• 복식
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• 제59권5호
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• pp.101-114
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• 2009

In recent times Fusion Historic Soap Operas have been produced and highly rated in Showtime. They have encouraged more creative costume designs for historic soap operas, as it is difficult to re-create costumes of the era in which the soap opera is set, knowledge of which is scant or even non-existent. These more creative and innovative costumes appeal to young modern audience in a way which the more classical setting did not. This study aims to study styling of combat uniforms in two Fusion Historic Soap Operas- "Zumong" and "Taewangsasingi" and to introduce new styling for future use. Those combat uniforms in two fusion historic soap operas were reproduced by modern imaginations and fantasies, rather than historical researches. Also the new design has applied unique styling for each character and enhances characters in those soap operas. This study focuses on combat uniforms of main male characters, but it can be suggestible that following researches will study in a variety of costume design stylings and characters in future historical soap operas.

• 복식
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• 제58권5호
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• pp.211-231
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• 2008

To conserve historic textiles, analyses of textile materials, pollutants and deterioration are prerequisite steps. Based upon analytical results, guides for conservation of historic textiles are established. In analyses of textile materials, pollutants and deterioration, there are chemical methods(burning, solubility and staining), physical methods(microscopy and density) and instrumental analysis(Fourier Transform Infrared Spectroscopy (FT-IR), Fourier Transform Raman Spectroscopy(FT-Raman), Gas Chromatography(GC), Mass Spectroscopy(MS), X-Ray Fluorescence (EDXRF, WDXRF), Energy Dispersive Spectroscopy(EDS), and X-Ray Diffraction(XRD), Tensile Testing Machine etc.). Combination of qualitative and quantitative analyses makes accurate diagnosis of textile condition possible. As examples of analyses and conservation of historic textiles, Chuninsan(19 century) similar to sunshade with handing down historic textile and golden decorative skirt(17 century) with excavated costume are taken.

• 대한가정학회지
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• 제32권1호
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• pp.239-248
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• 1994

This study analyzed a costume historic meaning of TANGUN Mythology. TANGUN Mythology have been transmitted from many literatures but TANGUN Mythology recorded Samgukyusa(II-Yun) is not false piece or a fiction. A Costume historic meaning of TANGUN Mythology was studied in the clothing system meaning of a headgear worn by nobles in court in the Chun-Boo-In three and meaning of bear and tiger. However results are not clear. In addition the Han stones of Wu Liang Tz'u relates to TANGUN Mythology but results also are not manifest.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2004년도 International Costume Conference in Association with ICOM 2004 SEOUL
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• pp.3-26
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• 2004

• 패션비즈니스
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• 제5권5호
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• pp.27-35
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• 2001

The purpose of this paper is to explore that what is the consideration when using photographs as data sources for historic costume research. So in other to achieve the study, first of all, I have to think over about the new media, photography, and then review the articles and studies how they have been used by scholars outside or our field. The considerations are the followings: 1. What kind of information can be found in historic photographs? The kind of information that may only be found in historic photographs and not in any other data source. What types of photographs are there; how the information varies by type of photograph. 2. What photographs can provide as data sources? How photographs can be used quantitative versus qualitative information; how to collect this information from one or more photographs, the criteria for the use of photographs. 3. Limitations of using historic photographs and what kind of information cannot be found in historic photographs. Be sure to discuss investigating the reliability of assigned dates;the importance of and suggestions on how could be done as part of the criterial for use of photographs. So, by asking and understanding these questions, we will use photographs better as a visual resource forward.

