• Journal of the Korean Society of Costume
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• v.36
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• pp.183-203
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• 1998

The wave of Avant-garde swept away all in the unique social background so called 'October Revolution' and the early 1900 Russian society which was able to absorb and accept anything. The Russian avant-garde has been affected by the Cubism and the Futurism those had peculiarly appeared in the early twentieth century, spreaded out to three spheres: the Suprematism, the Rayonism and the Constructivism. The Russian Constructivism has appeared in this background, concretely and ideally ex-pressed the ideology of the revolution into the artistic form and made an huge influence to the whole Russian society. The Constructivist like Tatlin, naum Gabo, Pevaner, Rodchenko, Stepanova, Popova and Exter gave great effect on the Soviet Constructive fashion design in 1920's after the Revolution. The Soviet costume in 1920s hold in common the characteristicss of the Constructive graphic as it is, geometrical and abstractive form, energetic and motility. In fashion design, these graphic qualities have been showed as the application of geometrical form and architectural image, physical distortion and transformation. And in textile design, the simple, dynamical presentation has been appeared. We can classify the Soviet costume at this time into three occasions. The first term is from late 1910 th mid 1920, and it is altered from folk costume design to modern one. With Lamanova as the first on the list, using the folk mitif, the Constructive expression of simple form has been gradually revealed in design. Designers like Makarova, Pribylskaia and Mukhina produced the plane, simple chemise style with the decoration of the Russian traditional motif. From early to late 1920 is the second term, and it is at the pick of the most active processing of the Constructive design. Not only at the costume in daily life but also at the theatrical costume and textile, the con-structive design has been represented all avail-able fields. Many Constructivists including Stepanova, Popova, Exter and Rodchenko took part in the textile design and costume design so as to evlvo their aesthetic concept. The third term is from late 1920 to early 1930. The socialistic realism has dominated over the whole culture and art, the revolutionary dynamic motif has been presented also in textile design. The formative features of Soviet Constructive fashion design are; silhouette, from, motif, color and fabric. The first, the silhouette : a straight rectangular silhouetted has been expressed through the whole period and a volumed one with distorted human body shape has introduced in the theatrical costume design. The second, the form: many lengthened rectangular forms have been made at beginnings, but to the middle period, geometrical, architectural forms have been more showed and there are energy and movement in design. At the last period, only a partial feature-division has been seen. The third, the motif; no pattern or ethnic motif has been partly used at beginnings, a figure like circle, tri-angle has gradually appeared in textile design. At latter period, a real-existent motif like an airplane has been represented with graphing and simplicity. The fourth, the color ; because of insufficient dyeing, neutral color like black or grey color has been mainly covered, but after middle term, a primary color or pastel tone has been seen, contrast of the fabric; without much development of textile industry after the Revolution, thick and durable fabrics have been the main stream, but as time had going to the last period, fabrics such as linen, cotton, velvet and silk have been varously choesn. At the theatrical costume, new materials like plastics and metals that were able to accentuate the form. The pursuit of popularity, simplicity and functionalism that the basic concept of Constructive fashion is one of the "beauty" which has been searching in modern fashion. And now we can appreciate how innovative and epochal this Soviet Constructive fashion movement was.ement was.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.2
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• pp.139-161
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• 2002

