• Fashion & Textile Research Journal
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• v.5 no.1
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• pp.43-52
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• 2003

The purpose of this study was to investigate the characteristics of traditional blue color between Korean and Japanese traditional costumes. Korea and Japan as the neighboring country of geographically and historically, but showed obvious difference in traditional color. In this study we investigated the blue color characteristics that appear on Korean and Japanese traditional costumes. We researched the characteristics of blue color on color names and color tones through the old Korean and Japanese literatures, costume remains and restoration dyeing fabrics. This study researched the Chosun Period in Korea and Edo Period in Japan. The results of this study Were as following; Many differentiation colors appeared in Chosun and Edo period than former ages. These differentiation colors were made giving differences gradually in basic color, hue, value and chroma. The blue color names appeared 40 names in Chosun Period and 57 names in Edo Period. In these blue color names of Chosun and Edo Period, the common color name was not more 'indigo'. The most highly appearanced blue color hues of costume remains in Chosun and restoration dyeing fabrics in Edo Period were blue and purplish blue. The most highly appearanced blue color tones were dull and moderate. By result of preceding descriptions, the characteristics of national color were not come from difference of dye and dyeing method, could know that come from difference of society and cultural environment.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.2
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• pp.275-286
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• 2001

The purpose of this study is to investigate the characteristics of costume and its ornaments which are appeared in the traditional wedding ceremonial customs and the wedding costumes of Eastern Slav, that is consisted of Russian, Belarusian and Ukrainian from the 19 to the early of 20C. In this study, many different procedures of wedding ceremony with a various kind of wedding costumes are shown. A wedding custom of Eastern Slav had been developed by a intermixed style of the Christianism and a paganism. The wedding custom is organized by the 3 sequential procedures; before a wedding, a wedding, after a wedding Their wedding means the union of the bride into the bridegrooms family in order to establish a new family. Therefore, the wedding costumes have been developed according to this, and the head gears have developed as a symbol which presents the meaning. A brides costume is composed of a head gear, \"Lubaha\", and \"Sarafan\" or a skirt. A bridegrooms one is made up of \"Lubaha\", and trousers. These costumes are kept through their whole life, and are worn in every important ceremonial period. Even though, the wedding customs and the wedding costumes of Russia, Belarus, and Ukrain have been developed by their general commonness, there are regionally certain differences. It is one of the important research object of the Eurasian era in the view point of culture and ethnographic, that to know the symbolism appeared in the traditional weeding ceremonial customs and the wedding costumes of Eastern Slav.ding costumes of Eastern Slav.

• The Research Journal of the Costume Culture
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• v.7 no.2
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• pp.230-241
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• 1999

The purpose of this study is to classify frequency of advertisement and types of advertisement by items and to analyze a primary factors were factors were reflected in the costumes by a policy of rule under the Japanese rule. Data was MaIl Shin Bo\`s advertisement connected with costumes from 1910 to 1945 years. The results are as follows : 1. The order of the advertisement\`s frequency was footwear, cosmetics, soap[, headgear, western style clothes, precious metals and so on. 2. The type of the advertisement was a format that transmits informs in all items. Cosmetics, hairdye and shampoo applied positive appeals. 3. In the military government, the advertisement\`s frequency connected with costumes was 37.5% and a shoe store was the first order. A shoes and headgear were high level, because of these were essential imports and were allowded as a proper articles for a western style clothes by a civilized policy. In the political periods of civilization, the advertisement\`s frequency connected with costumes was 54%. This result indicates industrial development of this period. Soap was the first order during 1924∼1933 and cosmetics was the first order during 1934∼1940. High level of the advertisement\`s frequency in these imports were reflected by a cultural policy as a link of an appeasement measure In the political periods of a racial liquidation, the advertisement\`s frequency connected with costumes was 8.5% and the advertisement\`s order by items was cosmetics, a shoe store. The reason was that reflected the phases of the times that was serious by a shortage of goods and an reinforcement of wartime\`s attitudes throughout war.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.132-149
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• 2006

The purpose of this study was to establish the theoretical view for the analysis of the aesthetic characteristics of dress from the viewpoint of oriental aesthetics. Also, this study examined the universality and particularity of aesthetic characteristics in Korean and Japanese women's traditional costumes. To establish the theoretical view for the aesthetic analysis of dress from the viewpoint of oriental aesthetics, this study examined the relationship between the internal spirit of human, culture and the external form of dress. Based on this consideration, the viewpoints for the analysis of dress formation were the 'Form' as the basic structure of the external formation of dress and 'the Ornamentation' as the emphasis of the artistic characteristics of dress. The common world view shared by Korea and Japan holds the thinking system that everything is created from 'not to bee(無)' to 'being(有)'. This view emphasizes the totality and circulation of energy called 'Ki(氣)'. According to this view, oriental culture has been developed by intuition and pleasure called 'Heung(興)'. Therefore, the form of the oriental culture includes ambiguity and emphasizes the total harmony. These characteristics appeared in dress as the design of ambiguity, asymmetry and concealment. The meaning of the ornamentation in oriental world was the unified harmony of diversity and the colors and patterns of oriental dress were used by the symbolic meaning of Yin-Yang & Wu-Shing (陰陽五行)s principles. On the basis of the world view of the Ki, Korean and Japanese women's traditional costumes commonly shared the aesthetic values of concealment, emptiness, and symbolism. Also, their costumes expressed the difference, especially in the ornamentation. Korean costume expressed the beauty of simplicity and naivety, and Japanese costume expressed the beauty of ornamentation and nonornamentatIon.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.112-126
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• 2012

