• The Research Journal of the Costume Culture
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• v.19 no.5
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• pp.970-980
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• 2011

As a type of intimate architecture, fashion has always mediated the dialogue between clothes and the body, or fashion and figure. This study seeks to inquire the current aesthetic consciousness of the body and dress in Japanese avant-garde fashion and intends to research the features and meanings in the pastiche of Western sartorial convention in Japanese avant-garde fashion in order to examine the changing aesthetic attitude in postmodern fashion. The study investigates subjects of the fashion collections of the turn of the twenty-first century, when pastiche strategies frequently appeared in Japanese avant-garde fashion, through the methodology of literature research and case analysis. The results of the study are as follows: by developing the strategy of pastiche, Japanese avant-garde fashion exposes the defectiveness of the Western idea of the idealized and standardized body for mass productions, thus freeing design from its traditional confinement to the human body. Drawing on the re-conceptualization of the sartorial convention of Western tradition, Japanese avant-garde fashion designers tend to experiment with extreme exaggeration in form, refusing to subscribe to the traditional Western values built on the balance and symmetry of the body. Through the combination of the past and the present as well as the inner-wear as outerwear strategy, the historical pastiche challenges convention and symbolism, which results in the discord between signifiant and signifi$\acute{e}$ of clothing.

• Journal of the Korean Society of Clothing and Textiles
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• v.24 no.1
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• pp.24-33
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• 2000

The purpose of this study was to investigate the characteristic and image of oriental costume design on represented among three countries, Korea, China and Japan. The specific objectives were; 1) to identify the design characteristics of oriental costume. 2) to investigate the hierarchic structure of oriental costume image and the meaning structure of oriental costume image. The stimulus were 75 costume design of contemporary costume which represented the traditional image of orient. The main survey of questionary consisted of their evaluation of the oriental costume image by 26 semantic differential bi-polar scales and the subjects were 99 female students majoring in clothing and textiles. The data were analyze by Cluster analysis. Factor analysis, ANOVA, Scheffe test. The major findings were as follows; 1) As a result of design analysis, costume design of Korea, China, Japan had differences on form, color, texture, pattern, ornament, etc. 2) The hierarchic structure of oriental costume image consisted of elegance, sexy, feminine. Through factor analysis about oriental costume image 7 factors were identified; Attention, Attractiveness, Sexiness, Activeness, Weightness, Classics, Classics, Maturity. It was found out strongly that Korean costume image was simple and comfort image, Chinese costume image was sexy and feminine image, Japanese costume image was luxurious and mature image.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.125-135
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• 2015

This study is a theoretical research based on previous domestic and international researches. The case study proceeded by collecting images from periodicals such as International Men's magazine GQ, First of all website(www.style.com) and Vogue website(www.vogue.com) were viewed. The images were selected had shapes, colors, and motives with Japanese aesthetic traits from Comme des Garçons' men's Collections of 2011 F/W to 2016 S/S. The purpose of this study is to find out the possible sources of forms and expressive methods of future fashion through Japanese traditional aesthetics of Rai Kawakubo's fashion world. Designers are expected to continue on using traditional aesthetic beauties of other countries as sources of modern fashion.

• Journal of the Korean Society of Costume
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• v.65 no.6
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• pp.63-78
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• 2015

This study explored culture adaptive attitudes and traditional dress donning practices among Japanese women who immigrated to Korea after marrying Korean men. Quantitative research was conducted on Korean-Japanese multicultural families. Participants were 233 married women who emigrated from Japan to Korea currently living in Seoul and Gyeonggi Province. The data was analyzed using frequency analysis, t-test and correlation analysis. The findings were as follows: First, a positive relationship was found between Hanbok acceptance attitudes(HAA) and Kimono transmission attitudes(KTA). Both HAA and KTA had a positive relationship with ethnic identity. 43.3% of the respondents thought that they belonged both to Korean and Japanese ethnicity, 30.5% to Korean ethnicity, and 26.2% to Japanese ethnicity. Similar tendency (64.8% to bicultural identity, 31.3% to Korean, and 3.9% to Japanese) was found in the ethnic orientation towards their children. Both HAA and KTA had no difference in accordance with nationality, education and income level. Second, 70.4% of women had no experience of wearing Hanbok, and 90.1% had no experience of wearing Kimono. The women mostly wore Hanbok and Kimono for social events and family weddings.

• The Research Journal of the Costume Culture
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• v.15 no.5
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• pp.749-759
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• 2007

As the traditional style is treated as one of the important themes in fashion recently, how to apply the formative character in Korean and Japanese traditional dress to modern fashion is searched through actual analysis of photograph material, Both design formative elements were confirmed by clothing and fashion department majors through visual data so that 20 pieces of them were selected as final analysis object. Korean traditional dress form in modern fashion emphasizes curvaceousness as plane division. On the other hand, that of Japanese shows straight line, layered, belt, big look through up & down connection style. Color in Korean traditional dress prefers white and original color and modern fashion displays the natural beauty through harmony of similar colors ; that of Japanese based on natural color such as persimmon color cherishes natural beauty and implicit moderation showing harmony of various original color with brilliance and neutral color. While texture in Korean traditional dress was fine and exquisite, that of Japanese preferred coarse and tactile ones. In motif, Korea was natural and geometric but Japanese variously used complex and geometric ones. Likewise, the result suggests that the formative character in Korean and Japanese modern fashion affects the modern dress format as new aesthetic sense and takes on more complicated and subtle aspect in basic form, not just use so far.

