• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.123-137
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• 2010

The purpose of this study is contemplating and substantiating Korean Empire's court costume through relics and photos. Additionally, the meaning of the pattern of Mugunghwa as the national symbol in the court costume is considered. The results of this study are following. First, a phased introduction of western-style court costume was executed through Ulmi Reformation in 1895 and Court Costume Rule in 1900. U1mi Reformation was characterized by transitional reformation because newly introduced system and traditional costume consolidated in costume. Under Court Costume Rule, however, by accepting western-style on contemporary costume, modernized style was settled in every respect of form and matter. The court costume comprised bicorn, coat, vest, pantaloon, sword, sword belt, white collar and white gloves at audience with the Emperor. Second, by examination of the relics of Chigimgwan and Juimgwan, it was confirmed that the court costume was manufactured in foreign countries such as France and Russia on the basis of order. It was also identified by pictures that court costume was worn by diplomats dispatched. Third, the pattern of Mugunghwa in court costume was featured by embroidery of 6 petal pattern. And the pattern of Mugunghwa, as national symbol, has important meaning in view of history and national affection, while Japanese and European adopted the crest of the royal household. In summary, Korean Empire proclaimed modernized court costume institution to handle international relationship driven by West. It was uneasy reformation in adopting western court costume imported from overseas because its textile and style were completely different from traditional costume. However, the willingness of Korean Empire should be reevaluated in the history of Korean costume, in that Korean Empire established court costume proclaimed its sovereignty domestically and overseas, and that the pattern chosen as national symbol was that of Mugunghwa which is current national flower.

• Journal of the Korean Society of Costume
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• v.33
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• pp.157-173
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• 1997

The Mannerism which was born on Italy in 16th century was the critical trend of art influencing the political economical and psychological trends and was the first mo-dality which respected the individual sense of artist. The cultural situation of that time es-pecially the alienation of men is similar to the pluralism of value the coexistency of conflict the acceptance of heterogeneity and uncer-tainty I modern century. This paper analysed the pattern of change in the trend of Mannerism in modern costume by comparing current trend from the past focus-ing th fact that the over-all situation in this century is similar to that of Mannerism in 16th century. In this paper the author suggests the Defor-mation Ambiguity and Irreglarity as the character of manneristic trend which has re-solved the sense of alienation of men by paradoxic expression. The results of comparing the characteristic of mannerism to the modern costume is followd; 1. The Deformation in modern costume is grossly subdivided to the transfrmation of morphology the transformation of scale and the breakdown of equilibrium 2. The ambiguity in the modern costume can be subdivided to the eclecticistic expression and the ambiguity of spatial concept(between inner and outer garments). 3. The illogiclities in modern costume are the technique of illusion structural illogicality and the collage technique.

• Journal of the Korean Society of Costume
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• v.51 no.2
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• pp.193-203
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• 2001

The hip-length jacket(유) worn by the Korean from the ancient times is tole prototype of the contemporary jacket. Hip-length jacket was transferred to Japan and worn by all the people beyond the class. From 12C, the King and the high class people wore the clothing influenced by Tang(唐) country but the common people continuously wore the hip-length jacket. Currently the hip-length jacket is worn by the merchant and is used as the clothing of the celebration. The hip-length jacket has not been much changed in terms of the form.

• Journal of the Korean Society of Costume
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• v.62 no.1
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• pp.14-28
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• 2012

'Beauty(美)' is pursued by many women. It has been expressed through fashion which has become more various as the society became wealthier. This phenomenon can also be found in the Salon Culture of the 17~18th Centuries and in the way that the free-style socialization without specific purposes began by women. Such 'salon culture' fashions have been reproduced in various methods by contemporary fashion designers as they met the trends or as they became the inspiration and source of ideas and were reinterpreted in various styles. Therefore, it is necessary to compare and analyze the studies and expression methods regarding that style's effects on contemporary fashion at a time when the women's salon culture fashion of the 17~18th Centuries is being naturally combined with or restructured to fit in with contemporary fashion. Therefore, the purpose of this study is to analyze, establish the concept of, and summarize the characteristics of the salon fashion style in order to provide fundamental scholarly information and a direction for the fashion design market by establishing a database on the characteristics of both eras based on the characteristics analysis results of the contemporary fashion style and salon culture era. Moreover, this study is also significant in that it will be a helpful tool for new design development to satisfy consumer needs, and in that the comparison analysis on the salon culture and contemporary fashion characteristics can be a useful tool to understand the fashions of both era. The study methods were, first, through a literature review to study the concepts and background of the salon culture. The second method was to setup a style analysis of a period of 4 years and collect visual data from internet fashion information web sites, such as collection books, to collect and analyze the data. Third, the analysis focused mainly on the results of the categorization of images with 20 fashion experts. Fourth, the details of the salon culture fashion style that are used the most in contemporary fashion were summarized and analyzed. Therefore, the results of this study are as follows The development of the socializing culture during the economically abundant era of the 17~18th Centuries became the stepstool for women to enter a new society and at the same time became the background of the development of the salon and related literature. For the characteristics of the salon culture fashion of the 17~18th Centuries, the changes were more significant in the details of the collars, necklines, sleeves, and robes, rather than in partial silhouette changes. It was found that the same fashion repeats in several-century intervals depending on the era changes; however, it has been reinterpreted newly based on consumer preferences and era situations instead of being reused exactly. Therefore, this study will become scholarly and fundamental data to establish the contemporary understanding of the fashion of the salon culture.

