• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.1
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• pp.149-168
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• 2016

The Saka were a large group of Eastern Iranian nomadic tribes on the Eurasian Steppe. The sythian figures shown on the Persian reliefs are esteemed as the only empirical material in the range of scythian costume researches. The study of the scythian culture is an important part in the research of possible connections of our cultural roots with this region. The investigation was initiated by the theory, that the korean people emigrated from the Eurasian region, so that their origin can linked to eurasian riding people. The aim of this study is to organize the scythian clothingform in a typological system. This results shall be used as the starting point for research investigating the origin of the korean clothingform. This study refers to data, which has been extracted from reviews of literature, articles and excavation data of German Archaeological Institute. Results of this study are as follows: The basic form of clothing shown on the Persian reliefs is the upperjacket with narrow sleeve and trousers. This basic form is divided into two different types. 1)The median tunicform upperjacket('Sarapis') and median narrow trousers('Anaxsirides'), which is bound with its end shoes. 2)The Scythian 'Cutaway' upperjacket that is cut from the front in the middle to the knee with the diagonal lines and relatively wide trousers. They wore high pointed hats with flaps over ears and the nape of the neck. The first median type is dated from the $6^{th}$ century BC. and the second type can be found on reliefs from the $5^{th}$ century BC. Reliefs. In the meantime appeared a mixed form, namely scythian Jacket and median trousers. From this analysis could be observed that scythian clothingform has changed by median type to the scythian type. The Scythians shown on the Persian reliefs are divided into three group according to the regions where they lived: Saka-paradraya, Saka-tigraxauda, Saka-haumavarga. Clothingstype is different depending on the group. The clothesform is also used as a good parameter to distinguish scythian groups.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.128-142
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• 2014

In the new media age, the importance of personal style is highlighted, as the fashion recipients independently create their own images by transforming and recombining the fashion information gathered from the fashion blogs - the most representative form of social networks. The study aims to identify the types and styles of imaginary ego-images represented on the personal fashion blogs as a new space of self-expression, based on Lacan's gaze; the imaginary of the unconscious world and the ego-concept. According to literature search, the imaginary ego-image is classified as narcissism, regression, identification, and virtuality. In the case study, Narcissism is represented mostly as bloggers' satisfaction and beliefs about their fashion styles. The degeneration represents childhood images including a mother, as well as retro and vintage images that recreate the fashions of bygone eras - such as medieval, $19^{th}$ or 20th century fashion. Identification is the connection with the various areas of culture and art, especially movies and music. Virtuality represents hypothetical situations of mythical, fairy tale-like, surreal, or dreamlike atmospheres and hypothetical bodies that appear removed, disassembled, or crooked. The imaginary ego-images emerged on the personal fashion blogs are also classified into specific style depending on the attributes of the ego images-such as kidult style, retro style, ethnic style, and surreal style.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.364-371
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• 2015

This study investigated and analyzed Sadanggut for General Namyi, Agisee Gutdang in Haengdang-dong, Dodanggut in Bonghwa Mountainto examine the type and characteristics of official hats for shaman's costumes based on Seoul village gutas a spiritualistic shaman revealing the divinity of music for gutthrough singing, dancing, divine material and official hats. Commonly worn official hats were Goggal(conical hats), Jeonlip(soldier's felt hats), and Heuklip(black hats) for Seoul village gut as the object of thisstudy. Each official hat had a close relationship with subjects for divinity and musical meaning for gut. Julip(Red hats), Jokduri(bride's headpiece), helmets, Iksubgwan(King's official hat), and Daesu(Queen's a big wig with various hairpins) were also worn. Official hats worn for Seoul village gutwere understood to symbolize divinity and raise authority and dignity to the public through aggressive appearance, exaggeration and splendor. Concretely, official hats at Seoul village gut first had roles to materialize the divinity of each music of gut. Second, recognized as a part of performance or traditional culture in present day, aggressive official hats were favored to supply splendid attraction and maximize scenes of divined heroic epic poem in gut. Third, for Seoul village gut, colors and silhouettes of modern traditional costumes were reflected pursuing partial change and focused on exaggeration and splendor to express the mirth and festival of gutwhile maintaining traditional costumes.

