• Journal of the Korean Society of Costume
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• v.5
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• pp.237-246
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• 1981

This is a report of author's stay in the U.S. as an exchange scholar. During her stay from Dec. 1979 to Dec. 1980, she participated in costume studies at Pratt Institute, New York City and looked into materials of North Asian historical costumes. The author notes that the curriculum of costume studies in the U.S. place weight upon costume history, e.g., the master's program in costume studies of New York University requires 18 points in history courses out of 54 points required for the degree. The author also notes the leading role of the Costume Institute, the Metropolitan Museum of Arts in performing research works for the studies. As to the study of North Asian costumes, the author's work in the U.S. has been somewhat disappointing. She points out difficulties for a Korean researcher to access to basic materials which are scarce outside of China and Russia. She asserts, however, the comprehension of the history of North Asian costumes as a whole is essential to understand the characteristics of ancient Korean costumes. The author insists the costume history courses in Korean colleges are not appropriate as a apart of costume studies. Noting the costume education in the U.S. clearly aims at the training of costume professions, the author proposes the objective of costume education in Korea be redefined, and the teaching of "History of Korean Costumes" be reconstituted as to be suitable for it.

• 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.

• Science of Emotion and Sensibility
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• v.22 no.3
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• pp.91-102
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• 2019

Tibet has a long history and many traditions that feature colorful costumes. This study analyzes the similarities and differences in the use of multicolored stripes in the Korean Saekdong (색동: stripes of many colors) and Tibetan folk costumes. The analyses were done within the framework of Tibet's cultural and religious background and the characteristics of the region's traditional costumes. For this study, literature and photographs from books and the Internet that record the history of Tibet's traditional costumes were analyzed. The results show that the use of various colorful stripes was common in the Bangjeon (帮典) apron, one of the greatest costumes in Tibetan history. A Bangjeon is made of wool of multiple colors and has horizontal lines as compared with the silk Saekdong's vertical lines. In addition, they have a multicolored striped band on the sleeves which reminds one of the traditional Korean jacket with its Saekdong sleeves. However, these multicolored stripes appear in more parts of the Saekdong (such as the hemline and front collar) when compared with contemporary Korean costumes. Moreover, the multicolored bands are noticeable in several ornaments from the time, which suggests that Tibetans and Koreans were very fond of using multicolored stripes. Costumes from the Goguryeo (高句麗) dynasty indicate that Tibetans, like the Mongols and Manchus, were very similar to Koreans as they had multicolored garments and Paji pants in common.

• Journal of the Korea Fashion and Costume Design Association
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• v.1 no.1
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• pp.17-34
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• 1999

Because the United States of America has a short history, they don‘t have a special traditional culture or costumes. Besides, America is a multi-people country, they couldn’t have a consistent culture or a traditional costumes. But even they have a short history, they are trying to make a new culture. America is searching for a representative culture, which are like festival costumes, regional costumes and costumes that are form the group of people, in there country and making it into their a convention culture. This thesis is about the costumes of the U.S.A.'s famous festivals, traditional and festival costumes that are differ from every other states and the traditional costume that they are making it righ

• Journal of the Korean Society of Costume
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• v.39
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• pp.167-179
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• 1998

The objective of this study is to examine the costumes of the period covered in the writings of Shilhak (practical science) scholars and to research the history of costumes and their characteristics by examining how they are worn in genre paintings which are said to describe the actual life of the period. This should be studied in order to correctly establish the history of costumes. To begin with, through the writings of the representative Shilhak scholars who are thought to have affected the changes in ordinary costumes for woman, this study examined how ordinary woman of the period looked in their costumes and how they regarded various costumes they had. Then, how their viewpoints of costumes influenced ordinary costumes was investigated. Not only relics, but what was commonly worn, as they appeared in the genre paintings that contain information about daily living of that period, were researched chronologically. The results of this study showed that the change in ordinary costumes for woman in the late Chosun period was affected by Shilhak scholars who had ideologies of Shilsakusi (use of positive methods in studying), Yiyonghusaeng (the promotion of commerce and industry and the development of techonologies), and Ky ngsech'iyong (pursuit of stability in a rural economy). Moreover, after those changes there were many more changes. However, the criticism of costumes of that time and the will of revolution affected some time, costumes changed directly. The forms of the costumes had been changed in a variety of ways following the tendencies of the times, but the origin of today's hanbok (Korean traditional dress) had already been fixed in the late Choson period. Yet, today's hanbok are for special occasions, not worn as ordinary clothing. Thus, there are several reasons why the hanbok is not suitable for daily life. One of the reasons is that Korean could not cope with the western costumes indepen-dently imported during Japanese occupation in the last period of the Choson Dynasty and con-tinuing the Japanese Colony. Thus, only a part of the ordinary costume of the late Choson period has remained until now.

