• 복식
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• 제55권1호
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• pp.151-164
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• 2005

In the modern popular culture, a significant code is not the truth itself but the seeming truth. To fulfill this function, it is a mythology that has a transcendental power to eliminate any doubt and mystery. That is to say, cultural uniqueness is understood as an identical thing through mass communication, and people perceive it as a similar cultural community. In this process, mythology form and accumulate the matrix of mythological meaning by eliminating the difference between the reality and the illusion. Such a matrix forces a meaningless and unconditional truth and practice without any criticism and reconsideration. This paper tries to extract art and cultural characteristics of mythological image through examining the relationship among mythological image, history, and ideology. For this aim, we make use of Roland Barthes' signs and Daniel Boorstin's image as a basic analytical tool. After that we examine the characteristics of mythological image appeared in modern cultural discourses and the relationship between mythological image and modern popular culture. Furthermore, we consider the mythological image expressed in modern fashion, which has the nature of commodity aesthetics.

• 복식
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• 제58권1호
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• pp.104-115
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• 2008

Party is an important communication method in the 21st century and this tendency is not exceptional in Korea. With this noteworthy phenomenon, this study summarized the concept and history of party first, and then analysed "belief - attitude - behavioral intention" model based on the one-dimensional attitude theory. The variables included in this research were western culture familiarity as belief factor, three variables evaluating the party culture(i.e., non-popularity of party, marketability of party, sociability of party) as attitude factor, and dress code receptiveness as behavioral intention factor. The samples of this study were 498 women in twenties and thirties from metropolitan areas in South Korea. SPSS 12.0 and AMOS 4.0 packages were used for statistical analysis. The results of this research are as follows: First, western culture familiarity had a significant effect on attitude toward party culture. Specifically, western culture familiarity negatively influenced the non-popularity dimension of party and positively influenced the marketability and sociability dimension of party. Second, attitude toward party culture significantly influenced the dress code receptiveness. Consecutively, all of three dimensions about attitude toward party culture positively influenced the dress code receptiveness. Managerial implications were provided.

• 한국의류학회지
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• 제1권1호
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• pp.15-23
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• 1977

This article is to study Dopo, man's traditional robe, which was worn by courtiers and scholars in Yi dynasty (AD 1392-1910). This article deals with its history and transition according to relative documents available, and presents its construction method with reference to relics. It is recorded that Dopo was first worn about the middle of the time of Yi dynasty. Dopo, however, seems to have its origin in the robe of Koguryo dynasty (BC 37-AD 668). Dopo was an ordinary robe to court officials, whereas Confucian scholars wore it as an official uniform or a ritual robe. ft was a long over-coat with V-neck line, and, round and wide sleeves. Dopo was so long that its edge reached wearer's ankels. One of the widest sleeves of relics was 58cm in size. Another unique characteristics Dopo had, were that its back cloth splited in two on center line, which was fully covered and added with-another cloth called 'Jeonsam'. Accordingly, a cloth-30cm in width and 30 yards in length-was needed to make Dopo. Since the reform of 1894 it was prohibited to wear, and then was replaced with Durumagi, a strait collar and narrow-sleeved robe.

• 패션비즈니스
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• 제11권2호
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• pp.14-31
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• 2007

The Vivienne Westwood's design is divided into four eras : The 'Punk and Ethnic Style' era, The 'Feminine Style' era, The 'Eclectic Style' era and The 'Retrospective Style' era. The aesthetic characteristics of Vivienne Westwood's design vastly divided into Parody and the Punk Couture. Westwood's parody is exprssed by british materials, that is traditional British tailoring, dressmaking techniques, traditional british fabrics and her debt to the past. Also Westwood has presented the special characteristics of Punk Couture showing Punk-Style clothes by applying Couture sense to her own Pret a Porter Collection. She pursued newness breaking the conventional aesthetic consciousness through her cutting, mix and match of fabrics and cordy of punk details. Westwood pursued new aesthetics by deconstruction and destruction regulated existing ideas that had been systematized, conventionalized and standardized by history and culture. She had shown pluralistic fashion through her design that exactly reflected characteristics of the modern society demanding variety.

