• Journal of the Korean Society of Costume
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• v.56 no.2 s.101
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• pp.70-82
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• 2006

The purpose of this study was to analyze the trends and features of male fashion and hair style image and thereby, determine the relationship between fashion and hair styles, and thus, provide for some basic data for future studies about male hair styles as well as for new male hair style trends. For this purpose, relevant literature was extensively reviewed including some visual materials. The major references for this study were domestic and foreign books, journals and preceding studies about fashion and hair. The visual materials referred to for this study were domestic magazines specialized in fashion and hair, visual data supplied by hair product brands, Korea Beauty Parlor Journal, Beauty and Cosmetic Newspaper, Beauty Today, and such fashion special websites as $S{\cdot}F{\cdot}I,\;C{\cdot}F{\cdot}T$, firstview.com, fashionwide.com, etc. Based on the results from a questionnaire survey of master or Ph degree holders of apparel science, reputed designer were sampled and then, 80 works were finally sampled from their collections published between January, 2002 and April, 2005. As a result of analyzing the images shown in modern male apparel and hair style fashions by classifying them into natural, restored, folklore and eclectic ones, it was confirmed that both male apparels and hair styles have been reinterpreted in modern terms depending on social and cultural settings to be expressed as new styles, and in particular, that male hair styles have evolved diversely into new styles depending on fashion tendencies, while having been versatile in some relationships with their fashion tendencies.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.173-189
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• 1995

purpose of this study is to analyze the various phenomenon related to the subjectivism of aesthetic value for dress, which is impossible to describe with only functionalism, practically and objectivism of aesthetic value for dress based on Karl Rosencrantz\ulcorners theory of the Aesthetics of ugliness from the middle of 1980's to present. In other words, the ugliness had been selected and erected as the opposite meaning of beauty to head toward ultimate beauty, and clarify that ultimate beauty is achieved through the combination of beauty is achieved through the combination of beauty and ugliness. First, the ugliness and Rosencrantz\ulcorners theory of the Aesthetics of Ugliness had been examined theoretically in the aspect of the subjectivism of aesthetic value for dress and aesthetic category. The relationship between the artistic styles related to ugliness, such as Avant-garde, Primitivism of Expressionism, Grotesque, Decadence, Kitsch, Pastich\ulcornerParody, from the late 19c to present, and the dresses representing the ugly look such as Cyber Punk, Exotic look, Detester, Grunge, Hip-hop, etc, of 1990's had been studied by using photographic materials. In this study, the basic concepts of ugliness, including formlessness, inaccuracy and deformation, formed by K. Rosencrantz had been used to reveal the interaction between modem costume and the theory of ugliness.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.85-98
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• 2005

This Study is to analyze characteristics of costume change of according to the status of character succeeding the investigation of the ceremonial costume change in historical TV dramas that The Empress Myungsung entered. For this study, the costume images among historical TV dramas, that Myungsung entered, '500 years of Chosun Dynastyv, Taewongun(1990, MBC)', 'The Glorious Dawn(1993, KBS1)', 'The Empress Myungsung(2001, KBS2)'were used: The characteristics of the costume change of main character are as follows. First, main character's costume has been increase gradually in number and item. Second, Especially in the last work,'The Empress Myungsung', the royal costume based on historical evidence in aspects of silhouette, but it didn't according to the historical costume in aspects of color and textile. Nevertheless the costume reveals the status of each person significantly. Third, the costumes of the recent historical drama appears as a optical symbol that represents historical view point and different interpretation of each drama. Therefore the costume according to the status of the character wrong from the historical point of view. Consequently, TV costume in historical drama Myungsung entered has been focused on the beauty of the screen and dramatic effect than historical viewpoint. So the costume have been to be an essential visual part by means of the symbol revealed the purpose.

• International Journal of Costume and Fashion
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• v.7 no.2
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• pp.1-17
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• 2007

