• Journal of the Korean Society of Costume
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• v.26
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• pp.289-310
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• 1995

The present study aims at investigating the style change of the Korean women's traditional costume and analyzing its character in accordance with the social changes during the period from the civilization in 1884 to the present. The design of the tranditional costume which might be formed in the era of the Three Kingdoms had been slowly modified, and the Korean jacket and skirt design was settled in the Chosun period. In the end of the Chosun period, the drastic social changes such as civilization and revolution, together with the introduction of western dresses, affected strongly the traditional costume design. This led to a change from the old dress design to the stylish and practical one because civilized women and high school girls wore the modified costume composed of long jacket and short skirt or western style dresses. In recent years after 1960's Korean women usually wore traditional costumes as ceremonial dresses be-cause the western style dresses replaced the tra-ditional costume in everyday life. After 1970's, however, the A-line silhouette, combined with ornaments, adapted to the traditional costume in order to emphasize women's beauty, thereby resulting in remarkable modification in the tra-ditional costume. In those days, the large pro-duction of various textiles such as nylon and tetron and the appearance of the traditional costume designers played an important role in developing beautiful traditional costume designs and bringing closer together with general public women. These recent design changes might be classified generally by the following three stages ; (1) "the period of settlement" (1965 1975), (2) "the period of maturity" (1976 1985), and (3) "the period of stabilization" (1986 1995). The costume design of each period was discussed and compared in detail according to historical events. From this study, inherent beauty of the Korean traditional costume can be recognized again, and clarified its position as our folkdress. It is also suggested that in future its modification should be achieved continuously in accordance with tra-dition and modern sense.h tra-dition and modern sense.

• The Research Journal of the Costume Culture
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• v.21 no.1
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• pp.31-41
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• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

• Journal of the Korea Fashion and Costume Design Association
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• v.10 no.3
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• pp.101-110
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• 2008

We believe distinguishable product development to be competitive against foreign products, and realize the need to expand domestic business worldwide. In order to be competitive, we should produce fashion items that meets global taste, and at the same time contain exclusive Korean culture and emotional beauty. This article examines and creates unique textile design with the touch of Korean art. Desigus have been proceeded under the following three themes: 'Strong Ego,' 'Gorgeous Days' and 'Song Eternal Seeking Love' using Primavision Computer-aided Design ("CAD"). We have put our interestes in Korean traditional paintings called Hangukhwa. Suitable design motives had been selected and modified from the four gracious plants (bamboos, peonies etc.), and paintings of birds and flowers. Primavision, a CAD software, had been used to manipulate those desigus, and to add instant changes in color, scale, and layout. We had modified Korean traditional motives to make modem image, and had arranged layouts which can be suitable for half-drop repeat and square repeat. The use of color is essential in pattern design. Thus, we explored coloring ways for each design to meet the trends, and the final mapping had been conducted in western style of dresses. We have tried to mix Korean image of textile designs with Western clothing style, expressing hybrid in the mapping process. With global movements, we need to develop products with Korean traditional exotic taste to attract foreign consumers. Therefore, we selected symbolic motives from Korean paintings to express deep spiritual significance. We developed textile design and processed mapping on selected western designer's dress, employing current trend colors and making crossover coordination. We realized Korean painting would be an excellent source for exclusive fabric design, and tried to create a modernized design which maintains Korean ethnical identities.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.

• Journal of the Korean Home Economics Association
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• v.41 no.10 s.188
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• pp.85-100
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• 2003

The purpose of this study is to analyze the aesthetic characteristics of grotesque images in fashion specially focused on the postmodern grotesque with the relationship between body and fashion. The results are as follows: The postmodern grotesque fashion images in the years of 1990-2000 can be analyzed as trans-stylistic, trans-boundaries which have been set by the modem western white elite men group. The postmodern grotesque fashion images in the years of 1990-2000 can be categorized as 1) unclear boundaries between genders: body and dress; human being and non-human being; life and death; wholeness and fragmentation; clear body and abject body. 2) violence to the body: body mutation by simplification, exaggeration; body injury.

