• Journal of the Korean Society of Clothing and Textiles
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• v.37 no.8
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• pp.1029-1043
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• 2013

The pearl is a highly valuable gem that has historically represented wealth and power. Pearl necklaces have developed intro various types and represent an essential status item for modern women. This study first examines the symbolic and various meanings of pearls. Second, this study examines wearing types and pearl necklace patterns based on historical figures and modern fashion icons famous for personal displays of pearls. This study examines and analyzes various specialty publications about jewels, history of costumes, fashion magazines, academic research data, and internet search results. The conclusion of this study is as follows. Pearls have various symbolic meanings that are unlike other gems. Pearls represent purity, innocence, marital fidelity, an intimate relationship with the moon, frozen tears of God, solitude, triumph over adversity, wisdom, and sensual attraction. The societies and people traditionally famous for pearls were the Roman Empire, Queen Cleopatra of Egypt, Queen Theodora of the Byzantine Empire, Queen Elizabeth I, Queen Marie Antoinette, Empress of Eugenie Napoleon III, and Queen Alexandra. They showed a special affection for pearl necklaces and various wearing patterns unique to the time. Their pearl necklaces became a historic and symbolic legacy. Reestablished through the costume jewelry of cultivated pearls designed by Coco Chanel in the $20^{th}$ century, the pearl necklace has showed a variety of fashion trends in addition to a traditional symbolism of wealth and power. Josephine Baker, Louise Brooks, Marilyn Monroe, Elizabeth Taylor, Jacqueline Kennedy, Queen Elizabeth II, Princess Diana, Michelle Obama and Sarah Jessica Parker have worn notable pearl necklaces and established an individual style that utilizes the adornment of fashionable and stylish pearl necklaces. They have worn pearl necklaces while applying various fashion trend motifs to symbolic pearl features of that have changed the perception of the pearl and themselves.

• Journal of the Korean Society of Costume
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• v.62 no.2
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• pp.1-12
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• 2012

Cloths wrapped around the body have been the basis of the dress of people all over the world for centuries. This study is to research detailed modifiable fashion styling methods in history and to give ideas to people such as fashion professionals who are interested in fashion styling so that they can create modifiable fashion styling easily in fashion fields. The characteristics of modifiable fashion styling methods from ancient to middle ages are as follows. The first modifiable styling method is to expose the knots on the surface of the garments, and the knots were mainly located on the upper part of the body. The second method is a wrapping type of the modifiable styling method, which shows a lot of variant simple shapes of cloths. This method helped develop many wrapping methods over time. The third way is the fixed type of the modifiable styling method, and it uses accessories such as fibulae, belts to fix cloths, to create many different styles. The accessories are located on around either the neck or waist. The fourth method is the composite type of the modifiable styling methods mentioned above. This styling method is adapted in robe type clothes which makes the clothes look full of beautiful drapery. This study suggests that simple shapes of cloths can create enormous amount of styling which can be easily adapted and created nowadays.

• The Research Journal of the Costume Culture
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• v.14 no.1
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• pp.16-26
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• 2006

There have been in the history of western costume a few studies on men's headgear that cannot be the second to the women's headdress in terms of the gorgeousness and variety whereas the studies on women's hair styles and head dresses have frequently been carried out. Such varieties of the headgear in terms of forms and ornaments have still been found with various types. Thus, the study on the change in designs and details of headgear and the recreation of them may contribute to the utilization of the fashion in current vogue and the guidance of the creation for the new design. The aim of this study is to find such changes in the designs and the methods for the production of bonnets which have played important roles to emphasize external characteristics of costumes. As a result, this study may provide key materials for the development of new designs. As with the previous studies on the women's headdress and men's hat, the methodology of this study is to recreate bonnets based on the literature review and the portrait analysis. this study will cover the eras from the late fifteenth century to the mid sixteenth century when bonnets began to be produced. First, the characteristics of hair styles and bonnets are to be reviewed for the selection of bonnets to be recreated. Next step is to make a literature review on the form, materials, colors and ornaments used for bonnets. Finally, the patterns of bonnets is to be illustrated for the reproduction of selected bonnets. Materials to be used in this study for such a reproduction are velvets, silks and wools as presented in the literatures and ornaments to be used are similar to those captured in photos.

