• Journal of Fashion Business
• /
• v.26 no.4
• /
• pp.32-51
• /
• 2022

This study analyzed the characteristics and expression techniques of men's fashion bags and their aesthetic and formative values in modern men's fashion from the perspective of neo-deconstructivism. The study subjects were men's fashion bags appearing in four collections in Paris, Milan, London, and New York in the 2019 S/S-2021 S/S season. As a research method, the characteristics and expression techniques of the new disintegration of men's fashion bags were analyzed and categorized through prior research and literature research. The results of the study are as follows: First, the neoclassical characteristics of men's fashion bags caused 'Re-creation' to appear as the dissolution of the design principle and structure of the bag, and it was derived as 'decomposition of form' and 'decomposition of dress method'. Second, the 'Inclusive Diversity' of modern men's fashion bags of neo-deconstructivism appears in the form of gender demarcation and dissonance coordination. Third, 'Playfulness' in men's fashion bags involves the pursuit of fun through unconventional changes in the shape, size, and design of the bag, and it sometimes provides a fresh, new play experience through unpredictable design elements. Fourth, the 'Pursuit of new values' in male's fashion bags was a characteristic wherein the boundary between DIY attire and daily clothes and high fashion by the individual selection of consumers was blurred. This work is meaningful in that it conducted a basic study of men's fashion bags by examining the modern men's fashion bag from the perspective of the philosophical trend of neo-deconstructivism and categorizing its characteristics.

• Fashion & Textile Research Journal
• /
• v.9 no.1
• /
• pp.24-34
• /
• 2007

The shroud of the Chosun dynasty period originally meant the new start in the next world. Its basic principle was to wear the best clothes or wedding garments during one's life. The white hemp cloth-shroud worn during this time was formed after the 20th century. In the beginning it started simply by imitating the shroud of the common people. However recently many aspects of the trade have deteriorated by the commercialism of the shroud traders. So this study focuses on the way of keeping traditions and making the shroud desirable. First, the shroud was made of the best materials such as silk, hemp cloth, ramie cloth and cotton cloth in the past. A thought that the shroud material must be white hemp cloth is the result from misunderstanding of the traditional shroud of the Chosun dynasty period. We can produce beautiful shrouds using natural materials without losing dignity and at diverse prices. Second, the shroud was produced not only to keep the dignity of a dead person but also to avoid wasting the original cloth. Third, The shroud has pursued diversity in classifying the traditional style or the basic style. It is possible to select the shroud flexibly according to one's sense of values or the way the tomb was made. These days, the Korean full-dress attire and Wonsam (Korean woman's ceremonial clothes) are the standardized form of the ready-made shroud. The man's Korean full-dress attire on sale is sewn in the wrong way and its shape looks more like the Wonsam. I offer diverse shrouds of the Chosun dynasty period, for example, the official uniform, hemp cloth upper garment, men's black upper garment, Korean full-dress attire, Korean overcoat, Wonsam, the long hood worn by a Korean woman and a woman's long upper garment, so that we can see the Korean originality and beauty through the different types of shrouds. Also, I adjusted a number of items, undergarments and other articles according to the price. As mentioned before this study helps to portray a desirable understanding of the culture of the shroud. So I corrected many problems of the present shroud and propose a new type of shroud based on tradition. Furthermore, I recommend a way of making use of the Hanbok which the man wears during his life, at the wedding ceremony or a his 60th birthday without buying a new shroud.

• The Research Journal of the Costume Culture
• /
• v.9 no.1
• /
• pp.61-72
• /
• 2001

Chunghahk-dong is located in a retired spot, Jiri Mountain and has been built up its won religion and culture without any exchange outside world. People in Chunghahk-dong believe in a religion called Genjungyutaosim. Forming a trinity on which mind is Taoism, body is Buddhism, and behavior is confucianism. These are the principle elements to form a village. They made their own unique cultural factor such as longhaired boys and girls, wearing traditional cloths and hat, a monastic life, folk mores and family rituals, and private school system. This shows a great deal of affection on their life style and organization and is closely connected with community and culture. Grasping a culture and behavior on clothing, it has propose to understand Chunghahk-dong properly according to this study. A method of study has a purpose to understand culture and clothing behavior precisely in Chunghahk-dong. I inquire ito clothing behavior with investigation and study of picture script. The results are as followed; People in Chunghahk-dong show unique clothing and hair style behavior based on Genjungyutao. First, men and women wear a white cloth called HanBok(Korean costume) and footwear made of rubber. Only men wear a blue vest. A grown up men wear a long coat when they go out. They are dressed in tractional cloth for a ceremonial occasion. The reason why they put on the HanBok(Korean costume) is a belief on our traditional cloth becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea becomes a standard dress in the future. They believe Korea become a leading country in the world. This clothing behavior is symbol of Genjungyutao and has a role of delivery system for expressing their split. Second, In sign of being a Genjungyutao men, they let their grow hair. Cutting hair is not to be a Genjungyutao men any more. There is few reason that people in Chunghahk-dong let grow their hair : First, because of importance in TanGun's ideology, they believe Korea is a first nation in the world and can't cut their hair which has grown from TanGun (The founding father of the Koran nation) Chosun traditionally. Second, Cutting their hair runs counter to the principle of nature. Third, They value their body for confucianism. They don't want to damage their body because of body from their parents. Boys and girls braid and tie up their hair and adult tie a topknot and a chignon. Wearing a YouGun(A horsehair skullcap) at home and Kat(A Korean top hat) when going out, they express as a Genjungyutao. Hemp cloth and synthetic fibers are main clothes. Also, they wear an improved HanBok(Korean costume) these days on influence outside.