This study investigates the characteristics of Nordic sweaters works from a historical perspective. Specifically, this study deals with the following research topics: 1) development of Nordic sweaters, 2) the characteristics of Nordic sweaters industry according to the change of times, 3) the comparison of local knitting patterns, 4) the symbolic meaning of the designs in the Nordic sweaters and patterns. The results of the study are summarized as follows. 1. Knitted work developed mostly in Northern Europe, a cold area, and the barren, mountainous coastal areas where people frequently used woolen materials for clothes. It was also developed in Scandinavian regions which lead the fashion in modern days. Scandinavian knitting techniques have been diffused into the east coast of England and Northern Europe by Vikings. 2. Scandinavian countries are distinguished from other countries by their conservative but creative cultural tradition. Their knitting patterns are characterized by small geometric figures such as dots, triangles, squares, rhombuses, and crosses used often with stars and roses. Scandinavian knitting is also salient for its vertical stripes and simple motifs repeating at short intervals. 1) Norway ; Simple and geometric Norwegian patterns are classified into three groups of motifs: (a) the motifs of cross, diamond, X, and swastika (equation omitted). (b) the motifs of human figures, animals and birds, (c) floral motifs (especially eight-petal roses). Their use of color is also simple, and is limited to more than two colors. (2) Sweden ; Swedish patterns are colorful and geometric. They are characterized by features such as brocade, complex embroidery, and contrast of red and black colors. They also show Guernsey patterns. Initials and production years were knitted in sweaters which have different patterns in their trunks and sleeves. 3) Denmark ; The Danish pattern is the purl stitch knitted against the stockinette stitch. The technique is used to copy woven damask motifs. The patterns are seen most clearly when they are knit with smooth yarn. The Faeroe sweaters are the representative work of Danish knitting. Faeroe knitting, incorporates stranded pattern and is knit in the round, either with circular needles. 4) Finland ; Finnish patterns are similar to Norwegian patterns. Finnish knitted work show very colorful, variety and free-flowing geometric patterns. 5) Iceland ; Icelandic knitting shows original ribbon pattern. Lope sweater is the representative work. 3. The traditional knitting patterns not only carried symbolic meanings but also served as means of communication. First of all, patterns had incantatory meanings. Patterns were symbolic of one's social standing, too. The colors, motifs and their arrangements were very important features symbolizing one's social position or family line. People often communicated by certain pieces of knitted work or patterns. In short, the knitted work in the Nordic sweaters served the function of admiring the beauty of nature and symbolizing various meanings. The unique designs and colors of the knitted work reflected the characteristics of the culture those works belonged to. This study also turns our attention to the issue of how the traditional colors and designs of the knitted work can contribute to the development of modern designs, and by doing so, if makes us realize the importance of knitted works in modern society.

• International Journal of Costume and Fashion
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• v.11 no.1
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• pp.63-83
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• 2011

This study aims to prove the changes, development and social background of Korean male cosmetics over the period of 2000-2010. There were total 574 articles written about male make-up and cosmetics in Chosun Daily, Joongang Daily and Donga Daily, which are the top three Korean local daily newspapers in terms of sales revenue for that period. These articles were analyzed together with social background research from various books and daily newspapers. The analysis of articles was divided into different categories; such as foundation cosmetics, color cosmetics, hair, and the social background. It was found that the articles related to foundation cosmetics were written the most, the articles related to male appearance management were second, articles on other items including how to manage the skin being the least. As for the social background of Korean male cosmetics, first of all, a change in social recognition can be pointed out. The traditional understanding of gender roles has changed, men's appearance management has started to be regarded as a competitive talent, and at the same time, the esthetic viewpoint for men also has changed. One example is the newly made popular term, "flower-handsome man", which shows the new trend of favoring males with nice skin. Second, the expansion of mass culture can be pointed out. As consumers can get information and fashion trends easier and faster, the fashion spreads fast, and this has led to the generalization and popularization of the sense of beauty. Third, the development of scientific technology and medical science can be pointed out. Thanks to the progress in those areas. the extension of youthfulness has become possible and the cosmetics industry was also affected greatly, as shown in the market spread of functional products for anti-ageing and wrinkle control as the interest in anti-ageing has grown. There are benefits from the development of scientific technology, but the problem of environmental pollution has appeared due to machinery and industrialization and thus the issue of well-being has been raised. Rising interest in naturalism, pro-environmentalism and organic cosmetics has influenced the cosmetics industry. In addition, the quantity of ultraviolet rays exposed to our skin has increased due to the air pollution caused by the destruction of environment, leading to increased usage of sun block lotion. Lastly, the influence of consumer society and the expansion of consumerism culture can be pointed out. In the modern society, consumption acts not only as the use of products and services but it also has an important role of mediating individuals with others and the society. The market for male cosmetics has been expanding and the number of men putting on make-up has been increasing rapidly. Therefore, this study is meaningful in that the analysis of the mode of change and the social background are an essential process in order to provide a direction for the future market for male cosmetics.

