• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.158-167
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• 2013

The cotton fabric armour for lower class soldiers can be found from the historical records of the mid-Joseon Korea. And the records show that the form and the structure of the armour was modified in the late 19th century in order to provide better protection from gunshots for the soldiers in the midst of the invasions from the West. This is a survey and research of the only artifact of the cotton fabric armour remaining in Korea - for its form, dimensions, and design. Using the historical records as reference, we can confirm the structure and characteristics of the cotton fabric armour of the Joseon period. This cotton fabric armour, preserved in National Museum of Korea, is a vest-type armour made of 30 layers of cotton. On the right shoulder, there is a button for tying knots and strings were tied under both armpits. On the surface of the cotton fabric armour there were some characters and patterns stamped in black. Presently, this artifact in Korea is the only specimen relic of its sort, but there are some other related relics in foreign countries including helmets and belts. Continuous researches would help extend the scope of armour study beyond the traditional researches that only focuses on the armours of the officials, thus helping us to understand the military costumes in traditional Korea.

• Journal of the Korean Society of Clothing and Textiles
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• v.36 no.12
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• pp.1247-1256
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• 2012

The paper details the development of a Korean style loungewear based on traditional Korean hanbok clothing. For this, we surveyed and collected data from 3,500 adults over 20 years of age. The questions were on their preferences of hanbok for both traditional and contemporary styles as well as loungewear. The survey showed that preferences for hanbok were high for both traditional and contemporary styles. The survey also suggests how a successful mass-produced Korean style loungewear should be designed to increase its popularity. It should feature comfortably simplified silhouettes, a selection of contemporary colors from Korean symbolic colors, modernized Korean textile surface designs, and easy-to-maintain healthy fabric. Based on these results, the development direction of Korean style loungewear was set and various loungewear samples were produced. Another group of survey participants were asked to try on samples and their preferences were surveyed. At the conclusion, a version that was most preferred among the participants was obtained. We suggest one-piece style and two-piece style designs with silhouettes based on the characteristics of traditional Korean costumes. The preferred fabric for loungewear was natural and soft cotton. We suggest the necessity and effectiveness of loungewear made with environment-friendly hanji-fabric. The main colors for loungewear were selected based on survey: blue, red, white, and saekdong (color stripes). We made color combinations with the main colors then applied the textile surface designs. The traditional Korean patterns of Hangeul (Korean letters), taegeuk (yin-yang), geometric figures, and samjogo (three-legged crow) were also chosen, and then loungewear using the textile designs was developed. The results have been shown on the "Han Style Fashion Show" by Jeonju City and exhibited in the "Seoul Living Design Fair" and the "International Art & Craft Trend Fair" in COEX, Seoul.

• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.296-308
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• 2009

The purpose of this study is to comprehend the contemporary sports star fashion and to contemplate aesthetic characteristics of sports star fashion, thereby to establish the styles of sports star fashion. For such purposes, this study first examines aesthetic characteristics of sports fashion and star fashion based on previous studies, in order to analyze aesthetic characteristics of sports star fashion, and conducts a case study by analyzing photographic materials of fashion styles of well-known male sports stars such as the English soccer player David Beckham and American golf player Tiger Woods. The result of this study is as follows: the aesthetic characteristics of the contemporary sports star fashion are virility, functionality, sensuality and deconstruction. (1) Virility emphasizes manly features by displaying trained and disciplined body. (2) Functionality is expressed through structural simplicity and temperance of decoration. High-tech textiles and fibers are favored in order to fit in comfortable bodily movement for the heavy exercises. (3) Sensuality, as an expression of indulgence of sexual pleasure, is expressed through bodily exposure. Lastly, (4) deconstruction, which means destroying existed boundaries of cultural categories, is shown as co-existence of design elements from different times and places, stereotypes and sensibilities. Virility and functionality are prominent characteristics expressed in sports uniforms and training costumes. Sensuality and deconstruction are shown in daily fashion and formal dress outside the sports field.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.41-53
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• 2014

Contemporary fashion designers are keen on linking the past and the present through culture and fashion by the attempt to investigate and research on the costumes recorded in its history and to reinterpret it on their own terms. Covering the history of culture ranging from the 70s and 80s to the ancient Greek and Egyptian periods, these reinterpretations also reflect the latest fad of the times in which a fashion designer lives and works. Above all, Rococo costume from the eighteenth century is one of the fashion styles adored by fashion designers. What constitute the costume of this period creating the image of sensual women are not only the form of outfit, colors, the design of accessories, shoes and hairstyle but also the details such as frills, ribbons and flower decorations. In contemporary times, the original Rococo style has been modified and turned into various styles in the haute couture and street fashion. These modernized styles include Rock Rococo, Modern Rococo, Lolita Look, Gyaru Fashion and etc., all of which adopt the Rococo style and consider it as the symbol of feminine beauty. However, their approaches to the original Rococo style differ from each other. Hence, advocating the elegance of women is not invariably the case. Often, the interpretations of the Rococo are unconventional, defiant and wild. And, sometimes, these new versions of Rococo are overly exaggerated and emphasized or, reversely, reduced. In this research, various references on the Rococo elements such as colors, forms, accessories and detailed features that has influenced on the contemporary fashion will be analyzed. This analysis will demonstrate how the Rococo style of the eighteenth century has been integrated into contemporary fashion giving birth to new Rococo fashion styles.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.2
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• pp.147-162
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• 2011

The performance-art costume is a tool for expression that can dynamically display the intention of a production. The purpose of this study is to examine the whole costume for performance arts targeting musical works, to which were added such elements as music, dance, and drama, among performance arts in several genres. This study aims to consider how the symbol contained in the costume was intended to be expressed by inferring a change in performance costume and character as the stage costume. Accordingly, the following research problems were established in this study. First, Which role does the costume play in performance art? Second, into which types can the performance-art costume be classified depending on the kind of performance art? Third, what is the expressive method for the performance-art costume? To examine the types of performance-art costume, the acting costume, the singing costume, the dancing costume and the rhythmic performance costume were considered. As a result, the performance costume can be seen to have been designed through the effect of a change in color by lighting, through the differentiation of character caused by excessive decoration, through the differentiation in material for free movement, and through symbolic expression.

