• 한국의상디자인학회지
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• 제10권2호
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• pp.11-25
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• 2008

John William Waterhouse (1849-1917) is a painter renown for his romantic beautiful femme fatale images in the late 19th century in England. The purpose of this study is to examine the fashion in Waterhouse's femme fatale images. Waterhouse displays the devilism of femme fatale by the symbols of a wicked woman. He emphasized how wicked she is by means of water such as lake, river, and sea as well as symbols associated with demons such as forest, cave, naked woman, long hair, a monster-headed woman looking like an animal, water lily, and garden. On the other hand, he illustrates the woman's style as an image of a typical feminine beauty. Expressing naturally a fine-curved, immature girl's body with marvel-like white and clear skin in a kneeling down or crouching passive rose and depicting it as an innocent and fragile feminine image, he created a passive and lovely image of a young girl. With her eminent beauty and sex appeals, she lured men into danger. Words such as evil, women, and death had been used in describing her as femme fatale to emphasize her wickedness as well as to deliver the meaning across from the inside and to the outside. They also described her as a type of woman with body posture and fashion corresponding to the sexual ideology during the Victorian Age. His description of this fashion image was to show that femme fatale's fashion, which represents attraction and fatality, does not necessarily translate to an active fashion style that emphasizes sensuality. It also tends to minimize resistance and feelings of being threatened. Therefore, it allons us to acknowledge that even girlish body with innocent and frail-looking fashion can be a form of femme fatale, and that fashion styles is essential in forming the image of femininity.

• 패션비즈니스
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• 제1권1호
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• pp.71-83
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• 1997

The purpose of this study is to analyze the present fashion phenomenon by considering the types of street fashion, the center of avant-grade modern fashion, that shows the origination background and special feature concretely. The times was defined through the 1980's from World War II that street style originated, so the range of study was the 1990's when the street style was influenced by that of the past and was revived. The ways of study were to analyze the records of ideology, art and music connected with the street style from World War II to the present when it has risen. The summary of result is as follows. (1) In the 1940's, Zooties was the jet of desire suppressed by African-Americans that couldn't receive favors socially and economically and Hipsters pursued reformative bebop that made up of soft Jazz. In the 1950's, Modernists were running after Cool Jazz to the minimum. In the 1970's, Funk appered in the sexual desire and erotic strength, and was surfaced from Negro Getto. In the 1980's B-boys & Flygirls showed the street style by the scribble art of slum in the New York. As mentioned above, In the 1990's, Acid Jazz influenced by the Jazz of Negro has been the fashion added to the tradition of musical form that come from eclecticism of Jazz tended Neo-Jazz. (2) In the 1940's, Western style dreamed the country life because of rapid urbanization. In the 1950's, Beat obtained the feeling of liberation from the dissolute life and activity. In the 1960's, Psychedelics showed the freedom affected by the Pop-art and Op-art, and Hippies pursued the true individuality as 'love & peace' life style and the return to nature. In the 1990's, Grunge look influenced by the above has been fashion that shows the practical use of second-hand clothing or patchwork contrary to elitism. (3) In the 1940's, Caribbean style appered in the typical textile color with the center of West Indies. In the 1960's, Rude boys showed the magnificence and difficulty of Jamaica, and Rastafarians had a tendency to come back to the ancient civilization of America. In the 1970's, Two-tone was the simple clothing for harmonizing among human races. In the 1990's, Jamaica look influenced by the above has been the Lege fashion introduced to a high fashion, appearing in the special bright color, applique, unique hair style, and so on. (4) In the 1950's, Sufers pursued natural rhythm, getting out of everything. In the 1970' s, Skaters enjoyed the speed on the paved road. In the 1980's, Casuals emphasized the spirit of cooperation of young-things. In the 1990's, Casual look Influenced by the above has been the fashion that forms the activity, function and strong spirit of cooperation by pursuing comfortable life and sports in the tension of life and variety of modern society. (5) It was hard for Bikers to adjust themselves in society after the war. In the 1950's, Coffee bar cowboys were the reckless running boys in the leather jacket. In the 1960's, Rockers created the group originality as disobedient outsiders and Greasers imitated Rolling Stones. In the 1980's, Punks resisted the viewpoint of the old generation in offensive fashion. In the 1990's, Cyberpunk influenced by the above has pursued the classless structure, electronic music and metallic clothing that forebodes gloomily as the computer generation of ultra-modern science times. Accordingly, in understanding a complex modern fashion phenomenon, it was analyzed that the street styles of the past, from World War II to the 1980's, were reflected in that of the 1990's dividing into the five types in a word, namely Acid Jazz, Grunge look, Jamaica look, Casual look and Cyberpunk.

