• Journal of the Korean Society of Costume
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• v.50 no.2
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• pp.15-28
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• 2000

This paper focuses on the sports look expressed in 20th century fashion. It is Age of Sport just as rock'n roll became dominant cultural form of the 1960's and 1970's . In the 1990's the sportsware is fashion. Designers gazing into the future are inspired by the details and functionality of clothing for snow boarding , skiing , motorbike racing and fitness. No doubt fashion in 2000 will also be full of references to it. Since the late 1960's the sportswear that was originally a term for clothing worn for various sports activities in the 1890's has changed and is now considered as fashion for day as well as evening. This has occurred primarily in the U.S. due to the adoption of less formal lifestyles by Americans. while the sportwear is the term which stemmed from the need for functionality in sports, sports look is the style inspired by the formative elements, that is, the details, the shilhouette, and the colors of the sportswear. New technologies for sports, the powerful influence of youthful culture, and the celebritizations of the sports stars made the sports look much hipper and more popular. It can be categoried into three aesthetic values, I. e., the functional sports look,, purism and no useless ornament, the street sports look with fun, androgynous and unisex mode and the mix and match of different texture and colors, and the futuristic sports look with new high tech fabrics and avant-garde style.

• Journal of the Korean Society of Costume
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• v.56 no.9 s.109
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• pp.112-126
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• 2006

In this study, to study the aesthetic properties of the Italy fashion, the internal fashion contents are defined according to the cultural characteristics of Italy and based on the definition, the external features are investigated. The cultural characteristic was analyzed based on the reference literatures on the Italy culture. The aesthetical properties of the contemporary Italy fashion can be analyzed as follows: ${\cdot}$ Functionalism is a feature showing the Italian cultural environment where the genuine humanism is retained. It enables the practical designs by applying details and materials that wouldn't put a limit to the movement of the human body. ${\cdot}$ Naturalism focuses on the natural beauty of the human body without any artificial forms or exaggerated ornaments. Natural texture or materials are used to express the human body itself, or to emphasize the natural aesthetic effects flowing with the human body. ${\cdot}$ Localism is the expression of folk spirit affected by the natural environment. It expresses local atmosphere by unique craftsmanship in material, pattern, color and details. Based on this result, the aesthetic properties of the contemporary France fashion, examined through ${\Iceil}$A Cultural Approach to the Aesthetic Characteristic of the 20th Century French Fashion${\rfloor}$ and those of the contemporary Italy fashion are compared.

• The Research Journal of the Costume Culture
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• v.20 no.3
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• pp.392-402
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• 2012

The norm for everyday costume in India and Indonesia had consisted of either draped garments or loincloths. However, as the Islamic values spread in these countries various tailored clothes began to be worn. In order to study this spread of tailored clothes, the researcher first looked at the historical background which was the origin of Islamic costumes and its unique traits through the works of literature. Based on these findings, the researcher tried to identify the Islamic elements in the costumes of India and Indonesia. The researcher put forward the following conclusion: In India, people began to wear Islamic costumes after the establishment of Mughul Empire (1526~1857) in the 16th century, despite the Islamic invasion in the early 8th century. The pants that the ruling class of Islam wore such as shalwar, churidar and coats in the style of kaftan as well as turban spread quickly throughout the nation and now they are important part of Indian traditional costumes. Also in Indonesia, people began to wear tailored clothes as they accepted Islamic faith. The Indonesian costumes which exposed the upper body part may have been suitable for the climate but it was inappropriate according to the Islamic precepts. The religious beliefs led to the creation of the unique Indonesian sarong, wraps such as kain panjang and a new type of traditional costumes that combined the elements of pants or tunic from the Islamic culture.

• Journal of the Korean Society of Costume
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• v.56 no.4 s.103
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• pp.1-14
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• 2006

This paper is a perspectiveon the reformative costume expressed by Gustav Klimt who led the Secession Movement as a great master in Vienna. Klimt actively expressed a new costume style in his paintings, which influenced heavily on the modern costume design. This paper may contribute to reestablish the constructive direction for the 21st century fashion design based on Klimt's pursuing holistic art concept. The reformative costume in Klimt's paintings has two characteristics; ornamentism, eroticism, and reformativeness. Ornamentism is expressed with fantastic colors, various motives, exotic features, simple style clothes, and so on. Klimt used independent ornaments to express carnal desires metaphorically, which set ornaments free to lead spectators to the dreamy or elusive state and even have spectators indulged in ecstasy. As the Secession Movement focused on reforming all areas of life artistically, the costumes of Klimt's paintings symbolically express the reformativeness; he portrayed the woman in the early 20th century and sought to reform its contemporary value as a visual sensuality. Klimt tried to disrupt from the former era by over-emphasizing eroticism. The erotic expression with the colors and the style of ornaments substitute naturally for suggestive eroticism of the feminine body. With has creativity, Klimt has spectators extract the various senses from the female image in his paintings. Klimt's creative spirit on the holistic art concept could be helpful to develop a unique design as a catalyst foreseeing over the present.

