• 패션비즈니스
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• 제3권2호
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• pp.59-66
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• 1999

The purpose of this thesis is to review the costume and symbolism of the English novelist Jane Austen's novel "Emma" which was produced as a movie in 1996. The novel "Emma" 's periodical background is from 1814 to 1815 in neo-classical age of costume. The English woman's costumes in 1810 were high-waisted empire style dress and redingote, pelisse, spencer jacket for going out. Man's costumes were frock coat, tail coat, shirts, vest and bottoms were breeches, pantaloons and trousers. In this literature, Harriet's naive and immature image was shown in the name of 'pretty'. Elegant and graceful way of talking and attitude was expressed in the 'beauty' of Emma. The costume is symbolically expressing the character's personality ; white is for Emma's intelligent and elegant image, pastor Elton's black suit symbolized his profession and ambitions for success. The analysis of the costumes from the movie "Emma" is following ; women wore empire dress and outer garment, redingote and spencer jacket. The fabrics were muslin, gauze, satin, lace and velvet. Men's costume were frock coat, tail coat with the shirts, vest, and pantaloons. The fabric was brown, black and dark color of wool. With an analysis of the movie "Emma", I would like to present '99 S/S collection, targeted for 21-25 aged woman by use of Emma's elegant and Harriet's pretty image as a main subject. As a second subject, I have chosen neo romantic memory, sophisticate feminine and pretty Harriet.

• 한국의류산업학회지
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• 제19권3호
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• pp.302-311
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• 2017

The purpose of this study is to develop an aesthetic and functional bicycle wear for new senior women in their 50s and 60s. We developed bicycle wear that is friendly to bicycling posture and reflects the preference of new senior women. Both the expert group and the subject group evaluated the appearance, completeness of clothing and motion functionality. The results are as followed: First, in the evaluation result of the expert group regarding the appearance and completeness of clothing, high scores are given to design, materials, color scheme, the trends suitability as well as the appearance with regard to clothing fitness. Second, in the results of the evaluation of the appearance and movement functionality targeting the subject groups, movement functionality was rated higher than appearance. In the case of the appearance evaluation, adhesion of both jacket and pants was rated very highly, which is considered to come from the elasticity of the material. In the functionality evaluation, what were pointed out as inconvenient details in the prior studies were found to be all improved and the sleeves and armpit parts were rated highly. Therefore, the pattern design and the usage of the materials suggested in this study were found to be very suitable in the movement on the ride of bicycle.

• 한국의류학회지
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• 제28권1호
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• pp.143-153
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• 2004

The Purpose of this study is provide fundamental data on a suitable sizes of ready-to-wear for women. The subjects of the survey were 300 female of 18 to 24 years old. They were measured direct anthropometry. Height, bust girth, waist girth and hip girth were grouped by KS interval. Data were analyzed by use of Cross Tab method. The results of this study were as follows. Body group of the anthropometric measurements were summed up as follows. Height was divided into 4 section(155-170), bust girth was divided into 7 section(76-94), waist girth was divided into 6 section(61-76) and hip girth was divided into 9 section(84-100). The characteristics of cross tab can be summarized as follows. Section with application ratio are 155-160cm of height, 82-85cm for bust girth, 64-70cm for waist girth and 86-94cm for hip girth. The sizes of high cover ratio of well-fitting jacket, dress, coat and one-piece was 17 sizes, well-fitting an upper garment and the whole body garment item except that was 16 sizes, and a lower garment was 21 sizes.

• 복식
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• 제55권7호
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• pp.131-141
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• 2005

The purpose of this study is to correctly understand the shapes and transformation of costumes of Ching's and Mongolian. Mongolian traditional costumes are trousers and jacket, with Deel(袍) and Terlig(帖裡) pleated in the waistline, and knee-covering narrow-sleeved long dress for men and women alike. It was designed for adapting to horse riding activities and cold steppe climate. Similarity between Ching's and Mongolian nomadic costumes was used as a means of unity by Ching. Transformation of Mongolian nomadic costumes are further divided into three kinds; Ching's or Russian's details applied to Mongolian nomadic costumes(Taekeum(大襟), Majesu(馬蹄袖), white choker), Ching's court costume imported as it is for the political purpose(Kijang(기장)), resistance against foreign countries and the spirit of nomadic people and independence reflected in Mongol costumes('Teregur ushi', 'Correct bosom'). Specially, Nomadic symbols constitute Mongolian spiritual world and clothing habits, especially evident in ladies' dresses.

