• The Research Journal of the Costume Culture
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• v.24 no.5
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• pp.588-599
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• 2016

The primary aim of this study was to analyze the fashion trend of wearing T-shirts with slogans at home and abroad and to consider the social influence of these shirts on fashion. The research method was based on the documentary method and the existing literature, and the study range was limited to the period from the middle of the 20th century to the present. Slogan T-shirts played important roles because they make the wearers highly visible wherever they go. T-shirts with slogans not only intentionally expressed the wearers' views on multiple social issues but they also made those issues more visible, thereby encouraging society to deal with them. The T-shirts also helped to form a social consensus regarding the issues. For this reason we referred to slogan T-shirts as 'the social fashion' in this research. Regarding the results, the research found that T-shirts with slogans were a social fashion that conveyed real political slogans and thus influenced people's political beliefs. Second, they politicized the issues in public interests with the public perspective. Third, the purpose of slogan T-shirts was to help people express their personality publicly and thereby bond with other people who held similar sympathies. Furthermore, the T-shirts conveyed multiple meanings in each message.

• Journal of the Korea Fashion and Costume Design Association
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• v.17 no.1
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• pp.117-130
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• 2015

As environmental issues have become a worldwide concern after the 20th century, the idea and the term of 'green growth development' has become familiar to the public. After 2008, the green growth development dramatically became an important ideology in Korea; thus industries, studies and product investments in relation are in active progress. Following the trend, the latter major unit of the middle school textbook "Technology & Home Economics" was named the revision of elementary, middle and high school textbooks in 2009. The learning goal of 'green' or 'eco-friendly' of the revised edition of the textbook will guide the middle school students to have better understanding of the issues of clothing habits and the environment. Furthermore, students will be able to apply the 'green' concepts in their real life and put eco-friendly clothing habits into action. Thus, the practice of effective learning will depend on the quality of the current issue of the textbook. Therefore this study analyzes the eco-friendly contents of the semi-unit from 7 different textbooks and presents an example of textbook production to the preliminary teacher of home economics.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.141-163
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• 2001

This study was to analyse the meanings of the appropriation inherited in the modern costumes from the latter of the 20th century to the present. According to the dictionary, the meanings of a word. "appropriation" is to steal something, used in order to avoid saying this directly. The sorts of the appropriation represented in the works of Art was as follow : First. the reconstruction by the imitation of the works of a great master or partly induction of the works of a great master Second, the introduction by the history, modern art, the image of popular culture Third, the imitation by the works of photograph, etc The appropriation in the modern costumes could be distinguished as two facts : First, the appropriation of the image of popular culture, 1) the way by the induction of popular factors of the extremely routine, commonplace character 2) the way by the citation of critical sentence of society, complaint message of the situation of times. Second, the reinterpretation of the past works : 1) the way by the reinterpretation of a great artist′s works, or popular works. In accordance with its change of a standard of value of the beauty, the products of modern culture, called the artificial second image, that is, popular factor, ready made factor, a signboard, a trademark etc, was appropriated in modern costumes and was reinterpreted by the works of fashion designer′s empathy. We can say that the modern costumes is not only the products of creative, original action of fashion designers but also the mirror of times, having relationship with society.

• Journal of the Korean Society of Costume
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• v.54 no.1
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• pp.83-96
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• 2004

Upon the threshold of late 20th century, the social, cultural and artistic trend began to pursue aesthetic pluralism and deconstructivism, and thus, fashion also began to reflect such a trend only to express cruel, detestable, horrible and ugly aesthetics. Under such circumstances, this study focused on the cruel images appearing in the modern fashion and thereby, attempted to determine their causes in reference to Julia Kristeva's theories. Her theories of women explain that women have incessant desires or blind obsessions about penis due to the bisexual instinct inherent in their subconsciousness, and thereby, discuss sado-masochism, a characteristic of women's violence and cruelty. In addition, she determines of abject, detestable and horrible nature of women by explaining their struggle to be separated from mothers at the stage of Oedipus (sexual differences). Based on such theories about women's cruelty, the cruel images shown in the modern fashion are categorized into sado-masochism, the violent and destructive image, and abjection, the women's apparels made of unpleasant, terrible and creepy materials decorated, to be reviewed systematically.

• Journal of the Korean Society of Costume
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• v.59 no.6
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• pp.118-125
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• 2009

Goryeong Jeesandong tombs No.73 from the 5th century located in Gyeongsangbookdo is the most representative remains of the Daegaya. They were excavated and examined by the Daedong Research Center for Cultural Properties. In this study, the textiles in the Goryeong Jeesandong tomb No.73 is identified and their features are examined through scientific analysis. Due to the fact that the remains were not treated for preservation, we were able to observe many samples under the microscope. Within the hemp textiles both hemp and ramie were made using s-twist threads and the thread count distribution is calculated to be 8.0${\sim}$20.0/$cm^2$. Among the silk, the taffeta was categorized into five types. First, there was plain woven silk which the thickness of the warp and the weft is the same and their rate of threadcount was the same. The second type was thin tabby which is spacious between threads. The third kind was woven by warp and weft which had very different thickness. The fourth type used two threads for each warp. The fifth kind used two threads for the warp threads and used thick threads for the weft for a modified plain weave, and it is the first of its kind to be found. Also, there was a compound weave with warp-faced compound weave among silk.

