• Fashion & Textile Research Journal
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• v.21 no.5
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• pp.527-539
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• 2019

This study examined the Chinese style in the Vivienne Tam collection as well as explored diversity and modern interpretation of a Chinese style used in modern fashion. The study also investigated the concept and history of the Chinese style as well as analyzed the Chinese style in the collection based on a consideration of a Chinese element that is the basic structure with an understanding of Vivienne Tam and general collection themes. As a result of research, the Chinese style appeared in the Vivienne Tam collection was comprehensive with 43 Chinese elements including Animals, Flower & Grass among the Nature elements, Mythology Religion among the Figure elements, Historical Artifacts, Clothing, Oral Literature, Entertainment, Fine Arts. Technique, Folk holiday among Culture elements and Philosophy among Spirit elements, which accounted for 57.6% of the collection. The formative characteristics that included Chinese elements were extended, abstracted, distorted or transformed; in addition, some abstract elements were embodied into animals, images and certain particular forms to present a theme. In addition to two-dimensional method to print Chinese elements on fabric, they were also expressed as a three-dimensional texture or a silhouette, achieving clear and bold harmony. The aesthetic characteristic is a mixture of Eastern and Western way of thinking. Her costume has a political and historical meaning beyond the imitation of elements that represent the development of a pleasant and interesting design.

• The International Journal of Costume Culture
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• v.7 no.2
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• pp.135-150
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• 2004

The purpose of this study is to explicate the contemporary concept of the term 'sportswear' by studying the history of sportswear tradition in America where sportswear was first established and developed. American sportswear originated from some functional clothes made for specific sports during the 19th century. Early in 20th century, there occurred many significant events in America while Americans were undergoing two successive world wars. First of all, due to the wars, women's role in labor force became so significant that their social status was enhanced remarkably. With economy growing every decade, the amount of leisure time for American people substantially increased and, therefore they could develop their leisure activity culture. All these changes made Americans demand the need for comfortable and functional clothes suitable for their changed way of life. In response to this demand, the sportswear tradition became mature due to the contribution by many creative All-American designers, most of whom have made their active contributions since 1970s. Now the sportswear, which used to be designed for specific sports, developed into casual wear in general with its extended definition. The contemporary concept of sportswear is no longer limited to those clothes for specific sports. Sportswear has now become more like a casual activity wear which all classes of people can enjoy in their life. Since the concept and scope of sportswear is extended to a great degree today, we need a new professional term to correctly express the extended nature of these contemporary clothes.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.19-40
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• 2009

The purpose of this study is to grasp the world of Galliano works who lead Dior Couture and to make use of this knowledge to comprehension of general trend in Haute Couture and $pr{\hat{e}}t-{\acute{a}}$-porter in the future. The method of research is to search for the characteristic of Haute Couture and the general tendency of Galliano works, and to view the inclination of Dior Couture by Galliano. For sphere of research, 2000s is discussed with focus on Haute Couture, exclusive of ready-to-wear. As a result, Galliano's Couture works were distinguished into four specificities. First, the historicity including historical event, personage and epoch. Second, the orientalism. Third, the pictorial characteristic including synthetic art and public art. Forth, the quality of humor. These subjects bring about a result that break down each boundary, in the method of interpreting, as try out mixing between every elements. Galliano pursue a new domain through the fusion of East and West, past and present, classic and pop, artistry and commercialism, this induce more familiar Haute Couture to the public, breaking the strict form of Couture. It seems that this tendency will be advanced toward extrovert Couture producing the low-age phenomenon in Couture, the mixture of multi-culture and the vitality. This fusion suggest the popularity and the commerciality of Couture, which is predicted decrease the difference between Couture and $pr{\hat{e}}t-{\acute{a}}$-porter.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.44-58
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• 2012

The purpose of this research is to contemplate chronological changes of Korean actress facial image and fashion from 1960s to 1990s and to identify Korean women's ideal beauty reflected through the times. Adjectives describing representative actresses of each studied decade were collected from major newspapers and magazines. Korean women's ideal beauty was divided into 4 sub-types such as youthful, pure, sophisticate, and sexy images. As a result of analyzing actress facial image and fashion, youthful and pure beauties were found consistently over the studied periods. Representative characteristics of sophisticate and sexy beauties have been changed over the studied periods which were influenced by socio-cultural environment factors. The result of this research can provide meaningful sources for historical drama, celebrity marketing strategy planning, and personal image consulting.

• The Research Journal of the Costume Culture
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• v.21 no.3
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• pp.309-323
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• 2013

This study examined the expression mode and feature about photomontage indicated in the 21st century's Contemporary fashion. This intends to have better understanding on photomontage and to provide theoretical explanation to help a creative design development using photomontage in the future. For the research method, review over photomontage concept and its historical background was carried out with relevant literature and precedent studies. Then, analysis was followed about 258 pieces of photomontage application works featured in the four major global collections from 2001S/S to 2011F/W. Among types of photomontage expression in the Contemporary fashion, objects in the nature like animal, plant, scenery picture took up the highest frequency as motive. Other types appeared in the following order: the people-oriented type such as eminent person's figure or partial body, the ready-made image including diverse daily goods in the modern consumption society, a variety of printed stuff like cartoon, newspaper and magazine, the type of photomontage expression through borrowing the earlier famous art pieces or doing the cooperative work with artists in different fields, applications like architecture, land marks in many cities in the world, and interior, things assembled with various images, modified religious images in photomontage from Buddha or holy picture. Therefore, the modern fashion that uses photomontage could possibly feature popularity, naturalism, playfulness and creativity.

