• The Research Journal of the Costume Culture
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• v.8 no.5
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• pp.681-706
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• 2000

This study is intended to understand an implication system and significance in the current community which a body image symbolizes by correlating it with fashion that is on the rise as a principal issue in various fields. For this study, the symbolism of the body image was contemplated in terms of philosophy and art, and then on the basis of it, the symbolism of the body image shown in modern fashion design was analyzed through fashion works. The research results are as follows, 1. The manifestation of sex can be taken as the symbolism of the body image which is expressed in modern fashion design. Recently sexual chaos and vagueness such as homosexuality and bisexuality are expressed through a dress and its ornaments. Though displaying sexual characteristics of male and female as they are exposing a sign or a diagram, decorating a part of body or representing sex in garments, uncertain sex identity in modern society is manifested in dress and its ornaments. It is to deny absoluteness regarding sex and emphasize diversity indwelt in human beings, and after all it shows to pursue the human essence. 2. Another symbolism of the body image is body expression as the human race and an ethnic group. The discriminating situations and the restoration of their status appeared in modern fashion too. Moreover, their cultures and issues came to alter the aesthetic standard of body made from a view of the Western white supremacist. Hereupon, fashion trends like ethnic fashion, Orientalism and African look etc. appear according to this tendency, which represents race and national identity and in addition, which signifies to present transcendental human conception embracing alienated human conception. 3. The symbolism of the body image expressed in a body, and a dress and its ornaments as nature can be considered in terms of the concern on environmental contamination and the respect of echo system. Getting away from reigning over, developing and stamping down nature at their will, the human beings pursue unity with nature, which is described in fashion. They are stressing that natural materials and objects such as animal, plant and soil etc. should activily be introduced into fashion and humans are a communal fate group and should reframe their status in nature at last. 4. The body image shown in a body, a dress and its ornaments as technology is transformed and recreated by modern scientific techniques and medical science to show post human conception namely, forthcoming future human conception as a cyborg which loses individual identity. This presents a perfect future human conception with high level of preternatural power but after all, leaves us a task to seek the meaning of human existence in alienation caused by the loss of human identity and existence. In this manner, the moderns crave for perceiving the identity of a natural human being in the current thoughts tendency of the modern times such as postmodernism, post structuralism, deconstructionism, feminism and so on, which build discussions affecting the art and fashion worlds. The categories, like sexual characteristics indwelt in a human body, racial classifications, the natural environment surrounding human beings and development of science, bring out the importance of the internal and external meaning in today's fashion which a human body contains, and present sew human conception in the coming future society.

• Journal of Fashion Business
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• v.2 no.1
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• pp.35-48
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• 1998

The purpose of this paper is to examine the street fashion, which is influenced by the youth culture in 1960s. Youth culture is the youth subculture which appeared multiform in the 1960s. It tried to create a new culture by subverting the ruling class culture with their combative life style and peculiar appearance which are distinguished from mother culture. Youth cultures as youth subculture are symbolically expressed in their style which had strong characteristics of sub-fashion and anti-fashion, and which are different from mother fashion in shape. Therefore youth subculture fashion had an effect on street fashion in the 60s. The influence that the youth culture fashion had had on the street fashion is summarized as follows: Beats fashion was intelligency look on black dress, black polo-neck shirts, black trousers, black glasses and heavy black eyeliner. Mods fashion was neat style on Edwardian suit with narrow trousers, pointer-toeshoes and smooth croped hair. Folkis fashion was ethnic look, middle east asian look, peasant look, Indian style, south america look, gypsy style, natural materials, natural dying, tie-dye, beads and hand made ornaments. Rockers fashion was violence appearance categorized 'blue collar' on black leather jacket decorated with metal studs and hand-painted insignia, blue jeans and boots for motor bike. Swinging London & the Psychedelics fashion was blend mods look with pschedelic color and motive pattern. Hippie fashion was intermix pschedelic and natural or ethnic style. It was appear to be a meaningless, unpredictable assortment of diverse items and style. Faded and tattered jeans, army jackets, vintage hat, beads, embroidered headband, white sheets, diverse theatrical costumes, sandals or bare feet, granny dress, peasant blouse, blanket cape, tie-dye T-shirts and long hair. Greasers fashion was adorned black leather jacket with chains, fringing, badges, insignia and sleeves had been crudely ripped off. They came to be known wore jeans so soaked with oil. Skinheads fashion was aggressive working class identity with donkey jacket, jeans rolled up, collarless union shirts, heavy boots, braces and hair cropped short.