• Korean Journal of Human Ecology
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• v.3 no.1
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• pp.1-14
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• 2000

This paper is on the Kasaya that reveals conspicuously the religious meaning among the Korean Buddhist costumes. The Kasaya has the most special meaning among Korean costume culture. It has the most important historical value, for Buddhism is the oldest religion that begins at 4th century A.D.. It has the most unordinary shape that we could not find any other costume culture. It has very important meaning to study on the Kasaya in the religious and cultural history of Korean costume. We have to study Korean Kasaya from surveying Indian Buddhist Kasaya diachronicaly. Buddha establishes himself the rules of weaving, coloring and wearing Kasaya. Bunso costume(분소의)is the first shape of Kasaya that he has worn during his ascetic practice. Bunso costume was a kind of shari. It is made with diapers those clean ordure of baby It symbolizes the life of ascetic practice. However Buddha could not stick to it as the only costume of monks. From his age Buddhist devotees have thought Buddha and monks as sacred beings. So they eagerly want to Provide the sacred beings with foods. clothes and other things that samgha(승가) need to live and accomplish their duties. At that time there are many kings, aristocracies and rich merchants among the devotees. They often offered them the luxurious silk Kasaya. that the ascetic monks could not wear. to express their deep faith. So the rules of the samgha has been distorted. The samgha has enlarged day by day as a great huge religious association. There are many different shapes of Kasaya. The Buddhist samgha need to establish a minute and rigid rules of Kasaya to order living of monks and to teach the moral and educational life to ordinary people. That book of rule is Vinaya pitaka(율장) . There are many kinds of Vinaya pitaka. This paper surveys the rules of Kasaya from Southern Vinaya pitaka(남전율장). This study will be the basic ground to research the Korean Buddhist Kasaya.

• Journal of the Korean Home Economics Association
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• v.44 no.1 s.215
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• pp.25-35
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• 2006

This study investigated the scheme for correctly making Korean fashion design known to the world. It attempted to increase the influence of the Eighteenth Century Costume in contemporary fashion. During the 18th century, France had an almost complete monopoly of fashion. Growing out the fairyland atmosphere of the French Court and often conceived of as ennui by personal vanity, this fashion was a product of an age which sought at any price to live life with supreme grace. Most of the special costume exhibitions in the Metropolitan Museum of Art are planned and directed by Polaire Weissman, Diana Vreeland, Richard Martin, Harold Koda. The Costume Institute has held exhibitions of the Eighteenth Century Costume several times such as "Museum Period Rooms Re-Occupied in Style," "the Eighteenth Century Women," "the Ceaseless Century," "Dangerous Liaisons," etc. Especially, the exhibition of "Dangerous Liaisons" is organized in ten parts such as the Portrait, the Levee, the Music Lesson, the Withdrawing Room, the Broken Vase, the Favorite, the Masked Beauty, the Card Game, the Late Supper, and the Shop. Using the eighteenth century as its touchstone, The Ceaseless Century proceeds differently, not seeking the short distance between a discrete present and the multiple past but rather showing the complicated navigation that comes of revivalism swing to and fro on the timeline of history and sensibility. The designers featured include Karl Lagerfeld, Gianni Versace, Vivienne Westwood, Jean Paul Gaultier, Christian Dior, Cristobal Balencicga, Christian Lacroix, Stella McCartney forChloe, Olivier Theyskens, Alexander McQueen, etc. Therefore, Korean designers should refrain from (Ed-confirm) the foreign collection without a clear purpose and should devote their effort to create with an active attitude.

