• Journal of the Korean Society of Costume
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• v.57 no.1 s.110
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• pp.118-129
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• 2007

Overflowing of fashion information that is derived from the development of various mass media has rather hindered adopters from appropriately screening fashion information. Thus, responsibilities of fashion journalists who play a role of communicating fashion information have become heavier. Fashion journalism may be defined as 'delivery of modes and involvement in production and logistics'. Since it connects fashion and culture industries with the public by reflecting fashion from diversified perspectives, the role of fashion journalism should never be overlooked in terms of culture as well as industry. This study analyzes fashion journalism from fashion-advanced country by reviewing the fashion journalism from the US, which is so-called fashion-advanced country and analyzing the contents of Vogue USA. This study made a historical review of fashion journalism through a reference study, and from a total of 24 volumes of Vogue USA from January 2004 through December 2005 classified articles by functions, tones, contents, and brands, pictorial records by functions, images, and brands, and ads by brands, quantitatively analyzing them. Further, through a case study it explored those articles and pictorial records which featured national characteristics in the USA, and examined how the fashion journalism in the USA imaged the fashion in the country. In addition, it tried to elicit the characteristics of fashion in the USA as a conclusion by categorizing those images while reviewing previous studies. The results show that Vogue USA features American fashion definitely. Thus, consequently it is easy to find images of American fashion in pictorial records, let alone categorizing them.

• Journal of the Korean Society of Costume
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• v.64 no.3
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• pp.155-164
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• 2014

This paper discusses the social changes in the late 19th century that provided a historical background in the appearance of the ready-to-wear clothing in the West. It examines the social meanings of the appearance of the ready-to-wear clothing at the time and traces the origins of these social characteristics to the book published in the $16^{th}$ century by Thomas More, Utopia. The results of this study can be summarized as the following. First, the appearance and expansion of the ready-to-wear clothing coincided with the social transition from a class-based society to a democratic society in the west in the $19^{th}$ century. Second, uniforms were produced in the $18^{th}$ century Europe in order to distinguish different classes and ethnic groups, with the military uniforms being the most visible example. Frequent military campaigns in Europe resulted in the increasing demand and expansion of military uniforms, which later became the basis of the standardization of the men's clothing with uniforms. Third, the women's ready-to-wear clothing appeared later than their male counterpart and was made possible by the simplification of design, an important characteristic of women's wear in the later period. Fourth, the social characteristics of the ready-to-wear clothing can be traced to a democratic and egalitarian society without personal properties that was depicted in the book of Utopia by Thomas More. Fifth, one of the characteristics of the ready-to-wear clothing can be found in the description of Utopia, in which everyone in Utopia wears a clothing of the same form for life.

• Journal of the Korean Society of Costume
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• v.15
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• pp.217-231
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• 1990

The purposes of this study were to research 1) the background of origination, 2) the process of development and 3) the influences to modern clothing culture of American sportswear. The most Influential sportswear designers in America from beginning period to present : such as Claire McCardell, Calvin Klein, Ralph Lauren and Donna Karan were selected to study their life and achievements in the world sportswear market. The Results were as follows : 1) World War I & II have caused the greatest changes to modern history America became the center of world economy, society and culture. Politically, they have influenced democracy world-wide and raised the social status of women. The free American women enjoyed sports, Jazz drinking and car-driving. The advanced technology have accelerated mechanization and mass-production to the fashion industrv. 2) The above historical backgrounds have caused to change women's clothing to casual, practical and simple form. Dorothy Shaver at Lord & Taylor began promoting American designers who created the original American spirit. Claire McCardell created the seperated American sportswear to become world-wide fashion. Calvin Klein and Ralph Lauren, the sportswear designers who have the unique American feeling have come to have riches and fames equal to the top designers in Paris. 3) The American sportswear and fashion industry influenced Paris Mode, the traditional Haute Couture to open Pret-a-porter-a-porter. The concept of seperated coordination in American sportswear have promoted the advanced marketing techniques and merchandising systems to modern ready-to-wear industry. Fashion in 1980s have increased the mutual interdepedence between the American sportswear industry and the creative Paris Mode. And then, the fashion world in 1990s and 21C will be changed and developed on the basis of American sportswear mechanism.

