• 한국의류학회지
• /
• 제41권1호
• /
• pp.98-115
• /
• 2017

This study categorizes the formative aspects of dress and their implications according to the extent of revealing or concealing corporeality based on body perceptions. By considering the notion of dress as bodily practice to be a theoretical and methodological framework, this study combines a literature survey and case analysis to analyze and classify the forms of women's dress since the 1920s when contemporary fashion took hold. As examined in this study, the typology of dress was categorized as body-consciousness, deformation, transformation, and formlessness. Body-consciousness that is achieved through tailoring, bias cutting, and stretchy fabric displays corporeality focusing on the structure and function of the body as an internalized corset. Deformations in dress are categorized into two different subcategories. One is the expansion or reduction of bodily features based on the vertical or horizontal grids of the body, which visualizes the anachronistic restraint of the body through an innerwear as outerwear strategy. The other is exaggerations of the bodily features irrelevant to the grid, which break from the limitations and constraints of the body as well as traditional notions of the body. Transformations of the body refer to as follows. First, the deconstruction and restructuring of the body that deconstruct the stereotypes in garment construction. Second, the abstraction of the body that emphasizes the geometrical and architectural shapes. Third, transformable designs which pursue the expansion and multiplicity of function. Formlessness in dress denies the perception of three-dimensionality of the body through the planarization of the body.

• 복식
• /
• 제47권
• /
• pp.19-32
• /
• 1999

The results from the consideration of this are as follows. 1. Dan dynasty has been 10-parts dancer and musician group for courtesy ceremonial meetings of ancient china. 2. Except ceremonial dance and music common dance and musics performed it in front of common peaples meetings. 3. After unification of Dang dynasty many commercial men and artist come frome western of China threfore influenced their costume habbits and behabiers from royal families costumes and common peaples costume without concern of that one's social position. 4. As the people who lived in thewest areas of old china there characterestics of the costumes are open breast jacked breast laped long skirt long scarf long boots narrow sleeve jackets patterend textilles(for womens) round neck narrow sleeved one-pies dress belt, long boots. patterend textiles(for mens). 5. Dancer's Costumes mode are as follows: 1) For females : high hair style, Twin 'high hair style. jewrery decorated hat bird's hair decorated cap. ribons. 2) For mens: Bok-doo. Hokongdu 6. Except traditional old china dancer dress they have many interested dancer dress for instance dang dynasty's 'Ye-sang woo yui dnace' dancer dress is very elegant and interested hip level jacket has peacoak wing shaped sleeves and long skirt has try angles shape attached apron this dancer dress begins wi-jin nam·book-dynasty. 7. Men dancer dress is just head cap bok doo long narrow sleeved one-pies dress.

• 한국의상디자인학회지
• /
• 제17권4호
• /
• pp.91-100
• /
• 2015

The purpose of this study is to analyze the style of check dresses shown in collections from 2011 to 2014 and to extract main expressional words for the development of semantic differential scales of visual images according to the change in silhouette of block check dresses. The results of this study are as follows: 1) 120 check dresses shown in collections were composed of 57 straight silhouette dresses, 38 fitted silhouette dresses, 23 hourglass silhouette dresses, 1 barrel silhouette dress, and 1 atypical silhouette dress. And check pattern mostly used in the current collections a square pattern of block check, tartan check that is a Scotch traditional lattice pattern, a small lattice pattern of gingham check, over check that other check patterns are arranged on check pattern, star-shaped hound tooth check, glen check mixing small pattern and big pattern. The visual image for check dress differs according to changes in the check pattern and silhouette of the dress. 2) Main expressional words of visual images for block check dresses differ greatly depending on the silhouette of dresses. The visual images are ranked in the order of 'graphic', 'simple', 'hard', 'modern' for straight silhouette of block check dresses. The words of 'lively', 'girlish', 'feminine', 'cute' are ranked for hourglass silhouette of block check dresses. And the words of 'confident', 'feminine', 'modern' are marked down for fitted silhouette of block check dresses.