• Journal of the Korean Society of Costume
• /
• v.64 no.4
• /
• pp.131-149
• /
• 2014

Tibetans are one of the ethnic Chinese minorities, and this research examined the characteristics and features of their traditional costumes by investigating their historical, geographical and cultural background. This research also examined the cultural elements according to their characteristics based on Tibet's nature, religion, arts culture such as the Jang-po, Chin-sam, Kam-kjun and belts, which are used to fix the costumes. Based on such studies the traditional Tibetan costumes were set as a motif and were expressed appropriately into a contemporary style. By studying the composition of its costumes and its costume culture, the characteristics of the Tibetan costumes could be classified into four features. First, the 'variability of form' expresses a new type depending on how it is worn. Second, the 'color contrast' shows a strong visual contrast. Third, the 'difference of materials' combines different materials into one. Fourth, the 'symbolic meaning' grants meaning to the wearer. As a result of this study, by using the characteristics of the Tibetan nature culture, religion culture and art culture as a basis, two suits of clothes for each characteristics and six suits of clothes were produced as a fashion design product.

• Journal of the Korean Society of Costume
• /
• v.31
• /
• pp.101-118
• /
• 1997

This research was carried out to sublimate our design with common sence so that the de-sign concept with our traditional chara-teristics can be acceptable in the world design area through re-creation works of tradition to be adoptable to modern concept. Form this survey the following could be derived. 1. in Korea designers should concern about the ration of skirt to jacket plait of Chima and string Koreum of hanbok. however they should pay more attention to string and color stripes to attract foreign customers in international market. It was found that koreans prefer the elegant and cur-vaceous design while foreigners demend edecor-ative design of Hanbok in addition to its el-egance and curvaeouseness. 2. It was also found that korean ramie fabric might be the most popular material for hanbok in Korea however silk and fine gauze might have to be used in international market. Generally it would be better to use the materials with natural and delicate feelings in Korea while the materials with gorgeous feel-ing in addition to natural and delicate feeling should be used in international market. 3, For the figures on Hanbok the embroidery figures and pictorial figures would be appropri-ate in Korea while it is necessary to develop the design with embroidery figures and gold foiled figures to satisfy the foreign customers. Accordignly it 8is required to develop the designers with figures with more elegant and gorgeous sence in both Korea and the world area.

• Proceedings of the Korea Society of Costume Conference
• /
• 2001.08a
• /
• pp.59-61
• /
• 2001

Along with the development of culture, dress of the Chinese people has also evolved over the last several thousand years, transcending its original functions of covering and protecting the body. As a result it has risen to become a complicated system of symbols full of intricate meanings. According to de Saussure's theory of "signs," signs are represented by the elements signified (meaning) (referent) and signifiant (sound) (exponent). "Phoenix crowns" were the headpieces most highly esteemed by women in ancient China. Actually, the name "phoenix crown" points to the fact that the headpiece is adorned with a phoenix design. The history and symbolism of the phoenix crown's use as a headpiece in Chinese weddings spans 1200 years in all, originating in the Qin Dynasty (241-210 BC) as a phoenix hairpin, evolving into the phoenix crown during the Song Dynasty (960-1276 AD), and continuing through the Ming and Qing Dynasties (1644-1911 AD), and the modem republic. It is not simply an ornamental headpiece, but instead represents the thousands of years or rich inner meaning the Chinese attribute to "dragons" and "phoenixes." This paper depicts the glorious past of phoenix crowns, using the metaphor and metonymy theories of semiology and semantics, and through the cross-verification of literature research archeological findings and reports, and old Chinese wedding photographs, in order to examine the inherent meanings of the phoenix crown in the Chinese culture.nings of the phoenix crown in the Chinese culture.

