• Journal of the Korean Society of Costume
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• v.35
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• pp.281-292
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• 1997

Tatan is a symbol of kinship and belonging in Scotland and a badge of identity recognized all over the world. Alongside the powerful historical and national resonance to Tartan for Scots it has been borrowed repeatedly by fashion. The pattern compositionof Tartan check is formed as a typical cross stripes that vertical line and hrizontal line meets rectangulary. And its color is much various and rich than other check pattern. So its magnificient spec-tacle that various all kinds of colors is dyed in cloth is second to name. Today we are as likely to meet tartan in a couturier dress as in a kilt or plaid. Tartan is distinctive in colour style and de-sign. It conveys personality ceremony and drama. All these aspects of its character have contributed to tartan being one of the best-known and best-loved fabrics in the world. In other parts of Europe traditional checked patterns declined and disappeared but in Scotland tartan survived strongly jist as the bagpipes also European flourished Due to geographical and cultural circumstances Scots were able to develop and enhance tartan and its remarkable individuality ensured its sur-vival in spite of adverse political and economic pressures. Tartan has been adopted as the national dress of all Scots. Lowland and High-land providing a powerful form of national cultural and personal identity. Whether tra-ditional or a recent creation whether tra-ditional or a recent creation whether a symbol of nationality or a substitute for nationhood tartan is no mean achievement.

• The Research Journal of the Costume Culture
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• v.30 no.1
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• pp.145-160
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• 2022

This study analyzes the influence of the social and cultural background of Art Nouveau on the costumes, architecture, and crafts in the period drama 'Crimson Peak'. This research method captures images of women's costumes, architecture, and crafts in the 'Crimson Peak' and selects and analyzes those with a clear Art Nouveau influence. Edith's costumes are characterized by the Art Nouveau style that emerged in the 1890s, with an hourglass silhouette, pastel colors, soft materials, and organic curved embellishments. Lucille's costumes show characteristics that were prevalent before the 1890s, using bustles, strong colors, and elaborate ornamentation. The architecture is characterized by gothic vertical lines and organic curves, naturalistic patterns featuring animals and plants, and steel and glass materials. The crafts of 'Crimson Peak' are characterized by flexible shapes with strong, organic curves. These costumes, architecture, and crafts share formal elements including waving, twisting, and organic curves and plant-shaped motifs. The influence of social and cultural background of the age of Art Nouveau expressed in movies on formative arts was examined as impressionism appeared in costumes made of pastel colors, thin and see-through materials, medieval Gothic historicism expressed in structures composed of vertical design and religious relief ornament, exoticism appeared in Chinese vase and Japanese-patterned tea sets, naturalism with an animal·plant motif and phenomenon of active social activities of progressive women through women's clothing that elements of men's costume are introduced. This study will provide data for the production of period dramas set at the end of the 19th century.

• Journal of the Korean Society of Costume
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• v.66 no.6
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• pp.17-31
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• 2016

The purpose of this study is to perform historical reconstruction of the court dress coat in the Daehan Empire in order to make replicas of the artifacts. Following steps were undertaken in the study : literature research of the laws of the era, drawing of the design, embroidering gold work, and tailoring of the coat. Embroidering and tailoring experts were consulted to complete an accurate reconstruction of the dress court. The results of this study are as follows. First, Juimgwan's coat, which was the Court Costume Rule in 1905 was selected as an experimental coat. It was revision of the Court Costume Rule in 1900. The process of selection was based on the amount and easiness of embroidery. Second, the design of the back bodice, chevron, pockets and collar is reflected the pattern of the preceding research, which was analyzed from the laws, the drawing document[Gwanbokjandoan], and artifacts. Third, the gold work embroidery in the back bodice, chevron, pockets and collar was done. The embroidery material were composed of gold threads, such as rough purl, smooth purl, check purl, pearl purl, rococo, and spangle. Couching was used as an embroidery method. The coat was tailored after embroidering. The coat and the buttons were made after analyzing the artifacts. The result of this study can be utilized in the field of historical reconstruction of artifacts in the museum, the designing of stage costume in the performances of reenactment events, drama, and movie of Daehan Empire. Furthermore, this study is anticipated to contribute to the fundamental research of culture contents.

