Western Costume Research Articles

대한민국 임시정부 요인(要人)들의 복식 연구

This study divided the entire provisional government era into three periods and identified dress trends in each period. The type, characteristics, and wearing styles of costumes for each period were analyzed and the role of the outfits was reviewed. Unlike the general government, the Korean Provisional Government was a form of government with a unique characteristic. The era of the provisional government can be divided into three periods (the Shanghai period(1919-1932), the Wandering period(1932-1940), and the Chongqing period(1940-1945)), with the overall circumstances and main activities of the government varying between each period. The men were leading figures and staff of the provisional government, most of whom wore western clothing. Notably, the leaders of the March 1 Movement in 1919 wore western suits, helping to spread western styles among the general public. Photos show that members of the provisional government wore different styles of suits that were popular in each period. Some of them wore Chinese clothing such as Jangsam and Magua. Jangsam and Magua were often worn during the Wandering period when Japanese suppression was at its peak. Later, during the Chongqing period, some wore the Zhongshan suit (Mao suit). The women captured in photos were either warriors of the independence movement or family members and staff of the provisional government. They dressed in western costumes, Qipao, Jangsam, or Hanbok. Women wore Hanbok more often than men, and women residing in North America and Russia donned western clothings that were popular at the time. The costumes worn by leading figures and members of the Korean Provisional Government reflected the struggle for independence. They provide clues to the challenges that were facing the country during those periods.

3D 가상착의를 이용한 생활한복 모티브 교복 디자인 개발 및 평가

Recently, with the rising awareness of traditional culture and the popularity of daily life hanbok, the daily life hanbok school uniforms are gaining popularity. In this study, the design elements required for school uniforms and daily life hanbok school uniforms were explored through literature searches and commercial product research, and attitudes toward them were investigated in students and parents. Reflecting this in design development, a school uniform with a hanbok motif was designed and evaluated using three-dimensional (3D) virtual trial images. The results showed that school uniforms required activity, aesthetics, traditional details, and personality. Both students and parents had a high awareness of tradition in this regard, but not high favorability. Reflecting the demand for improvements in activity, hanbok details, individuality, and sensuous design, four jackets and two skirts were designed. The jacket was designed with the motifs of a dannyeong collar, outer jacket, and goreum, and the lower part was given extra volume with pleats. As a result of the design evaluation, a jacket with details that could adjust the amount of space and fit, consisting of regular set-in-sleeves, and a knee-length side-pleated skirt were preferred most by both students and parents. The designs were evaluated as excellent in trendiness, personality, Hanbok image, and Western costume images. These findings confirmed that the style with appropriate harmony between the detailed elements of traditional hanbok and the silhouette of a Western-style school uniform was preferred.

An Exploration of the Differences between Chinese and Western Costumes in the Archaeological Archaeology of Clothing Culture in Different Periods of Agriculture.

Countries around the world have different historical development processes in different periods of agricultural economic environment, and have formed different costume culture characteristics. This study analyzes the differences in aesthetic standards in Chinese and Western clothing cultures, as well as the differences between Chinese and Western costumes in color design, structural design, and dress methods, and elaborates the main reasons for the differences between Chinese and Western clothing cultures. The study focuses on the characteristics and differences of traditional clothing art culture in various places, but because of the differences in historical conditions, lifestyles, psychological qualities, and traditional ideas and cultural concepts, there are great differences between the traditional costume art culture concepts in China and the West. Based on this, the study specifically explains the difference between the two through the comparison of the aesthetic characteristics of the traditional costume art culture concepts in the Middle East and the West, and the difference in the expression of the Middle East and Western clothing art.

The Practice of Combining Chinese and English Culture in Fashion Design in Cross-Cultural Context

The program aims to combine the unique traditional costume characteristics of China and the UK in a cross-cultural context. After two semesters of study planning, different costume designs are created by comparing and recreating traditional Chinese and Western costumes. The thesis is divided into the following parts. The first part is a literature review to analyze and compare the different characteristics of Chinese and Western traditional costumes from a theoretical level. The second part is my personal development and improvement plan, including improving my design thinking ability and establishing a clothing brand. The next part is my time planning, following two semesters to plan theoretical study and design research. Finally, through the accumulation of theory and practice, the design project will be analyzed into a preliminary design and a final design with the specific elaboration of the design based on a comprehensive comparison of Chinese and British traditional costumes.

