• Journal of the Korean Society of Costume
• /
• v.57 no.4 s.113
• /
• pp.173-187
• /
• 2007

The purpose of this study is to analyze the fetishist characteristics and the aesthetic values of glamour style based on the premise that fetishism is the theoretical root of glamour style expressed in fashion throughout history. The following results are from analysing fetishist characteristics of glamour style. First, luxury was analysed from an angle of commodity fetishism. Every culture develops images and stories that portray a world in which its ideals are realized: a paradise, a utopia, a golden age, etc. Consumer goods often serve as 'bridges to these ideals'. People thus can fantasize about owning the perfect life. Crucially, however, they must never get everything they picture. That is why luxuries often take on displaced meaning. Glamour gives the displaced meaning visual form, making it beautiful and real. Second, the attention on the glamour of luxury goods as a bridge to ideals is connected to the glamour icon who is simultaneously a consumer of these luxury goods and a producer of cultural goods. Glamour icons including the courtesan of the late 19th century, the actress of the 1930s' Hollywood golden age and today's celebrities appear to efface the traces of production and create fetishist images in culture. Through this artificial principle, the commodity-cum-glamour icon comes to life as a splendid image of spectacle. Third, masquerade and seduction were analysed from an angle of sexual fetishism. A magnificent image of masquerade as sexual fetishism is often equated with femininity, especially in Hollywood movies, because the artificial seduction of the feminine -namely glamour- can be effected by the absence or silence of being. That is to say, the aesthetic revelation of femininity coincides with the fleshing out of artificial signs. Masquerade and the seduction of the feminine are connected with glamour's artificial sensuality from this point. Fourth, since 1980's when homosexuality as sexual deviation resurfaced as a hot topic, sexual ambiguity and bisexual image have gained attention as perverse sexuality. Next came queer theory, which reduced gender itself to a matter of surface rather than depth. According to queer theory, gender itself can be revealed as a kind of drag act. Drag's imitative performance may reveal that womanliness is just about 'dragging up'. Queerness as a decadent play makes a connection with the wicked origins of glamour. From these characteristics, four aesthetic values were deduced: ostentatious luxury and mysterious idolatry by commodity fetishism, artificial sensuality and playful queerness by sexual fetishism.

• Journal of Fashion Business
• /
• v.5 no.2
• /
• pp.15-34
• /
• 2001

Ornaments are accessories for the decoration of the body or dress. They aren't unavoidably required one, but serve to make one's dress perfect as decorative industrial art objects. In Morocco, ornaments were initially used as a sign of social position or the class or an incantatory symbol. In effect, they were originally employed to adjust one's dress, not just for decoration, and they were of use for household economy. Gold, silver and handcraft available for exchange were a means of increasing one's property and an indication of social standing and wealth. In particular, the dress and jewelry of a bride was a measure of her family's wealth, regarded as a symbol of her chastity and value. The ornaments symbolically back up people's faith in supernatural power, and their real value is based on implicit form or way of decoration, not the external shape. Specifically, there is a tendency to use the form of animal as a protector, not one to frighten people. In the artistic tradition of Morocco, fish pattern stands for water and rain, and eagle and bird are considered to be related to fate. Scorpion and lizard are depicted as an inquirer of sun, and snake is a symbol of abundance and sexual instinct, being viewed to have an ability to cure disease. Turtle pattern is a symbol of saint because it protects one from the evil. The ornaments are made of gold, silver, amber, clam, garnet, glass, nielle, enamel, glaze, coral or tree, and symbolic patterns are used, including hand(a symbol of five numerals), turtle, lizard, scorpion, eye, triangle, bird and eggs. They are very big and diverse, being categorized into ornaments for the head or the chest, neckless, fibula, earring, bracelet and ring. For Moroccans, make-up is a sort of instinctive behavior to meet aesthetic and sexual desire. They also wear make-up for practical purpose of protection, intentionally inflict a wound on the skin for ceremonial or religious purpose, paint the skin with pigment, or have the part of the body tattooed for incantatory purpose. All this actions are regarded as make-up. The raw material of cosmetics is aker, a vegetable dye. They get the lips or cheeks turn red and paint eyebrows with yellow saffran powder to have a bad devil lose its strength. Tattooing is mainly done by women and viewed as a sign of their value or social organization they belong to. Sometimes that is used to represent a woman's being old enough to marry or getting married already or the frequency of marriage. Besides, tattoo is believed to prevent or remedy loose bowels or cough, depending on its location or pattern, and they often change tattoo according to the change of beauty art.

