• Journal of the Korean Home Economics Association
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• v.39 no.4
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• pp.1-18
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• 2001

Korea huts been dramatically changed during the last century in many aspect of society, with the introduction of western culture in the beginning of 20th century. This study aims at understanding the changes in our traditional culture shown by costume as well as examining the aspects of the changes of traditional clothing according to age, by comparing the differences of our traditional dress Hanbok between ear1y and the late of the 20th century. Analysis of photographs showing Hanbok of both ages was used. 155 photographs of people wearing traditional Hanbok in the beginning of the 20th century were collected from the photo collection books portraying various living conditions of common people at that time. 748 Photographs of Hanbok worm today were obtained by taking pictures of various occasions like wedding ceremonies in 5 big cities during 1997. The process of analysis consists of 3 stages: setting standards, sorting, and grouping by positioning. The results showed that traditional Hanbok room in the early 20th century has maintained its basic silhouette and design during the century, but the methods of color coordination, ornamentation, construction have underdone many changes in detail. Consequently, traditional frame exits, but actually there are many variations of tradition produced by individual tastes and fashion trend. These changes show that continuing influx of the western culture which has made enormous social changes in Korea had an influence even on Hanbok.

• The Research Journal of the Costume Culture
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• v.11 no.6
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• pp.925-940
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• 2003

The purpose of this study is to analyze the major influence of postmodernism on 20th century fashion. Due to its characteristic traits like pluralism, indeterminacy, and immanence, it can be said that postmodernism in fashion manifests itself in an overlapped and duplicated style. The conceptual side has to do with such various 20th century thoughts as decanonization, deconstruction, populism, and in fashion it is presented as subcultural style, syncretic style, and post-feminist style. The stylistic side of postmodernism in fashion also has to do with fragmentation, hybridity, stress on performance and participation, carnivalization, deconstructive turn, and it is presented as hybrid expression, deconstructive technique, performance, and so on. In the latter part of the 20th century in which postmodernism blossoms in various fields, fashion also participates in the current of the times, together with the rapid stylistic turn, the co-existence of various trends, and the experimental or avant-garde new trials. However, it should be said that all of these tendencies mean not so much blurring of the boundaries between styles as developmental mixture of styles coming from juxtaposition after fully realizing the boundaries of contrast and combination.

• Journal of the Korean Society of Costume
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• v.12
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• pp.39-54
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• 1988

The purposes of this study were to identify the periodicity of fashion in modern society and to find the correlation between each detail and bustle constitution through the bustle styles that have been recently revived. For the study of periodicity, fashion plates or pictures in Vogue or in the books related Vogue since 1930 were selected, and were analyzed into bell, tubular and bustle silhouettes that were devided by Young (1937). And for the study of the correlation of detail and bustle constitution, fashion plates and pictures that were related to the bustle in the 19th century and the 20th century were selected, and according to the epoch (19C, 20C) and the use (daytime dress or evening dress), each of them was analyzed. The results were as follows: 1. After 1930, $24{\sim}33$ year amplitude was founded at tubular and bell shape, that proved shorter cycles than Young's. 2. In each characters of clothing details, deep decolletage, undivided waistline, spaced bodice in daytime dress were partly identified the characteristics of 20th century costume. 3. The form of bustle was converted from the complex ornament of the 19th century to the simple shape of the 20th century. In other words, it is necessary that the definition of bustle be changed not the previous definition as the silhouette and instrument but that as the emphasis dimension. 4. The dimensions that showed difference at daytime dress and evening dress were 'existence of collar', 'neckline', 'length of sleeve', 'kind of sleeve' for 19th century, and 'neckline', 'length of sleeve', 'kind of sleeve,' 'length of skirt' for 20th century. 5. Correlations with the bustle constitution and details were shown at bodice and waistline with the complex bustle in the 19th century and at collar and neckline with the simple bustle in the 20th century.

• Journal of the Korean Society of Costume
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• v.54 no.5
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• pp.41-57
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• 2004

The purpose of this study was to analyze the 20th century＇s makeup according to aesthetic categories. On the basis of aesthetic theories, four category pairs were determined as inter-confronting aesthetic categories: beauty of utility vs. beauty of social aptness : beauty of decoration vs. beauty of construction : sublime vs. grace : classical beauty vs. romantic beauty. 20th century＇s makeup was analyzed at the interval of 10 years referring to the images of actresses in the films produced in Hollywood and European countries. It was identified that 20th century＇s makeup had changed from decorative and dramatic makeup to natural makeup as the century proceeded. Consequently, beauty of social aptness, beauty of decoration. sublime, and romantic beauty were emphasized in the early 1900s while beauty of utility. beauty of construction, grace, classical beauty were emphasized in the later 1900s. In the whole 20th century, grace is the most dominant beauty among eight aesthetic categories due to it connote femininity. As the variety of fashion increases. the makeup patterns has become more diversified in recent years.

