• Journal of the Korean Home Economics Association
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• v.49 no.5
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• pp.23-32
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• 2011

This study will covered socio-cultural background and characteristic of the face-concealing culture of Istanbul which has liberal and westernized clothes culture for women even if it's an city in an Islamic country. This study depended on literatures related to religion, culture and costumes of the Ottoman Empire, especially costumic data on miniature of turkey, which was famous from 16th to 19th century. Since the 17th century, the Ottoman Empire has been gradually influenced by European countries but the change of women's clothes was not considerable. In the 18th century, women's clothes were influenced by foreign fashions. A veil to cover the face was gradually disappeared and traditional Turkish headdresses were replaced by European hats. Through face-concealing culture of Istanbul, we can see some socio-cultural features like Islamic religious character, one's social position, economic situation, westernization and renovation, beauty and completion of costume, duality for the reason of regional difference.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.6
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• pp.958-967
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• 2009

Just as various religions of the world have multiple systems based on their own belief system respectively, religious costumes, which are the expression of religion, are varied in forms according to different religions. Nonetheless, this research attempts to examine the universal features of the variety of religious costumes. Since the range of this research is broad and the limit of study is clear, this research confines the study objects into world's four high religions. The purposes of this research are as followings; first, the investigation of the world's high religions, second, the study of the figurative attributes of religious costume to study and discuss the universality of figurative beauty and aesthetic value. Figurative attributes are distinct in religious costume. First, the non structural feature of composition, and the manner in which the costume is worn. Second, the rich silhouette covering the body. Third, the restraint and inhibition of decoration, and fourth, the preference of achromatic color and monotones. 'The beauty of concealing', derived from the religious absolute and chastity, 'The beauty of chastity' influenced by the restraint of decoration and design, and 'The beauty of nature' as the drapery and non structural feature are the universal aesthetic values. Human beings tend to contact the divine beings by pursuing the essential thing and concealing the body through religion. The forms of concealment and chastity, mentioned above are reflected in the usual costumes, affected by religion as well as religious costume.

• Journal of the Korean Society of Clothing and Textiles
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• v.32 no.5
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• pp.808-820
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• 2008

The costume of Islam cultural area has been affected by the strict social structure, formed by religion, and traditional costume of Islam has been maintained up to these days under the influence of religion. Islam Traditional Costume, which is the succession of the traditional costume of southwest Asia region, became armed with the form of closed costume due to the chastity and oppression. There are figurative features of Islam Folk Costume; first, the dimensional form due to the ampleness, covering the body, second, the reinforcement of closed form such as chador and burqa, third, the symbolism such as the adornment or incantational ornament, which has been inherited from the former times of Islam era, fourth, the color, simplified with black and white. The aesthetic values of Islam folk costume are represented with 'The beauty of abstinency', suppressing the ornamentation and color, caused by the strict social atmosphere under the influence of the form of traditional costume and religion, 'The beauty of concealment' due to the closeness, with affluent costume forms, covering the body and even concealing the face, and 'The beauty of symbol' which is demonstrated with incantational ornamentation of face and interior decoration. In some nations amongst Islam nations, the wearing of hijab is strictly regulated but black chador and burqa are regarded as negative symbols, representing the closeness and oppression of Islam. It is the product of Orientalism from the western perspective. The Islam Hijab culture is the symbol of oppression towards women, but, on the other hand, it is the device to protect women and the traditional culture, symbolizing the identity.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.8
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• pp.1353-1364
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• 1997

The purpose of this study is to present a theoretical framework for analysis and interpretation of medieval look in fashion by investigating its aesthetic values. Accordingly, it would provide a better understanding of the medieval culture with its composite aspects. Modernism sought to make the Middle Ages in its own image.'New Medievalism' has on the whole tried to avoid reading the Middle Ages onto the modern world. Instead it designates a predisposition about the discipline of medieval studies broadly conceived. Consequently, it has changed the viewpoint of medieval culture from the one-sided angle into the diversified one. As recent studies based on New Medievalism have argued, a close look at the medieval culture revealed the dualistic nature of it, with contradictory aspects such as piety and secularity, ideality and formality coexisting. The characteristics of the medieval culture are categorized to asceticism, naturalism, mysticism and secularism. Asceticism, which is responsible for the melancholic and heavy atmosphere of the medieval culture, is related to christianity and despair of life. It is expressed in medieval dress in forms of body-concealing semi-fitted silhouette, coarse texture and dark color. As a reaction to the extreme splendor and exposure of recent fashion, the ascetic medieval look is attracting attention. The monastic look is characterized by body-concealing silhouettes and minimalized usage of colors and details. Naturalism is the feature seeking for purity of the nature and the human itself. It appears in terms of line as a smooth curve flowing along the body contours, or as a revival style of the Greco-Roman drapery in the medieval dress. Naturalism in the medieval look of the late 20th century fashion is expressed as a pure image with the use of sheer and soft fabric to form a smooth curve flowing along the body contours. Mysticism symbolizes the authority of the Christ and the glory of heaven. It is presented in the medieval dress of the body-concealing straight silhouette made of gorgeous fabrics, brilliant colors and decorations by gems and gold. The insecurity caused by the fin-de-siecle mood is creating a strong interest in religion and it is reflected in fashion as a medieval look reviving the solemn and magnificent style of the medieval dress. Secularism is a reflection of the medieval mind of indulging in the beauty of the mundane world. Heraldry and excessive decorations of the medieval dress are forms of this secularism. These styles of gorgeousness are being refined into a new medieval look of the 1990's. The medieval look of the modern fashion is featured in various styles, reflecting the pluralism of the postmodern society.

