• Journal of the Korean Society of Costume
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• v.59 no.7
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• pp.17-33
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• 2009

The purpose of this study was to get some pieces of prior information to eventually develop high value-added fashion cultural products design using local cultural resources, to promote the cultural tourism festival. For this purpose, this study is carried out the investigation of cultural product stores and visitors' questionnaire survey. The subjects of this study were festivals which were selected as cultural tourism festival by the Ministry of Culture, Sports and Tourism from 2000 to 2008. Of them, six festivals were finally selected but food festival was excluded. The results of this study were as follows; First, the store survey was conduced to analyze the situation of the products of cultural tourism festival. The most frequent product was accessories. And a T-shirt was found to be sold every festival probably because it was the most popular item and basic item which people could buy without burden. While the most diverse kinds of products were found in the Andong, the Jinju and Gangjin were found not to develop various products. In the design motif used for cultural products, most products did not use festival or local image. The highest use of the festival and local image was found in Gangjin and Muju. The Andong and Chungju were found to sell very common products buying anywhere rather than products using local cultural resources or image. In the material of cultural products, most products use metal. And In the price of cultural products, 10,000-30,000 won was found highest. Second, the purchase conditions of cultural tourism festival visitors were examined. The visiting goal and companion of visitors was found to vary with the type of cultural tourism festival. The types of visitors were also found to have an effect on the choice of items in the purchase of cultural products sold in the festival. Only one third of respondents responded buying one and more cultural products. The purchase rate was found high in the festival where cultural product items were various and there were many products symbolizing festival or region. The most purchased item was a mobile phone hanger and the amount of purchasing cultural products was 10,000-30,000 won. The reason not to purchase cultural products was dissatisfaction with utility, originality, possibility of a present, symbolism, and price. The most important attribute in the purchase of cultural products was design, followed by symbolism, price, originality, and innovation. The highly preferred product group included clothing, miscellaneous goods, and accessories. Specifically, T-shirt was found highest. Based on these research results, it was found that the design strategy for the cultural products development should consider both regional and festival images. The items and designs of the cultural products should reflect visitors' characteristics and the price zone should be varied.

• The Journal of the Korea Contents Association
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• v.9 no.12
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• pp.121-129
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• 2009

This research tries to interpret Montage der Assoziation shown in animations. Eisenstein's 'Montage' is "Montage der Assoziation" where a variety of Montage pieces are combined, symbolizing one aggregate image. Though influenced by Russian Formalist Film Theory and Kuleshov, Pudivkin and Rudolf Amheim, by contraries, he recognized Montage as an issue between an artist and the audience and an anti-representation apparatus. Especially, he developed the mind action issue previously advocated by Eikhenbaum and deemed the audience's role an essential part in completing a film. Montage expression implied in Eisenstein's theory can be regarded as attraction, collision, and dynamic and intellectual Montage. However, with an in-depth approach, Montage der Assoziation can be interpreted by repetitive, relative and juxtaposed analysis. The reason is that animation Montage is a visual action which takes place in a row among scenes and in the frame. This research addresses communications with the audience which are attained by Montage der Assoziation. In other words, this research makes an in-depth access to how Montage der Assoziation appears and communicates with the audience in an animation work.

• Journal of the Korea Fashion and Costume Design Association
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• v.3 no.1
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• pp.57-76
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• 2001

This study was intended to make a comparative analysis of the plastic features of Korean and Japanese dragon patterns found in the process of recreating traditions in comtemporary fashion based on the investigation into the style of expression in relation to the origin, formative evolution, symbolism and traditional costume of the dragon. The form of the dragon has evolved with some similarity and peculiarity between both countries and been changed into many kinds and diverse forms such as the humorous dragon pattern of the Yi Dynasty and the simplified and designed dragon pattern symbolizing the Japanese family crest and the like, Its symbolism has lasted in terms of the sacrificial object, royal power, good omen, Buddhist guardian and the like. There is a difference in the aesthetic sense due to the different traditions and cultural background between Korea and Japan, and the dragon pattern found in the process of recreating the tradition in comtemporary fashion manifested itself as the peculiar aspect. An attempt was made to make a comparative analysis of the dragon pattern found in comtemporary fashion between Korea and Japan. The following results were obtained: First, the commonality between both countries was to make a contemporary expression of the dragon pattern, which was expressed in a realistic form because of a traditionally inherent strong image of the dragon. On the other hand, the designed dragon pattern rarely found expression. It can be said that carefully treating the dragon pattern is attributed to the Oriental thinking like this. Second, Korean people have arranged one or more simplified dragon patterns taking on a form of the coiling dragon in the composition of the scattered point and made a comtemporary expression of them by the contrast of black and white shading in Korea. And the humorous form of the dragon pattern manifested itself in the Yi Dynasty. On the other hand, the case of printing the dragon pattern in the black dragon sword of all over the Kabuki costume in a pictorial composition has frequently appeared in Japan. And Japanese people have expressed its lightness and briskness rather than the dignity and strength that the dragon pattern gives with the use of strong color tones and new materials.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.1
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• pp.69-78
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• 2008

