• The Research Journal of the Costume Culture
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• v.11 no.6
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• pp.879-888
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• 2003

Song is a significant message with organic combination of relics and melody. As such, songs could be an important way to deliver messages in the relics and melodies. Among the several kinds of songs ‘popular song’ is the most common and has the strongest effect on the public. On this purpose, total 700 songs published from 1995 to 2001 popular songs have been researched after extracting 100 songs chronologically in regards of broadcasting times, popularity rankings and records of yearly awards during its production year. These selected popular songs have been collected and studied before sampling the expression of the costume included in the relics. Clothes, hair styling, make-up, shoes & purses, accessaries and body figure, etc. are covered In this study. As the recent symbolism embedded in the relics of popular songs is closely related with our generation background, public preference & dislike and the change of modem costume, it shows the symbolism of costumes evidently again.

• The Research Journal of the Costume Culture
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• v.7 no.3
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• pp.35-49
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• 1999

The North Pacific Arctic region has common factors such as climatic characteristics and similarity of animals inhabiting the region. But also there exists geographical barriers that separates the tribes, different languages between the tribes. Although there are such differences, the clothing and ornaments of the region have relatively similar design and style. And above all possess the ‘spirit’. The tribes find the motives of such ‘spirit’ in human, animal, and soul\`s adaptability to change and in grafting such changes of forms into clothing. Especially as means of pleasing the animal that they vitally rely on, the tribes made the clothing as beautiful as the nature itself and they tried to connect the humans and animals universally through such clothing that have social, artistic, and enchantic conditions. The supply of raw materials of animals has elevated the creativeness one step up and the precise knowledge about fur show their superior techniques in making fur clothing. The use of gutskin has is an excellent example of such knowledge, which is very unique of the region. The gutskin has moderate plasticity and thus can be cut into all sorts of pattern. It harmonizes the functionality and practicality. The worldwide fashion trend is dominated by Western style, but the clothing of this region is still keeping its distinctive folk identity. At the start of the research, Kayak and itelmen tribes of Asia, the tribes of Amur river and Aleut and Tlingit tribes of North America seems to be geographically too far from each other and therefore searching theoretical background for common cultural origins seems to be immoderate. But lighting the fact that geographical adjacency that can be perceived through costume cultural history, is the most important factor that gives mutual influences to costume culture between the neighboring tribes, cultural relative similarity of the costume is influenced by geographical location rather than physical distance between the tribes. Also humans\` adaptability to their environment is seriously contaminated with man-made products. This study on North Pacific Arctic region is telling us many things about our past, present and future.

• Proceedings of the Costume Culture Conference
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• 2003.12a
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• pp.1-20
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• 2003

■ Both countries’ samples rated the self-directed values more important. ■ Among female consumers in China, clothing is regarded as asymbolic medium to demonstrate one’s social status/image, while in Korea, clothing is more an important medium to fulfill one’s desire for change, newness or emotional expression. ■ Korean female consumers seem more demanding (product quality ＆ emotional satisfaction). ■ Experiential needs were a strong, more universally common motivator for apparel purchase. (omitted)

• The International Journal of Costume Culture
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• v.13 no.2
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• pp.82-87
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• 2010

Frog or toad is an animal adoration of ancient ancestors in ethnic minorities in South China, in Li tribe tradition, frog is not only a symbol of avoiding evil and the expression of maternal love, but also the decoration of missing the ancestors. This article has discussed the origin of frog pattern, summarized the frog pattern's forms in Li brocade. At last also discussed the common frog pattern in Li tribe.

• The Journal of Natural Sciences
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• v.8 no.2
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• pp.257-287
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• 1996

The late period of Choson was the renaissance of the modern literature and art of the 'common-people'. Appearance of the common-people class following the emergence of such literature and art highlighted the common costume culture and evoked a fashion. The common trend of fashion of all classes at that time included a exaggerated hair style, a jacket short and tight enough to expose the breasts, a belt looking like a sensual silhouette of a woman body were expressed. Appreciating the human body could be regarded as some social advances at that age, when all the woman's clothing behaviors were restricted and controlled by the Confucian rules. Although eroticism itself is quite dependent on the basic instinct of a human being, this way of expressing eroticism had a social significance, in that women tried to be freed from the long-lasting social bondage. Therefore, the erotic mode during the late half of Choson reflected the society as well the women's repression. In addition, was the disclosure of humanity shadowed by the crusts of the hypocritical and superficial Confucian morality. It implied advances and modernity of the literature and art of the common-people at that time.

• Journal of the Korean Society of Costume
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• v.63 no.2
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• pp.125-143
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• 2013

This study aims to clarify the identity of contemporary Chinese fashion design by examining how the characteristics of Chinese tradition are accepted and presented in fashion under the influences of western cultures. This study performed a literature survey on related works. Also this study performed demonstrative analysis of Chinese daily newspapers (People's Daily and Xinmin Evening News, 2007-2010) and fashion collections by Chinese and Chinese descent designers(2007-2011). The results are as follows: First, China is trying to express Chinese traditional ideas and factors in the design areas, and also trying to achieve an universal generalization. Second, the Chinese designers emphasized traditional ideas and culture in their designs. The Chinese descent designers were affected more by western culture. The common aesthetic consciousness were the beauties of sophisticated and splendorous decoration, vastness and elegance. Also the compromised images, neutral images and antique images were common in both groups. Third, the Chinese designers presented fashion designs on formalized and imitation stage. Also they tried to make a metaphorical stage. The Chinese descent designers showed designs on a metaphorical stage. In conclusion, the contemporary Chinese fashion design should find the way to globalize and identity of the traditional culture code simultaneously.

