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..

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.

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%).

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.

The purpose of this study is to reorganize any rusty image including natural modeling characteristic presented from the natural phenomenon to certain patterns in order to create the fashion design that are valued in the expansion of independently expressional area and modeling art. As a method for research, the author analyzed the concept and characteristic for rust with a base of theoretical background by the documental research and realistic consideration, analyzed its modeling characteristic through domestic and overseas pictures, and e-documents as data, inspected the modeling activities of various categories that various images were adapted related to rust, looked into the concept of Digital Textile Printing and its producing procedure as an expressional method, and analyzed the examples of modern dress and its ornament making use of Digital Textile Printing. The conclusions of this study are as below. First, the rust occurred due to the natural phenomenon is the bond with different material like metal, each unique modeling characteristic occurs and harmony of various patterns has abundant aesthetic value. Second, the author could endowed sensible characteristic and speciality with works and could produce creative fashion design that painting, abstractive pattern and harmony of unique sense of colors are significant by using the image of rust, Third, to emphasize natural feeling of rust, the author could develop creative design that simple silhouette and impressive pattern look significant by reorganizing and applying rust according to repetition, increment, rhythm, contract, emphasis and harmony. Fourth, Digital Textile Printing method is used to induce visual effect by the expression of feels of rust, and the author could express the natural patterns, delicate expression for the feels of a material and unique design of emotion.

In modern society as people adapt to social and cultural changes, people prefer high-scarcity designed products rather than standardized ones. Consequently, this adaptation lays a foundation in art and cultural domains to express uniqueness and individuality. The purpose of this study is to develop fashion designs by fusing fashion painting and handicraft techniques through creative and various artistic expressions. The researchers studied the sociocultural background of modern handicraft fashion using document-based research methods. Based on the characteristics of modern handicraft, we produced six garments that applied fashion painting techniques. In this study, the origin of fashion painting was found in ornaments such as tattoo or body-painting. We determined that modern designers were using various fashion painting techniques and motives as unique and advanced ornamentary skills. Harmonizing various handicraft techniques(dyeing, embroidery, quilt, patchwork, beads, fashion painting, etc.) centered on fashion painting enabled creation of unique fashion design through varieties of artistic expressions.

The purpose of this study was to examine the process to manufacture costume design of main female characters of TV historical drama〈Lee San〉and suggest the costume, which is developed with contemporary taste. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The study results were as follows. The costume was decided by researching historical investigation material on the basis of synopsis, grasping director's basic intention, setting design direction, preparing design map of each character, selecting style, detail, fabric and color, manufacturing sample and performing camera test. The design concept of〈Lee San〉was Modern & Chic & Clean, short & fitted chogori, chima with wide & abundant cocoon silhouette, clean & bright colors and 100% silk fabric. For the design discrimination of royal semi-formal costume, color was used to symbolize character and pattern was used to symbolize social status. In addition, detail change was adopted depending on the body shape of actor and there was almost no design discrimination in silhouette and fabric. Petticoat of the west, modernization of transitional pattern and change of detail were adopted as design elements to add contemporary taste.

The purpose of this research was to re-illuminated the artistic value of costume designs that had shared identical history with human beings through the formation and the progress of the newly introduced Russian avant-garde art. This resulted from the fact that the Russian avant-garde art changed the human esthetic sense through the trend of art that Natalia Goncharova introduced in the early 20th century. The research method defined the formation and progress of the development of the Neo-Primitivism centering the works of art by Natalia Goncharova. Based on this method, Goncharova designed the set and the costume designs for the Ballets Russes of Serge Diaghilev and studied the molding characteristics of the costumes worn in the performing art. The result were as follows. First of all, Goncharova's costume designs were all manufactured based on the theme of Russian folk art and genesis. In other words, Goncharova represented the Spanish passion, the Russian folk art Lubok, and Goldern cockerel or religious Icon-paintings in her costumes. she pursued straight lines and abstract shapes in her costume designs. her design displayed the Neo-Primitivism influence through the separation between the lines and the surfaces, which defined the costumes as a decorative art experiment. Therefore, the study of Goncharova had one realize that Neo-Primitivism was not only an art form of Avant-garde, but it also became the basis of the molding character of all the artworks. Natalia Goncharova reflected the miracle of the transformation of the early 20th century in their costume designs.

The purpose of this study was to develop royal costume design with contemporary taste depending on the character of hero, Lee San, and time flow of TV historical drama〈Lee San〉and research design discrimination and creative expression. As study methods, the literature study using books and theses concerning costume, fine art, culture and history were used for theoretical background and the empirical study method manufacturing actual costume on the basis of literature and relic were used for dress manufacture. The design concept of costume was modern & chic & clean. The costume was designed through straight silhouette, clean & bright colors excluding prime colors, style transformed to permanent straight pleats on the basis of chulik, 100% silk material focusing on high quality and pattern & decoration of the age of Three Kingdoms. As results, the designs of princess' official rob, day dress and chulik, and emperor's official robe, chulik, military dress and chun-dam-bok were developed. The design discrimination depending on social status change. In the period of princess, black, white, silver and blue were used but in the period of emperor, red, gold and black were used. It was expressed through dragon pattern and extended length used in cloth. The design discrimination depending on character change was visualized through color. Although it is not consistent with historical investigation, contemporary fashion design elements were added to royal costume through color contrast of black & white, permanent straight pleats, velcore, wristlet, extended length and layered-look.

The purpose of this study is to analyze movie costume of main character and find design characteristic and historical spirit focusing on the movie, in which Ishioka Eiko, Japanese movie costume designer constructing unique design world, participated. The study captured images of three movies such as〈Dracula〉,〈The Cell〉 and〈The Fall〉 with Digital Multimedia Converting System and analyzed them by focusing on the pictures showing designer's intention and design characteristic well among acquired 319 pictures. The costumes addressing movie costume designer's sense of values are recreated as future-oriented new works and are expressed as creative costumes by acquiring inspiration from past factors, dissolving them and applying up-to-date technology. Movie costume shall reflect historical spirit of our age as movie shows social․cultural trend including fashion trend of manufactured age. Ishioka Eiko has searched for the design, which is proper for three principles such as ‘be unique’, ‘be eternal’ and ‘be innovative’ and from the result of analyzing movie costume, it is found that she showed characteristics of symbolism(transmission of the sensitivity), ornamentalism(effective representation as a decorative effect attention) and multiculturalism(harmony of time and culture) as well as uniqueness. The movie costume are different mutually and create new hybrid culture, in which different costume cultures are mixed with current costumes without the restriction to other culture. It is proper for the age of globalization and localization so it is expected that the multiculturalism will be enlarged more.