A new coinage which calls a modern was appeared variously by values, taste, feature of lifestyle and the meaning of a new coinage has influence in the change of lifestyle. Particularly a popular star is a person who situates in the center of a new coinage, his role, behavior, and appearance have great influence in the birth of a new coinage. He is a fashion leader as well as the object of fashion imitation to the new generation being sensitive for fashion. As his fashion is appeared with important fashion icon in fashion market, fashion companies have developed actively star marketing marking him as an advertising model. Therefore, because the fashion trends of a popular star introduce season's fashion trends and can be important factor forecasting fashion behavior of consumer, this study aims at analysis for fashion trends of a popular star including a public entertainer. The dates of this study were collected by TV drama, internet, and magazines, etc. The fashion trends were divided into feminine fashion trend, sexy fashion trend, tomboy fashion trend, and retro fashion trend. Feminine fashion trend was based on feminity but it was classified in masculine look, simple look, chic look, and natural & romantic look according to the standard of a transformation of feminine image. Sexy fashion trend was divided into two sexy images according to the method wrapping oneself in a dress and the method exposing a specific body part. Tomboy fashion trend could be the immature boyish style which concealed bust or hip or pelvis symbolizing feminity. Retro fashion trend could be style being based on 1980's style and Y line. Fashion items as leggings, baby doll dress, tunic style, dot pattern, garsonne look were come into fashion.

• Journal of the Korean Society of Costume
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• v.67 no.1
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• pp.130-146
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• 2017

This study focuses on the Mise-en-abyme theories of Lucien $D{\ddot{a}}llenbach$, and presents research methodology to analyze the modern cinema costume in a new view. Inherent aesthetic values of the costume code shown in the film are as follows. First, esthetics value shown is the analogic code through the maximization of factual realism by directing target. Mise-en-abyme placed in this film plays the role of costume codes, and highlights the subject by presenting specifically targeted realistic icons to maximize the realism of the movie. Second, Mise-en-abyme is deployed to the explicit text through costumes code is placed as Displaced code arrangements. In other words, each of the characters is a signifier. Symbolizing a historical era is the device that represents a self-reflective signifier. Third, paradoxically reflected by the overlapped expansion of virtual reality and the self-referential characteristics and are subject to reflect the thinking of the author. Costumes code placed in Mise-en-abyme is expressed in costumes positioned to maximize the realism in the film as described above, and implies narratives and self-reflective mediating tools that symbolism can be seen that the paradoxical metaphor for the reality and the future. In addition, through the metaphor of visual narrative is allegorical representation Mise-en-abyme with ambiguity, and it is a concrete text that can be realized in a variety of creative storytelling methods and image delivery methods of modern fashion. This study confirmed that this costumes to take the point of view of emotional $Mise-en-sc{\grave{e}}ne$ in the process of completing the film's themes and cinematic devices by identifying the roles and aesthetic value of code costumes as the core subjects that make up the narrative of the film.