• The Research Journal of the Costume Culture
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• v.20 no.5
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• pp.782-798
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• 2012

The research aim is to analyze the attributes of fashion as an object of art, and to examine its potential and status as an art of body space. This paper explains the relationship between these two disciplines by focusing on the body as the foundation of fashion and art's concepts, and discusses the intrinsic properties and the approach to the creation of fashion which is expressed through the body. The research begins by analyzing the sociologists thoughts on the body and extracts the characteristics of fashion as a practice of a new art field from the perspective of body creating space. It explains that fashion can most easily transform the body and that this, along with the body itself, possesses the element of creating body space. Fashion is a new avenue for understanding the body that not only includes the human figure but also its movement and spirit approached as a creative activity. The paper will show that fashion chosen as an art activity expresses the changeable and ambiguous body and embraces an unlimited potential of creative activity. This expands the creative field by managing both the inner and outer space of the body. Historical examination, literature review and overview of development of reference materials will establish the theory.

• The Research Journal of the Costume Culture
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• v.20 no.5
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• pp.635-654
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• 2012

This paper studied sports-inspired fashion(SIF) that is often characterized as 'designer clothes inspired by active sportswear.' First, we reviewed the social, economical, artistic, and technological background behind its development. Second, we studied the development history of SIF by classifying it into four periods. Third, we analyzed how SIF emerged and developed with its own characteristics from a historical perspective. For a theoretical background, we did a critical review of previous literature in the field of clothing history, history of culture, and art history. We collected the data from magazines, such as Fashion Show and Gap Press and from the internet sources as well, such as firstviewkorea.com. We also did the content analysis of the data by consulting a chosen group of fashion designers. This study revealed that active sportswear started to develop from everyday clothes for functional convenience in the beginning and then SIF emerged later as a major fashion trend with the popularity of sportive look. This trend became stronger with the global spread of American popular culture. SIF eventually became high fashion with collaboration between sportswear industry and designers. This study confirmed that SIF reflects the characteristics of many sports games in silhouettes, colors, and details. It is predicted that sports will continue to be an important source of inspiration for fashion designers.

• Journal of the Korea Fashion and Costume Design Association
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• v.12 no.2
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• pp.1-20
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• 2010

This thesis is about "manggon" that holds down man's top knot hair and its accessaries "pungjam", "kwanja". manggon was seen first time in the mural of Donwhang kae won chon bo during T'ang period (713-756). The "Tu Aek Ra" manggon shown in this mural would be the origin and beginning of maggon's usage. Also the "Sha" that was placed on top of the hair for decoration purpose is believed to be a former form of "manggon" Before the short hair cut was enforced, wearing the "kwan"(head gear) was considered as an impotant etiguette. Thus the head gear was treasured and the manggon which was the most essential piece to cover down the hair before to put on the head gear was regarded as the most important piece. However, since the manggon was tied very tightly around the forehead, manggon caused some sickness. From my private collections of man's head gears and ornament, 121 items were selected and used for analysis and the followings were found: 1. Pungjam was divided into 8 categories according to its shape and a research was made on its unique structural characteristic on each categories. 2. Kwanja's material and design that were used are all in accordance to the historical recordings.

• The Research Journal of the Costume Culture
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• v.28 no.2
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• pp.245-264
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• 2020

This study identifies Kim Jihaye and Lee Jeanyoun as actor-networks with cultural values and meanings. It analyzes the process of reorganizing their works into Korean orientalism via an action of co-construction with formative techniques. First, the historical context of orientalism formed in the fashion world will be studied, followed by the design characteristics of orientalism, and the correlation between the Korean orientalism of these designers on the world stage influenced by the globalization discourse of Korean tradition since the 1980s. Next, works of Kim Jihaye and Lee Jeanyoun from 2000 to 2012 will be analyzed, revealing aspects of Korean image reproduction. Consequently, this study finds that the Korean image is restructured socio-culturally through technological imagery as a reproduction of reality by the production subject. This study reminds us of the reflective and cultural meaning of fashion designers in the area of image reproduction, sociocultural practice, and materials and technology.

• The Research Journal of the Costume Culture
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• v.8 no.2
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• pp.261-271
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• 2000

In order to investigate the function and feature of western men's underclothes in the second half of the 19C, in this study, the historical changes of western men's underclothes are compared the first half of the 19C with the second half of the 19C. In the second half of the 19C, the useful function to ease for body was important. In the 1860's, for day-shirt, the tucked panels was disappeared and the front was pain. But the evening dress-shirt continued to show an expansive front tucked. Coloured shirts was used for country and sporting occasions. Ready-made underwear was used. In the 1870's, the plain breast was introduced and the Gladstone collar was used. Paper collars and dickeys were unfashionable. The drawers was composed a gusset at the back of the waistband. The dress of one generation was became the livery of the next. In the 1880's, a new feature was one stud and the use of pique for the breast. Coloured shirt was composed of stripes across the breast. In the 1890's, height of the collar steadily increased. The coat-shirt and regatta shirt became popular. The nice choice of shirt, collar and tie was a matter of supreme importance .The social status of the white shirt was further threatened by fancy coloured shirts. The mode of relaxation affected sports shirts. By the close of this period, both sexes accepted the hygienic rule of wool next the skin.