• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.54-68
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• 2006

This study examined similarity between white porcelain models and dress silhouette of women painted in genre painting in late Joseon period, and found that gourd bottles that are one of main porcelain styles are very similar with dress silhouette of women presented in genre painting in Joseon period; that is, bottle necks of gourd bottles and women's waist, voluminous bottles and erotically full hips, the length of skirts which showed underwear dress and height of porcelain's bottom, waist panel winding slim waist and wide edge of porcelain's mouth. As images are personal mental process of potters who were not socially controlled, they used dress as an indirect means of women's bodies for the subjects of images that are obtained through direct and indirect experiences of the persons who perceive. It indicates that they intended to make their ceramic works express women's dressing style through images of porcelain's models. Such images were sensual, but not superficial. It is suggested that they were influenced by the society which considered ethical experimental mind and practicality of the governing class of that time who enjoyed it metaphorically, but not impudent.

• Journal of the Korean Society of Costume
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• v.50 no.8
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• pp.177-198
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• 2000

The major purpose of this study is to obtain the evident and visual data about the changes of Korean dress with a socio-cultural context through dress depicted in the Korean films since the 1960s. For this purpose, after were Korean socio-cultural background including the history of Korean films and mass fashion trends reviewed, total fifteen Korean films by ten year were selected on the basis of contemporaneity popularity, and fashionability, and analyzed with the data reviewed before. And the results can be summarized as follows : Dress in the Korean films of the 1960s shows sporty casual took influenced by western style, with the popularity of young fashion and youth film. The typical styles are sac dress and mini skirt fur women, and suit with American silhouette for men. Unisex mode including slim T-shirts and blue jeans with European silhouette supt appears mainly in the Korean films of the 1970s, with the change of sex roles and mass fashion trend. Dress in the Korean films of the 1980s is characterized by bold silhouette and decorative details. with the boom of erotic metro-drama and luxurious fashion trend, such as padded jacket, X silhouette ensemble, brig look coat for women, and American style suit for men. Dress in the Korean films of the 1990s shows the rapid cycle of fashion with the increase of casual wear, reflecting the popularity of romantic comedy film and various socio-cultural circumstances. As a result, the current of dress depleted in the Korean films since the 1960s is summarized as the cycle of fashion accelerated, the similarity between men's and women's wear, and the increase of sporty casual wear. Also, dress in the films reflects effectively the socio-cultural context related to fashion except for especially emphasizing characters in films.

• Journal of Fashion Business
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• v.14 no.2
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• pp.95-109
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• 2010

The goal of this dissertation is to analyze the formative characteristic and the aesthetic values of Romantic style. To attain the goal of this study, the selected objects are the Romantic styles that were prevalent from the 1830s to the 1880s. The methodology for this study consists of literary research, aesthetics, dress and case study based upon the analysis of the 19th century dress. Based upon the theoretical study, two results are derived from the analysis of Romantic style in $19^{th}$ century dress. First, the formative characteristics of Romantic style dress are suppression of body, fixed form, volume, and ornamentation. The suppression of body is embodied by two ways. One is tightening body parts, such as the off-the-shoulder line and the corset, and the other is applying weights on body through the wearing of layers of petticoat, crinoline and bustle. The characteristic of the fixed form created the fixed silhouettes of women's dress, for example, an X-silhouette formed with wide shoulders created by big puffed sleeves, narrow waist by corset, and wide hemline of voluminous skirt and petticoats. In addition to the X-silhouette, the bustle style created fixed h-silhouette. Volume in the women's dress were visually expressed by big puffed sleeves, a huge skirt and petticoat made with gathers, pleats and flounces, crinolines and a bustle. Ornamentation was used to express an elegant and fantastic style not only by using luxurious materials in various colors and patterns, but also by applying sumptuous details and trimmings. Second, the aesthetic values of Romantic style dress are subordination, sensuality, and maternity. Women's dress of the 19th century not only restricted free movement and symbolized men's wealth and status, but also was used as an important tool for seducing men by exposing and accentuating the sexual body, thus becoming a symbol of fertility as a metaphor of pregnancy and uterus. These aesthetic values represented in dress incorporated the contemporary requirements of women of the time.

