• The Research Journal of the Costume Culture
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• v.19 no.3
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• pp.501-517
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• 2011

This study investigates the concept of the body in Korean traditional costume by comparing the traditional costumes of the west and those of Korea while focusing on the relationship between the body and dress. In order to make a comparison of the traditional perspectives on the body in western and Korean costumes, this study examines the literature of history, art, medicine, philosophy as well as dress from the mid-fourteenth century to the nineteenth century pertaining to the west and those of the Joseon Dynasty Korea. Western dress assumes apparent formal structures and pursues overall harmony via the completeness of its entities, while traditional Korean dress subordinates the parts to the whole, emphasizing the organic total. Whereas the proportion of bodily structure is stressed in western traditional costume, in Korean costume the body is perceived as a whole. By revealing the body through the three dimensionalities of dress, the focus on the erogenous body parts is shifting in conventional western dress according to changes in aesthetic consciousness, which reflects the western ideas of objectiveness and self-centeredness. In traditional Korean dress, in the space between the body and dress, the emphasis is on planarization of the dress, which assumes the oriental relationship-centeredness concept.

• Journal of the Korean Home Economics Association
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• v.29 no.1
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• pp.1-12
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• 1991

The purpose of this study was to identify external form and internal symbolism of oriental dress on the 20th century western fashion. Documentary studies and objective studies were done with descriptive, inductive and content analytic methods. In documentary research, concepts about culture, dress as a cultural sub-system, the from of dress, and the gender symbolism of dress were reviewed. In objective research, oriental fashion photographs in $\ulcorner$Vogue$\lrcorner$ during 1969-1989 were selected and analyzed, for the descriptions of samples, the form of dress, the perception of waist parts, the dressing manner. The synthetic results were as followes; 1. There were the geographical and national terms such as east, Orient, China, India, Japan, and so on in the descriptions of samples; and there were the costume terms such as herem, kimono, pyjama or pajama, sarong, and so on in the descriptions of samples. 2. The from of oriental dress on the 20th century western fashion was identified with draped type. This can be interpreted that in orient, there was no desire to reveal body figure through dress, therefore, for the long time, sustaining draped type of dress has been. 3. The perception of waist part in oriental dress on the 20th century western fashion was not made. So, it can be interpreted that in orient, there was no desire to distinguish both sexes through the emphasis of waist part in dress. 4. The dressing manners of oriental dress on the 20th century western fashion were wearing of trouser and layering mainly, symbolizing the confusion of gender distinction through dress.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.81-81
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• 2001

R.O.C. has experienced successively the development of previous dynasties that creates out the unique traditional culture of each stage. The Chinese nation is not a one-fold race; each dynasty absorbs the culture of the outside race. It is Tang Dynasty blends mutually however yield unusually brilliant results. The Tang Dynasty's national strength is forceful and the economy is prosperous. Above all, social custom and current of thought both break the constraint of previous dynasties' conservative thinking and keep positive and aggressive. While in the contact with extraterritorial culture, not only changes the feminine social status, but also produces unprecedented innovation and reform on the feminine dress. The Tang Dynasty's varied feminine suit is affected by the western regions of China culture, such as expose of chest, low collar, short top garment and skirt with narrow sleeves or wide sleeves, sleeve gown with plate collar or turndown collar, man's wear, and military dress, etc. An epoch can be known by Tang Dynasty feminine dress's special features, for example, the make-up of Tang-Shien-lon's Uan-Ho period presents dress style of late Tang days. However, the Chinese people compete mutually pursuing the strange costume, and accepting different cultural incitement This reveals that the changes of popular culture would result in the big transform of the Tang's dress style. This paper studies inherit of Tang Dynasty's culture and east-spread of the western regions of China culture. While understanding the Tang's favor in the western regions of China customs, all follow the western regions of China without exception, such as dance music, painting, dress, food, amusement, etc. Because of emperor's progressive race policy and forgiveness attitude to the foreign tribe that makes Tang Dynasty's feminine dress much easier to accept and blend the special features of the foreign tribe culture. While joined with west culture, and pick the dress's essence of the western regions of China, the original possessed of culture consciousness and esthetic sense improve and create their own dress, as well as enrich more inner part of dress art and the spirit.

