• 복식
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• 제53권3호
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• pp.137-154
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• 2003

The purpose of this study is firstly to survey the social and cultural background of 20th century and women's status, and to identify what the ideal body is like and what the elements of outer garment and underwear are and the techniques to incarnate the ideal beauty. Various papers are referenced for theoretical study and the elements and techniques of underwear are analyzed based on photographical materials. This paper concludes as follows. In 1910's, ideal beauty has changed to H-style. In other words, the outer garment has confined the lower part of the body with plain H-type Hobble silhouette to express plump bust, somewhat slim waist, and small hips, As the underwears, cylindrical corsets which fasten from under the bust down to lap, brassiere which are helpful for plump bust, and artificial busts were worn. In 1920's, outer garment were Straight box silhouette style which were cut as tubular without dart, and the underwears were corselets which have been tubular from the bust to hip and the tubular chemi-knickers. The former corsets which had been hard-boned and been fastened with strings have been replaced by the hook closure due to the development of elastic joining method. In 1930's, women pursued perfect body showing the line of bust, waist, and hip. In order to express elegant beauty of female of Slim and long silhouette, Doter and underwear have been cut with bias and gore, and soft and flexible materials were flowed along the body. World war II in 1940's has made the women as social. Ideal beauty has changed to Short straight box silhouette which no more shows body line. Outer and underwears were simple and Practical style. In 1950's, ideal beauty was well-matured, elegant Women which were represented by round shoulder, conical breast, tiny waist and round hip. Outer garment showed Hourglass silhouette representing the body-tight suits with round shoulder pad and the wide flare skirts. As the underwears, conical brassiere by top circular stitch were preferred for plump and bulged bust and tight corsets for tiny waist and magnificent petticoats were worn.

• 복식
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• 제62권1호
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• pp.120-136
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• 2012

This thesis takes an aim to investigate the relationship between the costume and enlightenment ideology by studying the change of costume, and reviewing the portraiture of Queen Marie Antoinette. The method of this research is to select the 29 pieces among the portraitures from 1770 to 1793, and to analyze the headdress, shape of robes and ornaments. The results are as follows. The first period(1770-1774): The costume in this period of Dauphin of France is described as vivid, and simple like her characters, and also represents her active lifestyle. The ideology of equality between the two sexes from the enlightenment slightly influence the costumes seen inside the portrait of Dauphin. The second period (1775-1779): This is the early period of the Queen's enthronement and also before her childbirth. The relatively small number of portraits showed her as an authoritative figure because her skirts were expanded with huge panier, the waist were tightened with corset, and her headdress was enlarged. Thus, this period could not be defined as the one of enlightenment philosophies in light of the persistent unsanitary construction of costumes distorting the body. The third period(1780-1789): There are many portraits depicting the Queen and her children. It is noteworthy that the English style picturesque garden was illustrated as a background while the costume was simple and sanitary, both being affected by the enlightenment. The last period(1789-1793): This is the period between the French revolution and the death of the Queen. The form of costumes was transformed into the neoclassic style, headdress was reduced in size, and was simplified as a result of complete change of costume for the enlightenment. This research is to be interpreted as a tool of study about the relationship of costume, society and ideological streams and also be a means of elucidating the contemporary times in view of the past ones.

• 복식문화연구
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• 제13권5호
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• pp.763-776
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• 2005

The purpose of this study is to analyze the glamour image in contemporary women's fashion since 1990. The method of study is to analyze the documentary and fashion magazines about the glamour images. Most of all, glamour has been composed by connection of hollywood film industry and fashion. Glamourous body image showed sensual, threatening and vague body. Formative characteristics in fashion showed a tight silhouette, neglige, lace look, dress showing neck and shoulder, fur coat, stiletto, diamond, gold, big and thick jewelry, satin, velvet, lace, mink and fox fur, etc. Internal meaning was a fantasy, ideal, wealth, fame, hyper-feminity, vagueness, vulgarity, sexuality, mystery, professional, fatalness, aggressiveness and evil. Since 1990, the glamour images in fashion were as follows; First, the glamour with hyper-feminity showed a classical femme-fatal image as fearful existence with a power more than allure. Second, the glamour with vulgarity showed an exaggerated, cheap and popular kitsch image, which have intense colors, lavish surfaces and excessive sexual signs. Third, the glamour with classical sensuality showed a hi-glamour image of hollywood actresses being active from 1930 to 1950, which was expressed glittery dress, stole, diamond, fur wrap, hill, luxury dress. Fourth, the glamour with sexual perversion showed an erotic, vague and sexual drag image, and fetish costume. Fetishistic elements were rubber, PVC, stiletto, thick and high boots and corset and particularly, they were a main method of expression of glamour image. Fifth, the glamour with future image showed a mechanical and mysterious image and it was a conscious style by metallic, plastic and sleeky fabric. In conclusion, glamour fashion image is an ideal beauty type of women and will exist as a meaningful aesthetic sign in women's fashion.

