• Journal of the Korean Society of Costume
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• v.67 no.3
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• pp.31-46
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• 2017

The purpose of this study is to analyse the occurrence and evolution of Mao suit which is important position in the modern costume history of China and to provide a source of design inspiration to contemporary fashion designers. In the research method, literature review and case studies was conducted in parallel. For the literature review, changes of Mao suit in each age were reviewed with reference to the related documents, Chinese costume and cultural history, prior research papers and internet resources. The case analysis was qualitatively done focusing on the silhouette, color and detail of clothes in fashion collections. The scope of the study was from 1912 to 2000. The case analysis of the Mao suit applied to the contemporary fashion was made on the applications centered around 'London Collection', 'New York Collection', 'Paris Collection', 'Milan Collection' and 'Chinese Fashion Week' from 2008 to 2015. The results found that Mao suit changed into many different forms after Sun Wen designed it for the first time in 1912. This study classified it into Phase 1(1912~1927), Phase 2(1928~1965), Phase 3(1966~1977), and Phase 4(1978~2000) with historical and political issues and conformational changes in Mao suit. The frequency analysis of the cases of the fashion collections using Mao suit from 2008 to 2015 showed an increased application of Mao suit to the western collection in New York, Paris and London in 2008 due to the impact of Beijing Olympics. However, from 2009 onwards, the frequency of the utilization of Mao suit was higher in the Chinese Fashion Week and the New York Collection. This cause is explained by the fact that the designers who inspired from Mao suit in the New York Collection are American Chinese.

• Journal of the Korean Society of Costume
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• v.62 no.4
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• pp.15-31
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• 2012

This study is intended to understand the styles, colors and color arrangements of costumes expressed on Kisan Kim Jun-geun's genre paintings of Joseon in the late 19th century. The paintings vary according to the status and gender of the person wearing the costume as well as the time period and different situations the person belongs to. Also, this study aims to examine the meaning and value of Kisan's paintings in terms of the history of Korean costumes. The result of this study are as follows: The basic and common attire for people of all status and class is the jeogori(jacket), baji(pants) for men and Banhoijang jeogori, chima(skirt) for women. Men wear Po(coat) that represents their status and age, and they put on various hats according to different weather conditions or work-skill even when in the same status and class. However, women wear the Baeja(vest), Durumagi(coat) and head-dresses when they are cold. Overall, the costume patterns and shapes that appear on Kisan's paintings show the same patterns and structures when compared to different data during the same time period. Thus, they provide useful information to help not only understand the changes of patterns and structures of costumes, but also the situations and emotions of the people of that time period. Moreover, it can be understood that various colors and color arrangements that reflect the situations and emotions of the late 19th century were used. This study that analyses the colors and color arrangements used in Kisan's genre paintings can provide the very basic and systematically arranged data to help understand the unique colors in Korea. These data can also provide important information to understand the use of dyes and pigments during that time. Therefore, Kisan's genre paintings are meaningful and valuable in terms of the history of Korean costumes for these are the data, from which we can review the costumes, colors and color arrangements in the years from 1890 to 1910.

• The Research Journal of the Costume Culture
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• v.11 no.5
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• pp.737-752
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• 2003

The purpose of this study is to understand the medieval culture and medieval religious costume by analysing and grasping the formative characteristics of image of medieval religious costume in the modern fashion that were represented to the modern fashion, and also to offer materials to predict the history of fashion in the future by considering the progress of modern fashion and recognizing the fashion to be progress. To examine the image of medieval religious costume in the modern fashion, this thesis divided it into avant-garde image, symbolic image, and mysterious image. These can be summarized as follows. First, in avant-garde image, the harmony between characteristic eroticism and heterogeneous materials are expressed and the formative change of religious costume into general costume are expressed. Second, in symbolic image, the symbolic meanings of the medieval clergy man's costume is expressed in modem fashion while its religious meanings and senses are expressed with symbolic image. Third, in mysterious image, the abundant and profound lights and colors express the mysterious senses of the costume and sanctity applied with mosaic painting and stained glass techniques, utilizing the splendor jewelry, spangle and materials, and most of its image reflects exotic and embellish tendency. As a result, this thesis could be described as follows; Previous religious costume of clergy man was used as a mediator between general devotee and God in ceremony, and it was worn by the general devotee to express devotion. This religious costume was utilized in modem fashion, and it gave the avant-garde image and symbolic image of religion. In addition to it, mysterious image was expressed with exotic and embellish tendency.

