• 한국의류학회지
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• 제42권1호
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• pp.159-171
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• 2018

The apron, which corresponds to an important clothing form, changed according to the taste, age, appearance and meaning of the wearer as well as from past to present. Decorative function and practical functions appear in the costumes of the East and West. Anak No. 3 tomb, Korea's 4th century Goguryeo tomb mural, was depicted in the form of a woman wearing a white apron and working in the kitchen, which is similar to that of a current kitchen, and the shape and purpose of the apron is similar to the present one. The characteristics of Korean aprons are summarized as western similarity, traditional reproducibility, and practical functionality. The U-shaped apron with the hem decoration of Goguryeo is similar to the apron of Crete with a rhombus pattern and hem decoration. Despite differences in time, it can be seen as traces of a cultural exchange across the East and the West. In addition, Korean skirts were decorated with wrinkles and a hem decoration based on rectangles. It is a reproduction of a traditional skirt and is different from a Western apron with a chest strap. In the Anak No. 3 tomb mural, women were wearing the first aprons that showed a practical functionality and not a decorative use.

• 한국의상디자인학회지
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• 제6권1호
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• pp.46-54
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• 2004

In this paper, It is examined the patterns of fashion style in the history of subcultural clothing from 1930s to 1960s, focusing on the way each generation resisted the main stream through its styles. The subcultural styles examined and classified in this study are mainly British and American, with a few European and Western Indian styles included. This study understands subcultural style as a way of deviate or resistant expression within a society. The patterns of subcultural styles presented in this study are based on their form of resistance, and they are classified as follows: The pattern is revision, which tries to revise and change the given form by adding new elements. There are two kinds of revision, one is dressing up, which dresses for success, and the other is minimal dressing. Zoot, caribbean, western, teddy boy, rockabilly style are included here. As minimal dressing, there are hipster, beatnik, modernist, mod, rude boy style. In conclusion, it can be said that subcultural style puts the foremost importance on individual freedom. The new and significant development can be found in the fact that subcultural style emerges as a dominating force in our culture. This implies that the energy of a subculture is essential as a formative force of a fashion world.

• 복식
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• 제54권6호
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• pp.101-117
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• 2004

Opposed to following the contours of the human body, the voluminous enlargement in costume, which characterizes the distinguished enlargement in space rather than the contour of human body, mean the enlargement aspect involving the vertical protrusion and the expansion of shape and volume as well as the extension of length. The costume enlargement as a different method of expression is a symbol showing a meaning of something and an aesthetic expression containing man's will. This voluminous enlargement of costume, as an aesthetic expression, has different formative characteristicsand immanent meanings according to ideals and thoughts as well as social and cultural background of each age Accordingly, the aesthetic consciousness also differaccording to the change of the times. To study the aesthetic consciousness of costume's voluminous enlargement, focous had been given to milieus that show comparatively conspicuous voluminous enlargement Periods that have been subjected to this study include costumes of the ancient Egypt, the Gothic period in the Middle age, the Renaissance, the Baroque Rococo of the recent times, and the modern era (Empire, Romantic, Art Nouveau. etc) With focus given to the principle of design obtained through this study were used to analyze the aesthetic characteristics, Futhermore, based on the spirit of the times and the socio-cultural symbolism, research on immanent meanings, as supported by objectivity and universal validity, was also made, the enlargement beauty of costume had been placed under the aesthetic category and, by interpreting the analogies of presented in aesthetic consciousness, the true nature of the voluminous enlargement in costume had been traced. To Conclude, the aesthetic consciousness of the voluminous enlargement of the costumes in history was found to have following characteristics: (l) Metaphorical (2) Unlooked-for irregularity (3) feeling of satisfaction driven by self-enlargement (4) Dignified sublimity (5) Symbol of wealth and class (6) Ceremonial dignity (7) Tradition of the nobility (8) Aesthetic ornament (9) Ideal contour of the body

• 복식
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• 제61권7호
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• pp.35-50
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• 2011