• 복식문화연구
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• 제16권6호
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• pp.1019-1034
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• 2008

The purpose of this study is to grasp creation background and social position of courtesan which is treated in social and cultural context and its effect on fashion and research representative courtesans from ancient hetaera to the 19th century and their costume characteristics. Its another purpose is to analyze the costume of Violetta, who is a heroine of opera and its costume characteristic as a courtesan. Most Courtesan clothing were made from bright color, silk and lace which were light, or transparent materials. Using silk and cashmere which were the symbols of class, she took the cutting edge fashion and struggled to break the social barriers. The clothing which the Courtesan wore always became a gossip among people and popular to the designers who could show their creativities because the Courtesan boldly wore the cloth like movie actresses or stars. The Courtesan who led the fashion not only showed the fashion as a simple expression of the beauty but also as a socio-cultural phenomenon which reflected their social awareness with arts, and changed according to the situations of the time and people. Violetta's party dress which was shown in the first and third acts of showed the shoulders and chest because of the deep and wide cut decollete, the waist was tightened with a corset as much as possible, and the opulent hips were inflated by the crinoline so when they walked it was swaying. Also it was decorated with splendid materials such as silk and lace, and sparkling jewels, fans, and neckless and even in case of the general clothing in the second act, it was decorated with braids and lace, frills and ribbons. In the third act, the weakness of the sick woman who was closing her life as the splendid Courtesan was emphasized by using colors of white and light purple and thin transparent materials.

• 한국의상디자인학회지
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• 제12권4호
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• pp.43-59
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• 2010

In the first half of 20th century, there was an abrupt change in society and social values. Therefore, a demand for functional women's sportswear started to increase. This paper has attempted to investigate the impact of functionalism on women's sportswear in the first half of the 20th century. The following results were obtained: First, anti-tradition was observed. There was a tendency to be separated from the past and against tradition. It was tried to pursue freedom, getting away from corset and petticoat. Second, structural functions were targeted. In other words, precise and efficient shapes and simple silhouette and line were emphasized. Third, fitness of purpose was found. More liberal and comfortable design has been targeted. That's why a variety of functional pants have been designed instead of skirts. Fourth, utility and practicality were found. Elastic fabrics such as wool and jersey and sweater have commonly used in sportswear. A variety of new fabrics have been used and details such as flare, slit and pleats have been designed. Lastly, non-ornamentality was found. The beauty of simple shape was pursued by omitting details or eliminating unnecessary ornaments. Monochrome and dark color were preferred and a use of accessories has declined. The result of this paper could be used in establishing a theoretical framework on the impact on social change, values and art and helpful In modern women's sportswear design and marketing which have become more important.

• 패션비즈니스
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• 제8권2호
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• pp.126-140
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• 2004

The purpose of this study is to examine the fashion design applying to the hoop, which have become various since 1980. To do this, this study is investigated the origin and the changes of the hoop historically, then classified its types, and finally analyze the collections from 1980 to 2003. The hoop was appeared on the late 15th century. Then in the mid 16th century, bell-shaped farthingale was prevailed, followed by drum-shaped wheel farthingale and hausse-cul in England and France. In the 17th century, slim silhouette was popular, so that the hoop declined gradually. In the 18th century, panier and panier double were introduced which is to make side-expanded skirt silhouette. In the 19th century, crinoline and bustle were created. The hoops applied to modern collections are used various materials, techniques, and forms. It is a main item of historicism which appeared in the trend of post-modernism and the phenomenon of applying underwear to an outer garment like corset. The hoop is adapted into three ways: only with the frame of hoop, wearing a skirt with some parts of the frame exposed on purpose, and wearing a skirt on the frame, thus not showing the frame. Thus, it is thought that wearing a hoop as a frame is used an element of recreation of past fashion, at the same time it was affected by historicism which is a branch of post-modernism. Applying the hoop as an outer garment may be affected by eroticism which changed underwear into an outer wear in postmodernism and deconstructivism.