• Journal of the Korean Society of Costume
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• v.60 no.1
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• pp.14-27
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• 2010

The purpose of this study is to analyze how the aesthetic characteristics of Brecht's V-Effekt is visually expressed of the costume in the Traditional Play of Korea, China and Japan. The method and the contents of the study were to refer to the antecedent studies and the related documents to peruse the characteristics of the traditional plays of the East and West, the origin and the concept of Brecht's Verfremdung and considered the relation of Brecht's V-Effekt and the Oriental plays, and then the researcher derived the aesthetic properties of Brecht's V-Effekt. This study analyzed how those qualities of the aesthetic characteristics on the V-Effekt are manifested on the stage costumes of Korean mask, Beijing opera and Kabuki. The aesthetic qualities of Brecht's V-Effekt are classified into symbolism, grotesque disposition, character of sing and dance, comicality. The symbolism in the traditional play costumes of the three nations is shown in the colors of the masks in Korean and the tone of the colors on the costumes and the make-up in Beijing opera and Kabuki. While the properties of bizarrerie and deformation coexist in masque and Beijing opera costumes in terms of grotesque disposition, Kabuki strongly displays bizarre grotesquerie. The character of sing and dance is visually expressed through the transformation of sleeves on the three nation's traditional play costumes; Masque on the Hansam and Chengsam, Beijing opera on the Water sleeves and Kabuki on Hurisode. The comic aspection is expressed in a humorous and comical way through the distortion and transformation of forms in Masque and Beijing opera but it cannot be seen in Kabuki costume. The study as above will form the aesthetic properties of the Oriental traditional play costumes and also it will contribute to establishing the identity of Korean mask costumes.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.51-61
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• 2005

The purpose of this study is to identify function of make-up as an Important variable in terms of its influence to psychology of performers and outcome of their performance. From June to November 2004 performers in 4 types of fields, i.e., opera, musical, drama and dancing being performed in Seoul and Cheongju were chosen as subjects and totally 450 questionnaires were prepared and distributed and among them 416 were used as data for final analysis. For data analysis frequency analysis, factor analysis, T-test, one-way ANOVA, path analysis, chi-square test were conducted by means of SPS 12.0 and MOS 4.0 statistical programs and as ex post facto checking Duncan's multiful range test was conducted. Make-up is an important element in acting and it has great influence on level of psychological satisfaction of an individual. It was disclosed that psychological factor of concentration and lethargy have direct bearing on acting performance. In order to maximize actor or actresses performance skill perfect make-up is essential and role of make-up specialist can become a critical factor for inducing success in performance. Role and duty of make-up artists in terms of scope of their responsibility should be extended so that they may give their full support to the performers to be most successful in their performance.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.44-58
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• 2012

The purpose of this research is to contemplate chronological changes of Korean actress facial image and fashion from 1960s to 1990s and to identify Korean women's ideal beauty reflected through the times. Adjectives describing representative actresses of each studied decade were collected from major newspapers and magazines. Korean women's ideal beauty was divided into 4 sub-types such as youthful, pure, sophisticate, and sexy images. As a result of analyzing actress facial image and fashion, youthful and pure beauties were found consistently over the studied periods. Representative characteristics of sophisticate and sexy beauties have been changed over the studied periods which were influenced by socio-cultural environment factors. The result of this research can provide meaningful sources for historical drama, celebrity marketing strategy planning, and personal image consulting.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.93-109
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• 2012

