• The Research Journal of the Costume Culture
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• v.1 no.1
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• pp.33-68
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• 1993

The purpose of this paper is to survey the influence of the culture change on the dress and personal adornments, and to survey the change of factors from the August 15. 1945 to 1960, in connection with the social and cultural background, applying B. Malinowski′s "Theory of Culture Change" which means an acculturation is the change′s elements of the dress and its ornaments. It is remarkable that the dress and personal adornments of Korean women after August 15, 1945 has great change from the traditional dress of the thousands years. Through the Liveration on August 15, 1945, American military government and the establishment of the Korean government, American democracy has brought many changes on Korean society. Advancement of education, an society with developed economic life, and introduction of scientific skill have influenced on the women′s way of thinking and a style of behavior and the view of value. The acculturation, the supply of mass communication, introduction of new institution and the reorganization of the old institution, the change of the economic situation, the change of the educational system, the change of the point of value, the development of scientific skill have greatly influenced on the dress and personal adornments. Modern dress and personal adornments of Korean women has the following developing procedure. The Liberation from Japan on the 15th, of August, 1945, the stationing of American Soldiers during hte Koran War, returning of the oversea′s brethern, and the mass communication have the direct and indirect contact with western civilization, and bring the occasion of development of the modern dress of Korean women. The increase of mass communication, such as radio, TV, newspaper, magazines and the frequent fashion shows showed fine design and practical western style dress to the women. This was the real beginning of the western style dress in Korea. By the increase of employment and the improvement of the economic situation, the consumption of clothing and the adornments was increased, so that a wide variety of fashions was set, and numerous kind and form of dress came in. As the increase of the number of women students, their practical and free dress life demanded western style dress. After the Liberation from Japan, the open-door policy of sex, public morals and traditional ethics became lax, and in this disordered society, indecent expose of the body was common. By the different kind of technological development, the form, fabrics, colors and patterns in clothes were much influenced and the hair style, make up, shoes and adornments were much influenced too. As shown above, the change of the dress has the same connection with that of society and culture. This shows that the dress and personal adornments represent clearly the cultural phenomenon of the society and cultural change of the society.

• Journal of the Korean Society of Costume
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• v.61 no.1
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• pp.94-108
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• 2011

The goal of this dissertation is to analyze various Romantic styles appearing in modem fashion based upon the 'Difference' theory developed by Michel Foucault. The characteristics that represent 'difference' in change of dress style are absence and resemblance. They are derived from the Foucault's interpretations of 'difference' represented in the paintings by Vel$\acute{a}$zquez and Magritte. The formative characteristics of the Romantic style dress in the 19th century are suppression of body, fixed form, volume, and ornamentation. And the aesthetic values of that are subordination, sensuality, and maternity. The formative characteristics of the Romantic style that have appeared since 1980s is analyzed according to absence and resemblance. The results are as follows: first, absence in fashion means that body is more emphasized than dress represented by omitting part or the entire of dress or using the transparent materials. In modem fashion, absence also frees the body from dress and creates ambiguity of boundaries between body and dress. Another characteristic of the absence is lessening the volume, which means the size of dress remains still big but the weight is lightened. Second, resemblance means the formative similarities between the Romantic style of the $19^{th}$ century's and that of modem fashion created through using modem technology and materials. The characteristics of the resemblance are the fixed form, lessening of volume of the dress and ornamentation. Feminine beauty inherent in the original, such as subordination, sensuality, and maternity, looses its symbolic meaning and what is created is a new combination of images and signifiant that contain no or uncertain meanings. Thus totally new and different Romantic style is created. The Romantic style in modem fashion changed into the appropriate style to the modem society under various conditions such as designer's will, postmodernism, changes of femininity and technology.

• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.706-718
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• 2014

Ideology which symbolizes the belief system about the order of human society represents itself in a concrete form through dress which reflects material and conceptual world. In the early 1960s Korea, where a civil revolution and a military coup took place, good examples of dress representing ideology could be found. This study investigates the dress representing ideology of the period, and examines its manifestation and aspect of transition. Literature survey and case study were conducted. The following results were obtained: First, dress representing ideology was symbolically verifying its differences and was changing with the course of time. There were the flow going down from the government, and the flow going up from the movement of the civilian. Through this process, design elements of ideological dress were combined in a dialectic way to form a new representational dress such as Jaegunbok. Second, costly and luxurious clothes meant a tool to rule over people, and the opposition was uniform meaning equality. In 1960 Korea, black waves of school uniforms appeared to lead the social change. A year later, the military government seized power in a 5.16 coup and it enforced uniform upon every people to achieve equal austerity and modernized spirit. Lastly, cotton, which was originated from Gandhi's movement in India, was symbolizing nationalism till the early 1960s in Korea meaning the funding own development with own resources.

