• 한국의상디자인학회지
• /
• 제22권2호
• /
• pp.167-180
• /
• 2020

The purpose of this study is to present the use of traditional culture and the direction of various fashion designs by developing and producing contemporary fashion designs on the Muslim costumes of the Chinese Hui minority. Based on research methods, the cultural background was investigated and the design characteristics were summarized. Based on the results of this survey, 4 sets of women's fashion were designed. The design intent was to feature Muslim traditional costumes and to adopt a functional contemporary design. The conclusions of this study are as follows. First, simple and indecisive clothing shows the innocent and good side of the congregation. In this study, traditional dresses were used to make use of the simple silhouette and color, and to create a contemporary atmosphere, various materials, such as wool, glossy industrial complex, lace, and fur were used to create a modern sense design by adding diversity to the simple silhouette. Second, the biggest feature of the regimented Muslim costume focuses on a head cover and suggests a contemporary sense of hood improvement, and a design that can be used with two sides. These hooded head covers can provide fashion and diversity and can be proposed as functional. Third, contemporary Muslim fashion is gaining global attention and it is possible to develop various fashion designs based on traditional motifs. This study was able to increase the feminine image by changing the solemnity of the communal dress without discarding the foundation of the traditional religious culture based on the daily dress of the people.

• 복식문화연구
• /
• 제14권4호
• /
• pp.581-595
• /
• 2006

Modernization movement has affected classical operas. Today, classical operas are often re-interpreted from the modern perspective and played differently only with the storyline maintained. This study examines modernization of opera costumes. For this study, the author worked as one of costume design staff for "Faust," which was played in Sungnam Art Center from November 24, 2005 to November 27, 2005 in commemoration of the opening of the center. The following outcomes are drawn from this study. Two types of costumes were designed for Faust. An old black shirt, grey checkered trousers, and a white gown were designed to express the old Faust, a respected scholar in his 50s, who was erudite and competent. Red checker of the shirt represented passion and blue checker of the shirt symbolized youth. The cotton trousers were beige, the most favorite color among male college students. For Mephistopheles, a white suit, black shirt, and white neck tie were designed to express the Devil, who changed his face instantly. A white suit symbolized that Mephistopheles looked like an angel, while a black shirt suggested that Mephistopheles, in reality, was the Devil. A white one-piece dress and light jade green cardigan were designed for Margarete, who was innocent and virtuous. The white dress represented innocence and purity of Margarete and the light jade green cardigan symbolized a maiden pure.

• 복식
• /
• 제63권5호
• /
• pp.51-60
• /
• 2013

The study is intended to produce a modern Cheollik style one-piece dress that stays within the traditional concept of beauty. Specially, the study focuses on Cheollik of the Joseon Dynasty among various traditional costumes as its motif. As the Joseon Dynasty changed, the forms of Cheollik changed with it. People of all classes from the commoners to king wore it. Cheolik was different from other traditional costumes because the top and bottom were connected and so it was an easy to wear one-piece clothing. Initially, the ratio of upper and lower parts was one to one, but later on, the ratio changed to 1:2 as the topcoat became wider and length of the skirt was lengthened. Diverse types of pleat emerged such as fine pleat, opposite pleat and long pleat. Collar and string were also diversified and studied by applying the components. To study it, the author considered the previous studies about Cheollik first. Then, the Cheollik of the Joseon Dynasty was reproduced. Thirdly, with the motif of Cheollik components, the materials suitable to a one-piece dress design were selected, dyed naturally. Finally, One piece dress design was utilized by using the components and features of Cheollik. 8 pieces of one-piece dresses were made as an ordinary dress and the materials such as ramie, Oksa, hemp, silk, Yeon-hwamun dan and artificial silk were used. Hopefully, other traditional costumes can develop as a practical and ordinary dress.

• 복식
• /
• 제54권3호
• /
• pp.27-42
• /
• 2004

Music videos provide for many others images, alluring the audience to fall in another emotional world, while the sexual images shown in them suggest new images of man and woman. Today, men's images are being interpreted from various viewpoints. As interests in men's fashion are visualized through music video clothing, not only juveniles who want to be identified with the music video images but also adults try to imitate them, and proceed to wear the clothing, obliterating the boundary between 'reality' and 'illusion' and creating new images of men. This study is aimed at reviewing the male images shown in the music videos, particular their clothing, produced between 2000 and 2002. The results of this study could be summarized as follows : 1. Since beginning of the human history, men's image has been characterized by patriarchal system, capitalism, bourgeois class which emerged after industrial revolution and other man-dominant socio-cultural phenomena, such male image are shown in the music video as conservative and dominant image. 2. However, due to the post-modern culture, the power began to be decentralized. while feminism and men's liberation movement gain strength. As a result, women or heterosexuals began to regard men as sexual objects, and such a phenomenon is featured as sexual, bisexual or decadent images in the music videos. 3. On the threshold of the 21st century, music videos have begun to creatively describe men's life, their social conflicts, dreams and hopes and death and thereby. feature men's such images as being destroyed in view of existentialism. The numerous creative men's images interpreted in this way are featured in many music video works only to create playful, cyborg or demonic images using the senses. After all, men's images are featured in the music video costumes in diverse ways ranging from the conventional images to acquiescent images. In addition, various male images are combined with the characteristics of the music videos to be re-created anew. The young men in the our modern age tend to imitate or apply such images to create their own images or individualistic styles. All in all, men's image can be fixed no longer but diversified and fragmented in the new age.

