• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.17-27
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• 2007

The goal of the study was to research how the japanese fashion effects on the japanese fashion's current. This study was processed by the 'wabi', 'sabi', 'tsu', and 'iki' which were the foundation and core of the japanese traditional culture. This study also investigated the japanese style to help the recognizing of traditional design which needed for internationalization and informational periods. The review of related literature is presented under the following headings : (a) japanese culture, (b) japanese beauty, (c) japanese style, (d) japanese fashion designer. Conclusively, Japan complete unique design of world by on the basis of own tradition and beauty of japan which were revealed on the their common daily life. So To help there cognizing of traditional design which needed for internationalization and informational periods, fashion designer of the world must research the meaning of the trend and motive power of the world fashion, base on the cultural back ground of their country. And for this, the grounding educational curriculums for fashion designer include the process which can promote awareness of their country's culture, tradition, and beauty.

• The International Journal of Costume Culture
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• v.12 no.1
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• pp.26-37
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• 2009

This study has begun as to identify various forms of personified Hindu deitiesand its goal is to understand the symbols of Hindu which are the backgrounds of the modern Hindu culture and present the hairstyle images of ancient Indians through the Hindu deities of the era. Scope of the research has been determined to six major deitiesamong those from Hindu culture that affect the Indian society and the images of Hindu deitiesappeared in the Indian miniatures and sculptures were studied as times changed. The deities could be identified by symbols maintained in common by each divinity as the Hindu deities were diversified through the long history. Examining the transitions in hairstyles and headstyles of Hindu deities, hair shapes of spiraling curls were expressed in the ancient Hindu sculptures from $2^{nd}$ century to $6^{th}$ century due to the influence of early Indian Buddhism. In Hindu paintings from $15^{th}$ century to $19^{th}$ century, beards and sideburns were expressed in male deities due to the influence from Mugul arts, while feminine characters were emphasized in goddesses with long loose hair. Works are each presented encapsulating the results of the researches on Vishnu and Lakshmi from these Hindu deities. It is attempted to find Hindu image and present directions for developments of modern beauty by supplying motives to modern hair design by researching the hairstyles of Hindu deities.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.73-85
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• 2006

The purpose of this study is to consider the characteristics of beauty culture in the latter period of Chosun Dynasty from the viewpoint of public morals and find out how characteristic beauty culture was developed along with traditional culture. Therefore, the clothes, the make-up, the style of beard and hair were examined and the beauty culture of women in the latter period Chosun Dynasty was considered. The changes of the beauty culture on the genre painting and the characteristics of the latter period Chosun Dynasty were analyzed. Conclusions are as follows ;First, in case of woman dress, the Korean Jergori was short and the Chima was too long. Due to the diversification of wearing, the underpants play as a decorations. Second, the hair which focus on the cleanness and the sanitation and the skin maintenance method were important. The make-up focus on make-up with powder which emphasis on the slim and round eyebrow, the small and thick lips for the beauty look of the latter period Chosun Dynasty. Third, a unmarried woman did the braids('Taun Muri') and a feme covert did 'Unseen Muri'. As people cling to the big and head of hairs gradually, the chignon('Terae Muri') was in fashion. The beauty culture in the latter period of Chosun Dynasty clothes and cosmetic treatment style were generalized through nobility, common people, lowly people. The imitation mentality which follow after Gisaeng style that led the fashion of that period was shown up. With understanding the beauty culture of the latter period of Chosun Dynasty, the study on the traditional beauty culture should be revitalized. This study help to uplift the pride on Korea traditional culture and to promote the globalization of Korean culture.

• The Research Journal of the Costume Culture
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• v.5 no.4
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• pp.32-43
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• 1997

Deprivation of means to study the cultures and history of the natives of Bering Strait in their own lands, gives us and especially U. S. A. and Russia-where the objective regions of this study is pertained to-the great suffering of intellectual and aesthetic losses. Throughout 20th century, as political and economic forces prevailed, it became increasingly difficult for both Natives and outsiders to see this region as having common past. In such difficult circumstances, United Nations Council for Environmental Development held at Rio de Janeiro, Brasil in June, 1992 started out to give obligations to present environmental future. With such trend getting stronger and being in demand, this study is also focussed on coincides with such environmental matters and differs from man centered western civilization which ruled th environment rather than to harmonize with it. Through the studies of fashions and cultural materials of this region, it was able to identify the great similarities between Northwestern Alaska and Northeastern Siberia. Especially in the clothing materials of this region\`s toy dolls, it was possible to confirm that both side of Bering Strait possessed similar culture. Although both side had similar environment, in the past its peoples began to be seen as separated and alienated aligned only with their current political state-Russia and U. S. A. Through this study, it was able to see diversity of the peoples and thir languages but also close cultural and historical ties that link them very closely together. This study verified such similarities and common characteristics through close examination of Native clothing and decorations and other traditions of Siberian Natives such as Yupik, Chukchi, Koryak, Even, Amur River peoples and Nivkh; and Alaskan Natives such as Inupiag, Yupik, Alutiig, Aleut, Athapaskan, and Tlingit.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.101-111
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• 2007

