• Journal of Fashion Business
• /
• v.20 no.2
• /
• pp.78-96
• /
• 2016

This study investigated the colors of the costumes and backgrounds of characters in the fantasy film, Alice in Wonderland(2010) by Tim Burton. The methods used were literature studies including related books, articles and internet materials, and positive research with DVD color analysis. Twenty-one scenes were selected by the researcher. Five scenes were selected from novel and film components representing, exposition, complication, crisis, climax, and denouement. After controlled pixel by photoshop program and the represented colors, hues and tones were analyzed. The results were as follows; First, in four characters, Alice's dress colors changed depend on the situation and the passage offered from blue to red, metal light, and blue green. The Mad Hatter's colors were orange with green which signified madness and passion. The Red Queen's red dress and blue make up represented countrified and evil. The White Queen's all white dress and hair, black eyes and vivid red meant purity and nobility. Similar characters' colors were limited. Second, the background colors, especially tones were an important component of the fantasy image. These were different for each type of scene in the film such as exposition, complication, crisis, climax, and denouement.

• Journal of Fashion Business
• /
• v.3 no.4
• /
• pp.19-30
• /
• 1999

The purpose of this thesis is to overview the periodical changes of the fastenings, from the pins and buttons in ancient age to the velcro in these days, and to study the relationships of these various fastenings to the costume types, and also to research how it is applied to the latest fashion. The fastening is closely related to the costume types, being various in its form, like pins, fibula, brooches, buttons, lacing, points, hooks & eyes, press studs, zipper and velcro. It is clear from the fact that the fastenings have developed remarkably since 13th century when the costume became tightly fitting to the body, while the fastenings had been very simple, like buttons or fibula, for so long time from the ancient time to the 12th century. The end of fastening's development is to be fitting to the body and to make it easy to take on or off the costumes by use of it. In '99 S/S, '99-00 A/W $pr{\hat{e}t}-{\grave{a}}$-porter collections, ornamental fastening was more emphasized then practical one, probably due to the development of more stretchable fabric.

• Journal of the Korean Home Economics Association
• /
• v.46 no.3
• /
• pp.1-12
• /
• 2008

This study examines the unique characteristics of the color red in relation to images used in areas other than fashion, such as the film or advertising industries. Based on analysed results, the aim was to identify red-colored costume's images expressed in contemporary fashion. Analysis of collected data has lead to four main findings. First, the fashion in which the red color is used delivers a voluptuous image when combined with a skinny silhouette or glossy and transparent dress material, arousing a strong sexual desire in a direct or indirect manner when exposing the body in public. Second, the fashion emphasizes a simplified appearance by minimizing the steps of the production process such as cutting, sewing, and decoration without artificial structural lines and creates an image of simplicity through a single red color or tone-in-tone colorations. Third, the red color, which carries a simultaneous negative and pleasure image represents grotesque playfulness by distorting or exaggerating clothes, transforming the body in disregard of clothing construction, or introducing unnatural makeup. Fourth, in combination of simple and clinging shapes, a material feeling tough like leather and an intensely noticeable red tone, promotes the feminine rather than masculine quality in a splendid, aggressive sporty and active "alpha girl" image.

• The Research Journal of the Costume Culture
• /
• v.17 no.6
• /
• pp.1047-1058
• /
• 2009

Japanism represents a Japanese sense presented in Collections by many world-class western designers who are inspired by Japanese Kimonos. This study analyzes how the traditional Japanese costumes were applied to the modern clothing and the mix and match style appeared at the Japanism fashion based on the Fashion Collections during the three years from the spring of 2006 to the winter of 2008. The analysis was performed based on preceding studies, literature, fashion magazines such as Vogue, Elle, Marie Claire, and the Collections during the three years. The results of this study on Japanism covers: the application of Kimono design, Kimono sleeves, Kimono neck line to coats, jackets, one-pieces, and blouses; the application of traditional geometrical patterns, flower patterns, and natural patterns. These patterns were presented by print, dyeing, and embroidery; lastly, the employment, utilization, function, and adjustment of Obi(belt) to Japanese style clothing and also to modern clothing. Japanism fashion presented sportism, feminism, and eroticism by using mix and match. This analysis can contribute to the application of the ethnic clothing to modern clothing.

