• Journal of the Korean Society of Costume
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• v.30
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• pp.275-294
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• 1996

In fashion there was a move away from the ascetic of the Gothic according to the appear-ance of a new spirit at the beginning of the fourteenth centuries initially in Italy. The new spirit Humanism applied their interest not to the universal but to the individual and particular. The Renaissace costume style based on the Humanism was sharp angled and curvy and had a grotesque silhouette with the exaggerated and tense decorations. The purpose of this study is researching the background led to the balanced costume style characterized by unique details. out of the tastte for luxury and beauty grew a new style known as slashing in which seams were left open and colored linigs thrust through or cuts were made in an entire cos-tume and contrasting material puffed out of the cuts. With the slashes another element was characterized in the high Renaissance cos-tume style that was the use of points or lace to hold a costume together. For the masculint costumes pads became into a fashion and were used for forming the antinatural artificial and bulky silhouettes. The body was distorted and tensed by putting the pads into the sleeves and bodice. The jacket with a full rounded bodice like a bow known as peascod belly and haut de chausses a onion-shaped trunk hose with a codipiece ap-peared and grew one of the most characteristic of Renaissance style. According to these sociological changes the view of the beauty based on the human body and in both of men and women the costume style was changed very much to emphasixed their physical beauty and finally it grew a grotesque style and even more a exposed style that exposed a part of their body. Those backgrounds as were stated above can be said to lead to the appearance of the grotesque style in the Renaissance Age.

• Journal of the Korean Society of Costume
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• v.26
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• pp.29-47
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• 1995

Today, we live in the fastly changing society, rapidly developing scientific civilization and repeatly confusing political culture. Therefore, man persuits the emotional rest in "eros" and sympathizes with eroticism. Such an eroticism represents too much in art and costume all over the world. the purpose of this study is to classify the ex-pressive style of eroticism which is the feature of the costume in the first year of 1990's and to analyze its expression meaning. This study will be a basic data of new design development and help predict the costume in the latter half of the yeat. The method of this study was performed by using the literature related to the eroticism and the study of preceeding researchers. To analyze the costume style the its implied meaning being used to express the eroticism of 1990's, the magazines(Elle, Vogue, WWD, Collections etc) and the literatures related to fashion were used. The styles and meaning of eroticism expressed eroticism by using the minimal design which exposes wholly or partly by using a transparent vinyl and a see-through clothing. The sexy style arose from the expression of social rebellion and the exposure of suppressive sex as a psychological repulsion against the older generation. 2) Deshabille style : This style is the conver-sion to the outer garment of an underwear. The excessive exposure which just concerns the inti-mate parts of the body by using the thin cloth or lace for an underwear. This style can be recognized as the beauty destruction and ugly 3) Glamour style : The style is made up of the high-grade cloth such as silk and velvet and expresses the bodily beauty. This style falls into a rebellious culture and comes from the inten-tional expression to escape the modern life which is straight and hard. 4) metallic style : This style uses variously the new material such as vinyl-coating, enamel and represents the eroticism through the original expressions.pressions.

• Journal of the Korean Society of Costume
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• v.60 no.3
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• pp.123-137
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• 2010

The purpose of this study is contemplating and substantiating Korean Empire's court costume through relics and photos. Additionally, the meaning of the pattern of Mugunghwa as the national symbol in the court costume is considered. The results of this study are following. First, a phased introduction of western-style court costume was executed through Ulmi Reformation in 1895 and Court Costume Rule in 1900. U1mi Reformation was characterized by transitional reformation because newly introduced system and traditional costume consolidated in costume. Under Court Costume Rule, however, by accepting western-style on contemporary costume, modernized style was settled in every respect of form and matter. The court costume comprised bicorn, coat, vest, pantaloon, sword, sword belt, white collar and white gloves at audience with the Emperor. Second, by examination of the relics of Chigimgwan and Juimgwan, it was confirmed that the court costume was manufactured in foreign countries such as France and Russia on the basis of order. It was also identified by pictures that court costume was worn by diplomats dispatched. Third, the pattern of Mugunghwa in court costume was featured by embroidery of 6 petal pattern. And the pattern of Mugunghwa, as national symbol, has important meaning in view of history and national affection, while Japanese and European adopted the crest of the royal household. In summary, Korean Empire proclaimed modernized court costume institution to handle international relationship driven by West. It was uneasy reformation in adopting western court costume imported from overseas because its textile and style were completely different from traditional costume. However, the willingness of Korean Empire should be reevaluated in the history of Korean costume, in that Korean Empire established court costume proclaimed its sovereignty domestically and overseas, and that the pattern chosen as national symbol was that of Mugunghwa which is current national flower.

