• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.165-181
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• 2016

This study looks into the Korean traditional costume formation and the thoughts of the Korean people that form the foundation of that Korean traditional costume formation. And the goal of this study is in linking the thoughts and formative characteristics reflected in the Korean traditional costume formation to the fractal geometry, in an attempt to reveal correlation between Korean traditional costume formation which have existed for thousands of years to contemporary science of the West. The fractal theory that appeared as the new paradigm of contemporary science displayed similarities with the traditional ideologies of Korea, and the fact that formation principles of fractal appear in the formation of Korean costume, formed based on the Korean ideologies, show magnanimous capacity of the traditional Korean culture. When we look at the concept of fractal, the word fractal refers to the structure in which the shape repeats, where small structure is similar to the whole structure in form in endlessly repeating structure. In other words, 'fractal' means a structure that geometrically untangles the concept of 'self-similarity' which possesses the same shape in parts and in whole, and its major characteristics include 'self-similarity', 'circularity' and 'repeatability'. Korean costumes were formed based on the Han-thoughts, with a structure that possesses parts within the whole and the whole within parts, in accordance with the self-similarity theory of 'fractal'. This study compared studied fractal phenomenon which appear in formation characteristics of Korean traditional costume, which were formed based on the Korean traditional ideology, in other words, Korean costume formation and formation principles of fractal geometry were compared studied.

• Journal of the Korean Society of Costume
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• v.24
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• pp.121-142
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• 1995

The Expressionism took shape in the early twentieth century, so called as the time of change and innovation which intermediated between the time of extreme prosperity and peace and the time of disruption. This study is based on the wide sense of Expressionism out of various concepts of Expressionism. The afore-mentioned phenomenon was emphasized all the more in the French Expressionism and it is the most important and substantial object in the Art to make a direct transference of emotion , feeling and thought and it could be regarded as one of characteristics of the French Expressionism . In Addition, the Expressionism produced " Aesthetics on Ugliness "Aesthetics des H lichen )" in creating work of art. It was an expression of the Existentialism based on Humanism for modern people who lived at time of nihility and such artistic movement accepted polarity and ambivalance concepts claimed by Nietzsche into three specific fields in accordance with thought and technique in the work of art and those are the Intuitional Expressionism. Cubistic Expressionism and Fantastic Expressionism. This study makes a close analysis of costume style trends on the basis of the categorized Expressionism enumerated as above. The characteristics of Intuitional Expressionism is that poverty and a sense of alienation dominated all society and thus the social reality brought a trend of social participation . This social reality effected significantly modern costume style and a reformative costume turned up at last . This reformative costume was classified into Gar onne look, Military look and Lingerie look by characteristics of style in order to make a close examination for the relationship between social reality and the reformative structure. Cubistic Expressionism effected costume forming and changed costume style through " Deformation " and " Distortion" in forming technique , and also it has developed geometrical style of costume, which could be symbolized by mechanism. And on the other hand, this Cubistic Expressionism has emphasized exaggerated expression ability to produce rigid and stiff style of costume. Fantastic Expression pursued basic artistic worth from the primitive and ethnic customs and accepted fantastic oriental Exoticism . This Fantastic Expressionism effected costume style of twentieh century and such designers as Lon Bakst, Paul Poiret, Elsa Schiapareli adopted intentive primary color. It also applied " Depaysment" to modern costume style , which introduced avant-garde design to give an impact through destruction of the existing traditional concept. This study also analized seven major representative costume designers of the early twentieth century. They are L on Bakst, Paul Poiret, Madeline Vionnet, JeanPatou, Gabriel Chanel and Elsa Schiaparelli. These designers deployed creative costume design work with peculiar expression technique based on the French expressionism. The costume study related to art history was so far made mostly to approach costume forming but only a few study is found to have approached idealistic background of art history in connection with creating costume. From that point of view, it is profoundly significant for this study to analize idealistic background and characteristics of Expressionism and relationship between costume and expressionism and to examine modern costume of twntieth century in conjunction with technical characteristics and spiritual sense of Expresionism.eristics and spiritual sense of Expresionism.

