• 복식문화연구
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• 제28권2호
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• pp.199-214
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• 2020

The study investigates Atlas fabrics, the Ikat weaving method used by the Uygur People in Xinjiang, China. Based on domestic and foreign papers and other literature, different cultural characteristics of Ikat fabrics from various regions are compared. Following a theoretical investigation, characteristics of fabrics from the Indian Patola, Indonesian Ikat, Japanese Kasuri, and Uzbekistan Adras are summarized and compared with the characteristics of pattern, color, and manufacturing process of Atlas silk from Xinjiang China (also an Ikat fabric). The results are as follows. First, although the weaving process used for Ikat fabrics differs from country to country according to different national cultures, lifestyles, colors, patterns, and usage methods, they are all Ikat dyed fabrics. Therefore, they are all regarded as precious objects symbolizing a certain social status, and are used as a gift for special occasions, such as weddings. Second, the form of the pattern varies. Indian Patola has clear outlines and regular patterns, while the patterns of Japanese Kasuri are mainly inspired by folk life ideas. Indonesian Ikat contains influences from indigenous tribes, and Uzbekistan's and China's Atlas textiles are influenced by geography, religion, and national culture, including bright colors and pattern designs inspired by plants, musical instruments, and geometric figures. Finally, the patterns and colors of Xinjiang Atlas fabrics present strong ethnic characteristics. Unlike the Uzbekistan fabric which is mostly influenced by Islam, human and animal patterns would not feature in Xinjiang Atlas patterns, which mostly consist of long strips, repeated in a neat and orderly form.

• 복식
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• 제64권1호
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• pp.152-164
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• 2014

Korean people have revered the white color and enjoyed wearing white clothes. Various kinds of white clothes have been worn by the Korean people, ranging from everyday wear(便服), and scholar's robe(深衣) for the upper class, to religious costumes like Buddhist monk's robe(僧服), shaman costumes(巫服) and costumes for ancestral rites(祭服), or mourning(喪服). There have been many differing opinions by historians regarding the background of this Baekeuihosang(白衣好尙, the preference for white clothing) tradition and even now, it is frequently being discussed. This study aims to consider and discuss the background of this Baekeuihosang tradition, focusing on Chang-seon Yoo's Baekeuigo(白衣考, the consideration of white clothing), which was published in Dong-A Ilbo in 1934. The purposes of studying literature such as the Baekeuigo is to analyze the arguments on the origin of Baekeuihosang, to analyze Chang-seon Yoo's claim of its origin, and to discuss the culture of Baekeuihosang. Chang-seon Yoo claimed that the existing discussions on the background of Baekeuihosang based on the lack of dyes, or undeveloped technique, economic privation and national control strayed from historical facts, according to literature review. It is not worth discussing the farfetched arguments such as the use of costumes for ancestral rites as everyday wears, or the nation of sorrow. Baekeuihosang tradition mostly originated from the effects of many religions and the taste for innocence, or naturalness. White clothes were infused with the sorrow and emotion of Korean people and were also worn to show resistance to foreign power as symbols of ethnicity. Therefore, there should be a new view of the discussion of white clothes and Korean aesthetic sense, away from the logic distorted by the Japanese colonial view of history.

• 복식
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• 제64권1호
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• pp.64-76
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• 2014

This study aimed to analyze the expressive characteristics of design elements and fashion images shown in wedding dress styles in the 2000s. The findings were as follows. First, in wedding dress style the fashion images analysis showed that classic images appeared the most frequently, and fantastic, modern, kitsch, sexy, futuristic and ethnic images appeared the most, respectively. Second, design elements analysis of fashion images concluded that as for the appearance frequency of the silhouette, A line was the highest in classic, fantastic and kitsch images and H line was the highest in ethnic, modern, futuristic and sexy image. As for the appearance frequency of the necklines, bared top neckline was the highest in all of the fashion images. As for waistlines, natural waistlines except modern image of obscure waistlines appeared the most frequently in all of the images. As for sleeve, sleeveless appeared the most frequently in all of the images. As for material, see-through was the highest in ethnic, classic, sexy, fantastic and kitsch images. Luster material was the highest in modern and futuristic image. As for colors, white and achromatic, traditional wedding dress color, appeared the same in all of the seven fashion images, but chromatic colors appeared the most frequently in ethnic images. Third, the distinguishing expression features of fashion images shown in the wedding dress style of the times is as follows: 'Total fashion in wedding dress style', 'Emphasizes sexy image expression in wedding dress style', 'Various co-existence of wedding dress style', and 'Avant-garde expression in wedding dress style'.