• The Research Journal of the Costume Culture
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• v.27 no.3
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• pp.239-250
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• 2019

Recently, young people wearing hanbok are highly visible in the palace and in Hanok Village. However, there is much controversy regarding whether the hanbok the young people are wearing is traditional. Young people in Korea are exposed to hanbok through a variety of ways such as school education, games, webtoons, television shows, and movies. In this study, we presented teenagers with illustrations of hanbok to see which they preferred and which if any they recognized as traditional. The study respondents most preferred the hanbok from the 18th century, but they considered the hanbok from the 20th century to be the traditional style. We next used text mining to analyze the students' freely written, open-ended responses regarding the hanbok they preferred and the one they considered traditional. The hanbok from the 18th century, the one the teenagers preferred, was a sexy, cool style related to gisaeng that emphasized the waist, whereas the hanbok they believed was traditional, the $20^{th}$-century hanbok, was simple, neat, comfortable, and plain. Among the young people's responses regarding which hanbok was traditional, the text mining extracted the following repeated words related to both the 18th- and 20th-century hanbok: "dramas," "mass media," "historical dramas," and "movies." For the 18th-century hanbok only, we extracted "webtoons" and "Hanok Village," and for only the 20th-century hanbok, we extracted "textbooks."

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.45-45
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• 2003

The purpose of the study is to find out megatrends and design trend through the analysis of the influential factors on trend and various fields of design trend in the late 20th century. Further, it is to establish database to prospect the design trends of the 21th century by analyzing and estimating the design color trend.

• Journal of the Korean Society of Costume
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• v.62 no.3
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• pp.1-16
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• 2012

The purpose of this dissertation is to examine the various types of hooded garments that have been worn after the $20^{th}$ century, and to analyze the aesthetic values of them. The study examined various types of hooded garments with diverse significances based on literature and case studies on the history of garments, news paper articles and the Internet. Since the $20^{th}$ century, there has been a variety of hooded garments, such as monk dresses, hoodies, anoraks, duffle coats, some protective clothing, and designers' hooded clothes. Through this research, the study found that the aesthetics of hooded garments after the mid-20th century were as follows: physical protection, anonymity, psychological refuge, fashionability and high-functionality.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.50-65
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• 2006

The purpose of this research is to analyze the plasticity of women's hats in the 20th century. This paper reveals the characteristics of formation through the historical survey of women's hats, which can be used as a basic design data for developing high value added products. Hats have been worn to play as key roles of various social codes. During the 20th century, functional roles of hats still existed, and the roles of ornaments had been gradually increased, however, the roles with symbolic meanings of regarding social class had been weakened. The major plasticities of hats can be generally analyzed based on the shape, material, technique, and ornament. As the time passed by to the end of the 20th century, flat-shape hats have been worn casually in both Western countries and Korea.

• Journal of the Korean Society of Costume
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• v.40
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• pp.67-80
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• 1998

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.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.55-65
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• 2010

The present study purposed to compare formative expression between the fashion of the end of 19th century - early 20th century and that of the 21st century which were influenced by art nouveau and art deco. For this purpose, we analyzed contents in literature, Internet, etc.,. According to the results of this study, the formative expression of art nouveau were divided into continuous movement, optical illusion and decorative expression. Continuous movement was used to express fancy and soft images in the end of 19th century, and to express images giving the feeling of speed and tension in the 21st century. Optical illusion was expressed by the movement the thin and soft materials with the body movement and the movement of excessive frills adornment. And in movement produced using thin and soft materials and by the bias cutting method in the 21st century. Decorative expression was expressed as fantasy and decadent image in the end of 19th century and as mild passionate and modern image with color combination in the 21st century. The formative expression of art deco were divided into visual simplicity, contrastive loudness, and functional expression. Visual simplicity was expressed as a boyish image in the early of 20th century, but as a complex expression combining simplicity and femininity in the 21st century. Contrastive loudness was expressed by using colors both in the early of 20th century and 21st century. Functional expression was reinforced through the lightening of design and materials in the early of 20th century, but through using bias cutting high tech materials in the 21st century.