• Journal of the Korean Society of Costume
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• v.50
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• pp.161-182
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• 2000

The results of this study were as follows: The quit has been used for warmth supporting materials protection religious uses decoration and giving stability of shapes. Quilt is developed from monk's robe of lags and the word 'nubi' is originated form 'nabeui' in both Korean and Japan. Korean quilt was used mainly for warmth: Japanese one was used for warmth and supporting materials. The techniques used for traditional Korean quit were parallel vertical hand stitches. On the other hand Japanese traditional quilt uses various motifs of sashiko which is similar to embroidery and named by region. Korean quilt can be divided into three types by the stitch intervals: Fin quit(Jan unbi) Medium quilt(Jung nubi) and Wide quilt(Demun nubi). Japanese quilt has been developed in east-north region and can be grouped into sashiko kogin and hishizashi by motifs of quit. Korean quilt costumes are stuffed with cotton between the outer fabrics and linings and stitched vertically on the fabrics Main fabrics used were silk and cotton. Japanese quilt costume uses cotton yarns for stitching on flax or cotton fabrics used were silk and cotton. fabrics and main uses of the quilot costumes were sorking clothes of working classes. Both Korean and Japanese quilt costumes contain of family's health happiness and longevity. In summary Korean quilts use two layers of fabrics and stuff them with cotton and stitch parallel vertical i\lines to provide warmth Japanese quilt are sashiko which is stitches of strand in various shapes using cotton yarns. differ by region and are made for warmth and supporting materials.

• Journal of Fashion Business
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• v.8 no.6
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• pp.57-67
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• 2004

The forms of man's costumes in Byzantine Empire were changed according to each composition of costumes. Those forms of costumes had common features of each period when costumes were included. At the same time, however, the fact that differences existed in accordance with a social position including gender, class, occupation, etc. even though in same period were showed. Analytic elements of man's costumes in Byzantine Empire were selected by important factors. This showed the meanings of position and class in that time. The kinds of analytic elements in man's outwear were various but the forms of costumes were not developed because christianity influenced the forms of clothing in the Middle Ages. As the result of synthesis, the main factor of man's costumes was a tunic in Byzantine Empire of the Middle Ages The phases of the times were reflected on the structure of man's costumes in Byzantine Empire. In particular, religious feature was emphasized, and analytic elements of costumes having meanings showed the features of the society at the Middle Ages. For example, a central analytic element of man's costume, an outer garment was a tunic style of H-silhouette that hid the body line. This was influenced by the phases of the times. Namely, the costume stands as a symbol of the times, and also is a cultural sign that reflects phases like politics, economy, religion.

• The Research Journal of the Costume Culture
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• v.30 no.1
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• pp.145-160
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• 2022

This study analyzes the influence of the social and cultural background of Art Nouveau on the costumes, architecture, and crafts in the period drama 'Crimson Peak'. This research method captures images of women's costumes, architecture, and crafts in the 'Crimson Peak' and selects and analyzes those with a clear Art Nouveau influence. Edith's costumes are characterized by the Art Nouveau style that emerged in the 1890s, with an hourglass silhouette, pastel colors, soft materials, and organic curved embellishments. Lucille's costumes show characteristics that were prevalent before the 1890s, using bustles, strong colors, and elaborate ornamentation. The architecture is characterized by gothic vertical lines and organic curves, naturalistic patterns featuring animals and plants, and steel and glass materials. The crafts of 'Crimson Peak' are characterized by flexible shapes with strong, organic curves. These costumes, architecture, and crafts share formal elements including waving, twisting, and organic curves and plant-shaped motifs. The influence of social and cultural background of the age of Art Nouveau expressed in movies on formative arts was examined as impressionism appeared in costumes made of pastel colors, thin and see-through materials, medieval Gothic historicism expressed in structures composed of vertical design and religious relief ornament, exoticism appeared in Chinese vase and Japanese-patterned tea sets, naturalism with an animal·plant motif and phenomenon of active social activities of progressive women through women's clothing that elements of men's costume are introduced. This study will provide data for the production of period dramas set at the end of the 19th century.

