• 복식
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• 제47권
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• pp.125-142
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• 1999

Dancing along with mankind has existed in various ways form old age to the present. This dancing combined with artistic meaning is called the art of dancing. This study is mainly about the functions decorations and expressions of dancing costume and the claracteristics of the costumes by the 20th century designers Leon bakst Oskar Schlemer Pablo Picasso. The dancing costume were not so much different from those of the public from old age to middle age. In 18th and 19th centuries the length of the cotstumes become short from the knee to the thigh. The functions have much to do with the development of dancing for example the appearance of toeshoes. The costumes are designed not to prevent the movements of dancers smooth line in old age and ladylike vend high-blown line in the 18th and 19th centuries. Cotton and hemp textiles are turning into the transparent forms such as lace and gauge. The personal ornaments earings and necklaces have change into the pattern with wings and tassels. The dancing costumes of Leon Bakst Oskar Schlemer and Pablo Picasso are designed after the due consideration of body shape. Bakst focused on the beauty of smooth lines with splendid colors and decorations. Schlemer analyzed the body abstractly and metaphysically and expressed it with detaile and simple lines. Picasso emphasized cubic forms with cubism and expressed the characteristics of costumes with clear colors and smooth curved line. Bakst Schlemer and Picasso made the early 20th century the age of functional dancing costumes putting a light on the concept of space and foundation for the modern dancing costumes.

• 한국의상디자인학회지
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• 제14권1호
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• pp.161-174
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• 2012

This project purpose to develop a "custom patient gown" can satisfy with functional and aesthetic aspects for improving the problems of the existing children's patient gown that no unified image and discomfort in cooperation with the Public Design Development office as part of the citizen-friendly design improvement projects which one of the public politicizes of Seoul. The following are the results of design process for children's patient gown applying the universal design. First, the children's patient gown of the shape were classified into patient gown, rehabilitative gown and special gown and based on human-centered design to pursue the custom patient gown. Second, the color used pastel shades part of the Seoul colors and focused on emotions with color therapy theory. It was emphasized the aesthetic aspect by arranged the colors which harmonized with the main colors, also classified the wards and sizes. Third, for the functional materials of patient gowns was used the washable fabric and tender processing. Fourth, the accessories were matched the unified image and colors are suitable for the hospital environment such as bibs, aprons, and bedding. Fifth, Haechi, the symbol of Seoul was used as the logo. The Haechi logo and emotional message were applied to patient gowns to enhance the communication efficiency between patients and their guardians. As described above, the custom patient gowns for children's hospital will have significant ripple effects when they are expanded to national, public and private children's hospital. Such a qualitative change will pursue the respect and value of human by expanding the areas of public design for adults, the weak and the old-age society in future.

• 복식문화연구
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• 제6권4호
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• pp.62-73
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• 1998

This study focuses on semiotic significance of clothing, showed in visual mass media. This study will look into what general public understand from clothing and what influence clothing on visual mass media exert on fashion. This study employs an example, "Aein(sweetheart)", which was televised from 09/02/1996 till 10/23/1996. Some specialists(master′s degree or doctoral degree holders, or professors) of Clothing and Textile picked and analyzed scenes with specific clothing. The theoretical grounds of the analysis are 1) in what procession the significance operate from the view of mythological symbols by Bart, 2) what influences clothing on TV dramas exert on fashion. The outcomes of the study are followings: First, clothing′s signifying proces hs two dimensions; linguistic dimension and mythological dimension. Linguistic dimension which is regarded as general and unvariable and is related to the reproductive signifying operation, contributes to the creation of the characters including the characters′ social activities, professions, social or economic position. Mythological dimension which is related to the cultural and implicative signifying operation, played an important role in the development of the drama. Thus, it operates to create and deliver images including that atmosphere of he drama and the development of the story. Second, the TV media which is characterized with the form of centralized transmission and individual reception and the ability tro readily lead the fashion, has huge influence upon the fashion by properly creating mythological or linguistic dimension of the clothing in the drama, arousing the public′s sympathy, and stimulating the public′ immitation or conformity mentality.

