• Journal of the Korean Society of Costume
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• v.44
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• pp.235-247
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• 1999

The influences of Art nouveau and Art Deco are as follow: The first, in the side of silhouette, hourglass style and bell shaped skirt influence on mordern fashion chiefly and S-curve style was mollified. Empire style, hobble style in art deco age are all showed diversely, in these styles especially boyish style give an outstanding trasts to modern fashion. The second, the color of art deco, characterized by pastel in art nouveau's color tone, original color and black and gold was reflected on the textile design and showed diversely in the color fo modern fashion. The third, in the field of textile and pattern, flower and plant which was a motive of art nouveau style, organic curve and geometrical pattern and exotic motive was seperately used with motive in the pattern and design of mordern. Textile of goldish and silver tone, metal stuff, lace embroidery, fur, artifical flower, feather etc. showed up on the many parts of clothing. Like this Art Nouveau and Art style not only had a great effect on the costume but also decorations and formative arts.

• Journal of the Korean Home Economics Association
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• v.48 no.6
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• pp.9-16
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• 2010

The formative exaggeration phenomenon, which makes the plastic space, escaping from the form peculiar to the human body, is being developed into the more diversified and abstract structure. This study analyzed the form and shape of costumes with objective attitude through the use of an oppositional concept method, which Delong presented from the formative viewpoint. Delong's theory, which was presented in this study, can be said to be one index that analyzed the form and shape of costumes. The costumes of the Renaissance Era, in which formative exaggeration is remarkable, are determinate in that they are closed and static, and can be classified into part, planer separation, and flat. The costumes of the Baroque and Rococo Eras are divided into similar formative perspectives, and can be said to be open, whole, and integrated due to indeterminate and diverse decorations. Entering modern times, the formative-exaggeration phenomenon in costumes of the Romantic Era are characterized by closed, part, and planer separation similar to costumes of the Renaissance Era. However, in the aspect of sleeve design and decoration, the characteristics of determinate and indeterminate were considered.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.168-176
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• 2006

The court dancing suit, so-called 'Jeongjae suit', has been worn by court dancers on the occasion of the royal court's feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national guests from foreign countries. The court dancing suits are divided into two styles; Dangak-Jeongjae style and Hyangak-Jeongjae style, depending on dancing styles. This study examined the change of the dancing suits of Hyangak-Jeongjae styles created in the latter period of Joseon Dynasty, such as Bosangmu, Cheomsumu, Heoncheonhwa, and discussed the thought of EumYang-Ohaeng(the cosmic dual forces and the five elements) that the colors of the court dancing suits imply. Generally, in the dancing suits of Bosangmu, Cheomsumu, and Heoncheonhwa, the color expression focused on the main stream of red, blue, yellow, white and black. The colors were mainly expressed in harmony between upper garments and under garments, outer garments and inner garments, a simple dress and its decorations. Especially, in the dancing suits of Heoncheonhwa, the purple color symbolized the auspiciousness of the Purple Palace where the God lives.

• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.698-705
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• 2014

This study classifies features of women's hair adornments with the functional and decorative aspects in the Three Kingdoms Period and analyses in regards to their contemporary social and cultural surroundings. First, the tree-shaped and Rod-like hairpins in the Three Kingdoms Period are not as similar as to the hairpins found in China or other northern countries. It is farming lives and the wood-worship religion established the wearing of high-bun hair styles and tree-shaped hairpins. Second, high-bun hair styles and -shaped hairpins were basic hair decorations during the Three Kingdoms Period. Common high-bun styles finally became one of the cultures that reflected the contemporary thinking. High-bun hair styles, not excessively-decorated, became harmonized with the costume beauty and later developed along with with various-shaped hairpins. Third, Buyao (made of metals and based on flower subjects)in the Three Kingdoms Period was a unique style not been seen in the Han and Wei-jin-nam-bei-chao Period. Flowers in Buyao of the of the Three Kingdoms Period show an elegant sway, which is not excessively-decorated that developed into unique features.

• Fashion & Textile Research Journal
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• v.18 no.5
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• pp.577-587
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• 2016

This study aims to identify the design of men's wear that has the characteristics of expressing maximalism in men's wear collection and contribute to the field of men's wear fashion which expects new, original, and experimental fashion styles to be created. When it comes to research contents, this study first identifies the concept and characteristics of expression of maximalism in such fields as literature and art and based on this, makes a case study of men's wear fashion designs shown in men's wear collection and then understands the type of characteristics of expressing maximalism and the characteristics related to its expressive method in men's wear design. The study findings are as follows: First, expansion referred to the extreme avant-garde that changed the concept of fashion design by expanding clothes or accessories or exaggerating silhouettes. Second, fanciness continued to appear as a tool to use the luxurious decorations that applied fancy handicraft techniques and express the world of original design. Third, fusion represented the expression of various charms from one work without making any classifications between the tradition and the present and between the east and the west. Fourth, fantasy indicated the expression of surrealistic images by expressing the unbounded imagination through creative ideas.

• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.694-707
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• 2017

This study analyzes the characteristics of clothes worn by the Zhuang in order to produce new fashion designs, and to propose diverse new directions in fashion design. Research was conducted using a bibliographic survey on the cultural background, characteristics, and relevant techniques of the Zhuang costume and that of minority races in China. This study deploys four styles of design for women's wear. With the inspiration of the traditional Zhuang costume, black and blue were the colors mainly used for the Zhuang people and the material was mostly denim. Denim blends in well for the contemporary facilitation of the Zhuang costume, which is known for knitting technique, fur and hemp fabric as patchwork, and embroidery works. It is appropriate to express the joyful and happy mind of Zhuang people with extraordinary colors, exaggerated silhouettes, and various decorations. Images of nature, such as the sun, mountains, rivers, water, fish etc., expressed the nature worship of the Zhuang in contemporary design, representing the simple life and peaceful mind. This research develops a new fashion design and displays the possibility for diverse design development through new insight in contemporary fashion design.

