• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.11
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• pp.1680-1691
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• 2008

This study examines how the development and value of dresses shown in MBC historical dramas have changed with the overall change of the dramas. As for the research method, the second data analysis was done with literature study which was supplemented with interviews with the wardrobe team of MBC production design center. Historical dramas produced by MBC have gone through the developmental period, legitimate historical drama-oriented period, stagnant period, and historical dramas-modernized period. The value of costume in each period is as follows: Costume in the developmental period is considered only as part of drama setting. During legitimate historical drama-oriented period, it carries value as educational data and historical replica produced by historical research. Production design including costume obtains its own value in the stagnant period although the production of historical dramas decreases dramatically. And lastly, in the historical dramas-modernized period, costume starts to have commercial value as cultural contents. Historical drama costume may contain important value in terms of education and history, even though there has been controversy on TV historical dramas' role: they should focus on reproducing historical facts or they should support writers' creativity.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.85-98
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• 2005

This Study is to analyze characteristics of costume change of according to the status of character succeeding the investigation of the ceremonial costume change in historical TV dramas that The Empress Myungsung entered. For this study, the costume images among historical TV dramas, that Myungsung entered, '500 years of Chosun Dynastyv, Taewongun(1990, MBC)', 'The Glorious Dawn(1993, KBS1)', 'The Empress Myungsung(2001, KBS2)'were used: The characteristics of the costume change of main character are as follows. First, main character's costume has been increase gradually in number and item. Second, Especially in the last work,'The Empress Myungsung', the royal costume based on historical evidence in aspects of silhouette, but it didn't according to the historical costume in aspects of color and textile. Nevertheless the costume reveals the status of each person significantly. Third, the costumes of the recent historical drama appears as a optical symbol that represents historical view point and different interpretation of each drama. Therefore the costume according to the status of the character wrong from the historical point of view. Consequently, TV costume in historical drama Myungsung entered has been focused on the beauty of the screen and dramatic effect than historical viewpoint. So the costume have been to be an essential visual part by means of the symbol revealed the purpose.

• Journal of the Korean Society of Costume
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• v.61 no.9
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• pp.131-147
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• 2011

This study puts the significance on the trends, the characteristics, the factors and background of the typical diversification of 2000's historical dramas and of their costume in conjunction with the popular culture. We analyzed the materials like the official web-sites, the articles and promotional photos based on 47 TV historical dramas and 21 historical movies. And we, approaching the characteristics of popular culture in connection with the social, cultural, economic, emotional and technical aspects, considered the trends of the historical dramas and their connection with the paradigms of the contemporary popular culture. The results of this analysis are summarized as follows. First, the 2000's historical dramas & their costume, in the process to widen communication with the public, rose the values of popular culture, economic values, traditional values. Second, the diversification of the costumes in historical dramas, derived from the diversification of the era Genre characters and this is related to the characteristics of popular culture in 2000's such as the diversity, the nature of mixture, flexibility and the orientation of variation. Third, the new media environment and the imaging technology of 2000's raised completeness of the historical dramas and their costume. As the technical background placed the emphasis on realistic representation. Fourth, the costume of historical dramas in 2000's reflected the intention of the production in consideration with the emotional aspects of popular culture.

• Journal of the Korean Society of Costume
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• v.52 no.4
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• pp.15-23
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• 2002

The purpose of this study was to pave the way to improve the quality of historical clothing and textiles and to search for the advisable direction of future studies by examining and analyzing the interdisciplinary approach of historical clothing and textiles related articles published in The Korean Society of Costume. For this analysis, the data were included 124 historical clothing and textiles research articles published in The Korean Society of Costume from 1980 to 2001 March. The followings show the results of this study. 1. The five dominant interdisciplinary fields of historical clothing and textiles were Identified : anthropology, art history, pop music, archaeology, sociology 2. The interdisciplinary research has been actively approached in historical clothing and textiles. 3. The most frequently approached field of the interdisciplinary researches of historical clothing and textiles was art history 4. The period that has most variety interdisciplinary fields was the present age. The studies of future historical clothing and textiles should be approached in more diverse areas of interdisciplinary way and time periods.

• Journal of the Korean Society of Costume
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• v.38
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• pp.17-29
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• 1998

The purpose of this paper is to explore a new methodology for the historiography of Korean cos-tumes. In particular, I focus on the possibility for systematic, historical methods appropriate for the history of Korean costumes. First, I characterize the general historiography of costumes as involving two aspects-one as the social science and the other as historical science(Geschichteswissenschaft). My contention is that any historical study of costume should be established on the intersection of social and historical studies, and their entangling relations with many a neighboring field of sciences. It requires in other words, an interdisciplinary approach that combines various methodologies of social sciences as well as those of history. Second, I present an overall review of the historical methodology with a special emphasis on the“Quellenkunde”of orthodox historiography. Building on the review, third, I pay attention to recent innovations in historical methodologies, such as“New History”that draws on history, sociology and social history, and their applicability to the history of Korean costmes. In this regards. I adress among others, the following theoretical perspectives : 1) comparioson and comparative history, 2) the formatived and paternal approaches toward the history of costume, 3) particulartiy and universality of Korean costume. I conclued that the history of Korean costumes should broaden its theoretical horizon in order to accomodate a wider range of research agenda, including costumes of neighboring cultures, while remaining sensitive to new theories and methods of the neighboring social historical sciences. For this purpose, it is emphasized that an international collaboration among researchers of the region, as well as that across the different disciplinnary boundaries, is indispensable for successful studies that can embrace diverse fields and areas.

