• Title/Summary/Keyword: Costume Design

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Crochet Knit Design through Application of Gustav Klimt Paintings (구스타프 클림트 회화를 응용한 크로셰 니트디자인)

  • Kim, Jung-Ran;Lee, Youn-Hee
    • Journal of the Korean Society of Clothing and Textiles
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    • v.31 no.11
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    • pp.1598-1610
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    • 2007
  • The knit design of this study was developed from reconstruction of Gustav Klimt images including gorgeous colors, symbolic lines, patterns and decorations, and the purpose was laid at making of unique, creative costume image with modem sense and adding artistic value on crochet knit wears. As for the contents and method of this study, We analysed formative aspects of Gustav such as line, color and shape Klimt in his art, and reviewed the cases where his works had been employed in modern costume. The conclusions are as follows; First, painting is important motif for contemporary costume design, and according to the individual thinking and expression, can be a major momentum for development of original design. Especially the organic lines and decorative patterns of Gustav Klimt paintings were suitable for rich decorative motif of costume design. Second, the unique colors of Gustav Klimt paintings can, if introduced to costume, allow new color combination. Third, crochet technic, by the texture of material, can present rich expression even with the basic knitting only. The embroidery metallic thread which is the main material for this study, was good for expression of gorgeous and classy image, in spite of the difficulties from its typical luster and embossed feeling. And the mohair, used as decorative motif, allowed more three dimensional expression with its rich voluminous and tangling property. Fourth, in applying Gustav Klimt paintings to costume design, other technics such as knitting, beading, applique, and patchwork helped creation of more unique clothes, presenting possibilities of rich artistic expression.

A study on costume designs using Macramé knot - A focused on four major fashion collections between 2011 S/S and 2020 F/W - (마크라메 매듭을 활용한 의상디자인 연구 - 2011년 S/S ~ 2020년 F/W 4대 패션 컬렉션을 중심으로 -)

  • Lee, Mi Sook;Lee, Young Sook
    • Journal of the Korea Fashion and Costume Design Association
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    • v.24 no.2
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    • pp.45-57
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    • 2022
  • This study aims to analyze the macramé technique used in costume design based on the cases from 2011 to 2020, when the macramé technique became popular. The research data are the results of analyzing the materials, clothing items, and structural combination of macramé knots by season, year, and collection from 2011 S/S to 2020 F/W, focusing on the four major fashion collections New York, Paris, London, and Milan. Macramé appeared often in the S/S season, and in the 2019 and 2020 S/S seasons, macramé was identified as a keyword for fashion trends based on its frequent usage. Overhand knots were used the most for the types of macramé knots used in costumes, and overhand knots were also used the most in the S/S season and in the New York, Paris, and Milan collections. Rope was the most frequently used material for macramé knots, and it was confirmed that it appeared frequently in 2011 and 2019, and ropes were also used often in the London, Milan, and Paris collections. One-piece appeared the most in the S/S season and F/W season as costume items. In addition, the costumes used as layers in the S/S season appeared most often, and in 2019 and 2020, the layered combination appeared most frequently in London and New York collections. It is judged that macramé appears repeatedly in the S/S season depending on the type of knot and is used as a layered look, making it a decorative element rather than a practical element. This study is expected to help develop modern fashion design by drawing attention to the value of the macramé technique expressed as handcrafted work.

A Study on the Stage Costumes of Creative Musical Play - Focusing on the Korean Traditional Music Cantata 'I Will Rise' - (창작 음악극의 무대의상 연구 - 국악칸타타 '나는 일어나리라'를 중심으로 -)

  • Kim, Young-Sam;Kim, Sung-Soo
    • Fashion & Textile Research Journal
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    • v.14 no.5
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    • pp.730-738
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    • 2012
  • This study proposes a process to design and analyze stage costumes by design elements for the costumes of the Korean traditional music cantata 'I Will Rise'. This study states fundamental references to make costumes of similar performances in the future and develop costume designs based on the format of a play. The findings are as follows. First, the costume production process of 'I Will Rise' is conducted in the order of directing intentions and script analysis, costume design, miniature production, costume production, costume modification, run, and post-production. Second, an overall Korean silhouette is expressed through the creation of costumes based on the construction of Korean traditional clothing (hanbok); however, from a detail perspective, a modernistic sensitivity is expressed through the use of modern elements (wing shoulders attached to shoulders, narrow ribbons made in a string form, and wristlets and belts) not found in hanboks. Third, tie-dying is applied to the costume colors of each character to highlight the traditional and unique feeling of dye and symbolic colors that effectively represent each role used to communicate the storyline and character emotions to the audience. Fourth, materials for costumes are cotton and linen (frequently used to create the texture of a Hanbok) as the costume of each character is emphasized to the use of additional and detailed materials such as artificial leather, hemp, and silk.