• Journal of Korea Technical Association of The Pulp and Paper Industry
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• v.35 no.4
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• pp.75-80
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• 2003

The purpose of this study was to design wedding dress by using Korean paper(Hanji). The Korean paper showed the good(excellent) properties of durability, softness, and tensile strength was 3.7Kg, tear index was 6 mN$.$$m_2$/g and folding numbers was 466. The appreance of Hanji was widely varied by blending(mixing) with other materials and various effects, pleating, crumpling, twisting and so on were achieved. The dress silhouette and form transformation of Hanji was very easy. Detailed points those are frill, pleats, gather, bow, paper casting, pin tuck for wedding dress were able to express easily. Hanji wedding dress has the natural texture because of natural properties of Hanji and that is echo friendly products.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.1
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• pp.167-182
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• 2015

This study was to investigate the preference tendency by detail and material preference of summer one-piece dresses for the children, and evaluation standard of children's wear in purchasing one-piece dresses as an object of mothers who have girls as buying representatives of children's wear in order to supply real information of design about the one-piece dresses for the girls in accordance with the consumers' demands. The results of this study revealed that the one-piece dress was favorite one to them in purchasing their summer wear. This study showed tendency that the more the mother's fashion interest was, the more the mother's preference on the one-piece dress was. As to the material preference of one-piece dress, it preferred the natural fiber to the synthetic fiber much, and the preferred customer order in purchasing one-piece dresses for their children was analyzed as activity, material, design collar, and pattern. As to the preference by form factor of one-piece dress, it preferred A-line silhouette in the silhouette, natural waist in the waist position, 5~7cm from the knee in the length of one-piece dress, and flared skirt in shape of skirt. The preference on the collar type was soutien collar, and the preference on the neckline type was round neckline. In addition, the preference on sleeve form was shirtsleeve, and the preference on trimming was lace trimming.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.55-62
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• 2004

The ceremonies were roughly categorized into four： coming of age, marriage, funeral and ancestral worship. Among them, the funeral was a representative example to show ancestral worship. As it symbolizes the worship to ancestors, its procedure was complicated and formalized. It was undoubtedly certain that formalized mourning dresses and complicated table setting for sacrificial services to ancestors were burdens. Although what was symbolized by mourning dresses was different depending on the wearers purposes, it was thought that no clothing had such unusual symbolism as mourning dress. When the composition of mourning dress was examined, it was shown that Taoism, family relation of Confucianism or symbolic clothing system of Shamanism were combined. Mourning dress first represented the Confucian idea of ancestral worship. For the composition of clothing in which a shamanistic element was inherent, forms of birds were used to guide the dead soul to the other world. In cutting out mourning dress, opposite concepts of Yin and Yang, and closure and openness were used to show a harmony between heaven and the earth. Male and female were represented through sewing techniques. The period of observing the mourning period depended on the degree of kinship. The degree to which the clothing was loose indicated the degree of sadness and kinship. Load blocks and tear pads indicated the degree of sadness. In considering the above indicators, family relation and filial piety to ancestors had a great effect on the form and details of mourning dress. Shamanistic elements as well as Confucian ones were inherent in mourning dress, which resulted in the combination of Taoism and Confucianism.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.5-24
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• 2001

