• The Research Journal of the Costume Culture
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• v.9 no.6
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• pp.881-892
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• 2001

Applying the globalization theory to the fashion phenomena which regarded the phenomena of the contemporary culture as globalization, this study had an object of looking into the globalization tendency of the fashion phenomena shown Paris, London, Milno, New York, Tokyo, and Seoul collections from 1995 to 1999. The results of this study were as follows; 1. It was the blend of romanticism that was the most common trend shown at the six world collections. 2. The works appeared at the six world collections showed the regional peculiarity under the historical background or the sociocultural influence each city had. 3. Another character appeared at the six city collections was the appearance of multi-ethnic style mixed various regional motive at a work. After all, the world fashion phenomena in the second half of 1990's could be condensed into globalization appeared homogenization, regionalization and hybridization at the same time.

• The Research Journal of the Costume Culture
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• v.7 no.6
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• pp.170-181
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• 1999

The purpose of this study is to suggest the possibility of futurism as original design pursuing newness in approaching 21C by studying how futurism having a great effect on fashion as innovatory ideology in early 20C did became paradigm in 20C fashion and the common peculiarity of the dress and its ornaments in this time before 21C. The Space Age Fashion and Techno-Cyber Fashion are representative futurism fashion of 20C. The common inner inclination in both Space Age Fashion and Techno-Cyber fashion are ; First, a future-oriented character. Second, a surrealism character, Third, an anti-cultural character. The greatest peculiarity in the common outer shape in both Space Age Fashion and Techno-Cyber Fashion is material. First, a innovatory choice. Second, an active motion. Third, a diverse effects. Future dress and its ornaments of 21C may be changed greatly by the development of technique, and this fact supports the forecast that the change of paradigm resulted from the development of science may have an effect on future dress and its ornaments as well as modern one. The paradigm change of futurism fashion would be continued, and its influence would work as main source shaping the form of design in 21C.

• The Research Journal of the Costume Culture
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• v.13 no.5 s.58
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• pp.833-843
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• 2005

The purpose of this study was to investigate the characteristic of logomark in unisex casual apparel brand. For this study, first 36 unisex casual apparel brands were selected from the Dictionary of Fashion Brand, second analyzed the common word showing in them. Third, the logomark of the unisex casual apparel brand were classified into two types according to the typeface character of the logomark, there were serif typeface, sans-serif typeface. Fourth, analyzed the relationship between the typeface image of logomark and brand concept. The results of the study were following : First, the common word that used the most frequently in brand concept were investigated and the order of common word was reasonable, comfort or natural, practical, modern, traditional and basic. Second, The unisex casual apparel brand used the most frequently the sans-serif typeface that represents the images of simple, modern and active sense in the typeface of logomark. Third, the unisex apparel brands used the most frequently English as brand name among the various languages. Fourth, the unisex casual apparel brands were lanuched mostly except several of them after 1990.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.36-44
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• 1998

The purpose of this study was to identify and to classify the names of costume colors of women of Silla. The results of this study can be summarized as follows; Until now scholars and researchers interpreted nine colors in Sam Guk Sa Ki as nine colors explained in the dictionaries. However, term, nine colors in the contexts did not refer to the literary meaning of nine colors such as blue, red, yellow, white, black, green, purple, pink, and navy blue as explained in the dictionaries. 'Nine colors' of Silla were women's costume colors which were specified in the royal edict in the texts. Thus, 'nine colors' of Silla had a specific meaning rather than literary meaning. 'Nine colors' of Silla women's costume were identified as red( ), yellow(黃), purple(紫), purplish pink(紫粉), gold powder(金屑), pink(紅), yellow powder(黃屑), dark pink(緋) and dark purple(滅紫). These 'nine colors' were actually prohibited colors in women's costume in the royal edict. Women from true bone, the highest class, were prohibited the use of tow colors of red and yellow out of nine colors. While women from four du pum and common class were forbidden the use of nine colors out of total of nine colors. Kinds and numbers of colors of costume were used as a means of differentiating the social class and rank of women in Silla. Also it was found that women of Silla favored red purple, pink tones and yellow color in their costume and these colors were fashionable colors among women of Silla. These fashionable costume colors of Silla women seems to be influenced by fashions of women of T'ang dynasty of China. Red, purple, pink, yellow and green were favorite colors of women of T'ang dynasty of China.

