• 한국의류산업학회지
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• 제20권1호
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• pp.10-21
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• 2018

Kushan dynasty was located in the middle of Silkroad, from the 1st century BC to the second century AD, where it negotiated with various races. Therefore, the culture of the Kushan has multi cultural elements. The purpose of this study is to understand the life of the ancient Silkroad by accessing this characteristic culture of the Kushan through costume analysis. And the results of this study will be used as a basic data for studying the relationship between Korean ancient costumes and Silkroad costume type. As a research method, literature survey and artifacts analysis were performed in parallel. The results of this study are as follows: The basic type of the Kushan costume was a typical nomadic ethnic type with a long tunic and trousers. Tunic was fastened with a belt and straps at the waist, and the lower part of the belt was wider like a skirt. The tunic was divided into two types: open front and closed front. Because Kushan was originally a nomadic people who lived in Central Asia, the nomadic elements of Central Asia remained unchanged in the early costumes of the Kushan, but over time the details of the costumes changed according to the surrounding political situation. When Kushan negotiated with Parthia, the parthian coat was worn by the influence of them. After occupying Greco Bactria, accepting the Greek culture of Bactria, Kushan's costume was supplemented by the external costume element of drapery, which changed the style of the nomadic costume into a elegant style.

• 한국의상디자인학회지
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• 제19권2호
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• pp.63-78
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• 2017

The purposes of this study was to study Turkic clothing traditions as a way to shed light on cultural development via the interactions among different tribes along the Silk Road, the close correlations between the surroundings of the Turks and their costumes, and the root of Turkic culture through literature studies and empirical studies. The study results are as follows. First, the Turks were nomadic equestrian tribes in the north that dominated the cold dry steppes from the $6^{th}$ to $8^{th}$ century A.D., when they expanded their influence to Dongbei, China to the east, and Turkistan (Central Asia) to the west. The Turks formed a nomadic lifestyle and culture suited to a cold dry climate, and interacted with various other tribes via the Silk Road, while exchanging and sharing different cultural aspects. Second, given that the Turkic garments constitute a two-piece style, which is a category of the basic nomadic costume of northern tribes, and that the artifact materials manifest jackets, overcoats, pants and skirts, the garments are categorized into tops and bottoms. The tops are sub-categorized into jackets and overcoats. The bottoms are sub-categorized into pants and skirts. In light of the necklines of tops, jackets have round necklines, while overcoats have V-necklines, round necklines and lapel collars. The bottoms include narrow-legged pants, wide-legged pants and closed-hem pants. Drapery skirts are worn at the waist. Third, the Turkic V-neckline overcoat is comparable to the Huns' silk overcoat, which illustrates the ethnic link between the two tribes. Also, the Turkic narrow- and wide-legged pants are consistent with the Huns' silk pants discovered in Noin Ula. The Turkic costumes are mostly tight fitting, suitable for the nomadic lifestyle in a cold, dry climate. Also, additional patches must be attached to the crotch points of pants due to the equestrian lifestyle.

• 복식문화연구
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• 제13권1호
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• pp.102-120
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• 2005

Three Jang-Ue's and eleven drapery were investigated in the excavated costume in Ue-Ryeong, Gyeong-Sang-Nam-Do. Three Jang-Ue's have three different colors. the length, the width, and the wide of quilting are different as well. The outer collar of a coat is a double collar while the inturned collar is a single collar. In case of Dark blue and Pink Jang-Ue. The large section of cloth forming the body of a Korean coat is getting narrower while the reinforcing cloth strip is getting wider as the time is passing by. All the three Jang-Ue's have the different handling methods of a attached to the top border of a Korean coat, and Pink Jang-Ue doesn't have a attached to the tip border of a Korean coat. The handling method of the hemline are all different. And the handling method of the cuffs are all different. The silk is main in the woven goods, partly hemp, mixed fabrics and cotton. Especially complex gauze with supplementary wefts that were found unusually in Cho-Sun Dynasty are very import to study the complex gauze. The fond relics of the Jeon-Ui Lee family reveal various formational methods and specific characters of the excavated costume. There fore these that bring the Jang-Ue shape and the textile's feature in Gyeong-Sang-Nam-Do region, from 16th to 17th are very valuable.

