• Fashion & Textile Research Journal
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• v.13 no.4
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• pp.478-486
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• 2011

This study is to analyze the symbolic images appeared in modern fashion design adopted dualistic meanings in uniforms. Uniforms signify order, conformity and discipline in public life. The dualistic meanings in uniforms appeared modern times are as follows: public authority vs individual non-authority, heterosexual identity vs homosexual identity, time-space uniformity vs mixed diversity. The symbolic images appeared in modern fashion design adopted dualistic meanings in uniforms such as military uniforms, school uniforms, nurses' uniforms, sports uniforms and etc. are erotic image, hybrid image, and kitsch image.

• Journal of Fashion Business
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• v.8 no.6
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• pp.103-112
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• 2004

A Politician Appearance Acceptance Model (PAAM model) was formed and designed based on an analysis of how the electorate would accept a female politician. The PAAM model evaluated factors which influenced the voter's view of the female politician based on appearance. Causative factors were assessed that impacted acceptance based on appearance and analyzed whether voting was influenced by the appearance image; appearance image preferences for a female politician included the classic, dramatic, romantic and natural images. Through validations, the appearance image and competency had a causative factor that contributed to the acceptance of the politician image. The Classic Image demonstrated the strongest and most important image among the appearance images. As voters were more interested in the appearance image of a female politician, more emphasis and weight was on the appearance image during the voting selection process.

• Journal of the Korean Society of Clothing and Textiles
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• v.40 no.4
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• pp.669-684
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• 2016

This study investigates Korean fighter pilot's usage and satisfaction of a flight duty uniform (FDU). The survey was conducted from October 2014 to March 2015 using Focus Group Interview (FGI) and questionnaires. FGI collected qualitative data about duty and requirements; subsequently, surveys were performed to collect quantitative data about wearing conditions and satisfaction with FDU. The results of the FGI and the questionnaire were as follows. Type of pilot duty was divided into two parts, flight duty and ground duty. It is important to consider duties as well as factors related to survival when developing FDU. According to anthropometric data and wearing size, the basic size for apparel grading should be changed from actual size, 'M95XL' to 'M100L'. It is also necessary to improve the whole sizing system. Further studies about body form changes in pilot's movement are needed to improve mobility because the respondents perceived some restrictions at several body parts in movement with the coverall uniform. Summer FDU had a low satisfaction level in vent hole function and appearance. Furthermore, protection problems in the vent hole were also an issue. Making a seasonal classification of FDU fabric will be more effective than a vent hole to increase a pilot's thermal satisfaction. Respondents had a passive stance towards FDU reform (including pocket change); therefore, a new FDU design strategy should concentrate on improving current FDU functions like mobility (or comfort) rather than dramatic changes. Pilots complained about the quality stability of FDU; therefore, quality control by military administration as well as concrete and clear design instructions by the developer should be attained together. The results obtained in this study are expected to be used as an important basis for the further development of FDU.

• Journal of the Korean Society of Costume
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• v.66 no.3
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• pp.32-50
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• 2016

The purpose of this study is to reveal the process of enactment and revision, the contents of the police uniform system by the Government-General of Joseon, and to examine the relationship between the uniform system and the ruling policies of Imperialist Japan. The research methodology involved document research of official gazettes that published legislation on the police uniform system. Political background was referenced from various preceding studies. The research results are as follows. The Japanese invasion of Korea, in regards to the police, appeared as infiltrations through the three routes of consular police, temporary military police, and inside the Korean police. Each organization had different uniform systems, and after the installation of the Japanese police in 1907, the uniform system of high level officers of the Korea police was changed to the Japanese-style. After the installation of the Government-General of Joseon in 1910, a police uniform system was not enacted until 1918, with the exception being made for police officers due to the military police system. The 'Police Officer Uniform System of the Government-General of Joseon' enacted in 1918 stood out for its golden insignia on solidly colored fabric, which effectively indicated rank, as well as the Japanese flag pattern and the cherry blossom pattern, which symbolized imperialist Japan, on the cap badge and insignia. The 1918 uniform system had many differences from the Japanese system of the time in terms of design, perhaps due to the political autonomy of the governor-general. The 1918 uniform system was completely revised in 1932. This uniform system was modified in various ways. The system was almost identical to the Japanese system at that time. This is the result of Japan's intent to dominate Korea, which involved assimilating Korea into Japan with the purpose of conducting a full-fledged invasion of the continent after the Manchurian Incident.

