• 복식
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• 제34권
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• pp.57-66
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• 1997

This thesis is mainly on the study of Gongbok(official dress) and Sangbok (usual dress) in the system of official o-utfit of the Song dynasty. The Song dynasty has not left many historical remains due to the vicious cycle of intermittent internal disturbance and several outside invasions. According to the records of the Song dynasty which identified official dress with usual dress saying "the official dress of every government officers is his usual dress" this thesis is concentrated on the study of official dress and usual dress among many different types of official outfit. In the Song dynasty had survived until the year of 1123 from the year of 960 us-ing the four colour system of purple chi-nese red green and blue. The four colour system of purple deep red. green and black of official outfit of the Song dy-nasty the first year of Wonpung's regin and wearing Eodae(fish sack)is a sure sign of influence of the system of the Song dynasty.g dynasty.

• 복식문화연구
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• 제11권5호
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• pp.657-670
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• 2003

It is quite common today for bride to wear white-colored wedding-dress in wedding ceremony. When does the color date back to? What does the “white” mean? Which other colors had been used for wedding dress and why? This research paper aims to answer those historical questions through literature review. It is found here that the “white” began to be generally accepted for a wedding dress color in the 18th century, and that the color became an official one since the marriage of Queen Victoria's (i.e. 1840). Prior to that, other colors were taken rather than the “white”. In ancient Greece and Roma, “Red” and “Yellow” were used to remove devils or to bring fortune. In medieval society, luxurious wedding dresses were popular and various colors were adopted in order to show up family power among leading classes. The “White” has meant purity of bride since the 18th century. However, two world wars in the 20th century happened to lead some brides in economic difficulty wear “black” colored wedding dress for a practical reason. After the world wars, some light colors such as white, beige, ivory are to be used in wedding dress.

• 복식
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• 제4권
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• pp.39-59
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• 1981

This article briefly researched the Picture of Welcoming the Governor of Pyongan Province painted by Kim Hong-do, penname Danwon(1745-1818?). The Picture was composed of three parts and its historical and pictorial back-ground were reviewed firstly. And later the dress and its ornament appearing on the Picture were studied. In the historical viewpoint of dress and its ornament, the Picture shown all sorts of dress from lower class maids and servants to higher officials-dignatories and governor, and dealt with nearly all dresses. In order to support and to make better understand the dresses of that age, some Korean literary works of the same period depicting the dress and its ornament were also selected. This article dealt with the dress and its ornament. especially that of 18th century of the Yi Dynasty, and comparatively studied for our folk painting with literary works. Also the picture enabled to make this study was an important data of our old dress and its ornament. This painting was considered as one of our cultural treasures. Several conclusions drawn out from this study as followings: 1) In male and female dress of lower class people; male dress was consist of trouser and coat, and coat, and over the coat SOCHANGYI were used. Female dress was basically consist of skirt and these were white color of their favourite. Mainly simple color was used for clothing and its dress style were CHAKSOO-HYONG (narrow sleeve style) which convenient for a work. 2) Yangban's dress was consist of trouser, coat and over the coat, usually DOPO(over-coat) were used and some case JICKRYONGPO (a sort of over-coat) or CHANGYI were also used. These were GWANGSOO-HYONG (wide sleeve style) of inconvenient for a work. 3) In head-gear, there was no difference of the higher and the lower. They usually used HEUC-KRIP (black Korean hat). The OCKJUNGJA, GONJAKMI (peacock tail), HOSOO (tiger beard), and YOUNGJA (chin strip) were used according to officials ranks as head-gear's oraments. 4) Local petty officials used ordinary dress and CHUPRI (warn-dress) were also used by them, and military officials used war-dress of tight sleeve. 5) The belting of over-coat are different in color according to official grade. The higher grade wore red-wide belt, but generally black narrow belt for ordinary officials. 6) All KISAING girl wore SAMHYEOIJANG upper coat. And their head ornament were black KARIMA for grown KISAING. SAYANG hair for DONGKI or maiden KISAING and BINYEO (an ornamental rod of women's hair) were inserted into the hair of rear down part of head. The water carring maid wore BANHYEOIJANG upper coat and no KARIMA were on head and their coat were gloomy color. Above mentioned are several conclusions, and there migh be a false or erroneous explanations of 18th century dress and its ornament, however I considered they were data for blank period of quite unknown.

• 복식
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• 제47권
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• pp.5-18
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• 1999

This study focus on the history of Scottish kilt and the application of kilt designed by Vivienne Westwood 1993 F/W. Up to late the 16 Century saffron shirt was worn among Highland men and belted plaid become common dress after the 17 Century. The early the 18 Century belted plaid have developed as a kilt separated to a upper and a lower skirt style. However Government banned wearing tartan and kilt after Culloden battle (1745) as highland Dress(tartan, kilt, belted plaid etc) was the symbol of rebellion. This legislation by Hanoverian authority continued for 35 years. Although most of tartan was disappeared during those period it has become popular among European upper class after george IV's visiting Scotlan in 1822. Highland Dress become Scottish national dress after Industrial revolution. Currently Vivienne Westwood's 93 F/W using tartan and kilt and its accessaries those items were successfully transformed modern ladies dress.