A Study of Queen Elizabeth I's Cinema Costumes Viewed from Her Portrait (초상화 복식을 중심으로 본 퀸 엘리자베스 1세의 영화 의상에 관한 연구)

  • Sung, Kwang Sook
    • Journal of the Korean Society of Costume
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    • v.62 no.8
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    • pp.55-70
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    • 2012
  • In 16th century, during renaissance time, Britain's queen Elizabeth I, as a means to express her authority, had an exaggerated clothing styles and was the fashion leader of the time. Thus, through a media of Cinema, tried to find out the characteristics and different aspects of the history of clothing styles, of how they changed, ascertained, restored, and reappeared in the modern time. The research was based on the consideration of Elizabeth I's 33 portraits and her clothing styles; and the research is also from analysing the movies from 1937 to 2007, a total of 9 Cinema and 102 clothes. Movie costumes' most important mission is representing the cinema's timely and spatial background. Thus, it is inevitable that ascertaining and restoring Elizabeth I's portrait should be done. However, the movie costume has to show her dramatic lifestyle, dignity, absolute authority, and other visual images. In addition, the costume has to contribute in making artistic effect and thus the creativity of a designer to satisfy all these needs should be added. Based on the findings from the research, the characteristics of Elizabeth I's Cinema costume are first, ascertaining and restoring portraits, second, mixture of silhouette and detail depending on time period, third, partial change on clothing style design, fourth, emphasis of ruff collar, fifth, magnification colors, sixth, avoiding excessive swelling and decoration, and applying modern style on Protective costume. Thus, based on the research, creative design in Cinema clothing, plays an important part in the history of clothing design. I hope this research could work as a foundation reference for clothing design's history.

A Study on Fashion Souvenir Ornament Design for Female Dolls with the Application of Relic and Painting Motifs in the Late Goryeo Period -Focus on Investigated Design and Costume Coordination- (고려 말기 복식유물문양과 회화자료를 응용한 여성형 인형장신구 문화상품 디자인 연구 -고증디자인 및 복식 코디네이션을 중심으로-)

  • Choi, Jeong
    • Journal of the Korean Society of Clothing and Textiles
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    • v.37 no.5
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    • pp.691-703
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    • 2013
  • The costume culture of ladies in late Goryeo is an important and rare source for cultural fashion souvenir design. This study investigates the historical costume design sources of late Goryeo to suggest high quality traditional and practical ornament souvenir designs for female dolls as well as examples of coordination with doll costumes. The costume culture of late Goryeo contained golden Buddhism and a revival of $12^{th}$ century Goryeo costume characteristic after the period of Mongolian influences from the Yuan. The main sources for doll ornament designs are $14^{th}$ century Buddhist paintings, a few ornament relics of Goryeo, ancient literature, and portraits of ladies in the $14^{th}$ century that originated from five doll's traditional ornaments (lotus hairpin, cloud-shaped hairpin, Buddhist flower hair ornament, vase-shaped Binyeo, and bell of animalhuman face) and three wig designs (wigs from Buddhist paintings and portraits, and hairpiece) with bleached gilding silver, silk, various gemstones and synthetic hair. These doll ornament and wig designs imply the symbol of Buddhism, exorcism, and costume culture of $14^{th}$ century Goryeo ladies that can be matched with two doll gowns, half-sleeved jacket, skirt, two Jogoris, apron, under trousers as formal, semi-formal, and town-wear according to the T.P.O of late Goryeo; in addition, five ornaments can be used as owner's ornaments. The partial changing colors and materials due to the characteristics of doll ornament goods as well as better communication between researcher and constructor remain to be improved.

20C Modern Fashion Designer -Paut Poiret- (20세기 현대 디자이너의 선봉 -Paul Poiret-)

  • 이희현
    • Journal of the Korea Fashion and Costume Design Association
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    • v.3 no.1
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    • pp.77-91
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    • 2001
  • Remembering a meaning of fashion started in the early 20C, Paul Poiret is one of the most important designer. If so, what does his achievements and assessment his costume design have to be? That is the spirit of his design. Through the creation of the new style which is totally different from a period before, introduction of the vivid color, the new line and the enthusiasm of the fashion business, he showed the roll and the possibility of the modern designer. In Poiret's women's costume, harmonious beauty of women could be discovered in beautiful color which was not used in the 19th and elegance line. Furthermore, in the creation of the color and style, he got a strong influence by the art of early 20C's Europe. This was an opportunity that todays fashion has treated as a part of the or her art, and many modern designers are contacting with the art. The excellent ability in the fashion business has the composite as total fashion. Fashion business including perfumes, cosmetics furnitures, accessories is a model for most designers who follows him.