• Journal of Fashion Business
• /
• v.5 no.2
• /
• pp.105-115
• /
• 2001

When restoring a tomb of Songeun, Park Ik that damaged by typhoon in Kobubri, Chungdomyon, Mill Yang, Kyoung Nam in October 2000, a flower designed stone and fresco was discovered. Soneun Park Ik passed the civil service examination in Kongmin dynasty and was consecutively occupied Sajaedogam(司宰少監; regarded as one of second highest official rank). The fresco realistically depicts custom of ordinary people in end of Koryo, beginning of Chosun dynasty that it is considered as an important research material in study of ostumes. Therefore, this research intend to contribute to study of costumes in general public of Koryo that has insufficient study materials through study and analyze of costumes in the fresco with literature research. The number of figures in the fresco is presumed as 26-27 in all but clearly observed figures is only five women and four men and partly damaged figures are two men and two women. Women are worn relatively long yoo that can cover hip as an upper garment and Sang(裳) as trousers. The upper garments are all adjusted to right and has Jikryoung gik (straight collars) but there are strip attached collars or double collars among the Jikryoung gik. The length of Sang reaches to ankle and a waistband is trailed to below the knees. Most of hair are combed in the two sides and made a ring, moreover worn ceremonial coronet, which imply the ceremonial parade. Distinguished from the frescos of Koguryo, there are no women wearing Po(袍) also Yoo with Dae(帶) and without were coexisted. The mens costume is mainly appeared in two types. One(元) is Danryoungpo, Po with round collar and wearing a lozenge shaped crest with a brim, the other is Jikryoung Po, Po with straight collar, and wearing Ballib(拔笠), the latter is a costume of two man presumed as envoys. In the case of Danryoungpo, its length reached to ankle that shows decorum and in Jikryoungpo its length is below the knees that seem to offer practicality for envoys to guide a long journey. Both man and women are in decent cloth with a crest, which simple costume for ordinary people as a Chaksoopo that has comfortable length for movement and narrow sleeves. Songeun Park Ik actively worked under regency of One dynasty that influence of Mongol is seen in mans crest. There are some changes but including womens costume most of cloth are followed Korean traditional costume style.

• The Journal of Natural Sciences
• /
• v.8 no.2
• /
• pp.225-236
• /
• 1996

Computer simulation methods for three area of textile design, wearing, and design were developed by using CAD system, and its results were applied to pattern design simulation. Textile design created by using the CAD system was applied to T-shirt schematization. Created wearing, printing, and knitting design respectively were applied to women clothing, children's wear, and men sweater. In this rearch, several equipped since various color working, materials, pattern development and swift intention decision of goods direction are possible on the moniter. Third, many goods order are rushed within short time because spot direction are possible on the moniter. Third, many goods order are rushed within short time because intention decision of buyer could be induced and embodied design almost reflection the buyer's will on the spot before production of goods and samples. Forth, time and expense were saved to get the information in terms of design information systematically and could be managed annually. Fifth, creative design development can be not only availed but saved the service expense of outside orders and the traffic expense.

• Journal of Fashion Business
• /
• v.15 no.6
• /
• pp.113-133
• /
• 2011

The purpose of this study is to establish academic identity as well as produce human resources that industries need by grasping curriculum of the departments related beauty focusing on Korean colleges (junior colleges and four year course colleges), analyzing examples of advanced countries and suggesting their developmental direction. For the research method, the reference period of curriculum in Korean colleges was from Jul. 05th, 2011 to Aug. 05th, 2011. the investigation method is as follow: first, the curriculum of the departments related to beauty which were registered in the web sites were investigated. Second, the documents were received by fax and Email from each department after calling it. Third, questions and answers were done in reference to majors on the phones. these methods are intended for 65 junior colleges and 16 four year course colleges (total 81 ones). It clarified that lifelong education centers and the graduate courses were ruled out. the statistical analysis about data which were investigated like this were done by the frequency analysis. The results which examined the major subjects of Make-up focusing on Korea and foreign countries are as follow: First, the result which examined the major and theory subjects of Make-up has found that there are the human body theory, the equipment theory, the marketing theory are the management theory in Korean junior colleges and physiology/chemical, management, marketing and equipment product were treated in four year course colleges of Korea. As for foreign colleges, the subjects related to history and culture are mainly treated as the theory courses and their purpose is to cultivate basic knowledge of the fields which are mainly connected to Make-up including plays, movies, TV and studios. Second, the result which examined practice subjects of Make-up major has found that practice subjects of the total ones are of great importance in junior colleges. And it could be found that the Make-up field is of little importance as it is not independent and exists with the hair and skin fields in one department in the four year course colleges. Especially, in the foreign countries, the more detailed and professional subjects including classes which treat digital media, studio technologies, production, wigs and the special effects were treated by the field class system and these characteristics implies that Korean curriculum should be changed in the future. Based on this analytical results of investigation, this researcher tried to propose the developmental direction of Korean curriculum in the future.