• Journal of the Korean Society of Costume
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• v.33
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• pp.117-142
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• 1997

This study is on perfume case that is one of a great number of ornaments which was designed by out ancestors. We had developed the tradition and the history of perfume case bag fan-weight etc. These have the same function as the present perfume. case. There were basket-shaped perfume cases which were the smellest one among the personal girdle ornaments in the silla era. The various patterned perfume case were made of gold metal coral platinum or green jadeite etc. In the single-crop trinkets a embroidered perfume bag with the gold and silver thread whose forms perfectly match their functions appeared during the Yi Dynasty. There was also a perfume bag which was one of the daily necessities. A precious "jul perfume" was carried by noble women. A fan-weight perfume bag was attached to the fan to emphasize the intrinsic beauty of utility and function. It is necessary to know the function of prefume case. As perfume case is weared on the clothes it was given more decorative effects as well as the function of medicinal amulet with a sweet smell. Therefore it is very important for us to study perfume case that has various function as an ornament. So The purpose of this study is to investigate the practical and decorative side of perfume case with the general examines of perfume finding how to practice use through our life. The results were as follows; 1. The first use of perfume is perfume through smoke which is for ceremony of religion It removes human body odor by degrees and spreads a sweet odor. Also the materials for making perfume of early age is aromatic plants which will be used flour-made flowers stems. As the materials for making perfume use is increasing today we can invent alcohol perfume today 2. Our country the custom of perfume-used is wide. Among them men's perfume-used was very special phenomenon. For example men were wearing perfume bag in the Silla era. Because perfume represented wealth and noble in those days. They shew off social position personality through perfume-used. 3. One of early religion ceremony article there was the perfume. And perfume case was means for containing perfume. Gradually the perfume case was used widly as increasing needs of perfume in human life. 4. In the middle period of 'Koryo' Dynasty perfume cases had a close relationship with clothes but after Mongolian has been attacked 'Koryo' there were changes in wearing clothes therefore the position of perfume cases were transfered to coat string that was the origin of decoration style that they began. That is to say the perfume case has been influenced the position of perfume case shapes with changing of fashion. 5. The perfume case has been made manifest various function as an ornament. In the practical side First medical-perfume in perfume case has been played an important role in first-aid medicine in critical condition. Second it was amulet for self protection. That is the shape pattern color materials perfume of the perfume case was represented the amuletive nature. Third it was used as substitute article of perfume. Modern women use liquid-perfume as our ancestors used perfume case bag or jul perfume As started above. Also In the decorative side the perfume case has a beautiful formative arts by itself as well as a close relationship with clothes. That well as a close relationship with clothes. That is when the perfume case is worn on the clothes costume is showed aesthetices. That is the materials shapes color pattern of the perfume case we can see the visual beauty also the materials colors embroidered pattern knots tassel that are used the perfume case are increased the decorative beauty of costume. Sixth the symbol in pattern of the pattern case is shown ancetor's wealth and rank health longevity immortality many-born-boy in those days. Today the perfume case is not used with changing of costume by degrees, Accordingly I hope that the result of this study is an influened in devlopment of the perfume case design with matching the modern fashion.

• Journal of the Korean Society of Costume
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• v.2
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• pp.73-88
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• 1978