In this study, repression of the body is defined as a restriction on natural developments or movements and a modification either temporarily or permanently of the human body in shape, color, texture and odor. In addition, it involves physical and (or) mental pain. Chinese foot-binding and the Western corset are extreme examples of female body's being repressed in the history of fashion. The analysis of this type of repression will be based on historical research and theoretical concepts such as Darwin's (1809-1882) survival condition, Freud's (1856-1939) renunciation of desire, Weil's (1909-1943) privilege, and Foucault's (1926-1984) L'Usage des Plaisirs(the use of pleasure). Chinese foot-binding symbolically represents ideal beauty, the distinction of an ethnic group, and a desire for improved social status in the struggle for political power. It also represents psychology and a esthetics of eroticism and fetishism that originate from a man's desire and his individual taste. Symbolically, the Western corset represents abundance and fecundity, obedience and devotion to religion, the sanctity of God and ideal beauty as defined by political power. It also represents psychology and aesthetics of eroticism and fetishism as man's desire and a fashion icon. In conclusion, Chinese foot-binding was pursuit of power in male ideology but Western corset was a power struggle between God and mankind.

• 복식
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• 제39권
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• pp.167-179
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• 1998

The objective of this study is to examine the costumes of the period covered in the writings of Shilhak (practical science) scholars and to research the history of costumes and their characteristics by examining how they are worn in genre paintings which are said to describe the actual life of the period. This should be studied in order to correctly establish the history of costumes. To begin with, through the writings of the representative Shilhak scholars who are thought to have affected the changes in ordinary costumes for woman, this study examined how ordinary woman of the period looked in their costumes and how they regarded various costumes they had. Then, how their viewpoints of costumes influenced ordinary costumes was investigated. Not only relics, but what was commonly worn, as they appeared in the genre paintings that contain information about daily living of that period, were researched chronologically. The results of this study showed that the change in ordinary costumes for woman in the late Chosun period was affected by Shilhak scholars who had ideologies of Shilsakusi (use of positive methods in studying), Yiyonghusaeng (the promotion of commerce and industry and the development of techonologies), and Ky ngsech'iyong (pursuit of stability in a rural economy). Moreover, after those changes there were many more changes. However, the criticism of costumes of that time and the will of revolution affected some time, costumes changed directly. The forms of the costumes had been changed in a variety of ways following the tendencies of the times, but the origin of today's hanbok (Korean traditional dress) had already been fixed in the late Choson period. Yet, today's hanbok are for special occasions, not worn as ordinary clothing. Thus, there are several reasons why the hanbok is not suitable for daily life. One of the reasons is that Korean could not cope with the western costumes indepen-dently imported during Japanese occupation in the last period of the Choson Dynasty and con-tinuing the Japanese Colony. Thus, only a part of the ordinary costume of the late Choson period has remained until now.

• 복식
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• 제59권9호
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• pp.43-54
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• 2009

The purpose of this study was to clarify the meanings of the images of the body-in-pieces in fashion design. This study focusing on the body-in-pieces based theoretically in that, and started to figure out the meanings in western art history. Body-in-pieces images were brought in art to express symbolic meanings to destroy the past, sexual fetish, unconsciousness, desire, fantasy, and to disorganize male-subjective idealistic female image. While in fashion design, body-in-pieces images categorized in three, erotic image, cyborg image, abjection image. First, erotic images in fashion design are fragmented body image, such like lip, hair, eye and etc. Second, cyborg image was represented by 3-dimentional molding image made of metallic materials, and last, abjection image representing death image used skeleton and bone image induced uncanny and sadistic feelings. Body-in-pieces images in fashion design are related to fetishism, uncanny, disorganizing traditional femininity.

• 복식
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• 제25권
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• pp.183-199
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• 1995

Among many different approaches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by including political , militarial , economical , cultural , and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes according to peoples social status. Generally people in high social status wore clothes with detailed decorations invariety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physical activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed it role to affect the clothing styles in Kokuryo. Based on old studies of costume, this study focused on people's life styles that included hunting and weaving . Hunting clothes were differentiated by decorating wit feathers . Jowoguan(조우관) is one of the examples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect , this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however men and women wear were claryly distinguished. Unlike other clothes that were restricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume . Monks wore black clothing (내의) that was influenced from China and the Western Regions(서역). To emphasize their religious power, Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of fire and agriculture wore simple dresses without much decorations which represented simple life style of working class.