The purpose of this study is to examine the features of the conversational patterns presented on the fashion in the early 2000's and analyze it from cultural view. The expression of the patterns is a result of a creative aesthetic activity, mental activity, and the reflection of the common cognition. And the fashion is a part of the life environment. So the patterns presented on the fashion provides a clue to figure out the common unconscious sense for explaining the culture. The patterns have been expressed with different methods belonging to each culture such as weaving and prints. And those of the each cultural group have been communicating each other. The silk came to the Europe in the 6th century. The textile industry which flourished since 15th century. And they shows the chinoiserie or indian prints, not only the european culture. We can observe that the exchange of the techniques and cultures between cultural groups like the east and the west, and the presentation of the patterns is a way to express their own desires. The patterns presented after 2,000 can be classified by the form and the contents. But, more specifically, the patterns classified by the contents, which is Conversational design, can be categorized as followed according to the origin; reflecting cultural identity, Popular culture, Lohas lifestyle, and art movements. Which can be summarized as that the people have more interest on the different cultural group, diversity, retrospectiveness, and exoticism, which the patterns originally belonged to than on the form itself.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.1-14
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• 2004

This study suggests the popular culture theory as a basic framework to find out the characteristics of contemporary fashion show meeting the popular culture, and describes that the show is the popular culture of this generation. The culture is the way of our life unifying the world at common area of human being. The popular culture is to subdivide it into the public culture that shares aesthetic taste, and to borrow each other and develop it mutually because of the collapse of dichotomous boundary with high quality culture, and to represent the people’s thought and behaviour expanding their areas. The author has examined the characteristics of popular culture of modern fashion show by four collections, that is, commercialism, mass media, political relationship and interaction, etc： Firstly, at the commercialism, the fashion show combines it with other genre organically to do mass production and sales and produces cultural consumption goods supplying a lot of sight-seeing. Secondly, at the mass media, the image of contemporary fashion show has been spread out with mass media such as fashion magazines, cable TV and Internet beyond time and space to produce advertisement effects and makes new fashion and bring democratic culture. Thirdly, at political relationship, the fashion in its peak can make a big stream of wealth, so that it plays important roles under governmental regulations in this era and governments make efforts to support and develop it. Lastly, at interaction, the fashion show shares media functions to let users participate in the program and to exchange information as a feedback to influence each other.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.132-149
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• 2006

The purpose of this study was to establish the theoretical view for the analysis of the aesthetic characteristics of dress from the viewpoint of oriental aesthetics. Also, this study examined the universality and particularity of aesthetic characteristics in Korean and Japanese women's traditional costumes. To establish the theoretical view for the aesthetic analysis of dress from the viewpoint of oriental aesthetics, this study examined the relationship between the internal spirit of human, culture and the external form of dress. Based on this consideration, the viewpoints for the analysis of dress formation were the 'Form' as the basic structure of the external formation of dress and 'the Ornamentation' as the emphasis of the artistic characteristics of dress. The common world view shared by Korea and Japan holds the thinking system that everything is created from 'not to bee(無)' to 'being(有)'. This view emphasizes the totality and circulation of energy called 'Ki(氣)'. According to this view, oriental culture has been developed by intuition and pleasure called 'Heung(興)'. Therefore, the form of the oriental culture includes ambiguity and emphasizes the total harmony. These characteristics appeared in dress as the design of ambiguity, asymmetry and concealment. The meaning of the ornamentation in oriental world was the unified harmony of diversity and the colors and patterns of oriental dress were used by the symbolic meaning of Yin-Yang & Wu-Shing (陰陽五行)s principles. On the basis of the world view of the Ki, Korean and Japanese women's traditional costumes commonly shared the aesthetic values of concealment, emptiness, and symbolism. Also, their costumes expressed the difference, especially in the ornamentation. Korean costume expressed the beauty of simplicity and naivety, and Japanese costume expressed the beauty of ornamentation and nonornamentatIon.

