• Journal of the Korean Society of Costume
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• v.37
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• pp.71-88
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• 1998

This study will analyze the aesthetic qual-ities revealed in the work of Vivienne Wes-twood in order to gain an understanding of the development process and uniqueness of modern avant-garde fashion. Westwood gained worldwide recognition in the 1970s as the Punk movement emerged in London. Although her works have often been described as decadent and anti-establishment, her anarchic view of fashion has had a considerable influence on other designers, both in England and around the world. Vivienne Westwood's works can be divided into three periods. In the first period(1971∼78). Westwood design demonstrated elements which were variations of the subcultural Punk style. The noteworthy designs of this period included ripped T-shirts, bondage clothes, and fetishist accoutrements. In the second period(1979∼83), her designs expressed elements from ethnic and primitive tribal societies through the 'Pirate', 'Savages', 'Buffalo Girls', 'Witches' collections, which inspired New Romanticism movement. In the third period (1985∼ ), through works such as 'Mini-Crini'collection, her works identified elements from the old west and used materials such as crinoline and Harris tweed and contemporized them by rearranging the innovative technique. In the end the news synthesis helped formulate new ideas. The aesthetic qualities in Vivienne Wes-twood's works can bed identified with the following themes : Punkature, Erotic Intelligent-sia, Anarchic Collage. First, within Punkature, Westwood's ideas are at the forefront as her impact on the cut of clothes and creative detailing have been considerable. Also, while her ideas can be extreme, her clothes are wear-able, resulting in the synthesis of Punk and couture. Second, as Erotic Intelligentsia, Vivienne Westwood does not present sexuality as a straight forward attribute that fashion so often tends to do, but instead as a matter for inquiry, exploration and debate. She asserts that sexuality is always an interplay between the polarities of masculine and feminine, of dress and undress. Third, as Anarchic Collage, she has taken, juxtaposed, and transformed objects and symbols from dominant culture, like every modern subversive movement from Dada to Punk. She has continued this form of anarchic collage, mixing styles from various times and places, taking them out of their traditional context. From thiss viewpoint, Vivienne Westwood's works can be considered to be made up of past themes merged with is contemporary. The usage of contrasting elements such as Punk and couture to communicate her ideas visually or technically.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.79-95
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• 2003

The purpose of this study is firstly to survey the social and cultural background of 20th century and women´s status, and to identify what the ideal body is like and what the elements of outer garment and underwear are and the techniques to incarnate the ideal beauty. Various papers are referenced for theoretical study and the elements and techniques of underwear are analyzed based on photographical materials. This paper concludes as follows. In 1960´s, ideal beauty was small bust, long legs, which showed extremely slim Mini-skirt look. Thinly or no padded brassiere were worn for small bust, and pants-style short panty girdles were popular as they used to wear pants frequently. Lycra replaced all the closures, bones, seams and gave freedom with light weight. In 1970´s, a natural human body without sex specific was in vogue. Therefore, the non-structural knits without a pad or lining or the shirts dress were widespread for a Natural look and the naturally molded brassiere or girdles were worn as the underwears. In 1980´s, the women with powerful muscle appear which emphasized liveliness and healthfulness. The body conscious represented by wide shoulder, plump breast, accented waist, small hips, and long legs has been embodied. Outer garments emphasized women power and healthy beauty with Power suit and Form-fitting style, and underwears made the breast plump with padded brassiere and emphasized waist and hips with waspie. In 1990´s, ideal beauty was slim body with big bust and the outer garments emphasized body line of women with Hourglass silhouette. Push-up bra which emphasizes the valley of breast and supports the breast upward and the control tights for slim waist, flat abdomen, small hips, and long and slim legs have been useful as underwears. Multi-functional micro-fiber has been ideal for sculpting women body.

• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.125-140
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• 2000

The major findings of basic women wear in genre painting were ; 1. Due to the influence of Shill-Hak (practical science) philosophy, Jeogori became shorter and a tighter fit came to be the norm. 2,. The shortening of the Jeogori influenced a longer Chima with a wider span providing comfort in movement or at work. The end of the skirt was often held by one hand to the waist adding to comfort. This was called the Go-dul-chima(Lifted Chima). 3. Because the Geo-dul-chima exposed a portion of one underwear at the bottom of the dress this influenced the "irnamentation' of underpants and underskits. 4. Collars or lapels came in the form of Dang-ko, Kal, Mok-pan and Ban-Mokpan. Among there Dang-ko style collars were the most common which allows us to conclude that this was the most popular. 5. The most commonly used colors for Jeogori were white (39.8%) and jade(18.3%) . The most commonly used colors for CHima were deep blue(34.4%) and jade(20.4%) . The lower Chima used the darkercolors to give stability to the overall costume. 6. Clothing had the function of differentiating the classes. Only the Yang-ban were allowed to wear the Samhijang Jeogori and the Gob-Chima(double layered Chima) and the knotting of the Chima to the left. But the painting show that these rules were not adhered to in the strictest manner. With the bases of these types of chima and Jeogori can look at the characteristical beauty of the ordinary women during the late Cho-sun dynasty. First is the beauty which comes from mystery of those parts of body which can not be seen. A sense of subtle and sensual beauty as well as that coming from the enlargement of reduction of the upper body, narrow waist and abundant lower body parts creating an ideal silhouette of sexual charm. An expression of emotion through clothing by those who lived during those times.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.3
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• pp.483-503
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• 1995