• The Research Journal of the Costume Culture
• /
• v.23 no.3
• /
• pp.412-424
• /
• 2015

The purpose of this study was to analyze the meaning of soul fashion in American pop culture. This study was conducted using a literature research method based on the prior theses, journals and relevant books. Soul as a concept, originated in African-American communities and evolved from the ideology of Black Power, which prompted Black Nationalism. Soul fashion, which took on two styles in African American culture began to embody black resistance and community pride in the late 20th century. One of these, hip-hop style represented the message of resistance and a sense of beauty outside the mainstream. The other, African-inspired fashion, which utilized a look inspired by African tradition, rejected white supremacy by expressing a proud dignity. As a result, the meaning of "soul" in soul fashion represented by American pop culture resulted in contrasting appearance due to different elements. First, one of its meanings is ironic and sarcastic, and it expressed historical trauma, cultural stereotypes, self-hatred, and self-degradation and, the self-mutilation of African-American by cynically distorting their silhouettes and, using modified materials and patterns, fantastic colors, and extraordinary accessories. Second, the other meanings is the pride and dignity of Black Power, which visualized the concentration of ideas implied by the tradition of African-American, through soul fashion by using fierce traditional of African costumes, unique patterns and accessories.

• The Research Journal of the Costume Culture
• /
• v.23 no.1
• /
• pp.74-84
• /
• 2015

The purpose of this study is to examine symbolic meanings of costumes shown by portraits of King Henry VIII and use them as basic data for research on costume design of historical dramas in the Renaissance or on King Henry VIII's costume. This study attempted analysis of symbolic meanings from the paintings-related various domestic and overseas literatures, preliminary study paper, and web sites etc. The symbolic meanings expressed by the portraits of King Henry VIII are characterized by authority, innovation performance, authority, masculinity, innovation performance, artistic taste, intellectual charm, intrepidity and benevolence. Especially, the portraits of King Henry VIII symbolized his masculine beauty by emphasizing sexual attractiveness that cannot be seen in portraits of other kings through broad shoulders and exaggerated codpiece which are the zenith of masculine beauty during the Renaissance age. Through the image of King Henry VIII which was painted with jester or barber surgeons, his characteristic and open mind thinking highly of the technique and human life was also expressed. In the portrait of King Henry VIII, various images set in knights' tournament, playing a musical instrument and reading a book as well as the image of wearing a parliament costume were shown, highlighting King Henry VIII as a person good at both literary and martial arts with open and innovative personality than any other kings in history.

• Journal of Fashion Business
• /
• v.24 no.3
• /
• pp.1-16
• /
• 2020

The purpose of this study is to find the aesthetic characteristics of costume design as mise-en-scène in movie 'The Danish Girl'. the methods of this study was carried out prior research, literature studies and qualitative research of visual content analysis by DVD. The spatial and temporal scope of the study is Copenhagen, Denmark from 1926 to 1931, and Paris, France. The styles of the times(1925 ~ 1931) and the spatial sensibilities of women's costumes in terms of form and color were examined thorough out the story. As the results, the costume are based on the 1920's Art Deco style like straight silhouette and some of them are oval soft silhouette. The colors are harmonized or in conflict based on Nordic colors such as blue-green, gray and yellow. Rather than expressing the internal conflict between the two main characters, the costume was focused on the role and character. And also exotic tastes like Japanese and Egyptian textiles patterns and decorations. Therefore, it was found that the movie costume played a role as one of the very important mise-en-scène.

• International Journal of Costume and Fashion
• /
• v.10 no.1
• /
• pp.67-79
• /
• 2010

Cultural sensation by appearance of Elvis Aaron Presley is thought to have been greatly influenced by spread of popular culture beginning to form with the development of mess media in USA that was changed rapidly after the war, changing aspect of popular music in U.S.A through the media development and teenager culture of USA that has rapidly emerged. Elvis intended to change into 'music to be seen' deviating from 'music to be simply listened to' with expressing the conversion of sexual consciousness, defiance to older generation and a sense of value on wealth, and the like, and also suggested a new culture and style to the young people at that time. Flow of Elvis's fashion may be categorized into the classifications such as the fashion in the period. First, Formative period(before 1954) distinguished by pimp look and sideburns with tough image and wild clothes. Second, Establishment period(1954-57) may be categorized into the hot rockabilly style which showed a glittering fashion by brilliant and colorful costumes, the cool rockabilly style which changed him to a fashionable star of modem image(1958-60). Third, re-heyday(after 1968) where a brilliant and bold decoration was displayed. In Elvis fashion, the masculine sensualism, defiance to main value and expression of luxury and consuming culture, etc. are included as a unique aesthetic consciousness. 'Expression of masculine sensualism' represented the sensualism through sexual objectification of men's body by men's sexual ostentation which was prohibited. 'Defiance to main value' means that attempts of non-mainstream image for social class are expressed with an exercise of power by young people through the public. Although the Elvis look has fanned an anti-culture, it was expressed and accepted as having a normally capitalistic appearance. In addition, it being thought of as the standard, symbolizing a success and a wealth through the presentation of image which accepted this material benefit, we may classify this into 'expression of luxury and consuming culture'.

