• 복식
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• 제51권5호
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• pp.157-173
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• 2001

In fashion, there are various cultural aspects that exist in complexity, where according to the era, even fashion items newly develop and prevail into various designs in the organic function with reality of related cultural phenomenon and aesthetic aim. Among the fashion items, the shoe is historically considered as the shield from lust and also the provision of praise against the most emotional incitement. Mankind has started wearing shoes out of the functional purpose of protection since the ancient Egyptian times. Thereafter humankind has been creating shoes artistically in respect to shape, color, and quality of material, etc, as an expression of aesthetical awareness and introspective desire for beauty. As modern fashion increasingly regards the total fashion image much more important than each items consisting the whole outfit, the role of shoe became essential more than ever. Contrary to its relative importance, little academic attention was given to this area yet, while prestigious museums and galleries in Europe and the USA have held exhibitions of shoes in view of both historical and artistic aspects. This study aims to make a historical inquiry of western shoes. through which their aesthetic values can be drawn. Literature on this subject including aesthetics, history of costume and arts were referred. Fashion magazines and catalogues were investigated for additional information. The process and results of this study are meant to be a suggestion not only to further studies but also to artistic and creative shoe design. Originated for the functional purpose, shoes have evolved in various shapes with different meanings attached to it. When the technological development made the satisfaction for functional needs possible, the intrinsic attribute, the aesthetic value was pursued. The historical contemplations of shoes from Egyptian times to the 1990's led to the results that the intrinsic aesthetic value of shoes can be summarized as follows: 1) protection and extension of body, 2) need for decoration, 3) erotic expression, 4) symbol of dignity and class, 5) fashion.

• 복식문화연구
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• 제21권1호
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• pp.31-41
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• 2013

By researching Western equestrian clothing, this study investigated the process in which styles of menswear are introduced into women's sportswear. In addition to women's equestrian clothing shown in paintings and illustrations kept in overseas museums, this study also analyzed books addressing 200 years of Western dress style history, from the late $17^{th}$ century to the $19^{th}$ century. The analysis data present the design characteristics of women's equestrian clothing according to different periods. A total of 21 works were used as research data: two from periods prior to the $17^{th}$ century, three from the $17^{th}$ century, ten from the $18^{th}$ century, and six from the $19^{th}$ century. The research results show that items of trendy menswear were commonly used in women's equestrian clothing during the late $17^{th}$ century - to be specific, in all forms of clothing worn on the upper body, including coat and cravat, tricomhat, and accessories. Women's equestrian clothing after the $18^{th}$ century took the form of menswear. However, the uniform was also generally worn with a fitted, tailored redingote on top of the robe, along with pants. In the $19^{th}$ century, women's equestrian clothing became longer in length, like men's styles. The uniform gradually lost volume, and the jacket became shorter and narrower. In addition, the drawers were replaced with pants that came down to the ankles, which were similar to men's trousers. Breeches also became knee - length, thus following the style of menswear. These results show that women's equestrian clothing, worn during horseback riding, a sport previously enjoyed by Western aristocrats, were similar to what men wore. Also, in contrast to the distinct differences seen between men's and women's daily clothing, the equestrian uniforms of women showed a tendency to follow the clothing style of men.

• 복식문화연구
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• 제7권3호
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• pp.35-49
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• 1999

The North Pacific Arctic region has common factors such as climatic characteristics and similarity of animals inhabiting the region. But also there exists geographical barriers that separates the tribes, different languages between the tribes. Although there are such differences, the clothing and ornaments of the region have relatively similar design and style. And above all possess the ‘spirit’. The tribes find the motives of such ‘spirit’ in human, animal, and soul\`s adaptability to change and in grafting such changes of forms into clothing. Especially as means of pleasing the animal that they vitally rely on, the tribes made the clothing as beautiful as the nature itself and they tried to connect the humans and animals universally through such clothing that have social, artistic, and enchantic conditions. The supply of raw materials of animals has elevated the creativeness one step up and the precise knowledge about fur show their superior techniques in making fur clothing. The use of gutskin has is an excellent example of such knowledge, which is very unique of the region. The gutskin has moderate plasticity and thus can be cut into all sorts of pattern. It harmonizes the functionality and practicality. The worldwide fashion trend is dominated by Western style, but the clothing of this region is still keeping its distinctive folk identity. At the start of the research, Kayak and itelmen tribes of Asia, the tribes of Amur river and Aleut and Tlingit tribes of North America seems to be geographically too far from each other and therefore searching theoretical background for common cultural origins seems to be immoderate. But lighting the fact that geographical adjacency that can be perceived through costume cultural history, is the most important factor that gives mutual influences to costume culture between the neighboring tribes, cultural relative similarity of the costume is influenced by geographical location rather than physical distance between the tribes. Also humans\` adaptability to their environment is seriously contaminated with man-made products. This study on North Pacific Arctic region is telling us many things about our past, present and future.

