• The Research Journal of the Costume Culture
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• v.8 no.2
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• pp.205-216
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• 2000

The purpose of study examined of historical changes of western men's nightclothes from middle ages to the modern ages and analyzed functions and features of men's nightclothes. This study presented meaning and importance of men's nightclothes. The method of study researched the many literatures and internet sources. Until medieval age, men slept naked or in a day-shirt. In the 16th century, a nightshirt was worn in bed. A night-cap was usual, in rather more elaborate form, also worn by day in the house, and even outdoors. In the 17th century, nightshirt was elabrated with ruffles and lace. The nightshirts of 18th century, resembled the day-shirt except that it was slightly longer and fuller in cut. The turn of 19th century, men weared nightshirt with a high folding collar, one button and night-cap of jellybag shape. In the early 19th century, nightshirt had a plain turned-down collar, buttoned at the neck. A night-cap with colored tassel was usual. The middle of 19th century, a nightgown was reaching to the ankle. Pyjamas, in the 1890s, were steadily replacing the nightshirt, before long pyjamas had become generally accepted in place of the nightshirt. A pyjamas which preseverved his male dignity by giving him trousers. Man's ingenuity also modified his nigntclothes so that these took on sexual characteristic. In 20th century, the fabrics had become lighter in weight, and the choice of materials wider. By 1930s, nightclothes had become the man's most colorful garment.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.143-151
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• 2009

Ukiyo-e is the representative genre-painting of Japan, dominant during the 17th century Edo-Period (1503-1867). Ukiyo-e is mainly focused on expressing the lives of geishas, sumo wrestlers, and kabuki characters, who were the center of the Japanese amusement culture, and gained popular acceptance in Europe when it was first introduced in the late 19th century in the form of Japonism, having significant influence and impact on the impressionist artists of the time and on the design of western cloths. In this papers, we will be primarily conducting a historical study on the development of the Ukiyo-e, a representative genre-painting of Japan, and conduct a in-depth analysis of pattern expressed in the Kosode of women, represented through various different works of art. In order to conduct a thorough analysis of pattern expressed in Ukiyo-e, we collected over 255 pieces of materials from existing foreign paintings as well as museums in the National Museum of Tokyo, Edo Museum, and the Harajuku Museum of Ukiyo-e. This papers seeks to analyze and classify patterns expressed in the works of Ukiyo-e and research the characteristics express in the pattern to contribute to the development of fabrics in the modern fashion design industry.

• Journal of the Korean Society of Costume
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• v.51 no.3
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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.

• Journal of the Korean Society of Costume
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• v.40
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• pp.137-147
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• 1998

Fahion as the form construction of decon-structivistic architecture was analyzed by dividing it into the intrinsic aspect and the formal aspect through an introduction of three characteristic architectural principles into fashion. Intrinsic deconstructivistic fashion as the construction of architectural form has the mixurte of genders both in a form of transvestic and in a form of genderless look as dualism, and can be characterized by pluralistic nationlism with the emergence of the Third World alienated from the international society, and so forth. Difference and the prefixes of dis-and de- are schizophrenic mystic illusionism, chance effect and the differance of space and time and is supporting Jacques Derrida's chiasmus that is the perspective of collage in painting and the multiple observation of collage in painting and the multiple observation point as the play of borrowing the surrealistic technique. The formal construction of deconstructivistic fashion the construction of architectural form has intertextuality material, hybridization of items and the blending of modes and another sphere. Trace as icon deconstrucion attains historical analysis. Dis and de in fashion are showing the retrogre-ssion of gravity through decomposition, decon-tinuity and disjunction emerge nonstructural silho-uette, juxtaposition, inversion and replace- ment of underwear and outer garments. Their decentring expression emerged as construction through mixture and repetition as well as overlapping of planes or spaces. And their disjuctive representation appeared in the form of mutual juxtaposition and substitution with the double-side of formal construction in functional terms.

• Journal of the Korean Society of Costume
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• v.53 no.2
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• pp.71-85
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• 2003

In the turn of the century, fashion designers have not just drawn upon one or two subcultural styles but have extracted elements from many subcultures to use in a single collection. In true postmodern style these are freely combined with historical, cross-cultural and futuristic influences to create new fashions. The process could be explained by bubble-up phenomenon, retroism. pastiche and pursuit of pleasure. In the course of illustrating subcultural styles transformed into mainstream fashion, the case of Punk was studied as a turning point of modernist and postmodern period which have been introduced by high fashion designers since the birth in 1976. The following cases have continued to appear entering upon the third millennium and the aesthetic value of those can be summarized as ambiguity, eclecticism, and deconstruction. In other words. the energy and authenticity of Punk has been considered to be desirable in high fashion, however designers focus on clothing and adornment rather than ideology and lifestyle. The aesthetic property of subcultural style defeats the established notion of standardized fashion and stimulates new consciousness. which allows a room to be diversified and subdivided.