This article is an attempt to explain, at least in part, the contemporary Korean women's consciousness of Western Dreasses. As time changes, the role of clothing undergoes varisous transitions, while values and ways of life are constantly in change. It is, therefore, proper and appropriate to recognize as among the major aspects of social psychology such phenomenon as interests, understanding of clothing, the choice of a dress, and attitudes toward clothing, etc. The purpose of this study is to discover problems concerning and their clothing and their solutions, by means of a surveying approach. The method of research used is based upon questionares distributed to parents of first-year pupils in elementary schools and to female clerks working in offices, covering the period from August through October, 1976. The number of the questionares distrubuted totalled 600, and 526 were returned to the research to be utilized for analysis. The contents of the survey included such things as values concerning clothing, kinds of clothing and their practical use, the selection of clothing and the method of purchase, fashions, etc. The classification of aquisition are self-made clothing, clothing made to order and ready-made materials. It is composed of 25 items, including affirmative reasons as well as negative ones. The processing of the material returned was made by using the computer, and based upon classifications such as ages, monthly income, occupations; thus diagraming the result in percentages. The conclusion made and the improvements proposed are as follows: 1. The values of clothing were placed on the expression of the wearer's personality (32.7) and on eauty(28. 6%). The lower age group places is stress upon the expression of personality, while the higher age group stresses beauty. About 50% of wearers are contented with their clothing, their clothing, the rest of whom them indicating their dissatisfaction with what they wear. As to designs at the time of selection, about 46% indicated their preference of personal expression, 31.8% on usefulness. In selecting material, practicality is emphasized; in selecting patterns, single color is preferred. In short, personal expression and esthetic values are primary, with consideration of practicality in mind. 2. The classification of clothing according to their uses indicates the highest numbers in normal wear (home wears) and clothings to be worn outside home. As to evening dresses, (party dress) only one or two articles were checked by many, and no such article was clamed to be possessed by most. The highest ratio of wearing was shown in the case of home wear (47.3%) and clothing to be worn outside the home, which is 55.8%. The budget for one article of clothing was greatest in the case of home wear, and clothing worn outside the home. Many used both kinds of articles for the same purpose. It is desirable, therefore, that the kinds of clothing should be varied according to the purpose for which they are worn, and that clothing appropriate for that purpose should be worn. 3. The motivation for purchasing clothing was highly chosen in the item of seasonal change, which was 55.7%; Clothing deliberately made was indicated by 45.2%. In the mothods of purchasing clothing, clothing made to order and ready-made was indicated by 44.4%, which is the highest; Clothing made to order was 25.4%, and self-sewing was 1.1%, which is the lowest. (1) In the case of self-sewing, "I like it but it is very hard," was checked by 43.6%; "It is so difficult that I cannot wear such clothing" was checked by 13.3%. From these, we can conclude that the questionees are willing to make clothing by themselves, but techniques involved in sewing and at her problems involved in the skill are complicated but when those problems are eliminated there is a possibility for practice. The response checked by questionees concerning the self-sewing was, "It's economical", which is a clear indication that many questionees are positive for self-sewing. It is generally believed that ready-made clothing is cheaper, but it is not necessarily so. In consideration of the quality of clothing, self-sewing is a necessity, and it is desirable that it should be encouraged. (3) Problems involved in ready-made clothing, such as designs, skills, size (fitting) should be eliminated. When these problems are scientifically gotten rid of, it is possible that affirmative returns will be expected. Affirmative responses such as "Ready-made clothing is economical," "You can select there on the spot," are good signs that many women expect to wear ready-made clothing. It is in this sense that the prospect for ready-made clothing is brighter when much development for ready-made clothing is on the way. 4. Much concern for fashion are checked in such item of questions as "Fashionable clothing in the show window," "Clothes worn by women." The first item was checked by 50.1 %, and the second was checked by 48.6%. The reason for following fashion is "Because many people wear them," which was indicated by 30.4%. The reason for not following fashion is "It is too expensive," which was checked by 29.6%. The 26.2% of the answers indicated that "Fashionable clothing is devoid of personality," The influences of fashion over the development of fashion over the development of clothing are two-fold: Esthetic and active. It is not to be deniable that people follow fashion more or less. 1978.9>

• Journal of the Korean Society of Costume
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• v.18
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• pp.373-381
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• 1992