• Journal of Fashion Business
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• v.9 no.6
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• pp.71-85
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• 2005

The purpose of this study is to prove that interchange is the a key factor in costume style changes through case analysis in costume culture interchange, and further, to assist in gaining understanding of costume style changes of the present and the future. Study findings show that the pattern of acceptance of costume interchange was mostly integration, though it was influenced by the method of transmission. The integration is a process in which a foreign costume culture is constructively mixed into the existing one, and a factor that changes the existing costume culture.

• Journal of the Korean Society of Costume
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• v.26
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• pp.69-85
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• 1995

Recently Southeast Asia has developed, so the world concerns about these regions. Ethnic fashion in 90's is mostly the influence of these regions' folk costume. The purpose of this study is to review aes-thetic aspects of folk costume in Southeast Asia, to investigate the influence on modern fashion and to predict the possibility of Asia fashion's adaption to modern fashion and to help the cre-ation of fashion design. First of all, the folk costume in Southeast Asia is classified drapery style and sarong style. These non-west clothing appeal to modern fashion as the oriental tranditional beauty. Ethnic fashion appeared in 1990's is attempted to be more complex and variable than the pre-vious ethnic fashion. Asian ethnic fashion influenced from folk costume of Southeast Asia is-wholly or party-the style, color, motif from each country's folk costume. And each country's unique art became the motive of the creative design. Specially, Aosai and Quan in Vietnam and sar-ong style in most Southeast Asia are important motives expressing minority's nostalgia. These are expressed in variable ways. Which are harmonized with latest other fashion trend : retro style and naturalism, Layered look, hippie look, unfinished sewing technic and manual technic are used one image matched the folk costume of Southeast Asia which is natural. Another characterstic in Asian ethnic fashion is a multi-ethnic. This harmonizes the different culture between the Orient and the West beyond the age and culture, and combines each folk costume. It is involved that the fashion can develop indivisual country's costumes mixed with her own unique characteristics and the fashion break the traditional concept and disagree with a certain coordinate rule and it indicates that the fashion shows various style, mood, volume and room as well as space. Like this recent Asian ethnic fashion comes to us in a strange favor. The people who are tired of traditional western civilization's outcome will receive a great tastes from the Asian ethnic fashion.

• Journal of the Korean Society of Costume
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• v.34
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• pp.169-182
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• 1997

Focusing on khotan located in the southern Silk Route which was one of the most important kingdoms in the Tarim Basin this study attempts to examine the changes of costume in Khotan by compar-ing the costumes in the painted panel showing the story of silk princess with the excavated costumes from ancient tombs. Furthermore this study attempts to inves-tigate the impacts of cultural exchange be-tween China and its western neighboring country Eastern and Western Turkestan on costume. Excavated costumes from the Shanpula ancient tomb in the region of Khotan and from ancient Niya in the esat-ern border of Khotan and discoveries from Rawak and Dandan-oilik near by Yotkan the ancient capital of Khotan are exam-ined. Basic Khotan's costume was the two piece style of tops and trousers. Over the basic costume wearing a top wear with half sleeves was popular. Skirt was worn by women. Even though there were many kinds tops were classified into the two types kaftan and tunic. Thouth Khotan maintained a association with China for a long time the style of Khotan costume had imbued to China. Top wear with half sleeves was worn frequently in Khotan. Also in China top wear with half sleeves was worn as over-wear which was called ban-xiu ban-bi bei-zi Costume style of China is covering the body profoundly and wrapping front edge toward the right. The types of chi-nese top wear with half sleeves for exam-ple round-neck·confronting front edge crossing-neck·confronting front edge tu-nic type discord with the traditional chi-nese costume style There were many cas-es that half sleeved top wear was worn as over wear in T'ang dynasty. The phenom-enon was due to the prevalence of 'ho' (foreign) and half sleeved top wear was introduced by the countries to the west of China Khotan. A round neck garment was a general type for the men of cuntries to the westof China. Also Chinese wore round neck garment since South and North Dynasty The type of Chinese round neck garment was not tunic but kaftan. From costume relics and ancient paintings the type of Khotan's round neck garment was tunic which was recorded on the Chinese histori-cal documents as " guan-tou-shan" that is tunic the type of persian costume, Even thgough the painted panel showing the sto-ry of silk princess was made in the it me when Turks was a dominion on Central Asia Khotan's costume style was not changed toward Turk's costume style and remained tunic style.