• 복식문화연구
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• 제15권2호
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• pp.203-213
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• 2007

This study is on the esthetic characteristics of Christian Lacroix's haute couture works. The materials for the study are the precedent studies, the related literature, and the photographs of the works and the interview articles in fashion journal at home and abroad. The result of this study were finds three esthetic characteristics in his works and fashion philosophy; historic, ethnic, and hybrid sense. First, the historic sense, Christian Lacroix's biggest characteristic, is influenced by his major studies, but is not a revival from the past itself but a new characteristic based on borrowing and reinterpreting the images created by introducing and compromising the historic elements. Second, the ethnic sense is influenced by the growing background in his childhood and can be characterized as compromise among the multi-national design features. It is certified by the contrasting images, styles, expressions, materials, ornament elements, and so forth with the worldwide ethnic senses centered by the southern France and Spain. Third, the hybrid sense as the essential characteristic shows the uniqueness in his design by not only combining the modern materials, technologies, and futuristic emotion but also liberally compromising and associating the emotions based on a mixture among the follows; the historic representative styles, the foreign materials, the diversity between the Eastern and Western culture, and all elements, details, trimmings In the fashion design.

• International Journal of Costume and Fashion
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• 제3권
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• pp.25-36
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• 2003

This paper discusses developments in fashion practice, and fashion education, reviewing developments throughout Asia. Reference is made to the historic origins of the clothing trade and efforts made on behalf of industry to educate its personnel. Current challenges are addressed, and a case study based on experience in Asia is provided.

• 한국복식학회:학술대회논문집
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• 한국복식학회 2003년도 International Costume Conference
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• pp.5-15
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• 2003

This paper discusses developments in fashion practice, and fashion education, reviewing developments throughout Asia. Reference is made to the historic origins of the clothing trade and efforts made on behalf of industry to educate its personnel. Current challenges are addressed, and a case study based on experience in Asia is provided.

• 복식
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• 제48권
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• pp.133-150
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• 1999

In future what kind of costume do we wear\ulcorner We can guess it is in advance through movie. Movie is a comnipresent medium and a mode of expression that reflect a distintive feature of the times like fashion. In many case costume design which belongs to a special era is based on the historic costumes but ostume design for future movie depends on the creativity of costume designer and director. Therefore it is interesting to research how costume designer get his/her design concept for future ccostume in movie how he/hse express his/her design concept through his/her costume and can we convince the design comes true practically in future. In this study I analyze the costume design of masterpieces among SF Film: (Metropolis/1926) (2001: A Space Odyssey/1968) (Star Wars/1977) (Blade Runner/1982) (The 5th Element/1977) Because this study is analyzed not through the original article but just through movie it has some limitation in exact materials or color.

• 복식
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• 제54권4호
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• pp.41-53
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• 2004

The significant role of colors in fashion design is not enough to emphasize in terms of one of the important design elements and its influences on the behaviors of the people. The purpose of this research is to examine the traditional Chinese colors and its ways of color combinations to appreciate the Chinese culture and its people. The Chinese traditional costume of Ching Dynasty were investigated through historic records, historic nobles, costume accessories and so on. The results of the study were summarized as follows： (1) The Blue was the most favoured color for clothing among men and women during Ching dynasty and various blues in terms of hue, value and intensities were used. (2) The bright Yellow which had been a symbol of Emperor were prohibited being used among people. Though, the late period of Dynasty, the regulation became not to strict and various shades of yellow families were adapted among People. (3) The Red which had been preferred during Ming Dynasty were constantly favoured for the formal wears of auspicious events such as weddings. (4) Dark color groups were loved for the clothing which were used as a ground colors against the flamboyant patterns revealing strong visual effects through value contrast or primary color combinations. (5) The White had a symbol of mourning and there were some intentions to adopt pale color groups such as mint, jade, gray, moon whit,. silver white to make up for white. (6) Contrast color combinations were one of the basic ways of color combination in Chinese traditional costume. Therefore Chinese color combinations has a strong visual effect and easy to draw attention of people by the contrast of the hue, value or intensity of color. (7) Multi-color combinations were another characteristics of Chinese costume in the formal wears which bears many surface designs. The surface decorated with full of motifs, were appreciated by the people expressing their longings and hopes through the auspicious meanings of patterns and striking visual effects of color combinations.