• 복식문화연구
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• 제7권4호
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• pp.52-68
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• 1999

The purpose of this study was to be inquired inner contemplation of the tattoo expressed in the modern costumes. For this study, related documentaries and pictures or photos were analyzed in terms of the theretical background for the history of tattoo, the relation between tattoo and the modern western costumes. The primary source of pictures or photos are Vogue, Collections, Collezioni, Harper\`s Bazaar, Modain, Model et Mode etc. The human\`s needs of body decoration had constantly pursued on the body and costumes from the first until lately. Especially in the recents, as the tattoo is implicated a dynamic and charming method of all kinds of body decoration, it\`s used a motive of modern western costumes. The original tattoo means a picture, word etc. that was put permanently onto their skin using a needle and coloring matter. But, these days tattoo is an expression of street style for something new in the subculture. The results were as a follows : The inner meaning of tattoo represented in the modern costumes was classified into two categories. First, the tattooing was a very important factor to complete fashion design through the history of modern costumes, and also the elaborate tattoo of the body was displayed unrestricted formativeness as the skinhead\`s tattoo, raceless\`s ambiguity of street style and artistic decoration, because that can be faded easily. Second, Tattoo Look was expressed as tattoo prints of the see-through, elastic textiles in the modern costumes. That is, the tattoo enhanced the effect of dramatic atmosphere other formative arts as well as the modern costumes by Tattoo Look. Similarity, Tattoo Look could be interpreted as the change of the aesthetic consciousness by the influence of the subculture. Accordingly, in the end of a this century, many experimental designers had applied tattoo to modern costumes. So this study will stand as an important clue to foresee the future costume\`s style and change.

• 복식문화연구
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• 제8권5호
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• pp.638-647
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• 2000

The purpose of this study is to discover the interrelationship between modern costumes and Seung-Hee Choi's dancing costumes in 1930s. Seung-Hee Choi, who was a dancing pioneer in Korea, introduced the modern dancing costumes for the first time in Korea. The results are as followed ; First, we can find Eroticism in Choi's dancing dress. Choi's dancing costume had used gold thread, silver thread, spangle, see-through and a half-naked body clothing that decorated with beads and cords. It is similar to modern costumes in ubjet mtter, silhouette, design, and so on. Second, the influence of Futurism was in her dancing costumes, that is, it represented asymmetry designs and rectilineal figures. Third, not only beauty but also a Functionalism was expressed in her dancing costumes. Functional beauty was shown through bias cut, pleats, slit, and so on.

• 복식
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• 제61권6호
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• pp.38-59
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• 2011

This study is based on the periodical discourse of women and their costumes, described in modern novels that were published from late 1890s to the 1930s. New cultural phenomena emerged among Korean women in the period of modernization. In particular, rapid increase of jobs for women and preference for western female body shape are very noticeable phenomena that can be observed in novels of the 1930s. In addition, the symbolic meanings of female costumes are variously described in modern novels according to the periodical and spatial environment and jobs for women. The symbolic meanings are organized as 'Trophysm, Expression of sexuality, Liberation from male-dominated society, Symbolic difference between rural and urban areas, Vanity, Decadence, Mechanism tending to hide and Change of values'. And women's costumes kept changing in the boundary of 'Confliction, Coexistence and Harmonization' of traditional and western costumes. 'Confliction' phenomenon got emerged in novels published between 1900 and 1910. The resistance on traditional costumes that restricted woman's life got spread. But western female costumes as a symbol of new culture could not be generalized but accepted as high fashion. 'Coexistence' phenomenon was appeared in novels of the 1920s. At that time, the modernization for traditional costumes by female students was emerged along with trendy fashion. Also, the frequency of using western fashion items was increased in the Korean society. Therefore, it shows that western costumes in the Korean society became popularized in the coexistence with traditional costumes. 'Harmonization' phenomenon was emerged in novels of the 1930s. In the novels, the emergence of western female costumes, personal preference items, and westernized hair style implies that western costumes were absorbed into the Korean society that had kept traditional costumes.

