• The Research Journal of the Costume Culture
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• v.14 no.6
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• pp.877-886
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• 2006

The Purpose of this study were to study Retro-hat design. To do these purposees, the focus of theoretical approach was literature research, and hat design was attempted on the basis of the research. The focus of theoretical background was on previous research and fashion-related literature. Photo materials to analyze retro-hat design is Haute-Couture collection in paris from the 1990's to 2004 and some designer's collections. Then Retro hat design is 85 in 1,381 hat photos. The results obtained through this process were as follows. In the hats of Retro, the past style such as an Egyptian wig, a snake-shaped hat in Crete, a Medieval knight hat, Liripipe, Tricorn hat, or Bicorn hat was reinterpreted and expressed. Since 2003, Retro characteristics has became strong and frequent. By designing a hat on the basis of the direction of hat design, this study intended to find out the development direction of hat design.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.69-83
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• 2013

This research is to analyze costumes of Greek Mythology Gods in films using Morris' semiotics. In film "Clash of The Titans", Zeus' costume of shining gold armored body suit and long manteaux expressed the limitless sublime. The definite form contouring body shape of his costume also demonstrated classical beauty. Hades' costume of dark colored armor, long manteaux, and transformation via smoke also described the limitless sublime. The unbalanced and irregular shaped armor showed ugliness. In "Percy Jackson & The Olympians: The Lightening Thief", the armor and long manteaux of Zeus showed the limitless sublime. The beauty of his body and his sophisticated business wear indicated classical beauty. These features were also present in Poseidon's costume as well. The limitless sublime and ugliness are implied in Hades' look by portraying him as having a monster body with horns and wings, and his costume of punk look. In "Immortals", gods of Olympus wore clothing that was reminiscent of Egyptian times, which represented a time of strong royal authority, in order to expose the limitless sublime. Classical beauty was shown in the beauty of their body. Titans' costumes and look of non-human being were composed of black and red to present ugliness. The inherent meanings of Gods' costumes are death of god, patriarchy, and the good triumphing over the evil. The Greek gods are not held in the same reverence in the contemporary society. However mythology inspires lots of visual creations. The results help to accumulate a creative design database for fashion.

• Journal of the Korean Society of Costume
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• v.1
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• pp.131-150
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• 1977

The new sense of costume is controlled by silhouette. The sense of the times is sensitively reflected in silhouette. For we can perceive the transition of the times through silhouette it is significant to know what course of changes the western costume, which almost became the international costume today, had been going through. I began with the definition and condition of silhouette in this study of silhouette. I took a general survey of silhouette study-ing various kinds of silhouette and the relation between the material and silhouette. I sought the factors which causec the changes in costume and also studies the process of the changes The process of the costume changes is studied by the order of ancient times, mediaeval times, mordern ages and present days. I selected one representative silhouette of women's costume of each period. The darpery form of the ancient time's costume became the tunic form and the tunic form became the tight tunic form today. From this we can perceive that the Gothic period was the limitation of westrn costume. It means that the ancient times was the period of drapery, the midiaeval times was the period of transition from tunic into tight tunic and the modern ages is the period of development of tight tunic. In Egyptian period thin materials were used for costume which was worn in exposed style. In Greek period the costume had the drapery style. The Roman's magnificent costume resembled the Greek's. The mediaeval costume was formed in Byzantium where the northern Europe style of costume was mixed with the gay oriental costume. The Romanesque and Gothic period followed the Byzantine period completing the midiaeval costume. Tight tunic is developed in modern ages. Italian fashion of tight tunic was the first fashion of the modern ages. Germanic and spanish fashion came after it. As Baroque period opened the French royal costume became magnificent and added Brition fashish to it. With the commencement of the modern ages the royal fashion came to an end. Modernages became peaple's period and the costume was simplified. After the First world wav designers and fashion books appeared with the development of technology. Thus the period of fashion industry came. For the designers in 20th country competed to create new designs, the fashion was changed year by year. The simplicity and practicality are not ignored in design, arid the designers added more atristic sense to dresses.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.41-53
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• 2014

Contemporary fashion designers are keen on linking the past and the present through culture and fashion by the attempt to investigate and research on the costumes recorded in its history and to reinterpret it on their own terms. Covering the history of culture ranging from the 70s and 80s to the ancient Greek and Egyptian periods, these reinterpretations also reflect the latest fad of the times in which a fashion designer lives and works. Above all, Rococo costume from the eighteenth century is one of the fashion styles adored by fashion designers. What constitute the costume of this period creating the image of sensual women are not only the form of outfit, colors, the design of accessories, shoes and hairstyle but also the details such as frills, ribbons and flower decorations. In contemporary times, the original Rococo style has been modified and turned into various styles in the haute couture and street fashion. These modernized styles include Rock Rococo, Modern Rococo, Lolita Look, Gyaru Fashion and etc., all of which adopt the Rococo style and consider it as the symbol of feminine beauty. However, their approaches to the original Rococo style differ from each other. Hence, advocating the elegance of women is not invariably the case. Often, the interpretations of the Rococo are unconventional, defiant and wild. And, sometimes, these new versions of Rococo are overly exaggerated and emphasized or, reversely, reduced. In this research, various references on the Rococo elements such as colors, forms, accessories and detailed features that has influenced on the contemporary fashion will be analyzed. This analysis will demonstrate how the Rococo style of the eighteenth century has been integrated into contemporary fashion giving birth to new Rococo fashion styles.