• Journal of the Korean Society of Costume
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• v.41
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• pp.207-223
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• 1998

The purpose of this study is to abstract the image from black dress, which has been favored by many people regardless of the times and examine it throughout the history of drss and thereby clearly define the images that black limplies in dress. Color image is a visual symbol, an image that forms through a combination of visual stimulus created by color, coupled with all the external factors related to it. Black is a one-dimensional color, of which the impact is subjective to its energy, which depends on light reflected on the object, and its texture. Therefore, black projects different images, depending on its surroundings. In general, black has had negative connotations in the Western culture. In dress, however, it has implied other various images different from the general negative ones. By combining general images of black and those exprssed in dress, major images of black were categorized into dignity, elegance, eroticism, asceticism and tragedy. Dignity is a category similar to the sublime. Dress with dignity has sharp contours and is generally made of velvet or silk which can be characterized by their splendor and voluminous-ness, exaggerating the body of a person wearing it. Such costume is mostly found in powerful countries in history such as Burgundy Court in the 15C, Spain in the 16C. Netherlands in the 17C. Elegance evokes grace and beautifulness. It includes elegance, grace, beauty and dandyism as subcategories or silk. Good examples are dandies' black costume and Ladies black and white dressees in the 19C. Eroticism is an image which expresses sexual attractiveness. Costume with eroticism is made of velvet or silk, which project sumptuousness through reflection. Such costumes expose parts of the body or are tightly tailored in order to emphasizes body contours. Asceticism means restraint from physical and mental desires. Costume with asceticism makes a person wearing it look smaller by covering the whole body. Puritan's black dresses and Bourgeoisie's black suit are good examples. Tragedy is anguish. sorrow. Black costume with grievous feelings such as mourning dresses is made of lusterless textile concealing most of the body except for the face.

• The Research Journal of the Costume Culture
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• v.30 no.4
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• pp.579-593
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• 2022

This study examines the surface characteristics, electrical conductivity, electromagnetic wave blocking characteristics, infrared (IR) transmittance, stealth function, thermal characteristics, and moisture characteristics of IR thermal imaging cameras. Nylon film (NFi), nylon fabric (NFa), and 5 types of nylon mesh were selected as the base materials for aluminum sputtering, and aluminum sputtering was performed to study IR thermal imaging, color difference, temperature change, and so on, and the relationship with infrared transmittance was assessed. The electrical conductivity was measured and the aluminum-sputtered nylon film demonstrated 25.6kΩ of surface resistance and high electrical conductivity. In addition, the electromagnetic wave shielding characteristics of the sputtering-treated nylon film samples were noticeably increased as a result of aluminum sputtering treatment as measured by the electromagnetic wave blocking characteristics. When NFi and NFa samples with single-sided sputtering were placed on the human body (sputtering layer faced the outside air) and imaged using IR thermographic cameras, the sputtering layer displayed a color similar to the surroundings, showing a stealth effect. Moreover, the tighter the sample density, the better the stealth function. According to the L, a, b measurements, when the sputtering layer of NFi and NFa samples faced the outside air, the value of a was generally high, thereby demonstrating a concealing effect, and the △E value was also high at 124.2 and 93.9, revealing a significant difference between the treated and untreated samples. This research may be applicable to various fields, such as the military wear, conductive sensors, electromagnetic wave shielding film, and others.

• Cross-Cultural Studies
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• v.25
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• pp.391-420
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• 2011

Christina Rossetti's novella Maude displays Tractarian influences in terms of Holy Eucharist, Puseyism, and the doctrine of Reserve. Tractarianism is High Church revival movement of nineteenth century. In the story a teenage girl, Maude went through hard time receiving Holy Eucharist due to self-consciousness and internal guilt according to Puseyism. She felt guilty when she enjoyed worldly things and outward beauty. Due to guilt Maude refused to receive Holy Communion, which is complete connection to God. Her cousin, Agnes suggested that in refusing Holy Communion Maude is following her own will not God's will. Later Maude overcame Puseyite thought of self-hatred and reconciled with her identity as a poet and a woman. Maude oscillates between concealing and revealing, secrecy and truth, sincerity and affectation, and modesty and display. Her marvelous poetic talent makes people praise her but she withholds private feelings and attempts to divert attention from herself. Like Maude herself, the meaning of her poems is at times reserved and withheld. This tendency goes with the doctrine of Reserve in Tractarianism. The doctrine of Reserve utilizes indirect methods to reveal divine attributes because finite human being can not accept infinite God. The doctrine of Reserve sees to it that the expression will be veiled, indirect, subdued and self-effacing. Rossetti adapts a poetic method of Reserve when Maude has anxiety over 'display and poetry' and generates the reticence, secrecy, mystery, renunciation, modesty and detachment. According to Mary Arseneau, by veiling and expressing herself through symbols she can rise above the self and employ the phenomenal to suggest a noumenal reality. Thus the poetry becomes an expression of longing for the divine. The poem "Three Nuns" exemplifies Maude's maturity and gradual progress in the relationship with God. Rossetti suggests the vision full of hopes and promises of reuniting with God. In conclusion, in some sense, authoritative and conservative Tractarianism affects Rossetti both ways. On the one hand, it makes Rossetti abnegate herself and leads her to asceticism, on the other hand, it makes Rossetti express her faith in God and write amazing devotional poems such as "Three Nuns". A poem within the poem has three voices that are in perfect harmony. In the poem the first and second nun show hesitation to fully commit to God's will and the desire for the world prevents them from having heavenly joy. Third nun reveals spiritual maturity and sings new life in God where their hopes and joys begin. Rossetti expresses the procedure of spiritual growth through the poem "Three Nuns". For Rossetti, self-abnegation and self-expression both are involved in the doctrine of Reserve, Puseyism and Holy Communion.