• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.107-123
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• 2005

In this thesis, I tried to compare and analyze the characteristics of the costume worn by leading figures of French movie 'Dangerous Liaison' and Korean movie 'The Scandal'. I compared the costumes they wear with the costumes of 18th century Fran[e and also tried to analyze how the costumes represent the psychological status of the persons in the movie. Since these two movies are based on the same original novel, the major figure's characters, socio-economic status and the situations they faced are similar but the physical background are very different, that is Fran[e and Korea. The analysis of the costume worn by similar characters in the two movies show differences due to the intention of tile producer's. The costumes used in Scandal shows much more use of varied colors to represent the characters of the major roles while Dangerous Liaison more faithfully follows the evidences of the costume used in the period in France. As seen from the result of this analysis, we can deduce that the costumes used in the movie not only have the simple role of clothes but also itforms the image of the figure in the movie representing the social and economic status of the person who wears them. Because of these demands, the designer should posses profound knowledge of history of the costumes of the period as well as the creativity to harmonize them with the atmosphere that the movie intend to appeal.

• Proceedings of the Costume Culture Conference
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• 2004.10a
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• pp.60-62
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• 2004

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.15-31
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• 2012

This study is intended to understand the styles, colors and color arrangements of costumes expressed on Kisan Kim Jun-geun's genre paintings of Joseon in the late 19th century. The paintings vary according to the status and gender of the person wearing the costume as well as the time period and different situations the person belongs to. Also, this study aims to examine the meaning and value of Kisan's paintings in terms of the history of Korean costumes. The result of this study are as follows: The basic and common attire for people of all status and class is the jeogori(jacket), baji(pants) for men and Banhoijang jeogori, chima(skirt) for women. Men wear Po(coat) that represents their status and age, and they put on various hats according to different weather conditions or work-skill even when in the same status and class. However, women wear the Baeja(vest), Durumagi(coat) and head-dresses when they are cold. Overall, the costume patterns and shapes that appear on Kisan's paintings show the same patterns and structures when compared to different data during the same time period. Thus, they provide useful information to help not only understand the changes of patterns and structures of costumes, but also the situations and emotions of the people of that time period. Moreover, it can be understood that various colors and color arrangements that reflect the situations and emotions of the late 19th century were used. This study that analyses the colors and color arrangements used in Kisan's genre paintings can provide the very basic and systematically arranged data to help understand the unique colors in Korea. These data can also provide important information to understand the use of dyes and pigments during that time. Therefore, Kisan's genre paintings are meaningful and valuable in terms of the history of Korean costumes for these are the data, from which we can review the costumes, colors and color arrangements in the years from 1890 to 1910.

• Journal of the Korean Society of Costume
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• v.24
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• pp.177-192
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• 1995

The purpos대 f this research was to figure out clothing imagery underlying Shakepeare's King Lear and transfer it into actual stage costume. Three steps were taken in order to achieve the purpose . The first step exemined theoretical background of the Shakepeare's imagery. The second step reviewed a wide spectum of stage costume used in the last four centuries. The final step was to design and produced actual stage costume focusing on Lear, while considering clothing imagery drawn from the previous steps. King Lear contained rich clothing imagery which could contrast the relationship between material and spirit. In particular, it shed light on the contrast between Lear's divesting and Edgar's wearing and denoted that wearing and divesting processes were closely related to spiritual and status changes. A review of stage costume used for four centuries was prepared in order to understand how clothing imagery was applied in producing stage costume. It was found that their stage costume was reflecting clothing imagery captured from the analysis of king Lear. On the basis of this review, this research presented Lear's stage costume which applied clothing imagery drawn from King Lear. In producing stage costume , actual stage costume used Elizabethan fashion as its basic color and pattern. It also utilized modern clothing production techniques and ornaments acceptable in these days. As Lear was depicted as a character who underwent spiritual and status changes in the process of divesting , his costume was produced in line with this clothing imagery (i.e., divesting). The long journey of reviewing and analyzing King Lear from a stand point of clothing reassured us, on the one hand, the importance of stage costume. On the other hand, it established the groundwork for developing the methodology of fashion design by applying clothing imagery drawn from literature to design and production of stage costume.

• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.135-151
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• 2011

The purpose of this study is to research the costume styles during the Silla(新羅), and Paekje dynasty[百濟] in 'Seodong tale'. In those days, costume form, color, pattern, and ornaments played an important role in representing the differences in social status. The Methodology of this study is reviewing and researching the symbolic meaning and classifying the types of the style of the Costume in 'Seodong tale' through the antique records and tombs bequests and expressing the clothing of the appearance people in the picture. This study is about the costume styles representing the differences in social status during the Silla and Baekje dynasty in 'Seodong tale'. Sedong wore 'Heug Geon(黑巾)' and 'Yu', 'Ko(袴)'. The king of Silla, Jinpyung wore Tree and Antler-typed Diadem and 'Po(袍)' with 'GwaDae(銙帶)' and Earrings, Necklaces, Rings. The servant of Baekje wore 'Eunmhwakwansik[silver crown]' and 'Jangyu' bound the silver belt and 'Ko'. Silla Princess of the court, Seonhwa wore Feathered Trim with Conical hat, and 'Yu' bound the belt and 'SangdongChima' and Earrings, Necklaces, Bracelets, Rings. Sedong's mother's hair style was 'Eonjeunmeori' and wore 'Yu' and 'Ko'. The queen of Baeje, Seonhwa wore 'Keumhwasik[Gold crown]', and 'Po' bound the belt and Earrings, Necklaces, Bracelets.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.182-199
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• 2012

The purpose of this study is to analyze the actual status of costume exhibitions displayed in architectural structures heritage today to examine if they play proper roles as visual materials and suggest the necessity of post-management for comfortable viewing. This is significant in that it makes costume exhibitions function as educational culture contents to let Korean and also foreign viewers know of our costume culture properly. As a research method, the database of the Office of Cultural Properties homepage was used to extract anything related to the lives of figures during the Chosun Dynasty among the architectural structures heritages in Seoul, Incheon, and Gyeonggido. By doing so, the costume exhibitions were able to be examined among them. With field investigation and interviews of related institutions, this study examined the current status of costume exhibitions, planning of exhibitions, and post-management. Also, they found costume exhibitions that were not right for the era, and suggested ways that were more appropriate for them. The results of this study were as follows : First, according to the third selection results, there were only six among 71 places where three districts of the architectural structures heritage were present. This is a very small quantity of places when compared with the total number of architectural structures heritage. Second, as a result of the current condition investigation, the costume exhibition in the Architectural Structures Heritage is not nearly enough for a historical investigation, and almost all polluted costumes were not displayed in suitable environments for an exhibition. Therefore, qualified managers who have expertise in exhibition planning were needed to be trained to do a post-management follow up. Furthermore, it is important to systematically reorganize post-management methods. Third, the two selected places(Haepung-buwongun-yuntaegyeong-jaesi and Sunaedong-gaok) were thought not to be right for the era among the six places with costume exhibitions, and suggestions such as flat-drawing and illustration were made.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.47-58
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• 2000

This paper examines how costume, as a means of communication, acts on an individual a society, and a nation by analyzing especially the costume-wearing activities of Gandhi, an Indian national leader, in the nineteenth-century India colonized by Britain. The results are as follows. 1. Change of costume in Gandhi's case corresponds with mental change. 2. Gandhi's costume-wearing activities show his social status. 3. Gandhi's costume acts as a means of communication ; it manipulates and rules social events, transforming social -political identities. Thus, costume has a close relation to man's life. And it is an important means of communication influencing man and man's environments.

• Proceedings of the Korea Society of Costume Conference
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• 2005.10a
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• pp.230-231
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• 2005

• Proceedings of the Costume Culture Conference
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• 1998.09a
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• pp.20-21
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• 1998

• Proceedings of the Costume Culture Conference
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• 2004.10a
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• pp.44-46
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• 2004