• 복식
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• 제23권
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• pp.111-130
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• 1994

The purpose of this study was to illuminate eroticism represented din modern fashion. Art based on sex is very important like all of the other cultural values. But we feel that erotic art, neglected, suppressed , and persecuted for centuries, has an important contribution to make to the understanding of art, the social history of mankind, and human happiness and progress. It is our deep personal conviction that erotic art serves important social and therapeutic functions. Erotic art expresses the demand for sexual freedom-a freedom vital to individual happiness and mental well-being, And sexual freedom, in turn, cannot exist without a high degree of political and economic freedom as well. In that sense , erotic art came a truly revolutionaly message ; it demands no less than extension of freedom , not only in the sexual are, but in every sphere of social life. What is eroticism \ulcorner Eroticism must be distinguished from a mere animal reproduction . Eroticism is deeply rooted in the cultural tradition of myth, religion , customes and art. It also has a close relationship with psychological activities of our life. Eroticism is a kind of psychological revolution in the development of human civilization. Eroticism is related to different kinds of art, which express internal spirit of human especially Surrealism. Surrealism is above all a movement of the conquest and deepening of the unconscious. The exploitation of Freud's discoveries opended a new, practically unlimited path for artistic studies to Surrealism . Especially all theory of mental psychoanalysis a affected artists greatly in western art, Freud was appraised highly on his achievements by art critics in art history on his achievements by art critics in art history. As far as erotic subject matter was concerned, Surrealism provided a means of presentig it. Pop Art is not actually a movement , born at a specific time and place, nor is it an easy concept to define. The term first appeared in Great Britain during the fifties, when it referred, particularly in the decorative arts, to an inclination to go back and imitate the stereotyped images of the mass media : film, advertising , cartoons, and other popular consumer products. The eroticism expressed in Pop Art calls the modern's attentions to their devastated minds, taking advantage of the commercialized sex. Fashion has developed constantly reflecting the spiritual aspiration and social and cultural phenomona of man , and artistic steam. Eroticism in fashion is the style which expresses the internal meanings of sexuality through the texture, color, pattern , silhouette etc.

• 복식
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• 제57권5호
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• pp.123-139
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• 2007

Since the late 1980's, the number of research papers published in the Journal of the Korean Society of Costume(JKSC) has increased. The JKSC is usually known for its focus on issues relevant to the aesthetics of dress, fashion design, and the history of Western or Oriental dress. The main goal of this paper is to link the academic importance of the fashion marketing field to the expansion of the journal and society. First, we defined the scope of the fashion marketing field, based on a literature review and general practices of other competitive societies and journals. First, we reviewed the curricula of the fashion marketing field from 49 universities in Korea. Next, we examined the research topics and methodology of 271 papers in the fashion marketing field published in JKSC since its first issue in 1977. By comparing the findings from the curricula and research, we drew conclusions for the fashion marketing field of the journal and society. We found that the approximately 80% of the fashion marketing courses provided at the undergraduate level are related to merchandise planning and selling processes from the company perspective. However, in more than 85% of the research papers, consumer characteristics and decision-making processes were the main focus and were used as key variables. These findings imply that more various methodological approaches are required for the research to enrich the theoretical background which, in turn, can support curricular development in fashion marketing field. The fashion marketing field in JKSC and society should make the most of accumulated knowledge in product design, symbolic aspects of fashion, and the qualitative approach in the research topics of the JKSC and society.

• 복식문화연구
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• 제17권3호
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• pp.407-423
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• 2009

The purpose of this study is to analyze Bakst's stage costume illustrations for Ballets Russes. The Russian Ballets has renown in the West since the early 20th century. Diaghilev first made his name as the organizer of art exhibitions in Russia and Western Europe. Diaghilev risked presenting only ballets in 1909, that time Bakst designed $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu and Le Carnival. $Sch{\acute{e}}h{\acute{e}}razade$ was something new which overwhelmed the French people by then. It was seen to be the achievement of Wagner's idea where all the elements; the music, the design, the choreography, and the dancing fused into a perfect whole. The entire production was a hitherto unseen harmony of colors, sounds and movements. For the 1911 season in Paris, Diaghilev planned to present six new ballets and Bakst designed four ballets. Bakst's design of the set and the costume greatly shocked the audience. His "Originality" shines on the fact that he introduced a palette of colors in theater for the first time in history. He used a magic of colors to suggest the secret meaning of what was happening on the stage. The results can be divided into three distinct characteristics. First, oriental designs such as $Cl{\acute{e}}op{\hat{a}}tre$, $Sch{\acute{e}}h{\acute{e}}razade$, L'Oiseau de Feu, La $P{\acute{e}}ri$ and Le Dieu Blue with Russian, Indian and Persian traditional design in headdress and accessories ars found. Second, Le Carnival and La Spectre de la Rose used romantic styles with oriental details. Third, Greek chiton and Himation are used in Narcisse, $H{\acute{e}}l{\grave{e}}ne$ de Sparte, $L'Apr{\grave{e}}s-Midi\;d^{\grave{\;}}un$ Faune and Daphnis et $Chlo{\acute{e}}$ inspirde with various colors and geometic patterns. Bakst's orient of lush colored costumes, head dress, cushions, rugs and hangings became the immediate fashion imitated by Parisian couture houses and interior decorators.

