• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.17-28
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• 2001

The purposes of this study were to arrange and analyze the Oriental Mode in 20th century fashion and to clarify that Oriental dress and its ornaments appearing as the main subject of Occident fashion gradually The results were as follows : First, Oriental Mode in 1900-1950s was prescribed as the 'Orientalism' to be expressed Occidental imperialistic viewpoint. Therefore, the Orient was used as the simple recording mark of the imperialism product or commercial motive and it was reflected in fashion. Second, it was explained in 1960-1970s as the 'Folklore Orientalism' that focus was moved into the folklore costume of Orient. Third, in 1980s, 'Ethnic' was conspicuous that reflected the traditional costume in the area of non-christianity. Especially, it was the decade that the Middle East attracted attention. Fourth, Oriental Mode in 1990s appeared as the 'Fusion' that Oriental and Occidental elements were mixed and compromised on equal terms. Fifth, it was expressed as a word 'Zen' that had natural fiber, moderate color and silhouette to be most basic and concise about human body at the end of 1990s. This study could confirm that the center of fashion was being converted into the Orient gradually. This may be understood as the pluralistic culture phenomenon. Namely, eclectic principle to recognize mutual style and individualistic nature and to utilize and mix was made, and this brought the conversion into Oriental sense of value.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.161-167
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• 2006

The purpose of this research are to identify the nature of artistic beauty of Kokuryeo dresses and to apply the artistic beauty, formative uniqueness, and esthetic value of Kokuryeo in the modern Korean dress design for creation of new designs. Significance of this research lies in the fact that beauty of traditional dresses possesses highly valuable importance for application to modern fashion design processes. Kokuryeo dresses basically comprised of Yu, Sang, Go and Po, and contains within abstract beauty along with emphasis on geometric elements like dots, lines, and surfaces. Red, Black, Violet, Verdant and scarlet colors were moderately used against the mainly white canvas, and different colors were often used for the top and the bottom. Silk, Hemp cloth and Wool were used for different social levels or ranks, and from the wide variety of colors and patterns of the dresses, such as Round-patterns, Cloud-patterns and Vine-patterns, worn by the people illustrated on the wall paintings, it appears that various materials were used. Vertical hems, Yu (shirts), Sang (skirts), noblemen's dresses, kings' dresses, etc. from Kokuryeo tomb wall paintings were applied, and various dying methods, natural materials and sewing methods were used to recreate the unique features of Kokuryeo dresses in modern designs in an attempt to recreate the esthetic value of Kokuryeo dresses.

• Korean Journal of Human Ecology
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• v.13 no.1
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• pp.159-171
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• 2004

The purpose of this study was to compare the characteristic of Chanel style between modern and postmodern period. The documentary research method was used for this study. The modem period was limited from around 1920 through 1939 and the postmodern period from 1990 through present for this research. The results were summarized as follows: The characteristics of clothing style in modem period were 1) the preference of slim & straight body figure as ideal one and slim & straight clothing silhouette, 2) the high fashion image for the elite by simple & basic design, 3) the emphasis on the harmony by the unity, 4) the tendency of eliminating ornaments on clothing, 5) the discontinuation of traditional way of dress code & style, and 6) the modern style. The characteristics of clothing style in postmodern period were 1) the emphasis on erotic aspects of female body and sexy design, 2) the popularization of high fashion and certain social group's fashion, 3) the tendency of harmony by mix-match, 4) the preference of ornaments in clothing, 5) the preference of retro-fashion, and 6) the continuation of modem style.

• Journal of the Korean Society of Costume
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• v.32
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• pp.57-68
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• 1997

The purpose of this study was to understand the effects of religion on Amish costumes. For this study I twice visited Amish village in Lancaster Pennsylvania U.S,A in July 1993 and August 1996. The methods of study directed direct observation and literature re-search. The results of this study were as follows: The Amish was livid practically by strict princi- ples of simplicity diligence piety and mutual cooperation. The Amish behavioral code of laws known as ordnung dictated appropriate dress agricultual methods and a routine for daily life. The Amish costumes originated with the 17th century Puritans traditional apparel the European farmer and the clothing style of 19th century Americal,. Amish costumes was fastened with hooks and eyes instead of decorative buttons a diret influence of Puritanism does and did non con-tain ornamental outer pockets. This distinctively simple costumes served as a boundary outsiders to and as a direct ex-pression of their faith. An Amish doll had neither facial features nor fingers and toes as described in scripture "You do not become corrupt and make for yourselves an idol an image of any shape whether formed like a man or a women or like any animal on earth or any bird that flies in the air or like any creature that moves along the ground or any fish in the waters below" In this way Amish costumes was affected by their religion and faith.

• Journal of Fashion Business
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• v.1 no.1
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• pp.110-126
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• 1997

This dissertation intended to investigate the black color as a fashion color of the late 20th century and the aesthetic consciousness of black fashion. Black usually expressed a negative meaning, and was regarded as a color for a mourning and a sacred dress in western culture. There found several periods of black trend specially after 14th century. Black was considered as a traditional color of men's fashion since Dandyism. By the effect of art d co fashion, the perception toward black changed to a new beauty in 20th century. There continuously found a lot of aspects of black fashion in the late 20th century. In the high fashion, popularity of black, could be seen at five different look and style : The era of line alphabet, pantaloons suit style, folklore style, mannish look and unconstructive design by Japanese, and in street fashion, it showed at four different style and fashion: Beat style, mods and rockers style, punk fashion and fetish fashion. The aesthetic consciousness of black fashion at the late 20th century mentioned above should be summarized as follows. : Minimalism, dandyism, nihilism, asceticism, eroticism. In 1990s, the black appeared under the retro mood, and it should be regarded specially as one fashion trend of inclination of simplicity. Black should be called the representative color of 20th century fashion with the reason of containing the most of aesthetic consciousness in modern fashion.