• 복식문화연구
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• 제30권4호
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• pp.529-547
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• 2022

The purpose of this study was to understand the concept, form, and structure of the bata de cola through an investigation of the history of the costume and a study of the suitability of its functional elements during performance of 'Caña Flamenco'. Traditionally, Flamenco dance dresses were made by Spanish women from the lower classes, and the 'upward flow' of the dresses represented the women's individuality and unique style. The bata de cola, which appeared later, was an evolution of the Flamenco dress that was influenced by costume styles and silhouettes of the 19th and early 20th centuries, and it was made famous by Flamenco dancers. For practical costume production, a Flamenco artist who had performed in Spain and Korea was proposed as a study participant. The study was conducted using a stepwise wearing evaluation method whereby the Flamenco artist wore prototype dresses and evaluated whether they were practical for the required dance movements or not. A final bata de cola pattern was derived after the experiment was repeated five times based on the feedback of the Flamenco artist, focusing on the factors that were considered most important. Using stepwise clothing evaluation of the prototype, a costume that enabled the Flamenco artist to implement optimal movements was successfully produced.

• 패션비즈니스
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• 제5권3호
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• pp.111-128
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• 2001

The purpose of part I of this research was to study the definition of the wearable computer, the influential factors which led to its advent, the history of its progress and to prospect the figure of future research in fashion field of it. A qualitative analysis was applied to fulfill the research purpose, in which academic reports, professional journals, newspapers, magazines, books and sites were reviewed and analyzed in depth. The wearable computer which has been developed as a type of the portable hardware for computing during the first period, 1960s-1980s, has progressed into apparently softer and technologically advanced prototypes during the 2nd period, early-mid 1990s. From the beginning of the 3rd period since late 1990s, 'really wearable' prototypes were developed as the results of efforts to invent the more comfortable and interactive 'wearcomp' Based on the result of the analysis, the meaning of wearable computer in fashion field was interpreted in this study, as a reflection of converged demand and tendency of this era. New issues for future research of the wearable computer were suggested in the viewpoint of fashion design.

• International Journal of Human Ecology
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• 제8권2호
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• pp.107-125
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• 2007

In human history, scarf has acted not only as a protection for body but also as a symbolization of class. Today, scarf has become a whole field in fashion and an important accessory to express individuality in fashion. Hence, like other fashion item, it is very important to develop exclusive design for scarf by analyzing the current fashion trend. In this research, we have designed a scarf textile, accordance with the contemporary design trend, applying the floral pattern, designed by William Morris who was an artist considered as the founder of the 1800s arts and crafts movement. We selected four trend themes, "Salon de Archives", "Eco Tech", "Profound Nature", and "Neo Aristo" for the design of 2007/2008 Fall/Winter. The flower motifs in Pimpernel Wallpaper, Honeysuckle textile design, Acanthus Wallpaper, Garden tulip wallpaper, Evenlode printed cotton, Trellis Wallpaper, and Chrysanthemum Wallpaper, by William Morris who expressed an image of environment friendly and nature reversion, applied to develop new creative scarf through design after modifying and rearranging these flower patterns. After the pattern was drawn by hand, adjusting of color and repeating of the design was done with DTP (Digital Textile Printing). Through this research, the researchers hopes to be of assistance to the development of national scarf brand design, and to the recapturing of textile industry that once played a important role in Koreans economic development.

• 복식
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• 제61권8호
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• pp.1-17
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• 2011

Ever since Homeros in Greece, Mimesis was thought to be an art that imitates nature, especially the classicism of nature. Mimetic theories were used in the artworks in the era of the Renaissance, and the terminology 'mimesis' replaced the idea of originality in the 15th century. The purpose of this study is to understand the aesthetics of mimesis expressed in Online video game apparel design. For this purpose, I researched different theories of 'mimesis' and applied them to Online video game apparel designs. The research was conducted using various books on aesthetics and fashion, and demonstrative studies were processed by analyzing photos from Internet video game websites. In the history of aesthetics, the term mimesis is divided into three categories: external, internal and multiple mimesis. External mimesis represented the historical point of view in the design, which showed the beauty of the ancient times. Internal mimesis displayed the metaphorical symbols of religion, character, psychology, sexuality and fear. Multiple mimesis was the hybrid and the distortion of the different aspects of mimesis. Applying this research on mimesis and expressing them in Online video game design may be an excellent method for understanding human aesthetics in video game apparels.

