• Journal of the Korean Society of Costume
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• v.59 no.2
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• pp.154-168
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• 2009

This study aims on providing a design technique that expresses aesthetical elements by arranging the analysis of sensual beauty into detailed elements of design from music video outfits by genre of pop music, by observing music videos of female vocalists chosen from each genre of pop music focusing on their fashion. The results of this study are the following. 1. In the genre rock, the sensual beauty of female were expressed with a boyish and neutral style using texture such as leather or denim, and such style had the effect of emphasizing their feminine side even more. 2. In the genre dance music, exposure is extensive compared to other genre using sexy or lingerie look, and I found an ambivalent style of feminism with clothes in the form of drapery using textures such as chiffon and silk, and femme fatale style with textures adhering to the body such as leggings, leotard, and bodysuit. 3. In the genre of rap and hip-hop, clothes from casual and costume-play style were found using training jersey, t-shirt, and denim pants, and emphasized the sensual beauty of women by showing a silhouette with short length and fitting style using shiny textures. 4. In the genre of R&B, there were diverse outfits that suits the characteristics of characters appearing in the stories, or the situation of the story since there are many dramatic representation in the form of story Especially in case of female characters, the feminine side was emphasized staging a feminine style by wearing dresses with the texture of chiffon and silk. Exposure was restrained compared to other genre.

• Journal of the Korean Society of Clothing and Textiles
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• v.38 no.5
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• pp.769-782
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• 2014

This study considers the correlation between model pose and clothes in Patrick Demarchelier's fashion photos as well as expression characteristics. The conclusions of the study are as follows. The type of model pose in Patrick Demarchelier's fashion photos can be categorized into five types: maximized type of upper and lower body part, minimized type of upper and lower body part, maximized type of upper body and minimized type of lower body part, minimized type of upper body and maximized type of lower body part, basic type of upper and lower body part. In case of having examined the correlation between body movement and costume, the clothes in the model pose included in the maximization of the body were formed mainstream by silhouette, which was formed by decorative elements or full drapery. In the model poses included in the reduction of the body, the costume tended to expose many parts of the body to provide a simple or structural silhouette form. The costume was expressed in colorful form and poses assumed without body movements. The expression characteristics of the model poses in Patrick Demarchelier's fashion photos were sensuality, dynamicity, and simplicity. First, sensuality was expressed as feminine sensuality accompanying an erotic mood by naturally emphasizing a woman's breast or leg by reducing the body. Second, dynamicity provided a vividness to the image as if directly living and moving by highlighting the rhythmic aspect of the body. Simplicity aroused the effect of paying attention to clothes or other incidental elements rather than the image expressed by the body of a model by excluding body movement.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.6
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• pp.958-967
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• 2009

Just as various religions of the world have multiple systems based on their own belief system respectively, religious costumes, which are the expression of religion, are varied in forms according to different religions. Nonetheless, this research attempts to examine the universal features of the variety of religious costumes. Since the range of this research is broad and the limit of study is clear, this research confines the study objects into world's four high religions. The purposes of this research are as followings; first, the investigation of the world's high religions, second, the study of the figurative attributes of religious costume to study and discuss the universality of figurative beauty and aesthetic value. Figurative attributes are distinct in religious costume. First, the non structural feature of composition, and the manner in which the costume is worn. Second, the rich silhouette covering the body. Third, the restraint and inhibition of decoration, and fourth, the preference of achromatic color and monotones. 'The beauty of concealing', derived from the religious absolute and chastity, 'The beauty of chastity' influenced by the restraint of decoration and design, and 'The beauty of nature' as the drapery and non structural feature are the universal aesthetic values. Human beings tend to contact the divine beings by pursuing the essential thing and concealing the body through religion. The forms of concealment and chastity, mentioned above are reflected in the usual costumes, affected by religion as well as religious costume.

• Journal of Fashion Business
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• v.14 no.2
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• pp.73-80
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• 2010

This research examined the design characteristics of Madeleine Vionnet, a female fashion designer who left an enormous legacy and made a great contribution to the high added-value fashion industry. Her techniques can be dividing in to three types: the bias cutting, the design by geometrical methods, and the classical style of ancient Greek clothing. This research also intended to study the design cases in which Vionnet's drapery images are applied to modern fashion, mainly the haute couture works that have appeared at Dior collections since 2000. In terms of the characteristics of Madeleine Vionnet's design, First, she produced the best achievement in dress and ornament history by developing a new technique called bias cutting. Second, her work was groundbreaking because it changed the previously planar approach to the female body into a solid conception by cutting and connecting geometrical pieces in the form of quadrangle, triangle, and a quarter-circle. As a result, her works depicted feminine beauty to the fullest extent through the combination of the human body, excellent materials, and the most sophisticated technology and personal skill. Third, her approach was a classical style tinged with the Greek costume image. With this style, which was born by reinterpreting the key tone of the Greek epoch in a modern way, and transcending and even changing tradition, she created a form of beauty that only she could.