• Journal of the Korean Society of Clothing and Textiles
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• v.25 no.1
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• pp.37-49
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• 2001

The purpose of this research was to investigate the influential factors to wear or not to wear \"Hanbok\" in Korean society. Twenty six individuals who wear Hanbok relatively often, and twenty seven individuals who dont were purposively sampled and interviewed for the study by structured depth-interview method. A domain analysis, a method of qualitative study, was employed to find out the influential factors from the results of the depth-intervews. From the analysis, fifteen encouraging or discouraging factors to wear Hanbok emerged and were categorized into five domains, which included \"interpersonal relationship\", \"life-style\", \"image\", \"practicality\" and \"decorative function\". The personal involvement in traditional culture, tradition-oriented family background, good images related to Hanbok, and affordable life-style appeared to be encouraging factors to wear Hanbok. Meanwhile, social norm and role-expectation adjusted to westernized criteria, unaffordable life-style, ill practicality of Hanbok and negative cues associated with Hanbok were the factors influencing people to turn away from Hanbok. The study also revealed complex interactions between these factors explaining individuals choice of wearing or not wearing Hanbok in industrialized modern society of Korea. Some suggestions to promote wearing Hanbok were made based oh the results of this study.wearing Hanbok were made based oh the results of this study.

• Journal of the Korean Society of Costume
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• v.51 no.5
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• pp.17-28
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• 2001

The purposes of this study were to arrange and analyze the Oriental Mode in 20th century fashion and to clarify that Oriental dress and its ornaments appearing as the main subject of Occident fashion gradually The results were as follows : First, Oriental Mode in 1900-1950s was prescribed as the 'Orientalism' to be expressed Occidental imperialistic viewpoint. Therefore, the Orient was used as the simple recording mark of the imperialism product or commercial motive and it was reflected in fashion. Second, it was explained in 1960-1970s as the 'Folklore Orientalism' that focus was moved into the folklore costume of Orient. Third, in 1980s, 'Ethnic' was conspicuous that reflected the traditional costume in the area of non-christianity. Especially, it was the decade that the Middle East attracted attention. Fourth, Oriental Mode in 1990s appeared as the 'Fusion' that Oriental and Occidental elements were mixed and compromised on equal terms. Fifth, it was expressed as a word 'Zen' that had natural fiber, moderate color and silhouette to be most basic and concise about human body at the end of 1990s. This study could confirm that the center of fashion was being converted into the Orient gradually. This may be understood as the pluralistic culture phenomenon. Namely, eclectic principle to recognize mutual style and individualistic nature and to utilize and mix was made, and this brought the conversion into Oriental sense of value.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.41-57
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• 2010

Yunnan, where twenty-six minor ethnics live, is located in Southwest part of China. They have preserved and developed their folk costume, artcraft, music and dance in their peculiar way with natural and cultural surroundings. So, Yunnan is known as a living folk museum. It's worth examining how climate and circumstances change has affected certain differences of dress shape in same ethnic. Research into costumes of minor ethnics can contribute to the study of origin of the trousers, as this group of people have well succeeded the basic form of trousers through their cultural history and everyday life. This study, at first, investigates geographical surroundings of each minor ethnic group, and figures out the style of all trousers by measuring the each size, then compares design color pattern and fabric. The origin of trousers examined by formative characteristics has been classified and comparatively studied. The study materials are twenty-three trousers selected from in Yunnan Folk Museum as well as other relevant literature records. This study suggests that one can examine the type of human culture through the forms of costume which reflects folk custom geography economy etc. This, in turn, can be used as a basic information for other studies, and in particular, for the study of origin and structure of the trousers.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.106
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• pp.31-41
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• 2006

The purpose of this study is to formulate a concept of naturalism in fashion and verify the design characteristics found in such designs via reviewing the concept of naturalism and its influence on dress making in different periods in history. The references from various academic fields including philosophy, literature and fine arts were used to examine how the naturalism was formulated over the years. This study was then to identify the naturalistic influences by closely examining various Western dress codes found in literature, publications and actual samples. The results of this study shows that the close examination of naturalism in fashion with the changes of times displayed the complex evolution process over the years, and they were classified by four distinctive categories; Retro, Ecology, Primitive and Ethnic. Naturalism in the contemporary fashion design showed higher frequency of adopting ecological and retro styles, especially retro style adoption being on the rise, combining wide range of partial components of each style. The color usage showed the skewed concentration on YellowRed, Red and Yellow colors with pale, light grayish and grayish tones.

