• Journal of the Korean Society of Costume
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• v.37
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• pp.103-118
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• 1998

The purpose of this study is to describe the central argument of postmodern theory ; pro-vide a central concept about postmodernism for fashion ; identify the signficance of open fashion in the 20th century. Postmodern is used to refer to a body of social theory, a style of aesthetic expression, and to various social practics and economic conditions. In this paper, postmodern theory is interpreted as an anti-aesthetics propesed by Derrida, Lyotard, Baudrillard, and Foster. The key principles and consepts of postmodern the-ory reflect and restate assumptions of nihilism influenced by the works of Nietzsche, being synonymous with the phrase philosophy of difference. The death of art, the end of progress, the will to the sublime, and the principle of pure difference support postmodern ideas, which could be the framework to interprete fashion phenomenon in postmodern condition.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.53-66
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• 2012

This study analyzed the fabrics of Chima, Jeogori of the 20th century. It was based on Kyungwoon Museum relics, newspaper articles and photographs. This research focused on the transition process that has been organized into three stages. The first stage is from the opening of a port to the colonial period in Korea. By this time, the casual wear Hanbok was made with the traditional cotton and woolen textiles in addition to quite a lot of upscale clothing textiles. Stage two is from 1970s to the period after the liberation and Western Costumes represent the time of when the suit was mixed. At the time of the war, due to social and economic difficulties, convenience and practicality were emphasized rather than focusing on aesthetic characteristics. Third period is from the 1980s to the 1990s when the Hanbok was no longer considered a casual wear. Instead, its high quality and elegance redefined it to be a formal wear.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.105-116
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• 2000

In the middle of the 20th century the traditional wedding costumes in Chungchung district were very similar to those of high officials. A bridegroom out on blue DanRyoung, Samo, official belt, buckskin and two cranes figured Hyoongbae which high-ranking officials wore, A bride put green Wonsam and Chonkduri on her hair, The color and cloth of Chogori, Chima and underwear showed wedding practice in those days on which a daughter-in-law should endure a hard married life. It reflects the Confucian ideas and a patriarch society. This paper studies on the substantive reason they wore the traditional wedding costumes in Chungchung district is not thoroughly considered in a folkloristic respect. The traditional wedding culture that a bridegroom and a bride wore a formal suit can be a good instance which showed us their desire for social status of the upper class. The wedding practices were performed in order to get rid of an omen and keep a good their fortune.

• Journal of the Korean Society of Costume
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• v.54 no.7
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• pp.151-164
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• 2004

This Studies on 20th century fashion was carried out according to the classification of the times as made up Belle Epoque, New Look, Big Look, and Body-Consciousness. Aside from research in literatures, research into 20th fashion also include the analysis of photo had been taken from various collection. The enlargement beauty of costume had been place under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness. the true nature of the voluminous enlargement in costume had been traced. To conclude, this study finds there are between the aesthetic characteristic differences in the aesthetic consciousness of the costumes in history and the present-day fashion. The aesthetic consciousness of the voluminous enlargement of the present-day was found to have the following characteristic ; (1) History-oriented tradition (2) Metaphorica autonomous (3) Freedom of breaking with restriction (4) Dismantling the irregularity (5) Hedonistic play instinct (6) Psychological compensation (7) Sexual sensuality (8) Ideal of the times (9) Aesthetic ornament (10) Feeling of satisfaction through self-enlargement. From list above. metaphorical sensuality, aesthetic ornament and the feeling of satisfaction driven by Self-Enlargement are the same characteristics found in the aesthetics consciousness of the voluminous enlargement of the costume In history in that they are the aesthetic consciousness above time and space. It is metaphorical sensuality which transform woman's body in to distorted images as influenced by both capitalism and materialism in the last 20 years. These are represented by the sadomasochistic and fetish images as the woman's metaphorical voluminous enlargement is apparently becoming more positive, radical and obscene especially in terms of expression.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.1
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• pp.89-101
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• 2010

The purpose of this study was to investigate the fashion item of the symbolic fashion icons in the 20th century. The symbolism of fashion icons was grouped into four classes according to the influence of a social-cultural change. 1. Icons between dream and reality: A dreary emotion that was caused by material richness has a longing for an ideal image. A typical style was Art Nouveau style, which pressed into a grotesque S-bend. While as the world placed on a economic reconstruction after World War I, rational fashion icon which pursued more function and simplify than cumbersome style and complexity came out. 2. Icons between solid and liquid: A solid icons was connected with a mode of female body during World War 1. This extremely stylized female figure. Flowing fabrics enveloped the stylized female figure and they brought a liquid icons into relief. 3. Icons between uniformity and variety: At a time when uniformity was appeared strongly within 20th century is during World War II and about 1940-1950. The uniformal icon was classified into uniformity by uniform and by mass production. A repugnance for the uniformity and imitation of fashion was tried a new fashion style. It could be called with the various of fashion icon. 4. Icons between social secession and rediscovery: In 1950-1960, 1970-1990, and the end of 20th century, the advent of the young culture was born a consumer who newly breaks in fashion. It could be included within the domain of social secession icon. While the rediscovery of fashion icon was associated with experimental new fibers, leotard, suitable replacement for wool or acrylic knit, silk that could stretch in any direction, new fabrics that were transparent, took color beautifully, and could be painted, tie-dyed, or embroidered.

