Costume Style Research Articles

한복의 형태적 특성 분석에 따른 현대 패션디자인 개발

The mainstay of modern fashion design has always been Western costumes. Though Asian costumes do get featured in collections at times, most instances are just instances of the western culture showing curiosity toward non-mainstream costumes. Until recently, Japan, which has been the most active in cultural exchanges, has been the main recipient of these curiosities, and has been used as the representative style and culture of East Asia. What needs to be let known is that Korea has its own costume style and culture, which have been developed according to its tradition and beliefs. Hanbok, which is the representative traditional costume in Korea, has existed since the beginning of the Kochosun dynasties. I started this study to figure out the design source of Hanbok's shape and develop it into a modern costume. In the fashion industry, "Mandarin Collar" and "Kimono Sleeve" are common terms, And I hope that words like 'Korean Collar' and 'Hanbok Sleeve' will one day become a household term. Hanbok contains Korea image. And its shape is formed depending on how Koreans have been treating all sorts of objects or things for many years. If my study can identify and express the unique Korean way of pattern and considering clothes, which is clearly different from those of China and Japan, I will be able to establish a concept of 'Korean style', that people of the world could come to recognize.

Conceptualizing Korean Fashion with Inspiration from Traditional Images - Focused on Women's Costume in the Silla Dynasty -

Abstract This paper accomplishes the following points: First, the costume style held by women in the Silla dyn-asty are examined. Second, a new fashion concept is drawn from Silla's costume images with lessons fromanalyzing how major brands from China and Japan have adopted their own traditional images. Third, a Ko-rean fashion concept is crafted to reflect important modern fashion design factors. The conclusions of thisstudy are: The concept of Korean fashion using Silla costume image based on the 2015 S/S trend was dev-eloped and suggested as: ‘Harmony of Contrast’, new beauty created by mutually contrasting things; ‘Time-less’ transcending time-space flowing from the past, present, to future; ‘Empathy’ where past and present areharmonized; ‘Modern with Antique’ expressing a new style modernism where the old retains value. The ef-forts to express identity via conceptualization of Korean fashion are an effective strategy that satisfies thegoals of setting Korea's fashion design apart from others and spreading Korean culture.Key words: Traditional images, Women's costume in Silla dynasty, Korean fashion, Fashion concepts,Korea's representative design code; 전통 이미지, 신라 여성 복식, 한국적 패션, 패션 컨셉,한국 대표 디자인 코드

A Case Study of Miao Village in China: Cultural Identity, Change and Conservation

With the accelerating process of modernization, the existing space of traditional culture is narrowed increasingly, which is the general trend of contemporary social economy and culture development. The Miao village in this thesis is unexceptionally affected by the modernization of outside world. For instance, tourism development has changed their traditional culture. However, for some reasons, the Miao village still maintains the primitive religions and burial customs such as tree worship and tree burial. Such precious traditional cultures as the Swing Festival, the village marriage custom and the characteristic costume and hair style, etc. are still seen in the village that is honored as the “living fossil” of the traditional culture of the Miao people. The survival of traditional culture always depends on the social demand; after the society opened, the survival or disappearance of traditional culture is always affected by the mainstream society.

Exploring Masquerade Dress at Trinidad Carnival

Over the past several decades, there has been a considerable shift in the form of masquerade costumes worn during Trinidad Carnival. With the growing popularity of Carnival, there are increasing concerns about whether the modern style of costume will lead to the disappearance of Carnival s traditional meanings. This study employs an ethnographic methodology to understand dress at Carnival in the context of a 21st century global society. Data collection took place in Trinidad during the Carnival season and employed the methods of participant observation, depth interviews, and photographic documentation. Data were analyzed for emergent themes, and an interpretation of the significance of changes in masquerade costume for understanding Carnival was developed. Further research on the role of the dressed body at Trinidad Carnival is needed to fully examine the power of dress to define Carnival and shed more light on its importance.

