• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.1
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• pp.27-39
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• 2014

The purpose of this study is to investigate the formative characteristics and the aesthetic values of denim dresses from the 19th century until the $20^{th}$ century and analyze those changes shown in Paris Milan London New York collections from 2001 S/S to 2013/14 F/W. The results of this study are as follows; 1) In the mid-$19^{th}$ century, the denim pants were working suits. In the 1920's, they started to be recognized as ordinary clothing and they were supplied to women in World War II. In the 1950's, denim pants stood for youth and resistance, and they became popular among teenagers. In the 1960's, hippies who protested against the Vietnamese War would wear worn-out denim pants symbolizing peace and freedom. As they became more common in the 1970's, people all around the world wore the clothes. In the 1980's~90's, the waves of high class brand fashions brought in sensualism, extravagance, reactionary tendency, and so forth. Consequently, the aesthetic values of denim dresses have connotations of practicality, resistibility, ornamentation and femininity. 2) Practicality in recent collections is represented in classic fashion which features typical details and raw denim and modern fashion which is made with glossy denim and minimized details. Resistibility is represented in avant-garde fashion which features deformed or over-layered jackets and pants with damaged denim and vintage fashion which is made with wash-out and wild stone denim. Ornamentation is represented in ethnic fashion which is made with wash-out denim and ethnic prints and romantic fashion which features details such as ruffle, frill and shirring as well as lace and flowery decorations. Femininity is represented in sexy fashion which designs to expose or to focus in women's body and elegant fashion which is made with soft and glossy denim and hourglass silhouette.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.79-95
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• 2003

The purpose of this study is firstly to survey the social and cultural background of 20th century and women´s status, and to identify what the ideal body is like and what the elements of outer garment and underwear are and the techniques to incarnate the ideal beauty. Various papers are referenced for theoretical study and the elements and techniques of underwear are analyzed based on photographical materials. This paper concludes as follows. In 1960´s, ideal beauty was small bust, long legs, which showed extremely slim Mini-skirt look. Thinly or no padded brassiere were worn for small bust, and pants-style short panty girdles were popular as they used to wear pants frequently. Lycra replaced all the closures, bones, seams and gave freedom with light weight. In 1970´s, a natural human body without sex specific was in vogue. Therefore, the non-structural knits without a pad or lining or the shirts dress were widespread for a Natural look and the naturally molded brassiere or girdles were worn as the underwears. In 1980´s, the women with powerful muscle appear which emphasized liveliness and healthfulness. The body conscious represented by wide shoulder, plump breast, accented waist, small hips, and long legs has been embodied. Outer garments emphasized women power and healthy beauty with Power suit and Form-fitting style, and underwears made the breast plump with padded brassiere and emphasized waist and hips with waspie. In 1990´s, ideal beauty was slim body with big bust and the outer garments emphasized body line of women with Hourglass silhouette. Push-up bra which emphasizes the valley of breast and supports the breast upward and the control tights for slim waist, flat abdomen, small hips, and long and slim legs have been useful as underwears. Multi-functional micro-fiber has been ideal for sculpting women body.

• Journal of the Korean Society of Costume
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• v.26
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• pp.289-310
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• 1995

The present study aims at investigating the style change of the Korean women's traditional costume and analyzing its character in accordance with the social changes during the period from the civilization in 1884 to the present. The design of the tranditional costume which might be formed in the era of the Three Kingdoms had been slowly modified, and the Korean jacket and skirt design was settled in the Chosun period. In the end of the Chosun period, the drastic social changes such as civilization and revolution, together with the introduction of western dresses, affected strongly the traditional costume design. This led to a change from the old dress design to the stylish and practical one because civilized women and high school girls wore the modified costume composed of long jacket and short skirt or western style dresses. In recent years after 1960's Korean women usually wore traditional costumes as ceremonial dresses be-cause the western style dresses replaced the tra-ditional costume in everyday life. After 1970's, however, the A-line silhouette, combined with ornaments, adapted to the traditional costume in order to emphasize women's beauty, thereby resulting in remarkable modification in the tra-ditional costume. In those days, the large pro-duction of various textiles such as nylon and tetron and the appearance of the traditional costume designers played an important role in developing beautiful traditional costume designs and bringing closer together with general public women. These recent design changes might be classified generally by the following three stages ; (1) "the period of settlement" (1965 1975), (2) "the period of maturity" (1976 1985), and (3) "the period of stabilization" (1986 1995). The costume design of each period was discussed and compared in detail according to historical events. From this study, inherent beauty of the Korean traditional costume can be recognized again, and clarified its position as our folkdress. It is also suggested that in future its modification should be achieved continuously in accordance with tra-dition and modern sense.h tra-dition and modern sense.