• Korean Journal of Human Ecology
• /
• v.21 no.2
• /
• pp.285-298
• /
• 2012

Considerable number of women are enjoying swimming, however, the chest-region of swimsuits including cup inserts are not stable during swimming. The purpose of this study was to explore alternate designs and methods of stabilizing the breast cup to the swimmer's body by using 3D technology to design and position the pad and cup pattern of the swimming suit. To position the pad optimally, a 3D pattern of a nude woman was divided into blocks and different reduction rates were applied to blocks around the outlines of the breast. Two types of 3D patterns were developed. The first, referred to as the 'basic 3D pattern' provided for the curved surface of the breast point to be maintained with the remaining slack distributed evenly along the neckline, armhole and side seam. The second, referred to as the '1/3 shoulder moved 3D pattern' ignored the curved nature of the breast point by overlapping, with the resulting position of the shoulder strip moved toward the center. Three women of corresponding size and body shape evaluated the two 3D pattern designs as well as the conventional 2D pattern style of swimsuit. Respondents rated the'the basic 3D pattern' design highest in terms of stability and easy of movement in the chest region.

• Journal of the Korean Society of Costume
• /
• v.58 no.3
• /
• pp.131-148
• /
• 2008

Each stylistic period through history has its own unique look. The characteristic look of each period is completed and visualized with its prevailing ideologies, aesthetic consciousness and morality by means of 'form'. A period expresses its characteristics in accordance with form according to the widespread preferences of the time. Among the various cultural factors that form the look of the time, those that the period holds as ideal aesthetic values create the concept of 'ideal beauty' for that period. This study begins by establishing the conceptual definition of 'ideal beauty' and develops the premise that dress reflected ideal beauty. To attain the goal of the study, the selected objects are dresses represented in paintings, the actual garments from the Renaissance to Baroque periods and written references about art, art history, and history of costume. The results, based upon a theoretical study of the zeitgeist and aesthetic values of the 16th and 17th centuries, are as follows: first, ideal beauty influences the substance and form that constitute dress style. It is a byproduct of the spirit of time, the zeitgeist. The concept of ideal beauty is born within the lifestyle pursued by the ruling class and focuses on the body as an epitome of beauty, moral values, custom, lifestyle and taste as it becomes visualized via form. Second, the aspect of dress representing the ideal beauty of particular time varied according to the times. In both periods, power and dignity were used to achieve the ideal aesthetic values. In the Renaissance, power was expressed by the horizontal extension of dress (i.e. wide farthingales and sleeves) and in the Baroque period, by vertical extension (i.e. long and tall wigs, fontanges and trains). It can be said that fashion in both periods achieved an ideal, such as power and dignity, via the same means, by extending dress sizes, but the ways in which those ideals were portrayed in each period's dress yielded very contrary styles. It is understood through this study that ideal beauty influenced the dress style of the Renaissance and Baroque periods and played a decisive role in determining its forms and symbolic meanings.

• The Research Journal of the Costume Culture
• /
• v.17 no.3
• /
• pp.407-423
• /
• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• The Research Journal of the Costume Culture
• /
• v.23 no.4
• /
• pp.581-594
• /
• 2015

The emergence of pop art in the 1960s exerted a profound impact on integrating art into the real lives of the general public, which continues in the current area of culture of post-industrial society. Thus, this study aims to attempt the popularization and modernization of Korean images by applying the concept of pop art to the development of a national symbolic image. This study utilized Mugunghwa, Taegeukgi, and the Great Seal, which are national symbolic images that establish the identity of Korea through differentiation, universality, and visual formativeness. It then proceeded with the development of neo-pop art motives and patterns using national symbolic images from the standpoint of symbolism, mix-match, and repetitiveness from among the characteristics of neo-pop art. This study carried out pattern design by departmentalizing each characteristic according to the standpoint of neo-pop art through scribbles composed of the following: Signs, pictograms, and childlike characters; drawing simplification for symbolism; a mix of the East and the West; a mix of subfashion and subculture for mix-match; the repetition of lines, characters, and icons; and the exaggeration and grotesqueness of characters and icons for repetitiveness. This study is expected to serve as momentum for raising the cultural value of Korea and for the development of a pattern design capable of achieving worldwide competitiveness through the combination of the permanence and continuity of national symbols with the popular universality of pop art.

• The Research Journal of the Costume Culture
• /
• v.28 no.4
• /
• pp.429-445
• /
• 2020

The purpose of this study is to provide ideas for the development of bag design by analyzing the expression types and aesthetic formativeness of modern bag design using tassels and fringe given the newtro trend pursuing analog sensitivity in modern society. The methods and scope of this study are as follows. First, the related literature and internet data were reviewed in order to examine the expression types and characteristics of the bags of the West and East. Next, the definition and characteristics of tassel and fringe decoration in terms of the history of clothing were analyzed. Finally, the expression types and aesthetic formativeness of tassels and fringe were derived through the analysis of modern bag design shown in the fashion collections since 2010. The bags decorated with the tassels and fringe bring a variety of visual effects depending on the attachment position, direction and material composition, concentrating the gaze and radiating original style. In this study, the expression of tassels and fringe in modern bag design was classified into three types: surface decoration, shape variability, and object combination. Next, the aesthetic formativeness of modern bag design using tassels and fringe as decorative elements appeared through the mixture of heterogeneous materials and playfulness through imagination, exaggeration through extension of length and volume, and retro characteristics through reinterpretation of tradition. This study is expected to contribute to creative ideas of modern bag design which requires a global sense, which has been used in various cultures for a long time.