• Korean Journal of Rural Living Science
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• v.8 no.2
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• pp.93-110
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• 1997

The customs of women s riding horse was prevalent in thriving period. The face toilet was mainly used by Gau Chang pattern. Wha Jun (chinen; Hwa-Qun(화전), make-up on forehead), was influenced nearly by Gua Chang and distantly by India. Penciling eyebrows with blue was transmitted from persia. Chinese cosmetics was most influenced during Tang Dynasty for it's colorful make-up and facial decorations such as Aek-Whang(액황), Wha-Jung(화전), Jang-Yob(장엽), Swa-Hong(사홍) and those made many Dynasty, since those kinds of styles were the result of mixture between traditional chinese and western styles, it became so unique and diverse. The Declining period of the Tang Dynasty has begun from the turning point, resulting from Rebellion of An Ru Sha'. Rebellion of An Ru Sha' made the chinese people have a sense of precaution, and an antipathy against babarian. Furthermore, the power of Tang Dynasty onto the countries bordering on western china unfortunately was declining due to the defeat at 99 the Talas war in 751. As the fashion of ‘Ho’ disappeared the costume pattern was restored to the traditional Chinese style of large sleeve and broad width. However, the Tibetan mode was appeared in women's hair style and face toilet since Yuan Ha (801-812). In Song Dynasty, women's make-up and adorment were originated from Dang Dynasty, but those were more simple than in Dang Dynasty.

• Journal of Fashion Business
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• v.12 no.6
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• pp.93-106
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• 2008

The purpose of this study is to analyze design characteristics of Chanel bags by its type and shape, material, color, pattern, decorations in order to give information about foundation of the development of Korean fashion brand handbags and help suggest predict future handbag trends. The methods of this study are documentary research and demonstrative research. For the documentary research, mainly previous researches and fashion related data were used. For the demonstrative research, the total of 288 design photos of Chanel bag were selected from 2001 S/S season to 2008 F/W season fashion collections of firstview.com., style.com., and mode et mode. The results of this study are as follows; First, type and shape of bags are clutch(30%), flap(25%), shoulder(25%), others(10%), tote(5%), hobo(5%). Second, the material data shows that leather(46%), mixed(18%), fabric(17%), synthetics (10%), patent(3%), others(3%), and suede(2%). Third, the patterns are geometrical(27%), solid(25%), combination(24%), symbolic(11%), abstract(11%), nature(2%). Fourth, the colors are largely monochrome(73%) and multicolor(27%). In case of monochrome, achromatic color(50%) is more than chromatic color(23%). The chromatic color is consisted of YR(9%), Y(9%), R(5%), RP(4%), PB(2%), P(1%), GY(0.5%), BG(0.5%). The multicolor is consisted of similar coloration(12%), contrast coloration(10%), and accent coloration(5%). Fifth, the decoration data shows that metallic(53%), plain(23%), combination(22%), and handcrafted(1%).

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.1
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• pp.1-11
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• 2016

Traditional costumes have evolved while reflecting the social, cultural and psychological values of the era. Costumes gain meaning by being worn that also allows their various symbolic meanings to be derived. Costumes worn in festivals by specific societies and organizations have especially apparent symbolism pertaining to their purpose. Most countries have traditional festivals that embody the country's distinct culture, history and traditions. These festivals are acts of consciousness expressing a special meaning of the community. Costumes represent a glimpse of life and culture during a festival period; in addition, the costume's style, color elements and decorations are expressions of community values and a distinct symbolic mechanism. Totemism (a significant element of these festivals) has been passed down for many generations. The current costumes for Totemism are distinct (compared to normal festival costumes) and embody a more symbolic meaning. This study deduces the exaggerated style, the concealment and disguise of the human body, and the pursuit of pleasure expressed in the Totemism costumes of regional European festivals. The symbolization theories of C. G. Jung and an analysis of Totemism costumes allow an understanding of their existential significance, their role as the medium between consciousness and unconsciousness, their meaning of symbolic transcendental unity, and their meaning of giving consciousness to the mind.

• The Research Journal of the Costume Culture
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• v.17 no.2
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• pp.283-295
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• 2009

This research covers the ways in which typography, which has been expressed in a diverse range of fields and changed communication functions from the era of reading to the era of feeling according to the change in the times and social demands, has been represented in modem fashion, along with examining its inherent aesthetic characteristics. I reviewed the general information of typography's fundamental notions and functions through documented records, and analyzed the inherent aesthetic characteristics by examining the typographical patterns shown in modem fashion based on art works in domestic and international collections after 2000. The result of this research is that typography in modem fashion has been used for improving brand image, expressing social slogans, expressing images, linguistic function for playful expression and the interdependent relationships of modeling functions. Typography in modem fashion has always been diversely expressed harmoniously with linguistic and modeling functions. Through this, the aesthetic characteristics were firstly parodies through direct sentences addressing political and social ideologies, economic gaps, environmental issues and anti-war protests. Secondly, by using brand logos, typography was used as a commercial means like brand-image transfer and separation through customization of other brands. Thirdly, the aesthetic and artistic value of fashion were expressed after being used as experimental visual components like image, motive and patterns which are all elements of fashion design. Fourthly, by distortion and transformation of characters or childish decorations, along with the harmonization of words, cathartic humor was provided for the calloused senses of modern people.