• Journal of the Korean Society of Costume
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• v.1
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• pp.131-150
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• 1977

The new sense of costume is controlled by silhouette. The sense of the times is sensitively reflected in silhouette. For we can perceive the transition of the times through silhouette it is significant to know what course of changes the western costume, which almost became the international costume today, had been going through. I began with the definition and condition of silhouette in this study of silhouette. I took a general survey of silhouette study-ing various kinds of silhouette and the relation between the material and silhouette. I sought the factors which causec the changes in costume and also studies the process of the changes The process of the costume changes is studied by the order of ancient times, mediaeval times, mordern ages and present days. I selected one representative silhouette of women's costume of each period. The darpery form of the ancient time's costume became the tunic form and the tunic form became the tight tunic form today. From this we can perceive that the Gothic period was the limitation of westrn costume. It means that the ancient times was the period of drapery, the midiaeval times was the period of transition from tunic into tight tunic and the modern ages is the period of development of tight tunic. In Egyptian period thin materials were used for costume which was worn in exposed style. In Greek period the costume had the drapery style. The Roman's magnificent costume resembled the Greek's. The mediaeval costume was formed in Byzantium where the northern Europe style of costume was mixed with the gay oriental costume. The Romanesque and Gothic period followed the Byzantine period completing the midiaeval costume. Tight tunic is developed in modern ages. Italian fashion of tight tunic was the first fashion of the modern ages. Germanic and spanish fashion came after it. As Baroque period opened the French royal costume became magnificent and added Brition fashish to it. With the commencement of the modern ages the royal fashion came to an end. Modernages became peaple's period and the costume was simplified. After the First world wav designers and fashion books appeared with the development of technology. Thus the period of fashion industry came. For the designers in 20th country competed to create new designs, the fashion was changed year by year. The simplicity and practicality are not ignored in design, arid the designers added more atristic sense to dresses.

• Journal of the Korean Society of Costume
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• v.20
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• pp.191-201
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• 1993

As a part of study examining Korean costume remaining in Yanbian China, this study explored changes in ceremonial clothing for marriage worn by Korean(Chosun race) in Yanbian China. About one hundred years ago, Koreans moved to Yanbian China and had worn traditional clothing for marriage ceremony until before 1940. Data were collected by true interview and field observation while staying in that area. Samo and Dalyung for bridegrooms, Wonsam and Jockdoory for bridegrooms, wonsam and Jockdoory for brides were usual costume for wedding ceremony, however, for couples in inferior conditions of life, Bazy and Jeogory for bridegrooms, yellow Jeogory and red Chima for brides were accepted for ceremonial costume. As western culture came to this area in about 1940, bridegrooms wore western style suit, while brides dress in white Chima, Jeogory and Neowool. To date, Korean brides have worn traditional Chima and Jeogory for marriage ceremony though slight change has occurred in clothing material and in the forms of Chima, Geogory and Neowool. As the pratice reflected the fact that Korean in Yanbian China as established and sustained traditional China as established and sustained traditional costume and Korean identity even in hush socio-cultural environment.

• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.697-710
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• 2003

The Purpose of this study was to prospect new costume culture of 21st Century and to understand the meaning of clothing and clothing behavior which represent on Korean Seasonal Costumes expressed in novel, Honpul. The results were as follows; There are special Costumes in a Year. They are New year, First full moon, Servants day, making seasonings, Doo Rae, Wha-cheon Nori(enjoying blossoms) Costumes during spring season, Dan-Oh Costume in summer and Ya-Kwang-Gui(keeping shoes at all night), Su-Ya(overnight), Yeam-Bal(burning dropped hairs) Costume in winter season. There were many relationship with clothing in new year, Wha-cheon Nori and Servants day Costumes, but they only had adorning meaning without special symbolic or incantational meaning. Clothing and clothing behaviors in Seasoning making day Costume, Dan-Ho costume and Ya-Kwang-Gui, Su-Ya, Yeam-Bal Costumes contained practical meaning with incantational meaning. There were Servants day costumes and Doo-Rae Costumes for lower classes, New year and Wha-cheon Nori costumes for the higher classes. But the First full moon day costume was for both classes. This study will make us to grasp the meaning of clothing culture with Korean Seasonal Costumes, and be useful to measure the changes of Korean costume cultures.