Case studies and effects of flipped learning applied to western costume history

Case studies and effects of flipped learning applied to western costume history

단청의 화문을 활용한 신한복 디자인 연구

Recently, as the increase of interest in Hanbok in the younger generation, many people wear Hanbok in ordinary life. As this phenomenon continued, a new trend of New Hanbok is growing. With the interest of Hanbok, the interest of Korean traditional culture has been increased with the interest of Hanbok. therefore, there is a demand of trend for Hanbok design, which is required the originality or speciality of Korean culture. The purpose of this study was to suggest designs for New Hanbok by utilizing the flower patterns on Dancheong (丹靑, traditional multicolored paintwork on wooden buildings). As a study method, this study constructed theoretical background based on preceding studies and separate books on Dancheong. After defining the concept of New Hanbok and investigating its traits, this study designed New Hanbok by reinterpreting flower patterns of Dancheong with modern sensitivity on the basis of the research results. New Hanbok could be classified into three types: simplification form of traditional Hanbok, combination of Hanbok and casual wear, casual wear included Hanbok elements. Based on these three types, researcher set up the design standard of New Hanbok for 20’s to 30’s women. New Hanbok designs were presented by illustrations using Adobe Illustrator CS6 and Adobe Photoshop CS6 and were produced in practice. By mixing materials for traditional Hanbok and western costumes, study tried to contain both modern and traditional feelings at the same time and used lots of achromatic colors so that the public can easily choose the new costumes. For all designs, study harmonized various forms of flower patterns of Dancheong interpreted in modern ways with New Hanbok. As the result of application of designs, study found out that Dancheong, whether applied in original forms or modified in various forms, is a subject matter to be easily recreated in unique Korean patterns. In addition, as New Hanbok either maintained basic forms of traditional Hanbok or was applied to western costumes based on the traits of Hanbok, they could be designed with diverse traits.

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.

서양 역사복식에 나타난 과장적 헤어스타일의 미적 특성 연구

This study examined a phenomenon of exaggerated hairstyle in the history of Western custom through publications related with Western costume and research papers. By adopting the criteria of Delong, M. R. to analyze visual forms shown by interaction between human body and costume worn over the body, it analyzed the formative characteristics by the interaction between hairstyle and costume. In addition, it inferred the aesthetic characteristics through content analysis of examined phenomenon focusing on socio-cultural background and costume socio-psychological precedent studies. Formative characteristics of exaggerated hairstyle applied by analysis criteria of Delong, M. R. were in pursuit of the emphasis style. This was clearly and intensively recognized by forming spaces for mostly closure style, part style, three dimensional style, determinate style, and space separation style. Regarding the interaction between hair and ornamentations, 'precedence of ornamentation' was pursued as ornamentations were recognized earlier than the hair itself. It means associative meanings of the surface effect were accompanied by emotions of 'intensiveness' and the pursuit of the attractive style. As for the interaction between hairstyle and costume, there were many cases of pursuing 'continuity' mutually and visually by connecting the hairstyle and the costume. Aesthetic characteristics of exaggerated hairstyle were inferred as 1) the expression of the sprite of the age(i.e. art, culture, politics, society, ideology, religion), 2) symbols of wealth, class, authority, and excellence, 3) pursuit of addicted desire to ornament, and 4) harmony through continuity with costume. This study verified that hairstyle was connected as a part of costume, or formed as a way to express deeper human psychology beyond just a part of a costume. It was also confirmed that hairstyle was an expressive method to express the spirit of the age, such as art, culture, society, religion, ideology.

