• 복식
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• 제59권5호
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• pp.180-201
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• 2009

I scrutinized the idea that Parhae Marek was inherited from Kokuryo which was presented in "The study on the Marek" published in the journal of the Korean Society of Costume 55-5, and concluded the following results: 1. The Marek which Samguk sagi recorded is the red head scarf used for dancers who do Koguryo dance in the Babarian Music System in Tang dynasty. Since its original record Tong dian tells that Kokuryo performers' costumes then had strikingly changed and Quichi and GaoChang dancers also wore Marek, so the idea that Marek was originated from Koguryo should be reconsidered. 2. Considering the Yaksoori mural's indistinguishable condition as well as the same scenes from other Kokuryo mural paintings, I can't evidently tell that the first person who carries shouldering drum puts Marek on. 3. should be pronounced [Mal] for the meaning of a head scarf and its definition can't be limited only for the sash type. 4. Diverse historical data on head scarves deny the assumption that the sash type of hairband would have been succeeded from Kokuryo to the Parhae Marek. 5. The Marek of Princess Junghyo's mural painting can be an example that shows the costume of Tang influenced Parhae's. But the similarity in styles of costume between contemporary countries doesn't mean their reciprocal racial or political identity.

• 복식
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• 제63권8호
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• pp.188-208
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• 2013

This study aims to find out factors of historical specialty and cultural ethnicity that influenced the formation of Spanish fashion as well as examine the characteristics of Spanish fashion by comparing its historical costumes, such as folk costume and court costume with contemporary fashion of major Spanish designers in the 20th century. Documental investigation and analysis of visual materials were used as research method. The study results are as follows: The major factors that affected the characteristics of Spanish fashion in the history include the geographical features, invasion of foreign nations, cultural heritage of various ethnic groups, strengthening of the national power, advancement of international trading through the newly developed routes, and influence of religions such as Christianity, Islam, and Judaism. Featuring the coexistence of variety and heterogeneity, the ethnicity reflected in the culture harmoniously embraces various spirits such as conflict and coexistence, individualism and collectivism or regionalism, and exclusion and tolerance of religions. In addition, the characteristics in the cultural phenomena include passion, sensuousness, individualism, sense of reality, sense of chic, and the people-centeredness. The basic Characteristics of Spanish fashion include the sensuality of excessive zeal, decorativeness of gorgeous handicrafts, exoticism of people-centered variety, extreme contrast of harmony, touching artistry of chic, and fantastic surrealistic wits.

• 디지털콘텐츠학회 논문지
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• 제17권6호
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• pp.531-536
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• 2016

이 연구에서는 인간과로봇상호작용(HRI)에서 유아들을 대상으로 로봇을 활용한 증강현실 극놀이 실험을 통하여 아동들이 느끼는 상호작용 분석을 제시하고자 한다. 기존의 극놀이 로봇콘텐츠를 아동들이 상호작용하기에 편하도록 QR 마커의 단점을 개선하여 개발하였다. 또한 로봇을 활용한 증강현실 극놀이에 대해서 로봇 극놀이에 대한 흥미, 로봇분장의 적절성, 로봇이 똑똑해 보이는 정도, 극놀이에 몰입감에 대한 아동의 반응을 분석하여 보았다. 나이가 어릴수록 재미가 높고, 로봇이 똑똑하다고 생각하였고 로봇 사용경험이 없는 아이들이 상대적 흥미가 높고, 로봇분장에 대해서는 로봇사용 경험 있는 아이들이 차이를 인지하는 것으로 나타났다.