• 복식문화연구
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• 제31권2호
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• pp.141-160
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• 2023

Controlling fashion waste throughout the entire product lifecycle is critical in a circular economy. This study explored the possibility of establishing a public recycling system for fashion waste. Since consumer interests and participation are essential, theoretical research, social-text analysis, and quantitative research were conducted to identify consumers' perceptions of the public recycling of fashion waste and circular fashion. Data were collected via an online survey among women in their 20-30's living in Korea, and 304 samples were used for data analysis. The results were as follows. First, consumers' perceptions of recycling fashion waste were composed of recycling difficulty, the need for public recycling, and the need for EPR. Circular fashion perception comprised favor, environment protection, attractiveness, economics, quality and hygiene risks, and lack of diversity. Second, the reuse-recycle attitude and need for EPR affected the favor of all types of circular fashion products. Third, environmental concerns impacted attractiveness, and the favor significantly affected the purchase intention of all types of circular fashion products. In particular, quality and hygiene risk negatively affected the purchase intention of used-fashion products, while attractiveness positively impacted the purchase intention of upcycled-fashion products. The results implied that discussing the public recycling system of fashion waste and EPR policy is imperative. The results also showed the need to classify different types of circular fashion products, such as used, upcycled, and regenerated fashion items, to examine consumers' perceptions. In addition, the recycling of the fashion waste scale developed in this study could be used for further research.

• 복식
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• 제62권4호
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• pp.136-148
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• 2012

The purpose of this study is to investigate the current infrastructure of database on costume cultural heritage. The contents, kinds and accessibility regarding the digital contents of the websites of literature archives, museums and culturecontent.com by Korea Creative Content Agency were analyzed. First, it was evident that the quantity and quality of the database should be improved. The literature archives are mostly comprised of historical documents; however, the quantity of the database regarding the documents that are commonly studied in the field of traditional costume is not satisfactory. On the other hand, the quality of the database depends on the in-depth understanding of the terminology because errors occur when the contents of literature are transferred to an online database. Second, various information is required to meet the needs and interests of the digital environment. Most of the museums provide information on costume cultural heritage through their websites; nevertheless, it is not thorough and only partial. Third, the reliability of information needs to improve. The various contents provided by culturecontent.com lack reliability as it focuses on the entertainment values. To increase reliability, the source and origin of the information about the costume cultural heritage should be provided and the contents should be proofread before they are exposed to the public. Based on these findings, the researchers put forward the following suggestions: the quantity and quality of the databases should be enriched, and that more diverse information is required. Finally, more attention should be paid to increase the reliability of this information. This study will be an asset for the foundation to build solid databases and popularization of the traditional costumes.

• 복식
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• 제63권8호
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• pp.14-26
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• 2013

The purpose of this study is to compare and analyze Jacqueline Kennedy and Michelle Obama's fashion style from a perspective of modernism and postmodernism. The method utilized in this study was first, to examine the properties of modernism and postmodernism. Next, we explored the types of role performance of the first ladies and the application of their fashion as an aid to their roles through the precedents of the research concerning modernism and postmodernism. The results of the study are as follows. First, there was a trend of formalism and anti-formalism. Jacqueline Kennedy made her public appearances wearing a formal dress in order to express the first lady's authoritarian figure of restrained elegance. The fashion of the first lady aspired to formalism. Meanwhile, Michelle Obama followed more of a free style by eschewing the typical formality of the first lady. She created diverse styles utilizing a variety of items, which were not interrupted by form or by using heterogeneous items. Second, there is a trend of elitism and populism. While Jacqueline Kennedy preferred only haute couture designers' costume in order to show the prestige and dignity of the upper class, Michelle Obama patronized unknown designers' clothing or mid-level casual brand goods that the public favors in order to interact with the public through her fashion. Third, while modernism regards totality or unity to be important, postmodernism puts an emphasis on the eclecticism by pursuing complexity and diversity through the deconstruction of an indigenous genre. In case of Jacqueline Kennedy, this tendency featured monotone clothing color, which presented a unified full set dress that excluded decoration. Michelle Obama, in contrast, mixed and matched formal dresses and a casual cardigan or felicitously mixed luxury brand or low to middle priced brand goods.

• 복식문화연구
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• 제2권1호
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• pp.1-27
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• 1994

This result of the study on the costume of Osman Turkey are as following. 1. Empire of Osman Turkey(129∼1922) exerted an almost limites impact and influence on Europe and Asia during their regime 600 years. The distant ancestors of the Osman Turks were nomadic peoples, who wandered I tribal groups through the Central Asia. Therefore their costumes were based on nomadic culture. They had trade with West and East were influenced by Hellenism and Byzantium and grew, to a strong Islamic political power polygamy with which influence their clothing along with other culture. 2. Topkapi Saray was one of he principal residences of the Osman sultans and his court. Late 17 century, Topkapi Saray found many of kaftans of Osman Turks Empires of 14∼17 centuries. Otherwise we studied by the minatures of 16∼17 centuries, Since the Topkapi Saray became a museum in 1924, a program of careful restoration has made it possible to some pars of it to the public, after centuries neglection. 3. Osman Turkey Empire had important role in between West and East(silk-road). Economic, commercial, social and political factor of Turkey led to a development in the art of weaving (kema, kadife, catman, seraser, zerbeft, hatayi, kntnu, atlas)parallel to the rise and development of the Osman Turkey Empire itself, one which raised the art to a level attained nowwhere else in the world. Fabrics woven from gold and silver thread occupied a very important place in the court life of the time. This was due as much to their symbolic as to their material value, reflecting as they did the power, glory and magnificence of the Empire. 4. In order to study Eastern or Western history of costume one must study Turkey history of costume in advance. Also there is a great need of comparison to study of western, central and north eastern area history of costume.