• 복식
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• 제51권4호
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• pp.141-163
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• 2001

This study was to analyse the meanings of the appropriation inherited in the modern costumes from the latter of the 20th century to the present. According to the dictionary, the meanings of a word. "appropriation" is to steal something, used in order to avoid saying this directly. The sorts of the appropriation represented in the works of Art was as follow : First. the reconstruction by the imitation of the works of a great master or partly induction of the works of a great master Second, the introduction by the history, modern art, the image of popular culture Third, the imitation by the works of photograph, etc The appropriation in the modern costumes could be distinguished as two facts : First, the appropriation of the image of popular culture, 1) the way by the induction of popular factors of the extremely routine, commonplace character 2) the way by the citation of critical sentence of society, complaint message of the situation of times. Second, the reinterpretation of the past works : 1) the way by the reinterpretation of a great artist′s works, or popular works. In accordance with its change of a standard of value of the beauty, the products of modern culture, called the artificial second image, that is, popular factor, ready made factor, a signboard, a trademark etc, was appropriated in modern costumes and was reinterpreted by the works of fashion designer′s empathy. We can say that the modern costumes is not only the products of creative, original action of fashion designers but also the mirror of times, having relationship with society.

• 복식
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• 제23권
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• pp.53-65
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• 1994

The images signifying flight in modern costumes are not made of one characteristic but the combination of complex meanings. Among the distinctive features some of them are as follows. First, the flying styles found in the costumes showed the birds as agents which sent human spirit to the celestial body. By simplifying the images of the wings connecting the present age with the heavenly body, the transforming emotions towards rhythm, direction, and organic curves transcending the real objectively constitutes a new space for expression. Second, colors appeal directly to man's emotions and incites emotional responses. The flying was shown in lines and colors. By using horizontal , vertical, oblique, and spiral lines and contrasted and paralleled colors, man's desire to fly dwells in newly colored space by reflecting speculative emotion through uniting surface. Third, the flying except for the costumes can be found in the advertisement through model's pose and camera technique, the flying itself is described through model's pose, the materials of the costumes, details, and sustaining stuffs. This symbolizes man's wish towards the unknown world vividly and dynamically. As discussed above the spirit of flying was, when expressed distinctively , in accordance with the varying cultural traits and transitions. The shape made by the vitality of symbolizing flying birds and animals along with the flying in the natural aspects such as wind and cloud were reappeared, simplified and symbolized , in modern costumes as consituting a new modeling space.

• 복식
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• 제59권10호
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• pp.137-150
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• 2009

Performance costumes are an important element in the stages which set the tones and embody characters in the performances. This study focuses on Gisaeng's costumes in folk dance performances when Korea experienced modernization from Joseon Dynasty, and aims to examine the features of the costumes as well as how the costumes both influenced, and got influenced by, the rapidly changing society. Gisaeng had been legal entertainment performers of the government in the Joseon Dynasty and, despite careful training and talents, had inferior social status in Joseon's social hierarchy system. In the modern society, a new system of Gisaeng emerged and the first public theater opened. The advent of theaters changed performance stages and the ways performances are conducted. This study investigated Gisaeng's performance costumes by the type of folk dances, such as monk dance, palace dance, Salfuri dance, Jangu dance, and Ip dance. The study brings light to three conclusions. First, as folk dances which had been performed by civil dancers were spread to Gisaeng, Gisaeng's costumes absorbed the costumes of civil dancers. Also, royal costumes appeared in folk dance performances. This can be viewed as mixture of royal and folk dance costumes, resulted from interactions between Gisaeng and civil art performers associated with the modernizing society and the weakening of the old hierarchical class system. Second, as performing arts on stages were modernizing, performance costumes changed accordingly. Thirdly, Giseang's costumes in folk dances also adapted the introduction of the western culture, which largely influenced the fashion trends of people in the early modern society in Korea.

