• Journal of the Korean Society of Costume
• /
• v.63 no.4
• /
• pp.84-100
• /
• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.

• The Research Journal of the Costume Culture
• /
• v.2 no.2
• /
• pp.415-443
• /
• 1994

This thesis, drastically breaking from the prior form of art, searched mutual relationship between surrealism centering around surrealism which tried to liberate the spirit of humanbeing by investigating internal world of the humanbeing. That is to say, it is the purpose of this thesis to study the relationship between artistic trend and costume by grasping how the artistic trend of an age was specifically accepted and expressed to the modern costume as the foundation of fashion. Followings are the searched results for searching mutual relationship of the surrealism and modern costume. At first, surrealism made it possible from modern costume to an expression of formative art, and at the same time emerge from existed uniform costume, and thus presented new possibility to the harmony of costume and art with fresh and avant-garde sense. Second, by being applied the expressing method of depaysement which could materialize surrealistic image to the modern costume from various angels, and thus it suggested new aesthetic conception different from general conception of the traditional costume. Third, with regard to modern costume, introduction of various object due to thought of surrealism was a new and innovative attempt, and thus it suggested infinitive possibility of creation. So, it suggested that we could thrown away a fixed idea and that every objects could be moulded. As the result of the afore-said, wide application of the idea and formative feature of surrealism with regard to modern costume did not only ring the diversification and individualization of the costume escaped from the past traditional idea, but also at the same time prepared modern costume with the moment to develop as a formative arts.

• The Research Journal of the Costume Culture
• /
• v.6 no.4
• /
• pp.84-103
• /
• 1998

The purpose of this study si focused on Futurism style and contemporary fashion in the 20th century, by researching the Giacomo Balla, Fortunato Depero, Tullio Crali, Erenesto Thayate characteristics fashion design. The results of this study are following as : The general traits of Futurism style are classified with aesthetics, formative characteristics. First, aesthetic characteristics are based on H. Bergson's life-phylosophy and F. Nietzche's art theory. Second, formative characteristics is Dynamism. Futurism Dynamism are classified with psychological Dynamism and physical Dynamism. Futurism trends in the costume : first, dynamism in fashion design, second, asymmetrical balance, third, formativeness, forth, technology, fifth, anti-traditionalism. Dynamism are expressed textile, pattern and costuem shape in contemporary dress. Asymmetrical balance are expressed costume silhouette shape and framework through the geometrical asymmetrical balance. Formativeness are agree with Paco Rabanne's fashion design expressed body and movement and phychological world of human through the secondly fabric. Technology are expressed new mechanical dynamism in used technology art and new fashion material by metal. The last, anti-traditionalism is recognized new value and idea in fashion.

• The Research Journal of the Costume Culture
• /
• v.21 no.4
• /
• pp.521-534
• /
• 2013

This study aims to identify the formative features of inflatable fashion that has changed its form or fulfilled specific functions by inserting air between fabrics or between clothes and the human body. Images of inflatable fashion images after the 1990s were collected from the literature and internet data and were analyzed based on the formative features of inflatable design. Through this analysis, it was determined that there were four formative features of inflatable fashion: First, inflatable fashion has functionality. General fashion also has functionality, but inflatable fashion has expanded functionalities such as an air bag effect or insulation due to injected air. Second, the formative potential. Inflatable fashion can be changed into different forms depending on the amount of air injected. Light-weighted air holds up the material of the clothes. So new forms that are different from conventional fashion, which gives inflatable fashion its formative potential, can be suggested. Third, aesthetic expansion. Inflatable fashion when its volume is expanded expresses the beauty of scale, or expresses a voluptuous beauty when part of human body is exaggerated. Fourth, it has an unconstructive characteristic. Space that is visible due to the transparent material of inflatable fashion expresses the intention of the designer to fulfill an unconstructive concept. In conclusion, the formative features of inflatable design have formative significances : practicality, aesthetic significance, semantics and technical significance.

• The Research Journal of the Costume Culture
• /
• v.7 no.2
• /
• pp.323-333
• /
• 1999

The purpose of this study was to analyze the meaning and formative features of the black color reflected on the fetish fashion. This study was proceeded mainly by analyzing with references and plates of magazine. The results of the study were as follows ; First, the sexual liberation and revolution have certainly led to a reassessment of sexual deviations, which changed the meaning of fetishism that has been only regarded as sexual perversion, so that it symbolied a new sexual perception and identification. As the result, black in fetish fashion was symbolized a new fetishism\`s definition which refused to distinguish male from female, and also reflected the meaning to express the second sex that wanted to express themselves. Second, the formative features of black color in fetish fashion have appeared tightness and bareness in form, and in material, glancing materials changed by the effect of light, and elasticity materials-leather, rubber, PVC, and laycra. By these features, black fetish fashion has drawn a higher attention on human body than the dress itself as a symbol about the psychology of erotic sensations and sexual images of the self appearing in black color.