• 복식
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• 제56권9호
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• pp.66-82
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing form, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal boily shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Manipulation of physicality entails the reconstruction of the ideal body image through the clothes that modify physicality into unnatural body. Ruff collar, gigot sleeve, crinoline, bustle, stomacher, and corset were all used to materialize the fictitious curves symbolizing femininity, authority, healthiness, maternity, virginity, socioeconomic status, and fertility. Accentuating specific clothing parts represents emphasizing the symbolism of the correspondent body parts. Consequently, in this phase signifiant is $signifi\'{e}$. Aesthetic ideal of the body is visualized in the firm of a dress. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• 한국의상디자인학회지
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• 제7권3호
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• pp.181-188
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• 2005

This study attempted to investigate the plastic characteristics of cyber punk fashion with a focus on fashion in the cyber punk movies in order to inquire into how the influence of the cyber punk taking the lead in the spiritual culture and way of life of the humankind in the 21th century would be expressed in fashion. For this purpose, it sought to analyze the beauty of new fashion creating the cyber environment and identify its contemporary meaning. An attempt was made to investigate the image of cyber punk fashion with a focus on fashion expressed in the cyber punk movies. As a result, the following findings were obtained: First, the image of cyber punk fashion expressed in the cyber punk movies was simplicity, which was to express the modest silhouette and details exclusive of decoration. In addition to clean and smooth gloss, it contained the modest image of resistance', not 'revolt' by borrowing the partial motive and image from existing punk fashion. The change of cyber punk fashion into the characteristic of concise, smooth external appearance brought about the restraint of its image and symbolism as well as its plastic characteristic. Second, it was characterized by the Eroticism nature of emphasizing the body line while expressing the future and modest image or exposing the body. Cyber punk fashion expressed the avant-garde image by using materials that gave a mysterious and future feelings, as well as unsymmetrical silhouette, the slit of body-conscious line, coarse cutting, the method of do-constructing and reconstructing the silhouette, the method of applying diverse underwears such as corset, brassiere and the like. Third, cyber punk fashion was marked by the nature of mined sex. It had the masculine image by using the black color containing the image of masculinity and resistance in female clothing and expressing the suit, coat and military looks giving an masculine impression. And it expressed the image of mixed sexes with the masculine image in male clothing by borrowing feminine images such as body-conscious line, widely cut neckline, floral decoration, leggings and the like. Fourth, cyber punk fashion was marked by naturalness. It was expressed as clothing made from silhouette, knit, cotton and the like in the atmosphere expressing love, comfortableness and truth. This contained the image of naturalness, a return to the primitive, that human being wanted to return to their original figure in the future element. The cyber punk movie may contain a dismal, gloomy future image on the whole, which can be overcome, and shows the possibility that it may grow into the alternative culture, not the revolting culture. The movie of 'The Fifth Element' demonstrates the meaning and role that shows the bright future image. It is thought that designers should make efforts for cyber punk fashion to perform its role in changing the gloomy future image into the bright image of society

• 한국전문물리치료학회지
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• 제4권3호
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• pp.17-33
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• 1997