• Journal of Fashion Business
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• v.19 no.1
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• pp.95-105
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• 2015

This study investigated the color culture in the Japanese Medieval Age. The Japanese Medieval Age included the Kamakura period (1180-1333) and Muromachi period (1336-1573), and the leading group transitioned from the Kuge families to the Buke families. The taboos about colors from ancient times became nominal, and forbidden colors, such as purple, celadon, and red, became the colors of the samurai, leading to beautiful soldier gears that were unparalleled in history. In the Kamakura period, colors that conveyed a strong impression were created and preferred with the combination of a samurai's reasonable spirit and zen thoughts. The period was also called "the era of hari", and cross dyeing based on basic colors such as suou (red), ai (blue), and kuchinasi (yellow) was popular. In both the Kamakura and Muromachi periods, conspicuous and strong colors were sought for costumes, and embroidery was used with gold leaf, silver leaf, gold threads, silver threads, and background color. The colors of costume preferred by Buke men in the period included green, blue, and brown. In the characteristics of the kosode, the sugan and hitadare were used for men's formal dress, while kosode was used for the grooming of the working class. In these periods, additionally, the working class began to be socially engaged in actively wearing the one-layer kosode, which became popular, and the characteristics of the Japanese Medieval Age, during which functionality and practicality was valued, were also reflected in the dressing.

• Fashion & Textile Research Journal
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• v.5 no.5
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• pp.443-452
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• 2003

People have been getting interested in the Orientalism and it has come up in various areas due to scientific progress. I designed uniforms, which was simple and western, to show its symbolic meanings in the Orientalism. And I have been trying to generalize uniforms with originality and beauty. I have studied the process of the Orientalism and its changes and transitions, concepts and origins in history. And I applied the styles of Korean, Japanese and Chineses costume on it. I also referred to characters of uniforms, which already had images of Korea, Japan and China. Firstly, Korean styles have a contrast in colors by application of Taegeuk. And they gave lines with dark colors in black one-piece dress. This makes people who are wearing looking slimmer. White ramie top looks fresh and Korean traditional tie called Maedeup is set up for button. Secondly, Japanese styles were mainly Kimono style, one piece. They changed into two pieces designed to be active. So, it has emphasized the image of Kimono with Obi at the waist. Thirdly, Chinese styles basically are Chipao style, which has a Chinese collar and a long skirt, which has opening. But they gradually changed into short skirts and more open in the chest. For one of them, they gave lines in the side of chest, sleeves and skirt to be more natural. The costumes have kept their positions as a part of mass society that grows and changes with speed. And oriental uniforms are not just uniforms any longer only for work. It is quite symbolic like a 'second face' as it represents images for their countries and enterprises.

• Fashion & Textile Research Journal
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• v.14 no.5
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• pp.749-757
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• 2012

The purpose of this study is to consider the characteristics of Latin American style expressed in modern fashion. Latin American fashion has been overlooked the influences, scope and diversity of dress within this world culture region. So, this study aim to unravel the history and significance of Latin American fashion. As for the research methodology, to classify types of the Latin American fashion style theoretical study and content analysis for Vogue magazine has been undertaken. In this study, the term of Latin American fashion style refers to the dress of common characteristics involving Latin American culture. To inquire into the characteristics of the types, various cases has been searched through books, internet, and designer's collections. The results of this study can be summarized as followings. The major types of Latin American fashion style are Indio-ethnic style, tropical-exotic style, and latin-romantic style. First, Indio-ethnic style has been involving traditional costumes and patterns which are originated in ancient Mexico and Peru. Second, tropical-exotic style has been involving bright color, tropical fruit and African flower pattern, various textures, and relaxed silhouette which are inspired by free and easy culture in Brazil and the Caribbean. Third, latin-romantic style has been involving the mix of Latin American tradition and romantic detail such as see-through material, lace, ruffle, spanish flower motif. In conclusion, Latin American style on contemporary fashion is based on interest to cannibalize folk theme, technique, icons and exotic others.

