글로벌 게임시장의 성장에 따라 국내 게임이용자도 손쉽게 다양한 국가에서 접할 수 있게 되 었다. 그리고 이러한 글로벌 경쟁 속에서 현실의 다양한 문화 창의적으로 반영한 게임이 점증 하고 있다. 대표적인 것이 중국의 호요버스가 개발한 해제 월드 형<원심>으로, 해당 콘텐츠는 캐릭터와 공간디자인에 다양한 국가의 문 것이 특징이다. 이때 의상디자인은 캐릭터의 성격과 매력을 효과적으로 이국적인 특색을 드러내는 기호라는 점에서 특히 중요하다. 이에 이 글은 먼저 캐릭터 의상과 의상 기호에 관한 검토하고, <원심>의 문화 활용 전략을 간단히 살펴보았 다. 이후 퍼스의 기호학을 활용해 중국의 문화적 특색을 반<원신> 캐릭터 ‘운근’을 분석하였다. 분석 결과, <원신>의 캐릭터 디자인전략은 중국의 풍부한 문화적 문맥을 중심 코드를 적극적으 로 빌리는 한편, 캐릭터 성을 부각하는 방향으로 의상 구성요소를 변형 시 나타났다. 이후 분 석 결과를 바탕으로 차후 연구를 위한 발전 방향을 제시하였다..

최근 디지털 의상으로 제품을 만드는 것이 활성화됨에 따라서 삼차원 공간의 컴퓨터 그래픽을 이용하는 게 임엔진을 및 3D Tool로 샘플을 만들기 시작했다. 이러한 트렌드에 따라서 밴드 기업들은 디지털 의류 모델 을 화상 회의 프로그램을 이용하여 협업하기 시작했다. 하지만 화상 회의에서의 원격화면 공유 기능은 각 공유자의 바탕화면 혹은 각 사용자가 사용하고 있는 데스크탑에 보여지는 화면만을 공유하여 발표화면을 보여주는 기능에 그치고 있어 협업작업에서 필요한 사용자 간의 상호작용을 지원하기에는 부족한 점이 있 다. 본 연구에서는 디지털 의상 협업 작업 시 화상 회의를 사용함에 있어서 불편한 점들을 개선하고 회의를 효율적으로 진행하기 위한 Framework를 제작했다. 프레임워크 제작을 위해 Unity3D 게임엔진과 WebRTC 그 리고 Javascript를 사용하였으며, 중계서버 제작을 위하여 클라우드 AWS 서비스를 사용했다. 시연 결과 화상 회의 참여자들은 스크린에 인터랙션을 할 수 있었으며 따로 프로그램을 설치할 필요가 없었다. 그리고 최대 해상도를 1440p까지 높여 기존의 화상 회의에서의 화질을 더 개선할 수 있었다. 해당 시연 결과를 통하여 기존의 다른 화상 회의 앱과 기능들을 비교하여 제안한 Framework의 효용성을 검증했다.

For clothing items that combine the top with the bottom, such as a jumper suit, it is necessary to design original forms to develop clothes in various styles that can satisfy aesthetic and functional needs. Therefore, to determine the original forms of women’s jumper suits, this study aimed to analyze the patterns of women’s jumper suits being sold in the market comparatively and evaluate their fitness. For the study method, this researcher obtained five types of women’s jumper suits from local brands and compared the patterns’ measured sizes, then conducted exterior evaluation on the surplus according to five different movements and analyzed the values of distortion of clothing pressure comparatively. According to the results, in the basic posture, brands A and C received favorable results, while in the other movements, brand B, which had the biggest surplus on the bottom, was evaluated favorably. In conclusion, in the patterns of women’s jumper suits, a bigger surplus is added to either the crotch length or crotch girth rather than the top length, and the top and the bottom tend to have a different surplus according to the design. In addition, based on the values of body surface lengths according to the range of movements, this study suggests that an additional surplus be added to the length.

The image of “Ocean” in Li Bai’s poems is mostly constructed from the external images of the ocean and his inner emotional images to show the beauty of “words beyond the meaning”. Some of Li Bai’s poems about “ocean” were written near the ocean based on his feeling, but most of them were about “virtual ocean”, which was the illusory ocean in his mind through bold imagination and exaggeration based on the allusions. Some of them expressed his depression or his perception about life, or expressed his feelings through allusions and the ocean of immortals. The image of the ocean in his works was just like himself. From this point of view, the image of the ocean is more like “materialized poet himself”. While describing and expressing the ocean, the poet was more like expressing himself. Li Bai sighed in his The 35th Ancient Style Poem that “Thinking of Emperor Wen of Zhou Dynasty in reading Taiga, and the influence of Song have collapsed for a long time." On the principle of style and creation, Li Bai inherited the “self” in Li Sao and the “elegance”, “beauty” and “reality” spirits of the Book of Songs. Therefore, this paper takes the text of Fifty-nine Ancient Style Poems as the subject, and starting from the “image of the ocean” involved in it, analyzes the poet’s inner feelings and inner mind through the “image of the ocean”.

