• The International Journal of Costume Culture
• /
• v.6 no.1
• /
• pp.52-60
• /
• 2003

The purpose of this study was to examine the cases of the head family's costume culture and to apply them to field experience education of adolescent's home economics subject. To examine costume culture, women in the two head families in the Hampyeong area, Jeollanam-do were interviewed. The findings had unique shroud making and custom in the Mo's head family of Hampyeong. Also it was found that the eldest daughters-in-law of the Lee's of Hampyeong have horizontally exchanged the information of the head family's costume with village women of the same family. They have initiated their costume culture directly through their daughters and it had the great influence on after-ages. The Spot experience program for adolescent to experience the head family's costume culture and life culture consisted of four subjects:(l)Educating the head family's traditional living culture including etiquette training, (2)head family village walk, (3)experiencing the head family's clothes life including natural dyeing and sewing, and (4)a field trip of Hampyeong Local Life Culture Museum. For a model experience of the head family's costume and life culture, three families with middle and high schoolers participated in 8- hour experience learning program.

• The Research Journal of the Costume Culture
• /
• v.25 no.5
• /
• pp.694-707
• /
• 2017

This study analyzes the characteristics of clothes worn by the Zhuang in order to produce new fashion designs, and to propose diverse new directions in fashion design. Research was conducted using a bibliographic survey on the cultural background, characteristics, and relevant techniques of the Zhuang costume and that of minority races in China. This study deploys four styles of design for women's wear. With the inspiration of the traditional Zhuang costume, black and blue were the colors mainly used for the Zhuang people and the material was mostly denim. Denim blends in well for the contemporary facilitation of the Zhuang costume, which is known for knitting technique, fur and hemp fabric as patchwork, and embroidery works. It is appropriate to express the joyful and happy mind of Zhuang people with extraordinary colors, exaggerated silhouettes, and various decorations. Images of nature, such as the sun, mountains, rivers, water, fish etc., expressed the nature worship of the Zhuang in contemporary design, representing the simple life and peaceful mind. This research develops a new fashion design and displays the possibility for diverse design development through new insight in contemporary fashion design.

• Journal of Fashion Business
• /
• v.1 no.4
• /
• pp.19-33
• /
• 1997

This study will analyze Karl Largerfeld's design of Chanel to suggest the designer's strategy succeeding haute couture. His significant stylistic interests include the revealed structure of the garment, the modifications between fine art and fashion, the combination of the traditional restraint of the couture with the flourishes of the wildest street fashions and effects that turn garments upsides down or insides out. The House of Chanel today recognizes that commercial success ultimately lies in re-working Chanel's signature designs in a modern idiom. That the essence of theses designs remains so desirable is due to Karl Lagerfeld's successful interpretation and is ultimately an accolade to the founder-Gabrielle Chanel. During the reign of Coco it would have been difficult for any woman who wanted to look young and modern to go wrong with her fashions. The same can be said of Karl Lagerfeld for Chanel today. Clothes with the Chanel imprimatur no doubt will remain just as fashionable into the twenty-first century.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.44 no.1
• /
• pp.107-125
• /
• 2020

Indigo [鴉靑] was used as a symbolic color in 15^th century diplomacy. This study reinforces the historical research for characteristic and shapes of indigo colored royal clothing gift in King Seongjong's reign with a focus on po [袍] and ieom [耳掩]. Clothing made of fur that was combined with satin damask, silk gossamer [綃] were frequent gift, and a sable coat was a symbol of high-ranking clothes. Another clothing's materials were satin damask, sheer fabric gauze [羅], cotton, tabby with silk and ramie [紵絲]. The indigo color of King Seongjong's reign was recommended not for luxury. Historical research factors for indigo clothing gift were extracted from noblemen's relics. Danryeong and jigryeong are shaped of narrow sleeves and trapezoid gusset pleated in and out. Sable coat can consist of satin damask outshell, sable lining, and double oblique collar. Heohyung are presumed types of short sleeved fur vests. Ieom can be reconstructed with an indigo fabric outshell and sufficient fur. Dapho has gusset pleated wide and narrow. As additional gifts, the shapes of yoseon-cheopri and cheopri were analyzed. We selected a commercial fabric similar to relics and an indigo powder dyeing method to remedy a lack of traditional material. The reconstructed data were presented as flat drawings and samples.

• Journal of Fashion Business
• /
• v.13 no.2
• /
• pp.30-49
• /
• 2009

This study was intended to research how such Japonisme affected the western fashion and to consider that the unique Japanese fashion was implemented in the western mode as the traditional aesthetic sense got jointed with the western culture together and was expressed as the modern Japonisme beauty. The beauty of 'Date' was the aesthetic sense created focused on the noble culture of public family. On the contrary, 'Iki', 'Wabi', 'Sabi' and 'Shibusa' is the Japanese lower middle class's universal living aesthetics. 'Kawaii' is influence on an animation, cartoon and character industry as well as the whole world’s fashion style as one of the common aesthetic sense of the world people in the modern time. That is, Japanese fashion designers expressed the human body with such the aesthetic sense by the design of shape, space, fusion, amusement through clothes. It could be concluded that they created an autonomous amusement’s design world over the visual beauty of human body.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.9 no.1
• /
• pp.29-34
• /
• 1985

