The main purpose of this study was intended to analyze the image of N대-Expressionism represented in the late of 20th century fashion design. By the late 1960s and the early 1970s. the prevailing notion of modernity, which had pushed the limits of art beyond previous boundaries, had begun to lose its urgency. Critics called the new pluralistic era which the West was entering Post-Modern. Furthermore, the predominance of America and the New York scene is diminishing, and artistic leadership is now international. Post-Modernism dialectcally made denial of Modernism as likely as New Image Painting and Decorative Pattern Painting Art in 1970's and it was availed as a dialectcal means for the pre-diction of new comings that would be appeared at painting art in 1980's. New Image Painting has been called as Neo-Expressionism. The N대-Expressionists selected human's feature because appeared flankly, directly irregular agitation in the visual effect and they believed human's destructive and amputate body was cruelty. So they express it on the surface canvas. Under the these background, the image of Neo-Expressionism was represented in the late of 20th century fashion design such as the upside-down image of human feature, the image as ameditation on German myth and history, culture, the ecletic image is made of use a mixture of material. The properties of composition, line, color, texture, and form, common to all plastic art, are now more readily recognized and historically valued in every work. That is, individuality, humanity, and the human condition have been at the core of most Western art and Fashion design. Especially Fashion design has been one of the principal instruments used to examine our nature and to promote the notion of growth, self-understanding, and change.

This thesis is a study of Kas ya, robes of buddhist monk, which is having peculiarity among human clothes. I kept my attention mainly on the symbolism of the color of Kas ya. To elucidate this, I chose the principle of T -chi and Yin-yang and Wu-shing as a frame-work of interpretation. In the first place, the original meaning of Kas ya mean a name of peculiar color. The concrete names of the color are color of persimmons juice, brown, yellow tinged with red, radish brown, non-primary color etc. The main motive to dye three robes of buddhist monk from white or primary color to the color of Kas ya was to differentiate buddhist monks from heathen or laymen. Therefore, as luxurious and primary colored cloths was donated to the buddhist monks, they are necessary to discolor them. Accordingly. they established 'non-primary color' as well-mate one for a ascetic. The non-primary color is called discolored color' as a result of discoloring primary colors. The discolored color is a synonym of Kas ya and the process of discoloring is necessary for making robes of buddhist monk. Secondly, discoloring means to mash five primary color. That is say, the process of discoloring means to return five primary colors back to 'profoundity·abstruseness·obscurity, namely darkness' as the source of them. Darkness as a condition amalgamated and not appeared all materials is the source and at the same time the terminus of all colors. Therefore, color of Kas ya symbolizes 'profound color' as the ultimate meaning of discoloring. Thirdly, discoloring garments of buddhist monk symbolize to destroy evil passions and haughtiness arising in ascetic's mind as well as means don't attach to the shaped materials'. Fourthly, discoloring means to return 'color'. namely 'all kinds of shaped material' to the inherent nature. Process of discoloring means to reture to the empty. nya. nya essentially do not make any colors, but over and over again come into being and become extinct as becoming colors. R pa, by one time Yin and the other time Yang'. R pa, color is a metaplasia of nya and nya is discoloring one of all colors. Then, discoloring means R pa is nya, R pa is nya at the same time and Because this is another expression of Dharma the original meaning of Kas ya symbolize true robes. Consequently, Kas ya means truth and beyond time and space do not be changed and conserve the color of the first till now.

The goal of this suudy is to investigate the production and distribution of silk fabrics of the CHO-SUN Era. My conclusions culture was advanced as a result of its promotion by government authorities. It proceeded from south to north, and spread all over the country. The north became the center of the silkworm culture since cotton was cultivated in the south. Second, the production of silk fabrics proceeded by government orders at the beginning. But it proceeded by private enterprise at a later period. Since government-managed textile handicrafts began falling off during the 16th century, privately managed handicrafts were accomplished slowly. Third, at the same time as the introduction of natural cotton fabrics, the production of various fabrics in the CHO-SUN Era proceeded all over the country, and special production localities-formed. PYUNGAN-DO(평안도), HAMKYOUN-DO(함경도), HOANG HAE-DO(황해도), and KYUNG SANG-DO (경상도) were the main region of silk fabric production. Fourth, the silk fabrics were distributed through the capital markets and the province markets. And superior silk fabrics were distri-buted through the capital markets. And all sorts of low quality silks JU were distributed through the province market. Fifth, thus an abundance of superior silk fabrics was distributed in the CHO-SUN Era. But thequantity of production was not enough. And most of it was used in the Royal Court. The quantity of shortage was supplied by imports.

