• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.1
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• pp.158-170
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• 2016

This study analyzes historical drama costumes as a domain of popular culture through an examination of the changing process, factors, and design characteristics of historical drama costumes according to trend changes in historical dramas after the 2000s. Public interest in Korean traditional clothing has grown due to the historical drama fever. Research results are as follows. First, historical dramas are divided into: authentic historical dramas, popular dramas, and fusion dramas. Historical drama costumes show characters' status and roles to help viewers become absorbed in dramas and increase understanding the historical periods and knowledge. Second, the characteristics of TV historical drama costumes (according to changes of the historical dramas according to 2000) brought diversification as they are diversified by period, genre, and character and costumes which are suitable for them additionally resurfaced. Third, as for the design characteristics by type in TV historical costume after 2000s, authentic historical dramas' design was done by comparatively in-depth historical research based on historical materials to help public understand the past. Popular historical drama costumes are based on history, but the forms of costumes were emphasized (or exaggerated); in addition, colors, subjects, and patterns were modified to emphasize image beauty, dramas' atmosphere, and characters by reflecting intention. The fusion of historical dramas' costumes attracted the attention of the public about Korean designs that harmonized tradition with modernity to actively reflect current trends in past periods and show new types of creative design.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.141-163
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• 2001

This study was to analyse the meanings of the appropriation inherited in the modern costumes from the latter of the 20th century to the present. According to the dictionary, the meanings of a word. "appropriation" is to steal something, used in order to avoid saying this directly. The sorts of the appropriation represented in the works of Art was as follow : First. the reconstruction by the imitation of the works of a great master or partly induction of the works of a great master Second, the introduction by the history, modern art, the image of popular culture Third, the imitation by the works of photograph, etc The appropriation in the modern costumes could be distinguished as two facts : First, the appropriation of the image of popular culture, 1) the way by the induction of popular factors of the extremely routine, commonplace character 2) the way by the citation of critical sentence of society, complaint message of the situation of times. Second, the reinterpretation of the past works : 1) the way by the reinterpretation of a great artist′s works, or popular works. In accordance with its change of a standard of value of the beauty, the products of modern culture, called the artificial second image, that is, popular factor, ready made factor, a signboard, a trademark etc, was appropriated in modern costumes and was reinterpreted by the works of fashion designer′s empathy. We can say that the modern costumes is not only the products of creative, original action of fashion designers but also the mirror of times, having relationship with society.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.139-151
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• 2014

Storytelling contributes to easy flowing of cultural contents, and cultural original materials offer the creative subjects of cultural content. Now, in Korea, thanks to the Korean wave and etc, new kinds of cultural contents are requested and the demand for the original materials of storytelling has been increasing.A 5,000-year-old history, Korean traditional culture is the storage of the original materials of storytelling that can offer the creativity and the competitiveness, which are able to secure the national competitiveness. Particularly, there are different kinds of cultural archetype materials in the wedding ceremony and wedding costumes. This research, thus, is aimed at providing the subject materials for the cultural content development which are various and interesting by developing the original materials of storytelling on the wedding ceremony and wedding costumes during the Joseon dynasty. In the study for the wedding procedures in the late of Joseon Dynasty, the original sources within wedding ceremony created in the process where wedding customs in Joseon Dynasty and China were compromised are suggested. Further, in the research for the original sources on the wedding costumes associated the wedding ceremony, the original source of storytelling which are showed in a nation and an individual in the process where the wedding ceremony symbolizes the most important marriage one of the fomalities performed in one's life is suggested.

• The Research Journal of the Costume Culture
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• v.11 no.6
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• pp.941-955
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• 2003

In this study, the researcher investigated how tailored garment were accepted and developed in India where the traditional costumes, such as Sari and Dhothi, excluding the tailored process, were mainly worn. It is suspected that pants and coats were first introduced during the Kushan Dynasty but they scarcely influenced on the costumes of India. In the 7th Century when Islam made its entrance in India, pants and coats were not accepted in India due to the exclusive attitudes of Indians, Hindu. Pants and coats were worn locally as Indian costumes through the Islamic Mughul Empire in the 16th Century. During that period, the cultural exchange between Islam and Hindu made the change of the clothes of India reflected the mixing of Islamic and Hindu elements. The colonization of India by Great Britain that was the turning point for diverse kinds of tailored garment in the costume history of India inasmuch as western elements were introduced. The western style tailored method and design changed the appearance of Indian pants into slimmer style. The style spread and influenced on the design of indian clothes greatly; hence, western style shirts and coats were accepted in India.