• Journal of Fashion Business
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• v.19 no.5
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• pp.199-212
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• 2015

Environmentally-friendly whole-cut designs can minimize carbon dioxide emissions which are harmful to the earth, and reduce energy, labor force and time in cutting or sewing clothes. The design and way of wearing clothing will be investigated by classifying whole-cut clothing appearing in the history of costume and past traditional outfits such as Drapery, a Pancho, Tunic, or Loincloth. According to the results from the analysis of whole-cut methods applied in design, they were classified as follows: whole-cut, utilizing square-panels as is, pleats, smoking, lip band, origami, cutting way, and subtraction-cutting whole-cut design. The whole-cut design utilizing square panel as it is can minimize the waste of energy and material but can also maximize the possibility of circulation by recycling. In utilizing an all square panel, it broke away from the existing whole-cut in the western pattern, namely, the pattern of clothes clinging to the body, and was found to have new aesthetic value with a new approach. Due to the whole-cut method having a restriction in the use of dart and line cutting in its designing process, there were only designs that did not show the body line, such as designs clinging to the body. Therefore we developed a design similar to those that cling to the body by whole-cut, In addition, the work produced was with high efficiency and variability, which produces simple designs but can be worn in a variety of ways.

• Journal of the Korea Fashion and Costume Design Association
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• v.20 no.1
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• pp.61-77
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• 2018

The primary focus of this thesis is to look at Scythai's historical, geographical and ethnologic background in order to understand Scythai's garment types and styles as described in Scythai-related documented records, previous studies and excavated artifacts. Based upon this, another objective lies in comparing and contrasting this information with ancient Korean garments to identify what kind of relationship exists between the two. The result from this study's objectives is summarized as follows. Firstly, ancient Korean and Scythai share similarities in art work, craftwork, accessories and the like, which allows us to make a guess at the relationship between ancient Korea and Scythai of that time. Secondly, Scythai garments are based on the tight and well-fitted Caftan Yugoje, which is tightly fit to the body, as well as including garments similar to the drapery Kiton and Tunic found in ancient Greek garments, from which can be seen that the garment of culture medium passing between the East and the West had nomadic horse-riders' ethnic characteristics and Eurasian characteristics. Thirdly, ancient Korean Scythai garments were found to have homogeneity in their garment culture in that northern nomadic cultural district's Hobok-Goseupje, i.e., open-front Caftan Jeogori and pants called Sangeuihago is its basic with a triangular cone hat shape (transformed hat) and boots, which is the basis for considering that ancient Korea exchanged culture with Scythai, who once lived as active northern nomads. However, it can also be seen that ancient Korea and Scythai garments differed in form depending on region, weather, culture, custom and the like. As such, Scythai and ancient Korea have an aesthetic bond because northern nomads and Scythai exchanged their cultural traits of the times. The evidence supports this idea as it seems that the characteristics of garments that can be considered to be Scythain in style are also commonly discovered in ancient Korean garments.

• Journal of the Korean Society of Costume
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• v.40
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• pp.121-135
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• 1998

The purpose of this thesis is to study the social and cultural background and characteristic of neo-classicism which appered in the modern fashion of the pluralistic society of the latter half of 20th century to understand that the product of societh such as fashion mode reflects the situation of society and culture. For this purpose, documentary studies about the concept and background of neo-classicism, were preceded, and analyzed the occurrence background and characteristic of neo-classicism of the modern fashion after the 1980's, which showed up in post-modernism fashion. The characteristics of neo-classicism expressed in modern fashion is as follows; First, they are expressed in modern fashion in forms of simplicity by means of minimizing process of sewing or ornamenting and deletion of dart. Second, retro-style in terms of concerning of the past, is featured in various styles of Greco-roman drapery and expresed in forms of mixing clothing elements of modern and classic in modern times. Third, the trend of ecology in terms of interest of the nature and the thought that the spiritual world is more important than the material world. It is expressed by using natural elements adn natural materials, which wanted to get the nature and human into one and search for the losed nature of modern men. Fourth, the pursuit of the beauty of the human body, is expressed in forms of body-prioity style through using see-through or elastic materials, which is knit, lycra, spandex, etc. In conclusion, we can recognize that the social product reflects social and cultural situation. And the characteristic of neo-classicism has the meaning of harmonizing the human and nature and the returing the humanity.