• Journal of Fashion Business
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• v.5 no.2
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• pp.149-166
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• 2001

The purpose of this study was illumination of the stage costume by applying the study of a subject of human expression, which establishes identity of dramatic characters. This study was conducted by referring a variety of theses, an extensive national and international literature. The color symbolism that is depicted in Shakespeare‘s work manifests the transition period of old days, which was influenced by the Renaissance and the Religious Reformation. And color preferences and the meanings I attach to them in his play, definitely reveal the Middle Ages Christian way of thinking which was obsessively dominated their mind. I also determine that the color preferences and use in Elizabeth Era also distinctively separate the social status, which were also influenced by its social conditions. Besides this, colors that were depicted in Shakespeare's work also shown many similarities from Italian Commedia dell‘arte, which were in vogue all over the Europe. Customary color symbolisms which from natural color experiences were also applied in "The Tempest". "The Tempest" was presented on the first day of November in 1611 for the first time. Following this, many plays and films have been produced in foreign countries and Korea. With an analysis of "The Tempest", costume designs for Miranda and Ferdinanad were illustrated at the end. The costumes for Miranda and Ferdinand were mainly considered to express pure love and vigorous youth of two lovers, symbolizing the image of the theme love, forgiveness, and reconciliation.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• The Research Journal of the Costume Culture
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• v.18 no.2
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• pp.229-244
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• 2010

This study aims to discuss the type and characteristics of primitivism in the modern fashion of the $21^{st}$ century and, as a research method, the concept of primitivism as well as the transition of the patterns of primitivism expressed in modern art have been considered and reviewed through a variety of references. In particular, an empirical analysis of the works that have been created from 2000 to 2009 has been performed using domestic and overseas fashion and collection magazines. The characteristics of primitivism in modern fashion possess the following types of expression: First, Sensuality can be cited as one of the characteristics, either by using direct or indirect exposure of the human body, a silhouette which fits tightly to the body, or creating the effect of sensual beauty using animal fur or bird feathers. Second, Incantation: Masks symbolizing primitive incantation are used to cover the human face or primitive incantation is incorporated as a theme of hair accessories or fashion trinkets, etc. In addition, such decorations as tattoos and the body colorations of ancient tribes are reproduced in modern fashion by means of body painting, printing or other accessories, emphasizing the image of occult primitiveness. Third, Naturalness can be cited as one of the characteristics. Naturalness is emphasized in modern fashion not through artificial decorations and processing, but rather through different patterns of exposure by which natural purity can be felt or through the use of non-artificial materials which recalls primitive civilization. Forth, Playfulness is expressed in the form of graffiti or abstract letters and paintings, and the character of the play is often expressed by the use of grotesque images based on various distortions and exaggerations of the human body, the utilization of symbols of primitive incantation and body and/or facial painting. Fifth, Lastly 'folkishness is emphasized. Folk-like objects, facial decorations, exposure of the body and intense color contrasts typically represent the folkish characteristics.

• Proceedings of the Korea Contents Association Conference
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• 2008.05a
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• pp.187-190
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• 2008

China has had a long preference in red. The color, symbolizing the sun, has a special significance, which stems from ancient times. The worship of the sun in the primitive society has been inherited by means of the collective unconsciousness; the sun has represented a variety of values such as nobility, purity, integrity, prosperity, success, happiness, good fortune, auspiciousness, and still much more. This research studies how the Chinese artworks visualize the color 'red', emphasizing the image of China and her culture. To do this, "Red Color" in Chinese posters from the past to the present were analyzed. While the images in red were delivered with a strong political connotation in the middle of the 20th century, as time passes by, the world trend of globalization has led the recent poster design in China to present red as the color standing for Chinese tradition, culture and spirits, which have flown throughout the 5000-year-long history.

• Cross-Cultural Studies
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• v.47
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• pp.101-129
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• 2017

This paper presupposes that the reason for the development of Guanyu's anthropolatry as a cultural phenomenon is derived from, along with Guanyu's loyalism and valor, the people's physiological effects longing for the emergence of a hero, and is closely linked with religious activities to provide the justification of their belief system. Based on this, the purpose of this paper is to study how major religions that is, Confucianism, Buddhism and Taoism take the courses of Guanyu's anthropolatry to their religious advantage and how Guanyu-god is applied to roots in Confucianism, Buddhism and Taoism. In Buddhism, it succeeded in the settlement by upgrading it to jialan-shen that guarded the Buddhist temple, while in Taoism, it was used as a guardian of the san-jie-fu-mo-da-di that chased the almighty devil and deviated from the disaster and suffering. In Confucianism, it was connected to Guanyu's Confucian-commander image to that of chun-qiu-da-yi of kongzi. That is, by symbolizing Guanyu as God of Martial Power and War depending on the country, it was used as a means of governance to establish rules and order.