• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.4
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• pp.554-564
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• 2013

This study identified the characteristic and meaning of flow experience through the experiences related to fashion models' role performance; subsequently, the following findings were obtained. First, fashion models' flow experience could be divided into characteristics such as temporality, spatiality, relationality, physicalness and pleasure. Second, the process of this flow experience ultimately led to the complete moment. The complete moment can be said to be the aesthetic experience that provides both the meaningful experience and the aesthetic pleasure; it is the experiential knowledge at the dimension of mysterious integration that their body and mind are integrated into one. The beauty that fashion models exercise at the aspect of this aesthetic experience is that of performance and is an individual physical movement where they perceive their role and exercise their inner ability to express their costume most beautifully. Accordingly, the beauty of performance can be said to mean that the fashion show was successfully held by inducing both the performer and the audience into an aesthetic response. The process of specialized planning and preparation is required for fashion models to exercise the beauty of performance at the complete movement reached through flow experience and a successful fashion show. Diverse elements of the fashion show should be more organically constituted through such a process. Fashion models should exert efforts to embody acts such as walking, posing and turning through the performance of their excellent role as well as develop a training program to complete it.

• Journal of the Korean Society of Clothing and Textiles
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• v.42 no.2
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• pp.251-268
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• 2018

This study suggests a fashion design using aesthetic characteristics of works by Kate MccGwire, a modern sculptor paying attention to soft sculpture materials such as feathers. In this research on MccGwire works, their internal meanings may be derived as the dualism of familiarity, movement and consciousness. Works also have aesthetic characteristics of overlapping, fluidity and twist. Using such characteristics, 4 one piece dresses and 2 vest dresses were made. Research findings are as follows. First, aesthetic characteristics of MccGwire works could be expanded into expressive areas of silhouettes and details in fashion. Second, visual flow and concentration could be expressed by gradual coloration of feather colors. Third, dart manipulation could be applied naturally by details and curve silhouettes of fashion design. Fourth, touch of feather material could be expressed fully by leaving the edge of garments raw. Fifth, spatiality of fashion could be implemented partially by applying decorative saddle stitching to costume design details. This study explored a potential of soft sculpture occurred during a transitional process of objet pursued by 20th century's avant-garde artists applicable to fashion design ideas that suggested methods for contemporary creative design.

• Korean Journal of Human Ecology
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• v.13 no.5
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• pp.799-809
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• 2004

Our study found that the types and forms of patterns of Japan, although they are similar to those of Korea and China, hold their own distinctive aesthetic awareness. They were made so, because the Japanese had not simply copied the patterns from other countries and also had changed them in various ways for ages. Especially, geometric patterns were widely used on some types of kimono costumes and belts in Edo period. One of the most widely used patterns was called Suk Chup Mun, and Tatewaku pattern was another. The San Gil Mun and Chil Bo Mun pattern was least used. In the patterns combination, that of animal and plant patterns was general. A single geometric pattern was not used, but if any, it was in Sima patterns and latticed patterns. On the other hand, the combination of geometric and plant patterns was more frequently used as composite patterns than any other pattern, such as geometric pattern with home tools, or one with animal patterns or nature patterns. The geometric patterns that had appeared in Edo period were combined in paintings along with animal and home tools patterns, so it could become a representative pattern of the age.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.6 s.154
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• pp.859-869
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• 2006

We proposed that the replicas be made as an alternative to achieve such reciprocal goals as the safe preservation of traditional costume relics and socio-educational realizations through exhibitions, etc., A replication was categorized for its purpose into a restoral replication: a work based on the historical research of color and shapes as they were originally made and a current state replication : a production based on a minute record of the relics as they are excavated. Then, we reported the reproduction process from the excavation to the exhibition on the excavated traditional costumes of Milchanggun's Jobok. The purpose of a replication of relics is to record the relics experiencing the change resulted from the inevitable degeneration over time as organic cultural assets together with the substitution exhibition of relics and academic researches and so on.

• Journal of the Korean Society of Clothing and Textiles
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• v.35 no.6
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• pp.687-699
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• 2011

Folk costumes in East Asia are characteristic in their colors of the five-element colors based on natural colors or achromatic colors (such as white or black) that imply the beauty of nature or the beauty of naivety. The Asian look adopts forms of Asian costumes into western costumes in terms of structure, silhouette, ornament, pattern, and color; in particular, color had very limited attributes. This study is a comparative study on colors, shown in East Asian folk costumes and the Asian look. It discovered the differences of color in East Asian folk costumes and the Asian look to discuss the backgrounds of difference. For research, it simultaneously conducted literary reviews and empirical research based on the Asian look. Asian colors that appeared in some costumes of the Asian look were influenced by East Asian costumes, while the primary color of playfulness or color for low chroma or black exuding a contemporary nuance (common in the western fashion) were prevalent. This revealed that the costume that had the attribute of playfulness in terms of structure, ornament, or patterns is adopted in western fashion through the fusion of eastern forms and pastiche. Colors of the Asian look are different from those of East Asia with superficial imitation, in which all the East Asian spirits and symbolism are lost. While folk costumes of East Asia hold symbolism derived from Asian spirits, the Asian look disintegrates the ideology of East Asian costumes and replaces it with a Postmodern playfulness.

