• Journal of the Korean Society of Costume
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• v.61 no.7
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• pp.110-124
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• 2011

As modern society leads to distinguished, sensuous, and diversity styles, a woman who enjoys putting on Garu makeup appeared on a popular TV talk show in winter 2010, which aroused public interest in the method of Garu makeup. However, as interest in Garu makeup and individuals who put on Garu makeup spread, some began to consider Garu makeup as the imitation of indiscreet Japanese culture or a vulgar culture. Thus the purposes of this study is to understand the characteristics of Garu makeup and its forms of expression by considering its type, origin and style. In turn, this study will provide basic data for the makeup trend and act as an aid to improve the image of Garu makeup through investigating its image and preference. To accomplish this purpose, this study reviewed relevant literatures and web resources, conducted a survey of students who study beauty art at two-year junior colleges in Seoul, and analyzed 195 answers by using SPSS 18.0. The results are as follows: It was proved that in the preliminary inspection of comprehension, 98.3% of college students majoring in beauty art had known Garu makeup, 53% understood somewhat the characteristic and concept of Garu makeup, 36.8% gave preference to Garu makeup. It was proved that in the investigation by the image of Garu makeup, as over 70% of students thought that Ogaru and Yamamba makeup were detestable, but other Garus were lovely and sexy, students perceived as a diversity of images by their own preferences and tastes, and 73% of respondents selected Onegaru as Garu makeup that they gave preference to and wanted to put on. The result of this study represents that mass consumers in the existing culture, who are college students majoring in beauty art and selected as a sample group in this study, reflect the stream of culture and trend, but also demassification, mass customization by their areas of interests and preferences and connective massification of individuals with similar interests.

• Journal of the Korean Society of Costume
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• v.55 no.4 s.94
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• pp.49-61
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• 2005

This study is to research the types and formation of the pieces for fastening the clothing in the western and oriental world from 18c to 19c. The pieces for fastening the clothing, depending on their formation, are classified as the ribbon type, the belt type, the button type, and the compound type. The ribbon type indicates fastening the clothing with the strips attached to the clothes. It is divided into the symmetry type and the asymmetry type by the looks of the ribbon alter it is tied. The belt type means fastening the clothing with a string or a belt, separated from the clothes. It is divided into the string type and the belt type. The button type is to fasten the clothing with buttons, button holes, and hooks. It is divided into the basic type, the wrapping type, and the knot type. The compound type is a mixture of two or three types out of the ribbon type, the belt type, and the button type. The pieces for fastening the clothing has aesthetic features as well as their functional characteristics. It has beautiful features like the harmonious beauty of Yin and Yen shown in the asymmetrical types, the beauty of spell wishing for health, long-life, wealth, wisdom, and so on, the beauty of decency showing the intention of refraining from exposing their body in public, the beauty of eroticism emphasizing the beauty of the human body, and the beauty of representing their social class, authority, affiliation, and so on.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.79-95
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• 2003

The purpose of this study is firstly to survey the social and cultural background of 20th century and women´s status, and to identify what the ideal body is like and what the elements of outer garment and underwear are and the techniques to incarnate the ideal beauty. Various papers are referenced for theoretical study and the elements and techniques of underwear are analyzed based on photographical materials. This paper concludes as follows. In 1960´s, ideal beauty was small bust, long legs, which showed extremely slim Mini-skirt look. Thinly or no padded brassiere were worn for small bust, and pants-style short panty girdles were popular as they used to wear pants frequently. Lycra replaced all the closures, bones, seams and gave freedom with light weight. In 1970´s, a natural human body without sex specific was in vogue. Therefore, the non-structural knits without a pad or lining or the shirts dress were widespread for a Natural look and the naturally molded brassiere or girdles were worn as the underwears. In 1980´s, the women with powerful muscle appear which emphasized liveliness and healthfulness. The body conscious represented by wide shoulder, plump breast, accented waist, small hips, and long legs has been embodied. Outer garments emphasized women power and healthy beauty with Power suit and Form-fitting style, and underwears made the breast plump with padded brassiere and emphasized waist and hips with waspie. In 1990´s, ideal beauty was slim body with big bust and the outer garments emphasized body line of women with Hourglass silhouette. Push-up bra which emphasizes the valley of breast and supports the breast upward and the control tights for slim waist, flat abdomen, small hips, and long and slim legs have been useful as underwears. Multi-functional micro-fiber has been ideal for sculpting women body.

• Fashion & Textile Research Journal
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• v.19 no.1
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• pp.1-10
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• 2017

The purpose of this research is to industrialize and to localize traditional culture resources of Andong by developing festival costumes related to 'Andong Mask Dance Festival'. We tried several methods to deliver meanings and images of festival costumes, as followings. Frist, from April, 2009 to October, 2012, we created the new design of the festival costumes after consulting with 7 festival experts about the conditions and characteristics of 'Andong Mask Dance Festival'. The festival costume design is characterized by the detachable parts of clothing based on Han-bok style, the front and back of bodice, right and left side of both sleeves, and pockets, which can be tied up with strings. Therefore the consumers can choose and attach the part they want. Secondly, the newly created festival costumes were evaluated appropriately to the consumer's satisfaction, implementation, practicality, and long-term development possibility according to the survey of 85 participants who were, in fact, wearing the festival costumes in the festival. The results are as follows: Frist, festival costumes are based on Korean traditional costumes, and it appears wearing object as festival costumes. Secondly, traditional beauty and modern beauty are well matched up, so men and women of all ages are possible to wear. Thirdly, size of costume can be controlled, so it's easy to wear. Finally, construction method is very simple. The possibility of long-term development by various material development is needed.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.2
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• pp.302-313
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• 1997

The purpose of this study was to investigate the meaning structure of Korean costume image in contemporary Korean fashion design expressed beauty of traditional dress. This study compared Korean and American regarding the evaluation of Korean costume image. The result was as follows; 1. The constructing factors of Korean costume image were found out as elegance, simplicity, neatness, femineity, looseness. (total variance; 62%) 2. The visual evaluation between Korean and American were sinificantly different regarding 5 factors. 3. Korean costume design were classified 4 clusters. Korean traditional fabrics and colors were commonly used in the 4 clusters. Difference of design were found in the structure of form. Formation of Korean costume image were influenced by silhouette and pattern of fabric. 4. Image of 'Would like to purchase' were influenced by image of taste.

