• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.671-682
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• 2003

The purpose of this study is to analyze styles of costume and understand meanings related to costume embodied in the images of Buddha in Baekche period. Visual and textual analysis of the paintings include the images of Buddha in Baekche period was used for the research. The results of this study were summarized as fellows; Budah's hair style is identified as simple, Gae. Buddha wears Sanghati(outer wear) made of Tongeun and Peundanwoogeun, and many cases Sanghati made of Tongeun are usually seen. Three kinds of upper garment were identified; Samkaksika, right and left crossed upper garment, and Peunsam. Samkaksika was frequently seen in the paintings. Lower garment was a Nirasana reach to the ankle, was worn with a belt. Two skirts were also seen occasionally. The symbolic meaning of costume of Buddha was related to its religious meaning and identified as majesty and saintliest, which is harmonized with her simple costume styles. The wrapped style of costume, which did not show the contour of the buddha's body adds mystery. Also, the styles of costume created by different wrapping methods signify originality.

• Journal of Fashion Business
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• v.1 no.1
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• pp.53-70
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• 1997

The purpose of this thesis is to make clear particulartity of young adult generation which leads industry in their demands so that fashion trends are foresaw, and to describe style of costume satisfied with picture of new male. This thesis is to consider young adult style of costume in terms of double root described by W$\ddot{o}$lfflin in the internal meaning and the external form, so as to analyze their unique style. In conclusion, domestic young adult style of costume is embodied in the internal meanings of individuality, aestheticism and new classicism in terms of the external forms which means body-priority-form by open-form, whole-form, integration-form, rounded-form, indeterminate-form. With these results, domestic fashion industry is demanded to be from classic to modern expressions so as to be reflected in sophisticated masculinity of young adult.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.62-75
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• 2005

This study is focused on main performers' stage costumes in the 'Swan Lake', a masterpiece of classical ballet, which Is newly represented by Matthew Bourne, a choreographer. The objectives of the study is to help understand a trend of costume in modern public performance and art. First, this paper is attempted to describe the concept and the elements of ballet costume, secondly, to consider the performance generally, and finally to analyze main performers stage costumes. This study was performed by two processes; The first was to visit theaters to view the performances in person: the classical ballet by the Bolshoi Theater Ballet, the performance by Korea national ballet academy and the Matthew Bonne's modernly redefined ballet. The second was to review the regarding literatures and DVD. There are two apparent characteristics of main performers' stage costumes in modern-style ballet compared with classic-style ballet. First, there is an approach to gender identity; the character of swan with the classic tutu that has been the culmination of femininity in the classic-style ballet, used to be represented in an established idea on ballet costume, is now substituted by a creative idea, male ballerina and trouser-style ballet costume. Second, there is an approach to breaking the convention on the purpose of emphasizing popularity arousing real sympathy and art value. Also, modern-style ballet introduces bare body and ffot rather than tutu and toe-shoes, and adapts items from casual outfit fitted in earh performer's character with a present-day life.

• Journal of the Korean Society of Costume
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• v.22
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• pp.97-118
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• 1994

This stud is my second trial to examine the costume of Balhae Dyansty. The subject of this study is the costume of a bronze statue excavated in the Maritime Provinces of Russia. The bronze statue is in the custody of Vladivostok Museum E.V. Shavkunov a Russian archelogist reported it a statue of-ficial of balhae dynasty in the 7-8th century. Judged his report lack of basis I suggest new opinion on sex, age, married or unmarried. social position manufactured time of the statue by comparative study on the costume hair-style and appearance of the statue with around nations' antiquities. hair-style of the statue is basically included in Ssangge and complexed style of Sage Ssangsuhuange, and Guange, Generally, Ssangge is a hair style of children, unmarried women, court ladies, dancing girls, and instrument player (lady)s'. The statue wears round-necked blouse long skirt broad fabric belt at high waist broad sleeve and confront collar coat cloud shaped shawl and risen tip shoes. The figure of statue is de-scribed plump. The statue shows straight sil-houette and high waist typical style of Tang, Uddai, The most characteristic facto is cloud shaped shawl Cloud shaped shawl was originally one of the northern race's shoulder ornaments. From the view of Comparative study the antiquities of NamDang and JunChock are simi-lar to this statue. Besides Tsukanovka river where the statue was excavated is Kraskino ruins of a castle formed single cultural layer of Balhae Dynasty and are relics of the layer of Balhae Dynasty and are relics of the latter period of Balhae Dynasty. Therefore this statue is assumed to have been manufactured at the last years of Balhae Dynasty and to be a figure of unmarried woman not official.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.133-144
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• 2000

The purpose of this study is to examine a distinctive feature and meaning of Reggae fashion and to establish a form of design on the basis of the Reggae style appeared in the 1990s. For the study, we review a formative background and stream of the Reggae fashion. And then, characteristics of the Reggae fashion is clarified through analyzing street fashion and High-fashion. The result of the analysis demonstrates that the Reggae fashion as a general term of the fashion style is connected to the Reggae musci emerged from Such socio-cultural changes as the tendency of the anti-fashion , the influence of the Afro-fashion , and the popularity of the Reggae music. The reggae fashion has been altered in terms of its style with the lapse of time-Rastafaran style, Raggnuffins and Bhangra style, Hip-hop Reggae style. The Reggae fashion emerged in the 1990s falls into three styles ; Afro-Reggae style, Feminine Reggae style, and Sporty Reggae style. The above mentioned results demonstrate that the design of Reggae fashion targets fro a youth in one's early 20s following a tendency in the 1990s and the 2000s. The design concept represents Romantic Reggae.

