• The Research Journal of the Costume Culture
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• v.14 no.5
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• pp.790-801
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• 2006

This study analyzed features of elements that compose a logo of inner wear brands to get the following results: First, it was found that "elegance" was the most frequently used word to express the concept of inner wear brands to be followed by words like dignity, high-end and aristocratic, words emphasizing femininity, such as feminine, romantic and sexy, words emphasizing practicality, such as convenient, practical, modern, functional and reasonable, and words emphasizing hygiene, such as clean, healthy and hygienic. This suggests that consumers nowadays pursue image more than functional aspects in the shopping of inner wear and consumers' pursuit of such values is reflected in the concept of inner wear brands. Second, unlike logos for outerwear brands that generally used initials of brand name, word-type logos for inner wear brands used the full name of brands, thus suggesting that they put more emphasis on delivery of information rather than on the symbolic aspect. In case of combining characters with concrete objects, they were found generally to use objects that give an soft, elegant and feminine image, such as flowers, woman's head and ribbons. Third, colors in the series of pink and red seemed to be used to convey the concept of inner wear brands that pursue such images as romanticism, femininity, elegance and sensibility, while colors in the series of blue, black and grey for such concepts as functionality, practicality, simplicity, health, hygiene and refinement. With reference to typeface used in the design of logos, unlike outerwear brands of which 83% use sans serif typeface for logos, relatively high percentage of inner wear was found to use typefaces of serif series to stress feminine flexibility and delicacy and give the image of elegance and classical tenderness. With reference to language used in logo naming for inner wear brands, 33 brands were found to use English and only three brands used Korean among the 36 brands surveyed. Even with inner wear brand logos that have Korean name, it was found that they used English in the use of logo marks. Like the result of previous studies, the result of this study indicates that methods to design brand logos for clothing should be incessantly sought in a way to build brand power as an important component to represent concept or function of brands and reinforce brand image.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.35-59
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• 2002

The purpose of the study is to clarify the relationship between hair style and personal character. This is elucidated by using the standard model of their preferred hair style to their individual to their personality. The study is primarily centered around college woman, who reside in Young dong area. The research suggested that In the age group 19-25 subjects preferred their hair to be shoulder length or longer. This is in contrast to the older age group preferring a shorter hair style. Certainly most subjects under the age of 25 preferred their natural hair texture as opposed to permed hair fashioned by older subject. Difference is personality traits was not a factor here. There is a relationship between personality traits, personal background and whether or not subjects dyed or decolored their hair. Subjects responded "yes" which means that they are easily affected by the two factors. The response to the other question of which color they chose, if they dyed and decolored, was that the most of the cases preferred brown color because brown is a natural looking hair color. Their responses from the question "what kind of style they want, if they can change their style differently", they preferred a fashionable hair style. In most cases, individual responded that they change their hair style once in every two or three months. Of all the personality traits, 48.1% were adventurous, changingtheir hair style more than once in every 6 months. The main reason they change their hair style is that they are bored with their old style. In the under 25 age group, the cost of changing their hair style is usually paid for by the subjects parents, however a few responded that they paid for themselves. Over the age of 25 years 80% usually paid for themselves. Additionally students who supported themselves financially paid for hair restyling themselves. When changing a hair style most subjects consider that new hair style should go with their existing image. "What kind of image they want to show others？" almost all of them responded that they want to look sophisticated and fashionable, In the age group 25 and over who belong to the upper class want their hair to look healthy and a full of body. They also responded about their changing their hair style to show a different appearance positively,fferent appearance positively.