• 복식문화연구
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• 제15권5호
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• pp.781-795
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• 2007

The purpose of this study is not only to widen and deepen the understanding of external environments of hairstyle but also to provide the basis of understanding and perspicacity as to the hairstyle which will be created under the influence of new music by contemplating distinctions between Glam Fashion and Punk Fashion of 1970s and by comparing and analyzing distinctions between Glam Hairstyle and Punk Hair Style of 1970s. As the method of this study, first of all four common factors, which are resistance, androgynous, beauty of ugliness and pursuit of pleasure through persona, were able to be ed from both Glam Fashion and Punk Fashion of 1970s, and then by using that factors as analyzing instrumental frame, the above two hairstyles were compared and analyzed through photographic materials in this study. According to the results of comparing and analyzing two hairstyles above, in Glam Hairstyle, the androgynous character is the most remarkable distinction. They tried to overturn the gender role by challenging the traditional color and form of hairstyle. In funk Hairstyle, the resistance is the most prominent distinction. They expressed their group identity resisting a pre-existing generation by putting on threatened and aggressive hairstyle.

• 복식문화연구
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• 제8권6호
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• pp.871-886
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• 2000

The purpose of this study is to understand the culture on the Traditional Wedding of the West Gyeong Nam District. The traditional wedding was characterized that the bridegroom visited his bride's house accompanied by his honored guests(上客) and the marriage ceremony was to be held in day time, and then the bridegroom became a son-in-law and stayed with the family for a few days. The bridegroom returned to his home, leaving his bride behind. After a certain period, the bride came to her husband's home as a daughter-in-law. The Traditional Wedding costume of the bridegroom were Samo-Gwandae. The coat (outside uniform) was blue Danryeong ornamented with two cranes figured Hyong-Bae and Heukgackdae. In case Samo-Gwandae was not available, Dopo or Durumakie could be substituted and they put on shoes in this case. A bridegroom put on Mokhwa his feet and under the Samo, and he also put on Nambawie or Bokguen. He put on Dopo or Haeng-eui(行衣) or Durumaki under the blue Danryeong. The bride put on Wonsam and Chokduri or Hwagwan on her hair. In case Wonsam was not available, Chima Jogori style or imitational Wonsam, which was roughly sewed with red cloth and blue cloth contained in the Honsuham (Box of wedding treasure), could be substituted. She put on Hyang-guen to protect her body against the coldness and to hide her face.

• 복식
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• 제51권3호
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• pp.155-170
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• 2001

This study is about investigation of the historical value of Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖) and examination of the costumes of the Envoys from the Three Kingdoms drawn in the paintings above. Wanghoido(王會圖) is presumed to be painted around early 7th century. This is a colored picture on silk on which twenty-six Envoys from twenty-four Kingdoms are painted. Bungekipjodo(蕃客入朝圖) is presumed to be painted in the early 10th century. This is drawn on paper with only black brush line, no color. There are thirty-five Envoys from thirty-one Kingdoms in the painting. Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖) are the important materials which are useful to understand the original Liangjlkgongdo(梁職貢圖). From the records about interchange of the Envoys in the early 6th century, the characters and costumes painted in Wanghoido(王會圖) and Bungekipjodo(蕃客入朝圖), the copy of the original Liangjikgongdo(梁職貢圖), get the reality. The Envoys from Koguryo(高句麗), Paekche(百濟), and Shilla(新羅) painted in the two paintings above are all wearing Jangyu or Yu(장유 or 유; an upper garment), Go(袴:trousers), Kwanmo(冠帽:headdress), Dae(帶뿔:belt), and Hwa(靴:shoes). But they differ in some aspects. For example, the shape of the Kwanmo(冠帽), hair style and patterns on the costumes, etc.

• 한국의상디자인학회지
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• 제8권2호
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• pp.109-123
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• 2006

Cosplay is compound of 'costume' and 'play' and teenagerses disguise equally with populace star or cartoon master who like and it is typical culture of character generation as play that imitate to dress and hair style, gestures. Type of cosplay costume get devided as following according to cosplay object. Animation cosplay costume represent person who appear in cartoon and animation equally. Fan cosplay costume imitates entertainer or celebrity. Game cosplay costume represent character of internet on-line Same. Movie cosplay costume is more realistic than animation or game Character as that imitate moviestar. Character cosplay costume is used by commerce purpose brand or event. Characteristics that appeared commonly in types of cosplay costume are as following. First, cosplay costume is consisted of peculiar mechanism that cosplayer perform series progress such as work selection, design development, manufacture, production, acting alone in aspect of Performance costume. Second, according to cosplay object, degree of representation became different. Character is stronger, because the characteristic is emphasized, tendency that degree of reproduction becomes low showed. Third, cosplayer's distiction appeared according to material selection, design development method and analysis.