In this study the features expressed by the Korean dresses and its ornaments have been examined through the objects of this thesis, the concept of the pair, under the basis of Korean myths, from which esthetic and spiritual values have been derived. At first, the beauty of the balance pursuing the neatness. Since the pair is made with two piecess, at the time of the placement, the sense of the balance is obtained by the arrangement acccording to the dichotomous principle such as up and down or left and right. Sometimes, the pair could yield the natural pictorial composition, but almost of the time symmetrical composition. This kind of composition is made symmetrical like the structure of the human body, and it is resulted in a neat beauty, which visually presents a harmony, stability and intimacy. At second, the beauty of the harmony in the spirit of the oneness. From the dualistic combination basing on Korean myths, the common features and the significance of the co-existence, obtained from the combination of the pair of the pieces, could be found. By the oneness of the both elements, the creation principle, which is the basic one for a new life, could be established, and the mystery of the creation and the sense of the harmony could be found in it. At third, the wholeness of the completeness concept. The completeness could be felt rather by two than by one, and is provided with a room to be filled with the other one. Consequently, the outer dress is completed with the under dress, and its own beauty could only be made out when the two elements are harmonized. So, it is called as the pair. Like this, the concept about the pair taken roots in the ground of Korean emotions, is basing on the creation principle of the dualistic elements formed from the tradition of Korean myths, and the fact that the mental meaning pursuing the harmony dwells in Korean dress and its ornaments could be confirmed.

Being located in the east of the Mediterranean Sea, Cyprus used to play a bridge role of cultural exchanges between the East and the West during period of being occupied. As a consequence the fact that the style of costume might be changed at certain levels during the time is broadly accepted. Basic structure of Cypriot men's clothes during the late of the 19th century to the middle of 20th century is composed of\circled1 baggy trousers(vraka) \circled2 shirt(chemise) \circled3 jacket(ziboune/zibouna) \circled4 waistcoat(yilekko) \circled5 headdress(fez, kourouklin) \circled6 accessories. General composition of women's wear is \circled1 pantaloons(vrandzin) \circled2 shift(poukamiso) \circled3 outer garment(sayia, foustani, Amalia, costume) \circled4 waist kerchief(mandili tis koxas)\circled5 boots(podines)/pumps(goves) \circled6 scarves and accessories. As reviewed above, although men's clothes are still worn on a day to day basis, women's wear continues to exist only for festivals or as a tourist attraction. It was understood that this was an accepted consequence of 20th century modernization and reformation.

It is necessary to research shape of the breast of girls at adolescence for developing well-fit brassiers. 313 participants reside in Chonju and Kunsan were gathered for body measurement. The conclusion of this study can be summarized as follows. 1) The Analysis of Body Shape by Measurement. Comparing Age GroupⅠ(aged 10 to 12)' measurement with Age GroupⅡ(aged 13 to 15)', Each items has statistical significance. Two groups differed in the length, girth, depth, width items. 2) Factor Analysis of Body Measurement (1) Age GroupⅠ'characteristics were categorized Three Factor : Breast size and breast apex length. Breast volume, Length of the Breast part. (2) Age GroupⅡ' characteristics consist of four factors, which are named as breast size and its jut (first factor), breast volume (second factor), contour of breast profile & its jut (third factor), shoulder length (fourth factor). 3) Characteristics of Breast Shape. (1) Breast shapes of Age GroupⅠ are classified into three types. Types 1 is a protruded and more voluminous shape. Type 2 is the most voluminous and breast fatness is highest. Type 3 is the smallest and flat shape growing now. (2) Breast shapes of Age GroupⅡ are also classified into three types. Type 1 is the longest in length and middle in fatness, voluminous in size. Type 2 is the smallest in stature and the slimmest in fatness in breast shape. Type 3 is middle in length, the fattest and the most voluminous in breast.