영화에 나타난 대한제국기 신여성 의상 이미지 - 〈가비〉, 〈YMCA 야구단〉, 〈그림자 살인〉을 중심으로 -

This study analyzes the visual image and the symbolic image of the 'New Woman' main female characters' costumes in three films: <Gabi>, <YMCA Baseball Team>, and <Private Eye (Geurimja Sarin)>, set in the Korean Empire Period and filmed in the last 10 years. The findings are as follows. First, on the visual image by formative characteristics, Gibson girl style was reflected in Western costume design. Korean costume design is based on a traditional style (or modified in some parts). Second, the three films have the same historical background on the visual image by the fidelity of historical research; however, the fidelity of historical research differs and varies with the personality of characters or situations in the films. Third, all three films share the symbolic image by characteristics of characters and 'New Woman' aspect with the same historical background and 'New Woman' female character in common; however, the personality and 'New Woman' aspect of the characters were somewhat different. There was also a distinct difference in the symbolic image of Western and Korean costumes. Western and Korean costumes signify externality versus internality and denial versus the affirmation of national identity in <Gabi>; dailiness versus ceremonialness and dynamics versus statics in <YMCA Baseball Team>; and independence versus conformity and variability versus continuity in <Private Eye (Geurimja Sarin)>.

Fashion design inspired by the incongruity between western costumes and eastern jewelry pattern

Fashion design inspired by the incongruity between western costumes and eastern jewelry pattern

Remaking Chinese cinema: through the prism of Shanghai, Hong Kong, and Hollywood

From melodrama to Cantonese opera, from silents to 3D animated film, Remaking Cinema traces cross-Pacific film remaking over the last eight decades. Through the refractive prism of Hollywood, Shanghai, and Hong Kong, Yiman Wang revolutionises our understanding of cinema as national cinema. Against the diffusion model of national cinema spreading from a central point--Shanghai in the case--she argues for a multi-local process of co-constitution and reconstitution. In this spirit, Wang analyses how southern cinema ( huanan dianying ) morphed into Hong Kong cinema through trans-regional and trans-national interactions that also produced a vision of cinema. Among the book's highlights are a rereading of The Goddess --one of the best-known silent films in the West--from the perspective of its wartime Mandarin-Cantonese remake; the excavation of a hybrid genre (the Western costume Cantonese opera film) inspired by Hollywood's fantasy films of the 1930s and produced in Hong Kong well into the mid-twentieth century; and a rumination on Hollywood's remake of Hong Kong's Infernal Affairs and the wholesale incorporation of Chinese elements in Kung Fu Panda 2. Positing a structural analogy between the utopic vision, the national cinema, and the location-specific collective subject position, the author traces their shared urge to infinitesimally approach, but never fully and finitely reach a projected goal. This energy precipitates the ongoing processes of cross-Pacific film remaking, which constitute a crucial site for imagining and enacting (without absolving) issues of national and regional border politics. These issues unfold in relation to global formations such as colonialism, Cold War ideology, and postcolonial, postsocialist globalisation. As such, Remaking Cinema contributes to the ongoing debate on (trans-)national cinema from the unique perspective of century-long border-crossing film remaking.

한국적인 모티프를 응용한 스커트 디자인 연구 - 한복 치마의 형태와 스커트의 실루엣의 비교분석을 중심으로 -

The study aims to suggest new skirt designs through a modernistic application of the silhouette of Hanbok skirts. It also aims to promote the aesthetic beauty and excellence of Hanbok to the world by using Hanbok skirts that best express the beauty of Korea as motifs, and to promote a pride in Korean culture through a reinterpretation of Hanbok skirts. The study was focused on examining Hanbok skirts from the Three Kingdoms era to the Joseon Dynasty, and the skirts in each era were compared to western silhouettes to suggest design centering on the characteristics of each silhouette. As for the theoretical background, shapes were classified according to waist-grip, the width and length of a skirt, wrinkles and ornamental lines, before being compared to skirt silhouettes of western costume. As a result, it was found that Hanbok skirt silhouettes in the Three Kingdoms era were similar to the A-Line silhouette of western costume, the Empire silhouette of unified Silla, the H-Line silhouette of the Goryeo Dynasty, the Bell-Line silhouette of the Joseon Dynasty and the Bustle Style applied to ceremonial costume in the early Joseon Dynasty. The researcher suggested five skirt designs by applying the above-mentioned five silhouettes, confirming the research premise that Hanbok skirt silhouettes are as diversified as those found in western costume. Designs were suggested for each silhouette, and are expected to lead to the development of designs befitting future trends and concepts through detailed research and development on Hanbok skirt silhouettes.