• Journal of the Korea Fashion and Costume Design Association
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• v.2 no.2
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• pp.137-154
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• 2000

The purpose of this study is to investigate the transition of luster material after the tweentieth century. This study was conducted by means of designer collection, journal of fashion, museum data, fabric exhibition and Internet data. The results of this study were as follows: Before the synthetic fiber period, the luster materials were used satin, chamuse, gauze, damask brocade and velvet, except cashmere, mohair and rayon. They are made from silk by the way of giving difference surface property. But since 1960s, it has used not only synthetic fiber with smooth surface but also vinyl, latex, natural leather, synthetic leather and metal. Luster material recently has a tendency to natural and soft shiny, example silket finish, chintz finish, silico coating finish with paper touch feel and so forth.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.109-126
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• 1998

The purpose of this study was to analyze the expressional characteristics of the machine aesthetics in the fashion design. First, this study was started from analyzing mechanical beauty represented on the early 20th century art style. Machine aesthetics has influenced on the art and fashion design from modern to now. Futurism was grounded in the complete renewal of human sensibility brought about by the great discoveries of science. Especially, Russia avant-garde was inspired by the Futurism, that is Rayonism, Constructivism, Suprematism. Kasimir Malevich moved on immediately to purely abstract paintings of which the first was a black square on a white canvas. He had begun the art he called 'Suprematism'. Malevich's geometry was funded on the straight line, the supremely elemental form which symbolized man's ascendancy over the chaos of nature. The square was the basic suprematist element and was a repudiation of the world of appearances, and of past art. He repudiated any marriage of convenience between the artist and the engineer. Vladimir Tatlin made some of the most revolutionary works of modern art, these were the first works to be called 'construction'. Constructivists believed that the essential conditions of the machine and the consciousness of man inevitably create an aesthetic which would reflect their time. They eulogized simple shapes. That believed that buildings and objects should be freed from the ornamental excrescences and the accumulated barnacles of past art. Consequently, under the theoretical background, the result is as follows. First, The functional formativeness of machine aesthetics was expressed as a geometrical silhouette, construction line, non-ornamental construction, simple color in the 20th century design. Second, The mechanical formativeness of machine aesthetics was expressed as a construction of new material-iron, aluminium, plastic, glass-, geometrical form of material in he 20th century design. That is, machine beauty has more concerned with the expressional ideology of the art style and the formativeness of fashion design by silhouette, construction line, material, form.

• Journal of the Korean Society of Costume
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• v.58 no.5
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• pp.51-70
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• 2008

The purpose of this study is not to look at the history of traditional accessories or the characteristics of their shapes but to discern imitations ￡Tom authentic items by exploring imitations of traditional accessories-- many of which were made in the late 20th century -- from private museums and university museums in order to help scholars assess relics. Among many kinds of accessories in the Joseon dynasty, only norigae, one of the representative accessories, and women hair ornaments are selected for this study since many of the relics have been recovered to date. Given this, this study will consider firstly the general history of norigae and women's hair ornaments, and secondly, prove several examples as relics from the late 20th century while they are marked as relics from the Joseon dynasty by comparing authentic items. Thirdly, among the imitations of the late 20th century, this study will find those so-called "original" imitations whose production origins are unidentified Fourthly, this study will explore the imitations, which were influenced by the influx of items and materials from China. It is important to discern low-quality relics as well as to correct the production time. Some producers exercised their creativity and made relics non-native to Korea. These relics shouldn't be presented at international exhibitions. Restored relics should be noted so and their quality should be equal to the authentic items. It is suggested that relics without the identity and quality of native Korean relics not baffle cultural interchanges and enhance national glory.

• Journal of the Korean Society of Costume
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• v.32
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• pp.21-30
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• 1997

Chogori the basic upper garment of korea costume occupies an important role in tra-ditional dressing and continues to be in use to the present days. Of course there has been changes in the length and line of Chogori with the flow of time based on the Ancient Yoo. This is a study of the 14 parts of Chgori based on statistical analysis by computing the practical measuements. Here the statistical analysis is a objective and quantitative of the stylistic changes in Chogori with time. In this study from the data the Mean and Standard deviation has been evaluated and periodic change is shown by graph to test the periodic change T-test Regressional analysis Index analysis has been used. The results are as follows: 1. The length of clothing has changed with time except the sleeve length. Here the length of clothing means all the other measurements ex-cept the sleeve Thus while the measurements of sleeve length has been uniquely unchanged the other measurements have influenced each other. 2. Generally the form of Chogori had the tendency towards smallness in the 19th cen-tury. But it tended to get larger in the 20th century. 3. Compared to other periods the mode of 19th and 20th century Chogori was widely ac-cepted as the Standard deviation of that period was very narrow. 4. The results seen from the regressional analysis of the Cho-sun period woman's Chogori satisfy the t-value and R-squared and thus support the regression formula presump-tion. 5. From the index analysis it is revealed that with decrease in the armhole measurement sleeve measurement and neckband; relatively same decrease in the wrist measurement; and very marked decrease in the sideline measurement.

• 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.

• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.87-100
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• 2009

This study examines black images as 'the other' in history and aims to analyze images of black female fashion models which have been changed in modern society, particularly in $21^{st}$ century post-modern world. Black images, established historically as illustrated on the paintings in $19^{th}$ century, were disseminated in $20^{th}$ century throughout the world especially by way of TV and movies as several typical images such as 'Coon' the clown as the object of entertainment, 'Buck' wild and resistant black rascal, and 'Mammy' obedient and fat black woman servant. The result of image analysis of black female fashion models, can be summarized as following five images. The first is the image of 'powerful'. Black female models frequently represent healthy image which reflects black people's excellence in sports and also the traditional Image of black skin color as strength. The second is the image of 'sexy'. They are adored as having perfect ideal body shape. They show off their sex appeal with their body. The third image is 'multicultural'. Black models represent cultures besides the western. The fourth is the image of 'fantastic'. In contrast to the real, resonable things, black female models represent wild, fancy, ghost things. The fifth is the image of 'racial discrimination' By arranging them in contrast to whites, a metaphoric image of racial discrimination can be displayed. The result shows that tome of racial images still remain on the other way.