• Journal of the Korean Society of Costume
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• v.52 no.3
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• pp.49-60
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• 2002

This study is to study the peculiar world of work that endeavored the stage setting and costume production in Ballet-russe centered around one of 20th representative artist Pablo Picasso and Diaghilev. Picasso worked four pieces ballets such as parade, Le Tricorne, Puchnella, and Le train bleu with Diaghilev. The originality of costume was well represented without losing the whole work's sense of unity. and designed foreasy movement as well as visual effect. As cubic is most common in parade especially, cubic stave costume were introduced at dancing costume of Paris manager and New York manager flrst time in Ballet's history. Picasso used the Cubism for dancer's beautiful appearance and primary color and decoration for oriental feeling. Picasso pursued the beauty and action at the same tome, and tried to represent the stage setting, impersonation and costume towards units, so the Importance of his work has still been referring.

• 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 Costume
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• v.63 no.4
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• pp.84-100
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• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.

• Proceedings of the Costume Culture Conference
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• 2006.09a
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• pp.87-89
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• 2006

• International Journal of Costume and Fashion
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• v.5 no.2
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• pp.46-54
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• 2005

The Purpose of this research was focused on analyzing how costume was exactly researched for film in comparison with the original Renaissance costume, and how to change the degree of brightness and chroma in costume of two films, 'Shakespeare in Love' and 'Elizabeth: The Virgin Queen'. For these purpose, each costume of main seven scenes was analyzed in terms of silhouette, detail, and trimming. Color image, brightness and chroma of costume were compared with the color chip data from Samsung Design Net. As results, costume from two films had exactness in historical research. but the original costumes were modernly changed by the purpose of director. Color image of costume were used proper colors for the characteristic of the story. Costumes of heroine was numerically changed at the degree qf the brightness and chroma through story-going. By this change, director could effectively give dramatic rhythm for the story. The limitation of this research was that color analysis had been conducted on the screen, and this fact might mean the original colors of film might be different from those of screen.

• Journal of Fashion Business
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• v.1 no.2
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• pp.20-30
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• 1997

The purpose of this study is to examine the influence of European middle class, ethos to costume. This study is concerned with historic situation about enlightment and French revolution, and the change process of costume before and after the French Revolution. In order to investigate the relationship, this studies include the phenomenon of costume in the basis of thoughts of the age (enlightment), political event (French revolution) and social system (middle classes). The Influence of enlightment to costume of man and children were which emphasized practical aspect. Children costume was developed independently from costume of adult before French revolution. French revolution played a roll in silhouette, color, texture of costume for man. Especially pantalons which names Sans-culotte generalized as modern clothing for man. Women freed from corset because of the influence of neo-classicism for a while. However, costume of woman did not change much because women were excluded from of enlightment.

• The Research Journal of the Costume Culture
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• v.31 no.4
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• pp.411-429
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• 2023

Modernism is an internationally accepted design style. In addition, traditional Korean costume is not the clothing of the past, but its form is also used in modern fashion. Therefore, the purpose of this study is to examine the social and cultural contents of the morphological structure of traditional Korean costume, in order to derive the design characteristics of modernism and examine the global applicability of traditional Korean costume structure. For this study, photographic materials from museums, schematic drawings of relics, and Hanbok production books published by government agencies were analyzed. Further, this study examined traditional Korean costume, especially the modernism characteristics derived from Paul Greenhalgh and previous studies. The results are as follows. First, The traditional Korean costume is a cut based on basic shapes, along with a silhouette appears according to the background of the times. Second, the characteristics of modernism can be divided into universality, functionality, and simplicity. Third, as a result of analyzing the form structure of traditional Korean costume based on the characteristics of modernism, universality is expressed as standardized form, functionality as practical aesthetics, and simplicity as sustainable diversity. Furthermore, Korean costume has a difference in that was greatly influenced by various Eastern ideas and aesthetics of the late Joseon Dynasty. These findings provide a perspective of modern reinterpretation of the uniqueness and universality of traditional Korean costume in line with globalization by utilizing the design characteristics of modernism, an international style.

• Journal of the Korean Society of Costume
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• v.50 no.8
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• pp.149-163
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• 2000

The purpose of this study is to research the Korean and Japanese costume systems and to compare both of them on the process of adopting the western-originated costumes. The consequences of this study are as follows. Chosen and Japan started simplifying the traditional clothings, Introducing the western clothings and executed the ordinance prohibitory topknots through reforming costume systems since Port Opening Treaties in 19th centra. Japan performed the reformation of costume system effectively through the grand campaign of social reforming enlightment by Meiji Government. Meanwhile in Korea, there were a continual repetition of adoption and rejection in the reformation of costume systems because of strong cultural self-esteem and competition of foreign Empires. However, western-originated cultural perspectives brought the strong self-devaluated view on their own cultures to both countries. And that's the first cause of substitution of western clothings for ordinary ones in both nations.

• The International Journal of Costume Culture
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• v.4 no.1
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• pp.34-43
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• 2001

This study is to analyze the dress symbolism described in the traditional Korean narrative focusing on the psychological side. As a result of the analysis, human nature and personality were characterized as following : integrity and feminine modesty among others. These characteristics prove that human nature and personality are symbolized by dress. Through protagonists'dress in the traditional Korean narrative, the quality and price of texture, attire, clothing selection according to the situation, appearance in dress, grade of interest towards costume, and behavior that accompany the costume, it was symbolically expressed the personality of the person who wear the dress. Feeling and psychological state were represented by joy, anger, affection, and hatred. Also, it was observed that the feeling and the psychological state are symbolized through the costume ; however, these two characteristics are symbolized not only with costume itself but also with the behavior that accompanies the situation and costume. The latter were considered more important factor than the former.