• The International Journal of Costume Culture
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• v.3 no.1
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• pp.12-20
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• 2000

No Abstract(See Full Text)

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.58-76
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• 2010

In this study, the shapes of po worn by military officers who served During the period of Japanese Invasion of Korea(1592-1598) were investigated. Findings of the study can be summarized as follows. Various types of po that military officers usually wore during the period of Japanese Invasion of Korea includes jikryeong, dapho, dopo, cheolik, aekjureum, jangeui, jungchimak and bangryeongpo. Out of these types, cheolik and jungchimak were most often used by the officers. Po that were usually worn by military officers during the period of Japanese Invasion of Korea as above mentioned is characterized as no difference in length between the front and back of the costume, kalgit and a pair of coat strings which are directly attached to po. The sleeves of the costume are bean chaff-shaped in some cases and just narrowly shaped in other cases. Similarly, the outer seop of po was either double-layered or single-layered. For jikryeong and dapho, mu is usually type of outside wrinkle. For dopo, its rear kit has the inner hem whose right and left edges are usually distant, respectively by 6~16cm, from the back center of the costume. Cheolik and aekjureum usually have either fine or broad pleats. For jangeui and jungchimak, mu is usually trapezoid in shape. Among various types of po which were usually worn by military officers during the period of Japanese Invasion of Korea, most representative are jikryeong from the tombs of Bae Cheon jo, dapho from Shin Yeo Gwan, dopo from general Bak and Bae Cheon Jo, cheolik from Nam Yoo and Cho Gyeong, aekjureum from Shin Yeo Gwan, jangeui from Kim Ham, jungchimak from Bae Cheon jo and bangryeongpo from Cho Gyeong.

• The Research Journal of the Costume Culture
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• v.17 no.4
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• pp.583-599
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• 2009

The purpose of this study is to analyze movie costume of main character and find design characteristic and historical spirit focusing on the movie, in which Ishioka Eiko, Japanese movie costume designer constructing unique design world, participated. The study captured images of three movies such as , and with Digital Multimedia Converting System and analyzed them by focusing on the pictures showing designer's intention and design characteristic well among acquired 319 pictures. The costumes addressing movie costume designer's sense of values are recreated as future-oriented new works and are expressed as creative costumes by acquiring inspiration from past factors, dissolving them and applying up-to-date technology. Movie costume shall reflect historical spirit of our age as movie shows social cultural trend including fashion trend of manufactured age. Ishioka Eiko has searched for the design, which is proper for three principles such as 'be unique', 'be eternal' and 'be innovative' and from the result of analyzing movie costume, it is found that she showed characteristics of symbolism(transmission of the sensitivity), ornamentalism(effective representation as a decorative effect attention) and multiculturalism(harmony of time and culture) as well as uniqueness. The movie costume are different mutually and create new hybrid culture, in which different costume cultures are mixed with current costumes without the restriction to other culture. It is proper for the age of globalization and localization so it is expected that the multiculturalism will be enlarged more.

• Journal of the Korean Society of Costume
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• v.64 no.1
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• pp.77-88
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• 2014

This study examined the cosmetic store attributes that japanese tourists evaluated when purchasing cosmetics in korean cosmetic stores and the effect of those attributes on satisfaction, repurchase intention and recommendation intention. The subjects of this study were 250 Japanese female tourists who had purchase experiences of Korean cosmetics in the stores. Data analysis was conducted using factor analysis, regression analysis, and ANOVA using SPSS 15.0. The result of this study was as follows: First, cosmetic store attributes for Japanese tourists were composed of four factors such as products, store's atmosphere, salesperson and sales promotion. Second, it was shown that the salesperson and store atmosphere attributes have positive effect on cosmetic store satisfaction. Third, it was shown that store satisfaction had a positive effect on both repurchase intention and recommendation intention. Fourth, Japanese tourists' satisfaction on cosmetic store depends on the frequency of visiting Korea, and preference of the Korean Wave.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.1
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• pp.137-144
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• 2006

Though old generation criticizes on costume play that it is accepted by young generation without any criticism, it is gaining popularity and is settled with unique Korean characteristics. The study is to understand the characteristics of costume play and investigate on the attitude of costume players enjoying it. For this study, a survey was conducted on costume players who order tailor-made costumes or rent them by using references, existing papers and internet sites. The results are as follows. 1.37% of costume players live in Seoul and Gyeonggi area, 37% in Gyeongsang-do and Busan with 21% in other areas. Two areas shows higher rate than any other regions, as Seoul Comic and Busan Comic are held regularly and there are faster exchange with Japanese culture in these areas with enough money 2. Among costume players, female accounts for 73.7% with 26.3% male. It shows that female likes costume play more than male. It is because woman responds actively to what she likes than man does. The number of male is steadily increasing. By age, high school student is 40%, middle school student is 36%, older than 20 is 16% with 3% of elementary school student. 3.61% of them like the reproduction of character costumes, 14.7% like Pancos and another 14.7% likethe reproduction of character costumes and creation. 69.5% participates in costume play both in groups and individuals, 26.3% in groups and 4.2% in individuals. 45.3% participates in comic more than 8 times in a yew, 43.2%, 1-2 times and 11.6%, 3-4 times. Mostly they want $50,000{\sim}80,000$ won costume. 4. on the criticism of old generation that costume play is nothing but the imitation of Japanese culture, 87.4% of the respondents answered 'absolutely not' They think costume play is one of their favorite cultures. 5. on the parents response to costumeplay, 87% of the respondents answered 'Ethey understand', 13% said 'they cannot understand and dissent'. The respondents said costume play didn't affect their school records with 25% respondents who said they got better grades.