• Journal of Fashion Business
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• v.11 no.1
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• pp.48-60
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• 2007

The purpose of this study is to examine the romantic costume style which has become a big trend before and after the 21th century. For this purpose, I examined the development plans and characteristics of women's costume in France in the Romantic period from the 1820s to the 1850s and analyzed the aesthetic characteristics of romantic costume style The aesthetic characteristics of romantic style in the 19th century were defined by the feminine and elegant beauty, exoticism, and sensuality. Since the 1990s, the characteristics are classified into Feminine & Elegant Style, Ethnic & Fusion Style, and Sensual Style. Feminine & Elegant Style is characterized by delicate, splendid lace and frill decorations that have become more ornamental and technical since the 1990s. They create greater romance and express gentler and more elegant femininity away from the artificial silhouette. Ethnic & Fusion Style use more diverse ethnic patterns, colors, accessories, and details since the 1990s and shows more varieties and creativity in convergence with modern fashion. Sensual Style exposes the physical curve of female body. In the 19th century, cuffs and collars were exaggerated and shoulders were exposed for sensuality. After the 1990s, however, see-through materials have been used to show the beauty of natural physical curves or corsets have been worn as the outerwear. Studying romantic costume style, which arose as a concept of postmodernism, the cultural ideology that exists as a breakthrough of our time, is signified by the understanding of the latest cultural phenomenon and fashion trends.

• Journal of the Korean Society of Costume
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• v.53 no.4
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• pp.17-29
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• 2003

Long Sleeve Costume is often seen not only in ancient China but also in various neighboring places throughout the time. Costumes show the societies cultural preferences and values at that time, and Long Sleeve Costume is no exception. In my research, 1 focused on the time period from Han Dynasty to Tang dynasty in ancient China. During Han dynasty, Shenyl style robe(심의형 포) was widely worn, and it shows very little foreign cultural influence. For the period of Wei·Jin Southern and Northern Dynasties, foreign aspects of costume started to show up Possibly due to the influence of Buddhism and influx of foreign tribes. For instance, it is not too difficult to find hufu (호복) as well as Shenyl style robe, and it appears this Wei Jin Southern and Northern Dynasties may have been a transitional period of accommodating two cultures without complete merger. Now, when it comes to Tang dynasty, we observe a creation of new cultural form in costume after adopting exotic culture. Because Sh ny style robe. often observed for a long time in Chinese history, disappeared, and tuanling(단영) and fanling(번영) became the main stream in their costume style in Tang dynasty.

• Journal of the Korean Society of Costume
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• v.52 no.5
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• pp.109-127
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• 2002

As modern fashion trends show oriental motif since the transition of post-modernism, a number of great fashion designers such as Givenchy and Jean-Paul Gautier applied the concept of Orientalism to their fashion design. Total fashion is a trend in which make-up, hair-style, and accessories. together with clothing itself are considered a complete fashion as a whole, and sometimes appeals much to consumers. Given that the previous studies on Orientalism have focused only on clothing. this research aims at examining Orientalism with a total fashion approach to simultaneously study make-up, hair-style, accessories, and clothing, and showing that traditional oriental beauty is expressed by total fashion in which the past appeared again through the process of creative application. We analyzed the Orientalism total fashion from 1990 through 2001 and summarized the national differences among these countries in the following. First, China has a uniformed clothing. make-up, and hair-style as shown its traditional play, "KyungKeuk" and traditional costume, Chipao. Second, Japanese unique traditional costume has been passed on through its traditional costume, Kimono, and traditional play, "Kabuki" Finally, in Korea, make-up, hair-style and the design of the traditional costume. Hanbok, as appeared in "Myindo(means a picture of a beauty) Painted in the Chosun Era are applied and reappeared without much change. It is advised to note that the Orientalism fashion to be discussed in this study is limited to China, Japan, and Korea in Asia.Japan, and Korea in Asia.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.123-132
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• 2009

Our government has declared the "Synthetic Project for Promoting Han-style" to industrialize and globalize the original form of Korea traditional culture. Han-bok, our traditional folk costume is one of the main subject of this project. However it is the global trend not to wear their traditional folk costume. And so, the number of people wearing Han-bok, our traditional folk costume is also getting gradually decreased in Korea. For Han-style Promoting Project in the future, it is one of the most efficient way for the middle and high school students to motivate and increase the interest about Han-style and Han-bok as the middle and high school uniforms. Adolescent middle and high school students think very important their appearance. Especially, Korean middle and high school students spend a lot of time in school, and so school uniforms are very influential in their mental and physical aspects. Fabrics for this study, they were woven twill with 3 kinds of fabric patterns from the motif of Baekje relics. The colors of fabrics is the blue and brown used in general school uniform, the yellow and red used in Han-bok. Considering the school uniforms, fabric patterns adapted the similar color matching method for not to be found cleary and designed the fabric pattern's one-repeat size is $4{\times}4cm$.