• 복식
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• 제61권6호
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• pp.38-59
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• 2011

This study is based on the periodical discourse of women and their costumes, described in modern novels that were published from late 1890s to the 1930s. New cultural phenomena emerged among Korean women in the period of modernization. In particular, rapid increase of jobs for women and preference for western female body shape are very noticeable phenomena that can be observed in novels of the 1930s. In addition, the symbolic meanings of female costumes are variously described in modern novels according to the periodical and spatial environment and jobs for women. The symbolic meanings are organized as 'Trophysm, Expression of sexuality, Liberation from male-dominated society, Symbolic difference between rural and urban areas, Vanity, Decadence, Mechanism tending to hide and Change of values'. And women's costumes kept changing in the boundary of 'Confliction, Coexistence and Harmonization' of traditional and western costumes. 'Confliction' phenomenon got emerged in novels published between 1900 and 1910. The resistance on traditional costumes that restricted woman's life got spread. But western female costumes as a symbol of new culture could not be generalized but accepted as high fashion. 'Coexistence' phenomenon was appeared in novels of the 1920s. At that time, the modernization for traditional costumes by female students was emerged along with trendy fashion. Also, the frequency of using western fashion items was increased in the Korean society. Therefore, it shows that western costumes in the Korean society became popularized in the coexistence with traditional costumes. 'Harmonization' phenomenon was emerged in novels of the 1930s. In the novels, the emergence of western female costumes, personal preference items, and westernized hair style implies that western costumes were absorbed into the Korean society that had kept traditional costumes.

• 복식
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• 제60권4호
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• pp.162-178
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• 2010

The purpose of this study is to find aesthetic characteristics of Korean and Japanese women's traditional costumes in Modernization that happened in Korea and Japan during the late 19th century and the 20th century. The meaning of modernity has indefinite and comprehensive aspects, and the essence of modernity is found in searching for new changes. Modernization is the process of realizing modernity, and costume modernization can be discussed from the viewpoint of seeking new changes, functionality and popularization of costume. As Korean and Japanese costumes went through modernization, western costume became daily clothes of both two countries. The modernization of Korean and Japanese women's traditional costumes were achieved in the two directions. First, Korean and Japanese women's traditional costumes changed to search for functionality modeled of western costume. Korean costume went through dress reform movement and were generally simplified. Japanese costume made a change of wearing mode and introduced new garment like 'Hakama'. Second, the new style of traditional costume appeared. In Korea, 'Saenghwal Hanbox' was shown in the late 20c and in Japan, The reproduced dress(更生服)' and The women's standard dress(婦人標準服)' were shown in the late 1930's and the early 1940's. These kinds of new garment style were the more active compromise between the East and the West.

• The International Journal of Costume Culture
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• 제3권2호
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• pp.161-174
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• 2000

Today's advanced transport and mass media enables people to access easily and frequently to traditional costumes from different countries in the world. Consequently, fashion designers who are fascinated by the variety and beauty of traditional costumes, tend to adapt them to modern fashion design. The continuous study of traditional costumes at such time contains a meaning as a source of inspiration for the creation of a new fashion design. Therefore, among various costumes of the world, this study will focus on the costume of Palestine, that is situated at the crossroads of Europe, Asia and Afria and has exchanged various historical cultures with other cultural regions. It, especially, expects to provide a unique idea in the material modification field of today's fashion design by examining mainly the embroidery ornament which is the most distinctive feature of Palestinian costume. The conclusion was revealed that Palestinian women's costume largely consists of embroidered silk and cotton garments with a V-slitted square panel (gabeh) attached to the chest part. And a variety of luxurious embroidery was employed to emphasize different parts of the dress. These embroideries differ from area to area. Especially the embroidery from Bethlehem was well-known in many places and influenced those of other regions.