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Blog Application of Korean Traditional Costume as Culture Information Contents (한국전통복식 문화정보의 블로그 활용에 관한 연구)

  • Hwang, Mi-Sun;Lee, Eun-Young
    • Journal of the Korea Fashion and Costume Design Association
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    • v.14 no.1
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    • pp.97-109
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    • 2012
  • Recently, it is concentrated world interest to Korea sensational (Hanryu) exited for not only sports but korean drama, K-pop in public culture. And G20 summit meeting and Winter Olympic open city selection. It is why practical information needs of Korean traditional cooking method and Korean culture, history and architecture and easy way to gain information. Korea has strong power for internet and nuke personal media mini home page, and cafe, blog. Blog is useful for spread information and has efficiency of speedy exchange information. In this study making blog contents of Korean traditional cultural information for not only Korean but foreigner. For method find blog has possibility of cultural information spreading tool, in literature and investigate usefulness and contents of naver blog having Korean traditional costume. In this study, it is helpful to open and construction personal blog of korean traditional costume and traditional culture contents.

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A Content Analysis of Articles in Journal of the Korean Society of Costume: 1977~2001 (한국복식학회지 [복식]에 게재된 논문의 내용분석 -창간호(1977)부터 51권 8호(2001)까지-)

  • 이미숙
    • Journal of the Korean Society of Costume
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    • v.52 no.4
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    • pp.97-109
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    • 2002
  • The purpose of this study was to examine volumes 1 through 51-8 of the Journal of the Korean Society of Costume in relation to past trends In content area of research reported, authorship, and funding source. Six subject matter areas were indentified: history of costume, apparel design and aesthetics, fashion marketing, social psychological aspects of clothing, clothing construction, textile science and etc. Of the 892 articles studies, history of costume research represented 40.1%(358). Studies which focused on apparel design and aesthetics increased in number as the journal matured. 51.8%(462) were authored by a sole individual. 48.2%(430) were authored by above two persons. Funding sources were indentified in 15.7%(140) of the 892 articles. College and university grants 72.9%(102) were acknowledged most frequently as a funding source.

A Study of Adapting Men's Pyoeui of Chosun era to Wedding Dress (조선시대 남자표의를 활용한 혼례복 디자인개발 연구)

  • 여상미;박옥련
    • Journal of the Korean Society of Costume
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    • v.52 no.4
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    • pp.39-50
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    • 2002
  • The purpose of this study was to present adapting Korean beauty to the design of Wedding dress. For this study, Chosun Men's Pyoeui(coat) were considered first. Pyoeui had the courtesy and variety. They were Jobog, Danryeong. Chulrlk, Dabho, Jangeui, Aegjueumpo, Jigryeong, Changeui, Changos, Jungchimag, Hagchangeui, Simeui, Dopo, and Durumagi. Pyoeui were considered the formative features and the costume beauty describing Shape, Color, Material, Pattern. and Ornament. And Pyoeui were considered the instances which were adapted their formative features to Wedding dress. The formative features appearing on Wedding dress were merely applied the outward shape. Therefore it will be necessary to understand the outward features and the costume beauty about Men's Pyoeui for adapting Wedding dress. And then the continuous attempt is needed to adapt the beauty of Korean costume to the design of Wedding dress.

The Formative Characteristics of Ukrainian Ethnic Dresses (우크라이나 민족복식의 조형성)

  • 최수빈;조우현
    • Journal of the Korea Fashion and Costume Design Association
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    • v.6 no.2
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    • pp.63-75
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    • 2004
  • The traditional Ukrain costume has been gradually developed and influenced by the climate and political, economical environments. The national costumes has represented the beliefs and understanding of people about the beauty and harmony of the world. Eastern Europe and Northern Asia are considered as the origins of the Korean traditional costume, and the artifacts ranged from over the Black Sea to ‘Skitai’ and Northern Asia to ‘Noinoola’ support this hypothesis. This study is investigate the formative characteristics of Ukrain national costume especially of the nineteenth century and the early twentieth century. In Ukrain, Men wear ‘Rubaha’ (shirts style's upper garment-in Ukrain Sarochka) and trousers, women wear ‘Rubaha’ with vest and a skirt and a head gear were worn. Ukrain is consisted with three group - 1) Dnipro region-included the Kiev region in the center of Ukrain, 2) Polissia region in the northwest of Ukra in and 3) Hutsul-Zakarpattia region in the west of Ukrain. These three groups have there own different formative characteristics of Ukrain traditional costume.

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