• Journal of the Korean Society of Costume
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• v.20
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• pp.63-72
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• 1993

The concept of style provides a useful structure in history of Art. In aspect of formative art, dress and art work are alike, so style is a useful concept in the historical methodology on dress. The main purpose of this study was to apply the art criticism to the historical methodology on dress. For this purpose, documentary studies about style as a tool of historical research were proceeded. The results were as follows : 1. The concept of style consists of the external form and the internal meaning as double roots. Therefore, it's indispensable that the two asp-ects of style, form and meaning, must to be harmonized to describe the historical phenomena in dress. 2. The change pattern of style in dress is not always predeterminate and regular according to the cyclical theory. From the alternative point of view, the change pattern of style could be to describe the continuous theory proposed by kroeber, Brodsky. The whole change of style is considered "liked solution" by this theory.is theory.

• Journal of the Korean Society of Clothing and Textiles
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• v.17 no.1
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• pp.137-149
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• 1993

The concept of style including the external form and internal meaning provides a useful structure to clarify the historical phenomenon on dress. The purpose of this study was to explore surrealism related to the external form and internal meaning and the stylistic change of surrealism through 1930 and 1988 according the linked solution proposed by Brodsky. The results were as follows; 1. In terms of double roots including the external form and the internal meaning on the surrealism of dress, first, the external form was founded to be that each objects having symbolic meaning was dislocated from its original place to dress. Second, the aspects of internal meaning intended to represent not rational and external world but irrational as well as to reveal other nature of object or dress itself. 2. The change of surrealistic style on dress was characterised as "linked solution" change theory than cyclical change theory through the historical data from 1930 to 1988 of documentary sources.

• Journal of the Korean Society of Costume
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• v.52 no.7
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• pp.27-44
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• 2002

The Folk-dress of some parts of the traditional style is extremely focused and puts value on protecting itself against changes. Generally rural areas are much more conservative politically economically, and culturally. Its environment is sluggish and slow and daily routines change slowly. So they take friendly a position between a race and geographical and environmental differences which is expressed in the Folk-dress. Also, a dress is the most preferred individual object as a symbol of collective homogeneity. By those people who preserve these kinds of the individual objects and by those people who have ethnic conservation, folk-dress was handed down to the present age and the festival dress was used as a tool of ethnic tradition and binding. Therefore, 1 would like to study and research the differences between the folk-dress of the Lithuanian historical and geographical factors and the folk-dress of the surrounding north-eastern European countries. Especially when we compare these with the folk-dress in terms of historical, cultural. and political relationships between Lithuania and the north-eastern European countries, we can find out that they had a good effect on the folk-dress historically and culturally.

• 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.

• The Research Journal of the Costume Culture
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• v.15 no.4
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• pp.713-725
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• 2007

This treatise is designed to discover the principle of timeless continuity of Korean design from the perspective of modem accomodation of formative beauty of tractional dress style with the focus on measurement analysis of dress from visual perspective. For this purpose in this research the following subjects are studied with concentration: the 1st phase debate on the dress style appearing in the Kokuryo murals and genre painting during the later period of Chosun Dynasty regarding the formative beauty of dress style. 2nd phase debate on the points of changes and transformations during given age and given principle of Korean designs being maintained across the span of time in the context of madern accomodation of such traditional dress. From historical perspective characteristics of each given age and principles of visual formative principles appear in various ways variety attributable to mutually interactive principles according to historical background and culture. For this reason it can be said that they are determined by different paradigm or forms from characteristics of Korean style design in the present and future and those for traditional forms of dress in the past.

• International Journal of Costume and Fashion
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• v.14 no.2
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• pp.81-96
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• 2014

The meanings of colors vary with time and space. For the most important events in a person's life, such as wedding or funeral, people use color to symbolize their identities or roles. Traditionally, the colors of dress had indicated the wearer's age, class, or marital status in Korea. However, Korea's exposure to western cultures has affected in many dimensions of its modern history. Especially, influenced by social change, the traditional dress has undergone many modifications in forms, silhouettes, materials, and color. However, women's mourning dress has been maintained as a long lasting tradition and the use of white in mourning dress has been regarded as a norm until recently, while men have worn a regular black suit with a black tie. But, the shift from white to black in mourning dress has been observed in recent mourning practices. To examine this change of color in Korean traditional mourning dress, a historical approach utilizing multiple resources, such as interview, observations of events, documents, and archival records was applied.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.4 s.44
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• pp.357-369
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• 1992