• Journal of the Korean Society of Costume
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• v.54 no.2
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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.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.104-115
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• 2008

Party is an important communication method in the 21st century and this tendency is not exceptional in Korea. With this noteworthy phenomenon, this study summarized the concept and history of party first, and then analysed "belief - attitude - behavioral intention" model based on the one-dimensional attitude theory. The variables included in this research were western culture familiarity as belief factor, three variables evaluating the party culture(i.e., non-popularity of party, marketability of party, sociability of party) as attitude factor, and dress code receptiveness as behavioral intention factor. The samples of this study were 498 women in twenties and thirties from metropolitan areas in South Korea. SPSS 12.0 and AMOS 4.0 packages were used for statistical analysis. The results of this research are as follows: First, western culture familiarity had a significant effect on attitude toward party culture. Specifically, western culture familiarity negatively influenced the non-popularity dimension of party and positively influenced the marketability and sociability dimension of party. Second, attitude toward party culture significantly influenced the dress code receptiveness. Consecutively, all of three dimensions about attitude toward party culture positively influenced the dress code receptiveness. Managerial implications were provided.

• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.161-176
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• 2007

The objectives of this study are to select and analyze unpublished wedding dresses in the 19th century, to investigate the design characteristics and making techniques of Victorian wedding dresses, and to examine the correlation between the wedding dress style and the fashion style in those days and the influence of the wedding dress style on contemporary's styles. The materials of this study were 9 wedding dresses owned by the Historical Costume and Textile Collection at the University of Connecticut in USA. The dresses were made during the mid and late Victorian Age. As for silhouette, the bustle style was popular in the 1870s and 1880s, and the hourglass style in the 1890s, and different from contemporary dresses there were no big differences in structural pattern and details between ordinary dresses and wedding dresses. In addition, colored wedding dresses were used until the mid and late Victorian Age, but since the wedding ceremony of Queen Victoria in 1840, white wedding dress was widely accepted and settled as the tradition of today's wedding dresses. While the Western dress style had been basically a one piece style, there appeared simple two piece designs in which the upper garment was separated from the lower one, from the mid Victorian Age. This is considered the reflection of those days' pragmatic social trend in dress style. It seems around 1875 when asymmetric design was first introduced in the Western dress style, which had been mostly symmetric. The asymmetric style that pursued atypical beauty, though not common during the late Victorian Age, shows a change in the typical Western dress style. With regard to dress making techniques, sewing machines were distributed widely during the early Victorian Age but they were not used in all parts of dress. Most of details and trimming works were done manually and some parts were attached and detached by hand sewing. In addition, not like today, there were no generalized rules of making such as the form of closings and composition.

• The Research Journal of the Costume Culture
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• v.1 no.1
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• pp.33-68
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• 1993

The purpose of this paper is to survey the influence of the culture change on the dress and personal adornments, and to survey the change of factors from the August 15. 1945 to 1960, in connection with the social and cultural background, applying B. Malinowski′s "Theory of Culture Change" which means an acculturation is the change′s elements of the dress and its ornaments. It is remarkable that the dress and personal adornments of Korean women after August 15, 1945 has great change from the traditional dress of the thousands years. Through the Liveration on August 15, 1945, American military government and the establishment of the Korean government, American democracy has brought many changes on Korean society. Advancement of education, an society with developed economic life, and introduction of scientific skill have influenced on the women′s way of thinking and a style of behavior and the view of value. The acculturation, the supply of mass communication, introduction of new institution and the reorganization of the old institution, the change of the economic situation, the change of the educational system, the change of the point of value, the development of scientific skill have greatly influenced on the dress and personal adornments. Modern dress and personal adornments of Korean women has the following developing procedure. The Liberation from Japan on the 15th, of August, 1945, the stationing of American Soldiers during hte Koran War, returning of the oversea′s brethern, and the mass communication have the direct and indirect contact with western civilization, and bring the occasion of development of the modern dress of Korean women. The increase of mass communication, such as radio, TV, newspaper, magazines and the frequent fashion shows showed fine design and practical western style dress to the women. This was the real beginning of the western style dress in Korea. By the increase of employment and the improvement of the economic situation, the consumption of clothing and the adornments was increased, so that a wide variety of fashions was set, and numerous kind and form of dress came in. As the increase of the number of women students, their practical and free dress life demanded western style dress. After the Liberation from Japan, the open-door policy of sex, public morals and traditional ethics became lax, and in this disordered society, indecent expose of the body was common. By the different kind of technological development, the form, fabrics, colors and patterns in clothes were much influenced and the hair style, make up, shoes and adornments were much influenced too. As shown above, the change of the dress has the same connection with that of society and culture. This shows that the dress and personal adornments represent clearly the cultural phenomenon of the society and cultural change of the society.