• The International Journal of Costume Culture
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• 제8권2호
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• pp.61-70
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• 2005

A representative British designer, Vivienne Westwood's work. world from radical punk style to aristocratic historical dress is explored in context in terms of Englishness. National identity opens up into the process of mobilization of collective sentiment in the national context, unlike nationalism, and Englishness signifies the idea or emotion of England in contrast with Britishness, the political constructor influenced by geographical aspects. There is no doubt that Vivienne Westwood is central to ideas about creativity and originality in English design on subculture. However, in evaluating a designer and her work we should consider the entire context surrounding her from a broader view, rather than arguing only her own ingenuity. In this article, through reconsidering her originality in the historical reference as well as the resistant punk style in aspect of fluid national identity, I show a case of a constituted Englishness, forged by Vivienne Westwood as a cultural creator of national identity. Vivienne Westwood's case hints the complexities of national culture, which constantly shifts, translating her understandings of history and culture into fashion in her contemporary insight and glamorous ways.

• 복식
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• 제61권1호
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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.

• 패션비즈니스
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• 제26권6호
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• pp.14-31
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• 2022

Worn by both males and females the kimono is the national dress of Japan. Previous research highlights that this national dress is fading from tradition and evolves to develop with the times and fashion trends. This research aims to investigate what a kimono represents both historically and currently within Western society. The idea of the kimono being more than a national dress representing Japan, the main three themes researched will be (1) Shape (2) Narrative (3) Journey from East to West. Based on both primary and secondary sources this research indicates that there is a strong relationship between the universal increase of kimono wearers in Eastern and Western societies from history through to present day. Primary research is utilised in the form of two types of interviews. Primary outcomes bring a personal perspective to how and why kimono is worn nowadays within Europe. Secondary sources include online lectures held by kimono specialists as well as subject relevant books. From the 19th century where the Dutch were the only European country to trade with Japan, an exchange of fabrics took place which later led to the exchange of: fit, fashion and pattern (primarily within Western womenswear fashion.) This distinct garment never gets discontinued and evolves with social demands within society today.

• 복식
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• 제66권6호
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• pp.17-31
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• 2016

The purpose of this study is to perform historical reconstruction of the court dress coat in the Daehan Empire in order to make replicas of the artifacts. Following steps were undertaken in the study : literature research of the laws of the era, drawing of the design, embroidering gold work, and tailoring of the coat. Embroidering and tailoring experts were consulted to complete an accurate reconstruction of the dress court. The results of this study are as follows. First, Juimgwan's coat, which was the Court Costume Rule in 1905 was selected as an experimental coat. It was revision of the Court Costume Rule in 1900. The process of selection was based on the amount and easiness of embroidery. Second, the design of the back bodice, chevron, pockets and collar is reflected the pattern of the preceding research, which was analyzed from the laws, the drawing document[Gwanbokjandoan], and artifacts. Third, the gold work embroidery in the back bodice, chevron, pockets and collar was done. The embroidery material were composed of gold threads, such as rough purl, smooth purl, check purl, pearl purl, rococo, and spangle. Couching was used as an embroidery method. The coat was tailored after embroidering. The coat and the buttons were made after analyzing the artifacts. The result of this study can be utilized in the field of historical reconstruction of artifacts in the museum, the designing of stage costume in the performances of reenactment events, drama, and movie of Daehan Empire. Furthermore, this study is anticipated to contribute to the fundamental research of culture contents.

• 복식
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• 제29권
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• pp.117-126
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• 1996

As the current stage of the fashion begins to follow the styles of the past the study on the past costume is getting more importance and as the methodolgy of the study the accu-rately approached study through the rehabili-tation of the past cosume is more needed than the simple rearrangement of the historical documents. By this methodology this study can be positioned as a re-creation activity. The results of the study are as follows. 1) Style: The general silhouette is the style to emphasize the waist and to widen skirt at the lower part of the body. The front shows hourglass silhouette but the side shows S-line silhouette. The dress is two-piece composed of bodice and skirt. 2) Color and Fabric: The main color is dull powder blue end the sub color is ivory. The dress is made of wool crepe and cotton and partly silk crepe satin and taffeta. 3) Pattern and sewing: The dress is combined with lining and fabrics, The patterns. or overbodice. The skirt is gored skirt. The skirt is gored skirt. The dress has various effect not only to decorate but also to conceal seams support hemlines nd affect the depth and length of front panel. 4) Datail: The braid black velvet ribbon frill and tucks in bodice skirt sleeves front panel collar cuffs are repeatedly used to dec-orate the dress. Finally the 1902-3 day dress has the characteristics of transitional stag in which the chatacteristics of the costume of 1900s and the remnants of the characteristics of the pre-vious costume style and shows the charac-teristics of day dress well in terms of the style color and fabric pattern and sewing and detail.

• 복식문화연구
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• 제17권6호
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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.