• 복식문화연구
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• 제7권5호
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• pp.1-18
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• 1999

This study concerns the role of costume in Shakespeare\`s history plays from the viewpoint of the role theory. The term “role” has been used to represent the behavior expected of the occupant of a given position or status. A specific role can not be successfully performed without the aid of the costumes. Costumes are adopted in relation with a specific role. The term ‘role’ had been borrowed from the drama. The similarity between the role on the stage and the role of the social man had been recognized. The similarity between the role on the stage and the role of the social man had been recognized. The typical examples in which the costume help to make access to a specific role and can be effectively exploited for the performance of the role are manifested in the history plays of Shakespeare. Thus, our goal in this study is to analyze the role of costume which appears in Shakespeare\`s history plays from the viewpoint of the role theory. The role of social status and position reflects sex, age, occupation, class, economic position of the characters. In his works, the crown and the mace represented not only the throne but also a previllege and supreme position. The situation role of costume could be widely used for visualizing the psychological situation and external environments of the characters on the stage. The disguise role hided one\`s status, thereby makes possible acting other\`s position. The costume also could symbolize the social status, position, rank, occupation, and the situation, and functioned as a media fo delivering messages to others. The costume performed the role of the physical and psychic protection, and provided its wearer with consolation and peaceful mind. The costume reflected the custom of a society through its wearing configuration. The costume (or a uniform) adopted by a group notified the characteristics and the expectation of action of the group to others. The results obtained from this study can provide useful cues for understanding the role action in the social structure. This kind of understanding reveals the costume phenomena in real life, allows one to perform roles properly and efficiently, and opens our insight on the overall aspects of the costume culture.

• 한국의상디자인학회지
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• 제20권3호
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• pp.99-113
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• 2018

In this study, the reality of international Gothic style was examined through the representative art of the period, such as paintings, architecture and tapestries. In particular zones of the body were examined by applying Harold Koda's methods of discussing extreme beauty to study the phenomena and characteristics of extremes in late Gothic costumes. This arrived at the following conclusions concerning the phenomena and characteristics of the extreme appearing in the late Gothic costumes. First, a mechanism of body transformation to reach the ideal and desired form of a human. Second, the complicated and various extremeness of the whole human body. Third, the reflection of 'elaborate and secular excess, decorative taste of international Gothic style. Fourth, a early advanced case of the Trickle-down fashion and international sensation. Fifth, the aesthetic insight into 'ugliness', ever pursued in 'extreme beauty'. The researcher expects that the results of this study will contribute to the preparation to renew the significance of, and to restore the status of the late Gothic costumes, in terms of costume history, that has been considered as an age of the bizarre tastes.

• 복식
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• 제59권9호
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• pp.115-130
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• 2009

A kind of Korean traditional jacket, Baeja, has been a Korean traditional costume equipped with practicality and formative aesthetics from the Three Kingdoms period to the Joseon Dynasty. Accordingly, the researcher of this study highly valued a modern sense of Baeja with various types of design and forms and attempted to make efforts to apply it into modern life. This study provided a new direction in the modernization work of traditional costumes by creating fashion images newly interpreted corresponding to a modern sense and trend through the application of formative characteristics and noticeable elements via the coordination of traditional Baeja and modern costumes. On the one hand, it would be meaningful in terms of contributing to the activation of traditional Hanbok by providing people with ample opportunities to wear it in modern daily lives variously. On the other hand, the actual purpose of this study was to perform a modernization work for traditional costumes by attempting to conduct a crossover that could let people move into other areas freely, that is, a creative and innovative research associating the area of costume history and that of coordination.

• 복식문화연구
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• 제18권6호
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• pp.1112-1128
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• 2010

This study aims to know the trace of Korean musical, consider musical depending on its type, arrange characteristic of musical costume and find out the developmental direction of Korean musical costume with potentials as a culture industry. For study method, the data were collected from thesis, academic journal, book and internet web-site concerning musical costume, literatures were considered and performance costume photos, which were captured via musical performance site, were analyzed. The history of Korean modern-day musical is regarded as starting with (1966) in the full scale. Although foreign musical was imitated in 1970s~1980s, it may be called the growth period of Korean musical because the period showed the commercial possibility. Since 1990s, large-scaled musical securing good work and popularity was popular. In 2000s, musical industry was abundant quantitatively and qualitatively as investment or popularity was significantly expanded. The type of Korean musical are divided to opera musical of European, Broadway musical of American and creative musical of Korean. The costumes used in opera musical of European and Broadway musical of American are borrowed from original works through license or were manufactured in Korea by referring to the costumes of original works and using similar materials or fabrics. The costumes used in creative musical of Korea are designed by either domestic or foreign designers and produced in Korea.