• Journal of the Korean Society of Costume
• /
• v.51 no.3
• /
• pp.111-127
• /
• 2001

This study aims to apply the formative aesthetic of human body to the form of clothing. For this purpose I try to find the various methods of analysis used in the work of sculpture. The method of inference and the checklists of design are used to relate the sculpture with the clothing design specifically. This methodology intends to regard human body as an artistic form and use the image of sculpture to the maximum. Especially I try to derive the motives of design and recreate them in clothing design emphasizing silhouette. On this methodology, following results were developed. First, the observations on the formative characteristic of human body show that the transformed form of human body expresses more perfect image of human body than the original form. The power of simplicity heightens the total beauty of the work. Second, the image of human body expressed in simplicity heightens the total beauty of the work. Second, the image of human body expressed in simplicity and exaggeration can be variously recreated in a silhouette with the formative and cubic effect, simplicity, and activity. Third, the elegant and static image found in the analysis and synthesis of human body can be used as a motive of clothing design and the changed details lead to the transformation of silhouette. Fourth, in developing designs by the item of checklists, one motive can be variously recreated according to the methods of designs.

• Journal of Fashion Business
• /
• v.27 no.3
• /
• pp.115-131
• /
• 2023

The revolution of digital fashion continues along with the development of technology. In particular, after COVID-19, fashion design development, exhibitions, and fashion shows using the metaverse space are being actively developed. In particular, as research on 3D virtual costumes becomes active, creative ideas are needed to develop creative virtual costumes. The purpose of this study is to examine the geometric formative characteristics of constructivism in art and fashion design and to develop 3D virtual works using them. Geometric form is a logical and rational basic form that includes the order of nature as an artistic material that has been constantly studied along with the creation of mankind a long time ago, and it has become a motif of many artworks and fashion. In this paper, we studied the application of the costume design of geometric shapes according to the 3D Clo, virtual-wear production software, and understood the effect of the combination of geometric shapes on costume styling. As the formative characteristics of constructivist art, three types of overlap, asymmetry, and simplicity were derived, and the geometric form was visually simple, clear, and concise. The first work produced virtual costumes that reflected the overlapping elements of constructivism. The second costume was produced by reflecting the asymmetric formative characteristics of constructivism. The third costume was a jacket that applied the simplicity of constructivist art.

• Journal of Fashion Business
• /
• v.4 no.1
• /
• pp.33-44
• /
• 2000

The purpose of this study is to research Miao ethnic costume which have been distinctly expressed differences according tribes and areas, present fashion design reflecting image of Miao ethnic costume. Two steps was taken in order to achive this purpose. The first step was to put in order formative characteristics of Miao ethnic costume being based on the Chinese books and domestic research materials. The second step was to study formative characteristics of Miao ethnic costume in comparison 2000A/W fashion trend, illustrate and schematize fashion designs. The results of formative characteristics of Miao ethnic costume are summarized as follows 1. X or H silhouette through skirt & jacket and pants & jacket. 2. Layered look that been twisted around several items. 3. Fine pleats skirts. 4. Refined and splendid color. Black was used main color, dark blue & red purple were used coordi color, vivid color were used accent color 5. Geometrical pattern, cross stitch embroidery. 6. Various ornaments being used silver. 7. Various hair styles and hairdressers. Using above characteristics, this study presneted fusion fashion design combined images of ethnic and techno with dark blue, mustard, blue purple. The target was Forties, professional woman.

• The Research Journal of the Costume Culture
• /
• v.11 no.4
• /
• pp.578-590
• /
• 2003

The purpose of this study was to analyze the formative characteristics appeared in modem Kitsch fashion which has been shown through the empirical data photogrphes from the 2000's to 2003 and the formative characteristics of Kitsch were divided into the material, ornament, color, pattern to understand the modem Kitsch fashion. The findings of this study could be summarized as follows: First, the modem Kitsch fashion in the material was used cheap, counterfeit materials like vinyl, artificial leather, immitation fur, beads and non-artistic materials like metal, plastic, paper and voluptuous material like seethrough to express eroticism and superficiality as the characteristic of Kitsch. Second, Kitsch fashion in the ornament was shown over-decoration by using the various accessories like bracelet, metal belt, gloves, etc to express as childish and coarse mixtures as the characteristic of Kitsch. Third, the modem Kitsch fashion was using splendid and bright, primary colors to express the image of complicated accumulation. Fourth, the modern Kitsch fashion mainly in the pattern was using ethnic, folklore and pop art pattern or print used hippies and pop art fashion to express the primitive purity as bounding of civilized society.

• Journal of the Korean Society of Costume
• /
• v.62 no.3
• /
• pp.120-136
• /
• 2012

The purposes of this study is to analyze the formative relationship between artistic eye-makeup and clothes design by focusing on the period from 2000 to 2010 and to find out the development direction of the next makeup design. This study considered formative theory to analyze the formative relationship between artistic eye-makeup and clothes design of $Marian$ $L.$ $Davis$ and $Marilyn$ $R.$ $Delong's$ theory, and analyzed the formative relationship between artistic eye-makeup and clothes design in an aspect of line and form, color and material, The results are as follows: First, the shapes of the artistic eye-makeup such as tear drops, and rectangular paisleys were similar with the form of clothes such as the hourglass, cylinders and mix-types. Second, monotonic color coordination mainly appeared and sometimes contrast color coordination that induced complex contrast coordination were apparent as well. Third, the objects of the artistic eye-makeup such as glitter papers, spangles and beads had similar features as the material of clothes such as silk and spangle, and contrast was partially used like colors. The results suggest that artistic eye-makeup and clothes have an organic relationship, and artistic eye-makeup is changed with formative elements of clothes.