• Journal of the Korean Society of Costume
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• v.66 no.2
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• pp.134-147
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• 2016

The mainstay of modern fashion design has always been Western costumes. Though Asian costumes do get featured in collections at times, most instances are just instances of the western culture showing curiosity toward non-mainstream costumes. Until recently, Japan, which has been the most active in cultural exchanges, has been the main recipient of these curiosities, and has been used as the representative style and culture of East Asia. What needs to be let known is that Korea has its own costume style and culture, which have been developed according to its tradition and beliefs. Hanbok, which is the representative traditional costume in Korea, has existed since the beginning of the Kochosun dynasties. I started this study to figure out the design source of Hanbok's shape and develop it into a modern costume. In the fashion industry, "Mandarin Collar" and "Kimono Sleeve" are common terms, And I hope that words like 'Korean Collar' and 'Hanbok Sleeve' will one day become a household term. Hanbok contains Korea image. And its shape is formed depending on how Koreans have been treating all sorts of objects or things for many years. If my study can identify and express the unique Korean way of pattern and considering clothes, which is clearly different from those of China and Japan, I will be able to establish a concept of 'Korean style', that people of the world could come to recognize.

• Journal of the Korean Home Economics Association
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• v.39 no.4
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• pp.1-18
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• 2001

Korea huts been dramatically changed during the last century in many aspect of society, with the introduction of western culture in the beginning of 20th century. This study aims at understanding the changes in our traditional culture shown by costume as well as examining the aspects of the changes of traditional clothing according to age, by comparing the differences of our traditional dress Hanbok between ear1y and the late of the 20th century. Analysis of photographs showing Hanbok of both ages was used. 155 photographs of people wearing traditional Hanbok in the beginning of the 20th century were collected from the photo collection books portraying various living conditions of common people at that time. 748 Photographs of Hanbok worm today were obtained by taking pictures of various occasions like wedding ceremonies in 5 big cities during 1997. The process of analysis consists of 3 stages: setting standards, sorting, and grouping by positioning. The results showed that traditional Hanbok room in the early 20th century has maintained its basic silhouette and design during the century, but the methods of color coordination, ornamentation, construction have underdone many changes in detail. Consequently, traditional frame exits, but actually there are many variations of tradition produced by individual tastes and fashion trend. These changes show that continuing influx of the western culture which has made enormous social changes in Korea had an influence even on Hanbok.

• The Research Journal of the Costume Culture
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• v.6 no.2
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• pp.22-35
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• 1998

The objective of this study was to investigate and to identify and to classify the fabric names concerning costume in the sumptuary laws of Silla in Sam Guk Sa Ki(三國史記). The important findings of this study can be summarized as follows: Various names of fabrics concerning costume in the sumptuary laws of Silla were found to be classified into ten categories of fabrics. They were as follows: (1) kye( ), (2) Su(繡), (3) Kum(錦), (4) Ra(羅), (5) Reung(綾), (6) Sa(紗), (7) Si( ), (8) Kyun(絹), (9) Myun Ju(綿紬), (10) Po(布). Ra(羅) in ten categories was the most various. The numbering orders shown above were the orders of degree of valuability and preciousness of the fabrics in Silla. Namely, (1) Kye( ) was the most precious fabric, (2) Su(繡) was the second precious one, (3) Kum(錦) was the third precious one, and so on. It was found that the orders of the degree of preciousness of fabrics were a system for differentiating social class and rank, or sex of the people. It revealed the ordering system of the degree of the preciousness of fabrics of Silla was derived from T'ang dynasty. The system of Silla and T'ang system were almost the same each other. Materials used to manufacture fabrics were of mainly three kinds; e.g., wool, silk, and hemp. In these three kinds of materials silk was the most common stuff, and it was seen under the various names of the silks.