• Journal of the Korean Society of Costume
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• v.57 no.8
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• pp.125-136
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• 2007

This study is about the excavated female shroud while moving the graveyard of Nam-yang Hong clan in Yang-pyeong, Gyeonggi Province to other place. It is acquired as Yeon-An Kim clan who is a wife of one of Nam-yang Hong clan and history is estimated to 16th Century. Significance of this excavated female costumes is, 1) a Dan-ryeong, which is typical costumes during 16C. for woman is excavated. It is embroidered with peacocks shaped badge in fore and backside on a clothes, which is understood as the symbol of highest status but it is considered as much higher than actual status of her husband. from this, we can assume that burial costumes and regulation for actual clothes by the status are not exactly matched. 2) Various form of Chima and Jegori also found in the grave along with a Buddhist banner(幡) printed with Darani(多羅尼) which is unusual in Chosun dynasty, under confucian influence. 3) An embroidered design pillow was collected first time, which make us enable to understand the in-house life style of 16C.

• Journal of the Korean Society of Costume
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• v.63 no.7
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• pp.65-78
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• 2013

This study aims to suggest the methodology for conservation of excavated costumes especially repair and restoration process. Early excavated costumes had not attracted attention from the field of academia and the public. So not many scholars, organization and society participated in the excavations but as its value has gotten more recognition, there has been a reversal in trend. And so many organizations have taken part in it. Excavating includes conservation processes such as washing, repair and restoring, and then it is published by reports or books after the process is complete. However the method of conservation has varied depending on the institution. In particular, repair and restore methods do not include anything specific details, and often times, only has descriptions of the before and after state, and so a more unified method needs to be suggested and shared. This study defined 'Conservation', 'Repair' and 'Restoration' and then applied it to the short history of Korean excavated-costumes. Then it suggested ways to repair and restore excavated-costumes in terms of construction, textile, and damage by the unpublished cases of excavated-costumes of Noh Su-ham(1516~1573)'s Family. It was also referred to repair and restoration process such as shaping correction, dyeing, supporting, sewing and after treatment by texts and pictures. Other contents such as a list of relics and its details, will be published through a report or a book. The whole process of conservation was in progress based on the ethical guidelines of conservation, 'Minimum intervention' and 'Reversibility'.

• Journal of the Korean Society of Costume
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• v.65 no.1
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• pp.30-45
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• 2015

This study summarizes the dissemination aspects of liturgical vestments in Korea, and organizes the value and meanings of these disseminations as it appeared in the history of costumes by carrying out an empirical analysis on the relics of liturgical vestments since the modern times. It also examines its design characteristics as well. Liturgical vestments have symbolic meaning for the purpose and solar term of ceremonial occasions and it also functions as a way to differentiate the position and duty of the clergy. Liturgical vestments developed on the basis of ancient Greek-Roman costumes and transformed each situation and social trend of the age. Korean liturgical vestments started with their traditional costumes, in 1887, it were changed into French(western) style with freedom of religious. After the secondary Vatican Council held in 1962, various regulations were changed to spread the Catholic doctrines and ideology. This study conducted an empirical analysis and design consideration on the 28 relics of modern liturgical vestments on the basis of the foregoing standard and concept. As a result of analysis, relics were investigated as research materials worn by Bishops after 1960s. And design elements are that the relics used materials and ornament of Hanbok with flower patterns and decoration such as letter patterns including 壽(life) 福(luck) 喜(pleasure) as well as Chrysanthemum and Mancaowen design. These transition reflected by amend regulation of Vatican Council II. Accordingly, this data has been confirmed to be important for the history of costumes as it informs what process of changes liturgical vestments spread in Korea went through before they are worn as current appearance.