• Journal of the Korean Society of Costume
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• v.61 no.8
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• pp.18-31
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• 2011

Gianni Versace was a designer who established his unique fashion world by thinking creatively and using rich design sources. The purpose of this study is to present designers a methodology for creative and characteristic design development by searching Gianni Versace's idea source for fashion design. As a method of the study, visual and textual data were investigated for Versace's fashion and design source especially focusing on those elements that inspired him. Versace was born in the southern area of Italy in 1946. Ever since his childhood, he had a lot of experience with clothes because his mother was a dressmaker. His first collection was made in 1978, and Versace became one of the most famous fashion designers in the world within 20 years. He used a wide range of design sources such as history, culture, and art and created his design world with it. He focused on four important epochs. They were classicism, Byzantium, the eighteenth century centering on Baroque, and the 1920s and 1930s centering on Madeleine Vionnet and Madame Gres. Among cultural elements, costume design for ballet and opera and rock 'n' roll music inspired him greatly. Also, Pop art and various paintings such as Chagall's and Delaunay's had a huge effect on Versace. With these elements, he created a bold and unique coordination of style by mixing & matching history, genre, material, and style into his design. Thus he completed an extraordinary and original fashion style by emphasizing on decorative and glamorous points and changing a way of thinking.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.12 no.9
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• pp.3815-3826
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• 2011

TThis study was undertaken to make trial costumes of ball jointed dolls for promoting the beauty of Korean cultural product with historical research of upper class ladie's costume from late Goryeo to early Joseon, the very unknown period in the Korean costume history. The ladies' costume from late Goryeo to early Joseon are characterized by their full silhouette, fusion with clothings of Yuan and Ming, revival of early Goryeo styles, well-developed weaving skill of ramie, a showy costume from Buddhist civilization. After investigation of researcher with literature, painting, and relics in 13-14C, 8 clothing items were outsourced totally. Items were formed as a set concept, but consumer can choose each costume as an single item and can make varied mix also. Dart, small ties, and thick fabrics were used in doll costumes partly because ball jointed doll's body has different characteristics from that of human beings. Developing research of manufacturing company's system for ready-made product remains to be considered in the future.

• Journal of the Korea Fashion and Costume Design Association
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• v.23 no.1
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• pp.129-142
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• 2021

This study aims to identify the perception of New-Hanbok one-piece dresses that female consumers have purchased and to analyze the design preference based on design types and brands. Analysis was conducted on New-Hanbok brand websites, and additional research was carried out through a survey of 402 women in their 20s and older. The survey consisted of 36 questions, which were divided into categories including pattern, color, material, and recognition of the one-piece dress. The research results are as follows. First, the preferred design form of the New-Hanbok one-piece dress was long length, medium fit, princess line, round git, rectangular git, regular width git, V neckline, regular width dongjeong, front closing with a wide overlap of the chest are a, narrow goreum, a skirt part with moderate crease spacing and number of pleats, A-line skirt silhouette, long and narrow sleeves, diagonal shoulder line, and a cuff at the end of each sleeve. Second, the preferred colors of the New-Hanbok one-piece dress were bright, neutral, or light and were predominately monochromatic Third, the preferred fabric conveyed a contemporary atmosphere through its print pattern. The most favored fabric material was cotton. Through this study, more systematic design development research should be carried out focusing on the current situation and identifying problems, thereby improving traditional culture.

• Fashion & Textile Research Journal
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• v.7 no.5
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• pp.481-493
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• 2005

Reason for contemporary ethnic-look's remarkable world popularity is viewed as due to counteraction of disordered world conditions such as war, terror, and economic depression. These conditions led people to desire the returning to primitive human society where freedom and peace are preserved. The background of ethnic look emergence is influences of post-modernism, eastern and western culture hybrid, and ecology. This study will mainly focus on the analysis of present ethnic fashion trend and, with following to this, their images will be analyzed and categorized. The result of ethnic trend, especially that of Asian's and African's, from 2000 to 2005 is like this: representative Asian ethnic fashion tendency is focusing on Japanese and Chinese. In Japanese style, oversized silhouette was derived by Kimono and wide belt was appeared by influence of Kimono's Obi. Chinese ethic style are analyzed as adapting feministic silhouette and details from Chinese traditional clothes, Chipao. Additionally, in some of the Chinese ethnic-look, there are mixtures with Japanese, North American, and African's images. Mixing with pop images and ancient ones are also emerged. In the African ethnic look, people used colorful cloth and new materials which is considered as integration of primitives and modern science. From the study, it is possible to conclude that current modern ethnic fashion can be defined as blends with one country's image to the other, mixture with new technology, and acceptance to the multi-national folk fashion. These trends are widely revealed and extended in the world fashion. In the following result of the analysis, there were four outstanding images lying underneath in the present ethnic-look. That is eclectic, traditional, natural, and mysterious images.