• Journal of the Korean Society of Costume
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• v.43
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• pp.203-224
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• 1999

As androgny presented by feminism still appear in contemporary fashion since mid 1980's feminism as a social phenomenon can be considered to habe influenced fashion history. This paper surveys the sex images of androgynous look that appeared in contemporary fashion into bisexual image and neutral images based on the feminist aspects of changes in contemporary fashion. As stated above bisexual images and neutral images of androgynous look shown in clothing are an attempt to reach one single integrated complete being by overacoming 'femininity' or 'masculinity' and combining the element of the two sexes. Consequently androgynous look creates new attraction by harmoniously coordinating characteristics of the two sexes instead of totally differentiating between masculinity and femininity that are represented in the form of clothing that has conceptual visual characteristics. Following are the conclusions of the reseach of this paper. First 'androgynous' as a feminist sex concept reflects the spirit of the times. Since the sex roles are divided and diversified and the concept of femininity is changing the concept of androgyny requiring both masculine and feminine characteristics in an essential sex concept for sucessful conduct of roles in a complex modern society. Second the integrated human image of androgynous look has led to a new culture with fashion trends that has been ahead of times by curing the functions of fashion to differentiate between men and women. Third androgynous look at the turn-of-the-centuy will not cease to exist but be a lasting fashion phenomenon while the sex concept presented by feminism has become the core to destrov the dichotomous fashion style of the 20th century. Fourth androgynous look is expressed in various manners in contemporary fashion since it shown how human beings accipt the adaptation method desperately required by the contemporary times. Androgynous look can be viewd as the desire for ultimate freedom that can be acquired by destroying the dichotomous sex concept and as the will to become a subject of the world as integrated human being. As we look into fashion culture creation of fashion is not the result of an accidental cause or an individual's work but the reflection of the spirit of the times. In this sense androgynous look introduced by a new sex concept to contemporary fashion has reflected the spirit of the times and led the cultural atmosphere and moreover it is an important fashion style that can characterize the contemporary times while lasting in the future.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.114-130
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• 2005

In postmodernism, the sublime that reaches ecstasy overcoming terror or pain is described as the most expressive phenomenon. The purpose of this study is to understand the sublime expressed in contemporary fashion. for this purpose, 1 investigated the theories of the sublime, categorized the definition and modes, then applied those categories for contemporary fashion. Documentary studies were conducted through aesthetic, design and fashion books and the demonstrative studies were processed by analyzing photos from fashion magazines. In the history of aesthetics, the sublime is explained as the ambivalent feeling mixed with pain and pleasure, terror and delight or negation and affirmation. In this study, the sublime could be defined as the aesthetic pleasure through the transcendence of the pain and terror and classified into 3 categories, the tragic, the initiative, and the deconstructive. The tragic sublime that includes the terrific, the disgusting and the religious character is expressed through the image of death or the physical torture, the satanic image or disgusting object and the ascetic image and religious sign or icons. The limitless sublime that includes the giant and the dynamic character is accomplished by consist of the elongation or the enlargement and the powerful authority. The deconsturctive sublime that includes the negative, the indeterminate and the complex character is associated with the deconstruction in style, the reversal of image and the destruction of the space of the body. Analysis on the sublime expressed in contemporary fashion may provide an excellent way for understanding human aesthetic consciousness in dress.

• Journal of the Korean Society of Costume
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• v.28
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• pp.137-150
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• 1996

The objectives of this study were to classify daily clothing selection motives and to group men into life style types and to examine the differences in daily clothing selection motives according to the life style types. Questionnaire comprised of three sections: 36 Likert type items of life style measure; 29 Likert type items of daily clothing selection motives measure: and 4 demographic variables. Samples were 267 salary men in gheir 20's to 30's in Seoul Korea. The data were analyzed using factor analy-sis cluster analysis one-way ANOVA Dun-can's multiple range test and t-test. 1. Five factors of life style were derived by factor analysis ; F. 1 'appearance oriented' f. 2. 'positive activity' F. 3 'economy oriented': F.4 'active-leisure';F. 5 'contemporary' Four types of life style of men were defined by cluster analysis of the five factors: T. 1'posi-tive activity'; T. 2.'economy interest'; T. 3'contemporary' : T 2'economy interest' T.3'contemporary' ; T. 4 'appearance interest' 2. Four factors of daily clothing selection motives were derived by factor analysis: F.1 'clothing harmony'; F.2 'clothing utility'; F.3 'psychological influence'; F.4 'exogenous situ-ation adaptation 3. There were significant differences in daily clothing selection motives according to the life style types. The types of positive activity economy interest and contemporary had 'clothing utility' motive more than appearance interest type. Economy interest type had 'hpsychological influence' motive more than other three types. Economy interest type and appearance interest type had 'exogenous situ-ation adaptation' motive more than other two types 4. 20's and unmarried men had'psychological influence' motive more than 30's and married. Upper class had 'clothing harmony' and 'ex-ogeneous situation adaptation' motives more than middle and low. Men with less education had ' clothing utility' and 'exogenous situation adaptation' motives more than did more edu-cation.