• 한국의상디자인학회지
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• 제9권1호
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• pp.1-11
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• 2007

This study suggests the new technique to express the texture that copes with the demands of the times by trying to apply the new Nuno-felt technique, to the silk, the representative material for emotion, in order to provide the basic data for the development of highly value added and competitive materials in the domestic and international markets as well as to meet the demand of consumers in the high emotion age pursuing the idiosyncrasy and qualify enhancement. Nuno-felt is the felting technique that places the wool of desired thickness on the thin fabric using wools and various kinds of fabric materials and rubs them. The samples are 3 kinds of silk including plain Chiffon with different touch, Pongee and Organza and Merino Wool, the best quality wool of wools. As a result, beyond the simple surface effect from the silk showing the superior drape feature with one color and soft wool, the Nuno-felt technique created the feminine as well as masculine, classic and modem image. Furthermore, the harmony of opacity and transparency produced the new dynamic and dimensional texture with the combination of different emotions through the visual emotion of different grey colors and rough, crude and soft touch. This study suggested the possibility that the Nuno-felt technique could create the new emotional materials for the modem sense by combining the materials with different features from the wools unlike the traditional simple felt technique.

• 복식
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• 제38권
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• pp.213-231
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• 1998

The purpose of this study is to find a root from naturalism to contribute the identity of Korean fashion design in the world which has universality and particularity. The beauty of nature has accumulated in our unconscious-ness, influenced to our unconsciousness, and contributed to make the formative sense. Our consciousness influenced by climate, for example, the sense of softness from soft curve which can feel from the sight of Korean mountain, land the sense of comfort and security from round rock formed by weathering, the sense of thick-ness from cotton to endure cold winter etc. has a tendency to thick and act by nature's law. This tendency made naturalism by Korean climate and linked to the sense of natural-istic beauty and became a important part forming the Korean fashion design. In this study, the researcher found Korean climate is a important factor acting in our consciousness, and influenced the formative sense. The concept of climate which is made our formative sense include topography, climate, soil, plant and so on. This influenced a lot to set up a foundation of Korean fashion design. And the naturalism by Korean climate newly created and developed shape, color, material and design. It is our duty to develope design based on naturalism to secure the competitive power against the world in this period of information and this design is getting important as a high value added method put into Korean culture. Therefore, developing Korean design which shapes the beauty of Korean nature and traditional culture will have a important competitive power in the world. Moreover, it will make a new tradition of Korean fashion culture stagnated by internationally universalized western fashion after the modernization. Also, it will be needed to develop a common design which can be agreed not only us but all the world for the request of these days of international. Therefore, this study contributed to find definite ours and found centripetal point to find the direction of Korean's philosophy and ideology. But this approach, we could secure the competitive power in this period of international and information and determine and develope the Korean fashion as a culture base, leading the world.

• 복식
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• 제58권7호
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• pp.13-30
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• 2008

Visual language is 'a form of communication without text'. Visual language is one of the strongest methods to spread knowledge. Uniforms could be interpreted as a symbolic language that establishes order in this complicated modern society by placing identity and responsibility on each members of various different organizations. In light of the above, the purpose of this research paper will be to analyze police uniforms of U.S.A, Great Britain, Italy, France and Korea as a form of visual language and interpreting them in terms of visual design in order to understand the fundamental ideas behind the designs and the effective applications thereof. Upon analysis of traffic police uniforms of each individual county mentioned above by separating each uniform's distinctive design, pattern, color, material and decoration based on visual factor, three characteristics of authority, dynamic functionality and friendliness were derived from comparing and analyzing each country's distinctive uniform design. The traditional unique role of police in our society was to maintain social order as their nature inherently possesses characteristic of authority and preservation, but has since undergone transition in many countries to appeal to the broader public by incorporating friendliness and dynamic functionality. Analyzing police uniforms in terms of visual linguistic sense requires a much more profound process of understanding beyond simple interpretation of configurative shapes. In conclusion, the true purpose of uniforms is to include and portray images of mankind's desire toward expressing ideas like 'mankind's bias toward existence beyond theirselves and the exercise of force through authority' and materializing such ideas into a physical form.

• 복식문화연구
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• 제24권6호
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• pp.903-919
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• 2016

This study aimed to contribute to the development of various female fashion designs by reviewing the genderless styles in androgynous trends that have loomed large in women's fashion, as well as through analyzing and organizing the changes in women's fashion that were required in a society in which various values coexist. A literature review was conducted to identify the genderless concepts, through which a total of 1,273 materials were selected from 10 brands of the S/S collections, during the period of 2006~2016. The results were as follows: first, without the juxtaposition of incongruous objects or images and a fixed type of color arrangements, the compromise shown in women's fashion were mostly expressed through various tones and diverse colors, and with the mixed use of heterogeneous patterns and materials. Second, the enjoyment of genderless styles was expressed with the unexpectedness that occur through symmetry/asymmetry and harmony/disharmony, as well as through the deviation from conventional notions regarding clothing structures. Third, the exaggeration expressed in women's clothing collections perfectly covered up a woman's body shape with the silhouette of exorbitantly expanded bulk and dimensions. These were done with extended lengths, expanded adornments, and modified clothing design types or structures. Fourth, the sensuality of genderless styles analyzed in women's fashion was expressed with mannish clothing that accentuates the beauty of the female body. Lastly, the historicity shown in genderless styles was expressed through clothing that represented traditional styles of the past, the symbolic meanings expressed in the clothes' colors and patterns, and the methods in which the decorative factors were utilized.