• 복식
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• 제59권5호
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• pp.71-82
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• 2009

The purpose of this study is to help understanding of patterns and to play a guideline's role in the development of designs and the prediction of trends for present and future fashion designers and textile designers. The methods of this study are the study of academic literatures as well as practical study through the analysis about actual works. The results of study are like followings. An inquiry of Pattern history in 20c is divided into six periods by the classification of styles and the styles of fashion culture according to other artistic formative will. Main trends of Pattern's image in each period and characteristics in each dimensions of Pattern image positioning are like followings. Art Nouveau style period from 1900 to 1910 is , Art Deco style period from 1910 to 1920 is , Elegance style period of 1930s is , and New Romantic style period from 1945 to mid 1950s and Pop style period from late 1950s to mid 1970s does not show main Pattern image but they are shown in four Pattern image of , , , . Compromising style period from late 1980s to 1990s shows all of four Pattern image, at the same time shows intensive main Pattern's image, .

• 복식문화연구
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• 제9권3호
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• pp.398-411
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• 2001

Funeral rites relate to the last ceremonies involving the process of human beings moving from this world to the other world, becoming part of a life which remarkably reflects the world after death. They can be said to be the best culture created by the conception of death. The ceremonies of mourning, or ubiquitius folk phenomena of all the ages from the ancient times to modern times, represent the mass belief of each nation in spiritual worlds as well as the feelings of individuals facing death. In so far as their methods are concerned, the ceremonies vary in accordance with ages, nations, regions and culture. The practices of today\`s funeral rites conducted in the West have been formed and changed throughout its long history. Now that the ceremonies are a combination of complicated cultures, they serve as an important tool for inquiring into the spiritual life of the people of an age in question and the pictures of the society concerned. Therefore this paper is designed to look into the culture of shrouds showing respect for the dead in the West. With the view of examining death, and grave clothes for them, but also with the spiritual culture of human beings in relation to death represented in their pictures. I resort to literature and materials related to the shrouds of the dead which appeared in a period from the Medieval Age to the 19th century.

• 복식
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• 제59권2호
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• pp.87-100
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• 2009

This study examines black images as 'the other' in history and aims to analyze images of black female fashion models which have been changed in modern society, particularly in $21^{st}$ century post-modern world. Black images, established historically as illustrated on the paintings in $19^{th}$ century, were disseminated in $20^{th}$ century throughout the world especially by way of TV and movies as several typical images such as 'Coon' the clown as the object of entertainment, 'Buck' wild and resistant black rascal, and 'Mammy' obedient and fat black woman servant. The result of image analysis of black female fashion models, can be summarized as following five images. The first is the image of 'powerful'. Black female models frequently represent healthy image which reflects black people's excellence in sports and also the traditional Image of black skin color as strength. The second is the image of 'sexy'. They are adored as having perfect ideal body shape. They show off their sex appeal with their body. The third image is 'multicultural'. Black models represent cultures besides the western. The fourth is the image of 'fantastic'. In contrast to the real, resonable things, black female models represent wild, fancy, ghost things. The fifth is the image of 'racial discrimination' By arranging them in contrast to whites, a metaphoric image of racial discrimination can be displayed. The result shows that tome of racial images still remain on the other way.

• 복식
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• 제56권7호
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• pp.31-41
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• 2006

The purpose of this study is to formulate a concept of naturalism in fashion and verify the design characteristics found in such designs via reviewing the concept of naturalism and its influence on dress making in different periods in history. The references from various academic fields including philosophy, literature and fine arts were used to examine how the naturalism was formulated over the years. This study was then to identify the naturalistic influences by closely examining various Western dress codes found in literature, publications and actual samples. The results of this study shows that the close examination of naturalism in fashion with the changes of times displayed the complex evolution process over the years, and they were classified by four distinctive categories; Retro, Ecology, Primitive and Ethnic. Naturalism in the contemporary fashion design showed higher frequency of adopting ecological and retro styles, especially retro style adoption being on the rise, combining wide range of partial components of each style. The color usage showed the skewed concentration on YellowRed, Red and Yellow colors with pale, light grayish and grayish tones.