리더의 스타일에 표현된 권력이미지: 헨리 8세의 초상화에 나타난 권력이미지의 표현특성

The purpose of this study is to examine the power images in the style of a leader: through the focus on the portrait of Henry VIII. Study methods on the literature concerning viewpoints of power and image in the early modern age and the subjects of power are being used for theoretical backgrounds; and the visual data from National Portrait Gallery, British Library and the internet are used for exploratory studies. The results of this study are as follows. First, from the style of Henry VIII who represented the image of political power, the modern political phenomenon can be defined. Such phenomenon which displays images of political leaders from the study indicate an effective strategy. Second, the religious, a diplomatic representation for the style of Henry VIII powers, such as costume style and somatic visual images, represents the dignity and power by delivering visible internal attributes. Thus, the role model recognized by the society and the public's perception of leadership style affects the acknowledgement and belief by the people.

An Expressive Property of Fusion Style in Contemporary Female Korean Costume

본 연구에서는 유동해석과 실험을 통하여 소형엔진 흡기포트의 성능 최적화를 수행하였다. 포트각, 플랜지면 적 및 포트형상은 흡기포트의 성능을 결정하는 중요한 설계인자이다. 특히 가공곡률이 공기유량계수에 매우 중요한 영향을 미치는 핵심인자임을 확인하였다. 포트각과 플랜지면적이 증가하면, 흡기포트내의 압력분포와 압력기울기가 개선되어 공기유량계수가 개선되었다. 유동해석 결과는 플로우박스 실험결과 대비 최대 8% 오차를 보였으나, 설계 변수에 따른 공기유량계수 경향을 우수하게 반영하였다. 최적의 설계변수를 적용한 흡기포트 모델은 양산모델 대비 약 4.5% 개선된 공기유량계수 성능을 나타내었다.

오페라 '마농 레스코(Manon Lescaut)'의 무대의상 디자인 비교연구

As performing arts including operas are getting popular these days, the importance of stage costumes is strengthened. Stage costume is one of the artistic requisites for opera performance, it plays an important role in describing the play`s situation, the director`s style and the person`s character. Nevertheless the study regarding the opera`s costumes is not active, especially the comparative study on the same opera`s costumes performed by different opera companies have hardly been made. Therefore this study compared 5 Manon Lescaut opera performances: the Metropolitan Opera(1980), the Flemish Opera(1991), the Metropolitan Opera(2008), the Seoul Metropolitan Opera(2010) and the Vienna State Opera(2010) and made clear the difference between the four. From this study, we can get the following conclusions. First, the Metropolitan Opera`s costumes in 1980 act and in 2008 act ascertained Rococo dressing. Because the costume designer for both acts was the same person, the general costume styles of the two acts are similar. Second, as for the Flemish Opera and Seoul Metropolitan Opera, there was a significant drop in fancy details and trimmings in the costumes. But the costumes made strong impressions dues to its color and luminosity contrast. Third, Vienna State Opera costumes had the boldest designs and it reflected modern designs as well. This study is meaningful in that it is based on the comparison study on the same opera stage costumes designed by different directors. Afterward this study is expected to contribute toward study on opera stage costumes and stage costume`s development.

The Costume of Wuji in the Dunhuang Murals of Tang Dynasty

According to the statistic, there’re total 8 basic costume styles of WUJI in the Dunhuang Murals of Tang Dynasty. This paper analyses the 110 dancers' image, investigates the literature, have the image restoration and compare it with the related characters, all of which makes up the shortcomings of doing research only by mutual proving of images and literature. The static dancing posture will no longer be the only criteria to judge the dancing style and its artistic origins.

