• Journal of the Korean Society of Costume
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• v.36
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• pp.239-262
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• 1998

The pursuit of freedom by the individual--desire to be liberated from all forms of restrictions-- is one of the defining character-istic of the modern society. As costume is, in part, a product of the spirit of the times, it was only natural that this desire for freedom would find its expression in modern costume as well. Among various forms of restrictions, differentiaton by sex has placed one of the most significant binding influences on individual behavior. From early times, the dichotomous division by sex was incorporated into the disign of costume, and the traditional differestriction of costume by sex imposed a significant restriction on the background,“the modern androhynous look”was born as a by-product of the sexual liberation movement in the second half of the 20th century, based on the concept of the individual as a complete human being rather than as a member exclusively of either the male or the female sex. This paper seeks to examine the androgynous look within a coherent theoretical frame-work, and explore new design possibilities by analyzing and understanding the visual characteristics of the androgynous look. In addition, this paper seeks to define the functional aspects of the androgynous look based on the premise that costume is an embodiment of the spirit of the times. As for research methodology, both theoretical and historical methods are employed. Through a theoretical examination of historical documents, the meaning of the androgynous look is explored from various angles, and order to examine its place in modern fashion, an-drogynous styles are categorized and system atically analyzed. The main findings of the paper can be summarized as follows : 1. Androgyny is a compound word consisting of“andro-”(meaning man) and“gyn-”(meaning woman). In modern times, this word has been associated with the socio-cultural aspect of gender rather than the physical or physiological aspect with the pshchological characteristics of the male and female sexes. Androgynous styles also appear in fashion and general arts such as drama, film, dance, and music. In fashion, the androgynous look, represented by the visual superimposition of “masculine”and “faminine”elements, has emerged as a major element of the 20th-century costume, and has gained broad acceptance among those free spirits wishing to be liberated from the conventional conceptions of male clothing, and the unisex look. 3. The androgynous look in modern fashion reflects the spirit of the 20th century society and culture, and performs various functions as follows : expression of fun, change in gender roles, expression of the inner consciousness, and pursuit of the ideal human type.

• Journal of the Korea Fashion and Costume Design Association
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• v.18 no.3
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• pp.197-211
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• 2016

Loulan was an ancient kingdom located on the northeast of the Taklamakan Desert, a diverging point between the north and south of Silk Road, on the east of the current Turpan, from the 2nd century BC and the 7th century A.D, absorbing and propagating culture of both sides through active trade. Meanwhile, as many previous research investigations suggest the early trade between Korea and the countries bordering on Western China, characteristics of Loulan costume have been found to have similarity to those of ancient Korean costume. Also, it can be compared to costume in other surrounding regions. Therefore, it is a highly valuable region in researching ancient costume. This study examined the historical background of Loulan and its relationship with ancient Korea, analyzed the clothes found in historic sites of Louland and Niya, and compared costume elements of Loulan and those of Korea. The result of the study shows that first, the Loulan Jeogori was based on the Jikryeonggyoim, with Chaksu, narrow sleeves and the length coming between below the chest and above the bottom, and the line decoration and waist belt were very similar to Korean costumes, as well as the Banryeong, curved collar and Bansu, short sleeves. Second, the types of pants included Gunggo, characterized by closed bottom and many creases, and Daegugo, wide-leg trousers, which are very similar in shape to the Korean Shilla lay sculpture, Stele To Martyr Yi Ch'a-don, Yangjikgongdo and Wangheedo. Third, in accessories as well, the Jowu stuck on the Gwanmo is similar in the shapes to Korean costume.

• The Journal of Natural Sciences
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• v.10 no.1
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• pp.123-131
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• 1998

This research was investigated the improved changes of Korean traditional costume after introducing the western costumes in this society. For this study microfilms of Chosun llbo, the popular newspaper since 1920s, and costume magazines for 1950s and 1960s were examined. The periods of the improved changing of Korean traditional costume were divided by the characteristics of qualitative and quantitative changes. Those were two, such as passive period and active period of change. At passive period, the change was not far from the original from of traditional costume and it was limited to the waist of skirt, length and width. But at active period, there was distinctive change from the previous period. Active period is divided by 2 sub-period again. In 1950s, the concept of darts of western costume was accepted to Korean costume and there was the western clothing for everyday costume, the characteristics of Korean costume were added to the base of the western clothing. It was named 'Arirang dress'. Original Korean costume had worn for special occasions since late 1950s.

