• 복식
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• 제18권
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• pp.291-306
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• 1992

From the mid-1980s '91s, remarkable Ethnicism and Primitivism in the Europe fashion trend could be represented as an exotic taste longing for secenery and emotion of non-europe area in the West. These phenomenon could be found out in connection with Acculturation, which means when two different cultures or more were contacted they were identified or merged in process of diffusion and change of them. This point of view was the culture anthropologic one that make a comparison and analysis of sameness and difference between cultures. The purpose of this study was to illuminate exotic taste represented in costume in the cluture-anthroplogic aspect, to compare with beauty of costume that each culture of costume and the meaning of the times due to those differences. an aspect of the exotic taste and character in the western costume that was inspected by dividing into 'Primitivism', 'Oriental element' and 'the element of a national costume in the East European bloc ' were as follows; First, Primitivism had something in common with what was pursued in the trend of Modern Art, through the late 19th century to the early 20th century. In fashion fettered by technique, the creation expressed in a free was and showed simple beauty of costume. At the same time, pure emotion expression, creative power and witty strong expression give the cognition of transcendency breaking the routine and the cognition of complexity of an included conception. Those are garments showing not only the primitive thought and mysticism but a fancy, an abstraction, and a life. Colors and accessaries which described nature and matched simple costume composition to the expression of various material or patterns transmitted the image of the primitive strongly. Second, "Drental element" which had an effect on western custome historically in a long time had outstanding luxurios adornmental beauty of custome. Extending from the Arab stated India, China, Korea, Japan, each national costume with a gay national culture became one of motif. Various ornamental factors expressed on Trapez Line, Sime Line and Drape, or Raied style, which did not restrict the body. Those were not only functional Easy Look, but were also satisfying human's ornamental desire. Third, national factors in the East European bloc are theme that begins to be embossed in the late 80's. In view of a political change and cultural situation with a double character of Europe and Orient, it was estimated that national factors have great importance in fashion. Item concerned with new concern appeared at Autumn & Winter collection. It shows elegant and graceful beauty of costume by adding a fur or jewel to simple form. These national factors in the East European bloc are simple form, but shows the difference in more cubic formation than form expressed in Primitivism or Oriental factors Exotic taste appeared form 80's to 91's, is thought to create an forgotten romantic emotion and traditional fashion

• 복식
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• 제3권
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• pp.95-107
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• 1980

The hair and headdress, positioned on the top of the body, assume a special role of accomplishing the silhouette of the clothing. This thesis reviewed the change of the hair and headdresses of the ancient Western world and studied the relationship between the silhouettes of the dresses and the shapes of the hairstyles. It was concluded that the hairstyles of each region had been developed in accordance, with their dress silhouettes, either repeating the silhouettes in a smaller scale, or reflecting their aesthetic attitudes toward clothing in the hairstyles. Religious symbolism was displayed strongly. In the headdresses of the cultures where the religious influence was great.

• 복식
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• 제62권2호
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• pp.1-12
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• 2012

Cloths wrapped around the body have been the basis of the dress of people all over the world for centuries. This study is to research detailed modifiable fashion styling methods in history and to give ideas to people such as fashion professionals who are interested in fashion styling so that they can create modifiable fashion styling easily in fashion fields. The characteristics of modifiable fashion styling methods from ancient to middle ages are as follows. The first modifiable styling method is to expose the knots on the surface of the garments, and the knots were mainly located on the upper part of the body. The second method is a wrapping type of the modifiable styling method, which shows a lot of variant simple shapes of cloths. This method helped develop many wrapping methods over time. The third way is the fixed type of the modifiable styling method, and it uses accessories such as fibulae, belts to fix cloths, to create many different styles. The accessories are located on around either the neck or waist. The fourth method is the composite type of the modifiable styling methods mentioned above. This styling method is adapted in robe type clothes which makes the clothes look full of beautiful drapery. This study suggests that simple shapes of cloths can create enormous amount of styling which can be easily adapted and created nowadays.

• 복식
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• 제65권8호
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• pp.110-124
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• 2015

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.

• 복식
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• 제54권6호
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• pp.101-117
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• 2004

Opposed to following the contours of the human body, the voluminous enlargement in costume, which characterizes the distinguished enlargement in space rather than the contour of human body, mean the enlargement aspect involving the vertical protrusion and the expansion of shape and volume as well as the extension of length. The costume enlargement as a different method of expression is a symbol showing a meaning of something and an aesthetic expression containing man's will. This voluminous enlargement of costume, as an aesthetic expression, has different formative characteristicsand immanent meanings according to ideals and thoughts as well as social and cultural background of each age Accordingly, the aesthetic consciousness also differaccording to the change of the times. To study the aesthetic consciousness of costume's voluminous enlargement, focous had been given to milieus that show comparatively conspicuous voluminous enlargement Periods that have been subjected to this study include costumes of the ancient Egypt, the Gothic period in the Middle age, the Renaissance, the Baroque Rococo of the recent times, and the modern era (Empire, Romantic, Art Nouveau. etc) With focus given to the principle of design obtained through this study were used to analyze the aesthetic characteristics, Futhermore, based on the spirit of the times and the socio-cultural symbolism, research on immanent meanings, as supported by objectivity and universal validity, was also made, the enlargement beauty of costume had been placed under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness, the true nature of the voluminous enlargement in costume had been traced. To Conclude, the aesthetic consciousness of the voluminous enlargement of the costumes in history was found to have following characteristics: (l) Metaphorical (2) Unlooked-for irregularity (3) feeling of satisfaction driven by self-enlargement (4) Dignified sublimity (5) Symbol of wealth and class (6) Ceremonial dignity (7) Tradition of the nobility (8) Aesthetic ornament (9) Ideal contour of the body