• 대한가정학회지
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• 제28권4호
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• pp.15-30
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• 1990

From now, we've made a study of Korean Clothing about our Royal family's or high birth person's and made little of our plain folk's. Our traditional clothing is plain folk's clothing and that is our fundamental clothing, so plain folk's clothing has an important part in our life. In this point, first we were concerned about the plain folk woman's clothing in the plain folk's clothing and it consists of the way of ethnographic method like listening from the lod about their contant living wear-daily wear. This research covers the time from the end of the Yee-Dynasty to 1950's and the place, each province where the primitive dwellers still live and respondent's age range is about from 60 to 80. In the viwepoint of our climate and construction, women should be over-worn an underwear and they have worn the underwear for the purpose of their heating and the inflating of the skirt. The end of the Yee-Dynasty, high society person wore underwear 7-8 layers thick and also the sow society person wore it 3-4 layers thick. The Plain folk woman clothing's basic system is the skirt and Korean jacket and dari-sok-got, sok-sok-got, pants, dan-sok-got as an underwear, and Korean socks and Korean shoes(straw shoes) are added. This research discusses these clothing by dividing them into each part and enlighten the peculiarity, shape, cloth and how to construct and especially about the difficult-making Korean jacket, we handled the method of rough guess sizing. As the result, we found that each province had a similar peculiarity in the general clothing but they had a different cloth name and a wearing method. Especially, An-dong an Eum-sung, they'd worn their own traditional wear, sal-chang-hojaengiee. We made a good product of rough guess sizing data those have not been known.

• 복식
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• 제57권6호
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• pp.135-144
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• 2007

This study is about the three pieces of jackets with a symmetric collar that was used to fill in the empty spaces in coffin excavated in 2004, from Seok-nam-dong, Nam-gu, Incheon. The similarities of these three jackets are that the collars are symmetric, there are seops(the outer bodies to overlap the front sides of a jacket) with pleats, and openings on the side seam. The No.2, and No.6 seem to be jegori to wear over others, and the fabrics used for No.2 is damask with cloud pattern, and damask with lotus flower pattern. For the No.4, satin was used and there is peacock pattern weaved on satin using golden thread. No.41 is unlined clothes made with Suk-cho, and the distinctive feature about this clothes is that the collar, and the neckline are very narrow. The three jackets are similar with the recently reported clothes of Kim clan of Gang-leung (deducted to be buried in 1520), the collection of Seok Joo-sun Memorial Museum. Through this report, it provides information about some aspects of upper class women's clothes.

• 패션비즈니스
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• 제20권1호
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• pp.82-97
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• 2016

This study attempted to summarize the characteristics of fashion in the 1930s which were the background of 'Bonnie and Clyde' and analyze how fashion in the 1930s was expressed through costume in the movie, focusing on some critical scenes. For this, previous studies and domestic & foreign books, magazines and DVDs relating to movie costume were examined. For analysis of movie costume, 'Bonnie and Clyde (1967)' DVD was referred to. In the movie, meaningful scenes were captured using a GOM Player. Then, the study results found the followings: First, in terms of women's fashion in the 1930s, adult look and slim & long silhouette which naturally revealed breast, waist and hip with a long skirt, a military look with strong shoulders and tailored costume were found. In terms of men's fashion, in contrast, the Duke of Windsor Style (a slim silhouette jacket and loose pants) was popular. Second, in the movie, Bonnie's costume started with a slim linen H-line dress at her first meeting with Clyde. While committing crimes and becoming a famous gangster, she displayed the fashion styles which were in vogue in the 1930s such as fancy and luxurious slim dress, tailored suit and trench coat. Third, in terms of Clyde's costume, from his first meeting with Bonnie to his first crime, he put on common costume (ex: pants, vest, shirts, etc.) which revealed his open and unconventional character. After he became a famous gangster, he would wear the Duke of Windsor style (jacket, vest and pants). The study results well describe movie costume's role as visual language which expresses characters' inner circumstances and outer situations that reflect socio-cultural background.

• 복식
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• 제54권2호
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• pp.11-23
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• 2004

Bomun(Treasure Pattern), by its formative beauty and its symbol of good-luck, is mixed well with other patterns and produces another luxurious and gorgeous pattern with them. This study is to sort out Bomun patterned materials in the relics of Chosun dynasty, to classify the types of patterns according to its elements and to its arrangement, and to analyze their aesthetic characteristics in terms of fabrics, methods of putting patterns on fabrics, their usage, and symbols and aesthetics. The types of Bomun, in terms of their composition elements, are classified as Individual type, Compound Type Ⅰ, which is made with another Bomun, and Compound Type Ⅱ, which is compounded with plant patterns or with animal patterns. In terms of its arrangement, it is classified as Dense type, Sparse type, and Picturesque type, and the most popular type is the pattern of the dense type. Bomun was depicted in the fabric through a technique called Jimunbeop. It was used on both men's and women's clothing. It was mostly used in Po of men's clothing and in Jeogori(jacket) of women's clothing. Bomun connotes the meaning of good-luck, beating off evil spirits, Yin and Yang ideology, noble tastes, etc.