• 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.66 no.6
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• pp.67-78
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• 2016

Research on ancient Indonesian 'sacred cloths' is essential since it shows a different perspective into Indonesian identity. Based on its function, the 'sacred cloths' are either made as a medium for religious ceremonies or as a medium for the living and the dead. The consuetude of preparing and creating the 'sacred cloths' are done to achieve the finest 'sacred cloths' worthy to be presented to God. The research aims to analyze the characteristics of ancient Indonesian textiles and to focus on the 'sacred cloths.' The research is divided into two parts, and this paper is the first part. The paper analyzes the characteristics of ancient Indonesian textiles by focusing on the period, religion, region, and color of the 'sacred cloths.' The subsequent research analyzes the characteristics of ancient Indonesian textiles by focusing on the techniques and the patterns of the 'sacred cloths.' In this first part of the main research, the analysis reveals that animism developed in various ways in Indonesia from 500 BC to AD 1800. It was also as kingdoms of Buddhist, Hinduism, and Islam. The changes of religion may differ according to its region. Indonesian regions are divided into six big regions that produce textiles. These islands are Sumatra, Borneo, Java, Celebes, Nusa Tenggara, and Bali. By space and time, the colors of Indonesian textiles represent the ideology of one religion. Indonesia produces primary colors of red, yellow, and blue(RYB). The colors are produced by extracting leaves of Indigo, Indian Mulberry root shell, Sappanwood's branches, Candlenut fruit, Turmeric root, and Mangosteen rind. Indonesia is a religious country, therefore the meaning of creating each 'sacred cloth' shows piety of the maker and the wearer.

• The Research Journal of the Costume Culture
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• v.16 no.4
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• pp.619-633
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• 2008

This study is to compare cultural characteristics and the clothing value between Korean and American college women. Also this study is to analyze the culture effect on the clothing value. The cultural characteristics is explained by Hofstede's five Cultural Dimensions- power distance, individualism, masculinity, uncertainty avoidance and long-term orientation. 800 questionnaires, were utilized for this study. The SPSS 12.0 was used to analyze the technical statistics like average and frequency, 1-test, $x^2$, factor analysis and multiple regression analysis. Also the LISREL 8.0 was used to Perform a confirmatory factor analysis. The result showed, first, there were 5 major cultural differences between Korean and American college women. Comparatively, Korean college women showed higher uncertainty avoidance and long-term orientation, and lower power distance, individualism and masculinity. Second, there were differences in the clothing value aspect. Korean college women considered the aesthetic clothing value to be most important, however, American college women considered the economic clothing value to be most important. Third, there were some differences in the clothing value because of the cultural differences. For Korean college women, there were 5 major cultural differences that had an effect on the aesthetic, social, religious and economic clothing values, however, for America college women, the 5 major cultural differences had an effect on the aesthetic, social, and religious values but no effect on the economic value.

• Journal of the Korean Society of Costume
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• v.66 no.7
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• pp.34-49
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• 2016

The ancient 'sacred cloths' of Indonesia have diverse characteristics. The purpose of this study is to analyze the characteristics of ancient Indonesian textiles, focusing on 'sacred cloths.' The research is divided into two parts. The first part analyzes the creation period, religious importance, region where the cloths are found, and color of the 'sacred cloths.' The second part focuses on the textile-making techniques and the ritual patterns of the 'sacred cloths.' This research is the second paper. This research analyzes 225 Indonesian sacred cloth examples chosen for their religious function in ceremony, and reviews 10 books and 8 research papers. Field research was done in the Museum of Bali, the Indonesian Museum of Textiles, and nine weaving production houses in eastern Bali. Indonesian sacred cloths express their cultural philosophy and function through production techniques, colors, techniques, and visual patterns. The 'sacred cloth'-making techniques are classified as Batik, Prada, and Ikat. The regions that contribute to the textile production determine what patterns show up on the cloths. Sumatran patterns are philosophical, lavish, and prestigious. Bornean patterns are barbaric and prestigious. Balinese patterns are complex, decorative, warm, festive, calm, and aristocratic. Javanese patterns are symbolic and repetitive. Celebes patterns are artistic and simple. Nusa Tenggara patterns are symbolic and narrative. The forms shown on the textiles, whether geometric, human and animal, natural objects, or abstract patterns, determine how to classify the varied patterns. As a result, ancient Indonesian sacred cloths characteristics portray Indonesian identity as Bhinneka Tunggal Ika(Unity in Diversity).