These days, costumes of Korean creative dancing performances have been changed to be modernized and to be out of traditional regulation, as the representation of the Korean styles were replaced by other props and art devices. In this article, we have applied the emotions expressed in Jin-Yi Hwang’s sijos (Korean traditional poems), to Korean creative dancing costumes in modern style. chose three typical sijos from her six pieces, titled “Green mountain is like what I’ve meant”, “To Byeokgyesoo in Cheongsan-ri” and “Dongjibam ginaginbam”. In brief, Jin-Yi Hwang expressed her “everlasting love and emptiness”, “temptative conciliation” and “eager waiting” these three sijos, respectively. The character of Jin-Yi Hwang was shown in many TV soap operas and films, and the costumes were either much modernized, and not accurately based on the sijos she had written. Thus, we designed, made flat sketched, and fabricated three Korean creative dancing costumes from the three sijos, listed. We tried to highlight the aesthetic impression and the activeness of the dancing costumes, using both traditional and modern Korean fabrics. Since Korean dance costumes had not yet been inspired from Jin-Yi Hwang’s sijos, we discussed the importance of the fabric items, as well as the visual, auditory, and tactile characteristics of the costumes and dancers to emphasize Jin-Yi Hwang’s expressed emotions.

본 논문에서 온라인 쇼핑몰에 적용을 목적으로 2차원 이미지에 기반한 가상 의상 착용 알고리즘을 설계하고 개발하였다. 기존의 가상착용 시스템은 3차원 의상 및 사용자 정보에 기반하여 비용과 시간이 많이 들어가는 문제를 가지고 있다. 본 시스템은 최근 급격히 발전된 딥러닝기술과 컴퓨터 그래픽스 기술을 활용한다. 우선, 패션영상을 시멘틱 분할 네트워크를 사용하여 옷과 신체를 영상분할하고, 자세 네트워크를 사용하여 의상과 사용자의 골격정보를 확보한다. 이 두 가지 정보를 바탕으로 의상의 골격위치와 사용자의 골격위치를 일치시킴으로서 변형에 필요한 변수를 확보하고 이를 바탕으로 영상 변형을 하여 가상착용을 수행한다. 실험결과 단순한 기하형태의 옷과 선 자세를 유지하는 패션사진과 사용자사진의 경우 만족스러운 변형 결과를 얻을 수 있었으나 다양한 의상의 형태나 자세를 갖는 경우 원만한 착용결과를 얻을 수 없었다. 완벽한 시스템은 존재할 수 없으므로 현재 기술로 적용 가능한 의상의 범위와 문제 상황을 자세히 분석하여. 이를 바탕으로 추후 연구를 방향을 설정할 수 있도록 하였다.

The purpose of this study is to collect and analyze costumes presented in international dance sports competitions, and summarize the features of Latin American dance costumes’ design. As for research methods, standards of Latin American dance costume design were analyzed via a literature review on dance sports. The scope of the study extended for six years from 2010 to 2015 to include the, top three UK Latin American dance competitions. The results are as follows. First, the silhouette analysis determined that the X silhouette to the lead with, −145 costumes (78%), followed by the H silhouette at 25 (13%), and other at 16 (9%). Amongst those there were 174 one-piece dresses (94%). Furthermore, the analysis on colors of Latin American dance sports costumes revealed that, amongst the 186 costumes, 115 were without color (62%), Bl(black) is the most frequent with 37%, then Wh(white) with 21% and Gr(gray) with 4%. Costumes with colors, based on the six basic colors in the Munsell color system, are comprised most often of red with 12%, the followed by Y(yellow) at 10%, B(blue) at 8%, YR(yellow-red) at 4%, P(purple) at 2%, and G(green) at 2%. Thirdly, the cloth materials of Latin American dance costumes are recognized through image inspection. Among visually recognizable materials, beading materials are the most common with 104 costumes (60%). Shiny materials like mesh, chiffon, organza, lace and burn-out are in 36 costumes in total (19%). Other cloth materials included Luster materials and; non-sheen materials, which were in 46 costumes (25%).

‘Fu 桴’ and ‘Cha 槎’ are connected with the sea. Taking ‘Fu 桴’ floating in the sea represents the idea of seclusion, and ‘Cha 槎’ is used as an allusion to the immortal-Taoism by the literati. In the middle ages, the hermit from the seaside appeared frequently, which had the example of the supernatural being. ‘Fu 桴’ referred to the seclusion and ‘Cha 槎’ that refers to the fairy show the obvious traces of differentiation and fusion in the middle ancient literature works.