• Journal of the Korean Society of Costume
• /
• v.51 no.7
• /
• pp.21-33
• /
• 2001

The purpose of this study is to Investigate the value of multi-culture and to examine how multi-culture has been reflected in men's fashion. As for the research methodology, literary research was under taken to study psychoanalytical and socioeconomic contexts in which multi-culture in men's fashion has been formed. In addition, demonstrative studies on styles were undertaken through the analysis of pictures and photos. The historical range of this study is from the 19th century when western and modern original form of men's dress were visualized, to the year 2001 when the elements of multi-culture are expressed in men's fashion. Westerners in 19th century respected Greek fine arts and the desire for realistic restoration of the body of Greek hero is well reflected in men's suits. Other races were forced to believe such realistic depiction of the Greek body as a symbol of modernization. With the advent of the Information Society In the late 20th century, absolute power had been decentralized, and people in the third world have revealed the racial contradictions by realizing the concept of splitted subject existing In unconscious. In the post-colonial world in the late 20th century, the value of diverse cultures is admitted. Models come from various races in fine art or photographic work Fashion trends are no longer limited to dominant mode, and designers express multi-culture by adopting and renewing folk elements from all over the world.

• Journal of the Korean Society of Costume
• /
• v.60 no.9
• /
• pp.41-57
• /
• 2010

Yunnan, where twenty-six minor ethnics live, is located in Southwest part of China. They have preserved and developed their folk costume, artcraft, music and dance in their peculiar way with natural and cultural surroundings. So, Yunnan is known as a living folk museum. It's worth examining how climate and circumstances change has affected certain differences of dress shape in same ethnic. Research into costumes of minor ethnics can contribute to the study of origin of the trousers, as this group of people have well succeeded the basic form of trousers through their cultural history and everyday life. This study, at first, investigates geographical surroundings of each minor ethnic group, and figures out the style of all trousers by measuring the each size, then compares design color pattern and fabric. The origin of trousers examined by formative characteristics has been classified and comparatively studied. The study materials are twenty-three trousers selected from in Yunnan Folk Museum as well as other relevant literature records. This study suggests that one can examine the type of human culture through the forms of costume which reflects folk custom geography economy etc. This, in turn, can be used as a basic information for other studies, and in particular, for the study of origin and structure of the trousers.

• Journal of Fashion Business
• /
• v.7 no.2
• /
• pp.55-68
• /
• 2003

The purpose of this research is to expand the realm of a button for a decorative purpose through embossing the effect and gravity of a button in fashion by designing the new ceramic buttons which are mainly used for decorative function in costume. In order to acquire a motif for the design, I analyzed several works of Gustav Klimt. As the result, those feature can be classified into the use of decorative lines, mosaic forms, and harmony of golden yellow and black, and it can be applied to buttons and clothes design. The sort of clay used in manufacturing the ceramic buttons was white clay to have high density and to diffuse light well, and press shaping techniques using plaster mold were employed. The baking was performed in an electronic kiln at $800^{\circ}C$ for the first time and at $1250^{\circ}C$ for the second time. Based on wearable designs in 2002/2003 F/W Trend of Interfashion Planning, I made three pieces of dress which could express the button's capability of decoration with effect. This is expressing a simplified form which shows up in details of and yellow and red pink were used to harmonize with golden yellow clothes. As an application of shapes of foliage in I transformed its size and form to be consistent with a jacket and a tube top. To accord with golden beige costume, I made a curve, showing up in Klimt's paintings, with golden color on a circle shape which was also a main motif in his paintings.

• Journal of Fashion Business
• /
• v.15 no.5
• /
• pp.69-86
• /
• 2011

The objective of this research is to unveil the dynamic changes of the trends in wedding dresses during the 20th Century. The studies were carried out in two forms; firstly by observing the actual wedding dresses worn by people at that time, and secondly by conducting formative comparisons between those dresses with the ones appeared in movies corresponding to that period. Movies provide an invaluable insight into the era's wedding dresses fashion trends since they function as intimate bridges in connection with the time's audience, and the visible imageries accurately reflect the characteristics embedded within that time frame. As there are no precedent studies regarding this topic, this thesis can serve as vital research data for the wedding dress industry. Research data regarding the actual wedding dresses were collected from books and museum web sites. The object of movies were films produced before World War II that contained both the background settings of the 20th Century and wedding dresses, of which photographic imageries were captured. Research analysis was then conducted by merging these data with findings from relevant books and internet materials. The results of the thesis are as the following: The 1900s was an extension of the 19th Century's popular fashion trend which can be characterized as the S curve silhouettes of the Edwardian period when long trains and long veils symbolized wealth and social power. In the 1910s, high waist silhouettes with soft wrinkles were prevalent as attire suitable for active mobility with practical functionality were highly regarded. During the 1920s, the flapper style became the dominant trend. Hem lines of the skirts were curled in the form of the scallop and laces were the most widely used raw materials. By the 1930s, wedding dresses that reinterpreted the glamorous sheath lines, practical two piece styles, and retro-styles became predominant. The 1940s saw the advent of ready-made wedding dresses made of synthesized materials; practical military style suits and casuals sometimes substituted the wedding dresses. And although the wedding dresses in the movies were primarily costumes to express the personalities of the characters, they were also reinterpreted as manifestations of the formative characteristics of each relative period that pursued very distinct and diverse features.