• Journal of the Korean Home Economics Association
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• v.49 no.5
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• pp.11-22
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• 2011

This study aimed to suggest more appropriate and accurate festival costumes based on a comparative analysis on various reproduced costumes and a period review of traditional festival costumes. In particular, the comparative analysis examined festival costumes which appeared in Korean and Japanese festival parades during the Baekje Period. The Baekje Cultural and Sacheonwangsawasso Festivals were examined. A literature review as well as field research and digital restorative techniques were used in the study. The reproduction patterns of Baekje costumes from both festivals were compared with original Baekje costumes, demonstrating several differences in the configuration, material, color, and shape of the costumes in addition to the way they were worn. Based on the comparative analysis, Baekje costumes used in Festivals were grouped into three categories: King's Costume, Queen's Costume, and Government Official's Costume. Dress sketches and 3D illustrations also have been presented.

• The Research Journal of the Costume Culture
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• v.15 no.4
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• pp.604-619
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• 2007

Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation and non-representation of the body in fashion. Theoretically, this study draws from Jean Baudrillard's Simulation theory which maintains that simulation develops the whole edifice of representation. My study substitutes the successive phases of the image to that of (non) representing body in fashion. The correspondences between them are; first, 'image is the reflection of a basic reality' for the representation of physicality, second, 'image masks and perverts a basic reality' for the manipulation of physicality, third, 'image masks the absence of a basic reality' for the absence of physicality, and fourth, 'image bears no relation to any reality whatever' for the absence of body in fashion. Aesthetic ideal of the body is visualized in the form of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Home Economics Association
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• v.39 no.1
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• pp.11-27
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• 2001

The purposes of this study are to (1) point out Korean women's clothing behaviors as seen by the Korean who has lived in the U.S.A. (2) identify cultural and social factors to influence on Korean women's clothing behaviors (3) suggest directions for desirable change in clothing consumption behaviors of Korean women. Verbatim texts of 16 interviews concerning Korean women's perception and experiences of fashion in Korea and the U.S. are interpreted through the analysis of the interviews. The results are as follows: 1) In Korea, the changes in fashion are not only distinct but also foster then those in America. 2) Korean women have a tendency to conform in the way they dress themselves, while the women in the U.S.A. put emphasis on the individuality rather than the current fashion. 3) When they go shopping, Korean women take a great note of what the brands represent, but their American counterparts take the neatness, easeness of cleaning and practicality into consideration. 4) In Korea, the clothing behaviors are influenced by the rapid social changes, its internalization trend, the traditional Confucianism and the pressure to conform according to the collectivism.

• Fashion & Textile Research Journal
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• v.1 no.1
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• pp.62-68
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• 1999

The study has examined about the origin and change of traditional Japanese dress "Kosode" and classified it according to its ages and also classified its patterns which appeared on the Kosode by its kinds, and divide the patterns with constituent method and expressional method and so, studied and analyzed them with type of patterns according to the change of the times. The result of research were as follows: 1. Subject of patterns that appeared on the Kosode was used with mainly plant pattern, animals pattern, pictorial pattern, artificial pattern, and abstract patterns. 2. Expressional method of this patterns was mostly expressed simply with tie dyeing in ancient times, but it changed complex its expressional method and diversely due to the development of common's culture as time goes on. 3. For the arrangement of its pattern were arranged regularly mostly make demarcate and though they are as if seemed dispersed, but a characteristic that can find regulations in it. 4. Transition of patterns that appeared on the Kosode it developed at the beginning of ancient syouboon, Katasuso pattern and Katamigaori patterns at the samurai's society in the medieval society and developed to Koicho kosode and Kambun kosode in modern times.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.5
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• pp.675-683
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• 2002

The purposes of the study were to analyze the changes in formal attires and decorative features of middle age Korean women during the last half of 20th century and to find out any significant differences in formal attires according to periods. The study was a documentary research, and data were collected from 344 family wedding photographs by convenient sampling. The statistics used were content analysis, frequency and a time series analysis, and the results were as follows : 1. Four schematic clusters of formal attires were categorized according to skirt(chima) length and width, jacket(jogori) length, motifs and decorative features; simple classic, decorative classic, fashionable, and extravagant fashionable. Simple classic attires were popular until 1960s, the decorative classics were appeared from late 1960s to 1970s, fashionable attires were introduced from the late 1970s and the attires became more luxurious and extravagant until 2000. 2. Color symbolism in couples mothers'attires according to the couples gender - pink or red for the bride's mother and blue or green for groom's mother - was introduced from the late 1970s, and reached the maximum level by the early 1980s but slowly disappeared after the late 1980s. 3. The complete fashion cycle did not exist in the formal attires'change, however, since the Period of data were ranged from 1943 to 2000, the 57 years period may not long enough to measure a complete fashion cycle.