반사회적 의식이 반영된 시대복식의 특성에 관한 연구 - 18세기 상-뀔로뜨와 1960, 70년대 히피 스타일의 비교를 중심으로 -

The style of a dress allows important characterization of an era since they reflect contemporary politics, society, culture and arts. Within a same category, period costumes develop into styles that reflect specific consciousness. The research method and the scope of the study are as follows: the research adopts a historical study method and a comparative research from a microscopic point. The scope includes resistance costumes that proceed with sans-culotte that comprises of the resistance party during the 18th French Revolution (1783-1799), and also a Hippy style which was popularized during the 1960s and 1970s for its anti-war movement. We researched both similarities and differences of design factors reflecting resisting consciousness in costumes that affected costume characteristics related to their socio-cultural background. Sans-culotte and the Hippie style reflect a common denominator in anti-social resisting customs. First, they show common characteristics that combine fashion trends of resistant element and design features. Second, they have common features which are the characteristics of deviation. On the other hand, these two customs also present a discriminative denominator in anti-social resisting customs. In the case of sans-culotte, they tend to symbolize confrontation by dividing into two equal parts: the old and new mode. Sans-culotte confronts the conventional mode and promotes practical costume styles based on justice standpoints. First, hippies pursue an exposition of individual emotions that disclose internal meanings of love and desire. Second, they focus on subjective characteristics and chase after masteries and pleasures by expressing intensity. Third, it extends and develops folk costumes from many countries that reveal ethnic trends. Therefore, this research compares and contrasts different changes in the fashions of revolutionary periods, and aims to recognize the relationship between design and costume characteristics, thus contributing to the predictions of future changes in fashion.

사산조 초기 아르다시르 1세 부조에 묘사된 복식 연구

The purpose of Sassanian dynasty was to succeed the civilization of Achaemenid dynasty but it shows vestiges of Parthian civilization in many ways. This study is an attempt to take a look at Sassanian civilization through analyzing these rock reliefs since these features are shown on the rock relief of Ardashir I in early Sassanian Iran. The way carried out this study was first, to collect and search documentary data to establish the theoretical background, and collect positive data by exploring this region and then we comparatively analyzed the two data in general and the result is the following: The form of costume is different according to the person's status. In the early period of Ardashir I the costume style of the royals is reflected by clothes such as tunic, trousers in parthian style. However, trousers do not have vertical pleats which are commonly shown in the case of parthian trousers. It assumed that after the early period of Ardashir I, Sassanians formed their own styles. The form of cap is also different according to the person's status. Ardashir I and the Ahura mazda god put on crown and Korymbos which symbolized the sovereign power. Except the king and the god, the prince and the king's vassal put on high caps called Kolah. Diadem which symbolized sovereign power of king was used by the king, the god and the crown prince. There are two kinds of diadem. The first form has vertical pleats and the other does not have pleats. This form became different depending on the social position. The form of hairstyle is generally thick curly hair which goes down until the shoulder. There is no difference in their hairstyle in terms of the social position. The beard style is generally in the form of scoop. There is also no difference in terms of the person's status.

A Study on the costume Styles of Femme Fatale in Film Noir - focused on -

Femme Fatale in Film Noir is a wicked woman character who seduces the male partner to a ruin. In the film, the dress style is of extreme importance for the personality creation of the character as well as the development of the plot. With this background, I have looked over the Femme Fatale dress style that appears in the movie . First, it expresses Femme Fatale which stresses the feminine trait by a dress style with enlarged chest and hip parts and long, slim silhouette with tight waist and knee line. Second, the Femme Fatale with pretended purity presents narcissistic satisfaction like a saint virgin by wearing a neck-high one-piece dress embellished with frills, but the use of mirror represents self-alienation and the vanity of purity. Third, the Femme Fatale with its military dress style presents authoritative sternness which leads seduced male into ruin with its destructive power. Fourth, wearing jersey type or knitted wear that sticks to the body presents sensual Femme Fatale. Fifth, the tulle, chiffon, and white handkerchief used for the creation of grotesque Femme Fatale represents harmlessness and prohibition of immoral behavior, and the black gloves, pillbox, and the number on the tulle present her uneasy psychological state from the fear of being discovered after murdering her husband. On the other hand, the see-through tulle presents alluring sensual beauty. Sixth, the combination of the dialogue in the final sequence and drapery type as in Greek goddess represents the saint virgin of salvation who acknowledges her own fault and returns to her purity again. In addition, accessories and others made from shining material represent hidden conspiracy through simple dress and contradictory dynamics, and shoes embellished with bonbon, etc represent sexual implications in connection with male.

