• 한국의상디자인학회지
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• 제7권1호
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• pp.77-84
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• 2005

The purpose of this study is to know on the changes characteristics of eye brow forms of the wester women. A facial image which people recognize contents on changes of image according to various eye brow changes on the face. Various changes of image were seen by length, angle and thickness of eye brow types. The ancient Egyptians used antimony powder to blacken their brows huge black lines. In medieval times, women shaved both their eye brows and their hairlines to give a pure look. The early nineteenth century, brows were untweezed and natural. In the 1920s, when women started paying attention to their faces and their freedom, brows were tweezed, narrowed. In the 1930s, the idealized faces of Jean Harlow, Marlene Dietrich and Greta Garbo - narrow tracery of drawn on brows. The eyebrows is filled various shape of the 1950s. In the 1970s, the Disco Decade of Dreadful tastes, women were at their tweezers again, manicuring their brows. Brooke Shields's natural-looking brow would be an example of the 1980s. In the 1990s, the eyebrow designed by superstar makeup artists who determined the look of fashion model and screen star.

• 복식
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• 제56권3호
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• pp.42-56
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• 2006

The purpose of this study is to review the literatures and the wall paintings of the ancient tombs of Koguryo in an effort to try to understand the characteristics of the culture of dyeing in Koguryo. The research findings follow: 1. The colors that were in vogue in Koguryo are five cardinal colors (red, blue, white, black, and yellow) and compound colors, like purple and green. Those colors were used in some or all parts of the clothing and even on some parts of the body. 2. Some clothing of Koguryo as shown in the wall paintings were made with a single and solid color by dip dyeing method. But the majority of the clothing had a variety of patterns. Among the patterns, the geometrical dot pattern took the majority. 3. The dyeing techniques used in Koguryo were printing, yarn dyeing, embroidery, wax resist dyeing, drawing and painting. The development of yarn dyeing method, weaving with silk-threads dyed in various colors, enabled to produce Geum fabrics, which were used for the upper classes' clothing. 4. The esthetic features represented in the colors of Koguryo include the beauty of contrast coloring, preference for red, preference for geometrical patterns, and the harmony of yin and yang.

• 복식
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• 제31권
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• pp.203-214
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• 1997

The neck is the human body is closely con-nected with the life and properties of keeping warm as one of the opening part in clothes. In ancient times it was put on necklace for the protection of neck and in Rome it was worn muffler called focale for the protection of neck throat. in addition cravat directly originated in necktie today was primarily worn for the protection of soldier's neck and has been turned into decorative purpose until today. As the ornament is developed to vari-ous kinds of form the neck decoration is changed and grown again and again. Therefore this thesis studies history of the neckwear and various the symbolic factor. The first factor is the social. The neckwear shows the social position class and status and does social mutual interaction as conversation starters. The second factor is the mental It express individuality fondness attitude and is felt to be indignity by being forced to be worn. The third factor is the political. it shows political tendency by indicating the royal sign or part's sign in necktie like the French royal-ist's green muffler The forth factor is the man's sexual. I expresses wearing stock being brave symbol-izing independence. The sixth factor is the traditional. It is worn with appearing traditionand custom and one of cultural movements. The seventh factor is the ideological. It symbolizes the freedom of suffragettes and emancipation of woman. The social factor is the most extensive among them. The neckwear is various in the way of expression like its kinds and is generalized, It functions as a independent part of clothes.

• 복식
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• 제50권4호
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• pp.89-102
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• 2000

The purpose of this study was to research Korean Jowoo-Guan and Chinese Hal-Guan and study transition and symbolism of the birds feather in the cap. The culture of ancient Korea was influenced by North Asia prior to the influence of the Chinese culture, One of the remarkable thing, as the cultural factor of North Asia is the birds worship thought. Korean Jowoo-Guan was derived from the birds worship thought. So in dealing with the plume of Korean Jowoo-Guan, we must recognize Worship to the bird and the symbolical meaning of the bird. The results of study was as follow. 1. Korean Jowoo-Guan was influenced worship to the sun, so it's wearing symbolized the governing class. As the Social development and governing class, the feathering cap was developed to a gold crown, and also the gold crown of Samguk times had been influenced style of North Asia culture. But afterwards the symbolical meaning of the bird was waning, only decorative meaning was remained. 2. Chinese Hal-Guan was warn in Joo-dynasty, but the symbolism of the plume in the cap was not similar to Korean Jowoo-Guan. Chinese Hal-Guan was symbolized bravery of superfluous soldier than Worship to the bird. But afterwards the symbolical meaning of bravery of superfluous soldier was waning, only decorative moaning was remained. 3. Though neighbor countries have mutually influenced and have similar cultural style, they have symbolism of themselves

• 복식
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• 제61권9호
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• pp.50-59
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• 2011

Recently the word "digital" is widely used in almost every field and is dominating this generation. Digital has become the most significant characteristic representing the 21st century, and is leading change across wide range of our life-styles in our culture and thoughts. New art is in harmony with digital in the 21st century. Digital photography is simpler, faster and newer than the analog system of the past. From ancient times, the nature has been the subject of art, and many designers have studied the ways to create beauty from nature. In this study, I chose the lotus as the subject material of textile design development. The lotus invokes a sense of stillness, and nestles many fluid elements, including the curved fluid lotus, rhythmic lotus petal, sinuous lotus leaf, radial vein, lotus pip and oval seed. Therefore, I tried to use these elements of lotus for development of textile design. For this purpose, I photographed the lotus with a digital camera as equipment of design development. Then, on computer, I have developed six textile designs through the process of modification and editing by using the adobe illustrator program.

