• Journal of the Korean Home Economics Association
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• v.35 no.1
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• pp.401-414
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• 1997

This study examined the transition of costume in middle and high school girls after the abolition of school-uniform. Fashion photographs of $\ulcorner$Junior$\lrcorner$a Korean magazine for girls were used for the investigation. Skirts used mainly were changed in order of pleat tight flare and tight skirt And skirt length was changed in order of knee midi knee and mini. Slim baggy and straight pants together showed high frequency but after 1992 straight pants were used mainly. And pants of ankle length was prevalent. In jacket Hip line natural waist and H-line silhouette dominated. Silhouette of one-piece dress was changed in order or X line H line and A line. Semi fit and natural waist were prevalent. And length was changed in order of midi knee and mini. The coat of H line Loose semi fit and Knee length was the most frequently appeared style. Waist line of coat was changed in order of natural low no natural waist. In skirt blue white black and black were mainly in spring summer fall and winter respectively. In pants blue was used mainly regardless of the season, In jacket blue in spring and black in other seasons were used. In one-piece derss blue in spring red in summer black in fall and winter were used mainly. Black coat was used mainly. Therefore blue was the most frequently used color by middle and high school girls.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.1-8
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• 2002

This article is to study the ancient Korean make-up based on ancient men's and women's facial decoration. The adornment is mainly about make-up, but I didn't employ make-up in this article on the ground that it isn't an appropriate concept in men's case. The study on the ancient Korean make-up has been conducted on the basis of Goguryeo mural paintings excavated in the tombs. Contrary to the Baekje and the Silla Kingdoms, Goguryeo women's make-up carne to fashion like China. The Goguryeo mural paintings depicted women's make-up which painted their faces white and lined on the eyebrows to make them raise toward their foreheads after removing their own eyebrows. They outlined their mouths smaller than their own and, in some occasions, applied make-up differently on the upper lip and the lower lip. As the time passed by, women applied the blusher, which attests to the fact that make-up of those days was considerably developed. Unlike women, men didn't put on cosmetics but they grew beard as a symbol of adults. The beard had a diversity in shape such as goat-shaped and fan-shaped beards. It can be understood that women's make-up was applied as a manifestation of adults like men's growing beards.

• Journal of the Korea Fashion and Costume Design Association
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• v.13 no.4
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• pp.93-110
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• 2011

This study investigates the analysis on the acceptance of Foreign Fashion trends in Korean Fashion Collection by collections, years, season, and designers. The purpose of this study is Korean collection's degree to adopt and receive foreign collections, by comparative analysis of design features between Seoul and foreign collections. For such purpose, from 2006 S/S to 2011 F/W, 5185 pictures were collected from designer's photos of Seoul, Paris, Milan, NY, and London collections. The content analysis and statistical analysis using SPSS will be conducted for data analysis. The results of the research are as follows. First, regarding the design features, square-form silhouette, achromatic colors, and none pattern were presented as well. Second, there were significant differences in the design characteristics of each year. Particularly, in 2008, X-form silhouette, Yellow and Green color, and flower pattern were emphasized. Third, the design features by season were significant differences. In S/S season, square-form and X-form silhouette, achromatic colors of white and gray color, none pattern were evident while in F/W season, square-form Silhouette, achromatic colors of black and gray, and none pattern were emphasized. Fourth, the design features by designer are as follows. In terms of form, Seoul collection was influenced by Paris collection. In terms of colors, it was influenced by NY and London collections.