• 복식
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• 제58권10호
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• pp.95-111
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• 2008

Now when Wests meet Easts, they approach with a motive of acknowledging Eastern or Asian value, concretizing and sharing philosophy. As the result of this study through comparing Eastern and Western view of thinking, First, East is the cosmic beauty of harmony that pursues the harmony with the nature involving emotional and humane affection, and West has the tendency of proportional beauty of harmony involving order and balance. Second, East pursues the metaphorical beauty of mimesis which implies more in invisible parts, and West has the tendency of pursuing visual beauty of mimesis which has contents in visible parts. Third, East is the sublime beauty of nothingness which suggests a blank is endless infinitude of doctrines and mind breath, and West pursues the sublime beauty of being which desires to fill tangible existence without blank. Fourth, East is the expressive beauty that has the intuition of pleasure, which gives weight on non-clearness, emotional joke, and satire, and emphasizes a comic phase, and in West pursuing clearness of order, the concept of the ugliness of disformation is the intuition of defiance, and close to intuition of sadness.

• 한국의류학회지
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• 제36권5호
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• pp.473-488
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• 2012

This study examines the origin of dolls as well as how the role and types of various dolls have changed in a comparison of the functions of dolls before and after $20^{th}$ century. In addition, this study analyzes symbolic characteristics appearing in doll costumes. First, doll costumes (used in child play) represent sexual roles and various role models that are taught to children. Second, they reflect the fashion trends of that time and appear in the most beautiful forms that pursue the ideals of the time where doll costumes symbolize the latest fashion of the time. Third, the culture of doll costumes symbolizes cultural identity that show native customs, art, culture, and ethnic characteristics. Lastly, a mania society for dolls and collector groups are formed that share individual sensitivity. Members of those groups have feelings of solidarity and homogeneity through doll costumes that they have decorated and expressed themselves that show the reinforcement of a group by doll costumes.

• 한국의류학회지
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• 제42권1호
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• pp.159-171
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• 2018

The apron, which corresponds to an important clothing form, changed according to the taste, age, appearance and meaning of the wearer as well as from past to present. Decorative function and practical functions appear in the costumes of the East and West. Anak No. 3 tomb, Korea's 4th century Goguryeo tomb mural, was depicted in the form of a woman wearing a white apron and working in the kitchen, which is similar to that of a current kitchen, and the shape and purpose of the apron is similar to the present one. The characteristics of Korean aprons are summarized as western similarity, traditional reproducibility, and practical functionality. The U-shaped apron with the hem decoration of Goguryeo is similar to the apron of Crete with a rhombus pattern and hem decoration. Despite differences in time, it can be seen as traces of a cultural exchange across the East and the West. In addition, Korean skirts were decorated with wrinkles and a hem decoration based on rectangles. It is a reproduction of a traditional skirt and is different from a Western apron with a chest strap. In the Anak No. 3 tomb mural, women were wearing the first aprons that showed a practical functionality and not a decorative use.

• 복식문화연구
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• 제10권4호
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• pp.441-460
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• 2002

Funeral culture, which came to being along with the death of human beings, has developed through many changes in the background, culture, religion and custome of the times, having variant cultures depending on each nation or era. This study is designed to historically and systematically classify funeral rituals and costumes which have constantly changed in a special funeral culture from ancient times to modern times so as to investigate the features of each age. The researcher worked on Western funeral cultures, focusing on Egypt and Rome of ancient times, Creek times, the Middle Ages, recent and modern times ages, referring to literature, precedent studies, domestic and international technical books, pictures and drawings in relation to death and funeral services. Western funeral rituals were designed for offering condolence to the dead, but also used to show off the status of the mourners and the position of the dead persons. The mourning dress were utilized to indicate mourning in accordance with the colors, materials and the ways of wearing them, serving as a vehicle for showing off one's own status.

• 복식문화연구
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• 제10권3호
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• pp.213-235
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• 2002

The purpose of this study was to recognize the meanings of plastic language by analyzing the sign of the Graffiti depicted in western modern costumes. And the scope of this study was focused on analysing the costumes from 1980's when the Graffiti was recognized as one of the plastic arts. Graffiti was an unprofessional and covert desire of self-expression, having a close relation with our lives. It was used in diverse ways with repeating creation, development, and extinction, from expressing liveliness in Old Stone Age through describing symbolic meaning in the modern art. Graffiti means rude, humorous, or political writing and pictures on the walls of buildings. It's different from the delicate letters or pictures to inscript on the tree or rocks. Being introduced as part of Post-modernism in the 1970s, Graffiti was acknowledged as a new artistic action with the culture of hip-hop. In addition the Graffiti, the expression of sign was reflected artist's internal consciousness with boundless sign. The sign is something to transmit message from the nonverbal point of view, the oldest sign was the sign for petition or the expression of something as a primitive form. Sign can be defined as a framework of life inherited as a practice from the primitive age long past. Graffiti was cited as a concrete example of sign, theme of this paper, and general understanding on sign expression was pursued through free work which all artists present with essential and positive ways using signs, their own languages, and life style. The result of this study was summarized as follows: Since the end of the 20th century, a lot of fashion designers have represented symbolic images, such as letter and signs, as purely personal ways of expression through the western costumes. It was found that fashion designers of the Graffiti whose free work style from inherent inner consciousness might provide a basic framework to search for complex signs of modem costumes naturally understood life itself as plastic art, and sublimated human inherent desire and their inner world through their works.