• Journal of Fashion Business
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• v.17 no.3
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• pp.85-98
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• 2013

Fabric industry has been developing enough to introduce diverse stretch materials to apparel market, so that tightly fitting leggings designs are taking over not only sports wear but also women's clothing. This study is aimed at developing prototype designs for leggings pants using stretch material that are appropriate for the lower part of body being functional, comfortable, and beautiful. As well, the study is intended to be of a reference in manufacturing such products. Some of the most popular leggings on the market in their kinds and materials were primarily selected to be tested in two ways: wear test and appearance test. Again, the test pants went through the same kinds of two tests, which turned out two designs. Finally, the test pants were treated to yield the most desirable prototype design. In conducting all these tests, some major defects causing discomfort and shortcomings of the leggings pants on the market were exposed and through the wear tests, the drawbacks were seen to be complemented in a big way. Thus, it is hopefully expected that this study will serve as a good reference for developing stretch pants.

• Journal of the Korean Home Economics Association
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• v.44 no.4 s.218
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• pp.1-9
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• 2006

This study examines the esthetic characteristics in the haute couture work of Jean Paul Gaultier, who represents the fashion in France and is famous for avant-garde and experimental works through dismantling, from the first haute couture collection in 1997 to the present. The materials for the study are the precedent studies, the related literature, and the photographs of the works and the interview articles in domestic and international fashion journals. Three characteristics are revealed in his works. First of all, he provided a transcendental fashion different from the established wearing or ornamental ways by dismantling the dichotomies between male and female, time and space, and beauty and ugliness. Second, he reflected the decadent beauty recognized as representing women's sexual and provocative expression based on exposure, suppression, perversion, and grotesque manifestations by shaping an esthetic value within a different point of view. Finally, he was characterized as being transcendental with an eclectic fusion of intercultural differences or dynamics, items in costume formation, time and space, and eastern and western. This transcendental expression, Gaultier's desire for creativeness, can be an ideal characterizing this era.

• Journal of the Korean Home Economics Association
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• v.44 no.12
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• pp.117-126
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• 2006

A movie's fashion style delivers the overall atmosphere of the scene including the characters's class, personality, spiritual world and inner thinking and even their conflicts in the story. The movie 'American Psycho' directed by Mary Harron and based on from Bret Easton Ellis's original novel ridicules the American yuppie culture of the 1980's through the behavior of the hero Patrick Bateman. The life style of the yuppie sees itself as the high-class embodiment of a particular culture, but the various subcultures such as Glam and Punk show that it is merely a two-faced culture suffering from hypocrisy and mammonism. An analysis of the costumes found in the movie indicated an exhibition of the 1980's Haute Couture fashion, which was mainly occupied by the mainstream social class and of the social phenomenon of post-modernism. The anti-fashion presented in the movie as the resistance culture formed by the subculture was in extreme contrast with the expression of self-actualization.

• Human Ecology Research
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• v.52 no.6
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• pp.551-560
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• 2014

In this study, we have focused on various types of costumes for traditional Ganggangsullae and daily dance Ganggangsullae. To analyze their costumes, spot photographs of Ganggangsullae contests from 2011 and 2013 were collected from the Department of Culture and Tourism, Jindo County Office and the Jeonnam Information & Culture Industry Promotion Agency. Costumes were analyzed by categorising them as type, shape and color. Traditional Ganggangsullae costumes are two types: traditional hanbok and saenghwal hanbok. Traditional hanbok design dates back to the late Joseon dynasty and saenghwal hanbok design to the middle Joseon Dynasty. They reflects confucianism, a male-dominated society, totemism, shamanism and Yin-Yang and the five elements theory in agrarian society and community life. Daily dance Ganggangsullae has various types of costumes such as the fusion hanbok, saenghwal hanbok, cheering uniform and casual wear. They show modern color schemes. There is not any magical meaning from Yin-Yang and the five elements theory. Instead, they have individualism, liberty, equality and welfare in information-oriented society. So its costumes are easy and comfortable clothes. But traditional hanbok, fusion hanbok and saenghwal hanbok are inspired from Korean identiry. Even though traditional Ganggangsullae and daily dance Ganggangsullae have different costumes and ideology, they have a common denominator 'playfulness.' It will function as a key for Ganggangsullae to be performed continuously over the period.

• Journal of the Korean Home Economics Association
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• v.49 no.9
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• pp.25-33
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• 2011

The number of Ryu Ji Kyung's costumes that have been discovered is small but includes various kinds of coat. These coats have become important clues when trying to determine styles of coat that were present in the mid-17he composition of the costumes found were various, including unlined, lined, padded and quilted variations. Unlined clothes were sewed using broad-stitching, hemming, half backstitching, and backstitching. The unique sewing style of the 17th century was shown in Ryu Ji Kyung's costumes. Seams on the back of one coat were not connected but rather sewed as a whole because of the width of the cloth. There was a more elaborate sewing style on lined clothes than on unlined clothes, alongside the use of selvage on the reverse of the costumes, marking the face not by using other clothes, but by the sewing line. Because of their to kit types, the width of the sleeves, the presence of a Cheolrik string, the ratio of the upper jacket to the bottom skirt, and the width between the armpits and bottom hems in Jungchimak, Ryu Ji Kyung's clothes can be used as exemplary models of mid-17th century clothing.