• Journal of the Korean Society of Costume
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• v.57 no.9
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• pp.110-123
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• 2007

This study is purposed to analyze the characteristics of different images of Hollywood movie costumes centering on the costumes of actresses who are the fashion leaders creating fashions especially focusing on those in 1930s. The scope of this study covers the movie costumes selected from the movies ranging from 1930 to 1939 centering on the Hollywood movies produced and released by large movie distributors and the movie costumes of heroins that exerted great influences on the culture and clothing history of 1930s were examined. As for the methods of study, visual data and image data including movies were collected through related dissertations, articles in journals, internet sites relating to movies and photos and we have analyzed each of the characteristics of the movie costumes appearing in each image. The result of this study is as follows. Firstly, ethnic images were the reflection of orientalism that was popular in the fashion of the age with the purpose of highlighting the exotic appearances of the actresses and were the cases where the characters of the actresses had to be expressed in ethnic styles due to the spatial backgrounds of movie works. Secondly, glamorous images were highlighting the appeals of plump breasts, shoulder lines and the bodies constricted in the middle and the Hollywood movie costumes in 1930s. The smooth and flowing silhouettes of the heroins of the age were mainly long and slim patterns and female's images were expressed by highlighting the beauty of leg lines or especially by halter neck evening dresses that exposed backs and covered breasts. Thirdly, mannish images reflected tough images of males in order to further highlight the reality of the characters of the heroins of the age pursuant to the emergence of the opinions advocating the equality between men and women.

• Journal of the Korean Society of Costume
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• v.63 no.1
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• pp.42-55
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• 2013

As performing arts including operas are getting popular these days, the importance of stage costumes is strengthened. Stage costume is one of the artistic requisites for opera performance, it plays an important role in describing the play's situation, the director's style and the person's character. Nevertheless the study regarding the opera's costumes is not active, especially the comparative study on the same opera's costumes performed by different opera companies have hardly been made. Therefore this study compared 5 Manon Lescaut opera performances: the Metropolitan Opera(1980), the Flemish Opera(1991), the Metropolitan Opera(2008), the Seoul Metropolitan Opera(2010) and the Vienna State Opera(2010) and made clear the difference between the four. From this study, we can get the following conclusions. First, the Metropolitan Opera's costumes in 1980 act and in 2008 act ascertained Rococo dressing. Because the costume designer for both acts was the same person, the general costume styles of the two acts are similar. Second, as for the Flemish Opera and Seoul Metropolitan Opera, there was a significant drop in fancy details and trimmings in the costumes. But the costumes made strong impressions dues to its color and luminosity contrast. Third, Vienna State Opera costumes had the boldest designs and it reflected modern designs as well. This study is meaningful in that it is based on the comparison study on the same opera stage costumes designed by different directors. Afterward this study is expected to contribute toward study on opera stage costumes and stage costume's development.

• Journal of the Korean Society of Costume
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• v.67 no.4
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• pp.131-152
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• 2017

The purpose of this study is to analyze modern fashion culture in the 20th century through changes in transmedia in order to better understand characteristics of fashion contents. The study also strived to identify the characteristics of remediation in modern fashion and media by exploring the cultural code, and use it to establish an integrated view. The subjects and the method of the study are as follows. First, the study analyzed the development of transmedia and fashion culture since the 20th century. Second, it identified the transitional characteristics of transmedia. Third, the study analyzed the characteristics of remediation in modern fashion culture by using the characteristics of mediation, which appeared with the transitional characteristics of transmedia. The study results are as follows. First, the types of remediation are 'borrowing,' 'Representation,' 'Expansion,' 'Refashion,' and 'Absorb.' In old and new media, each type can be aesthetically experienced in 'transparency,' opaqueness,' 'Hypermediacy,' and 'Immediacy.' Second, fashion culture can undergo a transformation from its original form to a second and a third iteration, and this process allows for possibility of an expansion of multiple plots and well-rounded character settings. This opens up the possibility for fashion consumer participation, and signifies a transition into an environment where expansion of time and space is possible. The third finding is the non-mediation of fashion objects. The mediating relationship between clothes and media is directly connected to the development of new media. The immersion of new media by fashion consumers has the characteristics of 'transparency'/'Non-mediation,' and the reinterpretation and reproduction of original fashion styles have the characteristics of 'opaqueness'/'Hyper-mediation.' Fourth, fashion culture has data variability. Through 'Borrowing,' 'Representation,' 'Expansion,' 'Remodeling,' and 'Absorption,' the cultural hierarchy of reproduced fashion forms a multi-layered integrated network. Mediation code, which repurposes fashion culture contents, also creates new media fashion through transmedia.