• 복식문화연구
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• 제24권2호
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• pp.273-286
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• 2016

Traditional Chinese operas are time-honored art form, they are vivid in expression, rich in content, embody social, thought-provoking, historical and artistic value. And as a splendid art form and part of China's brilliant traditional cultural heritage, traditional Chinese operas have been developed with Chinese history from generation to generation. Nowadays, with the comprehensive national strength increasingly growing, Chinese government is giving more and more importance to enhance people's awareness of protecting traditional Chinese opera. In actual fact, both Chinese scholars and the other scholars who have done some research in traditional Chinese operas and built up solid foundation for further study. Even though, traditional Chinese operas have not been fully understood by people outside the 5000-year-old civilization, especially what is the close relationship between the apparel and accessories and the names of dramas. Based on this condition, the paper selects and summarizes names of apparel and accessories in traditional Chinese dramas as its thesis, intending to explore the relationship between the apparel and accessories and the names of dramas, analyzing how such names in dramas highlight themes and promote the development of unique storylines. The paper will help Western readers further understand the meaning of traditional operas names' behind these costumes and promote Chinese traditional dramas spreading to abroad.

• 한국의류학회지
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• 제35권4호
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• pp.396-407
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• 2011

Various media are expanding the fantastic expression methods and sphere wider than now. As an intermediate for expressing fully self-desires, fashion of the day has surfacing an important concept called fantastic that does not exist and surpasses reality in expressing the ideal body of a desiring body. Goth and cospre are personal expressions of movie costumes that visualize virtual reality as representative of fantastic fashions. The fantastic is a modem concept putting together SF, fantasy, magical realism, fable, and surrealism. Studies in fashion fields related to fantastic have treated fantastic illiberally and peripherally owing to the centering on the SF genre or fantasy. The thesis that dealt with an important fashion as an external favorite as well as the socio-cultural contents of the expressed body in genre expression remains inadequate. In research methods, this study carried out theoretical reviews on the concept and characteristic of the fantastic through literature data that includes local and international theoretical books, monographs, and dissertations that are related to the fantastic. The experimental analysis was executed by collecting fashion works shown after 2000 and included in special fashion editions, collection magazines, Internet materials, and monographs. The results show that the categorization of expression characteristic (according to fantastic spheres) appeared as 5 kinds such as uncanny borderline, cyborg grotesque, heroic superman, myth allegory, and unconscious meaninglessness.

• 한국의상디자인학회지
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• 제18권3호
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• pp.229-243
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• 2016

This article has significance in that it examines origin and developments of Baekje costume based on the validity of the reference material that can be used to infer the look of Baekje costume. On the basis of literature documents in Korea and China the shapes of it are examined, and the reliability of contents recorded in the sources is lexically reviewed. Errors related with features of the Baekje costume is minimized by investigating controversial issues in terms of periods and some parts which cannot be identified as the shapes of it. The changing aspects of the Baekje costume by flow of time can be observed based on various records in the literatures. The origin of it can be found in records regarding the costumes of Mahan and Buyeo. Baekje inherited the separate-type of costume structure from before the period of it, and possessed superior weaving technology. In the 3th century, the Baekje costume seemed to be established, and gradually developed from 4th to 5th century. As it continued to be developed, its frame was accomplished at the late 6th century. The shapes of it appeared to be further elaborated, specified, and therefore systematized in the 7th century.

• 복식
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• 제56권4호
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• pp.1-14
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• 2006

This paper is a perspectiveon the reformative costume expressed by Gustav Klimt who led the Secession Movement as a great master in Vienna. Klimt actively expressed a new costume style in his paintings, which influenced heavily on the modern costume design. This paper may contribute to reestablish the constructive direction for the 21st century fashion design based on Klimt's pursuing holistic art concept. The reformative costume in Klimt's paintings has two characteristics; ornamentism, eroticism, and reformativeness. Ornamentism is expressed with fantastic colors, various motives, exotic features, simple style clothes, and so on. Klimt used independent ornaments to express carnal desires metaphorically, which set ornaments free to lead spectators to the dreamy or elusive state and even have spectators indulged in ecstasy. As the Secession Movement focused on reforming all areas of life artistically, the costumes of Klimt's paintings symbolically express the reformativeness; he portrayed the woman in the early 20th century and sought to reform its contemporary value as a visual sensuality. Klimt tried to disrupt from the former era by over-emphasizing eroticism. The erotic expression with the colors and the style of ornaments substitute naturally for suggestive eroticism of the feminine body. With has creativity, Klimt has spectators extract the various senses from the female image in his paintings. Klimt's creative spirit on the holistic art concept could be helpful to develop a unique design as a catalyst foreseeing over the present.