• International Journal of Costume and Fashion
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• v.7 no.1
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• pp.49-61
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• 2007

The subject of study concerns the color characteristics of clothing/accessories from �Chosun�a nd modern Korea. It particularly focuses on the colors of the �Jeogori? traditional jacket) which represents Korean traditional clothing. Color data were collected from 353 woman�s �Jegori�s from �Chosun�a nd modern Korea and divided into the predominant colors & sub colors, and analyzed with HV/C and PCCS. According to the analysis, the representative the predominant color of 'Chosun Jeogori' for woman is YR, Y and side one is R, YR. The p, dp, sf, ltg colors are frequently found and the freshness of most of them is medium or low which shows a calm-feeling. The p, and ltg tones are often found as a the predominant color and p, dp are also often found as a the side color. In the 'Chosun Jeogori' for woman, the predominant colors and the side colors spread in a similar frequency and most of them have medium or low freshness of the color that shows a calm-feeling. The side color is one of the R colors and it shows characteristics of traditional coloring such as �Jajoo Goreum? Among the �Jeogori�f or modern women, the R, YR, Y, and B colors are often used for the single-color �Jeogori? the Y, GY, N, G colors are for the colorful �Jeogori? The P, lt, and b tons of the color are often used for a single-color �Jeogori�a nd the p, lt, and W are for the colorful �Jeogori? For the colorful �Jeogori? the side color have a high freshness which shows that a strong image was used frequently as the dp, s, dk tons of the color were often used. According to an analysis of the coloring, the predominant color and the side color of �Chosun Jeogori�a re applied to create a harmony of analogy & contrast in one aspect of Moon & Spencer�s view. It is found that the predominant color and the side color are similar or contrasting in one view of the color harmony, except that the traditional the �Jeogori�i s colored by ideological and symbolic meanings. The predominant color and the side color of modern the �Jeogori�a re complementary colors which are applied to the indistinct relationship or contrasting harmony in one aspect of Moon & Spencer�s view of the color harmony. The characteristics of the color as above show that traditional the �Jeogori�r egards the side color as both the harmony of the colors in general and also of symbolic meaning, while modern the �Jeogori�f or woman has a tendency toward a cultural transition and is mixed with new colors focusing more on its the predominant color than on the general harmony and character of ideological & traditional coloring.

• Journal of the Korea Fashion and Costume Design Association
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• v.21 no.4
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• pp.43-54
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• 2019

This study analyzed the casula wearing by Catholic priests. By understanding various applications of the priests' wearing of casula, we can understand the meaning of wearing casula, situational judgment, and the role and status of priests. Ultimately, the Catholic symbol and meaning of the casula can be found. The purpose of this study is to examine the basic setting of the casula, the setting according to the status of the priest, and the origin of the casula. Second, this study to understand the design of the pattern shown in the casula. The patterns containing the symbol and the liturgical period were examined, and the method of making the pattern design was considered. Third, various symbols appearing in examples of priests' rituals were considered and analyzed. The method of this study was to utilize various pictures acquired during interviews with priests and nuns and to perform content verification. As a result of this study, the aspects of form, color, and pattern were shown through the wearing of casula during various situations. First, the morphological symbols appearing in the rituals are the simplified casula that hangs on the stola on the top of the alb and the symbols of the form according to the priest's status. In the liturgy, the casula is put on the outermost side as for basic wearing, but in the case of celebration or the attendance at celebrations other than the liturgy, it is the same as simplified wearing. Second, in terms of the symbol and color, the basic colored casulas were worn to match the time and character of the liturgy, and in addition, on the priests' ordination ceremony and celebration day the priests wore white casulas. Third, the symbol of the pattern used in the casula was a Cathoric pattern according to the period in the basic casula wearing of the liturgy. In addition, the patterns were produced by combining the patterns and meaning of the priests that were used in the casulas of the priests' ordination ceremony. The design of the pattern used in the beatification mass casula and the Mass of Peace casula during the Pope's visit to Korea in 2014 used the same motif as the Pope's design, but the simplified pattern was produced for the casula of the Cardinal and bishops. Through this, it is possible to understand the situation where a morphological symbol appears due to a distinction according to the role and status of the priest. This shows that the symbols that appear are the cross and should also consider the complexly, shape, color, and pattern.