The purpose of this study was to clarify the origin which have misused terms, analyze Its meanings and suggest the unified terms. The content of this study are as follows. The origin of the terms in western dress is different with the areas of cultural influence. Japanese occupied much more than other languages in the apparel industry after the civilization. and English has dominated in the educational filed since 1945 the Liberalization. French, German, Portuguese, Spanish, Dutch are added. These languages came to the clothing field via Japanese and English or directly from the countries. 망토(manteau프), 메리야스(medias스), 러닝셔츠(일) 라사(raxa네), 오트 쿠튀르(Haute Couture 프), 비로드(veludo 포), etc. However the words of foreign origin have misused or corrupted until now a days. 마이 (재킷, 상의), 노 슬립, 소데나시 (슬리브리스, 민소매) 넌라쟈(브래지어), 노타이, 노타이샤쓰(오픈칼라 셔츠, 넥타이를 매지 않은 셔츠) 와이샤쓰(드레스 ttu츠), etc. And also these terms are confused in using because of the word's diversity, the different nationality, change of the marking rules, and the difference between the education and production field terms. On the others hand, this study explained the differences between western costume and Korean costume as the clothing manufacture terms were translated to Korean. bodice-길, collar, neckline-깃, belt, sash-(허리)띠 And then the untied terms were suggested through the comparison production field and educational area (including schools and institutes). lapel, 라펠(학교용어) (학원용어), 가에리 (일) (의류산업 현장용어), 아랫깃(통일어) By the way, this study involved the origin of and misused teams in sewing and presented the unified terms. 미까시 (X)-미 카에시(일) - 안단($\bigcirc$), 이새(X)―홈줄임 ($\bigcirc$) As the above , the characteristics of clothing terms which have misused are Japans,;e, corrupt Japanese, false reports foreign words via Korean, Japanese, compound words of Korean and Japanese, compound words of English and Japanese. And also the words of foreign origin in clothing had the following tendency in the marking system. There are ellipsis of form, sex, timber, grammatical case '-ing', '-ed' in adjective and long vowels express to short vowels. We can see this phenomena as the rule of curtailment labor.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.

• Fashion & Textile Research Journal
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• v.6 no.3
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• pp.297-306
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• 2004

Mehndi, becoming a kind of body fashion in western advanced countries nowadays, is a exquisite, classical fashion form sublimated to traditional faith, medicine and designing art. As one of the cultural arts, especially transmitted by women, a individual tradition of the way how to do the mehndi and the design has been handed down from one culture to another over a thousand of years and it is extensively using in many area, all around world today. Mehndi was used as preparing for special events or celebrations in India, Africa, Central Asia in order to pray for happiness, good luck and calm hart 5000 years ago. Especially, it is concerned with romantic love or a wedding and takes important part of a traditional wedding reception and bride adorning in the culture of Hindu or Islam. In addition to adorning skin, mehndi has various symbols, meaning, function, that is, as a speechless language, in several cultures, it has common meaning such as attraction, protection, celebration. The design of mehndi has been in harmony with the figure, colors, skin types of the dress or the ornament. According to the region, religion, design, mehndi is divided into the design of India and Morocco mostly. Indian design mainly shows flowers and paisley pattern, people widely recognize this design to celebrate and adorn bride in wedding ceremony, still apply mehndi the present time. Moroccan mehndi design, representing North Africa, characterized a bold geometrical figure which stands for belief in living under the protection from supernatural power. Through the understanding of these various meaning, function, symbolism of the design, adorning their body, the current general public use mehndi as not only aesthetic means but also another self expression.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.677-684
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• 2016