• Fashion & Textile Research Journal
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• v.16 no.1
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• pp.13-25
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• 2014

The purpose of this study is to investigate the concept and characteristics of 'grotesque,' examine the aesthetic characteristics of grotesque reflected in arts and dress, and modern fashion. The findings are as follows: 1) Grotesque indicates unnatural, unpleasant, and exaggerated that it upsets or shocks person. The characteristics of grotesque include terror, abnormality, unreality, amusement, disgust. 2) The grotesque art represented terror, abnormality, unreality, amusement, disgust by disordered form, nonnatural things, evil world, unorthodox methods, unrealistic image, strange dreamland. 3) The grotesque dress represented terror, abnormality, unreality, amusement, disgust by exaggerated silhouette, exaggerated adornment, excessive decoration, incroyables, using exaggerated silhouette, crinoline silhouette, bustle silhouette, surrealist style, extraordinary materials, glam rock style, unique silhouette, cyber look. 3) Terror was implied in the punk look suits of Junya Watanabe, and exaggerated outers of Viktor & Rolf. Abnormality was shown in the atypical suit of John Galliano, Junya Watanabe's dress decorated with the extreme ruff, Thom Browne's suit of abnormal proportion. Unreality was reflected in the architectural dress of Gareth Pugh, Mermaid dress of Giles, the surreal suit of Jean-Charles de Castelbajac. Amusement was represented in the amusing suit of Gareth Pugh, John Galliano's dress of sexual perversion. Disgust was reflected in the decadent dress of Thierry Mugler, Undercove's suit, and the ensemble of shocking details.

• Fashion & Textile Research Journal
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• v.5 no.4
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• pp.324-330
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• 2003

The purpose of this study is on the meaning and variety about gender expressed in modern fashion. The results are as follows ; First, the typical masculine gender was authority, discretion as a result of heteropatriarchy focused on the western reason. It was conservative and the symbolic image type of the meaning excluded masculine sexual expression. Dress and its ornament was expressed as the style of straight silhouette, dark color, rough and stiff material. Second, the typical feminine gender was the symbolic image type of a mother and a wife defined relatively by man as a result of western heteropatriarchy and the image type which men regarded women as sexual objects. Dress and its ornament was expressed as the style of silhouette which let bodily curve out, light color, soft material. The most typical item is dress and suit. Third, androgyny has been described as the feminie gender of androgynous, which shows masculine image as the effect of feminism and social success of professional women. Dress and its ornament is expressed as the style of business suit, the symple of typical man's one. The masculine gender of androgynous is showed man's suit as silhouette that let bodily curve out, light color, exposure and soft material, which is the symbol of feminine dress, Fourth, unisex is the area of dress and its ornament used the sexless symbol which there has been no gender more because of the spread of sports and diffusion of leisure in life style.

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.249-262
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• 2008

The purpose of this study is to contemplate evening dress in contemporary fashion, thereby to analyze aesthetic characteristics of evening dress. For such purposes, this thesis first provides the historical survey of evening dresses, and to conduct a case study of survey of fashion photographs covering $pr{\hat{e}}t-{\acute{a}}t$-porter design products from 2000 to 2007 presented by Valentine. Based upon the historical survey, there are five representative styles in evening dress. Flapper chic looks could be characterized by frequent usage of sleeveless straight silhouette with long or mini hemlines, expressing sensuality, luxury, and ethnicity. Satin Siren looks were characterized by bias-cut, slim, long silhouette, expressing sensuality and luxury. Feminine Ideal looks were characterized by hourglass silhouette and decolltage with feminine details such as bow, pleats and frills, expressing historicism, luxury and sensuality. Freedom and fantasy looks were characterized by ethnic details or modern silhouette with transparent, printed materials, expressing ethnicity, sensuality, and luxury. Finally, postmodern glamourous looks were characterized by body-conscious silhouette with transparent, shiny, or stretch materials, expressing sensuality, experimentalism and luxury.

• Journal of the Korean Society of Clothing and Textiles
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• v.19 no.2
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• pp.340-355
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• 1995

purpose of this study was to trace historically the causes of the visual inconsistency of seXual ilT'age in dress with versatile perspectives. For this purpose, theoretical studies about the concepts of sexuality in dress were precceded. To trace the factors of the visual inconsistency of sexual image in dress, historical studies from ancient Egypt to modern ages were done. And then, the factors of the visual inconsist\ulcornerency of sexual image in dress were identified. The synthetic results were as follows; L The visual inconsistency of sexual image in dress shows the phenomena that men introduce the traditional feminine image in dress (ex. X silhouette, skirts), whereas women do the traditional masculine image (ex. Y silhouette, pants), which arouse androgynous image in appearance. And, it also indicates that men or women wear the dress excluded the traditional masculine image as well as the traditional feminine image, which arouse neutral image in appearance. 2. The visual inconsistency of sexual image in dress have been existed historically, from Egypt to modern ages. 3. The visual inconsistency of sexual image III dress was caus~d by various factors as follows; First, ideal beauty of the times which did not distinguish between masculinity and femininity resulted in the visual inconsistency of sexual image in dress. Second, as a means of seeking pleasure, the visual inconsistency of sexual image in dress was used. Third, as a means of expressing ideology, the visual inconsistency of sexual image in dress was selected. Forth,in religious meaning,the visual inconsistency ofl sexual image in dress was appeared. Fifth,popularization of sports and occupational role made woman adopt the masculine image in dress in view of the aspects of functionalism. Sixth,Undevelopment of taloring contributed to generate androgenous image in dress.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.2
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• pp.85-94
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• 2006