The purpose of this study was to clarify the relationship between the Ideal Beauty of Body and the Form of Dress, and to analyze its historical perspectives. First of all, the concept of the Ideal Beauty of Body, the definition of Dress Form, and the method and system to clarify Dress Form were depicted. Based on this frame work, the Form of Dress related to the Ideal Beauty of Body was described historically. For this purpose, documentary research were conducted and representative photography and paintings were used. The analysis was limited to the female one-Piece dress from Ancient Egypt, Greece, Rome, Byzantine, Gothic, Renaissance, Baroque, Rococo, Naoclassicism, and to Romanticism. The results were as follows: 1. The Ideal Beauty of Body was found to be different throughout history and to be intimate- ly linked with fashionable dress. 2. The Form of Dress consisted of four basic components: The form of body itself, the form of clothing itself, the method of wearing, and the relationship between body and clothing. 3. The standards for classification of body form were body structure, body type, body proportion, posture, and movement. Clothing form was generally classified into flat type (unstructured type) and three dementional type (structured type); flat type was subclassified into draped type and tunic type. The method of wearing was classified into attached type, tying-up type, wrap·around type, pull-over type, open type and plastistic type. The relationship between body and clothing after wearing was generally classified into body priority type and clothing priority type. The clothing priority type was further divided into body exaggeration type and body concealment type; Body exaggeration type was further divided into upward type, downward type, forward type, backward type, right type and constriction type. 4. The pursuit of venus coelestis, metaphysical body part, ectomorphic body type, flat type clothing, body priority type; the pursuit of Venus Naturalis, physical body part, endomorphic body type, three dementional type clothing, clothing priority type proved to be closely related respectively by the historical study on the Ideal Beauty of Body and the Form of Dress.

• The Research Journal of the Costume Culture
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• v.31 no.5
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• pp.573-585
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• 2023

Comprehending the prevailing ideals of the body within a specific era requires grasping the intricate interplay between social phenomena and the evolution of clothing. Accordingly, this study investigates the distinctive facets of the perception of the Neo-Confucian body as reflected in men's dress during the Joseon Dynasty. We examine a comprehensive body of scholarship, literature, and historical records concerning the body and dress. Additionally, we also employ a framework developed by M. Y. Kim, which categorizes the Neo-Confucian body in three ways: as the natural body, the cultural body, and the body as a fully-realized moral subject. Our findings unveil three crucial insights: firstly, guided by Neo-Confucian discourse positing appearance as a manifestation of innate energy (氣), men's dress was deliberately designed to demarcate stylistic distinctions in women's dress; secondly, the Chinese gwan (冠) was employed as a tool of self-cultivation (修身) to symbolize the legitimacy of Joseon's Neo-Confucian governance; and thirdly, sim-ui (深衣), a philosophical emblem of Confucianism extensively represented across through an intensified exploration of historical sources, served as a means to consolidate the political standing of the Neo-Confucian faction. As a consequence of these factors, the attire of noble men conferred upon them both sexual and moral ascendancy as political entities; men's dress became a visual manifestation of the legitimacy of their power, thus embodying Neo-Confucian ideals. This study carries significance by applying a discourse analysis approach to Korean dress research and elucidating the factors underlying the development of men's dress during the Joseon Dynasty.

• Journal of the Korean Society of Costume
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• v.66 no.8
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• pp.123-137
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• 2016

Sa-ryae-pyeonram [四禮便覽], which was published in the late Joseon Dynasty, was representative reinterpretation book of Ga-ryae [家禮] and it was a widely used and cited in the late Joseon Dynasty. This book contains Confucian values about the ritual of Confucian scholars of Joseon Dynasty. This study is a description of historical investigation and production of men's mourning dress based on Sa-ryae-pyeonram [四禮便覽] the result, of the study shows empirical attitude of Confucian scholasr in the late Joseon Dynasty. Through industrialization, traditional culture has been able to survive through preservation. Wearing the traditional mourning dress is not the only way to embody the traditional values in the modern society. It is will be necessary to study contemporary mourning dress as a reflection of traditional value.

• 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.