• Journal of the Korean Society of Costume
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• v.29
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• pp.117-126
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• 1996

As the current stage of the fashion begins to follow the styles of the past the study on the past costume is getting more importance and as the methodolgy of the study the accu-rately approached study through the rehabili-tation of the past cosume is more needed than the simple rearrangement of the historical documents. By this methodology this study can be positioned as a re-creation activity. The results of the study are as follows. 1) Style: The general silhouette is the style to emphasize the waist and to widen skirt at the lower part of the body. The front shows hourglass silhouette but the side shows S-line silhouette. The dress is two-piece composed of bodice and skirt. 2) Color and Fabric: The main color is dull powder blue end the sub color is ivory. The dress is made of wool crepe and cotton and partly silk crepe satin and taffeta. 3) Pattern and sewing: The dress is combined with lining and fabrics, The patterns. or overbodice. The skirt is gored skirt. The skirt is gored skirt. The dress has various effect not only to decorate but also to conceal seams support hemlines nd affect the depth and length of front panel. 4) Datail: The braid black velvet ribbon frill and tucks in bodice skirt sleeves front panel collar cuffs are repeatedly used to dec-orate the dress. Finally the 1902-3 day dress has the characteristics of transitional stag in which the chatacteristics of the costume of 1900s and the remnants of the characteristics of the pre-vious costume style and shows the charac-teristics of day dress well in terms of the style color and fabric pattern and sewing and detail.

• International Journal of Costume and Fashion
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• v.17 no.1
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• pp.29-39
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• 2017

This study seeks to understand the consumer meanings of wearing classic styles. A qualitative research method was adopted, and 16 participants in the United States were interviewed and asked to define a classic fashion or style and why they wear one. Grounded theory was used for the research. The findings revealed three themes: (1) A classic style represents conservatism in style; (2) Style pragmatism refers to the positive attributes of wearing a classic style; and (3) consumers expect to continue to wear that classic style in the future. Those who are fashion-forward also expect to wear classic clothing in the future as they grow older. For people who do not follow fashion, classic is also a safe choice. The implications of these findings are discussed.

• The International Journal of Costume Culture
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• v.6 no.2
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• pp.69-82
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• 2003

The Scythians had a veritable passion for adornment, delighting in decorating themselves no less than their horses and belongings. Their love of jewellery was expressed at every turn. The most magnificent pieces naturally come from the royal tombs. In the area of the neck and chest the Scythian had a massive gold Torques, a symbol of power, made of gold, turquoise, cornelian coral and even amber. The entire surface of the torque, like that of many of the other artefacts, is decorated with depictions of animals. Scythian Torques are worn with the decorative terminals to the front. It was put a Torque on, grasped both terminals and placed the opening at the back of the neck. It is possible the Torque signified its wearer's religious leadership responsibilities. Scythian Torques were divided into several types according to the shape, Torque with Terminal style, Spiral style, Layers style, Crown style, Crescent-shaped pectoral style.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.37-39
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• 2001

This study intends to analyze Korean young people's fashion style and their fashion interest which is expressed in street style. Research area is Myung-dong, Sin-chon and Ewha Women's university street. After we took late teen-aged and twenty-aged girl's photo there, we analyzed their fashion style. Moreover we researched on their interest in fashion, hair style and accessory. Therefore the purpose of this study is not only to give a better understanding of young people's fashion style and fashion interest but also to make an offer data for fashion marketing by analyzing fashion style and fashion interest in street style.

• Journal of the Korean Society of Costume
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• v.20
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• pp.63-72
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• 1993

The concept of style provides a useful structure in history of Art. In aspect of formative art, dress and art work are alike, so style is a useful concept in the historical methodology on dress. The main purpose of this study was to apply the art criticism to the historical methodology on dress. For this purpose, documentary studies about style as a tool of historical research were proceeded. The results were as follows : 1. The concept of style consists of the external form and the internal meaning as double roots. Therefore, it's indispensable that the two asp-ects of style, form and meaning, must to be harmonized to describe the historical phenomena in dress. 2. The change pattern of style in dress is not always predeterminate and regular according to the cyclical theory. From the alternative point of view, the change pattern of style could be to describe the continuous theory proposed by kroeber, Brodsky. The whole change of style is considered "liked solution" by this theory.is theory.