The purpose of this study was to investigate two aspects of high school boys' clothing attitudes as compared with their family value orientations and sex role attitudes. Family value orientations were measured through the Home Environment Inventory (Won Sik Jung: 1970). Sex role attitudes were measured through Osmond and Martin's Sex Role Attitude Scale. Clothing Attitudes: 1) Clothing Modesty was assessed by means of Kim; Won: Kim: and Lee's questionnaires, 2) Clothing Importance n?as assessed by means of Jung: Park: ana. Kirby'a questionnaires. The questionnaires were administered to a sample of 561 senior high school boys in Seoul. The data was analyzed by correlation. The results were as follows: 1) Traditional family value orientation was positively related to Clothing Modesty. 2) Materialistic family value orientation was positively related to Clothing Importance. 3) Sex role attitudes were not related to Clothing Importance and Clothing Modesty. 4) The attitude for the clothes controlled to wear is different with each other among the students, parents and teachers.

• The Research Journal of the Costume Culture
• /
• v.15 no.4
• /
• pp.604-619
• /
• 2007

Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation and non-representation of the body in fashion. Theoretically, this study draws from Jean Baudrillard's Simulation theory which maintains that simulation develops the whole edifice of representation. My study substitutes the successive phases of the image to that of (non) representing body in fashion. The correspondences between them are; first, 'image is the reflection of a basic reality' for the representation of physicality, second, 'image masks and perverts a basic reality' for the manipulation of physicality, third, 'image masks the absence of a basic reality' for the absence of physicality, and fourth, 'image bears no relation to any reality whatever' for the absence of body in fashion. Aesthetic ideal of the body is visualized in the form of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Home Economics Association
• /
• v.46 no.8
• /
• pp.17-26
• /
• 2008

The purpose of this study was to identify the aesthetic characteristics of modern fashion design use with a particular focus on transparency, and to help create future vision and feature. As part of the methodology for this study, I examined the concept of transparency, its characteristics and how it was expressed through art, architecture and other designs using literature research. Furthermore, I performed justifiable analysis on modern fashion design which used transparency from the 1990s till present. The following concepts were deciphered from information: Firstly, the concept of purity was highlighted. The emphasis here was to enhance the body's natural beauty with simple silhouettes that do not restrict its curves, using light materials such as clear vinyl, semi-clear materials or thin chiffon. Secondly, to express sensuality by exposing the body's curves with tight wrapping using clear materials, or with indirect and symbolic see-through techniques using contrasting clear, semi-clear and opaque materials. Thirdly, to express futurism through cyber and electronic images using high tech or shiny materials such as metal or holograms. Mechanical movements or effects of light are also used. Fourthly, to express playful characteristic by promoting surprises and disharmony that contradict with traditional techniques. This is carried out by intentionally exaggerating certain portions of clothes through disorder elements or confusion, and unsymmetrical shapes which destruct the human body's normal form.

• The Research Journal of the Costume Culture
• /
• v.6 no.3
• /
• pp.111-125
• /
• 1998

What human beings wear is closely related to how they conceptualize their bodies and how they classify the group they belong to and the way they wear their cloth s an important cultural element that shows wearers' awareness and social relationship. Especially, underclothes reflect unrevealed cultural inside of the society more abundantly than outer wear do. Through such characteristics of underclothes, we are able to better understand inherent order of culture. This study si to understand the characteristics and changes of Korean culture by reviewing the convention of underclothes wearing that takes important role in clothing without being explicitly revealed. For this study, in addition to biblical review of under clothes of traditional societies, a total of 301 college students aging from 19 to 28, who are the most open to accepting new cultures and changes, residing in Seoul area were participant. Questionnaire consists of open-ended questions of underclothes terms, kinds, why they wear, items of wearing, how they obtained, how they take care of, etc. In conclusion, changes in cultural meaning of underclothes analyzed through convention of underclothes wearing are as follows; 1) changes in wearing pattern implies changes in functions of underclothes and changes in members' roles and values in a society; 2) changes in recognition of underclothes are related to the changes in awareness of sex; 3) consumer behaviour of underclothes represents a part of information culture; 4) changes in the pattern of maintaining underclothes show that differentiation of sex role in household tasks is decreased.

• The Research Journal of the Costume Culture
• /
• v.10 no.2
• /
• pp.116-131
• /
• 2002

The purposes of this study were to analyze the lifestyle of women in their 50's and 60's and to provide the basis for the efficient strategy of silver market by classifying women in their 50's and 60's according to lifestyle types and investigating the effect of consumers' lifestyle and demographic characteristics on consumers' clothing buying motived and information sources. In this study, a self-administered questionnaire was distributed to women in their 50's and 60's. 226 questionnaires of 350 were used in the following analysis. The data were analyzed with the SPSS package. The results of this study were as follows. First, lifestyle were analyzed to find out the underlying factors, and then the subjects were grouped according to factor scores by the cluster analysis. Four lifestyle types were defined. They were the traditional family-oriented, the ostentatious purchase, the economical material-oriented, the active economics-oriented type. Second, a consumer's buying motives and information sources in buying clothing were significantly different depending on the consumer's lifestyle. The ostentatious purchase type attached importance to impulse buying and in diversion in clothing buying motives and display in information sources. The economical material-oriented type tend to buy clothes to purchase economically during bargain sales. The active economics-oriented type attached importance to worn out clothing in buying motives.