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.45-57
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• 2007

This study is on the aesthetic characteristics of Balenciaga design succeeded to by Nicolas Ghesquiere, and tried to understand his pursuing brand's new design concept and aesthetics. The three key characteristics of Balenciaga designed by Nicolas Ghesquiere are Retrospecitvness, Eclecticism, Deconstruciton. First, Balenciaga looks retrospective sense through reinterpreting tradition. Nicolas created a new sense of expression by mixing his proper instinct with Balenciaga's original properties, historical components of the past western dress, and various design elements of assistants who used to work in Balenciaga. Second, Balenciaga expresses uncertain meaning by compromising between contrast and synthesis among the past and the future, the males and the females, simple and ornament, or different styles. Third, Nicolas's experimental and outsider-oriented view of Deconstruction through reorienting of thought is considered a try for a new formative concept as a designer who is not limited by general rules.

• Journal of the Korean Society of Costume
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• v.24
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• pp.47-58
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• 1995

The Study is to find out the thought of costume of the people who advocated the Wejung-chunksa. Conclusions are described as follows 1. The action to boycott western goods was the early response in the Wejung -chuksa Thought. The reason were in fear of ruin in chosun industry and worry about the westernizing the Korean. 2. The people of the Wejung-chuksa had the conservative character in order to maintain the traditional public order and the costume. They thought that costume have a role to distinguish between man and woman , the rich and the poor and so on. Therefore acceptance the wastern constume style meant that the Korean became a savage. So that they rejected the King's order about the dress-system reformation in 1884, 1895. That pointed that their ultimate purpose was to keep the traditional rule. 3. In appearance the purpose of the short-hair law was good for health. But it meant to destory the traditional order and to symbolize the civilization . Especially the short -hair in the people of Wejung-chuksa meant the destruction of the traditional rule and casting away the courtesy. Therefore they wanted to keep the value of the traditional costume.

• Journal of the Korean Society of Costume
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• v.50 no.6
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• pp.33-46
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• 2000

The purpose of this study was to investigate the consumers'evaluation for image and price of Saenghwal Hanbok. Data were collected by Questionnaire from 400 men and women living in Seoul area between August and September of 1998, and 374 questionnaires were analyzed by frequency, percentage, mean, standard deviation, t-test and factor analysis. As a result, consumers perceived Saenghwal Hanbok as 'comfortable' and 'individualistic' compared with western dress. Git(collar) and Gorum (ribbons) or Maedup(braided buttons) of Jeokori(jacket) were selected as having traditional image the most. 245 people(65%) answered that the general impression of Saenghwal Hanbok wearers was favorable. Saenghwal hanbok was thought to be appropriate when priced between 30,000 and 200,000 won per suit. And the intention to continue wearing Saenghwal Hanbok in the future was very positive.

• The Research Journal of the Costume Culture
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• v.11 no.2
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• pp.243-252
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• 2003

The study was designed to review the changes in designs and the manufacturing methods of french hood, one of the headdresses which play an important role in showing the appearance of costume, to understand design expression techniques through manufacturing of the head dress of the western costumes, and to provide materials to exert creativity for new designs. Based on literature review and portrait study, 1 manufactured a frenchhood. I set the study cope as from the late 15 century when frenchhood was used for the first time, to the mid 16 century. For the frenchhood selected, 1 examined the hair style, the characteristics of the french hood, and the pattern first, and proceeded to manufacturing. 1 used velvet and silk for the textile as explained in the literature. And, 1 purchased such similar ornaments as shown in the pictures, making the color so similar to the original to the most. Dimensions in manufacturing were those In the literature, since the study is focusing on the reproduction of the features of the portraits. Dimensions of detailed decoration were measured using the ratio of the headdress in the portraits.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.56-67
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• 1999

At the turn of the 19C, the first development, spreading to the all classes that peculiar attitude of mind associated with the term prudery. The second changes of habit which affected both sexes and their undergarments were the novel idea of personal cleanliness. Drawers appear to have been of two lengths, short, when worn under breeches, and long when worn under pantaloons and trousers. The dandy wore corsets for beauty. In the early part of the 19C, the differences between day and evening style came to be accentuated. Not only the beau, but the soldier and hunting man were addicted to stays. The high standing collars of the early 1800s became fairly low in the middle of the century. in mid of the 19C, a woolen under-vest was worn next to the skin and studs were an usual fashion. At about 1850 the bottom of the shirt was cut in a curve. For evening dress the elliptic collar was introduced.