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

• Cross-Cultural Studies
• /
• v.25
• /
• pp.213-236
• /
• 2011

The negative symbol of 'American imperialism', which was reinterpreted superimposed on the symbol imposed on Japanese imperialism in the 1945 Liberation of Korea, was more amplified added by the experiences of the bombing and massacre by US troops during the Korean War. In other words, the symbol of the extreme 'American imperialism' in the liberation in which even the role of America contributing to the liberation of Josun had been denied had continued for a long time adhered to and amplified through the war. Thus, unlike the current emphasis laid by North Josun, the assertion in the form of 'American imperialism=Korean wolf' is an idea made from the mixture of fact and fiction combined with the theory of imperialism rediscovered in the liberation and the experience of massacre during the Korean War. And this superimposed symbol for American imperialism naturally causes the problem of being superimposed also on the symbol of North Josun. And the extreme formalization for 'good' and 'bad' sides was based on the dichotomous compositions of beauty and ugliness, good and evil. The ground for saying that an act by a good side is 'unconditionally' legitimate is nowhere found. The anti-American viewpoint rediscovered in such an extreme form results in one aspect of criticism and resemblance as a result of being locked up in the same violence which one has rejected by oneself. The anti-American viewpoint going on in the form of anti-imperialist nationalism leaves nothing except another terrible retaliation for terrible brutality. It is self-evident that one can never get out of the enchanting power of imperialism which North Josun has continuously criticized in a ring of violence and vengeance, the familiar grammar commanded by North Josun literature.

• Journal of Fashion Business
• /
• v.18 no.6
• /
• pp.57-66
• /
• 2014

The purpose of this study is to design appropriate digital tools for the production of makeup designs. In this study, we used a three-dimensional facial avatar simulation program developed by the Electronics and Telecommunications Research. This study is based on the creation of three-dimensional CG digital art of facial avatar makeup, produced by using simulation technology. First, the actual application and the tools for digital-optimization and media features were created, leading to the research and cleanup. Second, the theoretical background was applied to the formative elements of oriental colors in the designing process. Makeup design elements include point, line, surface, color, and texture. In this study, effective makeup design was interpreted to be based on the representation of particular elements, notably the design principles of balance, proportion, rhythm, repetition, emphasis, contrast, harmony, and unity. In Asia, design is based on the visibility of red, blue, black, yellow, and white-the colors of the five elements-and the use of points, lines, and shapes. This study was recently under scrutiny in relations to digital simulation and various three-dimensional designs, in terms of how to take advantage of a wide range of applications, and how to apply the findings through media and the dissemination of basic research. This study applies the characteristics of the limited existing stereoscopic three-dimensional and digital simulation programs in order to take advantage of the empirical research, providing a basis to implement this research in a meaningful way. A follow-up study is needed to extend these findings and theoretical foundation through continuous observation and in-depth technical development and research.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.14 no.2
• /
• pp.85-97
• /
• 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
• /
• v.18 no.6
• /
• pp.1291-1304
• /
• 2010

This study examined that the black dress is the one of having aesthetic value as well as symbolism while delivering specific image, from the perspective of color, which is essential element in forming design of the Stage Costume. This study carried out the theoretical research of centering on the literature consideration and the empirical research of centering on a case side by side. It analyzed the works and design based on the clothing, which had been performed in Korea with a revival version of Musical 'Chicago'. Aesthetic characteristics in more than two are being shown in one dress. If so, the following are the results that considered on aesthetics characteristics in black, which were shown in Stage Costume of Musical 'Chicago', which is increasing the theme consciousness through Stage Costume, which is simple and sexy black. First, as emotion of coming to stay in agony and sadness on the basic fact called death, the Stage Costume in black led to being shown sorrow of implying death, fear and murder. Second, the dignity, which corresponds to noble beauty in the aesthetic category, expresses dignity and elegance with flat material in black, and is revealed the aspect of expressing fashion, which emphasized spirit rather than body. Third, as the aesthetic characteristic of causing sexual desire, the sensuality was shown, which has the aspect of being expressed through exposure, concealment and emphasis. Fourth, it was expressed with androgyny, which evokes androgynous image. Fifth, black in Musical 'Chicago' formed the whole mood with a sense of weight by arranging the whole feeling with color in similar tone, thereby having been indicated the harmony of being formed with theme, which is aimed to be indicated in drama.

• Archives of design research
• /
• v.19 no.1 s.63
• /
• pp.303-316
• /
• 2006

Eclecticism, fusing and mixing heterogeneous and contrasting elements to create a new awareness of beauty, is based on diversity and pluralism, and as such fits well with the demand of the contemporaries who pursue individualization and diversification, which explains the current vogue for Eclecticism. As a precondition to grasp eclectic styles that are expressed in modern textile design, this study looks into the characteristics of eclecticism in modern art and applies the insight so gained to textile design in an attempt to understand transformations of modern textile design by considering the aesthetic effects and plastic characteristics suggested by the new trend. The result of our research indicates that the trends that characterize modern textile design can be divided into three categories as follows: 1) Mixing of high culture and low culture through cultural fusion, 2) Fusion of differing sensitivities through blending of times, 3) Blending of regional characteristics through geographical mixing. Characteristics of textile designs as influenced by these trends can be summarized as: 1) a conversion in the way textile designs are viewed, 2) increasing emphasis on the playfulness of representation and 3) multi-cultural expressions. In short, eclecticism of textile design represents a phase of modern society that is increasingly oriented toward multifacetedness and points to a direction for a new possibility of future textile designs, necessitating a continuous research along this line.