• 복식문화연구
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• 제19권3호
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• pp.501-517
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• 2011

This study investigates the concept of the body in Korean traditional costume by comparing the traditional costumes of the west and those of Korea while focusing on the relationship between the body and dress. In order to make a comparison of the traditional perspectives on the body in western and Korean costumes, this study examines the literature of history, art, medicine, philosophy as well as dress from the mid-fourteenth century to the nineteenth century pertaining to the west and those of the Joseon Dynasty Korea. Western dress assumes apparent formal structures and pursues overall harmony via the completeness of its entities, while traditional Korean dress subordinates the parts to the whole, emphasizing the organic total. Whereas the proportion of bodily structure is stressed in western traditional costume, in Korean costume the body is perceived as a whole. By revealing the body through the three dimensionalities of dress, the focus on the erogenous body parts is shifting in conventional western dress according to changes in aesthetic consciousness, which reflects the western ideas of objectiveness and self-centeredness. In traditional Korean dress, in the space between the body and dress, the emphasis is on planarization of the dress, which assumes the oriental relationship-centeredness concept.

• 한국의상디자인학회지
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• 제23권2호
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• pp.43-52
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• 2021

This case study developed and operated "Fashion & Film" as a fashion-related liberal arts course. The class was designed to include fashion styles exhibitted in films, fashion-related PPL, fashion design through film, fashion images of movie characters, considering gender & color images expressed in movie costumes, and the history of western costumes and asian folk costumes in films. The class was counducted through various teaching methods, such as lectures, student's presentation of movie plots, and team discussions, which created a student-led class. The team presentations at the end of the term were intended to enhance the understanding of fashion through movies. The results of subjective lecture evaluation of "Fashion & Film" showed the most satisfaction with the communication with professor. Students said that it was good to understand fashion through film. They expressed a burden with the team project; however, they were satisfied with the team project outcomes. Students said that PowerPoint was used very effectively. On the other hand, there was an prevelent opinion that the content of PowerPoint and workbook did not match. To address this inconvenience, a textbook called "Fashion in Film" was published and used in the first semester of 2020. The multiple-choice evaluation showed that students were generally satisfied with the "Fashion & Film" class.

• 패션비즈니스
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• 제6권6호
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• pp.43-55
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• 2002

This study intends to consider the characteristics of Tudorian costume and find out how the thoughts and cultures in those days had influences on the costume trends of low and middle class. In terms of the Tudorian costume which generated new cultural mainstreams along with blossomed civil culture, this study focuses on the characteristics and trends of costume at low and middle class, which have been little addressed in studies on western costume history or related fields, turning from the costume of upper class based on wealthy noblemen who showed off its dignity and authority along with jewelry and gorgeous ornamental craftsmanship. This study used related pictures, museum material and other literatures as its reference. It first looked into the general characteristics of western costume and considered the characteristics of costumes popularized in professionals at middle class such as apprentice, yeomen and low-class people. Professional or other middle class almost typically used to wear tunic, doublet, shirts, coat or long gown. Black was mainly used as clothes color. Similarly to upper class, silk or velvet was very often used as material. People at low class enjoyed wear costumes with simple and easy style for working. They also preferred natural color and cotton or wool as material. This study intended to find out which type of costumes people at low and middle class enjoyed wearing, rather than compare costume between such two classes.

• 복식문화연구
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• 제8권6호
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• pp.853-863
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• 2000