• The Research Journal of the Costume Culture
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• v.27 no.2
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• pp.140-153
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• 2019

The aim of this study is to develop new wedding dress designs by blending the traditional female Korean upper garment of Han-bok, known as dang-ui, with Western-style wedding dress designs. For this research, the author considered the various types of wedding dresses and their historical development based on literary resources and previous studies of the subject. The results are as follows: first, this study featured the use of different types of fabric for the dang-ui, selected from the various fabrics available for wedding dresses. Starting from the basic design of a sleeveless and strapless princess-line tight top, three different styles of A-line dresses were created: a tiered long dress, an unbalanced tiered midi dress, and a spangled and pleated mini dress. The study also resulted in a tight H-line mini dress with a bustle. In this way, the author was able to suggest new wedding dress styles that are well suited to the cultural trend of the Korean wave. Second, the traditional Korean dang-ui is an elegant ceremonial garment that harmonizes well with Western-style wedding dresses. Satisfaction can be found from combining these creative fusion gowns with traditional Korean aesthetics. Third, the traditional Korean ceremonial coronet jokduri and veil, which go well with dang-ui wedding dresses, are suitable accessories for contemporary wedding dresses. The dang-ui wedding dress, a result of merging the Korean dang-ui and the Western style, will help enhance business for both the Korean and the international wedding industry thanks to an aesthetic that has global appeal.

• Journal of Fashion Business
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• v.26 no.6
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• pp.14-31
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• 2022

Worn by both males and females the kimono is the national dress of Japan. Previous research highlights that this national dress is fading from tradition and evolves to develop with the times and fashion trends. This research aims to investigate what a kimono represents both historically and currently within Western society. The idea of the kimono being more than a national dress representing Japan, the main three themes researched will be (1) Shape (2) Narrative (3) Journey from East to West. Based on both primary and secondary sources this research indicates that there is a strong relationship between the universal increase of kimono wearers in Eastern and Western societies from history through to present day. Primary research is utilised in the form of two types of interviews. Primary outcomes bring a personal perspective to how and why kimono is worn nowadays within Europe. Secondary sources include online lectures held by kimono specialists as well as subject relevant books. From the 19th century where the Dutch were the only European country to trade with Japan, an exchange of fabrics took place which later led to the exchange of: fit, fashion and pattern (primarily within Western womenswear fashion.) This distinct garment never gets discontinued and evolves with social demands within society today.

• Journal of Fashion Business
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• v.17 no.1
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• pp.98-113
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• 2013

This study is an attempt to analyze the daily life of the Western-yearning Seoul citizens and the inflow of the Western culture into certain social classes. The customs of the characters in the film are studied to illustrate the process of deconstruction of Korean traditional clothes due to the Western influence. The combined application of the Western and Korean styles is also observed. All this study leads to the sense of homogeneity of the times and the conformity to the culture the Korean women shared, which boils down to the social identity of the Korean women who sought an escape from the men-centered social structure by displaying their competence in the field of global modern fashion. As Seonyeong Oh, the main character of the film, , was wearing in the movie the Korean traditional dress, socks, rubber shoes, and then a western-style coat, it well shows that in 1950's, the traditional dress and ornaments were mixed with Western styles. In time, men's wear were completely changed from the traditional Korean clothes to suits, while women's could not break off from the traditional clothes and become westernized, which indicates that the men-centered conservative ideas to keep women within the feudal regime of the society remained. The military look of Seonyeong Oh while she was acting in the society was a symbol of anti-bias against women and anti-convention as well as the will of freedom as an independent woman. Besides, the modern girls would wear clothes of military fashion, Dior's trapeze line, and knit styles flattering the figures. All these well show their desires to embrace Western cultures, especially their dress fashions as well as manners as so-called enlightened ladies. All these elements show that the director was trying to represent the progress of the drama, characters, and psychological states by means of the dress and ornaments.