• 복식
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• 제56권8호
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• pp.15-34
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• 2006

Knit wear was industrialized, diversified, specialized and was made into high-class and it is including knitted cloth and small product for fashion as well as cardigan, sweater, and jacket etc. unlike past recognition only with underwear and inner wear. To consider elasticity to be the best strength of knit wear, middle-aged women that form change is serious are wearing knit wear as clothes for going out, and this may be regarded as clothes action to be conscious of form than vogue. Thus, in this study, this researcher tried to suggest solution scheme through the development of design of knit wear to supplement the form defect of middle-aged women. This researcher tried to develop the design of knit wear to supplement the form defect of middle-aged women, after examining the theoretical background of knit wear, the bodily and mental feature of middle-aged women. Internal and external knit wear brand that middle-aged women prefer as the scheme for solving the problematic form of middle-aged women with knit wear. As the result first, to see the present situation of inland production enterprise of knit wear, almost all the brand companies are concentrating energies on widening age class. Second, middle-aged women become far off from the form which is regarded ideal form in modern society. Third, result that this researcher examined the brand of knit wear of middle-aged women is as follows : MORADO, Cartknit, Escalier. And, in foreign knit wear brand, ST John, Missoni, ESCADA. Fourth, as the result that this researcher did work manufacture for the supplement of form defect of middle-aged women, it has practical and active side, and off-time has high-class and elegant refined beauty.

• 복식
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• 제5권
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• pp.41-63
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• 1981

The mural portraits of the ancient Dukheungri tombs are very important for the study of our traditional costume because the tomb contains a stone. with the in-scription of the date of its erection, 408 A.D. and the name, and official status of the buried. The costumes shown in the mural paintings will be the basis on which historical research can be made concerning costumes before and after 400 A. D. The costume in the mural paintings is classified into five different categories; You (jacket), Po (overcoat), Go (trousers), Sang (skirt), and Gwan (hat). Comparing these categories with those of other mural paintings lead us to the following conclusions. 1. The length of the You (jacket) reaches below the buttocks and the sleeves are narrow. The edges of the sleeves are decorated with stripes. The You (jacket) over-laps on the right, center, and left sides, and there are many Jikryong (V-collar) and Danryong (rounded collar) styles, but it has a similar tendency to others of the Pyongyang area which exhibit many foreign influences. In a departure from tradition. the belts on the men's You (jackets) have only 3 knots in the front, with the back having more knots than the front. The belts of the women's You (jacket) seem to have had a band or button for fastening. We must re-evaluate the assumption that the You (jacket) and Go (trousers) of the northern peoples had the common characters of a belted You (jacket) and Po (over-coat) and that the Gorum originated from the Goryo or Unified Silla dynasty. The outside of the sleeves are longer and more to the side than the inner garment (underwear) so that the sleeves of the inner garment frequently overlapped the outer dress. The above mentioned facts have lead to the discovery of the "Hansam," "Tosi" and "Geodoolgi." 2. The Po (overcoat) was used only by the upperclasses and differs from those found in other mural tombs. The Po (overcoat) of the noble on the tomb mural is centered with an overlapping Jikryong (V-collar) while the other Po (overcoats) of the upperclasses are characterized by an overlap on the left, a Danryong (rounded collar) with two types of sleeves (wide and narrow). Foreign influences and traditional influences coexist in Po (overcoat). Belts have frontal knots without exceptions. The facts that the belts on the You (jackets) are on the front and the belts on the Po (overcoats) are on the back must be reexamined. 3. Go (trousers) is usually narrow, being wider in the rear and narrower below the knees. They were used by hunters on the back of horses with similar Go (trousers) from the Noinwoowha tombs being typical of the northern peoples. 4. Sang (skirts) are pleated as commonly seen in the Goguryo murals. The size of the pleat is varied, each pleat being characteristically wider and having different colors. Same types of pleat are discovered in Central Asia and China. It is uncertain whether the pleat of Goguryo was originated in Central Asia and China or only interrelated with those of the areas. 5. There are three kinds of Gwan (hats); Nagwan, Chuck, and Heukgun. Nag-wan was worn by the dead lords and their close relations. Chuck has three cone shaped horns. Heukgun was worn by military bandmen and horsemen. There are two kinds of hair styles. The up-style was used by the upperclass people closely related to lords, and other people used the Pungimoung hair style. The hair styles of the men and women are characterized by the Pungimoung style. which is a Chinese influence, but still retain their originality. The costume has a similar tendency from those from Yaksuri mural tombs, Anak No. 2 and Anak No. 3. We need to reexamine the costumes from $4{\sim}5$ century murals according to the Dukheungri murals. The costumes of Goguryo share many common factors with those of Western Asia, Central Asia and Ancient China (Han). It seems due to the cultural exchanges among the Northern peoples, the Western and Central Asians, and the Ancient Chinese. It may have resulted from the structural identity or morphological identity of the peoples, or their common social and natural environments and life styles. It will be very valuable to study the costumes of Japan, China, and Korea to find out the common factors. It is only regretful that the study is not based on direct observations but reported information made by 77 persons, because Dukheungri is an off-limits area to us.