• International Journal of Costume and Fashion
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• v.6 no.2
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• pp.11-27
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• 2006

The purpose of this study is to develop highly valued fashion cultural items using Korean face and human images to enhance global competition. The methods of this study include: historical study on the face/human images which appear on the dress; design by stage according to Lamb & Kallal's apparel design process; development of products using digital textile printing technology; and case study by objective evaluation through Grant's alpha-beta model. The procedure and the results of this study are as follows: First, in the problem identification stage, the need to develop fashion cultural products of Korean face/human images which are symbolic, aesthetic, and functional was recognized in order to enhance global competition. Second, in the preliminary idea stage, the fashion cultural products and the components that meet the above 3 standards for design were determined and first design was drawn up. The source of the design was extrapolated from face/human images, which appeared on the murals of the ancient Korea, the portraits and custom paintings from the Chosun Dynasty. From these images, a total of 7 design series of T-shirts with an "ULGUL" logo, scarves, and artwalls were developed using "obangsaek" which are five Korean traditional colors including red, blue, black. white, and yellow on cottons and silks. Third, in the design refinement stage, based on the preference survey, more varying design methods were used to develop 25 new designs. Fourth, in prototype development stage, based on the preference survey conducted on fashion professionals and general public from the previous stage, which showed preference for T-shirts and scarves, 3 designs on T-shirts and 2 designs on scarves were printed and produced using the DTP (Digital Textile Printing). Fifth, in the evaluation stage, Grant's alpha-beta model was used to perform comparative evaluation on the symbolic, aesthetic, and functional criteria of the new designs over the existing ones. The new designs received excellent results in all three criteria and a special recognition was given to symbolism of the new designs.

• The Research Journal of the Costume Culture
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• v.21 no.4
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• pp.596-605
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• 2013

The purpose of this study is to classify and recreate the grooming styles of facial hair sported by noblemen during the Joseon Dynasty. Using existent portraits painted during this period as corroborative materials, this study has identified the traditional grooming styles of facial hair sought by noblemen in this age. This study has utilized 30 facial hair styles found in the portraits of noblemen inherited from the Joseon Dynasty, which take up the majority of the portraits currently remaining in Korea. To recreate grooming styles of facial hair, this study has divided facial hair into three types according to its location: beards, moustaches and whiskers. Based on the analysis of these divided grooming styles, this study has recreated grooming styles of facial hair by using artificial modelling heads, artificial hair, artificial glue, scissors, and a comb. The grooming styles of facial hair recreated by this study are closest to those that noblemen sought and did wear during the Joseon Dynasty. The results of this study are as follows. First, they groomed their moustaches in the 八 shape. Next, they wore their beards in the shape of an inverted triangle. Finally, they also grew and groomed whiskers. Though there are individual differences in the location, length, and volume of facial hair, noblemen in the Joseon Dynasty generally sought to wear their facial hair neat and long. Little research has been done to recreate and present noblemen's grooming styles of facial hair focusing on portraits. Thus, the findings of this study are expected to be utilized as basic materials for the education and research of grooming styles of facial hair according to ages. They can also be used as basic materials for recreating facial hair in historical dramas.

• Journal of the Korean Society of Costume
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• v.52 no.7
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• pp.139-154
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• 2002

This study selects mannequins. fashion models. and fashion photographs as communication media to express the beauty of an ideal body. Each medium is discussed by the denotative and connotative aspects through the semiology. First, the mannequins are the most concrete medium which can form women's ideal body types and reproduce images in which the idealistic human body are coded in various figures. It embodies such various figures of the modem society by being replaced with the symbolic representation of our intrinsic·extrinsic forms. From a denotative view, the mannequins can be explained by ideal body types and expressive tools. The mannequin has implied connotative meanings of the similarity and dissimilarity between the actual body and itself. Second, fashion models have played a role in transmitting fashion images and presenting the ideal body. As fashion has adopted the body as its object fashion models have been used to express an ideal body. The development of the mass media in the 20th century has defined the standard of the beauty, Both the relationship between fashion designers and fashion models. and the standardization of beauty and fashion models are reviewed from a denotative view. Fashion models imply connotative meanings of the figurative and the controlled property. Third, fashion photographs are historical documents presenting us with the evidence of the ideal body types and culture throughout time. The photographs could be adopted as proper means to express fashion. having realistic and practical expressional functions, and it can be said that the realistic and practical expressional function of photographs has served as a suitable means for express fashion, and fashion photographs are discussed. The fashion photograph has the reproducible and the symbolic property.

• Journal of the Korean Society of Costume
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• v.61 no.4
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• pp.14-23
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• 2011

The present study aims to apply the theory of Brecht's 'Verfremdung' or distancing effect to the process of fashion design. The distancing effect refers to an avant-garde artistic technique that enables artists to create their works by viewing particular objects separately from the phenomena that occur around those objects. Brecht encouraged a sense of purpose that involved shifting to the new society sought by modernism. He also suggested an artistic approach that isolates perception from judgment 'Verfremdung' which reflects his approach well. In this paper, with the distancing effect considered as a method for creation, the author identifies the system of thought associated with the distancing method and applies this system to fashion design. To this end, the author first reviewed the concepts of 'Entfremdung' (alienation) and the distancing effect and studied the backgrounds of the two concepts. Next, the author identified Brecht's epic theory and its application. As a result, a method of perceiving objects as used with the distancing effect was noted, and this method was utilized to distinguish the relationship between the body and its clothes. Specifically of interest were parts of the human body and the related functions of clothes as well as the motor functions of the body and detailed decorations on clothes. Moreover, the author discovered a trend in the wearing of clothes that exists in the context of historical changeability by examining Brecht's work as it relates to the types of clothes that are worn. Finally, the author applied the distancing effect to fashion design in consideration of the discovered trend.

