• Journal of Fashion Business
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• v.9 no.2
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• pp.100-112
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• 2005

Although Korean first ladies are not very big in changes in their hair style, American first ladies have greatly influenced clothing as well as hair style, exercising their influence over the apparel industry and fashion. Historically, American first ladies' fashion tastes have been on the center of attention and taken the lead in fashion. Although Korea first ladies' hair style are not very new or sensible enough to lead the fashion among the public, they have a sense of fashion and some influence on women of the upper classes. Beauty artists creating first lady hair style are representative of the times and have great value to the research. However, this study will not concentrate on their research. This study will analyze Korea first ladies' hair style, examine hair design and hair technique in fashion in those days. This study intends to provide important materials for Korean beauty history that has not been established by systematically arranging fashion style in the times analyzed through first ladies' hair style. Also, this study aims at researching in the aspect of beauty aesthetic concept through analyzing Korea first ladies' hair style.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Journal of the Korean Society of Costume
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• v.63 no.5
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• pp.18-34
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• 2013

This paper examines the costumes of 18th century Joseon dynasty that appears in the writings of Lee Ok(李鈺, 1760~1815). The main characteristics that can be inferred about the clothing from his writings are as follows. 1) It suppose that the color of first grade(一品) official uniform was purple. The popular color for the bride's ceremonial dress was red. 2) It was likely that only bridesmaids or married women were allowed to wear Jokduri(ceremonial coronet). 3) White clothes were only preferred in Yeongnam-udo, whereas other regions mainly wore blue, which differs from the national preference for white clothes that was prevalent in the end of the Joseon dynasty. 4) Once cotton was harvested, it only took 5 days to convert it into cotton cloth and be sold on the market. Cotton cloth was one of the most important products during the latter half of the Joseon dynasty. It was common practice in markets to sell expensive costume materials as counterfeits or fungible goods with the intent to cheat. 5) The buddhist monk's hat is various that short cylinder form(短桶帽) and jade or gold headband button(玉圈 金圈) attached shape, etc. Consequently, Lee Ok's writing is a suitable reference for researching Joseon dynasty clothing, since it includes detailed and various descriptions of everyday clothing worn by strict noblemen, which is difficult to find elsewhere.

• Fashion & Textile Research Journal
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• v.11 no.2
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• pp.200-209
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• 2009

Mirrors often appear in fashion advertisements. This study aimed to analyze meanings of the images represented in fashion advertisements using mirrors. This study analyzed the meanings of mirror image in Western art history, and also studied meanings of female representations in the paintings. Based on previous studies, this study classified mirrors' expressions in three types and analyzed their meanings. To analyze the meanings of the three types, this study researched the symbolic meanings of the mirrors in visual arts chronologically, first. And then, this study interpreted that in the context of consumption cultures and consuming ideologies in view of feminism, consumption ideology, desire theory, and fetishism. The results of this study were as follows; 1. Narcistic body expressions associated with strong and independent women, while associated submissive being overwhelmed by consumption cultures. 2. The method of revealing the female body throughout mirrors was meant to attract the attention of consumer. 3. Multiplied body images meaning was like a commodity in fashion advertisements.

• The International Journal of Costume Culture
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• v.8 no.2
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• pp.61-70
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• 2005

A representative British designer, Vivienne Westwood's work. world from radical punk style to aristocratic historical dress is explored in context in terms of Englishness. National identity opens up into the process of mobilization of collective sentiment in the national context, unlike nationalism, and Englishness signifies the idea or emotion of England in contrast with Britishness, the political constructor influenced by geographical aspects. There is no doubt that Vivienne Westwood is central to ideas about creativity and originality in English design on subculture. However, in evaluating a designer and her work we should consider the entire context surrounding her from a broader view, rather than arguing only her own ingenuity. In this article, through reconsidering her originality in the historical reference as well as the resistant punk style in aspect of fluid national identity, I show a case of a constituted Englishness, forged by Vivienne Westwood as a cultural creator of national identity. Vivienne Westwood's case hints the complexities of national culture, which constantly shifts, translating her understandings of history and culture into fashion in her contemporary insight and glamorous ways.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.98-111
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• 2012

The purpose of this study is to examine how the Hanbok is expressed in the ballet performances through the 'La, Chun-hyang', a classic Korean ballet. 'La, Chun-hyang', was performed from 2009 and 2010, but there were some differences in choreography by the director's intention. According to these changes, the methods of expression of ballet objects were changed as well. Therefore, totally different personalities were shown despite the fact that theses were same performances. Every costume objects in dance performances like the ballet can be used to express the story and the characters. Moreover, the object designs of Hanbok portray creativity and originality that simultaneously refers to history. In order for stage costume objects to popularize, the making method and process have to be developed like the objects of the Hanbok that signified historicity.