This paper is intended to explore femininity the ideal beauty of body and the features in fashion pursued in the Fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and the ideal beauty of body are referred to. On the part Ⅱ of this paper, the femininity and the ideal beauty of body implied in the Aesthetic Movement and Rational Dress Movement as the anti-fashion movement in the Victorian period will be reviewed. Following are the conclusion : First, the works in Aesthetic Movement mainly include the image of sensual female. The essence of femininity is categorized by cultural value, poetic spirit. appetite for sex and self-expression. The ideal beauty of body pursued in this movement is the beauty of immatured body, which means rejection of maternity as well as appetite for sex in the form of metaphor of the power and enthusiasm of female. The features of Aesthetic Movement emphasize the image of sensual and characteristic woman. These features are expressed in the natural waist line and the vertical H silhouette of high waist, natural exposure of body by means of drapery, simplicity and decency by design without fixed forms and seemingly faded colors. Second, Rational Dress Movement attempted to evaluate the femininity in a different way and ultimately pursued masculinity. Therefore, morality, liberty, intelligence, spirituality, self-control, willingness, which had been believed to exclusively belong to male, are added to the categories of femininity. The ideal beauty of body is expressed in the form of Venus Coelestic which is refined and strong. This symbolizes woman's freeing from the fate of reproduction and subordinate relationship with male, morality, decision of one's own and willingness. The features of Rational Dress Movement represent the image of strong-willed and moral woman in its internal meaning. The features of its fashions represent the concealment of the body, emphasis on activeness in pants without decoration and simplicity in its external form. All these features resulted from the pursuit of masculinity.

• Journal of the Korean Society of Fashion and Beauty
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• v.6 no.2
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• pp.97-103
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• 2008

This research thesis is designed to put Korean traditional and unique wedding dress with a greater significance and value than any other dress into application right for the global and contemporary trend, as part of a bid to show Korean traditional beauty. To do it, this thesis has attempted to add the traditional beauty to Korean inherent wedding dress and contemporary wedding dress, with the use of various traditional beauty elements, such as the line firm, materials and color based on the research on wedding dress, such as, 'Wonsam' or 'Unlined Jacket, and 'Long-sleeve Red Silk Jacket', and 'Dangeu' or 'Court Suit' that women wore in the Joseon Dynasty. To recreate Korean traditional beauty of line this research thesis has firstly put into the application the sleeve of 'Wonsam' or 'Unlined Jacket' and the form of a large section of 'Wonsam' of 'Unlined Jacket', and 'Doreyon Line' or 'Trimming Line' of 'Dangeu' or 'Court Suit' as wedding dress that women wore in the Joseon Dynasty. Secondly, this thesis has applied lotus and peony patterns out of traditional ones inlaid with 'Long-Sleeve Silk Jacket' into the contemporary wedding dress to develop a creative and special design. Thirdly, regarding the expressive pattern technique, this thesis has designed the repetitive rhythmical pattern with the use of beading technique and embroidery technique, which makes needle work picture and pattern in fabric. Lastly, it can demonstrate the original and distinct Korean style in application of western wedding dress into traditional and contemporary dress, by devising two collections of dress art pieces.

• Fashion & Textile Research Journal
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• v.8 no.3
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• pp.317-325
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• 2006

The purposes of this study are to examine clothing businesses which are using dress forms and grasp the problems in apparel manufacturing process, to verify the size and shape of the dress forms for uniformity, to ascertain the uniformity between the dress forms being sold today and the somatotype of the target consumers. The following results were obtained. First, most of the clothing businesses used the existing dress forms in the company. The dress forms didn't reflect the somatotype of the current consumers. And the users satisfaction was below the average. Second, the size and shape of the dress forms being sold today had lack of uniformity between themselves. Third, the dress forms didn't reflect the shape characteristics as well as the size of the target consumers. Consequently, The dress forms need to have the following. First, It is necessary that the dress forms have various functions in a dress form in the future. Second, to get high satisfaction of clothing fit, we need to build up the data base of the consumers somatotype. The data base have to consist of not only circumference but also width, thickness, angle of the current consumers. Last, the further studies of the dress forms need to meet the clothing businesses demand.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.27-32
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• 2002

This study attempted to make a comparative analysis of dress and architecture to investigate the spatial effect of transparency expressed in fashion. As a result, the following findings were obtained: First, the openness of the space. It means that the human body or the dress inside it can be seen through or the inside space is opened. The volume, form and color of the undergarment seen through this transparent outer garment brings about any change to design. Also, it can be found that the role of the space is further extended as the inside space is seen through outwardly due to the outer garment. Second, interpenetration of the internal and external space. That the human body and the undergarment are seen through due to transparent dress brings about the linkage between spaces and opens the inside outwardly. Third, the briskness of the space. The trait of transparency that exposes the object behind outwardly as it is causes its form and space to be activated and conveys its spatial briskness.