• 한국의상디자인학회지
• /
• 제10권3호
• /
• pp.15-25
• /
• 2008

Today, each country's cultural communications are carried briskly and Japan already showed a new trend of world fashion by accepting its own design with aesthetic sense to western Europe in 1970s and built the new area of Japanese fashion. This special traditional aesthetic sense, formed by social, cultural, geographic and religious conditions, is roughly divided into decorated and undecorated beauty; decorated one means splendidness, coquetry, exaggeration and was represented ornamental modification of nature object in dress pattern as ornamental expression means; undecorated one, based on Zen-thought, means simplicity, purity, ugliness and Japan gave rise to the new beauty by receiving and adapting continental culture to its culture openly and creating and developing its own beauty. This study aims to examine the aesthetic sense shown in Japanese traditional dress and understand how traditional beauty is used and applied to modern fashion and analyze the diversity of Japanese traditional aesthetic sense shown in modern fashion. For material analysis, total 220 were collected of photograph related to formative element existence according to aesthetic sense shown in Japanese traditional fashion design using literature research and visual data. The existences of Japanese image among them were confirmed by clothing and fashion department majors so that 7 pieces of which were selected as final analysis object. Likewise, the result suggests that Japanese traditional aesthetic sense creates global design based on folk element-used identity as well as new beauty by adapting continental culture to its culture openly and producing and developing its own creative beauty.

• 복식
• /
• 제53권7호
• /
• pp.69-81
• /
• 2003

This study firstly identify the characteristics of the clothes for traditional wedding ceremony from the late Chosun Dynasty (19th Century) and today through comparison. It also tries to discover what today's people are incorrectly aware of regarding the traditional wedding clothes particularly by survey. It ultimately aims to present constructive ways of solution against the illadvised and simplified deformation of the traditional wedding clothes. When comparing the traditional wedding clothes from the late Chosun and its modern counterparts, Dan-ryung and Samo-kwandae is still used for bridegroom's dress. In case of bride's dress, several items such as Yeom-eui, So-eui and Hwal-ot have been disappeared while Won-sam can be seen today. There were found many additional differences not only in type of the wedding clothes, but also in its form and constitution. Therefore, it is advisory to take the wedding clothes worn by commoners and upper class as the basic form for today's traditional wedding clothes. In addition, diversified research should be carried on to make them broadly accepted by today's life.

• 한국복식학회:학술대회논문집
• /
• 한국복식학회 2001년도 19th International Costume Association Congress
• /
• pp.81-81
• /
• 2001

R.O.C. has experienced successively the development of previous dynasties that creates out the unique traditional culture of each stage. The Chinese nation is not a one-fold race; each dynasty absorbs the culture of the outside race. It is Tang Dynasty blends mutually however yield unusually brilliant results. The Tang Dynasty's national strength is forceful and the economy is prosperous. Above all, social custom and current of thought both break the constraint of previous dynasties' conservative thinking and keep positive and aggressive. While in the contact with extraterritorial culture, not only changes the feminine social status, but also produces unprecedented innovation and reform on the feminine dress. The Tang Dynasty's varied feminine suit is affected by the western regions of China culture, such as expose of chest, low collar, short top garment and skirt with narrow sleeves or wide sleeves, sleeve gown with plate collar or turndown collar, man's wear, and military dress, etc. An epoch can be known by Tang Dynasty feminine dress's special features, for example, the make-up of Tang-Shien-lon's Uan-Ho period presents dress style of late Tang days. However, the Chinese people compete mutually pursuing the strange costume, and accepting different cultural incitement This reveals that the changes of popular culture would result in the big transform of the Tang's dress style. This paper studies inherit of Tang Dynasty's culture and east-spread of the western regions of China culture. While understanding the Tang's favor in the western regions of China customs, all follow the western regions of China without exception, such as dance music, painting, dress, food, amusement, etc. Because of emperor's progressive race policy and forgiveness attitude to the foreign tribe that makes Tang Dynasty's feminine dress much easier to accept and blend the special features of the foreign tribe culture. While joined with west culture, and pick the dress's essence of the western regions of China, the original possessed of culture consciousness and esthetic sense improve and create their own dress, as well as enrich more inner part of dress art and the spirit.