The purpose of this study was to identify appearance management behavior related to well-being lifestyle of women. The results of the study were as follows: 1. The factors relating to a well-being lifestyle were personality and value, fashionable appearance, leisure activity, healthy food, brands, social activities, reasonable consumption, environmental protection, and individuality. The factors of appearance management behavior were weight management and skin care, apparel and accessory management, dietary treatment, bathing, make-up and hair styling, underwear management, using hospitals, beauty salons, and identity kits. 2. Women were classified into 4 kinds of groups: well-being, reasonable value pursuit, ostensible consumption, and bad-being. 3. The members of the well-being group were generally married, highly educated, had a high income, and spent a lot of money for their appearance management. They had a high level of appearance management in terms of weight and skincare, apparel and fashion accessories management, dietary treatment, bathing, make-up and hairstyling, underwear management, and in the use of hospitals and beauty salons. The members of the reasonable value pursuit group were generally married, less educated, with a medium income, and spent little for their appearance management. Members of the ostensible consumption group were generally unmarried, with a low income but spent lot of money for sundries and appearance management. They also had a high level of appearance management with regard to weight training and skin care, apparel and fashion accessory management, underwear management, the use of hospitals and beauty salons, and using identity kits. Members of the bad-being group were generally unmarried, had low incomes, little disposable income, spent little on appearance management, and didn't manage their appearance as a whole.

• Journal of the Korean Society of Costume
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• v.58 no.3
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• pp.123-130
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• 2008

Symbolizing holiness, wealth and power, golden color was most effective to express the absolute power of royal family and aristocratic society as well as the beauty of magnificent and brilliant authority. Such golden color was understood as the artistic color formed in the dictatorial society as well as the society under the rule of absolute monarch. Thus, it has been used in the costume that symbolizes nobleness, holiness, brilliancy, ethnicity and future-oriented property. In this sense, the image of golden color shown in contemporary fashion was analyzed as follows in this research: First, showing the future-oriented image, golden color expresses avant-garde, cyber and cosmic future-oriented image by using diverse new materials which introduce the state-of-the-art technology sense in addition to metallic textile. Second, getting hint from the ethnic costume of many countries around the world such as brilliant embroidery using golden-thread, ornament with exaggerated technique such as gold foil, mark and character in peculiar tint, the ethnic image of golden color expressed the peculiar color or materials of ethnic costume, handicraft details, etc in golden color. Third, since golden color is expressed in ostentatious image to which elegance and luxuriousness that looks like the work of haute-couture costume of royal family or sensuality that voluptuously expresses the beautiful body line of women are added, the viewers are enchanted or attracted.

• Journal of the Korean Society of Costume
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• v.44
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• pp.215-233
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• 1999

The Miaos have their own peculiar and luxurious transtional culture a they have experienced repeated fusion into and resistance againt the Han Race or the chinese in their long and old history. And the traditional culture of the Miaos is abundant and diverse in several respects. Because it has taken root in foundation of their simple and native environment. it is embracing abundant and diverse contents. They largely used as the theme of patterns factual materials such as natural objects easily accessible in the natural environment. those related to marratives reflective of ethnicity, animals and plants symbolic of auspicious omen, peace, happiness and good harrest with prosperity and abundance. And they not only crossornamented natural patterns and geometrical patterns by combining them but also geometric patterns alone. It can be seen that Miaos represented patterns with exaggerated formation, overlapping and modification and the comprehensive, fomation of natural forms, abstract formation etc. Seeing the ethnic costume of Miaos investigated in these several respects by the standard of contemporary beauty it is thought that it has the infinite possibility of being used in contemporary fashion design on account of the characteristic of almost perfect costume.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.110-124
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• 2015

This study examined a phenomenon of exaggerated hairstyle in the history of Western custom through publications related with Western costume and research papers. By adopting the criteria of Delong, M. R. to analyze visual forms shown by interaction between human body and costume worn over the body, it analyzed the formative characteristics by the interaction between hairstyle and costume. In addition, it inferred the aesthetic characteristics through content analysis of examined phenomenon focusing on socio-cultural background and costume socio-psychological precedent studies. Formative characteristics of exaggerated hairstyle applied by analysis criteria of Delong, M. R. were in pursuit of the emphasis style. This was clearly and intensively recognized by forming spaces for mostly closure style, part style, three dimensional style, determinate style, and space separation style. Regarding the interaction between hair and ornamentations, 'precedence of ornamentation' was pursued as ornamentations were recognized earlier than the hair itself. It means associative meanings of the surface effect were accompanied by emotions of 'intensiveness' and the pursuit of the attractive style. As for the interaction between hairstyle and costume, there were many cases of pursuing 'continuity' mutually and visually by connecting the hairstyle and the costume. Aesthetic characteristics of exaggerated hairstyle were inferred as 1) the expression of the sprite of the age(i.e. art, culture, politics, society, ideology, religion), 2) symbols of wealth, class, authority, and excellence, 3) pursuit of addicted desire to ornament, and 4) harmony through continuity with costume. This study verified that hairstyle was connected as a part of costume, or formed as a way to express deeper human psychology beyond just a part of a costume. It was also confirmed that hairstyle was an expressive method to express the spirit of the age, such as art, culture, society, religion, ideology.