• Fashion & Textile Research Journal
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• v.17 no.3
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• pp.315-326
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• 2015

Woman leadership has been remarkably highlighted with women's accelerating entry into society. Domestic and overseas interests about political leaders began with the age of media and they are rapidly spreading worldwide with the development of internet, SNS and blog. Along with this phenomenon, exposure of images has been remarkably increasing and fashion has been also used as a political strategy. However, the research on woman political leaders has been insufficient so this study selected Geunhye Park, Michelle Obama and Hillary Clinton as representative woman leaders for the research. 149 pictures of Geunhye Park, 171 pictures of Michelle Obama and 124 pictures of Hillary Clinton from the articles containing their pictures from Jan. 2002 to Dec. 2013 were analyzed, focusing on their gender. The three woman political leaders' typical images of femininity, masculinity and androgyny were categorized respectively and the period and works in which those images had been expressed were reviewed. Also, fashion styles of the images pursued by each gender were analyzed through their color, material, silhouette, design point, items and accessories. As a result, Geunhye Park had femininity image at the beginning and had masculinity image when she did election campaigns, which led to her current image of androgyny. Michelle Obama uses the image of femininity, masculinity and androgyny simultaneously. It was found that Hillary Clinton emphasized the image of masculinity and androgyny but she emphasizes femininity image these days.

• Journal of the Korean Society of Costume
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• v.60 no.5
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• pp.71-87
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• 2010

The purpose of the study is analyzing Japanese modern costume, through examining legislation process and the relics of Chickimkwan's and Juimkwan's court costume. The results of the study are as follows. First, the proposer of civil court costume, established in 1872, was Iwakura Mission dispatched to America and Europe. The Mission realized the importance of preparing western-style costume in civilization from experience wearing traditional clothing at ceremony of presenting credentials in America. Afterwards, the Mission proposed that the government accept western-style as civil court costume and became first wearers in Japanese in England. Second, the difference, between ordinance and actual clothes worn by Iwakura Mission, occurred in process of legislation in 1872. That might be considered as trial and error in introducing different culture. The coexistence of England and French styles was unified into French style by the revision of civil court costume in 1886. Third, the pattern of paulownia embroidered on civil court costume was utilized as symbol of Japan. While the costume of Chickimkwan was embroidered by the pattern of 7 and 5 leaves paulownia, that of Juimkwan was 5 and 3 leaves expressing their grades. Fourth, relics research showed how formed manufacturer information and enacted design were in embroidery. The relics seemed to be manufactured in Japan, because emblem of Mitsukosi tailor was embroidered on inner part of the back of collar of Chickimkwan in Nara Women's University, Japan and that of Yamasaki on left inner pocket of Juimkwan in the Independence Hall, Korea. The embroider techniques comprised forming by filler particles according to the design, filling up coiled gold threads and expressing stem with gold threads and spangles. As preemptive study, establishment process of Japanese civil court costume in this study will help understand form characteristics appeared in civil court costume act of Korean Empire.

• Fashion & Textile Research Journal
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• v.16 no.5
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• pp.680-688
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• 2014

The aim of this research is to classify intrinsic attribution of 'la diff$\acute{e}$rance images' which are core propositions of changeability of fashion style. The specific questions of this research are; what are the definition of 'changeability of fashion', 'la diff$\acute{e}$rance' and 'supplement' and what are the relationships?, how the la diff$\acute{e}$rance images which are intrinsic of changeability of fashion style exist? and what is intrinsic attribution of 'ultimate la diff$\acute{e}$rant image', 'immediate la diff$\acute{e}$rant image' and 'la diff$\acute{e}$rant image of the trace'? The researchers deployed a qualitative research method providing a systematic review of the previous studies. In conclusion, the 'supplement' phenomenon and 'la diff$\acute{e}$rant images' shown in the changeability of fashion style, covers up the gap between the structural layers through the play led by supplement logic in the subconscious place of la diff$\acute{e}$rance of dialectical frame. They produce styles that have current value and become generalized la diff$\acute{e}$rant images of trace through the play of 'la dissemination.' These images repeat their individual play to reproduce a new different 'la diff$\acute{e}$rant images' and complete the aesthetics of harmony in the state of 'reservation,' 'deferment' and 'postponement'. The images are ready to make history and they create 'ultimate la diff$\acute{e}$rant images' from the demand of different period, and tries to combine with 'supplement' within 'the gap of la diff$\acute{e}$rance.' This process endlessly repeats in the dialectical frame through the la diff$\acute{e}$rant' play led by time and space, and it continuously produces new style that is required by different time and space.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.145-156
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• 2004

This study is regarding closed and open forms, which have relatively high recognition among visual perception phenomena in costumes. In particular, this study reviewed closeness and openness of ethnic look, which is a representative open costume. Closed form can be summarized as simple and clear silhouette, conspicuous differentiation from the background, simple construction of the costume and colors with low brightness and clearness. It Is modern, functional, rational and modest. On the other hand, open form can be summarized as complicated and inconspicuous edge line, complicated inner shape and colors with high brightness, high clearness and vividness. It includes concepts of pleasure, entertainment, joy, eroticism, rebel and resistance. Modern costumes have been simplified for a long time and they have functional and closed characteristics in their shape, structure and form. On the other hand, modern open form costumes are usually found in sub-cultural styles such as punk, hippie, kitsch and vintage, and some ethnic looks. Following is a summary of the characteristics of open form shown in the ethnic look. 1. The shape, structure of costumes, hair accessories, lace, ruffle and ornaments are complicated and irregular. 2. The silhouette is inconspicuous because of ambiguity between backgrounds and ABC (Apparel-Body-Construct) or the use of see-through materials. 3. It makes complicated visual shapes because it does not have a single type but is composed of various clothing items together. 4. It gives complex feelings by matching various colors or more than two different fabrics. 5. It looks like the open type because of the complex patterns shown in the costumes.