• 한국의상디자인학회지
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• 제11권3호
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• pp.143-151
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• 2009

This paper starts with the assumption that in order for the popularization of hanbok leading to greater interest among the public for Hanbok and its uses in everyday life, the period for Hanbok events each year must be solidified, making it a standardized provide opportunities for participation regardless of demographic. Globalization of Hanbok most occur through a combination of related academic fields, division of roles in fields of expertise, and a scientific understanding of Hanbok. Thus various Hanbok-related programs such as contests, fashion shows, experience centers and exhibitions should be provided in one unified setting. Government sponsored Hanbok cultural events have generally been aimed at foreigners or foreign human residency, while events in Korea hae generally been carried out by a more diverse rage of groups, making it difficult for the general population to obtain information or participate actively. In order for hanbok to maintain its tradition as the national costume of Korea, Long-term develop plans must be set. Along with popularization in order to bring hanbok into everyday life, methods for the globalization of hanbok must be explored, providing opportunities to spotlight the diversity and characteristics of Korean costumes, in various events which promote participation, festival-forming and globalization of hanbok culture considering elements such as time (yearly, monthly etc.) and audience (age group, social level etc.).

• 복식
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• 제57권1호
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• pp.176-186
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• 2007

The purpose of this study is to reconstruct upper class women's costume of 'Mongol-pung' and 'Goryeo-yang' in a civilization-exchanged period between Mongolia and Korea, for making movie or soap opera costume and historical animation. 'Mongol-pung' was a cultural influence from Mogolia to Korea. For example, sleeveless bi-gap(比甲) and half-sleeved dap-ho(搭忽) were put on by many women at that time. On the basis of old literature, I suggest a 'Mongol-pung' costume as a set of seeran-chulrik(膝欄 terlig), em-broidered bigap, dapho of meat-red color for women. 'Goryeo-yang' was a cultural influence from Korea to Mongolia. Due to old poem of Yuan, 'Short outer Jacket with square neckline, half sleeves, and clear color(方領過腰半臂)' was a representative of 'Goryeo-yang' in Mongolian royal women's costumes. Many women were dressed in it with short inner jacket and wide skirt. In the case of making soap opera costume, the budget of broadcasting station, appearence of nowaday's actor and actress, similarity between old fabric and modern fabric must be considered altogether.

• 한국의류산업학회지
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• 제11권2호
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• pp.231-241
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• 2009

Embroidery is one of the oldest methods of textiles surface decoration. The masterpiece "Tapisserie de Bayeux," is one of the earliest Medieval embroideries. Embroidery was popular on a broad scale with introduction of what was called Opus Anglicanum("English work") in the 13th century. France had been producing sophisticated embroideries since the 16th century. England was the country producing the greatest quantity of embroideries of the best quality in the 17th century. Until the 17th century, the Church was the most important patron of needlework. Then a shift in emphasis occurred towards the domestic embroidery. English 17th century domestic embroidery reached a high point of technical brilliance and charm. In France, embroidery was produced on hangings as well as costume. 18th century interest in embellishing the domestic environment, embroideries became much more finely detailed than those of the 17th century with the use of finer wool and silk threads. French silk were the finest in the world, and their embroidery was arguably equally fine both in furnishing textiles and on costumes. "Art Needlework" was the major movement in embroidery in the late 19th century. The Royal School of Needlework was founded in 1872, followed by similar institutions around Britan. Splendid fashion embroidery of French haut-couture that was represented to Lesage atelier in 20th century.