• 복식
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• 제35권
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• pp.293-304
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• 1997

This paper is a study on the expression of Clothing and Textiles recorded in $\boxDr$Eigamono-katary$\boxUl$This book is a novel de-scribed the Royal Court from 883 till 1107. In this book many kinds of Garments Orna-ments Colors and Materials were mentioned. But in this paper 69 kinds of Garments and Ornaments were reserched and the rest will be reported in the next paper, The discoveries of this paper were as follows. 1. All the things of this book were reflections of the reality in Heian period. 2. The main styling of that period was a little bit soft but the straight silhouette were fashioned, . In that time Clothing had a special meaning and the manner for a fashion was very important, .3 In the female garments Karakoromo were developed many kinds of pattern by dyeing method, Especially the Surizome was fashioned very much. 4. there were many kinds of gray tone like as clerical robe and mouning dress. This was the effection of Buddism style. 5. The decoration of fablics and garments were usualized for instance smooding and luster by beating and starch sewuing a piece of gold silver and shell nakabe and knot bend. Shawl Yumaki and Kosizasi was a charming point of that time, . 6, hair decoration shose parasol rain coat etc, . were developed and use freuently.

• 한국정보과학회논문지:컴퓨팅의 실제 및 레터
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• 제8권2호
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• pp.167-173
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• 2002

본 시스템은 웹 상에서 가상으로 메이크업과 헤어스타일 그리고 액세서리 등을 사용자 자신의 얼굴에 적용시켜 볼 수 있는 시뮬레이션 시스템이다. 시뮬레이션의 결과는 데이타베이스에 저장되며 프린터로도 출력이 가능하다. 본 시스템은 자바 애플릿으로 제작되어 서비스가 되므로 웹 브라우저 이외의 클라이언트 프로그램은 필요하지 않으며, 웹 브라우저에 자바 플러그인만 설치되어 있으면 실행이 가능하다. 윈도 2000의 IIS 웹 서버와 MS-SQL7 데이타베이스를 이용하여 구현하였으며, 자바 애플릿과 데이타베이스의 연결은 상용화된 JDBC Driver Type 4를 이용하였다. 구현된 VMSS는 웹 기반의 서비스 제공을 위한 새로운 컨텐츠 개발의 유형을 제시하였으며, 다양한 분야에 대한 응용이 가능할 것으로 생각된다.

• 한국패션뷰티학회지
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• 제6권1호
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• pp.53-59
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• 2008

This study focused on the expression technique and work manufacturing of nail design. Any woman that wants to be pretty is interested in nail design which is considered as a means to express beauty, intelligence and sensuality. These days, nail design carries heavy weight in completion of total fashion coordination. Good dress, elegant hair style, bright make-up and well-trimmed nails are requirements of modem women. These days, the range of nail design is more expanding and its importance is getting bigger. To maintain and establish such developmental flow properly, we have to break our stereotyped view on nails and accept it in open view. And we have to actively participate in development of new products and technologies and perform academic research on nail design. For the purpose, we have to consider further studies which contribute to understanding exact meaning of nails and necessity and importance of nails.

• 한국의상디자인학회지
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• 제7권1호
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• pp.113-124
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• 2005

Information sources about Mongolian pigtail of 13-14C are relatively rich. But it was difficult to estimate the shape of the pigtail in detail with the descriptions in historical writing or travel books only, and paintings were neither enough to observe the beautiful shape of the pigtail closely on the whole because the portrayed characters were always wearing their hats. However, the authors could trace the detailed shape of the pigtail of 13-14C through close investigation into Mongolian stone statue of the period. In conclusion, the authors performed a comparative study by historically comparing the historical writings, archeological materials, ethnological materials and figurative arts featuring medieval Mongolian pigtail. And the authors paid careful attention to the meaning of those materials to the hairdo history. Historically nothern minority races have become assimilated with surrounding races in language, culture and customs through long economical and cultural exchange, and today their national traits gradually fade away by globalization. But each minority race still stands independently and maintain its own traditional culture. only recently began the study by Korean researchers on Mongolian pigtail, and there is still much to be discussed in ethnological issues such as racial pedigree.