The purpose of this study is to examine the modern men's fashion coordination to see the image in the center of TV dramas in terms of Habitu that is formed within hierarchy and class. The subjects range is included fashion style, color, accessories, hairstyle and appearance. 950 pictures used in the analysis sheet. In research methods, content analysis and basic statistics were used. The results of this study were as follows. First, the hierarchy image formed by Habitus is significant difference. The upper layer is coordinating elite luxurious and prestigious image of the fashion styles. The middle layer is coordinating neat and capable image. The lower layer does not care about the appearance and image appearing weary life is coordinating. Second, the class image formed by Habitus, CEO often interests in fashion image coordination. Senior executive is represented clean and luxurious image. General white color dresses in a suite such as office look. Blue color does not care about the fashion coordination and is expressed an easy dress for labor. Architects of the unstructured free-spirited image is represented. Physician and resident physician dress in shirts, no pattern tie, pants, robe. And they is coordinating neat and tidy attire to represent professional and reliable image.

• Journal of the Korean Society of Costume
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• v.36
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.3
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• pp.175-192
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• 2017

The purpose of this study is to provide the characteristics and development direction of K-fashion and to systematize the strategic features performed by government agencies, fashion associations, fashion companies, and other companies to activate K-fashion. This research analyzed K-fashion related articles published in major newspapers and magazines in Korea from the late 1990s to early 2017. The results of the study are as follows. 1. The characteristics of K-fashion are as follows: The first is a trendy and sophisticated design with modern sensibilities, unique designs that reinterpret the latest trends with designer creativity, practical and popular designs that ordinary people can wear comfortably in everyday life. The second is functional and trendy materials. The third is excellent sewing technology. The fourth is rapid turnover of products by quick connections among planning, production and sales. The fifth is a lower price than quality. 2. The direction for K-fashion to pursue was the continuous and ongoing development of the above characteristics and the creation of a 'design with the Korean emotion of its 5,000 year history'. 3. The following projects were carried out to promote K-fashion. 1) Utilization of K-pop, K-drama and other Korean wave content. (1) Holding a fashion concert event that combines Idol's K-Pop performances with fashion shows. (2) Hallyu (Korean wave) star's costume support and design collaboration with Hallyu stars. (3) Collaboration between entertainment companies and fashion companies. 2) Nurturing a global fashion branding project. 3) Business support for overseas expansion of the K-fashion brand. (1) Support project for foreign trade fair participation. (2) Holding a fashion brand fair in Korea. (3) Overseas business support by establishing a showroom and design center 4) Business to discover and nurture new designers

• Journal of Fashion Business
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• v.19 no.1
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• pp.62-76
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• 2015

The purpose of this study was to analyze and compare the shapes, colors, patterns, and hairstyles of Qipao worn by heroines that were reconstructed over times, in a Chinese TV Drama set in the 1930s and televised in 1980 and remade in 2007. We investigated how the Qipao was reinterpreted. The results were as follows. First, in televised in 1980, Qipao borrowed the characteristics of Jing Pai Qipao, which became popular in Beijing. Jing Pai Qipao was characterized by a roomy and loose silhouette that does not expose a body line, Chinese traditional 5 colors, simple plain patterns and Chinese traditional flower patterns. For hairstyle, twist and permanent wave styles that were popular in the Republican Period were very common. On the other hand, in televised in 2007, Qipao was a Hai Pai style that was very popular in Shanghai in the 1930s. Hai Pai Qipao was characterized by a tight silhouette fitted to the body, various colors such as purple and beige other than the 5 colors, Western flower patterns and modern geometric patterns. Hairstyle was changed from bang hair to a permanent wave. Second, while had a modern reinterpretation of Jing Pai Qipao that was very popular in Beijing, rather than Hai Pai Qipao that became popular in Shanghai in the 1930s, used Hai Pai Qipao that was popular in Shanghai in the 1930s. In particular, demonstrated how the mass media should reinterpret past clothing by thoroughly studying and reflecting Shanghai Qipao in the 1930s and adding viewers' aesthetic taste of 2007 without damaging an original. Moreover, it confirmed that clothing can function as language and symbol within the mass media by connecting the color and pattern of Qipao with characters' traits and the plot. It suggests that was more advanced than filmed in the 1980s. The findings of this study might provide useful data to costume designers who reinterpret costumes from a new angle.