• 복식
• /
• 제31권
• /
• pp.189-202
• /
• 1997

Movie is one of the most popular culture ac-tivities in modern society and the composite rt of science and art born in the 20th century. Movie became the great source of setting the fashion. Especially movie costume brought into relief and was accepted by the mass. As a movie stimulates imitation psychology and identification of the general public in fashion. The purpose of this study is to analyze the effects of the movie costume to a modern mass fashion. The times was defined the movies from the early Silent era to the modern Hollywood movie from the late of 1910 to 1990. The way of study were to analyze on the changes and roles of movie costume through documentary records and the influence of set-ting the fashion to the mass fashion and classi-fied it five times-silent era classics neo-classics new look and modern times. The summary of result is as follows, 1, Movie costume affected the dress and the fashion of women is Silent era. That fashion was accelerated by actors' costumes in the mode of 1920. 2. Holloywood movies in the Classics show the essence of the fashion movie costume played a role of a fashion leader and commanded the trend of mass fashion. 3. Practical style was shown because of the war in the Neo-classics. Movie industry was prosperous after the war. But the consequences of the movie costume to the mass fashion were more and more weaken 4. Couture designer's costume had an effect on the mass fashion in the early of New look. But it was behind the fashion for the rise of young fashion. 5. The tastes of the fashion were diversified in Modern times. So the movie fashion was not imitated or popular. The costume of "Pret-a-porter" was used in the movies in the 1980. Spectators became to wear the same style of the actors. The times fashion and movie interacted each other. Movie costume is playing a role of a fashion leader guiding the mass fashion.s fashion.

• 복식
• /
• 제26권
• /
• pp.69-85
• /
• 1995

Recently Southeast Asia has developed, so the world concerns about these regions. Ethnic fashion in 90's is mostly the influence of these regions' folk costume. The purpose of this study is to review aes-thetic aspects of folk costume in Southeast Asia, to investigate the influence on modern fashion and to predict the possibility of Asia fashion's adaption to modern fashion and to help the cre-ation of fashion design. First of all, the folk costume in Southeast Asia is classified drapery style and sarong style. These non-west clothing appeal to modern fashion as the oriental tranditional beauty. Ethnic fashion appeared in 1990's is attempted to be more complex and variable than the pre-vious ethnic fashion. Asian ethnic fashion influenced from folk costume of Southeast Asia is-wholly or party-the style, color, motif from each country's folk costume. And each country's unique art became the motive of the creative design. Specially, Aosai and Quan in Vietnam and sar-ong style in most Southeast Asia are important motives expressing minority's nostalgia. These are expressed in variable ways. Which are harmonized with latest other fashion trend : retro style and naturalism, Layered look, hippie look, unfinished sewing technic and manual technic are used one image matched the folk costume of Southeast Asia which is natural. Another characterstic in Asian ethnic fashion is a multi-ethnic. This harmonizes the different culture between the Orient and the West beyond the age and culture, and combines each folk costume. It is involved that the fashion can develop indivisual country's costumes mixed with her own unique characteristics and the fashion break the traditional concept and disagree with a certain coordinate rule and it indicates that the fashion shows various style, mood, volume and room as well as space. Like this recent Asian ethnic fashion comes to us in a strange favor. The people who are tired of traditional western civilization's outcome will receive a great tastes from the Asian ethnic fashion.

• 복식
• /
• 제53권5호
• /
• pp.65-77
• /
• 2003

Due to the rapid changes occurring in many aspects of contemporary society, the need for a means to actively combat widespread feelings of emptiness and alienation among the public, while satisfying its visual pleasure, is increasing. Thus the need for humorous elements which bring freedom to the human psyche is urgently requested. Of course, the field of fashion cannot be left out in this trend, and humor image design is a good example of this. Humor image in fashion endeavors to release the tension accumulated in the modern world, while trying to find a way to recover the original pureness of mankind. Another aspect currently important is computers. The creation of images in modern visual art relies a lot upon computers. Traditional visual processes such as painting, photography and video are now merged within digital technology. and are now quite symbiotic to each other. With the development of computers came computer art. which uses all applicable functions of a computer to create art. Any artistic action which uses a computer in any stage of its creation can be called computer art. The common factor in humor and computer art in modern fashion can be classified as follows : repetition, deformation and distortion. exaggeration and abridgement. juxtaposition. and Tromp l'oeil. This study has placed its objective on the fusion of humor image fashion and computer art, by manufacturing a work with humor and computers, two important aspects of modern culture. Expanding the field of fashion design while promoting creativity In fashion by finding a verging point between art and science is also necessary. I have designed and made five costumes using the above cited techniques in computer humor images, on a theoretical basis.