Woman in Choson era had various kind of accdssories like rings, ear ring, ornamentak hairpins and so on. Among them their favorite was the Norigae, the pendent trinket. With the embroidered ornament at its center, beads and knots were attached to the upper and lower part, and it was hung with a tassel. It was carried on the string of the Chogori. norigae oreginated in waist string of Three Countries era(Sills, Paekje and Koguryo) ; had been changed with the development of fashion, embroidery and the influence of Buddhistic culture. The differences between Embroidered Norigae and Norigae are following. If the ornament at its center is made of such jewels as gold, silver, jade and the like, it is called Norigae. But if the ornament at its center is made of the embroidered Norigae. Such a Embroidered Norigae in which perfume was contained, was as a perfume box or a perfume bag and was carried on the strings of Chogori by Danjak(single work). The Differences between ancient Embroidered Norigae of late Choson era and modern Embroidered Norigae are Following; 1) The type of main body-the embroidered ornament at its center was mainly embroidered with the shape of animals in both of ancient Embroidered Norigae was usually formes like a bat and that of modern Embroidered Norigae like butterfly. 2) plants were adapted as the main design of ancient Embroidered Norigae, but plants and animals as that of modern Embroidered Norigae. 3) The colors of the background and the design are usually red in both ancient and modern Embroidered norigae. 4) The tassels of ancient Embroidered Norigae were mode in the shape of srick and a strawberry. but the tassels of modern Embroidered Norigae were mainly made in the shape of a stick. 5) Nowadays the beauty of external form is considered more important while the symbol of main body was considered more important in Choson era. 6) The role of Thidon in the composition of Embroidered Norigae is declined and a lot of main bodies are used in modern Embroidered Norigae. 7) Modern Korean people are apt to choose Embroidered Norigae depending upon the design of main body and the traditional Korean beauty. 8) Modern people who desire to get new thing, try to make the design of main body various. As their cognition of Korean tradition is of the increase, the restoration of ancient Embroidered Norigae to its original form has been accom

• Journal of the Korean Home Economics Association
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• v.8 no.1
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• pp.62-86
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• 1970

A study on the upper garment of Korean women, JUORI The upper garment of Korean women. JUGORI, is an inherited mode from the ancient clothing style in the various aspects based on the particulars of Korean clothes. The ancient style of clothes is originated from KWAMDUI belonging to inhabitants of Northern Territory of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korea. And it is quite different from Chinese clothes in lineage. However, this unicque mode of clothes has been much influnced by the Chinese culture and also by the climate of Korean penynsula. The changes of the pattern of JUGORI, in a word, is a sign of shortening tendency of size. This tendency of JUGORI is remarkably seen in the shortening of length and other parts are decreased in size. The JUGORI in the ancient age was fallen below the weist of woman, which is similar to Robe, and was worn with band. However, the length of the JUGORI has been gradually shortened, and therefore, GORUM took place of the band. The shortening tendency of JUGORI is seemed to be shown its sign in the initial time of its origin, because there are some evidences that the women in Sylla Dynasty, and this tendency has been much expedited during the period of Koryu Dynasty with influences of Monggorian culture (Won Lynasty of China) The oldest sample for data of JUGORI in nowaday is one the remains of Yi Dynasty, and this sample for data provides all the particulars of the modern pattern of JUGORI. The tendency of JUGORI had been continued even in Yi Dynasty, and at the end of the Dynasty, the clothes was shortened that the women felt inconvenient wearing it in the status of the shortened JUGORI which was even hardly cover the initial time of epoch of modernization induced from the Western civilization, and after 1920s and 1930s JUGORI become a larger tendency. This is a sing of revival of practical use and rationalization of JUGORI become a shortening tendency again, and the size is similar with that of early age of Yi Dynasty. Instead of these similarities, the particulars of modern JUGORI is weighing on much emphasis on curve beauty and expression of experior beauty. The reason is that, together with westernization of clothes, JUGORI became a special pattern of clothes as a traditional Korean women wears. The very thing explaining this pattern of JUGORI is the "ARIRANG DRESS". And there are some fashion using button instead of GORUM and half sleeve JUGORI for summer use which is regarded as a part of improved aspect of life in Korea. in Korea.