• The Research Journal of the Costume Culture
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• v.19 no.3
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• pp.473-487
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• 2011

The purpose of this study is to analyze the body type and fashion of posthuman in SF movies. The method of this study was to analyze documentaries, internet web site, fashion books and so forth. The results were as follows: The body types of posthuman were expressed as mutation type, prosthetic type, clone type by biological hybrid or renovation and digital type by computer simulation. The mutation type was expressed as reinforcement of masculinity or feminity and reinforcement of body functions. The fashion item was expressed as a black tailored suit, leather jacket, cat suit, whip, black sunglass, garter belt, high heel shoes, short pants, black one piece dress and functional body suit. The prosthetic type was expressed as reinforcement of body functions and reinforcement of masculinity or feminity. The fashion item was expressed as a military item, high-tech power suit and ergonomic armor suit. The clone type was expressed as the plural ego with reinforcement of body functions. The fashion item was expressed as a power shoulder jacket, fake fur coat, vinyl, black see-through look and functional suit. The digital type was expressed as reinforcement of masculinity or feminity and the plural ego with reinforcement of body functions. The fashion item was expressed as a data suit, leather jacket, black over coat, boots, black sun glass, ethnic items and military items. The meanings of posthuman fashion in SF movies were impurity of posthuman, display of superhuman's power by sexuality, metaphor of power and fantasy of superhero in opposition futuristic dystopia. As mentioned above, posthuman body type and fashion in SF movies become the conversational topic in the real world. The fact that we think about utopia and identity of posthuman in the future is of great significance.

• Journal of the Korean Society of Costume
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• v.50 no.6
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• pp.127-142
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• 2000

The names of Chinese Po corresponding to Korean Jikryung are Yesal and Jikshin. Thus the purpose of this paper is to review of the shapes and usage of Yesal and Jikshin and then make a comparative review between the twos and Jikryung having side Moo. Results of the study are described as follows : 1. The Chinese costume, Yesal is translated literally into Korean, Euisal or Euisal Jikryung and called Euisal Diknyung or Uisakot in Korean while Jikshin is translated into Korean, Jikryung and called Diknyung. 2. Yesal is a new type of clothing as created during the Ming period. The costume is the remnant type of Yosunoja and Byunsunoja in the periods of Sung and Yuan. Types of Yesal are classified into two, or one whose rear part's upper and lower areas are connected with each other and whose front part's upper and lower areas are net, the other in which those upper and lower areas are disconnected both in front and rear parts. 3. Types of Jikshin are classified into two, one having Pa and the other having loot. The latter is re-classified into two, one whose sleeve is large and wide, the whole length of which is long and which was usually worn by Sain, and the other whose sleeve is small and narrow, the whole length of which is short and which was by the grass root. 4. Yesal and Jikryung both having Pa have the almost same shapes except their front parts. Baerae of the former is more curved than that of the latter. Also the both were used as official uniforms worn by civil and military officials from higher to lower levels. 5. Jikshin and Jikryung both having Pa have the same shapes. Baerae of the former is more curved than that of the latter. The both were used as official uniforms worn by civil and military officials under a King and as casual costumes by Sadaeboo. In terms of color, Jikshin and Jikryung both employed red, blue and green, Especially the red color was favorably used both in China and Chosen at that time.

• Journal of the Korean Society of Costume
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• v.63 no.4
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• pp.158-167
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• 2013

The cotton fabric armour for lower class soldiers can be found from the historical records of the mid-Joseon Korea. And the records show that the form and the structure of the armour was modified in the late 19th century in order to provide better protection from gunshots for the soldiers in the midst of the invasions from the West. This is a survey and research of the only artifact of the cotton fabric armour remaining in Korea - for its form, dimensions, and design. Using the historical records as reference, we can confirm the structure and characteristics of the cotton fabric armour of the Joseon period. This cotton fabric armour, preserved in National Museum of Korea, is a vest-type armour made of 30 layers of cotton. On the right shoulder, there is a button for tying knots and strings were tied under both armpits. On the surface of the cotton fabric armour there were some characters and patterns stamped in black. Presently, this artifact in Korea is the only specimen relic of its sort, but there are some other related relics in foreign countries including helmets and belts. Continuous researches would help extend the scope of armour study beyond the traditional researches that only focuses on the armours of the officials, thus helping us to understand the military costumes in traditional Korea.