• Journal of Fashion Business
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• v.10 no.6
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• pp.1-8
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• 2006

This study was aimed at reviewing kinds and characteristics of children's costumes in consideration of their social and cultural backgrounds and particularly, those of children's costumes during the period of Enlightenment following Chosun dynasty and thereafter. Namely, this study focused on children's costume history in view of not adults' costume miniatures but their own concept. It is deemed very significant to review the history of our traditional costumes and thereby, express their decorative features with our contemporary sense. It is results can be summed up as follows; Strictly speaking, the period of Enlightenment can be defined as the one from Gwangwhado treaty in 1876 through annexation of Korea by Japan in 1910, but it may well extend until our emancipation from Japan in 1945. By 1890's, children's costumes remained almost traditional, but since then, the Chimas as well as Jeogori and breast tie began to be narrower. Particularly, Children's Jeogori began to be narrower with their breast tie disappearing gradually. By 1910's, children's costumes had changed much, with the breast tie replaced by the buttons and the longer Jeogoris.

• Journal of the Korean Society of Costume
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• v.57 no.4 s.113
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• pp.81-94
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• 2007

Luxury, an expression of richness and expensiveness which can be achieved after putting in extensive an elaborate handworks, has been expressed in Hollywood movie costumes. The purpose of this thesis is to explore the characteristics of movie costumes of Hollywood studio designers, and to contemplate luxury expressed in movie costumes for such purposes, this thesis first provides the study on the luxury in movie costumes which has been reflected in fashion history, film studies and feminist theories, and to conduct a case study by analyzing photographic materials. The luxury expressed in movie costumes could be identified as expensiveness, exclusiveness, excess, and indulgence. In the movie costumes, expensive materials such as furs, jewelry, and decorations were used. Couture and custom-made costumes were the expressions of exclusivity. Also, the excessive luxury were the expression of bigness, scalelessness or extreme abundance. Indulgence in luxury is shown in use of uncommon characteristics, especially in gangster movie costumes.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.1-12
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• 2008

Although the curator system of South Korea officially started in 2001, it has not taken root yet. Because most active curators do not have a certificate, concerned scholars are making efforts to complement and establish the curator system. Although there are currently numerous museums and art galleries that own a number of costumes and textiles in Korea, the number of curators who majored in the history of costume is very low. Despite the growing importance and the increase in costume-related exhibition than any other fields, this shortage of qualified curators resulted in the lack of specialty for the management and exhibition of past costumes. To solve this problem, there needs to be more hire for curators, in proportion to the possession and exhibition of costumes, who major in the history of costume. The history of costume must also be part of the curator test and be required even for the internship. And there must be education for curators who currently deal with costumes without having majored in the study of costume, history of costume students who want to become a costume-related curator in the future, and the general public. The contents for education must include the knowledge of artifacts, theories to enhance the management capacity, and practice in the museum.

• The Research Journal of the Costume Culture
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• v.7 no.4
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• pp.52-68
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• 1999

The purpose of this study was to be inquired inner contemplation of the tattoo expressed in the modern costumes. For this study, related documentaries and pictures or photos were analyzed in terms of the theretical background for the history of tattoo, the relation between tattoo and the modern western costumes. The primary source of pictures or photos are Vogue, Collections, Collezioni, Harper\`s Bazaar, Modain, Model et Mode etc. The human\`s needs of body decoration had constantly pursued on the body and costumes from the first until lately. Especially in the recents, as the tattoo is implicated a dynamic and charming method of all kinds of body decoration, it\`s used a motive of modern western costumes. The original tattoo means a picture, word etc. that was put permanently onto their skin using a needle and coloring matter. But, these days tattoo is an expression of street style for something new in the subculture. The results were as a follows : The inner meaning of tattoo represented in the modern costumes was classified into two categories. First, the tattooing was a very important factor to complete fashion design through the history of modern costumes, and also the elaborate tattoo of the body was displayed unrestricted formativeness as the skinhead\`s tattoo, raceless\`s ambiguity of street style and artistic decoration, because that can be faded easily. Second, Tattoo Look was expressed as tattoo prints of the see-through, elastic textiles in the modern costumes. That is, the tattoo enhanced the effect of dramatic atmosphere other formative arts as well as the modern costumes by Tattoo Look. Similarity, Tattoo Look could be interpreted as the change of the aesthetic consciousness by the influence of the subculture. Accordingly, in the end of a this century, many experimental designers had applied tattoo to modern costumes. So this study will stand as an important clue to foresee the future costume\`s style and change.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.85-98
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• 2009

The modern trend in costumes, influenced by postmodernism, is to use of various patterns and images borrowed from diverse cultures of many ethnic groups. The Yo tribe studied in this paper is miner ethnic group in China, whose traditional costume is very splendid and modern. In addition, its embroidery pattern has a high artistic value in that its shapes are diverse and splendid and each one has its own peculiar elegance. As for the research method, I examined the Yo tribe's history, culture, traditional costumes and design patterns through related books, research papers, internet sites, and etc. The results of the paper are as follows. The Yo tribe's costumes consist of a jacket, trousers or a skirt, an apron and a belt. Although the color of the costumes is all black, there are splendid embroidery decorations with the colors of red, orange, yellow, green and white on the chest or shoulder part of a jacket, the adjusting lines, cuffs, or a part of a trousers and aprons. The types of the patterns represented in the Yo tribe's traditional costumes are related to nature, ancestor worship, ethnic legends, history, religion, and agricultural lives. The method by which the Yo tribe expressed on their costumes is a "peach-blossom" technique, which uses cross-shaped embroidery with wrap and woof threads. Because it is not apt to express delicate and detailed patterns, the Yo tribe's patterns tend to show abstract and geometrical forms.