In Korea, popular stars were the leaders of the latest fashion, who had the strong power in apparel market. Costume, especially wedding dress they worm became the focus of interest to single women of marriageable age and wedding dress co. This study was performed to research wedding dress design (silhouette, veil, sleeves, materials, and details) from 1960's to June. 2004. Resources were extracted from the weddings photos, 'My Wedding' magazine, 'Vogue Korea' magazine and web sites. The materials, which could not be judged on the photos, were researched from text articles. The popular stars were TV stars, musicians, and actresses. The results of this study were as follows: The wedding dress in Korea from 1960's to June 2004 had different distinguishing characteristics. 1. In 1960's, wedding dress was characterized with A silhouette, long veil, set in sleeves, and hair decoration. 2. In 1970's, H silhouette decorating by belt, long veil, puff sleeves, and ruffles hemline were in vogue. 3. In 1980's, Victorian style designed by long and wide width, the leg of mutton sleeves or tightly fitted sleeves, short veil and pearl coronet, flower decoration became popular. 4. In 1990's, to reach the elegance or romantic image, it was used race, ribbon, frill, etc., on the base of 1980's wedding dress design. Generally the girlish styles which expressed innocent and pure and feminine were in fashion. 5. In 2000's, the keyword of both luxury and simple were intended. Silhouette was designed variously, but it became slimmer and simpler. The decoration was splendorous with race, embroidery, and beads.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.2
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• pp.117-129
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• 2009

This study is to examine unmarried women's preferences about wedding dresses. This is researched with a survey of 300 unmarried women in Ulsan and Seoul. The survey inquires their preferences of silhouettes, necklines, materials, and details in wedding dress. 290 valid questionnaires are analyzed statistically. Statistical analysis is used average, frequency, and crosstabs with SPSS10.0. The results of this study are as below; As for an income level, the high-income brackets in Ulsan preferred X silhouette, whereas in Seoul H silhouette. The low-income brackets in both areas preferred X silhouette. In necklines, boat neckline was preferred in both areas regardless of incomes. In materials, in Ulsan, the high-income brackets preferred silk, but the low-income brackets in Ulsan preferred satin. In Seoul, silk was preferred regardless of incomes. In details, the high-income brackets in both areas preferred beads and ribbon. In the low-income brackets, embroidery decorations were preferred in Ulsan, whereas beads, jewels and ribbons in Seoul. As for personalities, X silhouette was preferred in most personalities, A silhouette in some personalities in Seoul. In necklines, boat neckline is preferred in most personalities. In materials, silk was preferred in most personalities. In details, beads and jewels were preferred in most personalities. As for ages, in most ages, X silhouette was preferred in Ulsan, and X and A silhouettes in Seoul. In necklines, in most ages, boat neckline was preferred in both areas. In materials, silk was preferred in most ages. In details, beads and jewels were preferred in most ages.

• Fashion & Textile Research Journal
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• v.13 no.4
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• pp.614-623
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• 2011

The purpose of this study is to develop a wedding dress basic torso pattern and sleeve pattern considering good fit and aesthetic for figures of Korean brides in their 20s. For the research method, 3 women in their 20s who has the body size of ${\pm}$ S.D range of average figure and dress form suggested by 'the 5th human body measurement' of Size Korea were selected as the test group. The evaluators are 8 clothing construction majors, and the evaluation items included total 22 questions related to torso and total 10 questions related to sleeves. The evaluation was made using 5 Likert point scale. 4 prototypes for basic dress pattern were selected through the literature search. After compare analyzing design methods of prototypes, the real wedding dresses were made in the average size of women in their 20s and the dresses were tried on for the assessment. The data was analyzed using SPSS 18.0 Program to examine average, standard deviation and significant differences between basic patterns. Based on the results of the first and the second try-on assessments, a new wedding dress basic pattern with maximized strengths of compared prototypes was completed. The details of result follows. As for dress torso basic pattern, A pattern, which had the highest overall silhouette satisfaction and scores in basic pattern analysis and try-on assessments, was selected as the prototype, and a research basic pattern reflecting strengths of each basic pattern was developed. As for dress sleeve basic pattern, B pattern, which had the highest overall silhouette satisfaction and scores in basic pattern analysis and try-on assessments, was selected as the prototype, and a research basic pattern reflecting strengths of each basic pattern was developed. In this study, a wedding dress basic pattern considering good fit and aesthetic for figures of Korean brides in their 20s was suggested. It is expected that the basic pattern will be used by continuously developing dress market and ready-made wedding dress manufacturers as well as in educational institutes.