• Journal of the Korea Fashion and Costume Design Association
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• v.11 no.1
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• pp.53-62
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• 2009

Through the result of the investigation on costumes in Bulgarian regions, the main factors for the formation of Bulgarian folk costume and its kinds and history have been found out so far as follows. Alhtough varying according to the district and climate, Bulgarian folk costumes have some general features determined by the material, the pattern, the application. For women, Bulgarian costume consists of a white shirt, a single or double apron unique depending on each region(Bruchnick), a basic dress called a tunic (Soukman), and an open-tunic typed coat (saya). The main factors for the formation of Bulgarian folk costume have been under the influence of natural and environmental features and historical streams resulting from its geographical location. Bulgaria is agriculture-oriented society based on a continental climate. Accordingly, as for the classification of costumes, body-fit clothes, such as shirts and jackets which developed in Europe and fit the body shape, have featured in Bulgaria. Besides, Bulgaria was under the rule of Turk for a long time at the end of the Middle Age. Having been influenced a lot those days, its folk costume shows Turkish elements now. With geographical features, it was found that the southern area was influenced most by Turkey and Greece, and the types of folk costumes in Europe developed mainly from the northern area. The adaptation of traditional costume forms to the new cultural and progressive principles of appeal nowadays needs knowledge, as well as feeling. Finding the right measure and proportions of using old ethnic elemints in contemporary clothing is the prerequisite of successful design.

• Journal of Fashion Business
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• v.18 no.2
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• pp.1-13
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• 2014

This study examines research trends in the dissertations and journal articles on stage costume so as to provide basic information on directions for future studies. The data was collected from the theses of domestic journals of the Korean Studies Information (KSI) which were published until December, 2012 and retrieved by a keyword related to the "design of stage costume", "costume for performing art", and etc. Theses and articles for the analyses were a total of 200 published. Reviewing the theses by dividing the times into 8 Chronicles of 5 years in each term. The findings of the study are as follows: According to the chronological analysis, there has been a steady increase in the rates of the musical, ballet, dance, and circus costume and cutting edged technology such as LED has been utilized in the performing art, currently. The real production and making up of the costumes have been increasing as well by replacing of illustration and rendering of the costumes. In the recent costume of the performing arts show the tends of the visual effects and up-sizing, comprehensiveness and fusion. From the analysis of the background of the work, those were confirmed that the most common historical period was modern period, and places were France, England, and Egypt. In regard to research themes and methods, many of research papers utilized content analysis method, character analysis method as research methods. The most popular presentation of the costume designs was "rendering", "costumes schedule" and "illustration". However, development and explanation of the patterns was insufficient and constructions methods and real works(costumes) were usually omitted in the articles.

• The Research Journal of the Costume Culture
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• v.16 no.2
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• pp.263-277
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• 2008

In picture bible, the picture is helpful for showing story more vividly and specifically and it is helpful for finding the meaning of bible hidden behind familiarity. It plays the role of the most powerful testimony and expression, with which human provides himself. The purpose of study was to grasp the relation among historical background of the middle age, human's characteristic and symbolic color by considering the fact that the costume expressed in Maciejowski Bible, which is a picture bible of the middle age and observing type, color and decoration of costume. Among 46 folios organizing Maciejowski Bible, 129 pictures explaining the Book of Genesis, the Book of Exodus, the Book of Leviticus, the Book of Numbers, the Book of Deuteronomy, the Book of Joshua and the Book of Judges, which belong to the former 400 years of the old Testament, were analyzed for people's costumes. The pictures shown in Maciejowski Bible portrays object, costume and behavior on the background of France of the 13th century so we can find out the precious natures of middle age's costume, weapon and armor. Especially, the portrait about finger armor of chain mail attached in hauberk becomes the outstanding evidence that can encroach the discussion over whether it was used in the end of 1300s. Regarding costumes of main characters, they wore chemise and braies as underwear, wore tunic or cotte having various lengths from the length reaching knee to the length reaching 8round as basic costume and wore mantle with different-colored lining and hose with various colors. In the war picture, we can see hauberk made with chain mail and cyclas with long slit, which was worn over hauberk, barrel helmet, norman helmet and steel school cap. Regarding cap. man usually wore coif, beret, shade-shaped cap, straw hat and woman wore the decoration using veil and hairlace and used the method to wrap whole hair with net. As the colors used in the costume of the picture bible, scarlet, blue, green and brown were usually used in order. They usually wore costumes decorated splendidly with the colors haying hish brightness and chroma.