• 복식
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• 제62권8호
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• pp.1-18
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• 2012

The purpose of the study was to offer in-depth understanding of the women's wear research trend in South Korea and thus to provide insights from the findings throughout the study to set appropriate directions for further development of women's wear related researches in the clothing and textile study area. The study considered research papers published by the 6 major apparel related journals listed on the KCI(Korea Citation Index) i.e. journals of the Korean Society of Clothing and Textiles(KSCT), the Korean Society of Costume(KSC), the Costume Culture Association (CCA), the Korean Society of Fashion Business(KSFB), the Korean Home Economics Association (KHEA) and the Korean Society for Clothing Industry(KSCI). A total of 380 research papers that were related with women's wear published from 2001 to 2010 were selected for the study and analyzed in the form of descriptive statistics using the SPSS Software ver. 18.0. The analysis was categorized according to the journals, years and research theme. The research themes were divided into various categories such as, clothing construction, textile science, fashion aesthetics and design, costume history and culture, apparel psychology and fashion marketing. The results derived from the research were: (1) the ratio of the research papers on the women's wear to the total papers published from 2001 to 2010 by the 6 subject journals was 380 to 6,815, i.e. 5.6% of the total papers; (2) journal of KSCT published the most women's wear research papers (N=149, 39.2%) and then the rest in order were the journal of CCA (N=69, 18.2%), the journal of KSC (N=68, 17.9%), the journal of KSFB (N=52, 13.7%), the journal of KHEA (N=39, 10.3%) and the journal of KSCI (N=3, 0.7%); (3) the proportions of the research themes for the women's wear study were in the order of the case study in marketing (N=135, 35.5%), body measurements and sizing systems in clothing construction (N=88, 23.2%), fashion design and aesthetics (N=83, 21.8%), pattern-making (N=63, 16.6%), and color study (N=11, 2.9%) and so on.

• 복식
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• 제55권5호
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• pp.78-86
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• 2005

Marek(말액) is the headgear, which is a form of hempen hoods[Geon(건)] and the origin of it is Pa(파) of band form. A history book of an old Chinese country Post-Han $\ll$ History of HouHan (후한서)$\gg$ had recorded that a soldier wore a red band around his head that was called Pa(파). In the Han dynasty(한대), Pa had been transformed into Chaek(책) or a kind of a hemp rap(건) while e headgear had still remained as the band form and called Marek from e Tang era(당). The literatures of the Tang era had referred the red Marek of soldiers, and other literatures of the later period had recorded that of the previous headgears of the band form were related with Marek. Since the Tang era, white or yellow Marek except red one fer soldiers had been were by soldiers, musicians, dancers and singers in Yuan(원) and Ming(명) of China. The colors was recorded in red on documents mostly, this red implicated soldiers for symbol of terror. This fart was documented in an old history book $\ll$The history of 25 Eras(이십오사)$\gg$, On the other side, a wall painting in Princess Jeonghyo(정효공주)'s tomb of the Parhae(발해) period described the portraits of twelve persons, and among them, two Siwui(시위) put on the red Marek. Quoted from the record of a history book of the Tang era system , a history book of Three Kingdoms(삼국시대) of ancient Korea $\ll$Samguksaki(삼국사기)$\gg$ described that four dancers of Kogryo(고구려) wore Marek on their heads with the costumes of Koguryo, one of those Kingdoms. In consideration that the book of $\ll$Tongjun$\gg$ was the literature of the Tang era so that Marek mentioned in this book was followed by their name, the Marek of Koguryo dancers shown in the history book $\ll$Samguksaki(삼국사기)$\gg$ might be a kind of Koguryo style hemp cap[Geon(건)]. The Marek of Parhae had succeeded to the headgear of Koguryo and the identity was on Koguryo.