• Journal of Digital Convergence
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• v.12 no.4
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• pp.461-466
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• 2014

With the popularity of Japan's "Three Kingdoms" series of games, the Three Kingdoms became popular and gave birth to the Three Kingdoms game for the traditional cultural resources and cultural industries. At the same time generate economic benefits and promote the traditional culture of double effect. With Liu Bei, Guan Yu and other roles in the development of cultural industries in each particular historical figure internationalization appearance design to get attention in the digital arts industry. In this thesis, three kingdoms cultures and three kingdoms generals were analyzed based on classic novel Three Kingdoms (三国演义). Guan Yu, China and South Korea in appearing common in the game as the center. Take example of the role of Guan Yu's generals styling, clothing, weapons, color comparison, attempts to explore the international trend of historical figures game character.

• Fashion & Textile Research Journal
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• v.17 no.4
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• pp.574-587
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• 2015

This quantitative study helps develop a measurement tool for consumer experiences inside and outside of a fashion brand store in a large shopping center along with a previous qualitative study that utilized a consumer interview. An expert group interview was conducted to verify the result of the previous qualitative study. Subjects were selected through convenient sampling. A self-administered questionnaire was developed to collect the data. We used 666 questionnaires for data analysis. To analyze data, reliability analysis, factor analysis, correlation analysis and measurement equivalence verification were conducted with a statistical package of SPSS 21.0 and Amos 18.0. We used 27 questions in 8 factors for consumer experience inside of the fashion brand store: fashion product, VMD, salesperson responsiveness, salesperson specialty, salesperson's special treatment, salesperson's respect for customers, and positive/negative emotion. We used 27 questions concerning seven factors for the consumer experience outside of a fashion brand store that encompasses a large shopping center: experience with brand and product category diversity, experience with promotion and event, esthetic experience, experience with culture and entertainment, experience with recreational behavior, experience with reputation and sense of pride, and experience with customers.

• Journal of the Korea Fashion and Costume Design Association
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• v.6 no.3
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• pp.169-183
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• 2004

This study attempts to understand women's underwear culture in the Later Chosun Dynasty, by investigating the kinds and constructions of them, which formed bulky and puffed silhouette of the lower half of the body. In the middle 17th century in Chosun, Confucianism settled down as fundamental idea of society, while whole country achieved considerable economic growth. As a result for upperclass women, female virtues was demanded more than any other period in Chosun. On the other hand, lower-class women including Kisaengs, had more freedom on their clothing behaviors. According to the literature on women's dress institutions and restrictions of the extravagance, the use of kinds of high-quality silk and false hair was criticized, compared to women's clothes in China. From this, one can see the luxury and affluence of women's clothes at that time, which also reflected in luxurious underclothes. Also, the movement of class, by economic development, led to changes in the costumes of middle-to-lower class women, relaxing restrictions on clothes. Underclothes included Bosomband(가슴띠; long sashes for bosom to wrap), Sokjucksam(속적삼), and Sokchogori(속저고리; Korean blouse, worn under the chogori) for upper garment, and Darisokkok(다리속곳; basic underwear like the panty), Soksokkot(속속곳; underwear paji to be wide of hem), Sokpaji(속바지;trouser front and back opening), Tansokkok(단속곳; large size underwear like Soksokkot), Noronpaji(너른바지; paji like the skirt or paji bulky than tansokkot,), Mujigi무지기; tiered skirt for underwear), and Daeshumchi'ma(대슘치마; Korean underskirt, shape hem as a pad into form) for lower clothes.