The objective of this study was to identify pulmonary functional variations in relation to postural changes, lapse after changing position, and the use of abdominal band in the cervical cord injured. The subjects of this study were 19 quadriplegic patients who had been admitted to the department of the Rehabilitation Hospital, College of Medicine, Yousei University, from April, 1997 through May 3, 1997. A spiroanalyzer was used to measure pulmonary function in supine, standing, time after changing position, and recording to the position, application method, and tightness of the abdominal band. The data were analyzed by the repeated measure one-way ANOVA, and Wilcoxon signed rank test. The findings were as follows: 1. All phase of the patients' pulmonary function improved significantly in supine posture in contrast to standing (vital capacity by $0.46{\ell}$ and expiratory reserve volume by $0.09{\ell}$). 2. The longer the time lapsed from supine posture to standing, the patient's expiratory reserve volume, maximum ventilation volume, vital capacity, and forced expiratory volume increased. 3. When the patient lay in supine position, the maximum ventilation volume, vital capacity, and the forced vital capacity increased then the center line of the abdominal band was placed along iliac crest; on the other hand, when the patient was standing, placing the bottom line of the abdominal band along iliac crest increased the maximum ventilation volume, vital capacity, and forced expiratory volume. 4. In placing the abdominal band in the patients, leaving space between the top and bottom lines of the band helped increased in maximum ventilation volume, vital capacity, and forced vital capacity for patient in supine as well as in standing. 5. When placing the abdominal band to patients in supine posture, reducing the length of the band by 2.5% along the patient's waist line increased the patients' vital capacity, while reducing the length by 10% to patients in standing increased the maximum ventilation volume. The abdominal band should be placed in such a way that the bottom part of the band should be more tightly fastened while leaving enough room for a hand to be placed in between the body and the band for the top part of the hand. It should also be noted that in a supine position, the bottom line of the band should be placed along the iliac crest, while in standing, the center line should be placed along the iliac crest. The length of the band should also be reduced by 2.5% of the waist line in supine position, and in standing, the length should be reduced by 10%. It should also be noted that the pulmonary function of the patients should be measured at least 10 minutes after one position change.

• 복식
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• 제37권
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• pp.253-273
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• 1998

The culture reflects the ideology of a particular period in time and such values change according to the needs and requests of that time which eventually becomes an important factorin forming the exterior. The clothing is part of a way that composes and expresses the inherent substance of society and culture. Also, the clothing itself manifests the artistic values and behavior of mankind as an external structure maintaining its place as a big part in culture. The purpose of this study are to elucidat the concept of naturalism, which is discussed in many facets in the modern era; I studied the concept as well as the history of naturalism in order to manifest the meaning of clothing in the context of culture and I explained the concept in terms of the modern era. On such ground, I explained the naturalism expressed through clothing and characterized the exter-nal form of clothing. Also, in order to know the stream of naturalism in the modern context, I referred to the Vogue magazine of the 90s, using Delong's ABC method. Naturalism, in the context of modern fashion is a way to express the nostalgia of nature's vi-ability and purity of ecology apart from the artificial and structural appearance that resulted form scientific enhancement and hence, the ecological crisis. Naturalism pursues the soft- ness and comfort of the natural silhouette, color and material of the human body and it can be said that naturalism emphasizes the mix-ture of three substances : human, nature and clothing. The naturalism can be characterized by the factors expressed in clothing as follows. First, the naturalism shown in the form it-self draws the beauty of the bodyline without any reduction nor exaggeration. Without any distorttion of the human bodyline it shown the curve as one moves along, using the soft material. Second, the naturalism shown in color most-ly uses the natural tone with added white color and other color low in intensity and value like the receded colors of the earth that could be compared to the beauty of ecru. Third, the naturalism shown in the material is thin, light and soft in texture. In order to bring out the most natural curve of the human body, the natural fiber becomes the main material, sometimes, using crude materials. Due to the lindustrial improvement, softness and elasticity is added to the natural fibers giving them an important role as materials. Fourth, the naturalism shown in textile depicts the real natural objects in life. According to my study, the personality of naturalism in modern clothing was shown to be most strong in material and then in the order of form, texture and textile. The material com-posed of the natural silhouette and natural fibers were used to make soft color. In form, Paul Poiret made appearance expressing the natural beauty of the human body without the corset ; it continued with the inner lining making the clothing hard but in the 90s, lining-less, extremely exposed clothes and knit wear is used to emphasize the natural beauty of the body. In color and textile, the tendency spok-en above is not as strong but in color, instead of high intensity or value, the usage of neutral colors with added white color or ecru color, ear-th tone is increasing. In textile, the usage of flowers as natural material is seen frequently. As a whole, naturalistic trend in the 90s is increasing and the modern fashion is breaking out from the artificial and architectural form and conforming to a form that can realize the natural beauty of the human body. And the natural color and textile that conforms to such ideas are being used to pursue the human oriented trend that has appeared due to the increase in usage of soft natural fiber. Nowadays, the idea of returning to nature, defying the artificiality, desiring the leisure and psychological abundance that can be explained as naturalistic way of thinking is necessitated in this modern era as long as humans coexist with nature, this tendency will continue in clothing.