• 복식문화연구
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• 제14권6호
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• pp.956-970
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• 2006

The purposes of this study was to analyze the characteristics of national races' costumes in Chinese contemporary costumes. For the purpose, this researcher concentrated on the relations between national races' costumes and Chinese contemporary costumes and discuss systematically depending on references such as fashion magazines, picture albums, and historical records. The results of study were as follows: First, the formation of fashion has been influenced by Man, Uighur, and Choson races. For example, Qipao, the tight style of Man race's fashion, Uighur race's bell style sleeve and cyclic skirt are applied to women's modern fashion. Second, weaving, printing, and embroidery technique of a minority race developed more than Han race, so applied still. Recently, Chinese contemporary costumes accepted the weaving technique of Miao and Uighur race through publicizing of a minority culture. Third, a national race's costumes are famous with splendid design and applied to modern fashion directly. They are commonly made to hair pin, necklace, earing, bracelet and so on. Recently, styles from a national race's costumes and old style are becoming popular to Chinese and it's easier to found such a fashion in market.

• 복식
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• 제32권
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• pp.101-116
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• 1997

The purpose of this study is to survey the system of the Korean Shaman's costume and its formative character and to find out the symbolic meaning of it. This study focuses on a shaman's costume in Seoul-Gut Seoul-Gut belongs to 'Gangsin-mu' Therefore a shaman's costumes in Seoul-Gut remains even today. Korean shamanistic ritual is gut. Its basic structure generally consists of 12 'Geori(a process is made up Gut)' In Gangsin-mu a shaman changes his/her spirit's costumes in each Geori so that a shaman's costumes means the spirit. The shaman's costumes of 12-Geori in Seoul-Gut has only 5 or 6 kinds be-cause shamans wear the same costume when the spirit's characters are similar with each other. Therefore shaman's costumes in Seoul-Gut are consistsof Poungsangbok pulsajang-sam cjulik Kugunbok Monduri and Wonsam There are some differences between modern shaman's costumes in Seoul-Gut and traditional costume in the basic pattern and the wearing method,. Modern shaman's costumes in Seoul-Gut has become simpler in the basic pattern and more gergeous in the color or adornment and more various in the kinds of shaman's costume than that of Yi Dynasty. This tendency in modern shaman's costumes reflects modernized folk's viewpoint in dress. which thinks highly of their individuality and function and variety in it. Korean shaman's costumes means the extintion of the earthly world and symbolizes the holy symbolizes the holy symbolizes the spirits character, Ying Yang Theory and represents shaman's wishes. The wishes are the desire of prefection and stability in this world the desire of ideal love and rebirth and the desire of lofty life in this world.

• 한국의류학회지
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• 제44권5호
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• pp.856-877
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• 2020

This study examines how class differences are expressed through costumes based on the costumes of characters in Bong Joon-Ho's film . Based on Video on Demand (VOD), the main situations in which characters' costumes change in the play were captured and used as analysis data. Colors, textures, and color symbol were analyzed to find the formative properties shown in the characters' costumes. The results are as follows. The home wear of Kim's family were unsuitable for the top and bottom, faded clothes, and the vague boundary between outdoor and indoor clothes appeared. In comparison, Park's family's home wear was featured a modern and elegant design, a clear distinction that suited purpose and situation. Analysis of street wear showed that the Kim's family had a big difference before and after getting a job, and Park's family wore different costumes for the purpose of going out. Social class expressed in the film costumes were shown to have the characteristics of intrinsic class invariance, temporary class changes, differences in class expression by age, and differences in costume choice by class.

• 복식
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• 제59권9호
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• pp.115-130
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• 2009

A kind of Korean traditional jacket, Baeja, has been a Korean traditional costume equipped with practicality and formative aesthetics from the Three Kingdoms period to the Joseon Dynasty. Accordingly, the researcher of this study highly valued a modern sense of Baeja with various types of design and forms and attempted to make efforts to apply it into modern life. This study provided a new direction in the modernization work of traditional costumes by creating fashion images newly interpreted corresponding to a modern sense and trend through the application of formative characteristics and noticeable elements via the coordination of traditional Baeja and modern costumes. On the one hand, it would be meaningful in terms of contributing to the activation of traditional Hanbok by providing people with ample opportunities to wear it in modern daily lives variously. On the other hand, the actual purpose of this study was to perform a modernization work for traditional costumes by attempting to conduct a crossover that could let people move into other areas freely, that is, a creative and innovative research associating the area of costume history and that of coordination.