인터넷 쇼핑몰에 판매되는 돌 한복의 유형 분석

The purpose of this study is to analyze the first birthday Hanboks on Internet shopping malls and to find the reason why the costume has various types. From April to May 2012, first birthday costumes were sold on 154 Internet shopping mall sites. On 48 of the shopping malls, traditional Hanboks were sold, on 33 of the shopping malls, fusion Hanboks were sold, and on 73 of the shopping malls, Western formal wear was sold. The percentage of the Hanboks and Western costumes for the first birthday was almost the same. Boys costumes in the traditional Hanbok consisted of 'Magoja, Joggi, Jeogori, and Baji" or 'Baeja, Jeogori, and Baji" with Jeonbok or Sagyusam. Boys' headgear consisted of Bokgun and Hogun. Girls' costumes in the traditional Hanbok consisted of 'Jeogori, Chima' or 'Dangui, Chima or Seuranchima'. Girls' headgear was Gulle, Jobawui, and Baessidaenggi. Boys' costumes in the fusion Hanbok consisted of 'Jeogori, Baji, and Wanggunmo' which is different from the traditional Hanbok in materials, colors, and parts of construction. Girls' costumes in the fusion Hanbok could be divided into 3 different types; a modified traditional skirt, Chima, 'Chima and Jeogori" with new materials and colors, and Western dress with traditional materials. The first birthday Hanboks on the Internet shopping malls are simple and convenient compared to the traditional ones. Furthermore, parts of the costumes are influenced by some popular historical dramas. One of the reasons why the costumes have changed is because the customers have few experiences about traditional Korean costumes and their interests have been affected by the modern media.

A Study on Hats of Western Costume in 19th Century

A Study on Hats of Western Costume in 19th Century

20세기 치마·저고리의 소재 연구

This study analyzed the fabrics of Chima, Jeogori of the 20th century. It was based on Kyungwoon Museum relics, newspaper articles and photographs. This research focused on the transition process that has been organized into three stages. The first stage is from the opening of a port to the colonial period in Korea. By this time, the casual wear Hanbok was made with the traditional cotton and woolen textiles in addition to quite a lot of upscale clothing textiles. Stage two is from 1970s to the period after the liberation and Western Costumes represent the time of when the suit was mixed. At the time of the war, due to social and economic difficulties, convenience and practicality were emphasized rather than focusing on aesthetic characteristics. Third period is from the 1980s to the 1990s when the Hanbok was no longer considered a casual wear. Instead, its high quality and elegance redefined it to be a formal wear.

New and Recent Books

preface I am finding it increasingly difficult to find a satisfactory annual list of books for the Costume Society. The library on this subject has changed significantly in the last fifteen years or so. Publishers such as Berg (now part of Bloomsbury) are still publishing serious books on the subject, but the majority on offer now are large glossy coffee-table books promoting the work of fashion designers. When I first started to be interested in this subject as a theatre design student, it was called costume history. There were countless complete histories of Western costume available; Millia Davenport’s The Book of Costume and Francois Boucher’s A History of Costume in the West were favourites of mine. I slowly acquired all the Cunnington books on English costume, as well as others such as the ones on occupational dress, birth, marriage and death, and so on. As students we needed the classics on costume construction, Max Tilke, Norah Waugh and Janet Arnold. Once I had turned professional as a costume designer, my book buying became more focused on particular subjects I needed help with: Lou Taylor’s Mourning Dress, for example, or books on working dress, ecclesiastical dress, men’s dress; also Margaret Scott’s Late Gothic Europe and Stella Mary Newton’s The Dress of the Venetians 1495–1525. I do not think I noticed at the time that the word costume had been replaced by dress. I was certainly made aware of this when I studied History of Dress at the Courtauld Institute of Art, where I read more theoretical works, such as Flugel’s Psychology of Dress, Konig’s A Restless Image, Aileen Ribeiro’s Dress and Morality, Valerie Steele’s Fashion & Eroticism, Elizabeth Wilson’s Adorned in Dreams, and Roland Barthes’ The Fashion System. Today, as you can see below, serious work is still being done on the subject, but sadly many bookshop shelves do not always reflect this range.