• Journal of the Korean Society of Costume
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• v.22
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• pp.277-296
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• 1994

The progressive artists in Austria including Gustav Klimt organized the Viennes Se-cessionist in 1897 and they took an active part in the reformation of the reformation of the applied art by accepting the Jugendstil standing for the true art. The vocabularies which characterize this group are decoration literature and the power of symbol. Klimt especially expressed these characteristics and his strong person-ality. For he created his works with the sym-bolic and friendly splendor through his highly decorative talents by accepting the enwly changed artistic situation in those days and by getting out of the naturalistic trends he was regarded as an avant-garde artist as a major figure among the Symbolist artists who revived European culture which was destroyed through the World War I. The characteristics of klimt's works was to express the various human thoughts and minds through the decorativeness and the femininity and to use the decorative elements of old Greek and Egyptian culture and Japanese art as the motives of his works, His art is to be found between the naturalistic characteristics and formalization as well as between the in-dustrial arts and the fine arts. In his many portraits he preferred women by trying to express eroticism hidden behind the human inner world. For this he demonstrated the attractiveness and the characteristics of the models by designing the illusionary and unique clothes. In general his genius was to be seen through the costume which was decorated with metals and jewels and through the characteristics of the modern costume in which the previous solid silhouette was removed and the gentle and elegant me-dium color was used. by accepting the new artistic trends in the turn of the century by fully expressing those characteristics in his creative world and by taking his theme from the eroticism through the decorativeness and the expression of women Gustav Klimt's uniquely decorative ex-pression completely realized the aesthetics of Jugendstil symbol decoration and expression which displayed not only the external appear-ance but also the inner world. Especially he created a new appearance emphasizing the costume of the characters in his works. Also through the costume he expressed his artistic consciousness and psy-chology. He showed the characteristics of the reformed costume through the medium color the simple forms and gentle silhouette. Also he tried to symbolize the passionate inner pow-er by designing the small mosaics such as the geometrical patterns whirlpool patterns and the indecent meanings all over the costume. Klmt's this kinds of attemps shows a Stil Kostume as the external outcome of the inner spiritual activities like art and it establishes a basis for the theory of costume are which deals with the concepts of costume from the artistics points of view. This tradition playing an important role in the contemporary history of costume even has been still inherited up to today.

• The Research Journal of the Costume Culture
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• v.7 no.2
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• pp.211-219
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• 1999

The purpose of this study was to trace and identify termilogies recorded im kei lim yu sa. ma(麻), kyun(絹), po(布), je(苧), and je-po(苧布) were included in this study. For the analysis of this research comparative analytical methods was employed. Some significant findings and results of this study can be summarized as follows : 1. Text : hemp is called san(麻曰三). The word san of Koryo was derived from Indian sann, san, sana, sunn, 2. Text : Kyun is called jyi or kib(絹曰及). The word jyi(及) of Koryo was from jyi or kib() of Silla. 3. Text : Hemp cloth is called bey(bei), pey(pei), bai(布曰背). Be (베) has two meanings of hemp cloth and cloth in Korean. In the text it is interpreted as hemp cloth. 4. Text : Ramie or China grass is called mar, maw, mao, mu (毛). (苧曰毛). It is considered that the word mau(mo in Korean) (毛) in text is correct and word mau(毛) meaning China grass of Koryho is derived from mah or mak that is an old Egyptian name for flax or linen. The word mau(mo) (毛) of Koryo seems to be a transliteration of mah(or mak) in Korean or a variety of it. 5. Raime cloth or China grass cloth is clalled mau shy (苧布曰毛施). Silmar words to mau shy(毛施) of Koryo were found in Chinese, Manchurian and japanese as well as in Ancient Hebrew.