• Proceedings of the Korea Society of Costume Conference
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• 2003.10a
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• pp.71-71
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• 2003

In the 21st century, people expect new era and are skeptical about standardized life made by mechanization as well as information. They start to regard the Oriental culture, which was thought to be quite different from the Western culture, as an alternative overcoming Western ideas spiritual crisis because the Oriental culture has exotic beauty.

• Journal of the Korean Society of Costume
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• v.63 no.6
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• pp.140-149
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• 2013

The study aims to suggest new skirt designs through a modernistic application of the silhouette of Hanbok skirts. It also aims to promote the aesthetic beauty and excellence of Hanbok to the world by using Hanbok skirts that best express the beauty of Korea as motifs, and to promote a pride in Korean culture through a reinterpretation of Hanbok skirts. The study was focused on examining Hanbok skirts from the Three Kingdoms era to the Joseon Dynasty, and the skirts in each era were compared to western silhouettes to suggest design centering on the characteristics of each silhouette. As for the theoretical background, shapes were classified according to waist-grip, the width and length of a skirt, wrinkles and ornamental lines, before being compared to skirt silhouettes of western costume. As a result, it was found that Hanbok skirt silhouettes in the Three Kingdoms era were similar to the A-Line silhouette of western costume, the Empire silhouette of unified Silla, the H-Line silhouette of the Goryeo Dynasty, the Bell-Line silhouette of the Joseon Dynasty and the Bustle Style applied to ceremonial costume in the early Joseon Dynasty. The researcher suggested five skirt designs by applying the above-mentioned five silhouettes, confirming the research premise that Hanbok skirt silhouettes are as diversified as those found in western costume. Designs were suggested for each silhouette, and are expected to lead to the development of designs befitting future trends and concepts through detailed research and development on Hanbok skirt silhouettes.

• Journal of the Korean Society of Costume
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• v.60 no.10
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• pp.80-87
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• 2010

The purpose of this study is to develop cultural products containing Korean beauty with modern sense by applying quilting with dyed threat among Korean traditional quilting works. Quilting with dyed thread using various colored thread expresses curve, straight and oblique lines harmoniously, is mainly used to make household goods such as a pouch, a spectacle case and a quilting pocket and a circular pattern, a cross pattern and a geometric pattern are shown in this kind of quilting. As for sewing method, half backstitch and full backstitch are used, and products made by this method are pouches stuffing pads in cotton or silk and quilting it finely to make patterns with various colored threads of stuffing cotton between linings and spectacle cases, a packet of needles and case of spoon and chopsticks which give various feelings according to arrangement of colors. Design of cultural products by applying the beauty of curves of hanbok, sleave-seam of jeogori, trimming line of dangeui. We expect that various cultural products with Korean traditional beauty and modern convenience will be developed continually by introducing the artistic strength of quilting with dyed thread to practical life.

• Journal of the Korean Society of Costume
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• v.62 no.1
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• pp.29-48
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• 2012

From ancient to modern days, Koreans have preferred and even worshiped white clothes to the extent that they are called "the white-clad race", and the color black has seldom been used for women's clothes. In western countries too, it was only after Chanel that black color came to represent feminine beauty. Black clothes were introduced in Korea after the opening of its ports to foreign countries in 1876 and have mainly been worn as a practical clolor for winter coats and school uniforms. The traditional preference for white and other bright colors continued well into the 1980s. However, the industrialization and urbanization caused by economic development and the influx of western cultures and ideas in the 1980s brought about the westernization of Korean aesthetic consciousness and resulted in the phenomenon of modern Korean women's preference for black fashion that became conspicuous from 1991. With the introduction of western fashion after the opening of the country in 1876, the spiritual values contained in preference for white clothes have been substituted by materialistic values as people accepted the practical beauty of black fashion, and the inclination toward intrinsic natural beauty intrinsic in the aesthetic senses that preferred white clothes has been replaced by the preference for modern, elegant and sensual beauties of black fashion whose preference has begun in the 1990s.

• Journal of the Korean Society of Costume
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• v.63 no.3
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• pp.33-45
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• 2013

This work developed the basic motive design utilizing the physical beauty of the traditional ornaments used uniquely by Korean females and suggested some textile designs and fashion cultural product designs. As a research method, computer design programs Adobe Illustrator CS3 and Adobe Photoshop CS3 were used as well as literature examination. The motive was mainly based on the dwiggoji and ddeoljam, which are female ornaments. The formative shape in woman ornaments was classified into four kinds: plant, animal, geometry, and hybrid. The hybrid type was divided further into such combinations as plant, animal, and geometry, which came up with 8 fundamental motives for design development in total. With regard to the basic motive design, the coordinated concept was adopted with a combination of traditional taste and contemporary taste in harmony for the expression of delicate image on the condition that the basic format in female ornament is maintained. Textile design was processed with symmetry, rotation, repeat, and overlap as fundamental motive. As to the design for fashion cultural products, design mapping was proposed for neckties, handbags, clutches, shirts, and one-pieces. Utility and beauty in the traditional ornaments unique to Korean women could be recognized once again through this work. This work also assured the possibility for the endless improvement as a design development motive with originality.