• The Research Journal of the Costume Culture
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• v.25 no.4
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• pp.509-518
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• 2017

As the international competitive landscape deepens, the need to understand foreign cultures and establish effective strategies is increasing. At the beginning of the 20th century, Cartier actively developed exotic designs to secure international competitiveness; theses designs have also been used as design prototypes for Cartier in modern times. The purpose of this study is to analyze the color characteristics and types of exotic designs in the early 20th century, which was a turning point in Cartier's design. After studying the literature, a total of 248 exotic designs were presented in Cartier catalogs. This study also selected overseas monographs from the early 20th century, and their design types were classified and color analysis was performed based on the Natural Color System(NCS). Cartier's exotic designs cover wide range of styles, such as Chinese, Japanese, Persian, Indian and Egyptian styles. Multicolor, primary colors, and contrast are all strongly expressed. 97% of designs contained multiple colors, with at least two colors and maximum of six colors. The most frequently used colors are red, green, and blue, which means that only 9% of the designs do not contain the three colors, showing a high preference for theses three colors. In addition, color combinations of red and green, red and blue, or all three colors are used to show high contrast and utilize complementary colors, or near complementary colors, for coloration. This study is meaningful in that it analyzes the color characteristics of Cartier's exotic designs and translates them into practical data for establishing the color strategies of companies in the global market.

• The Journal of Natural Sciences
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• v.7
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• pp.121-131
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• 1995

Orientalism showed in early 20th century as change of Style. Modern characteristics is understanded through big stream of change before historical conception. Change of style in West began by artist having oriental and exotic taste. These are mimesis of outershape about Japanese, Moroco, north Africa etc. Theses are called chinoiserie & turquise taste. Stream of 20th century style is continued expressionism. Cubism, Sur realism, Pop Art etc. but in my thesis orientalism is caused change of 20th Century after exotism (after showed as Primitivism ). In modern costume, concerned works of Paul Poiret changed body concious. He's a image creator as Yve St. Laurent, Chanel, Balenciaga. At that time Russia Ballet, Fauvist, vivid colors are back ground of series of modern costume. Soft and sleek body, transparent stocking, minaret tunic, turban is begin of oriental image. Modern costume and modern art are begins as change of aesthetic taste before historical conception.

• The Research Journal of the Costume Culture
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• v.17 no.6
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• pp.1034-1046
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• 2009

Based upon literature survey, this research aims to analyze western children's clothing and characteristics over centuries. It was not until the 18th century that children were given serious consideration and that fabrication of clothing began to be designed only for children. The very first clothes which revolutionized children's wear was 'a la matelot' in the 18th century which freed children from physical restriction, recognized gender difference, and sailor suit became popular among all sexes and adopted as school uniform. And then children's clothing was shortened in length and adopted tubular silhouette, which allowed greater comfort and movement. The 20th century saw children's wear reform to be carried out after the World War II due to invention of synthetic fiber, easy care dress material, mass production system and sophistication of marketing methods. Further evidence of improvement of children's social status can be found in contemporary designs: for example, 'casualized' wear, 'character design' which reflects children's psychology and 'family look' which is designed to be worn with mothers. This evolution of children's clothing within western dressing support the view that children's clothing is not a miniature of adult wear but it reflects idiosyncrasies of the era and exerts children's dignity.

• The International Journal of Costume Culture
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• v.12 no.1
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• pp.97-100
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• 2009

Patchwork is a handicraft to put some certain shapes of small cloths together. Historical records of patchwork was discovered in Ancient Egypt as far back as BC 1000. Patchwork has been popular in the England and in around 13-$14^{th}$ century, European spliced little pieces of cloths for cold necessities, which made the handle of patchwork techniques gradually tend to decorative other than utility. Patchwork designs and techniques were taken across the Atlantic to North America with the early settlers in the mid-eighteenth century. In the early years of $20^{th}$ century, owing to the continuous technological advances, woman got more job opportunities that made patchwork technologies withered. Patchwork art continually evolved on the basis of historical and cultural factors to new styles, the famous Hawaiian, Stained Glass, Mola, Celtic, Victoria, Seminole and many other patchwork styles like that perfect embodied different art and cultures of different nations in different times.

• Journal of the Korean Society of Costume
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• v.50 no.3
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• pp.117-131
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• 2000

The purpose of this study is for affirmation about fashion and film industry has very important relationship through the image of film fashion in 1990. To this processing , films in 1990 were analyzed by the back ground, time place, persons's status are expressed in period movie but the person's characters, development of story mood in contemporary movies. The contents of this study are as follows : First, film fashion which was related mass fashion design and concept development and fashion designers as constume services were considered. Second, the change of star image through the 20th century. The roles and new image of film fashion in period movies and contemporary movies in 1990 were searched. Third, proposal and results were confirmed for expansion of fashion industry and film industry together. Finally, from the latter of 20th century, a lot of fashion designers have participated in film works than before, So the images of films were sued and reflected as new mass trend . Especially retro-romantic mood was expressed in fashion trend due to period movie fashion. Also minimal city look and elegance glamourous look are represented cause of contemporary movie fashion. Therefore, the cooperation between film productions and fashion professionals is very important for promotion of Korean culture development in 21st century, 'the century of image'.