This study is planned to present the future direction of the study of Korean clothes through the realistic recognition of the changes of studying issues of each area of the related clothes. For this purpose, the writer of this thesis have collected, classified and analyzed those various kinds of papers and theses published in the professional magazines of clothes such as Journal of Korean Home Economics, Journal of the Korean Society of Clothing and Textiles, Journal of the Korean Society of Costume, The Research Journal of the Costume Culture so that I might examine and study the main trend of the related study. The result of the study is as follows. 1. Since the first publication of Journal of Korean Home Economics in 1959 and Journal of the Korea Society of Clothing and Textiles, and Journal of the Korean Society of Costume, the study of clothes has been gradually increased. Furthermore, since 1990 the issuing times of various kinds of Journals have been continuously increased with the foundation of The Research Journal of the Costume Culture and Journal of Fashion Business. 2. Theses and papers published in the four greatest Journals of Korean Clothing and Textiles have been studies for the detailed classification and analysis of the data. According to the study, It is found that the theses in Journal of the Korea Society of Clothing and Textiles have actively studied textiles as they had studied before 1990s and those in Journal of the Korean Society of Costume have studied history of costumes and those in The Research Journal of the Costume Culture have studied the composition and science of clothes. 3. The order of studying subjects was 1) Design and Aesthetics, 2) Fashion Merchandising 3) Textiles, 4) Clothing Construction, 5) History of Costumes, 6) Costume Culture, 7) Socio-Psychology of clothing, 8) Others. Considering the above mentioned result of the study, most of the main fields of the clothing and textiles study have been studied continuously in balance since 1990 unlike the past although the past studies had been performed largely in some main fields only. And it was found that fields of clothing styles and clothing goods have been studied most actively since 1990s. 4. The studying field of Design and Aesthetics has showed to have the trend to be studied very actively since 1990s, which has utilized various relevant data with scholastic approach to psychology and aesthetics. Regarding Fashion Merchandising, the study of consumers decision process has been performed most actively. And theses on the international trades have been published considerably more than ever before, which resulted in gradual increase in gradual increase in the study of the fields related with global marketing, internet marketing, textile products exports, and overseas brands, etc. Regarding Textiles, the field of clothing sanitation and management has been studied more actively than that of clothing materials. In case of clothing construction, the study of physical styles and pattern making has been more active than the other related fields. Fields of socio-psychology of clothing and history costume have been a little reduced. Field of costume culture has been firmly rooted as an independent subject to be studied in the clothing related study. And study of the clothes has shown various trends of studies of ethnic & folk clothes, religious and ceremonial garments, linguistic & favorite approach to clothes and academic analysis of the data.

• 복식
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• 제64권1호
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• pp.152-164
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• 2014

Korean people have revered the white color and enjoyed wearing white clothes. Various kinds of white clothes have been worn by the Korean people, ranging from everyday wear(便服), and scholar's robe(深衣) for the upper class, to religious costumes like Buddhist monk's robe(僧服), shaman costumes(巫服) and costumes for ancestral rites(祭服), or mourning(喪服). There have been many differing opinions by historians regarding the background of this Baekeuihosang(白衣好尙, the preference for white clothing) tradition and even now, it is frequently being discussed. This study aims to consider and discuss the background of this Baekeuihosang tradition, focusing on Chang-seon Yoo's Baekeuigo(白衣考, the consideration of white clothing), which was published in Dong-A Ilbo in 1934. The purposes of studying literature such as the Baekeuigo is to analyze the arguments on the origin of Baekeuihosang, to analyze Chang-seon Yoo's claim of its origin, and to discuss the culture of Baekeuihosang. Chang-seon Yoo claimed that the existing discussions on the background of Baekeuihosang based on the lack of dyes, or undeveloped technique, economic privation and national control strayed from historical facts, according to literature review. It is not worth discussing the farfetched arguments such as the use of costumes for ancestral rites as everyday wears, or the nation of sorrow. Baekeuihosang tradition mostly originated from the effects of many religions and the taste for innocence, or naturalness. White clothes were infused with the sorrow and emotion of Korean people and were also worn to show resistance to foreign power as symbols of ethnicity. Therefore, there should be a new view of the discussion of white clothes and Korean aesthetic sense, away from the logic distorted by the Japanese colonial view of history.

• 한국의류학회지
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• 제33권7호
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• pp.1140-1151
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• 2009

This study researches the formative character of 1920's fashion through cinema costumes from the perspective of the theories of W$\"{o}$lfilin and Delong. This study organizes a new perspective such as closed form & open form, part recognition & whole recognition, and flat & rounded to analyze the characteristics of form in the costumes of 'The Great Gatsby', 'Chariots of Fire', and 'Chicago'. The 1920's style in the fashion history is a closed form and flat because of simplicity and functionality. The costumes in Chariots of Fire' that focuses on the reappearance of 1920's fashion is a flat and closed form. However, the costumes of 'The Great Gatsby' that presents a symbolic meaning and 'Chicago' that expresses a splendid look are an open and rounded form. Evening dresses are open, with whole recognition and a rounded form because of sheer fabrics, beading, uneven hemlines, and lighting. Daytime dresses are a closed form and flat because of heavyweight fabrics, dark or achromatic colors and non-patterns. Also, open form and rounded, closed form and flat have a similar distribution in diagrams. When the viewer recognizes the form of clothes, they react in a similar way to two-dimensional and three-dimensional presentations that shows that the form of clothes is recognized by the relation with the body. In addition, this study researches the connection between diverse elements such as clothes, body, movements, space, and external elements such as lighting.