• Journal of the Korean Society of Costume
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• v.58 no.2
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• pp.107-119
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• 2008

This study aims to define the concept of the futuristic image in fashion since 2000. In this study, earlier studies of the futuristic images in the fashion are analyzed and it is discovered that the most important characteristics of the futuristic images are the cosmic space and virtual reality. An analysis of actual data of the futuristic images of the fashion since 2000 produces the following conclusions. First, since 2000 the futuristic fashion to convey the image of space tends to be minimalist, taking H or A silhouette and using white, silver, or other vivid colors. Second, since 2000 the image of virtual reality is often expressed in the fashion of futuristic image as female fighters or vampires of the future who mostly wear pants suit or skirts that expose the body line. Materials of advanced technology or shiny leather are often used and dark colors including black are dominant in these images. Third, when the space image is expressed, the androgynous youth is emphasized. However when female fighters or vampires of the future are shown, sexual image of gloomy atmosphere is often stressed. Fourth, the fashion of futuristic image since 2000 takes up the space age look of the 1960s and the techno-cyber look of the 1980s and the 1990s. However their internal meanings are lost and only external forms are repeated. In sum, the current fashion of futuristic image emulates the past look of the fashion which was circulated as futuristic images and may be considered as a result of combination of futuristic image and retrospective image.

• Journal of the Korean Society of Costume
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• v.64 no.2
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• pp.126-134
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• 2014

This study studied female Hanbok that appeared in Korean movies in different periods, and investigated the changes and flow of the Hanbok in the movies based on the design and the form. Research scope is limited to Hanbok in Korean movies released between 1950' and 1980', and in order to study Hanbok in movies, snapshots of Korean movies for each period are used. Pictures are sourced from the Korean movie database, and forms and colors of Hanbok in the pictures are classified into 7 categories. Based on this, characteristics, changes and flow of Hanbok for each period are studied. Based on this, by investigating the Hanbok in Korean movies from silhouette and design perspectives and comparing each period, it is found that the following changes have been made: From 1950' to 1980', generally Min Jeogori (Normal Korean traditional jacket) had a higher rate. Up to early 1960', wide collar and collar strip were trends, but from 70' to 80', they have been remarkably narrowed. After liberation, ease and functional elements of western clothing were accepted. From 1950' to 80', generally wide and round shape sleeve were used. Also, from 50' to 80', normally skirt and Jeogori had the same color and fabric. Lastly. as Hanbok with western style fabric, rather than traditional Hanbok fabric was increasing, Hanbok with variously patterned fabric was shown. The lack of colored pictures led of limited research materials, and so a more accurate and sophisticated research on material and design was not possible, However, it is meaningful that this study has investigated changes and flow of Hanbok in modern Korean movies.

• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.98-115
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• 1999

As sports infiltrates each field of modern society and becomes familiar, sports wear was changed functionally and was introduced and enveloped into everyday dress. Modern sports wear has been the settled in everyday life deeply and become the clothes of life which are worn regardless of place, time and age. The aim of this paper was to clarify what kind of fashion of sports style would be given to the modern people. In this study, sports wear which has become everyday dress classified from a gender point of view. It was divided into masculine image, feminine image, and neutral image. Sports wear of masculine image generated a silhouette which emphasized the shoulder with the aspiration for youth and health. Wide shoulder was considered as the symbol of masculine beauty and the expression of healthy beauty. It was reflected well in body conscious look. And owing to the development of up-to-data materials, innovation of design, and the study of human body technology, the functional character was settled in the sports wear which showed masculine image. Sports wear of feminine image was represented fashion of body exposure, body feet with body conscious look, and romantic mode. This image was expressed fashion as comforts, pleasant, active design, materials, color, and romantic feminine beauty. Sports wear of neutral image was expressed into unisex clothes. This cloths have no difference in gender, age, and class. It was used as casual sports wear. In the 1960s, young generation participated in such street sports as street basketball and skate. They usually sore the sports wears of neutral image such as cycling, skating, and ski. In the materials of sports, the development of up-to-data material like lycra made the sayings lifelike, “up-to-data material is the second skin” It show that glamorous feminine image and strong masculine image coexisted. The contemporary concept of sportswear is no longer limited to those clothes for sports found in such places like tennis court or swimming pool. Now, the sports wear become more like casual activity wear all classes of people can enjoy in their life regardless of where they are, when they wear, and even how old they are.