• 복식문화연구
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• 제17권3호
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• pp.431-446
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• 2009

The purpose of this study was to analyze the gender role changes of Korean women reflected on their costumes during 20th century. To analyze the diachronic gender role changes, social environments(education, job, economy, family systems, mass-media) of 20 th century were inquired by 10 years and comparatively analyzed with 680 images of representative costumes each periods. The results are as followed. 1) $1900s{\sim}1910s$: The most representative women's gender role was a wise mother and good wife. Therefore the adopted western costume, a symbol of civilization, were represented women as a passive and sexual object of man. 2) $1920s{\sim}1930s$: 'Shin Yeosung(Modern Girl)' was the representative gender role of that time. They were the symbol of enlightenment and new education. Their costumes influenced to the changes of traditional Hanbok in functional side. 3) $1940s{\sim}1950s$: In World War II. a strong and stubborn women were wanted to support their family. They threw feminity and changed their costumes into an active and functional 'Mombbe'. 4) $1960s{\sim}1970s$: Women asserted Gender equality and resisted the traditional women's gender role. Mini Skirts and Unisex costumes were symbolic costumes reflecting the changes. 5) 1980s: The self confidence of women's gender role affected the androgynous look and body-conscious look in modern fashion. 6) $1990s{\sim}2000s$: Now, the dichotomy of gender role is not no longer effective way to understand the social changes and fashion trend rather than personal characteristics and lifestyle trends.

• 복식
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• 제56권5호
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• pp.132-149
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• 2006

The purpose of this study was to establish the theoretical view for the analysis of the aesthetic characteristics of dress from the viewpoint of oriental aesthetics. Also, this study examined the universality and particularity of aesthetic characteristics in Korean and Japanese women's traditional costumes. To establish the theoretical view for the aesthetic analysis of dress from the viewpoint of oriental aesthetics, this study examined the relationship between the internal spirit of human, culture and the external form of dress. Based on this consideration, the viewpoints for the analysis of dress formation were the 'Form' as the basic structure of the external formation of dress and 'the Ornamentation' as the emphasis of the artistic characteristics of dress. The common world view shared by Korea and Japan holds the thinking system that everything is created from 'not to bee(無)' to 'being(有)'. This view emphasizes the totality and circulation of energy called 'Ki(氣)'. According to this view, oriental culture has been developed by intuition and pleasure called 'Heung(興)'. Therefore, the form of the oriental culture includes ambiguity and emphasizes the total harmony. These characteristics appeared in dress as the design of ambiguity, asymmetry and concealment. The meaning of the ornamentation in oriental world was the unified harmony of diversity and the colors and patterns of oriental dress were used by the symbolic meaning of Yin-Yang & Wu-Shing (陰陽五行)s principles. On the basis of the world view of the Ki, Korean and Japanese women's traditional costumes commonly shared the aesthetic values of concealment, emptiness, and symbolism. Also, their costumes expressed the difference, especially in the ornamentation. Korean costume expressed the beauty of simplicity and naivety, and Japanese costume expressed the beauty of ornamentation and nonornamentatIon.

• 패션비즈니스
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• 제23권5호
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• pp.48-66
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• 2019

The purpose of this thesis was to investigate the similarities between religious costumes and Kazakh and Tajik minority women's costumes in the Chinese northwestern minority population that believes in both Islam and Shamanism. The research was conducted by investigating the forms, colors, and patterns of 240 representative costume pieces and making quantitative comparisons between religious and traditional costumes. The results showed that the Kazakh and Tajik costumes were similarly formed, both intended to cover the human body. Both the Islamic and traditional headdresses were also similarly shaped. In terms of color, black, white, green, and blue were found frequently in the Islamic religious costumes, as were red and yellow. Red, white, and brown, ascribed to the colors of shamanism, signifying incantations, were also frequent, indicating that this was engrained in their lives. A review of the traditional costumes revealed the patterns of Islam. Plants, geometry, abstraction, and letter patterns were dominant, whereas the meaning of the Islamic patterns, rebirth, sun, life, and hope, influenced the traditional costume patterns. Patterns associated with incantations, like the animal horns shown in the shamanism religious costumes, were persistently observed even after the people were converted to Islam. This study on the similarities between religious and traditional costumes in the Chinese minority might help us understand the connection between religious and traditional costumes and elucidate the cultural costume transition process.

