• Journal of Fashion Business
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• v.27 no.2
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• pp.1-25
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• 2023

Taq-i Bustan rock reliefs are relatively well preserved among Sassanid relics. They are considered concrete and empirically important materials for studying Sassanian culture. In these rock reliefs, inauguration of various kings and hunting scenes are depicted. Thus, kings' attire and life of the court could be discerned according to eras. The purpose of this study was to investigate Sassanian clothing styles of various social positions by analyzing their clothing depicted in rock reliefs and to improve comprehension of the culture of the Sassanian Dynasty. Methodically, literature studies and artifacts were analyzed in parallel. Data of these two insources were consolidated for comparison. Results of this study are as follows. Since the Sassanian Dynasty succeeded the Parthian Dynasty, the Parthian style of clothing pieces such as tunic and trousers appeared in their attire. Basic types of tunics and trousers did not vary according to social status or age. However, details showed differences in those aspects. In the early Sassanian Dynasty, the dressing style of Rome was adopted. Styles of tunic and trousers featured draperies with many wrinkles and shoes were worn instead of boots. Trousers were tied with laces at ankles and laces were decorated with round clasps, imitating the style used by Kushan kings to the east of Sasanians. External cultural elements were also present in costumes of the Sassanian Dynasty, which played a bridging role for cultural exchanges between Eastern and Western civilizations at the gateway of the Silk Road.

• Journal of the Korean Society of Clothing and Textiles
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• v.31 no.1 s.160
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• pp.21-32
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• 2007

The purpose of this study is to establish the idea of sustainable slow design by analyzing literatures and preceding cases, based on the external elements of a design including forms, the methods of expression, materials and colors. This study reviewed the previous literature of books and pictures related to the research for case studies and content analysis. fashion books, magazines, and web-sites published from 2000 to 2005 were analyzed for this research. The sustainable slow design trends in fashion can be summarized as follow. The first is a timeless style which has sustain ability in design independently of the versatile fads and relies on functionality, serving the purpose of design. One of the examples is both clothes designed by Burberry and suits by Chanel. The second is a hand-touch style which the more time for outputs can be positively tolerated, in favor on eco-friendly design through the techniques of manual arts. The third is a renewable design which the combined values of design with reuse and renewal result in recreation of past ecology as shown in the technique of designs by mix & match. The forth is a transformable design which features the multi-purpose and multi-forms, eventually extending the lift cycle of products. As a result of analysis of the four designs above, it can be inferred that the representation of past styles, the mixture of old design with new design, the appropriate combination of conventional fabrics with advanced ones, the ecological trends of sports look was emerging.

• Fashion & Textile Research Journal
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• v.8 no.2
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• pp.168-176
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• 2006

The court dancing suit, so-called 'Jeongjae suit', has been worn by court dancers on the occasion of the royal court's feasts or festivals such as auspicious events of a country, court banquets, and parties or receptions for national guests from foreign countries. The court dancing suits are divided into two styles; Dangak-Jeongjae style and Hyangak-Jeongjae style, depending on dancing styles. This study examined the change of the dancing suits of Hyangak-Jeongjae styles created in the latter period of Joseon Dynasty, such as Bosangmu, Cheomsumu, Heoncheonhwa, and discussed the thought of EumYang-Ohaeng(the cosmic dual forces and the five elements) that the colors of the court dancing suits imply. Generally, in the dancing suits of Bosangmu, Cheomsumu, and Heoncheonhwa, the color expression focused on the main stream of red, blue, yellow, white and black. The colors were mainly expressed in harmony between upper garments and under garments, outer garments and inner garments, a simple dress and its decorations. Especially, in the dancing suits of Heoncheonhwa, the purple color symbolized the auspiciousness of the Purple Palace where the God lives.