• Journal of the Korean Society of Costume
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• v.57 no.6 s.115
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• pp.17-31
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• 2007

Fashion of one period is symbolic and figurative means of expression reflecting spirit, ideology, emotion and aesthetic values of that period. Designs of school uniforms fer girls also went through changes in various shapes along with changes in sociocultural and philosophical backgrounds in each period. Thus, in this study, in examining girls' school uniforms, how girls' school uniforms have evolved with what kind of design characteristics was observed along with process of historical changes, and investigation was made on realistic conditions of girls school uniforms since 1996 when active advancements in school uniform design were started. Also, through examination of girls' school uniform designs from homepage of large student uniform companies and catalogues, characteristics of girls' school uniforms after 1996 were observed. On the result, we could know that girl's school uniforms from 1996 to 2006 were designed in various forms compared to those of the past time and changing Arends of the era were reflected on the school uniform designs. Narrow waistline, shorter blouse, changes in the length of jacket and skirt showed that current school uniform designs pursue the fashionable and trendy designs unlike those of the past times that were uniform and strict. This study include organizing characteristics of girls' school uniform designs by each period, providing fundamental and realistic data for clothes manufacturing and marketing activities through analysis on designs of girls' school uniforms since 1996, and providing directions for future school uniform designs.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.167-179
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• 2005

Skirts hold an important position in dress culture among various dress forms, being worn by more than half of mu. In this study, Chima is defined as garment for lower part of the body without crotch sewing, contrasting with trousers. The authors classify and compare the formation of the skirts of minority races in Yunnan area, based on Korean Chima, understanding the forms of skirts and examining the composition, color, pattern and material. For the study, the authors investigated 57 pieces of skirts among 341 pieces of minority races dresses from Yunn Nationality Museum collection exhibited at Korea Folk Village in May 2003, and referred to customs materials and photos in various literatures. Skirts in Yunnan area are divided into 6 areas, that is, seamless one-piece skirt area, wrapskirt area and mixed type skirt area. Skirt formation factors from the effect of environment such as climate, lifestyle and means of production were studied, and characteristics, differences and similarities were reviewed. Figure of skirts are studied by compostion, color, material, and technique. By composition, they can be classified based on the similarity to Hanbok (traditional Korean dress). By color, worshipped color and preferred color vary by races and by area. Materials vary in kinds and thickness by area with various climate. By technique, national characteristic patterns are inherited through national traditional dyeing and embroidery. It is not easy to conclude based on single item of skirt, but we suggest that national dresses have been settled through the mutual supplements between the effect of social and cultural exchange such as historical inheritance, geological environment, religion and production activity and the various forms of skirts from changes in shape, color, material and wearing form of dresses.

• Journal of the Korean Society of Costume
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• v.54 no.8
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• pp.129-146
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• 2004

The Purpose of this study is to search the characteristics of aesthetic sense from the spiritual root of anti-decoration culture in contemporary Japanese fashion and find the aesthetic meanings inside contemporary Japanese fashion. This study considered contemporary Japanese fashion design from 1970 to 2000 to figure out the anti-decoration culture in contemporary Japanese fashion. The contents of this study are 1. surveying the historical change about the aesthetic sense of Japanese anti-decoration culture. 2. deducing the distinctive aesthetic ideology from the anti-decoration culture 3. finding aesthetically the inside meaning of anti-decoration culture in contemporary Japanese fashion. The conclusion on this study is as the followings. Anti-decoration culture has three aesthetic ideology. First, faintful aesthetics implies the aesthetic ideologies of Wabi, Sabi from Heian period and it appears the aesthetic sense to be natural beauty. simplicity, minimalism and temperance. Second, ambivalence aesthetics is based on nothingness and has the characteristic of multivocal and variableness without biased view. Third. playful aesthetics has the meaning of humorous. witty and mischievous which is the basic factor of Japanese formative arts. The aesthetic range of this study are the beauty of simplicity. poverty, incompletion, vagueness and humor. First, beauty of simplicity is composed of minimal lines and area through strict temperance and elimination. Second, beauty of poverty came from the aesthetic concept of Wabi which means honorable poverty and plainness. Third, beauty of incompletion means emptiness which is within the range of possibility. Forth, beauty of vagueness could be explained as incorporeal, colorlessness and voiceless. Fifth, Okashi which was the middle ages in Japan, shows the vein of humor in anti-decoration culture. As a result, anti-decoration culture does not mean the opposite of decoration culture, but accomplishes extreme artificial beauty by strict temperance and elimination. Also it is concerned as intentional poverty of decorative effect.