• The Research Journal of the Costume Culture
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• v.23 no.1
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• pp.74-84
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• 2015

The purpose of this study is to examine symbolic meanings of costumes shown by portraits of King Henry VIII and use them as basic data for research on costume design of historical dramas in the Renaissance or on King Henry VIII's costume. This study attempted analysis of symbolic meanings from the paintings-related various domestic and overseas literatures, preliminary study paper, and web sites etc. The symbolic meanings expressed by the portraits of King Henry VIII are characterized by authority, innovation performance, authority, masculinity, innovation performance, artistic taste, intellectual charm, intrepidity and benevolence. Especially, the portraits of King Henry VIII symbolized his masculine beauty by emphasizing sexual attractiveness that cannot be seen in portraits of other kings through broad shoulders and exaggerated codpiece which are the zenith of masculine beauty during the Renaissance age. Through the image of King Henry VIII which was painted with jester or barber surgeons, his characteristic and open mind thinking highly of the technique and human life was also expressed. In the portrait of King Henry VIII, various images set in knights' tournament, playing a musical instrument and reading a book as well as the image of wearing a parliament costume were shown, highlighting King Henry VIII as a person good at both literary and martial arts with open and innovative personality than any other kings in history.

• Journal of the Korean Society of Costume
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• v.55 no.1 s.91
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• pp.1-12
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• 2005

The modern society which is going through the big turbulence of civilization experiences the lost of humanity and the phenomenon that the standard of our thoughts, like those for good and evil, truth and false is not clear anymore as the technology is being improved. This makes us miss the past when everything is simple and the standards are very clear and being attracted by the metaphorical culture symbolizing something from the past, like memories of youth, fantasies, fairy tales or myths and we are now having a great interest in the joy of life and the affluent life. Influenced by this kind of tendency in modern society, the minimalism, which had the great influence in the nineties, went out of fashion and at last the romantic susceptibility seems to be the trend forming the major mood of the late 20th century - the early 21st century. This study focus is: (1) the theoretical aspects of romantic images such as the concept, the historical tendency and the character are considered. (2) the variety and multiplicity of the romantic images is discussed after the romantic image is classified into four types of retro character, natural character, ethnic character, erotic character according to major trends in our modern. The purpose of this study is to understand the romantic images in modern fashion, by analyzing the fashion trends together with the various features of romantic images.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.135-151
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• 2011

The purpose of this study is to research the costume styles during the Silla(新羅), and Paekje dynasty[百濟] in 'Seodong tale'. In those days, costume form, color, pattern, and ornaments played an important role in representing the differences in social status. The Methodology of this study is reviewing and researching the symbolic meaning and classifying the types of the style of the Costume in 'Seodong tale' through the antique records and tombs bequests and expressing the clothing of the appearance people in the picture. This study is about the costume styles representing the differences in social status during the Silla and Baekje dynasty in 'Seodong tale'. Sedong wore 'Heug Geon(黑巾)' and 'Yu', 'Ko(袴)'. The king of Silla, Jinpyung wore Tree and Antler-typed Diadem and 'Po(袍)' with 'GwaDae(銙帶)' and Earrings, Necklaces, Rings. The servant of Baekje wore 'Eunmhwakwansik[silver crown]' and 'Jangyu' bound the silver belt and 'Ko'. Silla Princess of the court, Seonhwa wore Feathered Trim with Conical hat, and 'Yu' bound the belt and 'SangdongChima' and Earrings, Necklaces, Bracelets, Rings. Sedong's mother's hair style was 'Eonjeunmeori' and wore 'Yu' and 'Ko'. The queen of Baeje, Seonhwa wore 'Keumhwasik[Gold crown]', and 'Po' bound the belt and Earrings, Necklaces, Bracelets.

• Fashion & Textile Research Journal
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• v.13 no.3
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• pp.309-320
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• 2011

Since Homeros in Greece, Mimesis was thought to be an art to imitate the nature, and it means an imitation of the nature classically. Mimetic theories were set to be a kind of art work in the era of Renaissance, and the terminology of mimesis was widely used to replace it with an originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in media costume design. For this purpose, I investigated the theories of the mimesis, categorized the definition, then applied those categories for media costume design. Documentary studies were conducted through aesthetics, fashion books and demonstrative studies were processed by analyzing photos from collection fashion magazines and media DVD, video, fashion site of internet. In the history of aesthetics, the mimesis could be defined into three categories; the external representation mimesis, the internal symbol mimesis and the multiful meta mimesis. In media costume, the representation mimesis included design historical point of view, a period that of 1900s and ancient representation mimesis. The internal mimesis included symbol of religion, character, riches, psychology and fear mimesis. The multiful meta mimesis included hybrid and distortion mimesis. Analysis on the mimesis expressed in media costume design fashion may provide an excellent method for understanding human aesthetic in costume.