• Journal of the Korean Society of Costume
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• v.63 no.8
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• pp.188-208
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• 2013

This study aims to find out factors of historical specialty and cultural ethnicity that influenced the formation of Spanish fashion as well as examine the characteristics of Spanish fashion by comparing its historical costumes, such as folk costume and court costume with contemporary fashion of major Spanish designers in the 20th century. Documental investigation and analysis of visual materials were used as research method. The study results are as follows: The major factors that affected the characteristics of Spanish fashion in the history include the geographical features, invasion of foreign nations, cultural heritage of various ethnic groups, strengthening of the national power, advancement of international trading through the newly developed routes, and influence of religions such as Christianity, Islam, and Judaism. Featuring the coexistence of variety and heterogeneity, the ethnicity reflected in the culture harmoniously embraces various spirits such as conflict and coexistence, individualism and collectivism or regionalism, and exclusion and tolerance of religions. In addition, the characteristics in the cultural phenomena include passion, sensuousness, individualism, sense of reality, sense of chic, and the people-centeredness. The basic Characteristics of Spanish fashion include the sensuality of excessive zeal, decorativeness of gorgeous handicrafts, exoticism of people-centered variety, extreme contrast of harmony, touching artistry of chic, and fantastic surrealistic wits.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.103-116
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• 2010

In view of our contemporary fashion, it is found that crossover between clothing and other items leads to creation of a new design and crossover of various cultural codes, ultimately creating a multicultural clothing design or any external outline of emerging costume designs by attempting mutual combination with other fields. Starting from a viewpoint that mutual combination style has significant effects on our contemporary fashion designs, this study intends to characterize external aspects of fashion design that changes through mutual combination style. This study focused upon analyzing costumes released by contemporary fashion designers after 2000, and addressed a variety of mutual combination styles. It gives various examples on mutual combination in fashion, seeking first to look into typical examples of mutual combination styling between fashion and art, between fashion and space and between fashion and technology. Based on those examples, this study classified crossover styles into 6 major categories such as attachment, suspension, modification, fusion, association and embedment. As a result, this study comes to a conclusion that external changes by mutual combination are characterized largely by overlap, simultaneity and deconstruction.

• Journal of the Korean Society of Costume
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• v.60 no.8
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• pp.86-99
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• 2010

This study considered the characteristics and use of the jokduri during the 18th century, which was shown in Ijae-nan-go written by Yoon-Seok Hwang. In Ijae-nan-go, not only the origin of the jokduri, but also its colors, materials, sizes, and construction methods are recorded, in detail. The Jokdori is assumed to have been influenced by costumes of China. The 18th century jokduri is mainly made up of black satin, and is composed of eight pieces of cloth. This looks similar to a contemporary jokduri, but the 18th century jokduri is bigger. At court during the 18th century, women decorated their hair styles higher by using the jokduri. Not only did the jokduri fix the topknot at the top of a woman's hair by wrapping the topknot, but also it raised the height of the topknot. This is different from the generally known method of wearing jokduri. Therefore, this demonstrates that there have been changes in the role and use of the jokduri over time.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.135-144
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• 2007

This study is about the three pieces of jackets with a symmetric collar that was used to fill in the empty spaces in coffin excavated in 2004, from Seok-nam-dong, Nam-gu, Incheon. The similarities of these three jackets are that the collars are symmetric, there are seops(the outer bodies to overlap the front sides of a jacket) with pleats, and openings on the side seam. The No.2, and No.6 seem to be jegori to wear over others, and the fabrics used for No.2 is damask with cloud pattern, and damask with lotus flower pattern. For the No.4, satin was used and there is peacock pattern weaved on satin using golden thread. No.41 is unlined clothes made with Suk-cho, and the distinctive feature about this clothes is that the collar, and the neckline are very narrow. The three jackets are similar with the recently reported clothes of Kim clan of Gang-leung (deducted to be buried in 1520), the collection of Seok Joo-sun Memorial Museum. Through this report, it provides information about some aspects of upper class women's clothes.

• Journal of Fashion Business
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• v.22 no.6
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• pp.39-52
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• 2018

The objective of this study was to enhance understanding and appreciation of Pre-Orientalism in costumes and textiles by revealing examples of Oriental influences in Europe from the 16th century to the mid-18th century through in-depth study. The research method used were the presentation and analysis of previous literature research and visual data. The result were as follows; Pre-Orientalism had been influenced by Morocco, Thailand, and Persia as well as Turkey, India, and China. In this study, Pre-Orientalism refers to oriental influence and oriental taste in Western Europe through cultural exchanges from the 16th century to the mid-18th century. The oriental costume was the most popular subspecies of fancy, luxury dress and was a way to show off wealth and intelligence. Textiles were used for decoration and luxury. The Embassy and the court in Versailles and Vienna led to a frenzy of oriental fashion. It appeared that European in the royal family and aristocracy of Europe had been accommodated without an accurate understanding of the Orient. Although in this study, the characteristics, factors, and impacts of Pre-Orientalism have not been clarified, further study can be done. Recognizing a broad perspective on oriental influence in Europe before Orientalism, we can have a balanced view of future Orientalism and global fashion.