• The Research Journal of the Costume Culture
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• v.18 no.1
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• pp.44-63
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• 2010

The purpose of this study was to examine the process to manufacture costume design of main female characters of TV historical drama and suggest the costume, which is developed with contemporary taste. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The study results were as follows. The costume was decided by researching historical investigation material on the basis of synopsis, grasping director's basic intention, setting design direction, preparing design map of each character, selecting style, detail, fabric and color, manufacturing sample and performing camera test. The design concept of was Modern & Chic & Clean, short & fitted chogori, chima with wide & abundant cocoon silhouette, clean & bright colors and 100% silk fabric. For the design discrimination of royal semi-formal costume, color was used to symbolize character and pattern was used to symbolize social status. In addition, detail change was adopted depending on the body shape of actor and there was almost no design discrimination in silhouette and fabric. Petticoat of the west, modernization of transitional pattern and change of detail were adopted as design elements to add contemporary taste.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.124-131
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• 2011

Modernity is commonly defined as a reflection of the features of modern society based on the historical experience of the West. As such, modernity includes involvement with political, economic, and social changes, a changing world-view, and changing trends in equality, gender roles, a desire for "the new," consumption, distribution based on mass production, and rational reform in fashion and dress. First and foremost, however, modernity in costume has been driven by the functional requirements of industrial capitalism. But while modernity has popularly been regarded as some sort of universal standard, in fact the West and the other societies have vastly different, unique, and particular experiences with their own respective histories of modernization. For this reason, cultural changes in the modernization process should be-indeed, must be-analyzed in the context of a country's own unique historical and cultural circumstances, rather than through the prism or strict adaptation of generalized Western concepts of modernization. Moreover, a "periodization" of the modernization of fashion and dress can be established by examining the characteristics of modernity in costume.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1112-1128
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• 2009

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

• Korean Journal of Human Ecology
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• v.2 no.1
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• pp.129-141
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• 1999

The purpose of this study is to investigate the effect of historical costume style and painting on Vivienne Westwood design. For this purpose, the costume style after 16C and the rococo painting of 18C are researched. And through Westwood's recent designs, the external form and internal symbol are compared. The results of this study were as follows : 1. From Renaissance, Rococo, Crinoline, Bustle, S style were showed on Westwood design. 2. In external method, historical costume styles were expressed by silhouette, detail, costume item, textile and various cuttings. 3. In the case of painting, it focused on Rococo painting of 18C. Costumes in painting were realized or painting itself were used for textile. 4. Most of her design was cut in the round rather than in the flat, bold cutting and slash were employed. 5. These works are symbolizing the harmony of tradition and future, at the same time through the transformation of orthodox style, containing ridicule to the authority and a challenge to society as well as sex. These results let us know that Westwood is versatile to transform the history and harmonize the tradition and 20C Fashion successfully. (Korean J Human Ecology 2(1):129∼141, 1999)

• Journal of the Korean Society of Costume
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• v.62 no.8
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• pp.118-133
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• 2012

A historical research on the costume of memorial service officials during the period of late 18th century, King Jeongjo period, is performed for an accurate reconstruction of the memorial service for King Danjong, which is a part of King Danjong Cultural Festival held at Yeongwol. This paper summarizes the results of the research as follows: 1. Jangneung memorial service is held only on Hansik day and the procedure follows the rule based on Gukjooryeui(國朝五禮儀). The service was first held in 1791 for King Danjong and his royal followers. 2. The rule based on Chunkwantonggo(春官通考), defines the king's tomb memorial services and attendees. King Danjong's memorial service follows the rule regarding its attendees and the attendees include high-ranking local government officials, local confucian scholars, and service men. 3. The costume of attendees for the King Danjong's memorial service is as follows: 1)Dangsangkwan(堂上官) and Danghakwan(堂下官) wear Sangbok(常服), which consisted of Samo(紗帽), Heukdanllyeong(黑團領), Pumdae(品帶), and black boots(黑靴). 2)Local confucian scholars wear their uniform consisting of Yukeon(儒巾), Dopo(道袍), Sejodae, and black boots. 3)Service men wear their uniform consisting of Jeonjakeon(典字巾), red-robe with rounded collar called Hongui(紅衣), Kwangdaw hoe(廣多繪), and Uuhae(雲鞋).