• The Research Journal of the Costume Culture
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• v.11 no.4
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• pp.525-540
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• 2003

This survey paper aims to compare two significant figures in the history of Haute Couture e.g, Paul Poiret and Coco Chanel, who played a leading role between 1910 and 1930. It is found here that they have common features with respect to giving freedom to body through costume, enlarging Garconne Mode, creating more value of Costume Jewelry, exploiting advertisement strategy using models, proving exotic styles, and last but not the least contributing to Haute Couture. The research shows, however, that Poiret differs from Chanel in that he made most of various natural colors whereas Chanel used black or beige colors that had been rarely used woman wear previously. They also differed in using fabric, permitting copy by others, ingredients and bottling of perfume, meaning of silhouette. This kind of comparative research is expected to provide more understanding of fashion history and to contribute to more rigorous analysis of key success factors of designers in his or her age of fashion.

• The Research Journal of the Costume Culture
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• v.7 no.3
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• pp.1-16
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• 1999

This study in concerned with the costume accessories appeared in Sam Kuk Sa ki. The accessories of both sexes were analized. Results of this research can be summarized as follows : It was appeared that names of accessories of men were fewer in number than those of women. Men\`s accessories such as a hat, bok-du, a belt,boots, shoes, and sock were mentioned in Sam Kuk Sa Ki. Women\`s accessories appeared such as a hat, a comb, a hair pin, a belt, shoes, and sock. A bok-du, boots, and a hared belt were used exclusively by men, while a hat, kwan(冠), a comb, a hair pin, a scarf, pyo( ) were worn exclusively by women. All men from different classes including true bone class as well as the common class wore bok-du, a hat, a hard belt, boots, sock ; however, class distinctions were made from materials used for those items. Also women\`s accessories were used as means of differentiating social status of the wearer by means of materials employed for each item. Especially, woman\`s hat and scarf were a symbol of the noble class. Only two classes of women from the true-bone class and women from the sixth du-pum class entited to wear hats. Wearing a scarf was not allowed to women from the common class. Class dirrernetiations were made by the materials used for hats and scarves. Materials for a scarf such as gold and silver leaf, pecock tail, and king fisher fly feather were restricted to women from true-bone class. Such as man\`s hat bok-du( 頭), use of women\`s comb and hair pin, scarf, leggings were items drived from Tang China. It clearly showed that costume accessories of Silla were heavily influenced by the Chinese. At the same time the costume accessories were sued to make sex difference among the people of Silla. Woman wore a soft belt made of cloth while man wore a hard belt. Woman\`s hat, a scarf, a comb, a hair pin, a belt or sash for a shirt, and leggings were woman\`s sex symbol. Thus, costume accessories of Silla appeared in Sam Kum Sa Ki functioned as means of differentiating social status of the wearer such as sex,class and rank in the society. Also, they showed that Silla kingdom had close cultural relationship with Tang China.

• The Research Journal of the Costume Culture
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• v.22 no.4
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• pp.579-594
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• 2014

The areas of fashion research and fashion design aesthetics & fashion history have been studied under a common research heading as a Humanities subject in the UK and the USA, and as Clothing and Textiles Studies in Korea. The purpose of this paper was to analyze the 2004~2013 research tendencies in terms of reporting methods and contents from 181 world-renowned Fashion Theory research papers within the UK and USA fashion research corpus, and 359 Korean research papers from The Research Journal of Costume Culture related to fashion design aesthetics & costume history field. The subject areas, periods, methodologies, and differences in the topics of the studies were examined. The results of the research are as follows. Regarding the research authorship and length of the research papers, in Fashion Theory most papers were written by a single English-speaking or other foreign language-speaking author and were on average longer than 21 pages, while in The Research Journal of Costume Culture, many papers were jointly written by two Korean researchers and were between 11 and 20 pages. Regarding the content, Fashion Theory was connected to relatively wide and diverse periodical and regional boundaries including the body, clothing, the fashion media, and the overall fashion system, while The Research Journal of Costume Culture revolved around the body and clothing, textiles, the fashion media, and costumes. In addition, since the late $20^{th}$ century, the studies appeared to be related to the current Western world overall or to the country of the author. Regarding the research methodology, Fashion Theory used diverse research subjects and methodologies, and research was conducted on topics relating to fashion culture or fashion aesthetics. On the other hand, The Research Journal of Costume Culture featured relatively more dynamic studies aimed at suggesting developments or solutions to problems. It was found that a large share of that research focused on detailed style analyses and suggestions for aspects such as design elements and design developments. Such differences are considered to be caused by the inherent differences between the academic departments for the Humanities, and the Human Ecology. The above research results are expected to provide fundamental information in setting a direction for future research to assist the globalization of domestic research.

• The Research Journal of the Costume Culture
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• v.21 no.3
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• pp.457-465
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• 2013

It's been a common knowledge that Indonesia has a multicultural nature which produces a rich civilization, traditional textiles is one of the examples. Indonesian textile is one of the earlier/oldest artefacts being studied. The wide range of its selections also a proof that Indonesia already had an advanced culture. In Indonesia, textile isn't just a mere cloth; it also used to refer your social statuses, a ritual complements aspect, and many other symbolic purposes. Celebes textiles just a small example how rich this country culture is. The purpose of this study was to convince people that Indonesian traditional textile has a potential to stand in same ground with any modern textile produced around the world.