• Journal of Korea Multimedia Society
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• v.22 no.1
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• pp.70-78
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• 2019

The smart festival costume developed in this study maximizes the design elements by attaching electronic device to clothing, and uses voice, movement, and light sensor to utilize as expression elements. In addition, as a way to maximize cultural exchanges between Korea and China, smart festival costume was developed by applying smart clothing technology to the traditional costumes of both countries. and it was exhibited for 10 days at the 'Andong International Mask Dance Festival 2018'. The smart festival costume has the effect of multiplying the dynamism and excitement of the festival by the use of colorful lighting and it has been evaluated that the experience of wearing traditional costume of both countries contributes greatly to promote international cultural exchange. However, since smart clothing is inconvenient to wear due to the use of electronic products, meticulous research for consumer safety is required for practical use. Smart devices is expected to utilize for the development of traditional culture resources and the fashion industry in the future.

• Journal of the Korean Society of Costume
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• v.55 no.7 s.98
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• pp.131-141
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• 2005

The purpose of this study is to correctly understand the shapes and transformation of costumes of Ching's and Mongolian. Mongolian traditional costumes are trousers and jacket, with Deel(袍) and Terlig(帖裡) pleated in the waistline, and knee-covering narrow-sleeved long dress for men and women alike. It was designed for adapting to horse riding activities and cold steppe climate. Similarity between Ching's and Mongolian nomadic costumes was used as a means of unity by Ching. Transformation of Mongolian nomadic costumes are further divided into three kinds; Ching's or Russian's details applied to Mongolian nomadic costumes(Taekeum(大襟), Majesu(馬蹄袖), white choker), Ching's court costume imported as it is for the political purpose(Kijang(기장)), resistance against foreign countries and the spirit of nomadic people and independence reflected in Mongol costumes('Teregur ushi', 'Correct bosom'). Specially, Nomadic symbols constitute Mongolian spiritual world and clothing habits, especially evident in ladies' dresses.

• Fashion & Textile Research Journal
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• v.12 no.2
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• pp.139-148
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• 2010

As a designer, Rei Kawakubo had become one of the most influential woman of the 20th century. Comme des Garçons, which means "like boys"-what women in the early 1980s were least supposed to be-expressed criticism of the prevailing social construct of women and, importantly, of the very concept of fashion. The press had a field day with the so-called post Hiroshima look, with its aesthetic of destruction, poverty, and hunger and with its depressing mood engendered by the use of the color black. This research divided the change of design transition on Kawakubo's fashion by the three categories. The first category was experimental pattern, the second category was esthetics of omission and the third category was innovation of body consciousness. The costume messages through these design works of Kawakubo could summarize 5 items, punk sprit, beyond sex, reality, proposal of new body consciousness and representation of black.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.9
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• pp.1415-1428
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• 2010

Modernity in costumes is analyzed as the preference of change and novelty, the formation of the masses, and the aspect of function, which is transplanted by western modernization. However, it is seem that the factor of modernity in Japanese traditional costume history. This study examines the Proto-modernity in Japanese traditional costume history. First, this study examines the term 'Imamekashiki' which means the present time. Because of the recognition of every present time arises from the recognition and the preference of change and novelty. In the pre-modem Era, this study examines the masses formed by the publication and the play, Kabuki. This study provides an alternative answer to understanding what is to 'wear clothes' for Japanese people.

• The Research Journal of the Costume Culture
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• v.22 no.6
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• pp.1028-1033
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• 2014

The paper focuses on the clothing codes described in the Analects of Confucius, and explores the reasons for the rules setting up, including the rules of color, the design, the pattern, and even the material of the clothes whose distinct features reflect the ceremony and etiquette of the time in the classic, which are in correspondence with the requirements of Confucianism, especially for stressing the social rights, obligations and codes of conduct to everyone in the society.

• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.31-46
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• 2017

The purpose of this study is to analyse the occurrence and evolution of Mao suit which is important position in the modern costume history of China and to provide a source of design inspiration to contemporary fashion designers. In the research method, literature review and case studies was conducted in parallel. For the literature review, changes of Mao suit in each age were reviewed with reference to the related documents, Chinese costume and cultural history, prior research papers and internet resources. The case analysis was qualitatively done focusing on the silhouette, color and detail of clothes in fashion collections. The scope of the study was from 1912 to 2000. The case analysis of the Mao suit applied to the contemporary fashion was made on the applications centered around 'London Collection', 'New York Collection', 'Paris Collection', 'Milan Collection' and 'Chinese Fashion Week' from 2008 to 2015. The results found that Mao suit changed into many different forms after Sun Wen designed it for the first time in 1912. This study classified it into Phase 1(1912~1927), Phase 2(1928~1965), Phase 3(1966~1977), and Phase 4(1978~2000) with historical and political issues and conformational changes in Mao suit. The frequency analysis of the cases of the fashion collections using Mao suit from 2008 to 2015 showed an increased application of Mao suit to the western collection in New York, Paris and London in 2008 due to the impact of Beijing Olympics. However, from 2009 onwards, the frequency of the utilization of Mao suit was higher in the Chinese Fashion Week and the New York Collection. This cause is explained by the fact that the designers who inspired from Mao suit in the New York Collection are American Chinese.