The style of a dress allows important characterization of an era since they reflect contemporary politics, society, culture and arts. Within a same category, period costumes develop into styles that reflect specific consciousness. The research method and the scope of the study are as follows: the research adopts a historical study method and a comparative research from a microscopic point. The scope includes resistance costumes that proceed with sans-culotte that comprises of the resistance party during the 18th French Revolution (1783-1799), and also a Hippy style which was popularized during the 1960s and 1970s for its anti-war movement. We researched both similarities and differences of design factors reflecting resisting consciousness in costumes that affected costume characteristics related to their socio-cultural background. Sans-culotte and the Hippie style reflect a common denominator in anti-social resisting customs. First, they show common characteristics that combine fashion trends of resistant element and design features. Second, they have common features which are the characteristics of deviation. On the other hand, these two customs also present a discriminative denominator in anti-social resisting customs. In the case of sans-culotte, they tend to symbolize confrontation by dividing into two equal parts: the old and new mode. Sans-culotte confronts the conventional mode and promotes practical costume styles based on justice standpoints. First, hippies pursue an exposition of individual emotions that disclose internal meanings of love and desire. Second, they focus on subjective characteristics and chase after masteries and pleasures by expressing intensity. Third, it extends and develops folk costumes from many countries that reveal ethnic trends. Therefore, this research compares and contrasts different changes in the fashions of revolutionary periods, and aims to recognize the relationship between design and costume characteristics, thus contributing to the predictions of future changes in fashion.

• Journal of Fashion Business
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• v.18 no.2
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• pp.1-13
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• 2014

This study examines research trends in the dissertations and journal articles on stage costume so as to provide basic information on directions for future studies. The data was collected from the theses of domestic journals of the Korean Studies Information (KSI) which were published until December, 2012 and retrieved by a keyword related to the "design of stage costume", "costume for performing art", and etc. Theses and articles for the analyses were a total of 200 published. Reviewing the theses by dividing the times into 8 Chronicles of 5 years in each term. The findings of the study are as follows: According to the chronological analysis, there has been a steady increase in the rates of the musical, ballet, dance, and circus costume and cutting edged technology such as LED has been utilized in the performing art, currently. The real production and making up of the costumes have been increasing as well by replacing of illustration and rendering of the costumes. In the recent costume of the performing arts show the tends of the visual effects and up-sizing, comprehensiveness and fusion. From the analysis of the background of the work, those were confirmed that the most common historical period was modern period, and places were France, England, and Egypt. In regard to research themes and methods, many of research papers utilized content analysis method, character analysis method as research methods. The most popular presentation of the costume designs was "rendering", "costumes schedule" and "illustration". However, development and explanation of the patterns was insufficient and constructions methods and real works(costumes) were usually omitted in the articles.

• 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 Clothing and Textiles
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• v.36 no.9
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• pp.901-915
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• 2012

This study comparatively analyzes the characteristics, changes, and differences in class-based costume typology according to a concept of $17^{th}$ and $18^{th}$ century common people in France. The methods and contents are as follow. First, the scope of common people is grasped according to the historical background and a concept of $17^{th}$ and $18^{th}$ century common people in France. Second, through considering a prior research on analyzing the data of ancient documents on the economy of clothing, it classifies common people into bourgeoisie, urban common people, rural common people, and the destitute. It then examines diachronic evolution, and class-based synchronic difference in the consumption of $17^{th}$ and $18^{th}$ century common people's costumes in France. Third, it analyzes the appearance frequency by period according to type of common people's costumes, which were shown in pictorial materials with 283 sheets of engravings and 54 pieces of paintings; in addition, it reconstructs the succession and expansion in typology. It grasps differences and changes in morphology by class, space, and period of typology for common people's costumes. Common people's consumption of costumes was understood to have grown in qualitative aspects as well as a rise in the whole clothing demand. A class-based structure formed and indicated that a fashion cycle existed. As a result of analyzing common people's clothes (shown in pictorial materials of the $17^{th}$ and $18^{th}$ century) 41 items were grasped by gender and according to costume kind. Typology in common people's costumes (classified into bourgeoisie, urban common people, rural common people, and the destitute) showed a change by period. A change in typical costume typology was accepted more by the bourgeoisie than by urban and rural common people, and was accepted more by rural communities than by urban populations. Thus, a difference was formed through an expansion with a temporal difference that depended on class and space.

• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.648-659
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• 2000

Through this study I would like to examine the meaning system of the symbolized codes related with real costume figures of the abstract concept of the style of the mourning ceremonial dress in Chosun Dynasty as a variable cause of communication through non-language method by the structural analysis of coding of the ceremonial dress style and the meaning system of the codes centering on the traditional book of funeral etiquette dealing with hueneral cereony in the period. To achieve this purpose, I have used the symbolic theory of constructive concept by F. de Saussure, cultural notation theory of Roland Barthes & Umberto Eco, and structural style of costumes by Myung-Sook Han. The result of the study is as follows. 1. As Chosun Dynasty was a society in which people considered courtesy so much important and practiced the basic Confucian ideas of the three bonds and five moral disciplines in human relations, the characteristic of funeral rites in Chosun Dynasty consists in expression of the thoughts of moral ethics & relative systems and systems of clan rules, etc which was a langue determining the symbols of mourning ceremony dress because the mourning ceremony dress in the period should have the feature of a langue. The mourning ceremonial dresses in the period had five grades of the consume and the grades were determined to be classified into five levels according to the clan system of the chief mourner with sang, ha bang. And the method of the association of the mourning ceremonial dress codes had the six principles of Chinchin, Jonjon, Myoungboon, Chulip, Changyu, and Jongbok. 2. Regarding the mourning ceremonial costumes in Korean society, the meaning of funeral ceremony was expressed by the signifier and materials of the mourning costumes in the society. During the process of the funeral, the intangible feeling of condolence was the expression of mourning and the tangible mourning ceremonial dress was the signal with the lamentation meaning. Especially, characters and patterns were removed from the mourning ceremonial dresses in spite of their function of symbols and the styles of costumes were emphasized. Especially the meaning of condolences was symbolized by attachment of some small pieces of cloth on the upper garments. Hemp was mainly emphasized to be the material of the costumes and some different meanings showed according to the quality of the material hemp. The mourning ceremonial dresses were distinguished from ordinary dresses, which were emphasized because they gad some symbolic meaning of the mourning. 3. Considering the association of the synthetic relations of the costumes from the viewpoint that the mourning ceremonial dresses would be classified according to a system, the symbolization of them were avaliable by sex according to how to combine them and there were no distinction between social classes in the society.

• International Journal of Advanced Culture Technology
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• v.12 no.3
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• pp.21-28
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• 2024

The public can access movies more easily than any other cultural genre. The film's costumes convey the social, political, and cultural climate of that time period. Additionally, it subtly conveys the message of the movie, including the intentions of the director and the characters. Filmmakers can now use fact-based materials to plan their films, and audiences can now watch costume in movies with objective standards, particularly in period dramas, thanks to the advancements in over-the-top (OTT) services. The 77th British Academy costume Award went to the movie Napoleon because of how much emphasis it placed on the outfit. Ninety-five percent of the costume was made by experts in military uniforms and costumery. In contrast to the previous aristocratic and exaggerated Rococo costume, Napoleonic clothing had a natural and common-class character. A natural-shaped Chemise dress composed of light, reflective material first appeared in the Directoire era, just after the French Revolution. Chemise dresses made of a variety of materials gained popularity during the Empire era. With Napoleon taking the throne and Josephine becoming the empress, the vibrant court culture resurfaced during the Empire era. The silk was embellished with gold thread and embroidery, train dangling forms, and different types of sleeves appeared in Empire styles. They wore Pellisse and shawls under the coat. The hair style had long, ancient hair and was adorned with fillets. They also wore straw hats, bonnets, and caps. Long gloves and parasols were also popular accessories, as were pearl or colored jewelry necklaces, earrings, bracelets, and rings. During the Empire era, tiaras were fashionable. Shoes were either low-heeled pumps or sandals. The movie uses Chemise and Empire costumes, which are versatile enough to be used in a range of settings and eras. When it came to details, the type of sleeve was employed without regard to time, such as when using those from an earlier or later period. Since jewelry was worn more often than not in that era, practically every character has earrings on their necklaces. Nearly exact replicas of the coronation costume can be found in paintings by Jacques-Louis David. The red trains, Josephine's Empire dress, the crown, the Tiara, and the costumes of every character in attendance were all clearly identifiable in terms of form and color. To further aid viewers in understanding and enhancing the film's overall coherence, a scene featuring David drawing the coronation was added. Overall, there were differences in that the historical costumes were accurately recreated, the materials and details were utilized without restriction, and some of the costumes were designed with modern materials or accessories that were used more than the historical costumes. This section appears to have been written to highlight the beauty of the characters' personalities or settings. There is a limitation to this study in that it only looked at aristocratic clothing, which includes Josephine's. We will concentrate on male clothing in future research.