The Costume in the Earliest Chinese Hand Scroll

The earliest Chinese hand scroll extant painting is the ‘Nushi zhen’ by Gu Kaizhi housed in the British Museum, which is now often considered to be a Tang Dynasty copy of the original. By compared with correlated literatures and images, the typical skill and styles in which the earliest Chinese figure painters of Jin Dynasty (AD 265-420) depicting costumes is opened out, as well as the typical costume patterns and styles of man, woman and children.

패션문화에 나타난 오리엔탈리즘에 대한 비판적 논의

Orientalism은 동양을 서양과는 다른 이질적 인 대상, 괴상하고 후진적이며 수동적 인 특성을 지닌 열등한 타자로 서양인의 무의식 속에 내면화되어 왔다. 아시아를 일정한 지배의 틀 속에 가두는 문화적 장치와 담론의 체계인 Orientalism은 원래 남유럽과 북아프리카를 포함한 서남아시아에 해당하는 서유럽 중심의 용어였으며, 비 서구사회는 서구문명을 수용함으로써만 발전할 수 있다는 논리의 사상이다. 따라서 이러한 용어의 무분별한 사용은 부적절하다. 또한 아시아의 이미지나 복식양식을 차용한 서구의 아시안 룩에 아시아 본래의 정신은 사라졌다고 하여도 아시아를 저급한 타자로 인식한 것에서 비롯된 것이 아니다. Asian Ethnic Look은 동양적 미학에 매료되어 동양의 이미지나 양식을 차용한 서양의 복식이므로 Orientalism의 속성과는 차이가 있다. 국내의 패션계에서는 이에 대한 분별없이 혼용하여 사용하고 있고, 특히 Orientalism Fashion 또는 Oriental Look이라고 자주 사용하고 있다. 아시아의 복식이나 이미지를 기괴하게 조작한 일부 특정한 복식만을 Orientalism Fashion 또는 Oriental Look이라 해야 하며, 이를 제외하고는 'Asian Look', 'Asian Fashion', 'Asian Ethnic Look' 등으로 바꾸어 쓰거나, 'Korean Look' 등의 개별 국가나 지역 명으로 바꾸어 쓰는 것을 분명히 해야 한다 한국을 비롯한 아시아는 서구 중심의 수동적 입장이 아니라, 세계 패션산업의 중심축 중 하나로써 세계 패션을 리드하고 있다. 이제는 우리 스스로가 서구중심의 이분법적 편견을 해체해 나가야 할 것이다. A view of the Orientalism that sees the Orient as the inferior Other, characterized by the heterogenic, eccentric, backward, and passive features, has been internalized in the unconsciousness of Westerners. 'Orientalism' which is the cultural device and the system of discourse to put Asia in the fixed frame of dominance was the West European centered term, designating Southwest Asia including South Europe and North Africa as Orient, and contained the idea that non-Western society could progress only with the acceptance of Western civilization. Accordingly, it is need to use this term deliberately. In addition, even though the Asian Look of the West, borrowing the images and costume styles of Asia has lost the original mentality of Asia, it was not initiated from the perception that sees Asia as the inferior Other. Since the Asian Ethnic Look is the Western costume, borrowing the image of Orient and style by being fascinated by Oriental Aesthetics, the attributes of it are different from those of Orientalism. Therefore, it is not appropriate to designate the Asian Ethnic Look as 'Orientalism Fashion' or 'Oriental Look' except for some eccentric manipulation of Asia costume and image. Instead, it is desirable to exchange the term 'Asian Look', 'Asian Fashion', and 'Asian Ethnic Look' upon occasions or the name of individual nation or region can be referred to as preferred alternatives. Today, Asia including Korea is taking the initiative in the World Fashion as one of central axes of World Fashion Industry, and cannot be interpreted from the perspective of West Centrism. Now, it's time to dissolve the dichotomous prejudice of the West centrism on Asia's own strength.