• Journal of the Korean Society of Costume
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• v.62 no.5
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• pp.16-30
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• 2012

This study examines the types and features of formal ritual hats for Tibetan Buddhist priests. Findings of the study are as follows. The types of formal hats that Tibetan Buddhist priests wear during religious rites or rituals include: u rgyan pad zhwa, pan zhwa, tshogs zhwa, rigs inga, zhwa nag, zhwa dmar and dwags zhwa. The reason why such formal ritual hats as listed above were developed is because the region had an alpine climate, and also because they were the symbolism of Buddhism, the most reverent priest, and reincarnated Buddha thoughts. They were an essential part of the culture of dressing Buddhist statues and offering utensils. Formal ritual hats' shapes originate from lotus. They are colored in red, yellow, indigo, green, white or black, that reflect the nationality and aesthetics of Tibetans. They are mainly made of woolen or silk fabrics. They are usually decorated with gold, git bronze or jewels and the patterns of the sun and the moon, vajra or clouds.

• The Research Journal of the Costume Culture
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• v.19 no.6
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• pp.1334-1346
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• 2011

This study focused on the beoseon, traditional Korean socks that are a fashion item showcasing the beauty of the round hanbok shape. The study utilized the beoseon as an influential design motif and suggested 24 cultural fashion items to which the beoseon can be applied, including neckties, scarves, and T-shirts. For the purposes of this study, Adobe Illustrator CS3 and Adobe Photoshop CS3 were used for the motif design as well as the literature review on traditional beoseon socks. For the basic design motif, two basic forms were taken from the collection of the National Folk Museum of Korea. The key point of the motif development is that it maintains the basic shape of the beoseon but highlights the attractiveness of the Korean image by using repetition, rotation, symmetry and overlap into a new image pattern so that modern and chic images were taken into consideration for each cultural product. For the necktie, the mixed or repeated patterns for each motif were used as is. Alternatively, an oblique line pattern was adopted to express a stable and stylish image. For the T-shirt, a round-neck sleeveless type was designed. T-shirts were unified in the white color to highlight the image from the pattern. For the scarf, two shapes were displayed, square and rectangle. Through mixture of two repeated variation unit patterns for each motif, a splendid and stylish image was revealed along with various layouts.

• Journal of the Korean Society of Costume
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• v.50 no.7
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• pp.33-46
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• 2000

Uniform is the dress of distinctive design or fashion worn by members of a particular group or serving as a means of identification. The postman's uniform of Ministry of Communication should be distinctive or characteristic clothing to provide high functionality and symbolization of job characteristics, cost effectiveness and esthetic. In order to design the postman's new uniform available in 2000, there has been a satisfaction survey to 1,116 postmen. A thorough analysis of survey and informal and face-to-face discussion with postmen give the direction of design concept. One of the most important things in the design concept is to make the uniform high quality & refinement. The style is a refined jumper suit in consideration of form stability, wearing satisfaction, convenience in activity. The basic colors selected are navy and medium gray. The colors of jumper are MOC red ; C.I color Green : a representative color of youth, white : a symbolic color of bright future. All three colors are plaid on a basic nary color. In the selection of the textile, synthetic fiber (Polyester 65%, rayon 35%) equipped with UV cutting as well as water resistance etc. was recommended. In the uniform design process, the effective communication with user (postman) is critical to find the requirements and needs of uniform user (postman). Also. the uniform designer should reflect the above four key factors in design development. Therefore, the uniform should provide the user with high job performance and job pride in wearing the uniform.

• Journal of the Korea Fashion and Costume Design Association
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• v.14 no.3
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• pp.135-146
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• 2012

This study aims to analyze the preference of jacket design, practical factors regarding jacket-wearing and purchasing behavior for korean baby- boom generation women. The results are as follows: 1. According to the outfit preference survey, the silhouette most preferred by female baby boomers is the "X-line Silhouette", "hip length", "slightly fitted and well fitted". The preferred jacket colors for different seasons were grey and beige for spring, white and light yellow for summer, khaki and brown for fall and black and dark grey for winter. 2. According to the survey on factors to consider when purchasing jackets, 52% indicated that they "almost never" or "occasionally" had their jackets repaired after purchasing them. When purchasing jackets, the highest expected effect of looking younger by wearing a jacket was "looking 4-5 years younger". 3. According to the survey on price demands, the average purchase price for jackets was 160,000~200,000 won (27.80%) followed by 210,000~350,000 won (25.64%) and a significant difference existed based on the purchasers' economic activities.