When Wan Zhang 萬章 asked Mencius about how Yi Yin sought an introduction to Tang, Mencius replied that he had done so by “plowing the wilderness of the Youxin’s Clan, delighting in the principles of Yao and Shun.” (孟子曰: “否不然, 伊尹耕於有莘之野, 而樂堯舜之道焉.”《孟子•萬章上》) When King Hui of Liang asked Mencius about “royal government,” Mencius began his response by emphasizing the way King Wen of Zhou ruled at Qi, focusing again on plowing: “昔者文王之治岐也, 耕者九一, 仕者世祿, 關市譏而不征, 澤梁無禁, 罪人不孥. (《孟子•梁惠王下》). Mencius responded to Zhou Xiao’s 周霄 question whether superior men of old took office (古之君子仕乎?) by quoting a lost passage from the Book of Rites which reads: “A prince ploughs himself, and is assisted by the people, to supply the millet for sacrifice. His wife keeps silkworms, and unwinds their cocoons, to make the garments for sacrifice.” (禮曰: 諸侯耕助, 以供粢盛; 夫人蠶繅, 以爲衣服.《孟子•滕文公下》) Later still in discussion with Zhou Xiao, Mencius also draws a direct parallel between plowing and governing: “An officer’s being in office is like the ploughing of a husbandman.” (“士之仕也, 猶農夫之耕也.”《孟子•滕文公下》) Shun was noticed by Yao because of his work with the common people who modeled themselves on him, leading to the formation of polities: “When Shun ploughed on Li mountain, the inhabitants yielded the boundaries; when he fished in Thunder lake, the men on the lake yielded to him the best place; and when he made pots on the bank of the river, his vessels had no holes or flaws in them. If he dwelt in a place for a year he formed an assemblage, in two years it became a town, and in three years a metropolis.” (舜耕歷山, 歷山之人皆讓畔, 漁雷澤, 雷澤上人皆讓居; 陶河濱，河濱器皆不苦窳. 一年而所居成聚, 二年成邑, 三年成都.《史記•五帝本紀》). Moreover, famous figures such as Sima Qian 司馬遷, Wu Zixu 伍子胥, and Chen She 陳涉 all began their careers behind a plow. This paper will therefore attempt to examine the use of the motif of plowing in early Chinese texts, examining the scenario of “plowing in the wilds” (耕於野) and other tropes, and stressing especially the close relationship between plowing and ruling.

Opera is the most comprehensive musical art. In recent years, contemporary opera worlds has seen a variety of attempts to reinterpret operas of the past in a modern light. This has resulted in a dramatic change in the production of musical style and stage art. The purpose of the study was to modernize and streamline opera costumes by extending the scope of existing stage costume design, through the reinterpretation and application of the decorative elements in the Middle Age of Rococo, such as ruffles, frills, shirring, embroidery, buttons, etc., in such a way as to effectively communicate the moods of an opera to a modern audience. The costumes of the Rococo period were reinterpreted in a modern way, with the following results. First, in this work, the male main character was played by a bass to express the image of an older, lazy, rich man. A key element in modernizing the stage costume was selection of the costume color in such a way as to visually represent the voice tones sung by the major characters in the opera. Second, the maid hat and aprons were decorated with frills by applying the curves of Rocaille decoration from the Rococo period symbolize the role of the maids. This represented the distinction between occupation according to class and status at that time, while also expressing the ideals of modern feminine beauty. This makes for more comfortably-worn costumes, and is economical for production expenses. In the future, the stage costume design for classical opera will need to be revised consideration of a modern viewpoint.

Opera is the most comprehensive musical art. In recent years, contemporary opera worlds has seen a variety of attempts to reinterpret operas of the past in a modern light. This has resulted in a dramatic change in the production of musical style and stage art. The purpose of the study was to modernize and streamline opera costumes by extending the scope of existing stage costume design, through the reinterpretation and application of the decorative elements in the Middle Age of Rococo, such as ruffles, frills, shirring, embroidery, buttons, etc., in such a way as to effectively communicate the moods of an opera to a modern audience. The costumes of the Rococo period were reinterpreted in a modern way, with the following results. First, in this work, the male main character was played by a bass to express the image of an older, lazy, rich man. A key element in modernizing the stage costume was selection of the costume color in such a way as to visually represent the voice tones sung by the major characters in the opera. Second, the maid hat and aprons were decorated with frills by applying the curves of Rocaille decoration from the Rococo period symbolize the role of the maids. This represented the distinction between occupation according to class and status at that time, while also expressing the ideals of modern feminine beauty. This makes for more comfortably-worn costumes, and is economical for production expenses. In the future, the stage costume design for classical opera will need to be revised consideration of a modern viewpoint.