• Archives of design research
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• v.16 no.3
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• pp.231-240
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• 2003

As all other cultures do, in the background of color of costume, view of life or spirit are contained in the nature or environment that the people lived in are applied. Marring is the ceremony to be socially recognized that both of sexes are unified, assist ancestor and bear future generation. Meaning and symbolism of color are appeared in beauty and organic composition of Lee dynasty. This paper tried to dear up five colors are dean, beautiful and philosophical colors rather than awkward composition of colors through surveying character of five colors appeared in Korean traditional wedding dress that has been succeeded in present age. This paper compared Korean traditional wedding dress and "Dan-chung" of Korea, Japan and China and surveyed theoretical background of Korean traditional color to find character of color appeared in Korean traditional wedding dress. As a result, Korean traditional color is meaningful symbolic color, its origin starts in yin-yang and the live elements of the Oriental cosmogony and it is related with Taoism of Confucianism and color of "Dan-chung." Five colors of yin-yang means everything under the sun and il is the color achieving beauty of balance due to correlation when it is linked to over one color. Further, it contains nature worship and human dignity, prays happiness and gives the significance of "Buksa", meaning of expelling an evil spirit. Formative beauty praying that all creatures are harmonized while human is happy and escapes from uncertainty is the beauty pursuing mental satisfaction as well as visual satisfaction. In future, the creational and characteristic designs that can appeal to world are required through right understanding and study of the beauty of traditional culture beauty of traditional culture

• The Journal of the Korea Contents Association
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• v.11 no.3
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• pp.147-156
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• 2011

Double meaning inherent in the film is interpreted in the same context as it's called ambiguity in the literature. Ambiguity means that one word or one sentence can be interpreted in two or more meanings. In the movie, one behavior of a character, a prop or a costume with two or more meanings faces the audience. A famous French direct Francois Ozon said "The director has always made movie contrary to his/her latest movie." This means that the film should seek to reform and it's his philosophy about the movie. Actually, it's the film's basis that a movie breaks the taboo. The film has always challenged taboos and led the progressivism. Taboos of western films are more intense than our country's moral and ethical level. Their taboos are to deny the sacred and legitimacy of Christianity. Particularly, as many people talk about the film to deny the divinity of Jesus Christ, it's sufficient to elicit an argument pro and con. This study is to choose the movie "Perfume"of director Tom Tykwer as a text, examine the highly elaborate and strategical double meaning in the movie and analyze the western taboos to deceive the audience skillfully.

• Journal of Fashion Business
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• v.10 no.3
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• pp.117-128
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• 2006

The purpose of this study was to understand changes of the current young generation's lifestyle, aesthetic attitude for an appearance, and way of thinking by making a close investigation into metrosexual, the recent mode, and find out its cultural and social implications. As a method of the study, the literature and the Internet data were reviewed. Articles from newspapers, magazines and the Internet were chosen roughly from the year 2000 to now because metrosexual mode remarkably boomed before and after 2000. Books related to the theory on the mode in a costume culture were referred. Also, articles in daily newspapers which dealt with cultural and social issues were reviewed, fashion magazines for men such as Esquire and GQ showing the new trend in men's lifestyle and fashion were examined, and the Internet providing us the latest news from cultural and social topics to fashion trends were investigated. The backgrounds of the rise of metrosexual mode were a collapse of stereotypes in various fields, spread of lookism in a visual image period, extension of commercialism, and expansion of men's character casual trend. Metrosexual was defined as an urban male with a strong aesthetic sense who spends a great deal of time and money on his appearance and lifestyle. His fashion style was characterized by slim and flowing silhouette, feminine and luxurious materials such as transparent chiffon, silk and cotton with a light and soft touch, and a knitted wear with a flowing line, a wide variety of vivid and pastel colors, floral and geometric patterns, and the decorative details like lace, beads, embroidery, and fur. From spread of this mode, two cultural and social implications were extracted. Firstly, the current young generation's aesthetic standards for the perfect man changed from macho man to considerate man who had a good appearance and this suggested that a conventional sex role broke down. Secondly, men began to explore for their own identity escaping from traditionally standardized masculinity that they had been forced to follow.

