The Difference Between Film And TV Clothing And Traditional Clothing From The Perspective Of Chinese And Korean Film And Television

Korean designers broke through the recognition of the traditional form of clothing.

Fashion design is one of the three elements of clothing design. Good style design can make up for the shortage of clothing in terms of process material and color. It is an important part of the overall garment modeling. Therefore, it is particularly important to draw lessons from traditional fashion culture in the modern film and television works.

Inheritance of traditional Korean clothing styles to traditional Korean clothing

Han Caiying wears high cotton socks in "hero Chun Xiang".

The short My suit worn by Lee Da Hae, the heroine of "My Girl", embodies the characteristics of traditional Korean clothing.

The outer contour of Korean national costume is natural and relaxed, and has the tendency to expand outwards and occupy space. Korean men like to wear "knickers". Women's clothing is usually white, divided into "high profit" and long skirts, which are the most traditional costumes of Korean costumes. "Gao Li" is the Korean nationality's favorite jacket, no buttons, tied with cloth, women in the cuffs, skirts, armpits with bright colored Satin Edge, wearing natural, beautiful, generous, long skirts are Korean women's main costumes, there are long wrinkles, can be divided into skirt, skirt, long skirt, skirt, apron. Boat shaped shoes are Korean shoes. The shoe is like a small boat, with its tips slightly upturned, made of artificial leather or rubber, soft and comfortable. Besides, Koreans like to wear white feet.

Li Qingmin's favorite "crotch pants" in the attic men and women.

Nowadays, most Korean films and TV shows show some fashionable colors while showing some national color language, which greatly affects the aesthetic standards of the viewers. This is because in the style design of film and TV dress design, Korean designers do not forget to use the traditional elements of their national costumes, such as the "high interest" jacket with short to the chest, the frenulum of the Korean dress, the trouser leg of the lantern, and the white foot cover to enrich the modern film and television costumes. For example, the long waistline dress worn by Song Hye Kyo in the romantic house, the short short suit worn by the heroine of My Girl, has the same effect as the short coat of traditional Korean dress, which reflects the characteristics of traditional Korean clothing in the. In the heroic spring fragrance, Han Caiying wore a half height cotton stockings, a sweater coat to the thigh, and a large handbag. The half height cotton socks are the evolution of white sleeves in Korean clothes, and the traditional foot covers are now replaced by colorful socks and various boots in Korean dramas, thus becoming a good weapon to modify the petite Oriental people. The crotch shorts of Hanfu men's trousers were reduced to the limit, which became the "baggy crotch trousers" worn by Li Qingmin in the men's and women's attic. The lengthy waist width of men's jacket in Han suit and the slightly rolled hair were the handsome FLOWER MAN. {page_break}

Two. The inheritance of Chinese film and TV clothing to traditional fashion modeling.

Modelling of Cheongsam in the mood for love

The style and structure of Chinese traditional clothing are flat and loose outer contour, emphasizing longitudinal feeling, beginning to droop naturally from the collar area, not exaggerating the shoulders, commonly used drooping lines, hand long sleeves, tubular robes, longitudinal decoration and other techniques, so that the dress body looks slender, especially the limbs feel elongated. The slender sense of clothing is a complement to the shorter stature of Oriental people. It produces illusions on the senses and achieves perfection and harmony in proportion.

Meng Xiaodong is also wearing a cheongsam in Mei Lanfang, which shows a simple and simple aesthetic feeling.

However, due to the lack of mastery of historical materials in the production level and the designers, many Chinese historical dramas fall into the conventional pattern of wide robe and big sleeves. Taking the Qing Gong opera as an example, most of the characters in the play are not detailed historical textual research. Almost all Manchu women have their heads on the top of their heads, and comb the two heads of the coffin like banners. Cheongsam is also a wide sleeved robe, but in fact, in the early Qing Dynasty, the Qipao was a narrow sleeved arrow sleeve, and some retained Manchu's unique horseshoe sleeves, unlike the late Qing Dynasty due to the influence of Han clothing became wide sleeves. And wearing flowerpot bottom shoes is also the three inch gold lotus that enrolls women's envy after the entry into the customs, but it was later invented only when they were not tied up with the ancestral system. But we should also see that with the continuous development of film and television dramas, the level and consciousness of Chinese film and TV fashion designers are also improving. At the same time, China's video costumes designers are also interested in making Chinese traditional costumes in modern dramas, such as cheongsam, which has the most traditional Chinese costume characteristics, and is widely used in all kinds of films and dramas of various periods. In the pattern of love, twenty-six cheongsam's colors and fabrics are cleverly and carefully cut. In the visual sense, Maggie Cheung has been melancholy, sometimes sad and sometimes magnanimous. In Mei Lanfang, Meng Xiaodong also wore a cheongsam, showing a simple and simple sense of beauty, such as Mei Meng's first meeting, wearing a pale blue striped cheongsam, and Mei Meng's first breakup. She wore a cheongsam made of handmade cloth made in Yunnan. After washing, the color was deep blue and shimmering black, including the light gray cheongsam and white cheongsam he wore later, which was generally quiet in color. It shows that she can not get love and is always depressed.

Three. Conclusion

　　中國的影視服裝設計起步較晚，傳承傳統服裝款式造型時往往簡單、粗陋、流于形式，但可喜的是現在的影視劇開始關注影視服裝，在傳承的過程中做了很多嘗試，而韓國的影視服裝設計師在具備強烈的傳承意識的同時具備可貴的創新精神，設計根植于傳統民族服裝，但是又不拘泥于傳統服裝，韓國影視服裝在繼承傳統的經典元素如上短下長、上簡下豐、高腰、寬松等基礎上, 摒棄了傳統服飾不適合現代生活的地方,同時又合理地吸收了西方服飾中的線條造型，將韓民族的傳統審美與現代實用性和西方審美觀結合，繼承了韓服的簡練與優雅的線條，保持了韓國式的清新樸素，把細膩精巧的細節變成奔放的主基調, 把清新含蓄、意境空靈的東方元素融入西方的線條和立體造型中，突破了對傳統服飾具象形態的禁錮認識,將具象形態提煉成某種精神——單純和自由,并 By symbolizing it, the Korean film and TV dress culture has been completely changed and updated. Simplicity means simplicity, simplicity is the essence of life needs, and is the return of natural world to innocence. "Just like Rousseau said," simplicity is the fundamental foundation of all artistic creation. "Purity produces poetry." Pure color and simple style make Korean film and TV costumes create a mix and match style. The style of this dress came into reality from film and TV dramas. It went out of Korea and moved towards China. It also went to the world, and played a positive role in spreading Korean culture. It is worth learning from.