• Journal of the Korean Society of Costume
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• v.66 no.1
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• pp.42-57
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• 2016

The Tibetan people are an ethnic group that is native to Tibet who have adapted to the region's harsh climate and environment, and developed their own culture. Religion played a central role in maintaining its traditional culture and society in the history. The objective of this study is to understand Tibetan costume and religion, and examine patterns that appear on the costume to study their religious symbolism. The significance of this study lies in explaining the symbolisms of the patterns that appear on the costume in terms of cultural maintenance and change. Based on literature review, I summarized the data about Tibet's environment, history and religion, and divided the residential district into three: ${\ddot{U}}$-Tsang, Amdo, Khamba. Then, I organized each region's characteristics and clothes, and studied Tibetan Buddhism (Vajrayana) costumes and features of the patterns that appear on the costumes. Through combining these data, I would like to examine the religious symbolism of the costume pattern of Tibet. Buddhism is at the heart of cultural and social maintenance and change in Tibet, and the patterns shown in the costume is influenced mostly from Buddhism. The features of general Tibetan costume vary with the region and life style, but the patterns that appear on the costume are used over a wide area to represent good luck and the spread of Buddhist teachings. The costumes for religious rites vary with religious sects, but most of the patterns are commonly used. The symbolism of pattern is a form of figure that represents the human psyche and physical world. The symbolism of pattern implies meanings such as compensation or futuristic wish. First, the lucky omen normally means long life, happiness and peace, and means religious salvation in Buddhist perspective. Second, warding off evil spirits normally means avoiding misfortune, and means dignity and self-protection, and protection of Buddhadharma in Buddhist perspective.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.12
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• pp.1761-1771
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• 2007

The artificial exaggeration of stage costumes is thought to be one of the major techniques of enhancing dramatic expression on stage, whichever for visual impact or symbolic effect of dramatization. In the history of stage dressing, a variety of styles has been tried using different materials and production techniques. This may be reviewed as an effort to express dramatic effects more effectively. As this trend became obvious in Europe after the Second World War, this study analyzes the stage costume to deepen our understandings of the role of costumes in expressing dramatic effects. To accomplish this, we first summarized the history of stage costume materials and technical advance and chose five major cases representing the history of stage costume since the Second World War in Europe based on aesthetic and creative aspects: 1) Simplified stage of Jacques Copeau, 2) Stylized stage of Bertolt Brecht, 3) Essential stage of Grotowski, 4) Measured stage of Robert Wilson the Master, and 5) Post-dramatic stage of Philippe $Decoufl\'{e}$. In each of particular case, the historical, material and dramatic contexts were examined as well as different material-effects. The results are as followings: 1) Costume for Copeau's simplified stage: its simplicity plays a supporting role to the gesture of actors(intensifying effect). 2) Costume for Brecht's stylized stage: the artificial stylization integrates into the play with the importance approximately equal to the actors's acting. 3) Costumes for Grotowski's essential stage: costumes disappeared to emphasize only actor's presence on stage. 4) Costumes for Robert Wilson's measured stage: costumes made concrete impression to the extent of obtaining the same importance of actor's body among other stage art elements(lighting, sound, props, actor, text, etc). 5) Costumes for Decoufle's post-dramatic stage: costumes in the era of multi technology possess multi functional aspects that surrogate actors' body. This study suggests that stage costumes take an important part in dramaturgy to the extent that the intent of dramaturgy can be induced enough from stage costume. Thus, costume makers are expected to incorporate the appropriate dramatic factor more than before.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.79-95
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• 2006

The relationships between costumes and literature are the remarkable characteristics in the history of Japanese costumes. Among them, the literary designs which have literary subject matters seem unique to Japan. In Japan, the history of the literary design traces far back and its examples are abundant in various literatures in the Heian era. It is particularly notable that the literary designs take a relatively large part of Kosode pattern in the pre-modern period, the Edo era, which can be cleary seen in Kosodehinagata-bon, a collection of Kosode pattern of those era, in addition to various sources of extant relics or paintings. These literary designs lie the tradition of the literary lyricism as aesthetic sense in the japanese costume history. The literary lyricism means the lyrical mood evoked by literature. The purpose of this study is to examine how the literary lyricism which has supported those literary designs was formed and developed. The literary designs on costumes related with the relationships between literature and formative art, for example painting. Those typical example, which started in the literature tournament, utaawase, was devised for matching up with the character of the assembly. They continued as a sort of the intellectual amusements. In the pre-modern period, the literary designs developed In relation to not only subject matters but those expression. Moreover, it shows the extremely typical example that a series of Kosodehiinagata-bons, consisted solely of literary designs, was enjoyed as a device of reading materials like poem anthology.