• 복식
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• 제53권1호
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• pp.67-75
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• 2003

From ancient times. lotus pattern had esthetic factor and symbolic factor. Lotus pattern was introduced to China, and it was grafted together with Chinese peculiar culture symbol system, thereafter it has changed and developed. The Chinese taking a serious view meaning that things include, and they frequently use several lucky omen patterns in their everyday life. In this study, I investigated laying stress on symbolism about Lotus patterns of China lucky omen patterns, and I wanted to present possibility that can approach to Chinese culture in new angle. Through result of this study, symbol of Lotus patterns can divide two directions. First, symbol by natural properties of lotus are same as following. 1. Lotus grows in the mud, but it is uncontaminated - clearness and uprightness, 2. Root, branches, loaves and flowers are vegetative together, and all of basis and branches are exuberant. - plenty, 3. Bear fruit simultaneously with blooming, and it is procreant. - fecundity and many descendants. Symbol that use same pronunciation and intention are same as following. 1. 'Lian(연)'-'Lian(연)' : repeatability, continuance, plenty and intercommunicate, 2. 'Lian(연)'-'Lian(염)': integrity, 3. 'He (하)'-'He(화)' : peace, harmony and combination, 4. 'He(하)'-'He(하)' : clear river, 5.'He(하)'-'He(하)' ; all work goes well. When the Chinese use lotus patterns in lucky omen patterns, same pronunciation and pitch of Chinese language more prominent than natural properties or the image of Buddhism. I guess that it cause praying individual's peace and happiness more serious than philosophical meaning or symbol that base in Buddhism for ordinary people.

• International Journal of Costume and Fashion
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• 제13권2호
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• pp.53-64
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• 2013

Culture has played a pivotal role in fashion from time immemorial. The objective of this research is to explore the power of cultural affiliation in fashion. The selected study setting is the Kandyan Kingdom of Sri Lanka. The Kandyan Kingdom of Sri Lanka lasted almost 3 1/2 centuries from 1474-1815. The whole period faced different foreign cultural forces. As a result of such diverse cultural influences the Kandyan dress showed a hybrid formation of Western and South Indian and Sinhalese traditional sartorial features. Sewing techniques and unsewn dress arrangement methods were mixed together. The dress became an amazing blend of Eastern and Western dress items. They combined different aspects of foreign dress together to yield a unique result. The analysis comprises observational study of actual descriptions made by observer- participants, historical records, murals of the period review of ancient literature and research papers relevant to the subject. Reliability of the data was ensured. The pictorial data were cross checked from different literary sources. Many original sources were used. Results: Culture and fashion have strong interconnection. When features of culture change, trends of fashion are gradually correspondingly changed.

• 복식문화연구
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• 제2권2호
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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.

• 복식
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• 제7권
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• pp.115-126
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• 1983

Myun Bok originated in China was introduced into Korea in ancient times. Some evidences show that it had settlled down as our own official robe already under Koryo Dynasty. And Koryo made her own regulations on Myun Bok. Kook Cho O Rye Eui(國朝五禮儀) of Choson Dynasty has comparatively detailed explanations on the way of cutting and shapes and materials. And the regulations are modeled after those of Ming China. But it has been impossible to know whether the regulations of Kook Cho O Rye Eui were strictly kept or not, because we have not enough remains through which to see it. And then we got very useful materials, Eui kue(儀軌), which are well known but have not been used in studying the history of costumes. Every Kook Chang Do Gam Eui Gue(國葬都監儀軌) have the provision of the so-called Pok Wan(服玩) set which includes the imitations or the full set of Myun Bok. And the provisions show us the illustrations colored in detail which help us understand the real shapes and the transformations of Myun Bok. After surveying the Pok wan provisions, author arrived at conclusions as follow; 1) Myun Boks are not always made in the same shape and colors. 2) The Provisions of Kook Cho O Rye Eui were not always kept strictly due to the lack of detailed directions.

• 복식
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• 제62권1호
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• pp.29-48
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• 2012

From ancient to modern days, Koreans have preferred and even worshiped white clothes to the extent that they are called "the white-clad race", and the color black has seldom been used for women's clothes. In western countries too, it was only after Chanel that black color came to represent feminine beauty. Black clothes were introduced in Korea after the opening of its ports to foreign countries in 1876 and have mainly been worn as a practical clolor for winter coats and school uniforms. The traditional preference for white and other bright colors continued well into the 1980s. However, the industrialization and urbanization caused by economic development and the influx of western cultures and ideas in the 1980s brought about the westernization of Korean aesthetic consciousness and resulted in the phenomenon of modern Korean women's preference for black fashion that became conspicuous from 1991. With the introduction of western fashion after the opening of the country in 1876, the spiritual values contained in preference for white clothes have been substituted by materialistic values as people accepted the practical beauty of black fashion, and the inclination toward intrinsic natural beauty intrinsic in the aesthetic senses that preferred white clothes has been replaced by the preference for modern, elegant and sensual beauties of black fashion whose preference has begun in the 1990s.