• Korean Journal of Human Ecology
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• v.16 no.5
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• pp.1061-1068
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• 2007

The study has sought to explore how fashion emerges as a comprehensive tool of dress for increasing its brand appeal and express one's artistic sense and fashion by using everything from make-up to hair to trappings. Therefore, when it comes to fashion trends reflected in collections, the study is designed to improve understanding of make-up as one of the elements of total fashion and to help create diverse ideas in expressing creative and free make-up that can help perfect fashion concept in harmony with all the other elements. The study has pondered upon collection, trends and fashion make-up through literature study, and has gathered image data via the Internet. It also has conducted analysis of Ethnic style reconstructed combining past and the future, East and the West, and futurism style using asymmetrical forms without no defined patterns and hi-tech textures, which emerges as a result of post-modernism. The results of the study are as follows. Ethnic fashion that pursues strange and exotic beauty is characterized by its simple and idyllic images of traditional costume in Asia or primitive clothes in Africa. Make-up represent images of matt and pale skin, tanned yellow, glossy and thickly powered squeaky white skin. Point make-up highlighted eye lines, red chick, small and voluptuous red lips. Hair and accessory seeks diversity combining various ethnic styles together such as oriental, Indian, Islam and Africa. In addition, future-oriented fashion of the 21st century, twists in texture, various kinds of materials and changes in technique help give impressions of freedom and bizarreness.

• Journal of Korean Theatre Studies Association
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• no.48
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• pp.549-569
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• 2012

Since 1995, the Local autonomy era has opened, local festivals have been increasing throughout the country. Traditional culture festivals are also increasing. Performing traditional culture festivals is effective for maintenance and transmission of traditional culture as well as creation and nurturing of local culture. They are also effective promoting local economy. Depending on realization level of character, place and costume based on historic research, traditional culture festivals are classified as the "Representation event" or the "Reenactment event". But there are two problems. The first is unexacting classification method for festival types made by Central government yearly. The second is unable to meet one of two goals which are protecting traditional culture and stimulating local economy throughout increasing tourists. The purpose of this study is to suggest improvement of classification method for festival types, and to offer two suggestions for ensure successful local festivals. First of all, I suggest advanced classification method for festival types. For more sophisticated collection process of national festival status, local government department should ensure purpose of festivals, and central government department should add 3 steps to existing process. For example professional committee for judgement of festival types should be founded for consulting of local and central government department. The second suggestion is reinforcement of historic research for the Representation of traditional culture event. The representation of traditional culture should focus on protection of tradition, and could be perfect by continuous historic research. The last suggestion is cooperation with local governments each other for the Reenactment of traditional culture event. The Reenactment of traditional culture should focus on promoting local economy by increasing tourists. So local governments who have similar traditional events should cooperate to get preventing loss of resource and overcome weakness of promoting.

• Journal of the Korean Society of Clothing and Textiles
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• v.48 no.2
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• pp.193-210
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• 2024

The portrait featuring Jo Ban(1341-1401), a scholar-official from the late Goryeo and early Joseon period, and his wife is the oldest surviving couple portrait in Korea. It is of great value in uncovering the clothing culture of the period given the limited number of historical artifacts and records. This study examines the historical clothing and textile patterns of Jo Ban's wife and reproduces them using 3D fashion design software program CLO. She wears jokduri, chima, and baeja over layers of jeogori, a mixture of traditional Korean and Chinese styles. Her clothing illustrates eight patterns-one flower, five geometric, and two cloud. Records and relics of similar periods show that flower and geometric patterns in her clothing follow the prevailing styles of Goryeo, while the cloud patterns are representative of early Joseon. These details are used to reproduce six different styles of Jo Ban's wife with CLO tools. Various visualizations of textile patterns are applied to materials, generating a more realistic look than her existing 3D character created with the portrait. Results of this study are expected to help promote the use of Goryeo clothing and patterns in numerous designs and enhance intuitive understanding of Goryeo clothing based on 3D visualization.