• Journal of the Korean Society of Costume
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• v.57 no.3 s.112
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• pp.150-164
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• 2007

For the study on the African style reflected in fashion designs since 2000, the applications of African style shown in the four major collections from 2000 S/S to 2005 F/W and some African designers' collections have been analyzed and compared. In this study, 218 pieces of fashion design from the four major collections and 80 pieces from the African designers' collections have been analyzed in three categories - traditional clothes, traditional textile design and accessories. First, in the formal application of traditional clothes, the western clothes seasoned with the traditional images takes the majority of the cases in both the four major collections and the African designers' collections by 89.4% and 77.5%, respectively. However, the African designers have a tendency to actively receive modernism on the traditional clothes, while most of the western designers in the four major collections re-explain and distort the natural and primitive images of Africa into the ones longed for by the westerns. Second, in the textile design, the African designers adopt colorful and geometrical patterns of traditional textile designs of West Africa, while various animalistic patterns (36.2%) are used in the four major collections. The western designers mistakenly mix these patterns with those from the West or other traditional patterns from different cultures, obstructing proper understanding of the African culture. Third, accessories are the cultural elements most widely utilized by the African designers. In the African designers' collections, they are simplified to provide the functions well-matched with the modern clothes. In the four major collections, however, the primitive and colorful accessories found in African tribal culture are used in an exaggerated manner.

• Journal of the Korean Society of Clothing and Textiles
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• v.26 no.10
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• pp.1455-1466
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• 2002

This research focuses on functionalism in American fashion designs which have become the center of public attention in recent. First, documentary studies about how functionalism, which originated in Europe in the beginning of the 20th century, has been developed throughout the 20th century were preceded Second, content analysis was done for the articles, including the word ‘unction’,‘utility’ and ‘practical’in the New York Times and American Vogue from January 1990 to January 2001. As a result, functionalism in 1990s has been developed in different ways from the mechanical, organic, and mea analogies of functionalism in the beginning of 20th century. It doesn't belong to an analogy but has the fused characteristics of those three analogies. It can be classified into techno functionalism influenced by new technology, pure functionalism related to minimalism, sports casual functionalism for those who are crazy about the speed and sports and enjoy the freedom and comfort, and symbolic functionalism which stresses Zen style. More casual manners of formal wear are distinct elements in functionalist fashion design in 1990s. It leads to strong expressions of sports casual functionalism, which plays a great role in sportswear industry of American fashion design. The American fashion designers who were mentioned often in the articles were Donna Karan, Calvin Klein, Ralph lauren and Tommy Hilfiger. As well as their works have common formative features based on functionalism, each of them shows his/her own strung color. A]1 of these designers make American fashion design, which can be defined as casual wear or sportswear, very popular worldwide based on the developed American functionalism. Functionalism considering practical and conceptional functions will continue in coming century and techno functionalism and sports casual functionalism in future fashion designs wilt be expressed more strongly with new technology and casual trends of life style.

• The Research Journal of the Costume Culture
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• v.23 no.3
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• pp.412-424
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• 2015

The purpose of this study was to analyze the meaning of soul fashion in American pop culture. This study was conducted using a literature research method based on the prior theses, journals and relevant books. Soul as a concept, originated in African-American communities and evolved from the ideology of Black Power, which prompted Black Nationalism. Soul fashion, which took on two styles in African American culture began to embody black resistance and community pride in the late 20th century. One of these, hip-hop style represented the message of resistance and a sense of beauty outside the mainstream. The other, African-inspired fashion, which utilized a look inspired by African tradition, rejected white supremacy by expressing a proud dignity. As a result, the meaning of "soul" in soul fashion represented by American pop culture resulted in contrasting appearance due to different elements. First, one of its meanings is ironic and sarcastic, and it expressed historical trauma, cultural stereotypes, self-hatred, and self-degradation and, the self-mutilation of African-American by cynically distorting their silhouettes and, using modified materials and patterns, fantastic colors, and extraordinary accessories. Second, the other meanings is the pride and dignity of Black Power, which visualized the concentration of ideas implied by the tradition of African-American, through soul fashion by using fierce traditional of African costumes, unique patterns and accessories.

• The Research Journal of the Costume Culture
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• v.29 no.2
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• pp.167-184
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• 2021

The objective of this study was to develop a fashion therapy program for improving body image and self-esteem among male workers. Accordingly, the demand for fashion therapy programs was examined by conducting a literature review, survey, and in-depth interviews with men working in the Daegu and Gyeongbuk areas. The results are summarized as follows. The fashion therapy program followed a framework of "introduction-development-final" and was 60 minutes in length, for four sessions (one per week). The contents of the program consisted of a study of the participants' appearance and any concerns they had about their body in Session 1. In Session 2, differences in image perception were examined according to color coding of menswear and personal color. Session 3 comprised understanding what styling is required to supplement men's body shape and what style is suitable for each participant. The content of Session 4 determined how to build social performance or positive image using nonverbal elements. Overall, this study has great significance in that it has developed a study on fashion therapy program originally applied for psychological treatment with women that has been adapted as a program to help improve positive emotions and social competitiveness of male workers in an office environment.