The purpose of this research paper is to offer basic data for cloth design which is intended to apply appropriate shape and catacity to cloth. Followings are the analyzed result of investigation which was conducted to figure out the character of middle aged from 35 to 59 years old-women body especially in lower half of their body. 177 women took part in this investigation. 1. As a result of analyzed characters for middle aged women body shape, taking a side view of body, there are great variance in thickness coefficient which indicates the size of body. 2. According to a comparison result of early middle aged women body shape with late middle aged women body shape, the value in height items get shorter otherwise the value in thickness items get longer getting older. It means late middle aged women are relatively fat. 3. For the analysis of women body especially in lower half, 8 factors were used. They are as followings. Factor 1. Side thickness of lower half. Factor 2. Width of lower half. Factor 3. Height of lower half Factor 4. Droop of underbelly Factor 5. Salient rate of buttocks. Factor 6. Length of buttocks. Factor 7. Salient rate of underbelly. Factor 8. Droop of buttocks 4. Lower half shapes of middle aged women were divided into three groups and the character of each group are as followings. 〈Group 1〉65.0% of women who took part in this investigation have this type of body shape. They have long value in height items and thickness items. 〈Group 2〉16.4% of women who take part in this investigation were belonged to this group. The value in height items were not so different from group 1 but the thickness value are shorter than group 1. Women of group 2 have slime body shape. 〈Group 3〉18.6% of women were belonged to group 3. They show the shortest value in height items otherwise the longest value in thickness items. Therefore they are the smallest and the fattest group in this investigation.

In order to identify the factors responsible for the recent drastic increase of imported apparel in Korea, an attempt was made to determine the variables influencing the purchasing behavior of imported and domestic apparel and forecast the purchasing intention with the use of Fishbein & Ajzen's behavioral intention model including both attitude and subjective norm. Based on literature review, the empirical study was conducted using the questionnaire for 900 college women and high school girls living in Seoul. Descriptive statistics, t-test, paired-t test, multiple regression analysis, and correlation analysis were made of 771 returned questionnaires using SAS program. The results were as follows : First, the results of assessing both their attitudes toward imported and domestic apparel and their subjective norms were shown to be different. Second, there was a difference in the attributes that had an effect on their attention to buy imported and domestic apparel. Third, those respondents having a preference for imported apparel were most highly influenced by color and price. While those respondents showing a preference for domestic apparel were most highly influenced by materials and comfortableness. Fourth, the validity of the prediction value of their buying intention was confirmed as it was shown to be more than coreelation coefficien r=0.65. In conclusion, 1) it was proved that both attitude and subjective norm were the important variables that could predict the consumer's purchasing intention, 2) since competitiveness in color and materials and brand influencing the consumer's purchase of and preference for domestic apparel relatively lagged behind in comparison with that of imported apparel, the domestic apparel business enterprise will have to make a greater effort to develop differentiated color, material and prestigious brand so as to enhance competitiveness with imported apparel.

The purpose of this thesis is to study the social and cultural background and characteristic of neo-classicism which appered in the modern fashion of the pluralistic society of the latter half of 20th century to understand that the product of societh such as fashion mode reflects the situation of society and culture. For this purpose, documentary studies about the concept and background of neo-classicism, were preceded, and analyzed the occurrence background and characteristic of neo-classicism of the modern fashion after the 1980's, which showed up in post-modernism fashion. The characteristics of neo-classicism expressed in modern fashion is as follows; First, they are expressed in modern fashion in forms of simplicity by means of minimizing process of sewing or ornamenting and deletion of dart. Second, retro-style in terms of concerning of the past, is featured in various styles of Greco-roman drapery and expresed in forms of mixing clothing elements of modern and classic in modern times. Third, the trend of ecology in terms of interest of the nature and the thought that the spiritual world is more important than the material world. It is expressed by using natural elements adn natural materials, which wanted to get the nature and human into one and search for the losed nature of modern men. Fourth, the pursuit of the beauty of the human body, is expressed in forms of body-prioity style through using see-through or elastic materials, which is knit, lycra, spandex, etc. In conclusion, we can recognize that the social product reflects social and cultural situation. And the characteristic of neo-classicism has the meaning of harmonizing the human and nature and the returing the humanity.

