare silhouette later in the decade. In the 1990's styles emphasizing natural feminity came in fashion. In addition, by analyzing the development of female costume styles of Korea, Fashion cycles were found, expecially in the phenomenon of 70's styles repeating in the 90's.

• Korean Journal of Human Ecology
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• v.1 no.1
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• pp.113-125
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• 1998

This study has resulted in the followings applying costume's form and meaning to the theory of structuralism established by Saussure and the extensive and contained meanings of Roland Barthes. The kinds of woman's costume of the Romanesque era were not various, but those of the royal family and aristocratic class were more various and decorated better than the lowly persons. So their social levels could be differed by the forms of the costume they wore. Each form of costume was differed according to the structural elements and showed the feature that the form is the costume of the era and social position's differences of the wearers' sexes, levels, and vocations in the same era. Costume's analistic body was the costume's form selected according to the central analystic elements, this showed the meaning of the era's levels and classes, that is, the costume's structure was reflected by the era's features. In the structure of the woman's costume in the Romanesque era, many religious features were emphasized and the elements forming each analystic body were classified and meant the society's features. (Korean J Human Ecology l(1) : 113∼125, 1998)

• The Research Journal of the Costume Culture
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• v.17 no.4
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• pp.583-599
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• 2009

The purpose of this study is to analyze movie costume of main character and find design characteristic and historical spirit focusing on the movie, in which Ishioka Eiko, Japanese movie costume designer constructing unique design world, participated. The study captured images of three movies such as , and with Digital Multimedia Converting System and analyzed them by focusing on the pictures showing designer's intention and design characteristic well among acquired 319 pictures. The costumes addressing movie costume designer's sense of values are recreated as future-oriented new works and are expressed as creative costumes by acquiring inspiration from past factors, dissolving them and applying up-to-date technology. Movie costume shall reflect historical spirit of our age as movie shows social cultural trend including fashion trend of manufactured age. Ishioka Eiko has searched for the design, which is proper for three principles such as 'be unique', 'be eternal' and 'be innovative' and from the result of analyzing movie costume, it is found that she showed characteristics of symbolism(transmission of the sensitivity), ornamentalism(effective representation as a decorative effect attention) and multiculturalism(harmony of time and culture) as well as uniqueness. The movie costume are different mutually and create new hybrid culture, in which different costume cultures are mixed with current costumes without the restriction to other culture. It is proper for the age of globalization and localization so it is expected that the multiculturalism will be enlarged more.