• Journal of the Korea Fashion and Costume Design Association
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• v.16 no.2
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• pp.41-53
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• 2014

Contemporary fashion designers are keen on linking the past and the present through culture and fashion by the attempt to investigate and research on the costumes recorded in its history and to reinterpret it on their own terms. Covering the history of culture ranging from the 70s and 80s to the ancient Greek and Egyptian periods, these reinterpretations also reflect the latest fad of the times in which a fashion designer lives and works. Above all, Rococo costume from the eighteenth century is one of the fashion styles adored by fashion designers. What constitute the costume of this period creating the image of sensual women are not only the form of outfit, colors, the design of accessories, shoes and hairstyle but also the details such as frills, ribbons and flower decorations. In contemporary times, the original Rococo style has been modified and turned into various styles in the haute couture and street fashion. These modernized styles include Rock Rococo, Modern Rococo, Lolita Look, Gyaru Fashion and etc., all of which adopt the Rococo style and consider it as the symbol of feminine beauty. However, their approaches to the original Rococo style differ from each other. Hence, advocating the elegance of women is not invariably the case. Often, the interpretations of the Rococo are unconventional, defiant and wild. And, sometimes, these new versions of Rococo are overly exaggerated and emphasized or, reversely, reduced. In this research, various references on the Rococo elements such as colors, forms, accessories and detailed features that has influenced on the contemporary fashion will be analyzed. This analysis will demonstrate how the Rococo style of the eighteenth century has been integrated into contemporary fashion giving birth to new Rococo fashion styles.

• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.3
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• pp.95-112
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• 2005

Hair styles, dresses and their ornaments are basic measures that show the trend of the times, the people and their life in both Eastern and Western societies. The history of a country could start or be extinguished at any time, but life goes on. Koguryo was founded around Anno Domini and fell at 668 A. D. What was Koguryo people like? How was their hair style and costume? This study aims to respond those questions. The Koguryo ancient mural paintings can be broadly divided into the Jip-An region and the Pyon-Yang region. Among the paintings found, that in the An-Ak 3rd ancient tomb at the Pyon-Yang region is the biggest and the most splendid. It is a figure genre painting, which contains a kitchen, a rice mill, a stable, a barn, a garage, etc. Those places illustrate the way of life at the time. The painting also comprises a man with a crown, who is seen as the king and owner of this tomb. The woman with a vertically designed hair style is perceived as the queen. A highly guarded and decorated royal parade is also presented in detail. The hair styles and costume evidence in the An-Ak 3rd ancient tomb are not seen in the paintings of the Jip-An region. This study inquires into the differences between the Pyon-Yang and lip-An regions through the history and the culture of those areas. Nevertheless, it could prove tentative to confirm the owner of the An-Ak 3rd ancient tomb with the only evidence of the words found in the wall of the tomb. It is the author's intention to study and analyse further.

• Journal of the Korea Fashion and Costume Design Association
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• v.8 no.3
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• pp.59-71
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• 2006

This study contemplates Croatian traditional costumes with focus on its geographical characteristics and acculturation with neighbor countries as a member of old Yugoslavian Union. Therefore, it contains the information from field works based on Croatian language, native costumes and folk materials wildly. Men usually wear wide linen pants ($ga\'{c}$), shirt ($ko\v{s}ulje,\;rnbina)$, vest (lajbek), hat and jacket ($kro\v{z}et$). Also they sometimes wear scarves or aprons. Women put on blouse, long skirt, apron, headgear with various decoration and scarf ($pe\v{c}a$), shawl (tibetui robe) or necklace together. Croatian folk dresses fall into three different styles by provinces, such as Pannonia, Dinar and Adria, according to the basic environmental and racial characteristics of each province. People of Pannonia plain generally wear white linen clothing and often use flounce and lace, which are influenced by Serbia and Hungary. In the Dinar mountain province, aprons with tassel, knitted vests made of leather and fur are very popular. The clothing of Dinar province has much commonness with those of Bosnia - Herzegovina and Montenegro which have metal buttons and belts. And the clothing of Adria coast is influenced by Italy a lot. There are many splendid silk clothes in its folk dress code. As mentioned above, there are a lot of foreign influences in Croatian history. Although there were severe cultural invasions in many times through its history, Croatians didn't just surrender to these cultural influences. People in Croatia comply with these new coming culture and reconcile these into their own tradition and dress code in their own way.