• The Research Journal of the Costume Culture
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• v.13 no.4 s.57
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• pp.513-525
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• 2005

This article examines how the development process of muff has changed over history as well as considering value. This study is based on secondary sources such as books and fashion magazines. The imminent value of muff based on the results of this historical study can be summarized by its utility, its ornamentation, and its fashion value. First, muff is not only used to protect the hands or to keep them warm, but also as a substitute for the purse. Second, muff is an ornament decorated mainly with fur, using splendid colors, patterns, embroidery etc. Third, muff goes with other clothes as an ornament, and therefore, can be a means to express the attitude or behavior of many circumstances. Muff has vanished in casual wear and could meet by chance in a designers collection. However, the fashion value of muff brings it new attention making various creative fashion images by itself or with other clothes in the modern fashion trend. This study on the history and the aesthetic value of muff could stimulate the appreciation of the ornamentation aside from the clothes and serve to develop a new creative way in fashion design.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.2
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• pp.371-384
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• 2010

This research investigates the historical changes of the educational system for the clothing departments at vocational high schools. According to the growth of the fashion industry, employment potential in the clothing departments of the vocational high schools, numerical changes in the educational statistics, and curriculums were investigated by papers, reports, and statistic data. The statistic data were derived from the 'Center Educational Statistics and Information', 'School Information' (Hak-gyo Alimi), 'Korean Statistical Information Services' and internet home pages of vocational high schools. Technical service workers that graduate from clothing departments and vocational high schools have limited competitiveness in a thriving fashion industry field. Highly developed fashion industries require more professional workers in fashion design, fashion marketing, and fashion materials. Compared to 1994, when 35 classes were conducted in 5 vocational high schools, 69 classes are now conducted at 15 schools. They have over 2,000 students and produce over 600 graduates. However, 222 credits of the $1^{st}$ curriculum in 1958 went down to 82 credits in the 2007 revised curriculum to complete the credits of clothing departments. The 15 courses of the 1st curriculum fell to 5 courses in the 2007 revised curriculum on the number of major subjects. It is a fundamental problem that major courses in clothing education have been excessively reduced despite the demand for of highly specialized workers in the fashion industry. In the view of operating conditions of those schools, there were several problems such as the wide gaps in the curriculum, limited equipment, the supply of teachers, and counseling on the choice of college or a career. In conclusion, the following measures are required: 1) the increase of complement credits in major subjects and renovation of curriculum, 2) national substantial support to change the social circumstance concerning vocational education and occupational consciousness, 3) operation of credit approving systems in universities and colleges for students that have completed the same courses at vocational high schools, 4) designing realistic programs for vocational education and cooperation systems with corporate enterprises.

• Korean Journal of Heritage: History & Science
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• v.40
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• pp.243-270
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• 2007

Linked pearls pattern expressed on textiles have no limited scale or shape when manufacturing, so they are free in expression. And from the design, material, and color we can analogize the social culture of that age. Oriental linked pearls pattern was started from the Sasanian Persia and introduced through the Silk Road, so it is closely connected with the East and the West culture. This study will consider from the 5th century to the 10th century; the mural costume of the West Central Asia, the ancient textiles excavated from the Sinjiang and Qinghai area of China, and the linked pearls pattern which are collected at Shosoin, Japan. And from this study, will concentrate on clarifying the linked pearls pattern's condition of the cultural exchange between the East and the West and it's structural variation process. The design of linked pearls pattern delivered to the East through the Silk Road is differed by area. For example, in the Western Pamir Plateau, where the ancient Sogdians mainly lived, the excavated linked pearls pattern's subject were deer or cassowary variated from the West Asian motif. But the ones excavated from Kucha Xingang had Chinese motifs added so they showed Chinese characters or Buddhist Bodhisattva image instead of Helios. Like this, the appearance of new patterns, which were accompanied by structural variations, gradually deviated from the standardized pattern of the Sasanian Persia. And this structural variation process has relations with the construction and arrangement method of various patterns of the after ages. The foliated floral Spray, which is placed at the lozenge space of linked pearls' space, had developed into ogival - shaped pattern (Neunghwamun). And the prevalence of geometrical structure pattern after the 10th century and the unfolding method of Tapjamun which is arranging unit pattern in order, are similar to the linked pearl pattern. In brief, linked pearls pattern accompanied by technical improvement let us understand the polished artistic code from its expression, and has importance in showing universal pattern beyond region and culture.

• Journal of the Korean Society of Costume
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• v.66 no.8
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• pp.157-172
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• 2016

This study aims to present findings of historical design trends of men's fashion, and the characteristics of changes in the types of overcoats and mid jackets shown in French pattern books of the 19th century. The primary data sources for this study comprised one pattern book, each of the17th and 18th century, and 15 pattern books of the 19th century, all of which are conserved by the French National Library. The study methods are as follows: First, analysis of men's fashion trends and the characteristics of changes by type as shown in French pattern books of the 17th to 19th centuries. Second, analysis of the evolution of type of men's overcoats and top-exterior- and-interior (outside) styles shown in French pattern books of the 19th century. As a result, a total of 69 type references were collected from French pattern books of the 17th to 19th centuries. Historically, men's fashion was largely classified into top-exterior, top-exterior-and-interior, top-interior, bottoms and accessories. The two major classifications were as follows: top-exteriors overcoats and robes, And top-exterior-and-interior as top-exterior-and-interior(outside) and top-exterior-and-interior (inside). The study also identified the forms and changes by type. Additionally, this study selected overcoats and top-exterior-and-interior(outside) which fall under typical categories to show the change in the forms of men's fashion of the 19th century. These changes in the types were designated as: continued, faded away, newly appeared and transformed. This study analyzed the time of appearance of the forms by the year of publishing in conjunction with cultural references from previous domestic and international studies. The results showed that the time of changes in the types shown in pattern books did not deviate from the mainstream, which verified their typicality.