• Journal of the Korean Society of Costume
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• v.51 no.4
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• pp.15-30
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• 2001

The purpose 7f this study is to investigate the change of the ideal beauty of human bodies and the related clothing form designs from the ancient Egypt to the Romantic Period in the aspect of optical illusions effects to achieve the ideal beauty so that we can accumulate the knowledges for the modern clothing form design and the related optical illusion effects. The scope of this study is limited to the female body forms and female dress forms. The analysis on the optical illusions in the dress forms of the various period relied on the literatures and some representative photographs and figures. The important results are as follows : 1. In the body Priority type designs of Egypt, Greece and Rome, the natural Beauty of human bodies was represented by H type silhouett, the smooth and transparent drapery materials were used with radiant line pleats resulting in slant optical illusions. 2. In the clothing priority type designs of Byzantine, Gothic, Renaissance, Baroque, Rococo and Romantic Period, manteau, cotehardie, hennin and poulain were used to emphasize long arms and legs, high waists, belly curves and large heads resulting in optical illusions of vertical emphasize. Also long train, farthingale and panier were used to emphasize body expansion resulting in the optical illusions of Titchener alld Lipps. Large and complex patterns showed the optical illusions of Aubert. 3. In the clothing priority/body concealment type of Byzantine period, thick materials with precious gems and voluminous silhouettes were used to emphasize body expansion resulting in optical illusions of materials.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.2
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• pp.1-10
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• 2012

Clothing design is one of design products for human, the end user and corresponds to artifacts. Sometimes artifacts with one mono module exist, and so does artifacts assembled and combined with multi modules of same shape and size or various shapes and sizes and thus all design products can be understood by modularity concept. The purpose of this study was to make a new suggestion for the clothing design and production of high uniqueness and creativity by reviewing and synthesizing the foundation of clothing modularity concept as the original clothing design figures from the history have shown various modularity concept evolution from mono module to multi module stages. The methods of this study were to identify clothing modularity and analyze the type, evolving direction, and category of clothing modularity, and the value of clothing modularization design through comprehensive literature reviews on topic-related books and theses. The original clothing figures with Significance from the clothing history were analyzed in evolution sequence for application direction and value of clothing modularity in flat pattern. Clothing modularity in ancient clothing figures was classified as three types of the fixed, drapery, and straight lined in evolving direction from clothing of mono module to flat patterned clothing. The direction of clothing modularity was identified as mono- dual-triple-multi into another level of multi modularity after intentional devolution. The categorization of clothing modularity was identified in terms of clothing flat construction, clothing design construction, and clothing form modeling. The value of clothing modularization design using clothing modularity was identified as economical efficiency, convenience, promptitude, adaptability, functionality, and creativity.

• Journal of the Korean Society of Costume
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• v.51 no.6
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• pp.5-24
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• 2001

This paper is intended to explore femininity the ideal beauty of body and the features in fashion pursued in the Fashion system and the Anti-Fashion Movement in the Victorian period, on which the modern fashion is based. For the informative facts needed in this paper, books on history, fashion history, feminism, art history of aestheticism and the ideal beauty of body are referred to. On the part Ⅱ of this paper, the femininity and the ideal beauty of body implied in the Aesthetic Movement and Rational Dress Movement as the anti-fashion movement in the Victorian period will be reviewed. Following are the conclusion : First, the works in Aesthetic Movement mainly include the image of sensual female. The essence of femininity is categorized by cultural value, poetic spirit. appetite for sex and self-expression. The ideal beauty of body pursued in this movement is the beauty of immatured body, which means rejection of maternity as well as appetite for sex in the form of metaphor of the power and enthusiasm of female. The features of Aesthetic Movement emphasize the image of sensual and characteristic woman. These features are expressed in the natural waist line and the vertical H silhouette of high waist, natural exposure of body by means of drapery, simplicity and decency by design without fixed forms and seemingly faded colors. Second, Rational Dress Movement attempted to evaluate the femininity in a different way and ultimately pursued masculinity. Therefore, morality, liberty, intelligence, spirituality, self-control, willingness, which had been believed to exclusively belong to male, are added to the categories of femininity. The ideal beauty of body is expressed in the form of Venus Coelestic which is refined and strong. This symbolizes woman's freeing from the fate of reproduction and subordinate relationship with male, morality, decision of one's own and willingness. The features of Rational Dress Movement represent the image of strong-willed and moral woman in its internal meaning. The features of its fashions represent the concealment of the body, emphasis on activeness in pants without decoration and simplicity in its external form. All these features resulted from the pursuit of masculinity.