• Journal of Fashion Business
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• v.11 no.6
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• pp.125-138
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• 2007

The modern fashion contains the religious factors or theories out of numerous cultural traits. Shamanism is a product of the very complicated combination of diversified cultural phenomena and whose traits are depicted as spiritual and artistic forms, reflecting on the materialism culture, social relations, customs, and religious faith. The Shamanism that lies in the life of humans gives much impact on their clothing life up to date, consciously or nonconsciously as well. The Shamanism clothing studied as yet has been focused on the costumes that a Shamanism priest and a shaman, the principal Shamanism performer wears and on the symbolic meaning or formativeness of the traditional shaman clothing that is only confined to certain local regions. The Shamanism in the modern costume influences not only on the traditional clothing unique to shaman but also on the other apparels in a widely extended sense. Nevertheless, the research on the modern costumes related to Shamanism is yet to be progressed. In this context, it is believed that the examination of Shamanism interrelated with a contemporary clothing expression is needed. This work would take a look specifically at how the Shamanism is given in the modern clothing fashion and review the inherent aesthetic characteristics. A fact was driven through this study that the shamanism shown in fashion is not only expressed in the modern style of shaman clothing but also unconsciously absorbed in the fashion on the whole. A finding was also revealed that the geometrical and abstract expression, the implication of animistic components, and the application of inherent shaman's costume on to design in regard to clothing are related to a view point of studying about shamanism. The meaning in each expressive method is focused on the superhumanistic desire of shamanism.

• The Research Journal of the Costume Culture
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• v.8 no.6
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• pp.853-863
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• 2000

This study is planned to present the future direction of the study of Korean clothes through the realistic recognition of the changes of studying issues of each area of the related clothes. For this purpose, the writer of this thesis have collected, classified and analyzed those various kinds of papers and theses published in the professional magazines of clothes such as Journal of Korean Home Economics, Journal of the Korean Society of Clothing and Textiles, Journal of the Korean Society of Costume, The Research Journal of the Costume Culture so that I might examine and study the main trend of the related study. The result of the study is as follows. 1. Since the first publication of Journal of Korean Home Economics in 1959 and Journal of the Korea Society of Clothing and Textiles, and Journal of the Korean Society of Costume, the study of clothes has been gradually increased. Furthermore, since 1990 the issuing times of various kinds of Journals have been continuously increased with the foundation of The Research Journal of the Costume Culture and Journal of Fashion Business. 2. Theses and papers published in the four greatest Journals of Korean Clothing and Textiles have been studies for the detailed classification and analysis of the data. According to the study, It is found that the theses in Journal of the Korea Society of Clothing and Textiles have actively studied textiles as they had studied before 1990s and those in Journal of the Korean Society of Costume have studied history of costumes and those in The Research Journal of the Costume Culture have studied the composition and science of clothes. 3. The order of studying subjects was 1) Design and Aesthetics, 2) Fashion Merchandising 3) Textiles, 4) Clothing Construction, 5) History of Costumes, 6) Costume Culture, 7) Socio-Psychology of clothing, 8) Others. Considering the above mentioned result of the study, most of the main fields of the clothing and textiles study have been studied continuously in balance since 1990 unlike the past although the past studies had been performed largely in some main fields only. And it was found that fields of clothing styles and clothing goods have been studied most actively since 1990s. 4. The studying field of Design and Aesthetics has showed to have the trend to be studied very actively since 1990s, which has utilized various relevant data with scholastic approach to psychology and aesthetics. Regarding Fashion Merchandising, the study of consumers decision process has been performed most actively. And theses on the international trades have been published considerably more than ever before, which resulted in gradual increase in gradual increase in the study of the fields related with global marketing, internet marketing, textile products exports, and overseas brands, etc. Regarding Textiles, the field of clothing sanitation and management has been studied more actively than that of clothing materials. In case of clothing construction, the study of physical styles and pattern making has been more active than the other related fields. Fields of socio-psychology of clothing and history costume have been a little reduced. Field of costume culture has been firmly rooted as an independent subject to be studied in the clothing related study. And study of the clothes has shown various trends of studies of ethnic & folk clothes, religious and ceremonial garments, linguistic & favorite approach to clothes and academic analysis of the data.