• Fashion & Textile Research Journal
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• v.18 no.4
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• pp.424-437
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• 2016

The study will analyze the costumes of the Scythians tribes who lived in the region of Altai in the 3-5 century BC. The purpose of this study is to prepare new material to re-examine the theory, which claims that the origin of the circular motives of korean costumes are to be found in the typology of the Scythian costumes. In this study, we analyzed the most recent reports of archaeological excavation about the unearthed clothes in the Pazyryk region and compared its information with european literature. The conclusion of this study is as follows: The jackets of the Pazyryk region are classified in two types, (1) opened jacket with narrow sleeve and (2) enclosed jacket with narrow sleeve. Trousers were separated by (1) narrow and (2) extreme wide trousers. The enclosed jacket of tunic form and extreme wide trousers are newly excavated. It proves, there was a vivid exchange between the Scythians and their neighboring cultures. It can be noted, that there existed a diverse Scythian culture of costumes, besides the commonly known clothing culture of the "Pazyryk-rider". Based upon the results of the previous research, it can be said that the opened jacket with narrow sleeve and narrow trousers are costume typologies which are common for all Scythian tribes of the whole Eurasian region. The hem of the edge of jacket is proven to be a connective element, which is common to all Scythian tribes.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.112-132
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• 2015

Banya was a concubine slave of Shindon(辛旽) who was a powerful monk in late Goryeo Dynasty, as well as the mother of King Woo(禑王), a successor of King Gongmin(恭愍王). This study was undertaken to investigate the sources of costume for Banya. The study focused on the features of Buddhist service costume, street wear, and daywear for common women's costume during the prime age of the Buddhist culture. The study looked into Buddhist paintings, old documents, advanced research, and relics. There are three characteristics of historically investigated Buddhist service costume for Banya: Dallyeongpo(團領袍), long Jeogori made with black Ra(羅), and Jeogori with a long scarf. Skirt, under Jeogori, under skirt, Cho, Ra(羅), Neung (綾), Dan(緞), patterned ramie(紋紵), and Tapja(塔子) were included in all Buddhist service costume. And, street wear consisted of Women's Dapho(婦人搭忽), long Jeogori, skirt, underwear and black Ra beil(蒙首). Daywear consisted of Banbi(半臂), long Jeogori, and skirt, underwear made with cheap fabric, Ju(綢), ramie, and imported cotton. Plumper hair, silver comb and Biyeo, lining of light pink-colored thin silk(小紅薄絹), bronze openworked ornament that fixed the outerwear's opening, bronze needle case, Sutra box and heated gemstone could be matched for the Buddhist service costume. Bronze and heated gemstone could be used for ornaments of street wear and daywear. The investigation of ornaments was carried on by referring to presentation of overseas collections. Considering the limitation of the study on Goryeo costume due to the lack of research material, future studies including much more relics in oversea collections needs to be undertaken.

• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.126-141
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• 2014

The purpose of this study is to analyze the specific mimesis types of common character costumes in MMORPGs, which have stories that are very similar in structure to ancient myths and fantasy novels. As the subject of the research I have selected "Diablo 3" created by the American video game developer, Blizzard Entertainment Images of 5 characters, for both genders - Barbarian, Witch Doctor, Monk, Demon hunter, Wizard - were compiled for a total of 10 images, and these images were compared to popular archetypes in mythology, religion and literature. analyzed them separately according to the mimesis type. For this study, Articles and books containing the Aesthetics, Mimesis and Digital culture were researched in order to study the costume features and the Mimesis types and compare them to the costumes in the MMORPG. Firstly, the character Barbarian is a successor of the barbarian character of the previous product. The outfit worn by the game figure is based on the common images expressed in the movie . The makers created an analogous-imitation mimesis by replicating the image in an exaggerated and grand form. Second, the character Witch Doctor derived its motif from the Voodoo cult, and was expressed in analogous-imitation mimesis, using the very shades and patterns used in real life. Third, the character Monk, blending the image of a priest in Eastern Europe and images of its oriental counterparts, was expressed in transposition-diversion mimesis. Fourth, the Demon Hunter took the source of its inspiration from the image of a Witch hunter in the medieval times. The game character has a sharper sleeker figure than its model, and uses more acute shapes and darker gloomier colors expressed in an analogous-imitation mimesis. Finally, the character Magician took a formless character and expressed it in transposition-diversion mimesis taking as its basis some fantasy novels.