• Journal of the Korean Society of Costume
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• v.64 no.6
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• pp.161-175
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• 2014

This paper investigates the differences between characteristics of street fashions due to regional and cultural differences in southern and northern region of China. Beijing and Shenzhen were chosen as representative cities for the two areas. Empirical research and literature study were performed for this study. Empirical studies were performed by using a total of 708 images of dresses, which were collected through direct imaging. Through discussion with experts, the collected data were classified into five categories; Modern trendy, Romantic, Easy casual, Ethnic, and Classical/Traditional. The data was analyzed by using cross tabulation and frequency analysis. Content analysis for each category was also conducted. As a consequence of this study, a significant difference between Beijing and Shenzhen were observed. As a city, which puts emphasis on practicality and modernity, Beijing showed a higher frequency of modern and trendy style than the other city. On the other hand, Shenzhen showed a higher frequency of romantic style and was distinguished as a city of femininity and decorative preference of fashion style. This study intends to contribute to the academic community of Chinese fashion and to help Korean clothing companies to be launched in Chinese market in the future.

• The Research Journal of the Costume Culture
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• v.28 no.3
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• pp.356-375
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• 2020

The purpose of this study is to understand the characteristics and cultural values of the headdress among Chinese minorities with diverse ethnic cultures, and to provide various data on the design of clothing accessories. Theoretical considerations about ethnic minorities were addressed through literature and prior research, with data being collected using literature and websites. The results are as follows. First, the most common type of headdress is the horizontal type, which includes the head style, headband, and head scarf. The second most common is the cylinder type, which is a headdress with variations in the shape of a round hat, and has is evident among various minorities. Third, the pagoda type is decorated with ornaments mounted on top of a round shape. Fourth, the square crown type is a piece of wood as a material for a form of the material and for a variety of jewelry and the production of up to meet the women's head of the jewelry. Fifth, head belt-type ornaments consist of a headband and fancy bead ornaments from the bottom of the head. Mongol women usually wear an exaggerated form of this type. Sixth, the head cover type is a head decoration influenced by the dress code of Muslim women. Seventh is the disc type of crown shape worn by the Dai. Next, the ogival type is a cone-shaped headdress hat most commonly seen as head ornament hat among the Dai. Lastly, the sailboat type is the most exaggerated form of hair ornaments found among ethnic minorities.

• The Research Journal of the Costume Culture
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• v.24 no.5
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• pp.642-652
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• 2016

The purpose of this study is to understand the concept of a sexual image and verify the method of its design expression through case studies of the sexual image evening dress shown in an Haute Couture Collection over the last 10 years (2005~2014). The results of analysis are as follows: First, "expression by the seeing through of the natural body" expressed a natural sexual image that combined fashion of the previous times with the beauty of the natural body by using a see-through material and classic or ethnic image. Second, "expression of a sexual-image look that emphasizes romantic detail" illustrated a romantic sexual image that emphasizes feminine sensitivity by mixing various ornamental elements such as see-through material and symbolism of underwear image. Third, "creation of a nude look using skin color" expressed sexual image of an evening dress by inducing erotic sexual association through a combination of opaque material of skin color and design shape that is intended for body exposure. Fourth, "combination of sexual symbol and heterogeneous elements" expressed a decadent, avant-garde and futuristic sexual images by using women's underwear and a sexual symbol as design motif and mixed with mismatching elements. Fifth, "use of a fantastic black image" expressed an exclusive and refined sexual image and a decadent and primitive sexual image by using a fantastic image of black color. The results of this study are expected to be used for the design process of the evening-dress industry that aims for quality improvement.

• Fashion & Textile Research Journal
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• v.5 no.5
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• pp.511-519
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• 2003

The traditional culture has been developed for a long time with an unique property according to folk character, custom and environment within an area. Especially in 1906, when the westerners were interested in oriental cultures more and more, Paul Poiret presented Japanese traditional dress of napping sleeve coats and harem pants, henceforth japanese fashion theme began to rise. The Japanese style rose as an important fashion item of the modern fashion, with various fashion themes such as orientalism, ethnic, folklore, ecology, etc., needless to say of activities of Japanese designers. The revealed patterns on Japanese dress and it's ornament plays a role of expressive decoration as well as stand for the nation, the ideology of the age and aesthetic consciousness. For this reason, it is necessary to study Japanese traditional patterns expressed in modern fashion systematically. Therefore, in this research, the demonstrated Japanese traditional patterns on the modern fashion were divided into natural, artificial and complex design and were looked out the characteristic, furthermore it was studied in regard that Japanese patterns were how to apply in modern fashion. It was concluded that the characteristics of the Japanese traditional patterns presented in the modern fashion were as follows: first, creation of environmental friendly design using plenty of natural materials; second, expression of paint-like impression and beauty of margins by simplifying of patterns; third, expression of amusing design by using bright colors and print; finally, various patterns were spreaded out complicated on dress. The characteristics of Japanese traditional patterns in the above were expressed in the modern fashion.