• The Research Journal of the Costume Culture
• /
• v.19 no.2
• /
• pp.430-448
• /
• 2011

This study analyzes the stereotyped femininity with a focus on body codes, which has been continuously expressed in fashion illustrations from the late $19^{th}$ century to the year 2010, and examines the changes in its meaning. Stereotyped femininity was reorganized by the changes in female sex role effected by social changes, as well as by the body discourse and feminism in the late $20^{th}$ century, These socio-cultural backgrounds led to the change in the meaning of stereotyped women expressed in fashion illustrations. The stereotyped women in fashion illustrations are characterized by gender-oriented body, and the typical image of women was reproduced with the marks of poses and looks that feature passiveness and subordination. Then, the gender-oriented body since 1990's shifted to active meaning that positively revealed sexual desire. The space positioned by women is also the symbol of gender. In line with changes over time, the backgrounds in fashion illustrations have changed from private space such as home and nature to public space such as city, which reflects diversification and expansion of space for women. This study has identified the changes in meaning, based on the analysis of the characteristics of stereotyped women expressed in fashion illustrations. Above all, women who were objectified as a subject by dominant discourse have established the concept of active body as an entity. In addition, the symbol of typical femininity is "slim" and "beauty", which reflects the change from the emphasis on childbirth-related femininity to self-control and conquer. On the other hand, the typical features expressed through body have reproduced dichotomous structure, but the emergence of body and background deviated from gender has reorganized the symbolic order of gender.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.12 no.3
• /
• pp.105-119
• /
• 2010

The style of costumes which dancers put on for dancing on a stage reflects the times, culture, and traditionality of movements in dancing. Accordingly, everyday dresses are adopted as the stage costumes in some cases and stage costumes lead the trend in other cases. Furthermore, like stage costumes in other genres, dancing costumes put more emphasis on expressive features in the functions of clothing unlike everyday dresses. In particular, dancing costumes shall sufficiently and delicately express each movement using the costumes as well as rhythms and melodies of music for dance. Ballet which is the representative western dance was derived from the world "Ballare" meaning "dance" in Italian. As shown in the change of word, ballet started in Italy. In Italy taking initiatives for all artistic activities in Europe as leading Renaissance in the 15th century, ballet started as the court dance and favored by French. Then, ballet flourished in France and was developed to the Romantic ballet in the 19th century. During the Renaissance, the early stage of ballet development the dancers put on the dresses which were in fashion at that time on the stage. The dancing costumes added the decorative features suitable for the characteristics of main actors or actresses and contents of dances to the dresses in fashion at relevant times in 17th and 18th century. "Panier", the dancing costume in the 18th century, was sensationally popular among women. As described above, the study on the features of dancing costumes by times not only arranges the costumes in each times but also investigates emotions and artistic and aesthetic values of those who lived in the relevant times. Furthermore, it is the way to experience the height of fantasy and beauty.

• Journal of the Korean Society of Clothing and Textiles
• /
• v.21 no.7
• /
• pp.1173-1183
• /
• 1997

In order to flatter the figures of average middle aged women by determining harmonious proportions for their costume forms, this study evaluates effects of varying design details of jackets(coats) with blouses and slacks using a ranking test and paired comparisons test. The result from clothing design C-2 which has the best design effect were as follows; 1. In order to look taller, the jacket(coats) is divided vertical long line and it has the emphasis point close to the face. 2. In order to make shoulder width look wider, armhole seam line attached 1-2 cm from the shoulder point. 3. In order to make chest width look slimmer, division was made up of a tailored collar with a deep V-neckline. 4. In order to make waist circumference look slimmer, the jacket has more fitted waist line than loosed it and tailored collar with a deep V-neckline. 5. In the case of the division of upper and lower garments, when the division was closer to the golden section, i.e., when the jacket hemline is hipline and slacks length is the heel excluded length of shoe heels, the overall appearance was better. 6. The V-neckline looked better, when it was cut along a long acute angle to the waist line. Because of dividing along above factors 1-6 i.e., clothing design C-2 was overall harmonious. Appropriate division of costume forms made for an aesthetic composition, which flattered the body types of middle aged women and presented harmonious, beautiful costume design effects. It made the women look taller, slim and balanced, and highlighted middle aged women's sense of beauty.

• The Research Journal of the Costume Culture
• /
• v.20 no.1
• /
• pp.36-48
• /
• 2012

This study intends to provide fundamental data to develop creative high-value designs, proving that the cut-out technique, a decorative element of fashion design, can be used to express various visual effects. The author performed a literature review of such publications as Gap Press, Fashion News, and Mode & Mode from 2001S/S to 2010S/S, referring to Internet data to empirically analyze the cut-out technique in contemporary fashion. The study found that the cut-out design is effective overall, but is best suited for one-piece designs and for partial rather than whole items of clothing. The basic motif of the cut-out is a geometrical pattern based on a line, a tear, or is shapeless. The cut-out design is mostly shown as an overall pattern or as a symmetrical shape. Analysis shows that the characteristics of the contemporary fashion utilizing the cut-out technique are as follow: First, the cut-out technique exposes the curves of a woman's body in a direct or indirect way, thereby emphasizing her sexuality and maximizing the value of female beauty. Second, through the cut-out technique, we can highlight the various types of space formed by the technique and repeated patterns; we may also elaborate on single-patterned laser-cut designs, which will show that the particular surface effect of the material can strongly impact the attractiveness of the design through emphasis and decoration. Third, damaging or destroying clothes on purpose, showing surprising concepts through optical illusions, and expressing humor by ignoring existing clothing styles show our willingness to escape from traditional or obvious design ideas, as well as demonstrating individuality and playfulness.