A Study on Colors of the Asian Look Influenced by East Asia Folk Costumes

Folk costumes in East Asia are characteristic in their colors of the five-element colors based on natural colors or achromatic colors (such as white or black) that imply the beauty of nature or the beauty of naivety. The Asian look adopts forms of Asian costumes into western costumes in terms of structure, silhouette, ornament, pattern, and color; in particular, color had very limited attributes. This study is a comparative study on colors, shown in East Asian folk costumes and the Asian look. It discovered the differences of color in East Asian folk costumes and the Asian look to discuss the backgrounds of difference. For research, it simultaneously conducted literary reviews and empirical research based on the Asian look. Asian colors that appeared in some costumes of the Asian look were influenced by East Asian costumes, while the primary color of playfulness or color for low chroma or black exuding a contemporary nuance (common in the western fashion) were prevalent. This revealed that the costume that had the attribute of playfulness in terms of structure, ornament, or patterns is adopted in western fashion through the fusion of eastern forms and pastiche. Colors of the Asian look are different from those of East Asia with superficial imitation, in which all the East Asian spirits and symbolism are lost. While folk costumes of East Asia hold symbolism derived from Asian spirits, the Asian look disintegrates the ideology of East Asian costumes and replaces it with a Postmodern playfulness.

Comparison of Perspectives on the Body and Dress in Korean and Western Traditional Costumes

This study investigates the concept of the body in Korean traditional costume by comparing the traditional costumes of the west and those of Korea while focusing on the relationship between the body and dress. In order to make a comparison of the traditional perspectives on the body in western and Korean costumes, this study examines the literature of history, art, medicine, philosophy as well as dress from the mid-fourteenth century to the nineteenth century pertaining to the west and those of the Joseon Dynasty Korea. Western dress assumes apparent formal structures and pursues overall harmony via the completeness of its entities, while traditional Korean dress subordinates the parts to the whole, emphasizing the organic total. Whereas the proportion of bodily structure is stressed in western traditional costume, in Korean costume the body is perceived as a whole. By revealing the body through the three dimensionalities of dress, the focus on the erogenous body parts is shifting in conventional western dress according to changes in aesthetic consciousness, which reflects the western ideas of objectiveness and self-centeredness. In traditional Korean dress, in the space between the body and dress, the emphasis is on planarization of the dress, which assumes the oriental relationship-centeredness concept.

특허정보 분석을 통한 국내 의류 디자인 개발 동향

To study the development trends of domestic apparel design, we analyzed patent applications that were applied to the field of apparel design. It was presumed that economic and social environment have affected directly on the number of apparel design applications. Since year 2000, the whole number of apparel design applications has shown a remarkably increasing tendency, but depending on the items, the trends of patent applications have different tendency. While the number of applications regarding western costume such as a jacket, pants, suit and coat has been increasing from mid 2000s, the number of applications regarding Hanbok and undergarments have been decreasing from mid 2000s. In early 2000s, there were a lot of applications relating to design creation due to combination of color and form in apparel design. However, from mid 2000s, variety of techniques such as granting functional characteristics, asymmetry construction, introduction of various textiles, techniques of draping were being applied in design creation.

A Study on the Gender Role Changes of Korean Women Reflected on Women's Costume Design during 20th Century

The purpose of this study was to analyze the gender role changes of Korean women reflected on their costumes during 20th century. To analyze the diachronic gender role changes, social environments(education, job, economy, family systems, mass-media) of 20 th century were inquired by 10 years and comparatively analyzed with 680 images of representative costumes each periods. The results are as followed. 1) : The most representative women's gender role was a wise mother and good wife. Therefore the adopted western costume, a symbol of civilization, were represented women as a passive and sexual object of man. 2) : 'Shin Yeosung(Modern Girl)' was the representative gender role of that time. They were the symbol of enlightenment and new education. Their costumes influenced to the changes of traditional Hanbok in functional side. 3) : In World War II. a strong and stubborn women were wanted to support their family. They threw feminity and changed their costumes into an active and functional 'Mombbe'. 4) : Women asserted Gender equality and resisted the traditional women's gender role. Mini Skirts and Unisex costumes were symbolic costumes reflecting the changes. 5) 1980s: The self confidence of women's gender role affected the androgynous look and body-conscious look in modern fashion. 6) : Now, the dichotomy of gender role is not no longer effective way to understand the social changes and fashion trend rather than personal characteristics and lifestyle trends.