Wordplay, gesture and meaning in Leonardo da Vinci's Cecilia Gallerani

Leonardo da Vinci's portrait of Cecilia Gallerani captures the beauty and youth of the mistress of Ludovico Sforza, Duke of Milan (figure 1). Cecilia was admired in Sforza circles for her charm and her skill as a writer in both Latin and Italian, and she held a leading place at court until Ludovico's marriage to Beatrice d'Este in 1491. After some early and unfounded hesitation concerning the authorship, the attribution to Leonardo has gained universal acceptance, as has the identification of the sitter as Cecilia.1 For some basic literature on the portrait, see Emil Möller, ‘Leonardos Bildnis der Cecilia Gallerani in der Galerie des Fürsten Czartoryski in Krakau’, Monatshefte für Kunstwissenschaft, 9 (1916), pp. 313–26; Kenneth Clark, Leonardo da Vinci (Harmondsworth: Penguin, 1959), pp. 54–5; Carlo Pedretti, Leonardo: A Study in Chronology and Style (New York-London: Thames & Hudson, 1973), pp. 65-7; Jack Wasserman, Leonardo (New York: Abrams, 1984), p. 136; Martin Kemp, cat. entry in Circa 1492: Art in the Age of Exploration, ed. Jay Levenson (New Haven: Yale University Press, and Washington, DC: National Gallery of Art, 1991), pp. 271–2; Józef Grabski and Janusz Wałek, eds, Leonardo da Vinci (1452–1519): ‘Lady with an Ermine' from the Czartoryski Collection, National Museum, Cracow (Vienna-Cracow: IRSA, 1991), passim, and the essay there by Marek Rostworowski, ‘Leonardo da Vinci's Lady withan Ermine’, pp. 19–23; David Bull, ‘Two Portraits by Leonardo: Ginevra de' Benci and the Lady with an Ermine’, Artibus et Historiae, 13/25 (1992), pp. 67–83; Maria Rzepińska, ‘Lady with the Ermine Revisited’, Achademia Leonardi Vinci: Journal of Leonardo Studies and Bibliography of Vinciana, 6, (1993), pp. 191–9; Krystyna Moczulska, ‘Najpiekniejsza Gallerian i najdoskonalsza Galle w portrecie namalowanym przez Leonardo da Vinci’, Folia Historiae Artium, new series 1 (1995), pp. 55–86; Pietro Marani and Barbara Fabjan, Leonardo: La dama con l'ermellino (Milan: Silvana, 1998), esp. Marani's ‘Scheda storico-artistica’, pp. 76–82; Dorota Dec, catalogue entry in Laurie Winters, ed., Leonardo da Vinci and the Splendor of Poland: A History of Collecting and Patronage (New Haven: Yale University Press, for the Milwaukee Art Museum, 2002), pp. 156–9. For the dating of Cecilia's costume, which is Spanish in influence and is widely believed to have been in use in Italy only towards 1490, see Zdzislaw Żygulski, Jr., ‘Costume Style and Leonardo's Knots in the Lady with an Ermine, 'in Grabski and Wałek, eds, Leonardo da Vinci (1452–1519): ‘Lady with an Ermine’, pp. 24–7. She herself referred to the portrait in 1498 when she lent it to Isabella d'Este, Marchesa of Mantua, noting in a letter that she was ‘immature’ at the time of the sitting and no longer resembled it, a statement implying some passage of time between the making of the work and 1498. Indeed, the portrait was celebrated in a contemporary sonnet by the Milanese humanist Bernardo Bellincioni, whose death in September 1492 provides a terminus ante quem for the painting, which Leonardo made when Cecilia was no more than 19.2 For the letters between Cecilia and Isabella, see Adolfo Venturi, ‘Nuovi documenti su Leonardo da Vinci’, Archivio storico dell'arte, I (1888), p. 45, and Alessandro Luzio, ‘Ancora Leonardo da Vinci e Isabella d'Este’, Archivio storico dell'arte; I (1888), p. 181. Janice Shell and Grazioso Sironi provided biographical information concerning Cecilia and Ludovico, and argued that the date of the work falls to about 1489–1490.3 Janice Shell and Grazioso Sironi, ‘Cecilia Gallerani: Leonardo's Lady with an Ermine’, Artibus et Historiae, 13/25 (1992), pp. 47–66. While the attribution, identity of the sitter and approximate date are now established, some aspects of the meaning of the work are in dispute, and nearly all of the trouble is caused by the lively animal that the young lady holds in her hands.