• 복식
• /
• 제64권1호
• /
• pp.64-76
• /
• 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'.

• 복식문화연구
• /
• 제4권3호
• /
• pp.407-426
• /
• 1996

The study, "a semiotic analysis on 1930′s costume", is based on semiotic theory which analyze the meaning of signs. In the novels, "흙" and "삼대", character′s costume were used as a visual language that implies massages of character′s status, class, and the view of value. Analyzing the meaning of clothing signs, clothing could deliver the people′s informations to others and could be first things when people accept new value. The object of the studies are the novels, Hulk(흙) and Samdae(삼대) which are written by lee, Kwang-Soo and Yeom, Sang-Seob. In the novels, the social structure is classed as modern and traditional after we accept the western cultures and institutions. The traditional clothing, Han Bok, were dressed by the conservative woman. However, we could find the modernized woman dress with the western dress and the modified traditional style. According to the result of the research, we could find that clothing could be a sign which indicates value and also clothing is one of the first thing to change when people acquired new value.

• 한국의류학회지
• /
• 제33권8호
• /
• pp.1241-1252
• /
• 2009

This study is on the internal and external characteristics along with the phenomena of dress and ornaments expressed in them by analyzing Re-orienting Fashion (which is a system of signs and symbols) based on the theories of semiology in the search for the Korean identity by examining a Re-orienting Fashion that is being reinterpreted. Re-orienting Fashion performs the role of signs that act in the spread of Oriental culture through the globalization of traditional dress and ornaments in the Orient. It also has a meaning that converts the world of fashion to a new direction. When analyzing the system of signs and symbols in Re-orienting Fashion (based on the theories of semiology) the conclusions are that an eclectic symbol system has been formed by the combination of the pursuit of modernization in traditional dress and ornaments with post-modernism. A nature-friendly symbol system has been shaped as a natural silhouette in terms of the combination with Eastern philosophy that searches for a harmony with nature according to ecological trends. The ideal of a symbol system means the introduction of design elements in traditional dress and ornaments of the East as a rejection of Western civilization and as an alternative to the fixed pattern of the West.

• 한국의류학회지
• /
• 제34권12호
• /
• pp.2022-2038
• /
• 2010

Our study was designed to provide some insights on positive country image and the mechanisms of influence that Asian fashion industries can draw upon for future benefit. We focused on a country image and fashion products with Asian ethnic influence. Asian traditional costume elements reflected in contemporary fashion products may be important representative tools for national cultural identity. This study qualitatively investigated how and to what extent country image and additional information influence the evaluation of fashion products influenced by Chinese, Japanese, and Korean traditional dress. We conducted four focus-group interviews (FGI) with 30 students from a fashion program at a university in the United States. We analyzed the evaluation of fashion products influenced by Chinese, Japanese, and Korean traditional dress, and their associations with country image. Our qualitative analysis offered more developed empirical evidence for the various paths through which country image affects the evaluation of fashion products influenced by the ethnic dress of Asians. The results of our study showed that the more direct the source of prior knowledge, the larger the influence on product evaluation. This study showed that certain cues in the evaluation of fashion products with Asian ethnic influence induce changes in the affective state (that stem from the psychological and social nature of fashion products) and illustrate the necessity of considering the affective processes involved in the appropriate use of the country image. In the fashion industry, extrinsic properties such as the country image significantly influence the attitude and purchasing decisions of consumers. The significance of this study lies in its verification of the relationship between the country image and additional information. Modular and situational-contextual influences are also revealed as important factors that deserve more attention, as well as considerations regarding the dimensions of the country image described in attitude theory.