• Journal of the Korean Society of Costume
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• v.50
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• pp.69-84
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• 2000

Th purpose of this study is three folds: to analyze postmodern fashion through the notion of pastiche to enhance an understanding of uncertain and confused situation in the late 1990s and to suggest a way of approach to creativity and originality in recent fashion design. The results can be summarized as follows: 1. Pastiche is an art work that borrows some parts of other artists authentic works and recombines them thus imitating their style technique or motifs selfconciously. 2. Pastiche is based onthe Deconstruction theory: the end of art as a result of deconstruction of the subject the collapse of the meaning the loss of history: the late Capitalism in which reality becomes chage into images or simulacre. 3. Pastiche represented by the death of author which means the exhaustion of creativity is shown in the fashion borrowing subculture styles and art works or religious images. Pastiche fashion which is equal to the play of signifiers floated as image is shown as graffiti and objects Time and space pastiche fashion can be explained by historical eclectism and ethnic looks, Finally pastiche means not the fixed aspect but the open concept of indeterminate condition which includes " anything goes" through the coesistence of various style in pastiche fashion.

• Journal of the Korean Society of Costume
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• v.58 no.8
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• pp.106-119
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• 2008

This study explores grotesque characteristics that were raised as the Aesthetics of the Ugly and how it was featured in Alexander McQueen's arts. In a methodological approach, the study attempted the analysis of historical literature that was published both nationally and internationally, along with justifiable investigation using fashion/collection magazines such as Vogue, Gap and Internet search. The scope of this study ranges from 1996's Haute Couture and Pret-a-porter collection pieces modern, to date The results of this study are summarized as follows: The first grotesque characteristic present throughout Alexander Mcqueen's arts is that it featured horrifying images or evil motives with pointy heads or horns, dark colored dresses, silver accessories, Dracula, witches, skulls, soldiers of evil, death and sickness. Second, aversion was realistically portrayed by frightening objects, extreme intimacy and motives that signify death and closely relative to cruelty to human bodies. It also became visible with physical destruction of the bodies and dissecting of internal organs, etc. Thirdly, its expression of humor is out of common sense with distorted human bodies by intentionally overemphasizing certain portion of the clothes or body parts. It also featured strangely deformed bodies by ignoring the typical shapes of clothes, vague definition of gender and using of unusual objects. Forth, half-man and half-beast images are portrayed using various types of bird species or animals to Identify disparity. It further defined this image in the form of non-human cyborg by incorporating technology.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.35-47
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• 2006

This study aims to suggest the Deconstruction theory that is changing and developing by being converted into visual from as cultural code which reflects the spirit of the times and art style as well as to analyze the phenomenon of deconstruction expressed in the Fashion photographs. Fashion photographs are historical documents presenting us with the evidence of the ideal body types and culture throughout time. Fashion photographs is direct information about the fashion itself, and at the same time, it transmits various circumstances of the times. Fashion photographs has opened a new aspect called visual communication, when it's seen in new, more profound way, instead of being locked in its visible frame. Photograph is no longer a mere means to preserve documentation or pursue artistic expression. Instead, it's now regarded as a way to pursue visual transmission owing to its cognitive psychology, and this is a remarkable step toward new thing. In this study, the possible visual information function of photograph was explored from diverse aspects, such as the combination of photo and design, its linking to printing technology's mass production function, or the development of its imagery symbolism. This study shows that the nature of deconstruction can be explained as deconstruction of the sexes, deconstruction of the time and space, and deconstruction of the genre.

• Journal of the Korean Society of Costume
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• v.56 no.5 s.104
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• pp.89-104
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• 2006

The purpose of this study is to explain how a power group in a society forms features of sexuality in dress. As for the research methodology, first, historical research was undertaken to study in socioeconomic context in which sexuality has been formed and transformed. Second, demonstrative studies on sexual-image styles were undertaken through the analysis of pictures and photos. Third, analysis of the relationship between the power and sexuality in dress was done by literature research. Masculinity in dress, such as simplicity and concealment, corresponds to the attributes of the viewer, and femininity in dress, such as decoration and exposure, corresponds to the attributes of the viewee. Power struggle is the complex process of forming of the viewer-viewee relationship. The one who grasps the power becomes the viewer. In the shift from the Industrial Society to the Information and Technology Society, powers are horizontally spread over the society and the stereotype of sexuality in both women's and men's dress is fading out. In the field of design, standards and certainty described by absolute power are losing their importance. The 'chaotic' view of a world filled with mutual exchange of masculinity and femininity and uncertainty of sexuality will be sure to be a dominant trend in fashion.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.73-84
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• 2005

Collections in the buddhist statue owned by Dr. Jong-Hm Baik(白宗欽) included 3 ancient documents and 2 wooden cylinders that showed a clear historical order. The temple and buddhist statue that these objects were belonged to were not known, however, according to the document, it could be inferred as Chunsukwaneumsang(천수관음상) created in 1322 and reformed in 1614 from the list of donator for the statue. Inside a wooden cylinder, a bundle of ivory, yellow, green, orange, and dark brown fabrics that were folded up and tided up with 5 different colored thread strands and aromatic trees and rice plant was placed on the bottom. All the fabrics were silk. Three thread strands were silk. The white and blue strands were cotton fibers as a result of analysis of IR spectrum and the microscope. According to a radioactive carbon isotope dating by accelerator mass spectroscopy, years before present was 160$\pm$40, and cablibrated ages were 1680-1890 (79.3$\%$), 1910-1960(16.1$\%$) in 95.4$\%$ probability. Accordingly, the fabrics in the buddhist statue proved to be reformed in 1614 not the original ones in 1322.