• Journal of the Korean Society of Clothing and Textiles
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• v.3 no.1
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• pp.1-11
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• 1979

This is a study on angels' costumes in religious paintings, especially as this relates to the questions of concepts and theological symbolism. Angels, as spiritual creatures in Christian thought, play the role of praising God's glory, as messengers of God, the role of guarding Israel and the Church, and protecting or punishing human beings. Sometimes the angels appear in incarnate form. They display no sexual differences and are not able to procreate. The angels' funtional classification being thus; nevertheless, they are pictured in various costumes and appearances according to characteristics of the paintings. The angel Michael appears as a man of dignity when pictured as a guard; the angel Gabriel in the annunciation is often portrayed as a woman of mystical beauty. Under the Renaissance, the mighty cherubim and seraphim at Yahweh's throne are degraded as plump child-angels, or winged child-heads looking alike Eros or Cupid. They have become playful and all too obviously non-heavenly chrubs, accepted features of the Temple decorations. However, cherubim are often depicted as naked or wrapped around with a piece of cloth and accompanied with wind, which symbolizes the Glory of God. The angels, costumes without seam are hung over or wrapped around the body, and when sewn they are simple and ample enough that they fall in a great many folds. However, by the 14C. angels are mostly dressed in costumes common to all Europe, and after that angels gradually appear in folk costumes; for example Italian, Flemish, etc. Dalmatic, the typical costume of Byzantine often shows up as angels' dresses even after the period. Originally the dalmatic was the Roman tunic to which Eastern influences added. The Roman clavus on the tunic had gradually lost distinction until, by the Imperial epoch, it was worn by the lowest servants. It was proudly therefore, as 'The servants of God', that the early Christians are shown wearing the clavus on their wide, ungirdled, sleeved dalmatics. In addition to their costume, angels have some other distinct charateristics. First, angels have a halo around their head; this symbolizes their holiness. Second, angels wear a narrow diadem or a queen's crown that seems to denote their glorious status close to God's throne. Third, the cloth band across the breast resembles a priest's stole, which suggests the sacred role of a priest and symbolizes the grace santified. Fourth, lilies in the annunciations are symbols of Mary's virginity. chastity, innocence and heavenly bliss. Angels hold palms or olives in their hands. The former denote prosperity. beauty and the Christians' reward after death; the latter represent peace and amity. the imperial crown made of olives means victory. Fifth, angels in paintings always have a pair of wings, which can be traced to scripture where cherubim and seraphim are described as having pairs of wings. Angels' wings often have colors of the rainbow, and the rainbow is compared to God's glory. Sixth, generally artists paint angels' costumes as white, blue, green, gold and purple. Other colors such as red rarely appear. According, to scriptures it is believed that angels should be depicted 'as white as snow'. According to the biblical expressions of angels as lightning, sun or a pillar of fire, angels should be described as creatures of light. Nevertheless being a form of art, religious paintings may differ in their presentation according to an artist's inspiration and intention. Since religious paintings illustrated above were almost all done before the Reformation, symbols of colors used in the Catholic Church will also be mentioned. The white color symbolizes chastity, purity, brightness, delight and divinity. Green represents new birth, eternal life, spiritual revival and the expectance of the grace of God. Blue, the color of sapphires, denotes chastity and truth. Red, the color of rubies, represents divinity, love and religious passion. Violet is the color of dignity, indicating the sovereign, royal or imperial power and the great Sacrifice of Christ. As mentionad above, angels' costumes were expressed in accordance with contemporary patterns or as indicated in the Bible, and accesories and colors correspond with Christian symbols. Therefore these facts should be taken into consideration when it comes to the study of costume history.