Costume style from Vrčin

Suburbs in general are very much affected by the distance from urban centers and its internal changes. Belgrade, for example, has, in the past two centuries, undergone major changes in forms of territorial expansion and population growth. Vrčin so became a suburb of Belgrade and an important crossroad. This paper analyses the changes which transformed Vrčin from rural settlement into suburb, using variables such as industry, migrations and accompanying influences to its daily life, including dress habits of the Vrčin population. A general tendency to transform from rural to urban is present, along with an effort to attain a bio-rhythm of the bigger city. The scope of this paper is limited to only a few sources, which, nevertheless picture this general tendency. The process of abandoning a traditional dress has begun long before 1970’s and has reached its final phase at present. The rural population gradually abandoned the traditional costume, and adopted urban way of dressing, most of the time mixing the two. It is evident that only elderly individuals have kept parts of the traditional dress and jewelry, while so called middle and young generations dress in the latest urban fashion style. This is especially evident in women’s style of dress brought about with a new role they entered during the years after WW II employment outside home and the city’s influences. In conclusion, dress mode in Vrčin was determined by general social, economic and historical events that took place.

The Style Characteristics of the Hwalot, with a Focus on One Robe from the Collection of the Honolulu Academy of Arts

Since the early Choson dynasty (1392-1910 C.E.), the hwalot has been culturally significant in Korea as a female wedding garment. We examine hwalot using costume history literature from Korean, English, and Japanese sources, and hwalot artifacts from Korean and Hawaiian locations. Hwalot evolved from Chinese costume styles and exhibited stylistic differences from other Korean hanbok. The visual comparison of the hwalot suggest that primary design elements such as silhouette, color, and motifs have symbolic meaning that has changed little since the Choson dynasty. The visual comparison also suggested that secondary design elements such as size, type, and placement of motifs may differ between hwalot without altering the cultural significance of this robe as a wedding garment. We suggest that traditional costume does not remain static but allows limited expression and individuality by the designer or the wearer through changes in applied surface design. Although changes may occur, they are controlled within shared cultural interpretation that do not dilute or distort the recognition and meaning of the garment, confirming the deep and significant role that the garment serves.

Gender and Internal Orientalism in China

On a visit to the nearest city-Kaili-during my 1988 field year in southeast Guizhou,' I encountered an unexpected ritual. Or was it really so unexpected? In 1986, a new six-story building had been constructed to supplement the mildewed older structure that used to house the city's No. 1 Guest House. Kaili was, after all, the capital of the Miao and Dong Autonomous Prefecture of Southeast Guizhou province in China's southwest, and its mountainous and scenic but barely arable terrain inhabited by several minority groups meant that its best hope for economic development was the promotion of tourism.2 The new hotel complex was dubbed the Nationalities Guest House.3 Teenaged girls were recruited from the countryside to work as receptionists, waitresses, and chambermaids-and to stage culture. A representative sampling of different minorities, subgroups, and costume styles had been chosen and each employee was to wear her distinctive headdress at all times. Regular duties included not only the usual hotel drudgery, but also an occasional pose in full costume for foreign travelers' cameras, and performances of song and dance to visiting tour groups. The ritual I witnessed on this particular day, however, was another variant of packaged ethnic performance. Kaili has also been promoted