• Journal of the Korean Society of Costume
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• v.50
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• pp.97-118
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• 2000

The purposes of the present research were (1) to investigate the sociological factors influencing the increase of ambivalence and the relationship between, the ambivalence and fashion change(2) to categorize sets of the ambivalence expressed for contemporary fashion and (3) to examine the frequency and the patterns of ambivalence presented for contemporary fashion. This research was conducted through in depth literature review and content analysis. Data was collected from 806 colored pictures presented on 'Collections' from 1972 to 1988. Eight types of clothing cues were incluede: look color texture decorative motifs of clothing collar sleeve and wearer's headdress/hair style and make-up. The results of this study were as follows: 1 The popularization of culture has been accelerated by mass production mass consumption and mass media. Since the 1980s postmodernism and poststructuralism have resulted in the breakdown of dualistic distinction. As the ambiguity of meaning in appearance increases the meaning is negotiated constantly for identity. 2. The most frequenctly expressed ambivalence in clothing was feminity/masculinity and tradition/modernity and wealth/poverty was the least. The number of ambivalent expression were the highest during 1990s. The rapid growth in ambivalence of tradition/modernity was found in 1970s feminity/masculinity in 1980s and modesty/immodesty in 1990s. Within a clothing style ambivalence was manifested through feminine look in white for beauty/ugliness feminine look mainly in yellow/red for wealty/poverty sexy look dominantly in black for modesty/immodesty androgynous look in black for feminity/masculinity and through ecology look most frequently in black for tradition/modernity.

• Journal of the Korea Fashion and Costume Design Association
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• v.9 no.2
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• pp.139-154
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• 2007

Wellbeing means the new life style leading a rich and nice life in which body and spirit is combined organically, and influence of wellbeing culture extends throughout the society. The purpose of this study is to analyze the aesthetic characteristics of Korean wellbeing fashion. Fashion photographs from leading monthly fashion magazines from 2001 to 2005 were analyzed. The styles and materials and colors were examined from 1,151 wellbeing fashion designs that is based on wellbeing culture. The major conclusions of the study are as follows : 1. The styles of wellbeing fashion in Korea include sportive, ecology, ethnic, retro styles in order. 2. Wellbeing fashion in Korea increased double in 2005 compared to 2001. Not least, sportive style and ethnic style rapidly increased. 3. Materials of wellbeing fashion in Korea include cottons, wools, chemical fibers, silks, jutes, functional fibers in order. Particularly the use of cottons in 2005 increased three times compared to 2001. 4. Of wellbeing fashion colors, yellow in bright tone were present the most, followed by white, red, black, green, blue, grey in order. Natural colors, vivid colors, pastel tone colors were used.

• Journal of the Korean Society of Costume
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• v.55 no.8 s.99
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• pp.73-84
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• 2005

Collections in the buddhist statue owned by Dr. Jong-Hm Baik(白宗欽) included 3 ancient documents and 2 wooden cylinders that showed a clear historical order. The temple and buddhist statue that these objects were belonged to were not known, however, according to the document, it could be inferred as Chunsukwaneumsang(천수관음상) created in 1322 and reformed in 1614 from the list of donator for the statue. Inside a wooden cylinder, a bundle of ivory, yellow, green, orange, and dark brown fabrics that were folded up and tided up with 5 different colored thread strands and aromatic trees and rice plant was placed on the bottom. All the fabrics were silk. Three thread strands were silk. The white and blue strands were cotton fibers as a result of analysis of IR spectrum and the microscope. According to a radioactive carbon isotope dating by accelerator mass spectroscopy, years before present was 160$\pm$40, and cablibrated ages were 1680-1890 (79.3$\%$), 1910-1960(16.1$\%$) in 95.4$\%$ probability. Accordingly, the fabrics in the buddhist statue proved to be reformed in 1614 not the original ones in 1322.