• Journal of Fashion Business
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• v.2 no.3
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• pp.121-136
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• 1998

The purpose of this study was to present a new research method of stage costume by designing and making the stage costume of Yean-GaeSoMoon(淵蓋蘇文) in Peking Opera Du Mu Guan (Korean; Dog Mog Guan, 獨木關). The stage costume of Peking Opera was formed on the basis of the Chinese traditional stage costume in the Qing period, however the style of stage costume was beautified the costume of Ming period and here contained the factors of successive costumes. But the stage costume of Peking Opera didn't have the same rank system with real history costume and didn't have demarcation according to period and history. In the stage costume of Peking Opera, the color is cultural language that can inform spectators of sex, age, personality, position of characters. The pattern of decoration also symboled the personality and characteristic of the character. Yean-GaeSoMoon in the play wore green armour (Chinese; ru ying kao 綠硬靠), red pants (Chinese; hong ku 紅褲), red mustache (Chinese; hong ran kou 紅髥口), crown (Chinese; da e zi 大額子), shoes (Chinese; hou di xue 厚底靴) and Xue RenGui wore white armour (Chinese; baikao 白靠), red pants (Chinese; hong ku 紅褲), shoes (Chinese; hou di xue 厚底靴), hat (Chinese; za jin 扎巾). By historical materials, Yean-GaeSoMoon was a nationalist who uphold national sprit and the greatest hero of the age and a charismatic politician who combines literatural arts with military arts. Considering these reviews, defined the thema of his new costumes' image as "the flying bird which has three legs"(三足鳥), the bird which symbolized the sun and immortality in Koguryo fresco. On the basis of this image, presented three types of Yean-GaeSoMoon's stage costume. Yean-GaeSoMoon as the minister in the court wore black gown (Chinese; mang pao 蟒袍) of dargon pattern which symbolizes harisma who opening the heaven. He as the general who directs war wore red mantle (Chinese; dou peng 斗蓬) which symbolizes the blue dragon that soaring into the sky, as the officer who fights the enemy's general wore green armour (Chinese; gai liang jia 改良甲), red pants (Chinese; hong ku 紅褲) which symbolizes the flying Sward that blowing violently. By wearing these stage costumes, the image of Yean-GaeSoMoon could changed from the fierce general of minority race who likes to fight, to the Koguryo general who fights against enemy at the risk of his life for Koguryo's autonomy. Through this study once again we could realized that stage costume played very mportant part In outstnding the characteristic of actor in the Peking Opera.

• The Research Journal of the Costume Culture
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• v.18 no.5
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• pp.977-990
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• 2010

Today, as individuals show their social identities and reflect their being as the members of society with a culture, an art style and communication function are stood out in fashion photographs. Accordingly, the meanings of images into text are expanded in its interpretative width through the acceptor's various terms. This researcher looked into four theories of both positions on the textuality of language and image, and considered the point of discussion on image of each theory through modern fashion photographs. First, the theory which divides language and image as auditory and visual recognitions in the textuality of language and image is limited from the view it focuses on only one side without considering the ambivalent elements of each field. For the textuality in modern fashion photographs, the observer attempts to turn it into text to give meaning to it as the recognition through five senses conforming to the acceptor's condition. Second, the theory dividing language and image into the text of time properties and spacial properties has limitation in the text, for acceptor's experience of the object appears as the structured form in time and space rather than being defined as two things like time and space. Third, the theory classifying the language and image text into conventional taste and natural taste has limitation from the view that image text is hardly an object of consistent classification in ease of recognition by the code accepted in society. Thus, this can't be fundamental approach for the understanding of the text of decoding trend represented in modern fashion photographs. Fourth, accordingly, this researcher focussed on contextual and arbitrary text of fashion photographs through the theory of Nelson Goodman which discusses image text through the differences in textuality. Basic mechanism of perceiving and recognizing and distinguish image is closely related to habit and custom like language. So, each acceptor perceives the image as a text through arbitrary interpretation obtained by individual, empirical, historical, and educational viewpoints. The textuality of modern fashion photographs aims to widen the range of diverse knowledge and understanding, transcending the regulations of simple function of existing fashion photographs. Consequently, this researcher puts forward the opinion of consistent and diverse follow-up studies on instilling meaning into fashion photographs for the understanding de-regulatory and de-constructive through various senses by avoiding only one sense-dependent fixed and regulatory properties of it.