• 복식
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• 제54권3호
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• pp.43-51
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• 2004

The purpose of this study was to compare ideal clothing and actual clothing behavior between Korean and Japanese college students. 185 Korean students and 91 Japanese students were used into data analysis from October to December. 2000. The age range was 18 to 28 years. The results were as followed. 1) Japanese students wanted to wear fitted clothing styles with revealing the body, while Koreans wanted to wear not only fitted styles but also relaxed and coved body styles. 2) Korean students wore more loose styles and fitted upper styles and pants than Japanese students. On the other hand, Japanese students wore fitted clothing styles and skirt. 3) Japanese students showed higher correlation between ideal clothing styles and actual clothing styles than Koreans. This means that although Koreans want to wear ideal styles, they don't wear those styles much. 4) Overweight students tended to avoid wearing fitted and revealed body styles, pursuing more loose and coved body styles. This tendency showed stronger to Koreans than Japanese students.

• 복식
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• 제54권2호
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• pp.121-133
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• 2004

This study is about japanese national suit. women's standard dress, and mompe, which were used as a means of controlling people's life and simplifying people's clothing during the chinese-japanese war(1937) and the pacific war(1941-1945). National suit was a semi-military uniform for men and it was the western style suit composed of jacket, under shirt, and pants. National suit was not popular during the early war, but it became popular afterward. Women's standard dress had the two kinds of styles : the kimono and the western style. Women's standard dress was not popularly distributed. Instead, many japanese women wore mompe, the active wear of standard dress. Almost all of japanese women wore mompe by the end of war because of its practical use. The effects of national suit, standard dress, and mompe on the rapid westernization of postwar japanese clothing can be summarized as follows. First, national suit and standard dress contributed to the official acceptance of the western clothes as japanese daily clothes. Second, national suit, standard dress, and mompe changed the traditional view of japanese on clothing and caused the rapid westernization of japanese clothing with the high emphasis on the practical and functional use of clothing. Especially, as japanese women wore mompe as the outer garment, mompe affected the view of japanese on women's body and it served as an important stimulus to speed the westernization of japanese women's clothing.

• 한국의류학회지
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• 제19권6호
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• pp.933-945
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• 1995

The purpose of this study is to examine the current foreign languages of clothing terms which have been misused, clarify the meanings and suggest the unified teams. The results are as follows. First, English and Japanese are great parts of the origins of the clothing terms in foreign languges which have been misused. And next, there were French, German, Portuguese and Spanish via English and Japanese. Especially, the misused foreign languages in styles, materials of clothing are also via English and Japanese. The compound words in Japanese are many parts of them and misused Japanese, Japanese via English, French, German, Dutch, Spanish, Poltuguese, and some terms can not be found their origin. (ex: 색채, 컬러, 카라) In case of the colors of clothing, the terms have the English marking rules and the Japanese pronounciation. And some unified terms are Korean, English, and Chinese letters. (ex: 빨강, 레드, 적색) There are lots of the misused foreign lagusges in sewing terms. On each case, the corresponding words in English and Japanese were suggested to understand easily. The most of the unified words were suggested in Korean. (ex: 하찌사시 $\rightarrow$ 하자시; padding stitch, 팔자뜨기) In clothing construction, there were lots of the misused terms in Japanese and the corrupted terms of Japanese. And so the explains and the unified terms were suggested. (ex: 구세토리, 몸새맞춤, 나찌, 가위집 (내기)) Finally, the origins of terms in western history of costume were clarified and analyzed the meanings : $\circled1$robe, $\circled2$ jacket, gipon, pourpoint, doublet, justaucorps, habit, flock(coat), cutaway, swallow tail coat, 배광, lounge suit, $\circled3$ coat Robe is the gown style garment which was used by men and women from the Middle ages, the jacket is a short, coat-like garment and coat is a long outer garment. Each origin is different, however the 'jacket' and the 'coat' were used confusely in the middle of 19th century.

• 복식
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• 제53권6호
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• pp.11-23
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• 2003

Japonese woodblock printing has been accepted with a great curiosity at first, and it has been called as 'Japonisme' or 'Japonaiserie' in which the school of Impressionism accepted the Japanese type of art and developed it in Europe. The term of Japonisme is the concept that does not refer to one style but to the taste for Japanese painting, craft, fashion and the like in Europe proved as the historical phenomenon through Japanese works. That is, it means every Japanese disposition including all artistic techniques and contents relating to Japanese tastes in Europe. Fashion of dress as Japanese expressed in European painting works not only symbolizes the 'modernity' expressive of the aspiration and nostalgia for Japan but presents the Japan of exotic taste as the inquisitive object of sexual interest. And the expressive method of the peculiar the beauty of the body was described in Japanese painting works because of the fashion characteristics that the frontal side of Japanese clothing was presented in a more decorative and formative way than its reverse side due to decorative design and belts. It could be found that this was introduced actively into the painting works of the impressionist school. This study attempts to discuss the expressive style including the pictorial style, technique and theme shown in the accommodating process of Japanese painting in the Impressionistic school and investigate the phenomenon of Japonisme that was conducted in the western Europe. Accordingly, this study attempts to find out that clothing takes an important place as the aesthetic category of one historical point in time by investigating the Japanese clothing of the times shown in impressionist painting works and that clothing forms the stylistic characteristics and formative characteristics of painting. It could be found that dress existed not only as the instrument capable of illustrating the aesthetic attitude or will of the human being as visual identity but as plastic art and became the prime mover for reinterpreting and changing the plastic style of art frontier.