• The Research Journal of the Costume Culture
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• v.12 no.6 s.53
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• pp.918-932
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• 2004

Fashion is a product of form expressing the socio-cultural mood and aesthetic value of an age. Owing to development of the mass media and diversification of arts under the influence of post-modernism in the 20th century, fashion has been more briskly expressed to be presented to the people. With such basic conceptions in mind, this study was aimed at reviewing the fashion photography as visual medium. To this end, visual narrative techniques were analyzed and thereupon, Philip-Lorca diCorcia's fashion photography was examined. This study reviews such visual narrative techniques by dividing into visual and non-visual elements and thereby, examines the three-fold aspects of fashion photography expressions : Representative Level, Ground Level and Context Level. Also this study focuses on Philip-Lorca diCorcia's fashion photography in 'W magazine' which features portfolio form. This study analyzed the visual narratives shown in fashion photography and thereby, expand in diverse ways the fixed images of the conventional fashion photography commercials featuring beautiful models and exquisite costumes, and additionally, determined that fashion photography must be a kind of expression tool which could express not only the simple fashion but also the socio-psychological elements inherent in fashion.

• Journal of the Korean Society of Costume
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• v.58 no.1
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• pp.116-132
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• 2008

Continuity and discontinuity is a relative concept, and there are various categories of the continuity and discontinuity in our circumference. In the thought of postmodernism of the late of 20th Century, continuous creations of the difference and the repetition have being regarded as a discontinuity. But, because of that catches the moment occurring qualitative skip though the flowing of the everlasting time, this has been known to a shortsighted viewpoint overlooking characteristic of the qualitative continuity of an organism, which have being created continuous formation for life through the flowing of the time. Therefore, this had studied like this complex social condition and various relationships expressed in modern fashion focusing on permanently creative movements and behaviors equal to the qualitative continuity. This Thesis is following study about continuity, and aims at understanding of those formative characteristics through consideration about characteristics of qualitative continuity. And, this analyzes formative characteristics of the qualitative continuity into 5 sets: enlargement, conversion, structural variability, mutual combination, and deconstruction. This thesis intends to grasp complex modern social phenomenon and modern fashion into qualitative continuity that means continuous formation and the change of various relationships according to recognition about the course toward open thinking.

• Journal of the Korean Society of Costume
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• v.50 no.8
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• pp.129-147
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• 2000

The main purpose of this study was to define the Fashion Coordination through chanel style. The methods of research were review precedent theses. the document rotated to fashion, and fashion Magazine. Also, information on the Internet was used. In sense of the fashion coordination, Designer Chanel understands fashion. Chanel is created that has Chanel Style through garcon style in 1920 by coordination with accessory and so on that means modern fashion. From than, even though Chanel Style has changed over and over according time, that become ideal image model what modern women is running after be. 1. Tubular style has easy to represent personal identity each people, by coordination with accessories and so on. The relationship tubular style and accessory is help to produce image bast. 2. Chanel' Hat was coordination with the same color clothes, contributed to finish wearing clothes and increase position. 3. Necklace has representative accessory in Chanel style. 4. Carmellia made use of point accessories on clothes. 5. Chanel N$^{\circ}$ 5 was produced crystallization that is necessary to make image. 6. Chanel was created Modern style based on the garcon style. 7. That became ideal image what women want to be in 20th century 8. Through cackle kennedy, that has best style symbolized rich and position.

• Journal of the Korean Society of Costume
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• v.42
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• pp.187-205
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• 1999

The purpose of this study is to research into a meaning of Mexican Mural and to clarify on the internal significance of Muralism in the modern fashion. Nuralism is an example of the brith of the great people's art. The mural Fine art in mexico was the peculiar fine art campaign which observed the social function. And the mural of Mexican that the ideology and fine art combined came to occupy the unprecedented important position as a part of popular education which is the product of Mexico revolution. Thus in this study considered that the background of Mexican Mural in 1930's resembled the social and cultural background of the latter half of 20th century. The internal significance of Muralism expressed in the modern fashion was categorized as attaching importance to human the pursuit of the utopia the tendency to nationalism Satriric and moral painting. First Attaching importance to human in the modern fashion expressed the recovery of humanity by meaning in opposition to moral crisis of the human in the pluralistic society. Second The pursuit of the utopia in terms of interest the ideal way in the modern fashion expressed mysterious or hopeful through using religious colors motivies etc. Third The tendency to nationalism in the modern fashion expressed the painting of the masses in forms of mixing aboriginal culture elements and memorial elements. Fourth Satiric and moral painting in the modern fashion expressed wits or humorous style through using geometrical motives and light colors etc, indirectly expressed distress of modern men.

• Journal of the Korean Society of Costume
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• v.65 no.7
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• pp.19-31
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• 2015

Futurists put forward creative fashion by combining art and functionality. This led to a new aesthetic approach in how we view modernized industrial cities. Ernesto Thayaht, a futurist, introduced the "Tuta", which was simple and practical clothes. Tuta expressed the imagination and aesthetic values of Futurism. The characteristics of the Tuta were categorized into the following: Form, Colors, Materials, and Details. The results of examining its characteristics as follows: Tuta had a linear and simple planar pattern, which could be made with one cloth. The same modernized urban colors were used for the top and the bottom. Practical Materials, such as cotton and linen were used because they were easy to wash. Tuta excluded unnecessary ornaments, and only included functional details that would allow for comfortable movement. These design characteristics of Tuta revealed functionality, popularity, modernity, and innovativeness of formativeness. Tuta presented a new model of fashion in the early 20th century and completed the modernization of clothes. Tuta reflected the democratic and equal spirit of the era by innovating and overcoming the structure and form of conventional clothing.