• Fashion & Textile Research Journal
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• v.15 no.5
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• pp.682-693
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• 2013

Camouflage is evaluated by scientific principle in the fields of biology, military science, and art. It has a strong influence on contemporary fashion and means exposure with concealment. This study analyzed the visual characteristics of camouflage patterns in fashion design through documentaries and fashion photos. The fashion design results areas follow. The simple blending of a disruptive motif indicated an inaccurate repetition of a disruptive motif, the discontinuous or continuous connection of disruptive motif, the irregular repetition of a disruptive animal silhouette, the collage of a different disruptive motif, the craft of a disruptive motif and the intensive color match of a disruptive motif. It represented the maximization of complication, fantastic and fanciness. The overlap of a disruptive motif showed the overlap of disruptive print patterns with transparency and an overlap of different fabrics with a disruptive pattern. It represented spatial relationships of three dimensions as well as the maximization of visual illusion and the reinforcement of attractiveness. The blurring of a disruptive motif showed the pointage of disruptive motif, the pointage of image, value gradation, the whole blurring of a disruptive pattern cluster and stained appearance. It represented the obscurity of motif form, the uncertainty of object and double meaning. The trompe l'oeil of a partial background object showed the realistic and the painterly imitation of color and texture for partial objects through a close-up. It represented amazement and pleasure by illusion, scarcity and the decoration of surface and synecdochical remind. In conclusion, camouflage in fashion was weakened and modified from a classical military context by a unique expression of various motifs.

• Journal of Fashion Business
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• v.17 no.1
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• pp.98-113
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• 2013

This study is an attempt to analyze the daily life of the Western-yearning Seoul citizens and the inflow of the Western culture into certain social classes. The customs of the characters in the film are studied to illustrate the process of deconstruction of Korean traditional clothes due to the Western influence. The combined application of the Western and Korean styles is also observed. All this study leads to the sense of homogeneity of the times and the conformity to the culture the Korean women shared, which boils down to the social identity of the Korean women who sought an escape from the men-centered social structure by displaying their competence in the field of global modern fashion. As Seonyeong Oh, the main character of the film, , was wearing in the movie the Korean traditional dress, socks, rubber shoes, and then a western-style coat, it well shows that in 1950's, the traditional dress and ornaments were mixed with Western styles. In time, men's wear were completely changed from the traditional Korean clothes to suits, while women's could not break off from the traditional clothes and become westernized, which indicates that the men-centered conservative ideas to keep women within the feudal regime of the society remained. The military look of Seonyeong Oh while she was acting in the society was a symbol of anti-bias against women and anti-convention as well as the will of freedom as an independent woman. Besides, the modern girls would wear clothes of military fashion, Dior's trapeze line, and knit styles flattering the figures. All these well show their desires to embrace Western cultures, especially their dress fashions as well as manners as so-called enlightened ladies. All these elements show that the director was trying to represent the progress of the drama, characters, and psychological states by means of the dress and ornaments.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.4
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• pp.105-115
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• 2018

This paper presents an investigation into Cheollik based on 288 records about it at the homepage of The Annals of the Joseon Dynasty on the Internet. Cheollik was called in diverse names and worn by various social classes from kings to common people, but it was solidified as clothes for military officers toward the latter half of Joseon. Not only did it serve the purpose of clothes, but it also was used for a royal grant, diplomacy, shrouding a corpse, and royal coffin. It served the diplomatic purposes a lot especially during the reign of King Sejo and King Seongjong. Cheollik was usually made of cotton, hemp, silk, and mixed fabric with silk used most. Its major colors include white, green, red, blue, black, purple, grey, and yellow with white used most. The fabrics and colors of Cheollik became simplified toward the latter half of Joseon. Silk was most used in Cheollik for a royal grant, shrouding a corpse, and royal coffin. White was most used in Cheollik for kings' visit to royal tombs or their participation in ancestral rites. There were limitations with the selection of materials according to the social status and situations. It was stipulated that only Sa and Ju were used to make Cheollik for Dangsangguan and Danghaguan. Cheollik made of silk was banned for country residents and merchants. The color of Cheollik for Danghaguan was changed to blue and then red. Of military officers, only those who had a Gonsu title or higher were allowed to wear Cheollik made of silk in various colors. In the end, Cheollik was abolished for its low convenience and efficiency during the rule of King Gojong.