• Proceedings of the Korea Society of Costume Conference
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• 2001.08a
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• pp.34-36
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• 2001

Chirimen (silk crepe) has been one of Japan's most distinctive textiles since times and has gained a reputation worldwide as the supreme example of Japanese costume. It is because of its distinctive quality and features, transcending the history, lacation and lacal of the people who wear this form of clothing, that chirimen has continued to highly valued over a long historical period. There is a wide range of literature on the subject of chirimen written from the standpoints of introducing the various types of material, discussing its history, and looking at the origins of the textile unions. However, most such writings are little more than fragmentary attempts to describe these matters from an empirical and publicity-oriented position. Very little serious research has ever been published in this area. In the present study I examine the features of chirimen. I began by directly interviewing kimono wholesalers, kimono stores and Western-style clothing stores on the subject of chirimen in order to establish a clear image of this fabric. I then went on to examine the subject experimentally in terms of the physical properties of the fabric in connection with the features of this image. In the study of the physical properties of the material, I selected habutae as a silk fabric to offer comparisons with chirimen. Habutae is used frequently together with chirimen in garments such as semi-formal visiting kimono (homongi), kimono in non-color fabric (ironashiji), mouming kimono (mofuku), broad-sleeved kimono (tomesode and furisode), and undergarments such ad juban.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.68-77
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• 2012

Hair style takes a large part in emphasizing to the appearance and the effect of image transformation with fashion to the modern people whose competition is appearance in 21 century. According to the development of mass media and the exchange of the life style. Image creation which correspond to T.P.O is needed and style-up is also required in modern costume, as the coordination for special day is routinized. In this study, the expression of a fine and organic line shown as a motive in Art Nouveau style's works is applied to style-up design and a new view sight to the style-up design through the art history is suggested with developing style-up design to satisfy the upgraded customer's requirements. The feminine beauty is appeared as a various image by applying style-up design from Art Nouveau style through this study. and the infinite possibility to the design development can be found with activated motive of Art Nouveau. These Art Nouveau trend will be a foundation to the inspiration of high artistic design and will be helpful to the aesthetic satisfaction of the elegance modern people. Therefore, I hope this study will be a fundamental data for creative development of hair design through the art history which may be forgetting.

• Journal of the Korean Society of Clothing and Textiles
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• v.16 no.3 s.43
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• pp.315-323
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• 1992

The purpose of this research is the new experimental approach to the methodology of the costume history 'study. The basic frame is structured by the concept of the type. This is developed to the decoration type of the costume, originated by the classification of the decoration type of Ruskin. Using this, the researcher could analysis the decoration type of the costumes in the 19th century. In the result, the researcher could find that the change of the decoration type had the regular orientation of the oscillation through the periods. It is the experimental frame for the analysis of the styles. But it will provide the more extensive analytical frame on condition that catagorizations are completed. And it will be able to imply to the 20th century's costume.

• The Research Journal of the Costume Culture
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• v.7 no.4
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• pp.38-51
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• 1999

The purpose of this study finds that (1) history of the First birthday rite(첫돌 의례) and (2) changing process of the First birthday\`s dress and ornaments(첫돌 복식). The results of this study are as follows. The history of the first birthday rite has been continued vary long years in Korea, but it\`s origin is not clearness. The purpose and form of the first birthday rite are vary similarity in China and Korea. The rate of infant mortality was regarded that an absolute element of the first birthday rite. Making process of the first birthday\`s dress and ornaments was not definite, The adoption of that\`s form and elements act on affect local·homely·individual situation. First birthday\`s dress and ornaments was changed by changing process and convert of recognition about First birthday rite. It shows that the change of rites clothing contacted with changing process of rites.