• International Journal of Costume and Fashion
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• v.16 no.2
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• pp.51-65
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• 2016

The purpose of this study is to investigate research trends in the knitwear fashion field and suggest future directions for fashion businesses and research. Research trends in the knitwear fashion field were investigated. A total of 134 articles on knitwear fashion field among 4027 published in five journals - Journal of the Korean Society of Knit Design, Journal of the Korean Society of Costume Culture, Journal of the Korean Society of Clothing and Textiles, Journal of the Korean Society of Fashion & Costume, and Journal of the Korean Society of Costume - from 2001 to 2010 were analyzed. Most (32.84%) of articles related to knitwear fashion were published in Journal of the Korean Society of Knit Design. The knitwear fashion field was divided into fashion design, clothing construction, textile science, fashion marketing, and history of costume. The majority (43.28%) were on the research topic of fashion design, followed by textile science, clothing construction, fashion marketing, history of costume. From 2001 to 2010, the number of papers relating to knitwear fashion increased from year to year. The further development of the knitwear fashion field can be expected in the future.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.1
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• pp.155-172
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• 2002

The purposes of the study were to investigate the differences of image on male and female contemporary folk costume of college students according to their sex, major and contemporary folk costume‘s possession. The data were collected from 300 male and 313 female college students in Cheongju city through self-administerd questionnaires and were analyzed by frequencies, Cronbach’s α, F-test, t-test, one way ANOVA and Duncan Test. The results of the study were as follows: There were significant differences with the images on male and female contemporary folk costume according to student‘s sex. There were significant differences with the images on male and female contemporary folk costume according to student’s major. There were significantly different with the images on male and female contemporary folk costume between group of having a contemporary folk costume and group of non-having it.

• Journal of Fashion Business
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• v.12 no.6
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• pp.73-80
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• 2008

Since costume comprises organic substances, it hardly sustain to remain long, compared with other historic relics, and it requires some professionalism to preserve and maintain costume remains. Anyway, the fact that there is no professional costume curator working for museums in Korea, except for a few museums, suggests that importance of costume remains as cultural assets has yet to be fully recognized. In such circumstances, this study was aimed at analyzing the problems of costume remains collected at university museums in Seoul and thereupon, providing for some basic data conducive to the researches into costume remains to promote a better understanding and recognition of our own unique costume culture.

• International Journal of Human Ecology
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• v.15 no.2
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• pp.23-31
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• 2014

Neo-Confucianism was the dominant ideology of the Joseon Dynasty Korea. Male and female costumes reflected a clear distinction in male and female sex roles. This study analyzes cross-dressing in sword dance performances. The research method examines relics, paintings, pictures, and documents relevant to sword dance costumes as well as for the military. The results are: First, the composition of sword dance costume was jeogori (upper garment), skirt, and shoes with military costume of jeollip (hat), jeonbok (long vest), and jeondae (belt). Second, the sword dance costume and military costume are very similar except for the basic inner wear, shoes, some details and methods of wearing. Third, the sword dance costume gradually adopted military items and features. The sword dance costume was basically female, with overall additions of a male costume, to express an androgynous image; however, the cross-dressing phenomena in the sword dance were not intended for the pursuit of sexual pleasure.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.1-7
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• 2003

The purpose of this study contains evaluation of techno-cyber fashion, specifically in the area of dancing costume which symbolize the stage performing art of techno-cyber fashion's formative elements. The way of study is to make foundation with the theory and picture backgrounds to analyze the fashion trends and finally produce symbolic dance costume which applies modern dance stage costume design to techno-cyber elements. The 'Adieu 1999' is the modern dance work contains social mood in retrospect of 20 century and prepare 21 century. To make design of dance costume, apply the simple geometrical pattern design which utilize techno-cyber element like hi-tech fabrics, see-through and image of band and finally produce costume both 20 and 21 century.