• 복식
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• 제63권4호
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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.

• 복식문화연구
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• 제16권5호
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• pp.878-890
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• 2008

As a pioneer of modem dance, $Lo{\ddot{i}}e$ Fuller($1869\sim1928$) was important because she introduced a free style dance using a new style of stage costumes. Also, $Lo{\ddot{i}}e$ Fuller was an important motif in $fin-de-si{\grave{e}}cle$, French arts, posters, sculptures, and so forth. This study aimed to clarify the characteristics of Fuller's dance and costumes, and to analyze the modernism in both. To better understand Fuller's dance, this article talks about research on Fuller's career, dance, and Fuller's own biography. Stage costumes, letters for patent, and photographs were are also studied. The most important elements of Fuller's dance were her costumes and the electric lights which could make free style expressions a fantastic representation of dance. To clarify the modernity of Fuller's dance, first of all, this study researched Fuller's career in dance and then analyzed representations of Fuller's dances in visual arts; posters, sculptures and lastly, the characteristics of Fuller's stage costumes. As a result, this article analyzed characteristics of Fuller's dance in three points. First, Fuller used sculptures of silk cloth's drapery to express physical movements and actions. Second, Fuller used lighting and electrical effects that had just been developed in the late 19th Century. Third, Fuller made an application for patents against stage costume and stage mechanisms for her original shows. This study focused on $Lo{\ddot{i}}e$ Fuller's stage costumes which played a main role in expressing fantastic sculptures for the first time in costume, visual arts, and dance studies. This study clarifies the characteristics of the stage costumes in Fuller's dance and is estimated as pioneering and fundamental research.

• 복식
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• 제64권5호
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• pp.168-183
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• 2014

When expressing Jesus Christ visually in the medieval Christian paintings, the most important issue was portraying Christ's divinity and humanity in a balanced manner; showing both attributes as Son of God and a human being. The purpose of the study is to examine both the formative and the symbolic characteristics of divinity and humanity on Christ's clothes in the Medieval paintings, Baptism of Christ. In the paintings, there are iconographical devices to show His divinity including God, Holy Spirit, the Trinity and the Jordan River. But Christ's body is definite evidence to show his humanity. In connection with the body, the clothes reveal Christ's humanity and divinity as well. Through this research, the study found that the divinity and humanity on the Christ's clothes in the baptism of Christ were as follows: Blue, gole, purple, and white are the emblem of divinity, while the colors red and white stand for the humanity of Christ. In addition, the divinity of christ is expressed through the decoration on the clothes, while the humanity of Christ is shown through the structured drapery and transparent material.

• 복식
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• 제57권1호
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• pp.130-146
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• 2007

Thought of postmodernism accepted between variety and differentiation is characterized by variability and indeterminacy aimed at continuous change. For that reason, modern fashion has been grouping a lot of manners for creation of the various different form and structure. This paper studies the characteristics of the folding system, which expands efficiency of the spatial utility and shows various forms. Folding system expressed in modern fashion could be divided the pleats, which were made of the folding, and the dreaperies, which were made of bending. This selects the pleats as a enlarged concept of the folding system that contains between the former and the letter. Pleats did not mean two dimensional folding surfaces, but three dimensional spatial structures. For understanding of the folding system as a three dimensional spatial structure, this is utilized with the thought of the 'le pli' of G.W.Leifniz and G.Deleuze. The pleats expressed in modern fashion can subdivided into 4 sets; crinkle system, origami system, fractal pleats by folding system, and drapery system. And Formative characteristics of the pleats are analyzed with enlargement, fluidity, deconstruction, irregularity.