• 복식문화연구
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• 제9권1호
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• pp.1-10
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• 2001

This study is to reconsider the symbolic potential of the costume by investigating the role of cloth in Indian culture, noting the fact that Indians wore hand-woven cloth and adopted a flag with the spinning wheel in the center as part of their nationalistic programs for independence. The results are as follows; The Indian cotton industry had held the fist position in the world and spinning and weaving had been an Indian national industry until the early part of the 19th century. As for the Indian cotton industry under the rule of Britain, Indian was reduced to being a colony producing raw materials and a market of cheap British finished goods, and eventually fell into anarchy with economic poverty of the general public and peasants'uprising mixed with the complaint of the intellectuals. The Indian National Movement started as a resort to escape the British rule because of continuous poverty and social exhaustion, and its pivot was Gandhi. Gandhi launched a revolutionary noncooperation movement in Indian society with diverse races, religions and castes, and developed nation-wide campaigns such as Boycott, Swadeshi, the encouragement of spinning wheels, etc. Gandhi urged that Indians' weak identity and poverty were caused by the dissolution of their native craft and that the Indians should wear Indian products for economic independence. Accordingly, leaders of Indian National Congress regarded a spinning wheel as an economic necessity and national symbol, and approved manual spinning and weaving as part of their nationalistic programs in order to drew the general public to the nationalistic movement in 1920. They also decided that all Congressmen should wear hand-woven cloth, Khadi, and adopted spinning wheels as the logo type of Indian National Congress. Khadi, Indian national cloth, was a symbol of national unification, freedom and equality, and also a means of economic self-sufficiency, Swadeshi, and eventually led India to autonomy, Swaraji. Therefore, it can be concluded that the cloth converted Indias economic and political identity.

• 한국의상디자인학회지
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• 제7권3호
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• pp.63-74
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• 2005

The cinema costume designers carry out the creative works in a different way from the commercial fashion designers generating the new trends by season or year for a number of people. Costumes created by the cinema costume designers are for the people acting in the film screens such as heroes, heroines or extras. The cinema costume designers should not miss the overall flow of a cinema. Moreover, the prominent designers have to devise the costumes livening up every scene. Most cinemas with the prudent interests and attention on the costumes are favored by the public and gain the commercial success. In particular, the cinemas emphasize the visual effects such as setting, lighting and computer graphics and require the substantial budgets for preparing the costumes regardless of genres, while all other industrial fields will be the same. Such efforts are to deliver the meaning and aesthetics that the cinemas intend to show through the designs, colors and textures of costumes closed up in each scene. The costumes in cinemas are another linguistic system and have the symbolic form of compound and meaningful communication used by the directors. The costume design is required to produce the costumes that liven up the characteristics of heroes or heroines as well as to fit for the general artistic effects of films. Moreover, it has to express the characters in the films using the costumes suitable for the film genres. Cinema costumes are defined and refined, and the process can be angst-ridden. Each frame of film is a canvas and has its own proscenuium. Every garment worn in a theatrical production is a costume. Before an actor speaks, his wardrobe has already spoken for him. From the most obvious and flamboyant show clothing, to contemporary clothes using subtle design language, costume design plays an integral part in every film production. Costume design is a vital tool for storytelling. Costumes have always had enormous influence on world fashion. Costume designers are passionate storytellers, historians, social commentators, humorists, psychologists, trendsetters and magicians who can conjure glamour and codify icons. Costume designers are project managers who have to juggle ever-decreasing wardrobe budgets and battle the economic realities of film production. Costume designers are artists with pen and paper, form, fabric and the human figure.

• 복식
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• 제32권
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• pp.83-100
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• 1997

The purpose of this study was to identify the change and characteristics of 20th Korean women's make-up the result of the study as follows: In the period 1920's 1. The drastic social changes such as civilzation and revolution together with the in troduction of western culture affected make-up and clothes. New women and high school girls wore the modified costume make-up hair style But general public women keep to traditional skin care style and white skin colour was popular. 2. In recent year after 1960's economic de-velopment the women's social status were pormoted after 1970's various colour em-phasize lip eye there by resulting in remark-able modification in the Korean women's apperance. In those days there was the large cosmetic producst of vavious colour 3. The result of this study indicated that the value of recognize the importance of total fashion is the harmonization of clothes and make-up 4. It was also suggested Korean beauty in the future should be achieved in accordance with tradition and modern sense.