• Journal of Fashion Business
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• v.5 no.3
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• pp.95-109
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• 2001

The purpose of this study was for analyzing the fashion design imaged by Kimono in the 1990s. Through the work, what is the way to create the non-western fashion design can be found. For this purpose, I took my design data from fashion magazines in the 1990s, and referred to the literal materials about history of western costume and Kimono. The result were as follows ; Kimono in Japanese denotes thing to wear. Ki is derived from the verb kiru, to wear, and mono, thing. However, in the western world the term came to mean the T-shaped outer garment formerly known in Japan as the kosode. It is consists of sleeve(sode), wide sash(obi), hemline(suso), collar(eri), and material. There were many complex reasons for its diversity in the west, and for its evolution during the past one hundred years from the peignoir including exoticism, eroticism, women's liberation to the high fashion imaged by folklore and avant-garde. Therefore the fashion design imaged by Kimono was divided into feminine style, natural & folklore style, modern & avant-garde style.

• The Research Journal of the Costume Culture
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• v.17 no.1
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• pp.40-54
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• 2009

Many studies make us difficult for understanding the specific concept of NOW avant garde by misusing avant garde or by using the over wide-ranging concept. The purpose of this study is to define the concept of NOW avant garde fashion by analyzing its fashion and its paradigm characteristics, after considering modern avant garde fashion history. This study was used with bibliographic research as well as internet search of qualitative method for analyzing fashion show clothes since 2005 women's wear. The characteristics of NOW avant garde fashion are classified into plural deconstructivism, econonism that integrates the last avant garde factors with logical economics, and the aesthetic of Tech-Human. To conclude, the concept of NOW avant garde fashion is defined as the fashion expressing either the digital-hybrid images or the deconstructive images meaning elimination, unification or confinement, being pilled up one on another, bizarre connection, transposition, and distortion.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.29-40
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• 2009

On April 28th of 2006, a set of Buddha's reliquary was excavated from the pagoda in n Nacsan Temple. According to the record, the relics were put in the pagoda in the 18th year of King SookJong in the Chosun Dynasty (1692). The present paper examines ten pieces of wrapping clothes covering reliquary found in the pagoda. They are especially precious data in the history of textiles because they were blocked off from outside and was preserved in good condition with vivid colors still remaining after more than 300 years. Of the ten pieces of wrapping cloth, five were double-layered and the other five were single-layered. They include 15 pieces of silk fabric but, excluding repeated use of the same silk fabric, the total of 11 pieces of silk fabric were examined. All 11 kinds of silk fabric were patterned, 9 of which were Satin and the other 2 were Twill. Of the 9 Satin pieces, 8 pieces were 5-end satin which had the ground of 5-end warp satin with the figure of 5-end weft satin. The remaining 1 Satin piece were more splendid with prominent figures by using warp and weft of different colors. The 2 Twill pieces used twill weave-the ground was 3-end warp twill and the figures were 5-end weft twill. Both of the Twill pieces were weaved with character patterns, partly using wrapped gold thread as supplementary weft. The patterns of 11 pieces of silk fabric include flower, dragon/phoenix, cloud, and geometric patterns. Five were flower patterns, three were dragon/phoenix patterns, two were geometric pattern, and one was cloud pattern. In addition, various treasure patterns, character patterns were utilized as supplementary patterns. The flower and phoenix patterns reflect characteristics of the textiles of the 17th century whereas check pattern and cloud pattern were very unique.

• Journal of the Korean Society of Clothing and Textiles
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• v.8 no.2
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• pp.41-46
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• 1984

Ancient Korean and China litteratures show us that it has been long since people from humbler classes to king most commonly used bast fabrics as materials of their cloth. According to the record of these ancient litteratures, highly developed fine bast fabrics and those woven in figures were used as tribute between ancient Korea and China. In this study we will make a brief research of the history of bast fabric culture from ancient times to the Korea Dynasty in which the bast fabric culture flourished and reached the summit of prosperity. After having compared the bast fabric culture of ancient Korea with that of ancient China in which the bast fabric culture developed very much and bast fabrics were used more commonly as materials of cloth than any other fabrics, we could come to conclusions as follows. 1. Names were given to bast fabrics according to the kinds of bast fibers, the degree of fineness and the containing of figures: Ma-po, Jeo, Jeo-po, Bag-jeo-po, Moon-jeo-po, Po and Se-po. The number of 'Seung' which indicated the degree of fineness was attached to the top of each name to show how fine they are. 2. While the bast fabric of 30 Seung is known to be the most fine one of the ancient China, in ancient Korea fine bast fabric of higher than 30 Seung was woven. This fact proves that the technique of weaving bast fabrics of the ancient Korea was more highly developed than that of ancient China. 3. In ancient China the highest Seung number of the ordinary clothes which were put on after putting off livery of grief was regulated to be 15. But in ancient Korea, Sil-la, it was regulated to be 28. Judging from this fact, we may say that the consumption level of the ancient Korean people in cloth was higher than that of the ancient China people. 4. The reason why in ancient Korea the technique of weaving bast fabrics was so highly developed is suppoed to be that the ancient Korean people preferred elegant, refine and simple taste in cloth. 5. The excellent bast fabric culture of the ancient Korea flowed into ancient Japan. It proves that Korea played an important part in the history of textile development of the world.