• The International Journal of Costume Culture
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• 제13권2호
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• pp.160-168
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• 2010

This paper examines a particular period in Japanese history. when clothing was systemically changed through government policy. It demonstrates the complex relationships between an Eastern nation and a Western clothing system. It also explores the complexity of roles which clothing plays in society, clothing which brands a nation as masculine, but which resists the discourses of modernity, which were found on native clothing. It demonstrates that native, Japanese clothing has always been developing to meet the needs of its wearers, according to technology, sumptuary laws and prevailing tastes, and therefore that fashion is not any more a product of Europe than it is of the East. It reveals the Japanese fashion system as a complex and multi-dimensional one, about surface design rather than change in shape, bur also being about inner and deep surfaces as well as outer surfaces for public presentation, and thus being a carrier for private as well as public discourses. This examination also demonstrates that whilst fashion may be intimately bound up with the forces of society and also politics, it is also a force which resists outside control, and develops because of the signification with which the embodied wearers endow it.

• 패션비즈니스
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• 제4권1호
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• pp.97-111
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• 2000

The term Japonism was coined in France where the predilection for Japanese art forms was immediately apparent, influencing Impressionism, Symbolism, Post-Impressionism, and later the Art Nouveau movement, all of which reflect aspects of Japanese art adapted to Western style. The 1968 May Revolution in Paris changed traditional thinking and shifted the center of fashion of the 1970's from haute couture to pret-a porter. At about the same time, having recovered from the destruction of war, Japan started to emerge as a leading economic force. The Japanese clothing designers, who were inspired by their own traditions, began to present their collections in the West. Hanae Mori's dresses with Japanese floral motifs were the first to appear. The West was captivated by the colorfully layered clothing of Kenzo Takada inspired by peasant and working class kimonos. And Issey Miyake was acclaimed for his innovative concepts of ‘one piece of cloth'. In the 1980s Rei Kawakubo and Yohji Yamamoto achieved recognition with their deconstructivist and minimalist approaches to fashion. The clothing proposed by these Japanese designers has transcended not only national and sexual boundaries, but also those of accepted materials in which to work. These designs suggest new possibilities and are unrestricted by preconceived ideas of kimono or of Western clothing. The emergence of Japanese designers as a powerful creative force in the late twentieth century has created a new dimension to the term Japonism in fashion. By integrating the clothing traditions of the West and Japan, while at the same time departing from them, a new international genre of clothing has been created.

• 한국의류산업학회지
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• 제3권3호
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• pp.265-270
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• 2001

Korea and Japan, neighboring two nations, have similar cultural background and complicated relations in terms of their culture and constitution. In this study, clothing microclimate and subjective sensation of Korean and Japanese subjects for Hanbok, traditional costumes of Korea, were assessed and investigated differences between them. The results of the study were as follows. For Hanbok, the temperature within clothing at the chest have significant correlations with the variables of race and elapsed time with p<0.001. At the thigh, correlations with elapsed time were significant (p<0.001). For the humidity within clothing at the chest of Hanbok, correlations with variables of race were significant (p<0.001). At the thigh, correlations with race and elapsed time were significant(p<0.001). For Hanbok, Korean group reported 'slightly warm' whereas Japanese group reported 'hot' in the thermal sensation. For the humid sensation, Korean group reported 'neutral' and Japanese group reported 'humid'. For the comfort sensation, Korean group reported 'slightly uncomfortable' and Japanese group reported 'uncomfortable'. Japanese group reported high relation with comfort sensation and humidity of microclimate.

• 한국의류학회지
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• 제29권7호
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• pp.968-977
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• 2005

The purpose of this study was to investigate the purchase behavior and the level of satisfaction for Japanese tourists buying cultural-fashion product in Korea. Subjects were selected through convenient sampling technique in Seoul. A self-administered questionnaire was developed in Japanese by translation and back-translation method. Finally, 288 questionnaire out of 400 were used for data analysis. For the purpose of achieving high value-added fashion products, the 4P marketing strategies targeting Japanese tourists were discussed based on the results.

• 한국의류학회지
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• 제14권1호
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• pp.55-67
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• 1990

This is a review on the longitudinal transformation of the Japanese trousers, which is prepared as a pre-study for the comparative analysis of the forms of Korean and Japanese folk trousers. The special traits of the Japanese trousers are found to be as follows: 1) The Japanese trousers seem to have their root in the Northern-Asian or Schithian culture. 2) While the ancient forms of Japanese trousers, esp., those of the 8C before include the same types as Korean folk trousers, the Medieval and Recent era trousers quite differ and transform themselves into the unique Japanese type. 3) All Japanese trousers can largely be classified into formal and functional trousers. Formal trousers play important role as one of the ceremonial wardrobe and are treated rather as an outermost-wear than as an inner-wear. 4) The formal trousers have skirt-like features with much fullness as are presented in many deep pleats, long crotch lines and long sashes connected to the belt; the femine trousers even omit crotch line. 5) The principal forms of Japanese trousers consist of I, $\wedge,\;\wedge$; the $\lambda$ form of Korean and Chinese type had never existed. 6) Varieties of the composite type of Japanese-Western style appear among the trousers of recent time.

• 복식문화연구
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• 제7권1호
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• pp.27-37
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• 1999

The results of this study are as follows : 1. Though Korean college women have taken unfriendly attitudes and thoughts to Japan, they have enjoyed themselves over the various Japanese cultures. 2. They have thought that Japanese fashion becomes popular in Korea, Japanese clothes are superior to Korean clothes in quality, and they are suitable to express personality. 3. Japanese clothing elements which become popular now in Korea are the clothing style of ‘school girl-look’, ‘Avant-garde’, punk hair style, and the various shapes of shoes, accessories, and make-up.