• Journal of the Korean Society of Costume
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• v.52 no.8
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• pp.41-54
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• 2002

This study discusses the beauty of the ideal body shown by fashion communication media, and explains how aesthetic aspects of, the body are being expressed in contemporary fashion. The beauty of the body may be considered as the beauty of sexual, controllable or consumable object. First. the most vigorously discussed point about the body is its sexual aspect, the most outstanding of which is the voluptuous and the androgynous beauty in contemporary fashion. Second, the body is an object which has been oppressed or controlled under the name of history. morality. and rationality. The things making us regard the body itself as an aesthetic object may be considered as dynamic and functional beauty Third, the sexual instinct and the body are fetishized as consumer goods, and women's bodies are presented as comsumer objects whose most parts could be restored to exchangeable value. The consumable beauty presented in contemporary fashion is the conspicuous beauty and the decadent beauty. So far, the various aspects of the beautiful body has been considered, based on the beauty of the ideal body shown by the fashion communication media. Man exists through on his body. but it is the embodied and formed body that serves as a means to manifest his social status and cultural ties. A natural body is reformed as a cultural phenomenon in various artificial ways. Popular culture has transmitted a series of new body image by creating and reproducing symbols and images, and has made the ideal body. Now there is not only one standard for the ideal beauty in our society. The standard of the beauty has changed continuously. There has been an aesthetic sense which can represent the times during the process of those changes. The various communication media have played a role of mirror reflecting those changes. The ideal body in contemporary times is no more an abstract media to express classical beauty, but an object directly affecting us, who are living in the crisis of subjectivity and identity.

• Journal of the Korean Society of Costume
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• v.37
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• pp.163-180
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• 1998

In western clothing, woman's body was port-rayed sexually as the distinction of sex was appeared, and the parts of body contain some kind of symbol of sex. Woman's body was diversly accentuated according to the divers ideal beauty concepts pursuits in the different periods. Today, in a Post-industrial Society whose social structure is very divers and complicated, the interpretation of woman's body reveals so various as the complex social structure. The purpose of this study is to comprehend the various interpretations of woman's body in the contemporary clothing. The concrete purposes of this study is as follows. First, this study is to define the concept of natural body and built body by differentiating the parts of body and searching for the sexual symbols accentuated in the western clothing. Second this study aims to review, the histori-cal process of prejudged distinction of sex in the western clothing, and to analyse the con-temporary sociocultural which forced to change this prejudged distinction of sex. Third, on the bases of this analses, this study also aims to present various interpretation on divers aspects of woman's body portrayed in the contemporary clothing. The interpretation of woman's body in the contemporary clothing were as follow. First, it is a body interpreted as a natural and neutral body which is based not so much on prejudged division of sex as on the expression of the body structure. And, it is a decomposed and recomposed body which is based on plastic principles. This body is portrayed by a layer-ing and wrapping which interrogated such traditional symbols of western clothing as collar, sleeve or trousers, skirt, etc. Second, it is a sexually symbolized body. This body is display-ed by exposure or sexual accentuation in the clothing. To conclude, a body interpreted in the contemporary clothing is no more a body accentuated by division of sex, but a body which per-mits indefinite hypotheses and interpretations under synthetic imagination.

• The Research Journal of the Costume Culture
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• v.23 no.6
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• pp.955-971
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• 2015

The purpose of this study is to consider the design characteristics of Chinese traditional clothing, especially from the Ming-Qing Dynasty era, and how they have influenced contemporary fashion. Regarding research methods, this study determined the design characteristics, such as the form, color and pattern of Chinese traditional clothing of the Ming-Qing Dynasty era. In addition, 440 photos were collected from the Paris Collection from 2005 to 2014 using www.firstviewkorea.com. The results of this study are as follows. First, the most popular silhouette from Chinese traditional clothing appearing in contemporary fashion was the H-shaped one, and the internal lines appeared in the following order: Chinese collar; narrow sleeve; symmetrical front opening; round collar; wide sleeve; and the C-shaped Biwa front-end. Second, the most popular color was achromatic black, followed by white. The chromatic colors were in the order of blue, yellow, red, green, and purple. Third, the patterns appeared in the following order: Plant patterns, complex patterns, and animal patterns. The peony pattern appeared the most commonly as a plant pattern, followed by the arabesque pattern and the plum blossom pattern which appeared with a similar proportion. Dragon, bird and phoenix patterns appeared the most for animal patterns. It is considered that the results of this study will be helpful for designing products for Korean fashion brands that will advance to the Chinese market. In addition, it will help Chinese designers apply the Chinese-style design characteristics popular among people throughout the world when they advance to the West.