• 한국의류학회지
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• 제22권1호
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• pp.49-60
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• 1998

This study found through that Fortuny's art world with design aesthetics was devided into historicism, purism, exoticism and mysticism of color. \circled1 Fortuny's aesthetic observation dazzled at that time and he apply well-grounded opinion in historicism of his all creation and then accomplish on the whole mysticism of art and technique dwelled creativity, \circled2 Fortuny's Delphos gown realized new creation of beauty intact by that the simplicity and contingency was inquired into the art at that time. He revived that aesthetic was included in the drapery of ancient Greece, so indirectly express outline of the human body and realized pure image used a natural curved line of the human body. \circled3 Fortuny's creations included a exotic special quality. His clothes expected so many characteristics of 20C fashion and exotic, visionary fashion revolution in addition influenced on stage costume. ㉧ Fortune created new color specially "Tempera" and expressed mysticism of color that found a harmonious color character and texture through the ancient techniques included experimental mind of a multilateral try.teral try.

• 복식
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• 제56권4호
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• pp.65-81
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• 2006

This is the study on the costumes of Parthian Period in Persia which had powerful influences on the Occidental and Western cultures in B.C 3 to A.D 3. With different types of Parthian costumes in each period, this study shows what types of costumes people used to wear and how they were co-related with its surrounding cultures. The ancient costumes of Korea had something to do with the elements of the Northern part at that time. To make an intensive study of Korean ancient costumes, these Parthian costumes which are known to those of northern nomadic tribes are studied to provide basis elements for study between the Korean styles and the exotic styles. The basic forms of the Parthian styles were jackets and trousers. They consisted of three kinds of jackets such as those to be adjusted In the front, tunics and coats. As for trousers, they were divided into three types such as those with horizontal pleats, round-side pleats and vertical pleats. 1) The jacket to be adjusted in the front was long enough to reach the hip and fit the body reasonably tight, and its neckline was shaped into V-type. It was a very popular style among the people of high and low classes. 2) The tunics had narrow sleeves. It was a one-piece pattern which reached the knees. It was settled with a belt on the waist. Its neckline was shaped into the round but its slit was not cleat. Its styles were into tight-fit and drapery ones. 3) The coats were almost similar to the jacket to be adjusted in the front with short length, but they were entirely long and open. They appeared later than the short jackets and the people of high class seemed to wear these styles. 4) 1'rousers with horizontal pleats - They had almost horizontal pleats on them, and they were a little tight. They seemed to be the early style in the Parthian period. 5) Trousers with round side-pleats - With saggy side pleats on them, these trousers had round pleats like a drapery style. This pattern was also considered Hellenistic elements shown in the Parthian costumes. The trousers consisted of the underdrawers and the leggings (called salwar or shalwar), which is thought to emphasize its functionality for its wearer to mount a horse with more ease. 6) Trousers with vertical pleats - With straight vertical pleats on them, these trousers had some volumes and bias decorations in the middle of them. These styles were thought to be worn by the ruling class of the Parthia from early to late period.

• 복식
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• 제62권2호
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• pp.1-12
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• 2012

Cloths wrapped around the body have been the basis of the dress of people all over the world for centuries. This study is to research detailed modifiable fashion styling methods in history and to give ideas to people such as fashion professionals who are interested in fashion styling so that they can create modifiable fashion styling easily in fashion fields. The characteristics of modifiable fashion styling methods from ancient to middle ages are as follows. The first modifiable styling method is to expose the knots on the surface of the garments, and the knots were mainly located on the upper part of the body. The second method is a wrapping type of the modifiable styling method, which shows a lot of variant simple shapes of cloths. This method helped develop many wrapping methods over time. The third way is the fixed type of the modifiable styling method, and it uses accessories such as fibulae, belts to fix cloths, to create many different styles. The accessories are located on around either the neck or waist. The fourth method is the composite type of the modifiable styling methods mentioned above. This styling method is adapted in robe type clothes which makes the clothes look full of beautiful drapery. This study suggests that simple shapes of cloths can create enormous amount of styling which can be easily adapted and created nowadays.