• Journal of the Korean Society of Clothing and Textiles
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• v.4 no.1_2
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• pp.49-56
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• 1980

Because of the scarcity of data, a study of costume during the Baikje period can be made imaginarily only with historical records as data. According to records, Baikje costume was almost the same as that of the Koguryo period. Consequently, we may well imagine Baikje costume by means of studying such materials as the mural paintings found in Koguryo tombs and the remains found in the royal tomb of Munyung. The basic form of costume of the Baikje period, therefore, might have been like this: Both male and female wore a kind of jacket(유: JEOGORI) and trousers(고: BAJI) with female-wearing skirt (상: CHIMA) thereon. Both men and women wore overcoat(포: DURUMAGI). They used to wear headdress(관모) and used leather shoes(화) Such a form of costume can be found in the costume of HANIWA(식륜) of Japan, which belonged to the costume of HOBOK (호복) of the northern area. Under the SHIMNEUK-PUM-KWAN-KE(십육품관계) system, that is, 16 grades of official ranks, officials of the Baikje dynasty wore clothes, coronets and belts, all of which differed from one another in colors, according to ranks. Such a system of Baikje might have influenced the KANI-JUNI-KAI (the 12-grade color discrimination of the coronet, 관위십이계) for the government officials of ancient Japan the Suiko period. For the study of such matters, I have tried to review the flow of the Korean culture into ancient Japan in the field of costume.

• Journal of the Korean Society of Costume
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• v.59 no.5
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• pp.180-201
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• 2009

I scrutinized the idea that Parhae Marek was inherited from Kokuryo which was presented in "The study on the Marek" published in the journal of the Korean Society of Costume 55-5, and concluded the following results: 1. The Marek which Samguk sagi recorded is the red head scarf used for dancers who do Koguryo dance in the Babarian Music System in Tang dynasty. Since its original record Tong dian tells that Kokuryo performers' costumes then had strikingly changed and Quichi and GaoChang dancers also wore Marek, so the idea that Marek was originated from Koguryo should be reconsidered. 2. Considering the Yaksoori mural's indistinguishable condition as well as the same scenes from other Kokuryo mural paintings, I can't evidently tell that the first person who carries shouldering drum puts Marek on. 3. should be pronounced [Mal] for the meaning of a head scarf and its definition can't be limited only for the sash type. 4. Diverse historical data on head scarves deny the assumption that the sash type of hairband would have been succeeded from Kokuryo to the Parhae Marek. 5. The Marek of Princess Junghyo's mural painting can be an example that shows the costume of Tang influenced Parhae's. But the similarity in styles of costume between contemporary countries doesn't mean their reciprocal racial or political identity.

• Journal of the Korean Society of Costume
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• v.29
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• pp.117-126
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• 1996

As the current stage of the fashion begins to follow the styles of the past the study on the past costume is getting more importance and as the methodolgy of the study the accu-rately approached study through the rehabili-tation of the past cosume is more needed than the simple rearrangement of the historical documents. By this methodology this study can be positioned as a re-creation activity. The results of the study are as follows. 1) Style: The general silhouette is the style to emphasize the waist and to widen skirt at the lower part of the body. The front shows hourglass silhouette but the side shows S-line silhouette. The dress is two-piece composed of bodice and skirt. 2) Color and Fabric: The main color is dull powder blue end the sub color is ivory. The dress is made of wool crepe and cotton and partly silk crepe satin and taffeta. 3) Pattern and sewing: The dress is combined with lining and fabrics, The patterns. or overbodice. The skirt is gored skirt. The skirt is gored skirt. The dress has various effect not only to decorate but also to conceal seams support hemlines nd affect the depth and length of front panel. 4) Datail: The braid black velvet ribbon frill and tucks in bodice skirt sleeves front panel collar cuffs are repeatedly used to dec-orate the dress. Finally the 1902-3 day dress has the characteristics of transitional stag in which the chatacteristics of the costume of 1900s and the remnants of the characteristics of the pre-vious costume style and shows the charac-teristics of day dress well in terms of the style color and fabric pattern and sewing and detail.

• Journal of the Korean Society of Costume
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• v.32
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• pp.149-162
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• 1997

In this paper it was observed that the influences of social environment that had been saturated by the modern awareness and west-ern culture effected largely on clothing. Also it was studied how and by what en-vironmental factors the costume during the enlightening period was accepted and devel-oped in Korea relative to social cultural en-vironment. In this research the emphasis was placed on the process of changing to western clothing especially the influence of Group Clothing on the general women's clothing. Therefore the types of group clothing and its influences were studied. in this study the types of group clothing recalled were modern women's clothing mission-ary women's clothing professional women's such as nurse uniforms school girls' uniforms and the invention of women's sports wear. And lastly it was searched for the direction of developent in apparels. From the above mentioned we can conclude that the clothing is inseparable from social and cultural Invironments and foreign affairs of politics at the time. Also it is considered that the types of group styles were the necessary happenings in the early stage of modern so-ciety. Because of historical situation in Korea the western clothing style had taken place in a short period of time. however Korean women's clothing which had been centerred around group clothing was considered to have changed from Korean traditional costume to western clothing by rational decisions of modern awareness in-stead of sudden change from traditional clothing to western clothing by indiscrete acceptance of western culture.