• Journal of Fashion Business
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• v.14 no.3
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• pp.1-19
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• 2010

The Assyrians usually wore two types - the tunic and the shawl. These two types were worn alone, or in combination and changes were introduced by varying the proportions of the tunic or shawl. The tunic appeared to be of the sleeves are short and reaching to the ankles or shortened to knee length according to the rank. Assyrian shawl pattern can be divided into five distinct styless. Many of the styles were suitable for costumes to wear in religious plays and pageants. Fringed shawls were the trademark of forma1 Assyrian costume. The usual badge of rank was a long fringed shawl. Intermediate rank wore shawl with short fringes and lower grade wore no shawl at all. The military costume was comparative uniformity : conical helmets was regarded as Scythic in character, short, fringed tunics, wide belts or helmet, round caps and long tunics covered in metal scales, belted at the waist. Assyrian woman costume was the long tunic with fringed hem and a long fringed shawl or was a plaid tunic and wide belt over it. They wore gold crown and horned Cap and tiara, ugal (head-dress) and the most ordinary earrings were the drop and the cross shape and necklace was made of the coloured stones and bracelets ended with heads of animal was regarded as Scythy style or adorned with a rosette at the centre.

• Journal of the Korean Society of Costume
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• v.35
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• pp.67-89
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• 1997

During thousands of years the people of china have not only created the brilliant cul-ture with a world reputation but also brought about an abundant treasury of paramountly beautiful hairdo fashions beyond comparison. Hair styles are an important symbol of the ma-terial and cultural civilization of a certain his-torical period. In Dang Dynasty the country was unified the economy was properous and the political situation was relatively stable. These spelt the solid foundation on which the rich and colourful varieties in the hair styles of women emerged. The numerous hair fashions in Tang Dynasty woman folk could be summed up into three catagories-high bun hanging bun and flat bun. Of course like the garments hair fashions are also the marks for the social status of the women in the feudal society. The hairstyle of the women of the Song Dynasty still followed the fashion of the later period of the Tang Dynasty the high bun be-ing the favoured style. To dress this type of high bun switches were generally used sometimes fashioned in to switch buns of various shapes coiled directly on top of the head. Women from rich families however usually had hairpins and combs made into the shape of flowers birds phoenixes of butterflies to be pinned on top of the buns.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.77-77
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• 2003

If we look closely to the power shift of the powerful countries historically. during the 16th century Spain's power came from gold, colony trade, the mercenary force, close relation with the thrown, 17th century Netherlands owes their power to trade, capital market, the marines, 18th century France owes it to population, agriculture, public administration, and the army. Also, England had their industry, political unity, finance and trust, the marines, liberalistic principles, a geographical merit of being an island which can be defended well and the 20th century America has their cosmopolitan culture, supernational communication, the capacity of the economy, science technology, military strength, alliances, liberalism international formation. But in the 21st century culture and art will prevail over the information age where technology and knowledge was the key, and it is predicted that this will be the source of power for a strong country. Rolfe Yesson, the head of The Copenhagen Research Center for future studies said, "Information age has ended and in the future Dream Society will arrive which focuses on making distinctions by delivering dreams and emotions to consumers". As cyberspace gradually substitutes reality, cyberspace has become more than an information search engine and has become a place where people fulfill their desires and exchange culture. And as a medium for diffusing culture, the importance of the digital dress-up avatar is predicted to increase gradually.gradually.

• The Research Journal of the Costume Culture
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• v.2 no.2
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• pp.247-263
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• 1994

This study is concerned with the slsl 瑟瑟. The identity, origins of the word, kinds, the place of production, and the sues of he sl sl were examined. The world sl sl means the sapphire. The Chinese word se se(seh seh), 瑟瑟 was derived from the Hebrew word, she she meaning marble. The use, meaning and the phonetic value of the sl sl between the Chinese and the Hebrew were the same each other. It indicates that the Chinese word se se(seh seh) was the transliteration of the Hebrew word she she. The sl sl were produced in the Middle East Asia and the sl sl used in ancient China was mainly originated from the Middle East Asia. The sl sl of Silla was also the sapphire and it was an article of the imported goods from the Middle East Asia. Women of Jin gol(true bone) were not use the sl sl as a material to decorate for their combs and headdresses. Also women of yuk du pum (six du pum) were prohibited to use the sl sl as a material for their combs. It indicates that the privilege to use the sl sl for a comb and in a head dress was restricted to the queen in Silla and it remained as a symbol of nobility and dignity.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• Journal of Fashion Business
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• v.7 no.2
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• pp.15-25
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• 2003

In this study on the Persiandress called Persiandress or Mediandress, its names, styles, and structures that are still subject to a great deal of controversy were investigated. In addition, the reason why the Persiandress was wrongly named as Kandys by the early researchers was also examined. The documents of reliefs on the Apadanastairs in Persepolis and the European papers concerning this themes were subject of this analysis. Such investigation and examination results are summarized as follows. There is still no agreed name describing the Persiandress, which is called "Persiandress" or "Mediandress". Further, there is no definite conclusion on whether the Persiandress was made in one piece or two pieces. The first person who insisted that the Persiandress was made in one piece is a German archaeologist, Ernst Herzfeld. He said that the Persiandress was made in one long tetragonal piece, had a hole in the middle for head, and had lots of pleats when it was tied with a belt. On the contrary, researchers who insisted that the Persiandress was made in two pieces stressed the sleeve pleats in four folds, which is one of the representative characteristics, and said that such four-fold sleeve pleats would not be formed when the Persiandress was made in one piece and worn by a belt. Consequently, they have conducted studies according to their insistence and the resultant pattern. Kandys, the Median's typical dress, is a coat worn over the jacket and trousers. Although it had sleeves, the Median did not use them. Indeed, Kandys was used as a kind of cloak. However, the wrong term, Kandys is still used in Korea. So, it is necessary to correct use of such wrong term.