• Korean Journal of Heritage: History & Science
• /
• v.56 no.1
• /
• pp.142-160
• /
• 2023

The position of the people who participated in the Bapyo Ritual held in the reign of King Sejong and the corresponding costumes were examined. The king, who was the executive body of the ritual, wore Myeon-Bok, a court dress, and Myeon-Bok was Gujang-Bok made of Jang-wha on Guryu-Pyeongcheongwan. Crown princes, royal families, and government officials wore Oryang-Gwan and Jekraeui, which were Jobok. The crown princes' Joboks were changed from Oryang-Gwan to Wukryang-Gwan in the dynasty year 10 of King Sejong, and in the year of King Munjong's accession, Myeon-Bok was received, and after King Danjong, the crown princes wore Palryu-Pyeongcheongwan and Chiljang-Bok. Diplomats and Jongsagwan who were the envoys wore Sangbok. A Sangbok worn by the diplomat was Samo with Danryeong, Seo-Dae, and Hyeopgeum-Hwa, and a Sangbok worn by Jongsagwan was Samo, Danryeong, Heukgak-Dae, and Heukpi-Hwa. Byulgam, who served as an attendant to the king in the king's close quarters, wore Gongbok and Sangbok. Gongbok consisted of Ja-Geon, Danryeong and Heukpi-Hwa, and Sangbok consisted of orange color Cho-Rip, Jikryeong, Joa, and Heukpi-Hwa. The person holding San, Gae , Sujeongjang, and Geumwolbu wore Ja-Geon and Cheong-Ui, and Seon wore Pimoja and Hong-Ui. Siwigun wore armor and helmets equipped with weapons. Among court musicians, Aksa's costumes consisted of Bokdu, Bigongbok, Geumdonghyeokdae, Bibaekdaedae, and Opiri, and Aksaeng's one composed of Gaechaek, Bisuransam, Hyupgo, Mal, Maldae, and Opiri. As a result of the above, the process of ceremonial clothes becoming uniform clothes in the reign of King Sejong was confirmed. The king and lower-ranking officials such as crown princes, government officials, diplomats, Byulgam, armies for ceremonial weaponry, and court musicians participating in the Bapyo Ritual wore the highest grade of ceremonial clothes for each class. King Sejong had repeated discussions to build a nation based on Confucianism, and arranged each rite and corresponding costume, and the Bapyo Ritual costume was also systematically prepared for each position. The ceremonial clothing organized during the reign of King Sejong was regulated in Yejon and became the basis for continuing to the late Joseon Dynasty.

• Journal of the Korean Society of Costume
• /
• v.63 no.7
• /
• pp.49-64
• /
• 2013

Mugunghwa, one of the most prominent national symbols of Korea, is a significant design source for producing cultural products. However, there has been a limitation to reflecting the identity of Korea using the design due to a lack of study and analysis of characteristics of Mugunghwa in history. Therefore, the researchers analyzed the design characteristics of Mugunghwa in cultural artifacts such as costumes, money, and stamps. Based on this, the study puts forward the following suggestions. First, the patterns of Mugunghwa should be categorized as a solo figure, a flower with pastels and the stem and a group of flowers as a unit. Second, there are two ways of expressing the flower: using realism and abstraction. Mugunghwa comprises of five pastels with elongated depth in the middle. The pastels spread out like the spokes of a wheel from the center; leaving a feeling of unevenness and the rims of the pastels are shaped in waves. The study puts forward the following suggestion: First, find the prototypes for different design characteristics. Second, develop motifs and patterns that reflect the given prototypes. Finally, apply the design to most popular cultural items such as T-shirts, neckties and bags. The ultimate purpose of the study lies with the hope that it will contribute to promoting the Korean beauty throughout the world.