• Journal of the Korean Society of Costume
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• v.66 no.1
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• pp.122-134
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• 2016

The Mural Tomb of Xu Xianxiu(AD 571), a high ranking official in Northern Qi period, is located in Taiyuan, Shanxi province, China. Despite having been raided, it was still discovered to contain over 530 pieces, such as artifacts and murals, in excellent state of preservation. These murals are noteworthy for their high level of detail compared to other murals from the same era, and are important for understanding the historical context of active East-West and Han-Hu cultural exchange in the $6^{th}$ to $7^{th}$ century. The murals of Xu Xianxiu's tomb depict round-collared and narrow-sleeved garments as well as straight collared robes typical of the Xianbei tribe's attire. Notable are the ermine fur overcoat and a headwear with flares on the left and right thought to be unique to the Xianbei. The wife and female servants show female attire of the Xianbei at the time; this attire can be characterized by narrow-sleeved long gowns and asymmetrical flying-bird buns. Despite the anti-Han policy of Northern Qi, influences such as the right sided gathering of the robes and embellished hair styles remain. The procession also depicts the three-cornered headdress and long-tailed hood of the Xianbei men, which have been recorded in documents. The large rounded pearl pattern containing the palmette, the divine animal, and bodhisattva's head motifs show the influence of the Western China [Xi'yu]. Considering that Northern Qi had more active interactions with the three ancient kingdoms of Korea than with the Southern Kingdoms[Nanchao], the findings of this study call for further research on the correlation between the attire of ancient Korea and Northern Qi.

• Journal of Fashion Business
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• v.15 no.4
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• pp.1-15
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• 2011

Femme Fatale in Film Noir is a wicked woman character who seduces the male partner to a ruin. In the film, the dress style is of extreme importance for the personality creation of the character as well as the development of the plot. With this background, I have looked over the Femme Fatale dress style that appears in the movie . First, it expresses Femme Fatale which stresses the feminine trait by a dress style with enlarged chest and hip parts and long, slim silhouette with tight waist and knee line. Second, the Femme Fatale with pretended purity presents narcissistic satisfaction like a saint virgin by wearing a neck-high one-piece dress embellished with frills, but the use of mirror represents self-alienation and the vanity of purity. Third, the Femme Fatale with its military dress style presents authoritative sternness which leads seduced male into ruin with its destructive power. Fourth, wearing jersey type or knitted wear that sticks to the body presents sensual Femme Fatale. Fifth, the tulle, chiffon, and white handkerchief used for the creation of grotesque Femme Fatale represents harmlessness and prohibition of immoral behavior, and the black gloves, pillbox, and the number on the tulle present her uneasy psychological state from the fear of being discovered after murdering her husband. On the other hand, the see-through tulle presents alluring sensual beauty. Sixth, the combination of the dialogue in the final sequence and drapery type as in Greek goddess represents the saint virgin of salvation who acknowledges her own fault and returns to her purity again. In addition, accessories and others made from shining material represent hidden conspiracy through simple dress and contradictory dynamics, and shoes embellished with bonbon, etc represent sexual implications in connection with male.

• Journal of Fashion Business
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• v.6 no.1
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• pp.1-19
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• 2002

The purpose of this study was to suggest the most appropriate design concepts for sportive fashion product based on the analysis of consumers' acceptance of the recent sportive fashion trends according to their lifestyle. The subjects consisted of 295 males and females, between 17 and 35 year-old. A self-report questionnaire with 4 stimuli was employed for data gathering, and the data were analyzed by the methods of frequency, factor analysis, cluster analysis, and Pearson's correlation coefficient. The results of this study were summarized as follows: For the First, the recent sportive fashion trends were categorized into four groups; 'street- sportive' trend, 'futuristic-sportive' trend, 'ethnic-sportive' trend and 'urban-utility sportive' trend. Secondly, based on the result of cluster analysis on consumers' lifestyle, total four consumer groups were identified; 'pursuing sense' group, 'pursuing culture' group, 'pursuing utility' group, and 'indifference' group. Thirdly, the consumers relatively preferred two sportive styles among the four groups, typically representing 'urban-utility' trend and 'street' trend. The typical 'urban-utility' style was particularly preferred by the consumers who desired to express themselves as urban, modern, and luxurious. The typical 'street' style was preferred by the consumers who tried to express themselves as active and fashionable. Finally, preferences of the sportive trends according to consumers' lifestyle were interpreted as follows: the 'pursuing sense' group relatively preferred 'urbanutility' style and 'street' style, the 'pursuing culture' group preferred 'street' style and the 'pursuing utility' group preferred 'urban-utility' style, meaningwhile the 'indifference' group preferred 'street' style and 'urban- utility' style.