• Journal of the Korean Society of Costume
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• v.56 no.1 s.100
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• pp.13-31
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• 2006

This study will explore Rococo chinoiserie not only as a prominent style of the decorative arts in general, but also as an important factor that influenced $18^{th}$ century fashions in dress. Two premises support the conclusion of this study. One is that the chinoiserie is truly a hybrid, a totally new style resulting from the mixture of various traditional elements from the East and the West, with little regard for the authentic nature of the original styles. The other is that the geographical scope for defining the chinoiserie influence in the Rococo fashion can be expanded beyond its lexical meaning; the style eventually encompassed visual cues from various Eastern cultures including China, India and Turkey. Regardless of the specific origins, the oriental influences for Rococo fashion can be categorized into two types. The first type is a complete appropriation of structural elements of Eastern clothing, such as pagoda hats, pagoda sleeves, turbans decorated with plumes or fur-trimmed open robes and then combining them with Western dress. These exotic and fancy dress ensembles were worn as masquerades, theatrical costumes or portraits. One extraordinary example is the banyan, a man's dressing gown, which also had a place in everyday life, not just as special costume. Although the banyan became more tailored as time passed, the traditional shape of this Eastern garment was accepted unaltered in the beginning of the $18^{th}$ century. The second type of influence shows in the use of eastern textiles, especially silks, which were made into women's dress. It did not matter to the fashionable lady if her dress was made of the silk produced in China or a European copy of the Chinese original, as long as it satisfied her taste. It is difficult to detect the signs of exotic style from a glance in this type of chinoiserie dresses since it was more ambiguous and conservative adaptation of the oriental influence in Rococo dress styles than the first type. In this study, various oriental influences appearing in $18^{th}$ century Rococo fashions can be defined as part of the chinoiserie style based upon the suggested premises. No matter what the origin of these oriental fashions was, this hybrid of the East and West made one of great impacts on the most frivolous and splendid period of western fashion history.

• Journal of the Korean Society of Costume
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• v.30
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• pp.85-99
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• 1996

This study has been made to examine the symbolic meaning of our traditional costume colours based on the theory of yin-yang Wu-hsing the interaction of yin and yang with the rotation of the five agents wood firt earth metal and waters. Presenting the spirt and the life of our race the costume culture has been keep-ing its own systematic symbol. Being sensible the colour has to be under-stood as the colour sense therefore the cos-tume colour has begun to have the symbolic meaning with the feeling or the mental value. According to the theory of yin-yang wu-hsing the costume colour has presented our racial sprit way of thinking and way of life for a long time and it has become the tra-ditional culture at last. Based on the doctrine of cosmic harmony through the motion of yin and yang or the passive and active elements are their five agents form the material force of everything. The order of nature has its counterpart in five symbolic costume colours wood-blue ; fire-red: earth-yellow; metal-white: water-black. The five colours are called the primary colours. which produce the next compound colours. Accepted in the social system as well as the social stats the costume colour has set up systematically. The theory of Yin-yang Wu-hsing has given the five colours the symbolic meanings and its mainstream has been the function of Sangsaeng and Sangeuk which are genera-ted by the power of virture. The former is mu-tually beneficial while the latter destructive. The colour as a costume colour has been made distinction between the colour of the up-per classes and the colour of the middle and lower classes and the specific colour has presented the symbolic meanings. The yeollow the red and the purple have been regarded as the colour of king queen and upper classes Being the colour recognition the costume colour has been established by the society and the race generally Implied the spiritual elements the colour recognition could select the lucky colour in accordance with one's des-tiny. Besides the colour recognition has begun to appear as the racial costumes to protect the society and to pray for good fortune. According to the theory of Yin-yang Wu-hsing the costume colour has been forming through our long history and has become our costume culture. Therefore the colour of the costume has signified not only the colour sense but also the important symbolic meanings.