• 복식
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• 제25권
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• pp.185-199
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• 1995

Among many different approches of study of history of Kokuryo clothing culture, this study attempted to understand the costume by in-cluding political, militarial, economical, cul-tural, and religious aspects of Kokuryo society. It also included pictures in mural tumbs and old studies in Kokuryo costume. Clothing culture related to political life clearly differenciated social status by restricting styles and colors of clothes accord-ing to peoples social status. Generally people in high social status wore clothes with detailed decorations in variety of colors, and also used more fabrics than people in low social status. Costume was also affected by military life style that needed to meet the vigorous physi-cal activities. High rank worriors wore iron scaled shielded clothes with red decoration on it which identified different ranks of the worriors. Economy also contributed its role to affect the clothing styles in Kokuryo. Baseed on old studies of costume, this study focused on people's life styles that included hunting and weaving. Hunting clothes were differentiated by decorating with feathers. Jowoguan is one of the exemples. Since weaving was a major economic power or factor, silk and flax were very popular. People even used those fabrics to pay tax. Regarding cultural aspect, this study emphasized on song and dance wear along with active wear. Song and dance wear specially decorated with poka dots, however means and womens wear were claryly dis-tinguished. Unlike other clothes that were re-stricted in colors and styles, song and dance wear were decorated in variety of colors. Lastly this study presents religious aspects of Kokuryo costume. Monks wore black cloth-ing that was influenced from China and the Western Regions. To emphasize their religious power. Gods in the pictures of mural tumbs wore clothes with wings and feathers. God of five and agriculture wore simple dresses without much decorations which represented simple life style of working class.

• 한국의상디자인학회지
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• 제23권2호
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• pp.43-52
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• 2021

This case study developed and operated "Fashion & Film" as a fashion-related liberal arts course. The class was designed to include fashion styles exhibitted in films, fashion-related PPL, fashion design through film, fashion images of movie characters, considering gender & color images expressed in movie costumes, and the history of western costumes and asian folk costumes in films. The class was counducted through various teaching methods, such as lectures, student's presentation of movie plots, and team discussions, which created a student-led class. The team presentations at the end of the term were intended to enhance the understanding of fashion through movies. The results of subjective lecture evaluation of "Fashion & Film" showed the most satisfaction with the communication with professor. Students said that it was good to understand fashion through film. They expressed a burden with the team project; however, they were satisfied with the team project outcomes. Students said that PowerPoint was used very effectively. On the other hand, there was an prevelent opinion that the content of PowerPoint and workbook did not match. To address this inconvenience, a textbook called "Fashion in Film" was published and used in the first semester of 2020. The multiple-choice evaluation showed that students were generally satisfied with the "Fashion & Film" class.

• 복식문화연구
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• 제24권2호
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• pp.273-286
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• 2016

Traditional Chinese operas are time-honored art form, they are vivid in expression, rich in content, embody social, thought-provoking, historical and artistic value. And as a splendid art form and part of China's brilliant traditional cultural heritage, traditional Chinese operas have been developed with Chinese history from generation to generation. Nowadays, with the comprehensive national strength increasingly growing, Chinese government is giving more and more importance to enhance people's awareness of protecting traditional Chinese opera. In actual fact, both Chinese scholars and the other scholars who have done some research in traditional Chinese operas and built up solid foundation for further study. Even though, traditional Chinese operas have not been fully understood by people outside the 5000-year-old civilization, especially what is the close relationship between the apparel and accessories and the names of dramas. Based on this condition, the paper selects and summarizes names of apparel and accessories in traditional Chinese dramas as its thesis, intending to explore the relationship between the apparel and accessories and the names of dramas, analyzing how such names in dramas highlight themes and promote the development of unique storylines. The paper will help Western readers further understand the meaning of traditional operas names' behind these costumes and promote Chinese traditional dramas spreading to abroad.