• Journal of the Korean Society of Costume
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• v.17
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• pp.221-245
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• 1991

The purpose of the study is to search for the existene mode of the modern cosmetology by not only understanding generally but also looking into the fundamental mental base and the aesthetic senses reflected in the literatuers and remans concerned with the traditional Korean cosmetology from anient times to modern times (1910). What are characteritic of in the systemetic study are summarized as follows : Chapter I The purposes and methods are systematized and the scop of study is specified. Chapter II The definition of cosmetology and osmetic indicates that the traditional cosmetology is a sort of whole deoration with costume. Chapter III It can hypothesized that since the Koreans were the northern nomadic tribe, in the beginning the cosmetology might have had a practical usage to protect themselves from the cold weather, and then gradually become to have a decoration meaning, and finally, with the development of various social culture, undergone the transition reflecting some characteristic of each era. Chapter IV While the female cosmetology had been much likely to accomodate the spirit of the times under the male, most of the male cosmetology had been done as a means to exhibit his social position, the tendency which had been prominent in the Yi dynasty. Chapter V Sinece beauty kits which were made of raw materials had been selg-supplying only to meet the small demand, their size were relatively small and had been given a menaing of a luchy omen or exorcism. Chapter VI Buddhism introduced bathing and incense, Confucianistic view of womanhood differentiated the cosmetology between Kissang and daughters of respectable citizens, and thin make-up was recomended. In addition, there many thoughts to have influence on the traditional cosmetology culture : body-and-soul unity, exorcism, naturalism, and short-lived beauty. Chapter VII Since the on-going movement of makeing use of the traditional cosmetic materials in order to apply to modern cosmetic may be a king of counter-vertical cultural phenomena to incorporate our own tradition with the modern cosmetology culture efficiently, the hope is that the findings of the study may contribute to the said efforts. In short, the study on the traditional cosmetology culture may be heloful in Looking into the existence of the modern cosmetology through its clarification of the nature of the traditional cosmetology culture.

• Journal of Digital Convergence
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• v.11 no.9
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• pp.279-287
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• 2013

This study has attempted to investigate the effect of the stress of college life and self-efficacy on depression against 366 students from beauty-related colleges. First, according to analysis on the stress of college life, self-efficacy and depression levels, the stress of college life was an intermediate level or lower (M=2.40). Among subordinate factors, 'academic performance' was the highest, followed by 'future career' and 'economic difficulties' in terms of a stress level. The self-efficacy was more than an intermediate level (M=3.21). Among subordinate factors, 'self-regulation' was the highest while 'difficult assignment' was the lowest in terms of a stress level. Second, the stress of college life showed a negative correlation with self-efficacy but positive correlation with depression. In addition, a negative correlation was observed between self-efficacy and depression. Third, in the stress of college life, 'academic performance' and 'values' had a positive effect. In self-efficacy, 'academic performance' and 'values' revealed a positive effect while 'confidence' and 'self-regulation' had a negative effect on depression.

• Journal of the Korean Applied Science and Technology
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• v.39 no.3
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• pp.471-478
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• 2022

This study attempted to find out the improvement effect the improvement effect of Babassu oil on damaged hair by damaged hair by applying a hair-improving formulation with Babassu oil to damaged hair after manufacturing. As the experimental raw material, the contents of babassu oil were changed to 0 g, 3 g 6 g, and 9 g and added to the perm base agent. The prepared formulation was applied to 8 levels of bleached sample hair. Each sample and damaged hair were measured and compared and analyzed. As for the measurement method, tensile strength, absorbance using methylene blue, and gloss were measured to know the effect of improving damage hair Statistical analysis was conducted for the reliability of the research results. As a result of the research, it was found that the tensile strength was higher than that of the damaged hair in all samples applied by adding babassu oil. As a result of absorbance analysis using methylene blue, it was found that absorbance was decreased in all samples compared to damaged hair. As a result of the gloss measurement, it was found that the gloss was increased in all samples compared to the damaged hair. In conclusion, it was found that babassu oil had an improvement effect on damaged hair.