This study was done for the proposal for improvement for junior sportswear which is substitutable as uniforms in the form of elementary school and physical education uniforms by analyzing detailed features through investigation. Accordingly, we developed a prototype design for physical education uniforms as a symbol of the school to enhance the aesthetic and functional satisfaction. The results are as follows. When we developed physical education uniforms, we put activity on our first priority while taking the improvement in both aesthetic and functional aspects into consideration. In addition, we tried to make sure the uniforms reflect the refined and trendy elements to meet students needs to satisfy their aesthetic sense in dress. Reflecting the improvement proposals and preferences of the students, six different prototype designs were developed and evaluated on the basis of two concepts of "new basic" and "trendy". The highest ranking, the physical education uniforms design 1 is based on new basic concept and characterized with slim fit considering activity which will be worn as fall/winter physical education uniforms. Design 1 uses ottoman functional knit as a fabric material which is not only students favorite but also good in both flexibility and warmth. Top with style of high-neckline collar and full open zip-up is simplified with the incision lines and detail. It is a set-in sleeve design in which blue and yellow collars signifying school color are properly placed along with the incision lines in harmony.

• Fashion & Textile Research Journal
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• v.15 no.2
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• pp.173-181
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• 2013

This research analyzed the expression trend about the slit which composes the open space by the visual concept and then introduced the imbedded aesthetic value in it. Based on it, this work aims at showing the evidence on the slit as a utilizing tool for various design applications and providing the basic materials in order to develop the creative design production in the fashion area in the future. Specifically, for the theoretical background in this research, the concept of slit and its chronological changes were reviewed through literature. For the empirical analysis on the slit, a total of 226 designs with its application were analyzed from collection pieces in the four major collections including Paris, Milan, New York, and London from 2006S/S to 2012S/S. As a result of analysis, types of slit appeared as a slash, opening, slit, or a mix of them. These were applied to many different items of clothing, and among which, one-piece or dress was adopted most for application. In regard to space form, perpendicularity was used most frequently. But other various forms like cross and geometrical pattern were also used as well as curve, oblique line and horizontality. As to the arrangement of slit, single type was most frequently used. However, in addition to it, other types were also applied, producing both the functionality and the decorative detail such as bilateral symmetry, free irregularity, and a combination of regular and repeated layout which makes an effect of single pattern. Aesthetic values imbedded in slit were revealed as functionality, sensuality, spatiality, and decorativeness.

• Fashion & Textile Research Journal
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• v.19 no.4
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• pp.400-410
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• 2017

Bactria was the intersection of transportation between Greece-Iran and Central Asia at the Silk Road. This kingdom was Greek in all of its ruling classes. Because the Greek culture of Bactria spread to India and the east, Bactria was a very important place in ancient civilizations. The purpose of this study is to understand the life and the various cultures of Bactria and the influence of Greek culture on the costumes of Bactria. The research method was approached through the analysis of the empirical data. Data on antiquities were analyzed in European exhibition catalogs and secondary data collected from Internet. The results of this study are as follows: First, the original costume of Bactria was identified in two styles in the reliefs of the Persian Achaemenid. One is the tunic jacket sarapis that goes down to the knee and wide trousers with half-length boots. The other is the Scythian style trousers that looks like a barrel in a Sarapis. Second, in the Bactrian coin depicting the bust of the Bactrians, the hair styles and headgear of the Bactrian kings were analyzed. The Bactrians wore braids with short curly hair and wore Macedonian hats and helmets on them. Third, the relics excavated from the ruins of Ai-Khanuom depicted the forms of the ruling classes of Bactria. The dress styles and hair styles of gods and priests were imitating the form of the Greek costume as it is.

• Korean Journal of Human Ecology
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• v.17 no.6
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• pp.1205-1213
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• 2008

Material is a factor for maximizing formative aspect among fashion design factors. Therefore, central axis of modern fashion is performing various trials for escaping from existing cloth and searching for artistic value. Especially, Korean paper is a formative material, which is manufactured through traditional manual work in Korea. The material is used in various fields on the basis of its aesthetic feature. Especially, fashion field performs handcraft activity on the basis of mulberry pulp, which is a prime material of Korean paper. Because the activity can be reinterpreted by world designers, who want to find motive of fashion material in the third world, it is necessary to perform experimental study for developing expressive form on the basis of diversity of Korean paper material. Therefore, the purpose of this study is to perform experimental study by focusing on the development of Korean paper material in order to express formative feature. The study purposes are as follows. The first purpose is to reinterprete the theory through actual work of fiber formation using Korean paper in the current flow where art and design field are fused and compromised. The second purpose is to suggest vision of material development on the basis of formative feature to fashion world focusing its eyesight to Asia and the third countries. The study results are as follows. First, Korean paper has been evaluated as proper material for the fusion of design and art because of its handicraft feature, long-term preservation, heat insulation, absorption, diversity and eastern feature. Second, the study performed various trials for artistic dress material by developing 12 Korean paper works and suggested the development of new material on the basis of formative feature of modem fashion industry.