• Journal of the Korean Society of Costume
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• v.65 no.8
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• pp.64-76
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• 2015

Gilles Deleuze highly evaluated Baroque as the expression body that implements the fold theory, a philosophical thinking about the nature of beings. This can be seen as a meaning that Baroque implements the essence of the world, or the power constituting that essence. In addition, the beauty of Baroque focuses on 'New Harmony' the sum of partial forms caused by each element, and not Platonic harmony. he evaluated the aesthetic of Baroque costume as 'acquisition of liberation and autonomy', 'derived force from infinite spiritual forces'. This study analyzed the contents of the Aesthetic of Baroque costume based on the reviewed Deleuze's folding theory, Baroque aesthetics, and views of Baroque costume. As a result, it inferred the aesthetic of Baroque costume into four types, which are as follows: open structural openness, overlapping structural dynamics, integrated structural diversity, and relationship structural integrity. This study analyzed the aesthetic of Baroque costume based on Deleuze's philosophical thinking. The analysis showed that its aesthetics, which focused on "New Harmony", created energy of life and a venue for expression of power, as the aesthetics eliminated the prejudice of complexity and excessive decoration. In addition, Baroque costume is not the simple historical costume of the past. Instead, it is one of power and spirit, still existing in modern fashion. Baroque costume's formativeness and Paradigm can be said to provide the creative principle important for modern fashion because the aesthetics implemented in Baroque costume accepts free spirit, new challenge, difference and diversity, and is similar to the spirit pursued by modern art and fashion.

• Journal of the Korean Society of Clothing and Textiles
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• v.14 no.2
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• pp.85-97
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• 1990

This study investigates, through the Ka-rae-ban-cha-do(가예반차도) in the Ka-rae-do-gam­eui-gue (가예도감의궤), how the system of costume used in ceremony exchanged during the middle, late the Yi dynasty and in the period of introducing Wastern civilization. The procedure of the royal marriage is also studied here. The procedures of Ka-rae were divided into the six traditional etiguettes(륙예) : Nap-che (납채) , Nap-gyng(납징), Go-gi(고기), Chaik-bi(책비), Chin-young(친영), and Dong-roe(동뢰). The change of the general structure and characteristic of the costume used in the ceremony in Ka-rae-ban-cha-do are as follows: The costume in Ka-rae-ban-cha-do can be divided into the Guard costume (호위복식) and the Ceremonial arms costume (의장복식). The most formal attire of the Guard costume, Yangkwan-Chobok (양관-조복) and Samo -Danryeong(사모-단령) with Huygpai(흉배) can be seem only in the Ka-rae of late king's. Of the Ceremonial arms costume, the most outstanding was Hongkun- Hongeui (홍건-홍의), which showed up in almost all Ka-rae-ban-cha-do. Heukkun-Changos$\cdot$Deogrei (흑건-창옷$\cdot$더그레) were worn as well. In the style of costume emphasis convenience and practicality rather than on beauty, because they had to carry the arms used in ceremony with them nevertheless by using primary colors it was very colorful. This costume in Ka-rae-ban-cha-do has little difference, but great changes are shown in Sunjongsunjongbi Ka-rae-ban-cha-do (순종순종비가례반차도). Most costume of the past was replaced with western hat and suit, so the duplicate state of our costume and western costume came into existence during the period of introducing western civilization.

• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.168-176
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• 2006

In modern society, Korean women has been doing make-up developing as one of the beauty industry and it means make-up involves more meanings than in primitive period. Therefore we need to study its multi-dimensional connotation Which in the culture that means to understand the society and their way of thinking, and their social value. The structure of feeling represented in make-up in the 70's was Korean women's wish which were to be rich and westernized. In the 70's, Korean women moved to city, and meanwhile they work hard, they has been accepted western lifestyle and it proved on women's face. And in the 80's, Korea has been developed rapidly, and Korean government make people free. So Korean women's structure of feeling in the 80's were women's automation derived from political and economical development. And women expressed their structure of feeling as abundance in the society and women has to been stately. In the 90's Korean women were revolutionary and returned to nostalgia. In 2001, as the world faced new century, Korean women's life has been changed and the structure of feeling were pureness, simple and easiness.