• 복식
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• 제52권7호
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• pp.103-121
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• 2002

This study intended to analyze the transition of design of Korean soccer player's uniform according to development of the society and changes in formative elements, and examine features inside them by considering designs of soccer player's uniform by ages ranging from the introduction of soccer up to now. Results of the study are summed up below. First, as a result of analyzing designs of soccer player's uniforms from 1920 to 2002 Korea-Japan WorldCup based on formative elements of the style of dress. \circled1 it is shown that basic shape has been kept but changes in only color. cutting, trimming, logo and symbol have existed. \circled2 Colors of the uniforms have been different according to ages but red, blue and white colors have been used most and sometimes black was employed. so it is known that colors in the Korean national emblem have been all used. \circled3 In the beginning of the uniform there was a limitation in its design due to absence of functional materials but now highly-sensitive textile products and highly-functional textile materials guaranteeing optimal condition and highest activity of a soccer player have been utilized in various ways. \circled4 It is known that symbols modelling the image of Korea have been used in diverse ways but effected much by directions toward images pursued by designers of sponsors. Second, the meanings represented by designs of the uniforms are classified into a degree of symbolizing Korea, tradition, superiority and dynamics. That is to say, \circled1as colors and symbols coming from the emblem have been used in the uniforms. they have symbolized one nation and possessed the meaning representing even Korean national spirit. \circled2As traditional colouring and symbols have been used in the uniforms, they have shown the Korean sense of a beauty. \circled3 Colors, tones and designs overwhelming the mood of play have been used in the uniforms, so that they have played a role in making players of other team flinch mentally and making Korean players gain an advantage over them. \circled4 Thanks to strong symbols or comparative effects of colors. they have shown the dynamics representing power and energy.

• 복식문화연구
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• 제17권6호
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• pp.1009-1020
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• 2009

This study aims to express the androgynous image via shirts as a fashion item. Shirts are widely worn as a fashion item regardless of sex and age, with growing importance as a casual outer, with the increase in leisure activities driven by the recent implementation of the 5-Day Work Week system in Korea. As for the theoretical background, the study was reviewed previous studies of books, thesis, a series of publication, and the Internet sites on this topic. Through a careful analysis of these previous studies, it designed and made shirts that inspired by androgynous image. Conclusions of this study are as follows: First, the study found that meanings of symbolism in clothing continue to change, not fixed at all, depending on historic and cultural environments, and so does symbolism for femininity and masculinity of clothing. Second, shirts are widely worn as a fashion item regardless of sex and age, with growing importance as a casual outer, with the increase in leisure activities driven by the recent implementation of the 5-Day Work Week system in Korea. Third, two patters were used for the work in this study in order to emphasize its form, along with mono color white and stripe patterns. For materials, cotton and blend as a most basic material for a shirt were used with unique variations in the form. Fourth, decorative details or trimming such as ribbon tying methods, shirring, attaching in layers, and irregular pleading widely used for women's wear were applied, and silhouettes with strong drape feelings were used to add feminine feature to men' shirts, in an effort to propose a fashion design of the androgynous look. Fifth, clothes proposed in this study are different from feminine clothing item blouse, because they are androgynous shirts mixing masculinity and femininity. Stiff pads were used in collars and cuffs characteristics of men's traditional shirts to maintain masculinity of a shirt, and design was developed by adding feminine decorative elements, which is different from women's blouse.

• 복식문화연구
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• 제19권1호
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• pp.104-118
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• 2011

Since Sirimavo Bandarinaike became the first female prime minister in 1960, women all over the world has been trying to break the highest glass ceiling. In a place where men had been dominating throughout history, women political leaders had to find a way to look the part by wearing power suits. Feminity was out of the question until the digital era of 21st century started. The world has evolved into a place where feminity could be strength instead of weakness. Now women political leaders are showing body curves, cleavage, using vivid and pastel colors, soft fabrics, elaborate details, accessories, long and curly hair. The padded shoulders of dark coloured power suits were replaced by soft colorful flowing feminine suits. Yulia Tymoshenko of Ukraine is the best example of 21st century woman political leader using feminity in her fashion style while enacting her role. When she first started politics in 1990's, she wore dark colored power suits like all other women political leaders did with short dark hair. As time passed her suits became more feminine with light colors and elaborate details. She has changed her hair into a neat braid, based on a traditional Ukrainian hair style. She used orange color for the Orange Revolution and white for pure image. Yulia Tymoshenko's fashion style as a way of role enactment showed professionalism, feminity, integrity, and ethnicity.