The aims of this research were to characterize magic realism by analyzing existing magical reality literature reviews and research and to identify material that may inspire ideas for stage and film costume design by analyzing and drawing design characteristics and magic realism of costumes from Director Tarsem Singh’s movie, ‘Mirror, Mirror’. For the methodology, characteristics of magic realism in literature and, movies were analyzed, with a theoretical consideration of these materials on magical realism. Data on costume design and magical realism characteristics for use in the analysis were collected from the main characters of ‘Mirror, Mirror’ as well as from other characters. The result of this analysis was the emergence of five common characteristics of the magic realism Historicity, the most remarkable characteristic seen in Tarsem Singh films, was expressed through the symbolic meaning and decorative patterns shown by the traditional-style costumes, colors. Symbolization was expressed through the symbolic meaning, decorative elements, and traditional clothes, as shown by the colors and forms of the costumes. Fantasy was expressed through the colors, decorative elements, forms of traditional clothing, and forms with symbolic meaning. Reproducibility was expressed through the method of decorative element, symbolic meaning, traditional forms and de-structural clothes. Ambiguity, which can be associated with the combined characteristics of historicity and fantasy, was expressed in the clothes worn in the scenes that confounded time and space within the film.

This study focused on the movement adaptability of 19th century classical opera stage costumes. Researchers focused on a basic 19th century women’s jacket. The study analyzed movement adaptability using ROM (range-of-motion) tests of the upper limb flexion and abduction postures. It developed two research garments to mimic basic 19th century style jackets with or without gussets at the axilla. The ROM experiment identified the gusset size as 11cm in length. Experimental postures included upper limb flexion and abduction. The study measured subjective comfort at 8 postures. These postures included the flexion and abduction of the arms and torso. Subjects also evaluated the subjective comfort of the rotation posture of the torso. Researchers evaluated the similarities between research garments’ silhouettes and the 19th century women’s jacket. The study used a 3D virtual fitting system to evaluate fit, and specialists further analyzed fit with photographs and 3D virtual graphics. The results are as follows. The silhouettes of both research garments were similar to the silhouettes of the 19th century western women’s jacket. The jacket with axilla gusset had a better fit than the basic style jacket. The basic style jacket without the axilla gusset showed limited movement adaptability at the shoulder joint and it caused discomfort at the axilla and elbow. The 3D virtual fit test was not a suitable method for analyzing silhouette similarity.

This study proposes an educational direction to be followed by the clothing departments of Korea's specialized high schools in order to help achieve high levels of job placements and to strengthen their students' competitiveness. A comparison was made of the curricula in Korea's specialized high schools and in several fashion schools in other countries including the United States, Italy, France, Taiwan, and Japan. To this end, publicly available educational records were retrieved from domestic school documentation, vocational high school portals, and domestic/overseas school web sites, and were then reviewed. The archival data extracted from these sources shows that the curricula of the three chosen domestic schools uniformly focus on foundational courses such as general computer skills, general design, accounting principles, design principles, and drawing, as well as practical courses such as the design of western clothing, fashion design, fashion CAD, management of clothing material, design of Korean clothing, and knitting. Unlike these standardized courses, it was found that overseas fashion schools provide a more technically-advanced and design-focused education based on the interests of the individual student. Moreover, their education system nurtures the students' creativity through adequate field experience and history/language education. The findings of this study suggest that Korean specialized high schools should find a way to accommodate their students' interests and to provide them with personalized fashion education by adopting a more flexible curriculum. An educational line that considers the individual student's aptitudes and career path will help foster creativity and novel ideas, which, in turn, will contribute to the development of the fashion industry.

The purpose of this study was to investigate the underwear design shown in historical dramas set in Europe between the 16th and the 18th century, woman's bodies were highly restricted, in order to analyze the symbolism of the movie costume and provide basic data for the future education of the department of movie costume design. For a study method, literature relating to movie costumes and underwear as well as captured images from 29 historical dramas set in Europe between the 16th and the 18th century was reviewed. Among them, data from 17 movies where underwear and crinoline were observed was analyzed. Historical movies, set in the 18th century Europe exposed underwear more frequently and decisively than movies set in the 16th and 17th centuries. For the figure wearing underwear, its expression effect was maximized by the implication function of costumes. Underwear can easily express the time and space background and symbolize the character's social and economic position, attitudes, and values. In addition, the exposure of underwear can reveal characters' internal expressions, such as mental status, taste, temper, intention, mood, time and space display. The result of observing the underwear shown in movies reveals that underwear plays a subjective role in expressing ideal femininity as a woman of a particular age, modesty, social position symbolism and eroticism that depended on the situation. It is expected that the study will provide an opportunity to reconsider the function of underwear, which is different from the meaning of costume history, and its role as a means of communication by considering the change of underwear by age.