• 복식
• /
• 제59권2호
• /
• pp.1-17
• /
• 2009

This study is to understand the characteristics of Korean Women's Jeogories in modern times on the changes of its color and coloration over the time. The research was that the characteristics of the costumes produced in modern times ($1890{\sim}2000$) can be categorized into six periods according to the change of times. 1106 women's Jeogories were researched intensively in order to understand them, the conclusions are following: When the Chi-Square Test is applied to conduct cross analγsis of the said six periods divided on the basis of relevant theories, it is found that there is just partial difference in the hues in1890-1959 while there has been a big change in the hues of all Jeogories since 1960. It also seems that such a sudden change In hues took place till the end of the 1970s but there have been no significant difference and no distinct changes in hues sin[e the 1980s. As for color tones, high luminosity and low chroma hues were mainly used in all periods, but low luminosity and high chroma hues have been frequently used since the 1960s. It indicates that the long-used conventional and traditional colors gave way to various colors which were freely applied according to the tendency of individualism In the selection of colors as well. As for the coloration, one-color arrangement was predominant in white clothes while the combination of main color Y and supplementary rotor R was overwhelming in two-color arrangement. After the 1960s, not just the five major rotors but diverse colors, including bluish green, dark blue, were used, even varied patterns for linings.

• 복식
• /
• 제59권8호
• /
• pp.82-96
• /
• 2009

The purpose of this study is to present the basic approach of producing the luxury fashion brands containing of the Korean traditional traits on the basis of traditional transformation with the modern concept, taking the 'Vivienne Tam' 2000's collections. This study has focused on its transformation of the traditional one of China, and made this as the subject of investigation. It's design characteristic could be defined as "modern interpretations of China chic", and it would be divided into two groups. The ingenious mixture of Chinese tradition into the modern chic could be concluded like these. The external characteristics is categorized in the three ways (1) the aesthetic application of the Chinese traditional patterns(dragon, water waves, peony, Japanese apricot flower, bamboo, bats, Chinese characters etc.), (2)the modern application of Chinese traditional costume details(front opening of Chipao, mandarin collar and knot buttons) and (3)the modernization of Chinese traditional technique(knotting, embroidery, beading and paper cutting). To deal with the internal characteristics, (1)the aesthetic mixture of East and West, (2)the formative expressions of the traditional view on the universe and religion are remarkable. The Chinese embodiment and the view of the universe and religion was integrated into the patterns of dragon, water waves, clouds, fire, woods, and metals. In order to afford the creative designer capable of encompassing the East and West, the teaching about the Korean tradition along with the technical and practical aspect of fashion is most important, while encouraging the professional designer to make a sophisticated ones which are attributed to the Korean tradition, and thereby come to be attractive to the world customer. The study about the Korean costumes, traditional colors, the symbolic meaning of the traditional patterns, cuttings, compositions, extending to the various kinds of myths, songs, paintings and crafts are essential for the Korean designer brand to be the global luxury brands.

• 한국의상디자인학회지
• /
• 제21권3호
• /
• pp.137-147
• /
• 2019

The purpose of this study, I investigate the new trend, 'new-tro', through the music video costumes of young generations, and analyze the meaning and characteristics of 'new-tro'. The research method is, select 30 music video with new-tro fashion style on the music sites, and the fashion styles were analyzed in 11 music videos checked and selected by 100 students. As a definition of the term, 'retro' refers to a phenomenon in which the past reappears in modern time, and 'new-tro' is a new retro trend, a social phenomenon that enjoys the old with a modern sense, and is a compound word of 'new' and 'retro'. 'new-tro' is a modern reinterpretation and rebirth of the past style, and 'fu-tro' is a style of coexistence between the past and the future. In the music video, fashion is a media language and cultural code, and it creates trend or new fashion, that communicates with the public, stimulating emotions. As a result of the research, the common trend phenomenon expressed in the music video costume of 'new-tro' trend which appeared in 2000s is as follows. 1. New-tro style starts with items that were famous in the past. 2. It is one of postmodern marketing using color, print and logo. 3. It spreads quickly by the influence of culture that is characteristic of the Internet and SNS world. 4. It is bottom up propagation phenomenon of street fashion. 5. It is a time game where modern people connect the past with the present. 6. "new-tro" continues to evolve for that time, based on 'retro'. New-tro, an evolutionary version of the 21st century retro wave. and it is a key to marketing effectiveness as a sympathetic elements of 1020 generations with the reproduction of memories.