Fahion as the form construction of decon-structivistic architecture was analyzed by dividing it into the intrinsic aspect and the formal aspect through an introduction of three characteristic architectural principles into fashion. Intrinsic deconstructivistic fashion as the construction of architectural form has the mixurte of genders both in a form of transvestic and in a form of genderless look as dualism, and can be characterized by pluralistic nationlism with the emergence of the Third World alienated from the international society, and so forth. Difference and the prefixes of dis-and de- are schizophrenic mystic illusionism, chance effect and the differance of space and time and is supporting Jacques Derrida's chiasmus that is the perspective of collage in painting and the multiple observation of collage in painting and the multiple observation point as the play of borrowing the surrealistic technique. The formal construction of deconstructivistic fashion the construction of architectural form has intertextuality material, hybridization of items and the blending of modes and another sphere. Trace as icon deconstrucion attains historical analysis. Dis and de in fashion are showing the retrogre-ssion of gravity through decomposition, decon-tinuity and disjunction emerge nonstructural silho-uette, juxtaposition, inversion and replace- ment of underwear and outer garments. Their decentring expression emerged as construction through mixture and repetition as well as overlapping of planes or spaces. And their disjuctive representation appeared in the form of mutual juxtaposition and substitution with the double-side of formal construction in functional terms.

The purpose of this study is to examine the value of grotesque fashion and to predict the future fashion trend. The grotesque originates the formative art. It emerges towards of a century or transitional period in most case. In particular, it was used as the expressive method of an individual's inside and a satire on society through the work of artists in the Middle Age, the renaissance, the sym-bolism, the dadaism, the surrealism, the pop art, the technology art, and the post-modernism, etc. The grotesque in fashion is represented in the work of avant-garde fashion designers who lead the high fashion. The grotesque fashion which was combined with an image of non-formality, non-rationality, an absurdity and reality. It has been begun shape of female dress in the renaissance. Afterwards, it was represented in extremely exaggerated and distorted pop art, hippies' fashion in the 1960's. In the 1970's, it was reflected in genderless rock star and destructive punk fashion. It was also represented in the androgynous fashion which was combined with both sexes, the goth/gothic fashion which was expressed with a realistic and fanciful shape and the tattoo of skin-head in the 1980's. In the 1990's, the grungy look which was dirty and the cyber punk fashion. In general, it was also expressed by the avant-garde fashion designers. To sum up, a grotesque fashion which is expressed by experimental designers is classified into four shapes. 1, Union of some extraneous is expressed as different kinds of fashion theme, such as abnormality of texture, uses of surrealistic elements and chaos of sex. Although it appears that the abnormal union of grotesque has only discord and collision, it also shows a feeling of freedom for the tension. 2. Introduction of real and fanciful image is expressed as a cyborg, realistic description of disgusting animal skin and aggressive shape. Especially, it is worth while to notice Tierre Mugler and Alexander Macqueen's work which expressed the shape of mingling human of Middle Age. 3. distortion or exaggeration is expressed as an unformed shape, the exaggeration of a clothing size, the abnormal exaggeration of human body and the ignorance of clothing form. 4. Introduction of a disgusting image is expressed as an extremity of reality, motifs of death, clothing material of disgusting hair and the ostentation of sex. Motto which leads modern fashion is something new and shocking. The grotesque fashion is an expression of eagerness for something new. It often show something ironic in the form of humor which is embedded in an abnormal and shocking pattern. The grotesque fashion is represented as an extreme beauty. It will stand as an important element of the future fashion and as a particular style with the change and fluidity.

This is a study on the Men's Underclothes of Renassience Ages. The changes associated with the Tudor regime were sufficiently profound to afect the nature and purpose of underclothes. Ceasing to be merely a layer serving to protect the skin, they now began to assist the external costume of both sexes in expressing class distinction. In order to attract still greater attention, the edge of the shirt was ruffled at the neck, a decoration which soon developed into a separate accessory, the ruff. The waistcoat, which originally was an under-garment, was shown, when the doublet was taken off, en deshabille. Thus we see that for men in the sixteenth century the undergarment was no longer an obscure drudge, but was promoted to serve in the general mode of expressing what the whole costume so extravagantly announced ; and likewise to share in that extreme degree of the social superior. The pinched waist of both sexes was not so much for sex attraction, but to signify social superiority. In the period under considera-tion, then, from the Tudors to the end of the Jacobeans, the new function of underclothes was much the same for both sexes ; to exploit the grandeur of the costume as evidence of rank, and only by that indirect method to add to the wearer's sex attractions.