• Journal of the Korean Society of Costume
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• v.57 no.5 s.114
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• pp.123-139
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• 2007

Since the late 1980's, the number of research papers published in the Journal of the Korean Society of Costume(JKSC) has increased. The JKSC is usually known for its focus on issues relevant to the aesthetics of dress, fashion design, and the history of Western or Oriental dress. The main goal of this paper is to link the academic importance of the fashion marketing field to the expansion of the journal and society. First, we defined the scope of the fashion marketing field, based on a literature review and general practices of other competitive societies and journals. First, we reviewed the curricula of the fashion marketing field from 49 universities in Korea. Next, we examined the research topics and methodology of 271 papers in the fashion marketing field published in JKSC since its first issue in 1977. By comparing the findings from the curricula and research, we drew conclusions for the fashion marketing field of the journal and society. We found that the approximately 80% of the fashion marketing courses provided at the undergraduate level are related to merchandise planning and selling processes from the company perspective. However, in more than 85% of the research papers, consumer characteristics and decision-making processes were the main focus and were used as key variables. These findings imply that more various methodological approaches are required for the research to enrich the theoretical background which, in turn, can support curricular development in fashion marketing field. The fashion marketing field in JKSC and society should make the most of accumulated knowledge in product design, symbolic aspects of fashion, and the qualitative approach in the research topics of the JKSC and society.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.125-133
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• 2006

Metro-Sexual is one of the most representing case showing contemporary life style of men that rooted into public already. The fundamental feature of this Metro-Sexual is the conversion of men's costume style to womanness which also could be seen from the history of clothes. The former works about sexual image, expression of sexual identity, androgynous and borderless phenomenon have been referred as base of this work. To analyze Metro-Sexual in modern social/cultural factors through such existing works will be critical part of understanding entire fashion trend in this day beyond sexual limit. As research method, former works, references, various fashion magazines and fashion related sites was used to grasp conception and womanity of Metro-Sexual. In a limited time interval from $2001{\sim}2006$ for practical work, silhouette, detail, trimming, colors, items, patterns and accessories were analyzed selected from famous S/S, F/W men's fashion collection magazine and internet site of professional fashion institute. It is obvious that Metro-Sexual already spread out in men's fashion based on such social/cultural background as new century's icon that regarded as critical factor in researching contemporary men's fashion and of the future.

• Journal of the Korean Society of Costume
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• v.64 no.7
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• pp.29-44
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• 2014

This thesis aims to compare the representative costume patterns of the Chinese Qing dynasty and contemporary $18^{th}$ century French costumes. As a research method, qualitative research was performed to compare and analyze the patterns of the flowers, the birds and pagoda shown in Qing dynasty and France. The results are as follows: The Chinese flower patterns used the embroidery technique for 3-step gradation colors to decorate flowers with less than 10 petals. Also, the forms of the flowers were large and simple in China. The flower patterns of the 18th century France is more similar to those of Qing dynasty than to the traditional French flower patterns. They used the drawing technique for the gradation colors and completed the work by embroidery. In the case of bird patterns, the crane on menswear, and the phoenix on women's wear were applied to signify the symbolic feature of the Chinese symbolism. On the other hand, those in France were used solely for the division of the gender. As a result the clear form of the birds in China contrasted with the unclear forms of birds in France. During the influx of mandarine square to France from China, the application of crane and phoenix according to gender seems to be stressed emphatically without considering their symbolic meaning. In light of the pagoda pattern, Qing dynasty showed interest only in the form of pagoda, denoting the simple two-tier structure without detailed description. Whereas in France, the pagodas were three or four tiers, with gorgeous colors and much more detail than those of Qing dynasty. In conclusion, the main determinants of influences on the patterns of France from China would be forms, colors, constructions and technique of embroidery, along with the disregard for symbolic significance.

• Journal of the Korean Society of Costume
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• v.62 no.6
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• pp.80-97
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• 2012

This study empirically examined Seo Yu-gu's views on constumes that are based on 'Boksikjigu[服飾之具]' of Seomyongji[贍用志] in Imwonkyungjeji[林園經濟志]. In 'Boksikjigu', Seo Yu-gu explained different situations and problems that were related to costumes and proposed solutions for the problems. This study examined the contents, and divide the items into caps, accessories, and clothes. The results of this study were as follows. First, Seo Yu-gu in he rited the tradition of erudition. Seo Yu-gu classified various costume items systematically, and explained in detail about the origin, history and materials of the costume items. Second, he emphasized frugality, effective use, and welfare. Seo Yu-gu argued that the sleeves should be shortened for convenience and tried to improve practicality in the functional aspect. Also, he wanted to enrich people's life by improving the convenience of goods used in daily life. Third, he tried to establish identity as a Confucian intellect. This idea was clearly shown in 'costumes'; therefore, they served as evidences that Seo Yu-gu used to correct wrong practices through precise historical investigation and review of Shim-ui[深衣], the symbol of the practice of Jujagarye[朱子家禮]. In his later years, he discovered the plain dress that was worn as a casual wear by ZhuXi[朱熹]and tried to wear it in dailylife.