• The Research Journal of the Costume Culture
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• v.7 no.5
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• pp.122-139
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• 1999

Paco Rabanne, who has created experimental and prophetic avant-garde fashion by cutting edge techniques and revolutionary new materials, is known as one of the most influential fashion designer of modern times. The purpose of this study is to analyze the various factors, including some major artistic movements, which influenced on the formative characteristics of Paco Rabanne\`s fashion design. First, Paco Rabanne\`s fantastic new materials is also influenced by his study in architecture and his own fantasies -which other people can hardly imagine- during his early childhood. Second, light one of the most important element in Paco Ranbanne\`s fashion design, shows some influence of medieval symbols of love and salvation. Third, the artistic trends which influenced on Paco Rabanne\`s fashion include surrealism, opart, and kinetic art. His use of new materials and avant -garde style represents the influence of surrealism. his experimental use of waving plastics and glittering metal during his early period is especially related with opart and kinetic art in the early 1960s which emphasize the artistic effect of light and movement. Fourth, the geometrical figures like triangles, rectangles, and circles represent the influence of Egyptian architecture like pyramids and the geometrical characteristics of Eguptian art. Fifth, Paco Rabanne\`s distinctive use of metal chains in his fashion shows the influence of the chain mail hauberk, the medieval knightly armour. By using the medieval material Paco Rabanne properly expressed the modern person\`s pain and suffering. Sixth, the ethnic elements of Egypt, Africa, Spain, and Japan reflect the experience in his former lives he insists he lived. The ethnic elements of his dresses emphasize the natural vitality and inheritance from the past.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.118-132
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• 2010

The purpose of the research is to develop a systematic model to interpret makeup signs through a case analysis of makeup shown in Alexander McQueen's ready-to-wear collections from 2001 to 2010 and to prove an importance of makeup as a communication medium to deliver social and cultural values. This research employed Panofsky's Iconology theory to analyze data. This theory consists of three steps to interpret the meaning of a work: (1) pre-iconographical description, (2) iconographical analysis, and (3) iconological interpretation. Alexander McQueen's makeup was analyzed with the three steps in order. As a result of the pre-iconographical description step, makeup styles (icons) in his collections are identified which are Egyptian style, Gothic style, Androgynous style, Victorian style, Fantasia style, and Futuristic variant style. The iconographical analysis step identified that the elements used in his makeup are inspired by his identity and life. In the final step of iconological interpretation, the researcher concluded that Alexander McQueen's makeup expresses social, cultural, and aesthetical value of the time period when the collection was created. His makeup shows postmodernism that accepts a diversity of views (the pluralism) and humanism, romantic narcissism that is his personality trait, and avant-garde that pursues a new, creative aesthetics.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.383-395
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• 2009

The purpose of this study was to provide a formative charateristics by analyzing aesthetic charateristics of Egypt costume expressed in contemporary fashion. The result of this study obtained through this process were as follows. Aesthetic characteristics were expressed as a primative-retro characteristics, and a erotic-retro characteristics and a decorative-retro characteristics. Based on these trends, this study analyzed formative charateristics in an aspect of form, color, material, and decoration. In the modern fashion, unlike the H-line silhouette given by a natural fit in the primitive retro, the erotic retro was characterized in the shape by a tight H-line silhouette. For the color, peach, yellow green, gold, light blue, red, and black were used as the main color. For the material, see-through, gauze, mesh, organdy, and tight vinyl were utilized to emphasize an erotic image and expose a body secretly. For the decoration, the characteristic of erotic retro using the simple or same colors frequently was the use of similar accessories colors matched with material colors. The decorative retro was characterized in the shape by a H-line silhouette connected as a part of clothing which applied passium and a greatly modified silhouette from an Egyptian simple style which was well-matched with splendid accessories. For the color, the broadest range of color changes was found from light pastel such as white, yellow, light pink, burnt orange, blue, purple, silver, gold, and red to strong vivid tones. For the material, modern materials such as organdy, tulle, leather, and furs were often used. For the decoration, passium, an eagle pattern, scarab earrings, a crown, a sneak-shaped coronet, and pictograph printed on the fabric were frequently used.

• Journal of the Korean Society of Costume
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• v.45
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• pp.85-102
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• 1999

The purpose of this study is reviewing and researching the origins of knitwear the history of patterned knits. Aithough historians know little about the origins of knitting many believe it was practiced as early as the 4th century by nomads roaming North Africa. later Arab raders adopted the craft which helped then while away the hours as they traveled across deserts in camel carabans, Its origins lie in the need for close-fitting and elasticated covering for the body in particular the head hand and feet. it first developed in the Mediterranean countries and later in Central and particularly Northern Europe. Early evidence of multicolored knitting is said to date back to the Egyptian Copts of 600-800 A.D. medieval knitting is developed through the Church and monastery. The increasing demand for knitted products already observable in the fourteenth and fifteenth centries and the number of preserved knitted articles increases inexcavated materialos from Europe. The improvements in technique stimulated the developement of the hand knitting industry in the early sixteenth century. The best-known source of production is the guild organization and their mass production consisted of the carpets cushion coverings and other small items for furnishing interiors but mainly of clothing. The demand for knitted goods was such that in the late sixteenth century it was mechanised, The knitting frame invented in 1589 by William Lee English priest was the most perfect machine of this period. The mass production of fully-fashioned and seamless garments in the late nineteenth and twentieth century was dangerously competitve to traditionally woven and sewn cloth in. As fashions changed knitwear has had an almost continuous ruse in public favour and the popularity of sports has encourage the fashion for flexible easy-fitting and absorbent garments.