• Journal of the Korean Society of Clothing and Textiles
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• v.18 no.1
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• pp.101-112
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• 1994

The objectives of this study are to find out the process of changes of the costume in the era of practical science, and to search the bukhak's view of the costume. Conclusions are described as follows 1. The bukhak pursued the function and the rationality in men's costumes, and healed with the welfare point of view in the commons and humbles clothes, and criticized the phenomenon of over-fashion in women's costume. 2. They contended for thrift against the luxury. But as they had also a modem thinking at the same time, they seemed to have a flexibility. Therefore they persued the essential courtesy in manners and costume. 3. The common people of Yi dynasty had the idea that Yi dynasty is a small China replace by Ming dynasty. But the bukhak had a self-existent standpoint and a realistic idea to the Ch'ing dynasty. But they would have received the Minis culture as the reactionism in the costume. Chinese envied or ridiculed the korean costume. 4. It was the pursuit of the rationality that the Bukhak presented the direction of the costume. They contended for the growth of the business and the development of technique in order to reform the clothing industry.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.112-126
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• 2012

The style of a dress allows important characterization of an era since they reflect contemporary politics, society, culture and arts. Within a same category, period costumes develop into styles that reflect specific consciousness. The research method and the scope of the study are as follows: the research adopts a historical study method and a comparative research from a microscopic point. The scope includes resistance costumes that proceed with sans-culotte that comprises of the resistance party during the 18th French Revolution (1783-1799), and also a Hippy style which was popularized during the 1960s and 1970s for its anti-war movement. We researched both similarities and differences of design factors reflecting resisting consciousness in costumes that affected costume characteristics related to their socio-cultural background. Sans-culotte and the Hippie style reflect a common denominator in anti-social resisting customs. First, they show common characteristics that combine fashion trends of resistant element and design features. Second, they have common features which are the characteristics of deviation. On the other hand, these two customs also present a discriminative denominator in anti-social resisting customs. In the case of sans-culotte, they tend to symbolize confrontation by dividing into two equal parts: the old and new mode. Sans-culotte confronts the conventional mode and promotes practical costume styles based on justice standpoints. First, hippies pursue an exposition of individual emotions that disclose internal meanings of love and desire. Second, they focus on subjective characteristics and chase after masteries and pleasures by expressing intensity. Third, it extends and develops folk costumes from many countries that reveal ethnic trends. Therefore, this research compares and contrasts different changes in the fashions of revolutionary periods, and aims to recognize the relationship between design and costume characteristics, thus contributing to the predictions of future changes in fashion.

• The Research Journal of the Costume Culture
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• v.15 no.6
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• pp.965-981
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• 2007

Since the latter half of 20 century, in Korea, there are many discussions on the identity of Korean itself in several divisions, in which the discussion on the identity in the part of the costume or the part of the art reflecting the life, is the subject which must not fail to be noticed. So, we try to study the common structure manifested in the Korean painting and the costume as a part of basic recognition of problems and the way of problem-solving for the research on the Koran formative characteristics. The method and the process of this study is first, to consider the characteristics of the plastic and style of the Oriental arts and the Occidental arts by discourse implicate the difference between Oriental and Occidental view and the recognition of the body in the two worlds. And in the study we try to apprehend the dynamic modern artistic value of Korean style through assimilation between the Korean style and Baroque style according to the theory of $W\ddot{o}lfflin$ about the classical style and Baroque style. We will describe the Korean identity by analyzing the Korean plasticity with the Occidental style of dress and paintings reflecting the Occidental culture and thought and the Oriental things, and modern paintings and dress in the present age. As a result, we can try to recherche the way of use of new design for the identity of Korean style, in the concept of the ellipsis, repetition of the retrait, obscur silhouette, and superimposition.