• Journal of the Korean Society of Fashion and Beauty
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• v.5 no.1 s.12
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• pp.78-86
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• 2007

One of the latest social trends is to reappear old things under the banner of the revival. It is easily found in the fashion industry because Fashion is not divided into the past, the present and the future thing but coexisting through all ages. The purpose of this study was to pursue the healthy and characteristic beauty of the modem people by understanding the beauty culture of the ancient. The Middle ages were mainly classified into Byzantine, Romanesque and Gothic by historical and cultural factors. In the Byzantine age, the clothing with rich silhouette was worn by the influence of the abstemious religion and it didn't express a specific proportion of human body. The people covered their hair with turbans and veils for the period. The Romanesque era was affected by the religious idealism and the Greek-Roman culture. The ideal proportion of human body could be 8 heads high and the clothes expressing natural silhouette of human body came out. Depending on the feel of the flowing texture, long-braided hair was typical in that time, and also wearing kinds of head dress as personal ornaments was characteristic in the age. In the period of Gothic, the long and weak human body was emphasized. The ideal proportion of human body could be figured with 8.5 heads high and it was expressed with the form of artificial and vertical silhouette such like tight-fitting upper garments, gathered skirts and long hats.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.73-85
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• 2006

The purpose of this study is to consider the characteristics of beauty culture in the latter period of Chosun Dynasty from the viewpoint of public morals and find out how characteristic beauty culture was developed along with traditional culture. Therefore, the clothes, the make-up, the style of beard and hair were examined and the beauty culture of women in the latter period Chosun Dynasty was considered. The changes of the beauty culture on the genre painting and the characteristics of the latter period Chosun Dynasty were analyzed. Conclusions are as follows ;First, in case of woman dress, the Korean Jergori was short and the Chima was too long. Due to the diversification of wearing, the underpants play as a decorations. Second, the hair which focus on the cleanness and the sanitation and the skin maintenance method were important. The make-up focus on make-up with powder which emphasis on the slim and round eyebrow, the small and thick lips for the beauty look of the latter period Chosun Dynasty. Third, a unmarried woman did the braids('Taun Muri') and a feme covert did 'Unseen Muri'. As people cling to the big and head of hairs gradually, the chignon('Terae Muri') was in fashion. The beauty culture in the latter period of Chosun Dynasty clothes and cosmetic treatment style were generalized through nobility, common people, lowly people. The imitation mentality which follow after Gisaeng style that led the fashion of that period was shown up. With understanding the beauty culture of the latter period of Chosun Dynasty, the study on the traditional beauty culture should be revitalized. This study help to uplift the pride on Korea traditional culture and to promote the globalization of Korean culture.

• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.105-117
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• 2007

The purpose of this study is to help the understanding the characteristics in the costumes of men and women throughout the overall acceptance process of 'Naewaebub' in the late 'Chosun Dynasty' in which the notion of 'Naewae' is more prosperous than any other period in Korean history. Originally the distinction between man and woman was not intended to display the high and the low but to show the mutual respect according to each duty. As time goes on, that ideal became gradually changed to heighten the man and lower the women especially in 'Han' period of China. There was the ideal of distinction in the ancient times in Korea. Until 'Koryo Dinasty' the community has the system of blood-tied that put together maternal and paternal. 'Karye' was introduced in the late 'Koryo Dynasty' and accepted to the stereotype of morale in the 'Chosun Dynasty' and there seemed to be 'Samgang' and 'Oryun' at once. Many restrictions was imposed to behavior in women like rules of prohibition in attending the temple and concealment of woman's face and was recognized to rule of distinction between man and woman. Confucian life custom has been settled to Korean society throughout the late 16th century and 17th century and there were some appearances in the housing construction which divide the residences of man and woman. The characteristics in the costume from the avoidance of opposite sexes are clear in the structure of clothes changed from similar style to different style. The examples of those characteristics are as fellows. The costume in man was developed to advanced 'Pyoun-bokkwan' and 'Pyounbokpo' as social action of man prospered. Meanwhile the trousers which had been the same in the man and woman were separated to different trousers between man and woman. The costume life style of woman was changed to using the a hair whirl, hiding the face in the street and overlapping the innerwear under the skirt which was extension of woman's closed life style in late 'Chosun Dynasty'.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.35-50
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• 2013

This thesis is based on the study of formativeness and versatility of Sarong. For the aim of the research, Sarongs were classified into two types: rectangular and tube, using its original form as the basis. These two types of Sarongs were divided into more detailed groups depending on the purposes of attire, such as skirts, dresses, and capes. To look into the formativeness and versatility of Sarong, the usage of wear and expression methods were observed based on these categories. The following results were found regarding the versatility of Sarong: First, Sarong has a wide degree of versatility in terms of usage. It can be worn as a skirt, a head scarf, a dress, a cape, or used as a carrier or even a sleeping bag, based on one's intention. The change of usage is often accompanied with the change of forms, as can be shown by the longyi of Myanmar, the tube type Sarong, which is used as briefs. Second, Sarong has a wide degree of versatility in terms of function. Variations of instrumental and expressive function of Sarong are observed simultaneously. The physical function sometimes coincides with the changes of usage as mentioned above. The way that Sarong's are expressed in different social situations changes depending on the wearer's social status, religion, or origin. So by looking at the way a Sarong is worn, others can tell if a person is going to social events such as festivals and weddings. Third, Sarong has a wide degree of versatility in terms of design. However, even if same usage and function is pursued, the design can be different based on an individual. This is because the external change of Sarong is affected by individuality or aesthetic sense of the wearer.