• 복식문화연구
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• 제27권4호
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• pp.353-367
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• 2019

These days, costumes of Korean creative dancing performances have been changed to be modernized and to be out of traditional regulation, as the representation of the Korean styles were replaced by other props and art devices. In this article, we have applied the emotions expressed in Jin-Yi Hwang's sijos (Korean traditional poems), to Korean creative dancing costumes in modern style. chose three typical sijos from her six pieces, titled "Green mountain is like what I've meant", "To Byeokgyesoo in Cheongsan-ri" and "Dongjibam ginaginbam". In brief, Jin-Yi Hwang expressed her "everlasting love and emptiness", "temptative conciliation" and "eager waiting" these three sijos, respectively. The character of Jin-Yi Hwang was shown in many TV soap operas and films, and the costumes were either much modernized, and not accurately based on the sijos she had written. Thus, we designed, made flat sketched, and fabricated three Korean creative dancing costumes from the three sijos, listed. We tried to highlight the aesthetic impression and the activeness of the dancing costumes, using both traditional and modern Korean fabrics. Since Korean dance costumes had not yet been inspired from Jin-Yi Hwang's sijos, we discussed the importance of the fabric items, as well as the visual, auditory, and tactile characteristics of the costumes and dancers to emphasize Jin-Yi Hwang's expressed emotions.

• 복식문화연구
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• 제30권3호
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• pp.331-347
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• 2022

The purpose of this study is to investigate historical and geographical environments in the development of the Naxi costumes of Chinese ethnic minorities and their characteristics-including religious cultures and totem worship-and to suggest the direction of fashion design toward the modernization of traditional costumes. The research methodology involved the collection of materials and investigatation into the history, culture, and characteristics of Naxi costumes; in particular, the "seven-star" sheepskin cape, one of the Naxi people's important ethnic costumes as demonstrated by the women's clothing that has been designed in reflection of this traditional costume. The results are as follows. First, Naxi costumes are found to have overall coherence and distinct locality when retained in the process of modernizing the traditional costume. The theme of this work is titled "By the Light of the Moon and the Stars," which is expressed in contemporary fashion by the use of grey and dark red against a background of black, a color preferred by the Naxi people. Second, the Naxi people's seven-star sheepskin cape is a symbol of women's clothing with its characteristic patterns, shapes, and colors, and it is subject to creative modernization while retaining its unique ethnic characteristics. Third, the work expresses the contemporary stylishness of the costume while maintaining the customary decorative accessories from the Naxi people's traditional culture.

• The International Journal of Costume Culture
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• 제4권1호
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• pp.9-17
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• 2001

The purposes of the study are to find out the effect of clothing colors on perception of stimulus ages, occupations and images using stereotyping and color vision theories. The research method is a qualitative study and materials developed for the study are a set of stimuli and open-ended responses. The subjects were 1138 undergraduate students in Taejoen city, Chungbuk province. The data is analyze using content analysis, supplementary frequency and χ²analysis. The results are as follows : 1) The colors in Korean traditional costumes affected on the wearer's age perception : The red ensemble give the wearer the youngest look while the gray give the oldest look. 2) Mono-color ensemble wearers tend to give older look than bi-color ensemble wearers. 3) The chima colors and the jogori colors have similar impact on the wearer's age perception. 4) On image perception the jogori colors have more impact than the chima colors. 5) The colors in Korean traditional costumes are the clues to estimate the wearer's occupation.

• 패션비즈니스
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• 제10권6호
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• pp.1-8
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• 2006

This study was aimed at reviewing kinds and characteristics of children's costumes in consideration of their social and cultural backgrounds and particularly, those of children's costumes during the period of Enlightenment following Chosun dynasty and thereafter. Namely, this study focused on children's costume history in view of not adults' costume miniatures but their own concept. It is deemed very significant to review the history of our traditional costumes and thereby, express their decorative features with our contemporary sense. It is results can be summed up as follows; Strictly speaking, the period of Enlightenment can be defined as the one from Gwangwhado treaty in 1876 through annexation of Korea by Japan in 1910, but it may well extend until our emancipation from Japan in 1945. By 1890's, children's costumes remained almost traditional, but since then, the Chimas as well as Jeogori and breast tie began to be narrower. Particularly, Children's Jeogori began to be narrower with their breast tie disappearing gradually. By 1910's, children's costumes had changed much, with the breast tie replaced by the buttons and the longer Jeogoris.