• Journal of the Korean Society of Costume
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• v.61 no.10
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• pp.1-15
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• 2011

Constructivism is an avant-garde movement that began in 20th-century Russia, which rapidly turned into an industrial society. This was one of the most experimental art movements, that wanted to be at the center of social and political-ideological change as it pursued a unique style, which portrayed the true essence of art and humanity. Russian constructivism greatly influenced modern fashion and suggested a new artistic standard. First, the artistic elements of Russian constructivism include photo montages, geometrical structures, color abstraction, and an asymmetrical order, through which the ideals of the Russian Revolution were substantiated, idealized, and materialized into an artistic form. Second, the different forms of Russian constructivism have various artistic characteristics such as popularity, spatiality, structuralism, decorativeness, and mobility, which were then expressed in modern fashion elaborated below. This study intends to reconstruct the meaning of Russian formalism and reflect it on fashion; thereby reconsidering the characteristics and the meaning of Russian constructivism in the context of today's fashion. This will broaden the meaning of constructivism and suggest a new direction for modern fashion.

• Journal of the Korean Society of Costume
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• v.53 no.5
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• pp.111-124
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• 2003

The purpose of this study is to analyze how the women´s fashion with the design elements(silhouette, material, color, detail and trimming) of androgynous image which has appeared on our specialized fashion magazine from 1986 through 2000. As a result of this study I drew the following conclusion. 1. The bon silhouette led the market in the first stage of mid 1980. The wool and leather with the masculine image, cotton and soft material with unisex image were used to express the androgynous image. The dark and mono tone with the masculine image were used a lot in color. In women´s fashion the minimalism style with simple image was expressed escaping from the decoration, in which the detail and trimming was not found as in men´s wear. 2. It showed that more and more feminine image was accepted in the second stage of early 1990. Women´s wear silhouette with the androgynous image has changed from masculine box silhouette boomed in the first stage to hourglass silhouette and slim silhouette. The wool and leather were used a lot as the materials in the first stage but the usage of the cotton with unisex image and soft texture were getting increased. The main colors were the black and the blue but the usage of the white and the red were on the increase showing the range of the use was extending. In the meantime, the detail and trimming were hardly used like in the first stage. 3. In the third stage of the late 1990, the silhouette has changed to slim style. The wool and leather were mainly used as the materials but the cotton and silk were on the increase showing that the materials of the feminine image were used in the women´s fashion with the androgynous image as well as the materials of masculine image. In color, the black and the white of the masculine image were used increasingly by the effect of the minimalism and the usage of the colors were various for the rising frequency of the trend colors usage.

• Journal of the Korean Society of Clothing and Textiles
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• v.30 no.6 s.154
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• pp.880-891
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• 2006

This study is to be focused on the sportswear combining common wear with the design elements of activewear. The objectives of this study are four designers in compliance with the book of Ann Marie Fiore and Patricia Anne Kimle; Calvin Klein, Donna Karan, Ralph Lauren and Anna Sui and the times to be studied are limited to the early 21st Century from 2001 to 2005. Main results are as follow. This research divides sportswear into four groups; 'Function oriented style', 'Sensible style', 'Retro American sports style', and 'Street sports style'. Comparison of four designers' sportswear shows that Calvin Klein is function oriented, Donna Karan is function oriented and sensitivity driven, whereas Ralph Lauren focuses on retro American sports style along with function oriented characteristics. Anna Sui places emphasis on youth oriented street sports style. In terms of color, Calvin Klein and Donna Karan use White & Black and natural tone while Ralph Lauren uses pastel tone, and Anna Sui uses mostly vivid colors. In terms of material, Calvin Klein and Donna Karan use mostly elastic and synthetic materials whereas Ralph Lauren and Anna Sui use natural materials.