• 복식
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• 제61권6호
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• pp.113-130
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• 2011

Post-Modern Multiculturalism is spreading in many ways and other cultural interest has led to the Latin American culture, which has steadily appeared as the main fashion concept of the international collection. Frida Kahlo(1907-1954), a representative of Latin American culture and a Mexican female surrealistic painter, who gives us some inspiration for contemporary fashion design. The purpose of this study is to have a correct understanding of and research on Latin American culture and to expand the expression of fashion design. In the process, this article examines the costume of Mexico belong to the Indio culture which had been regarded as the Other for a long time and understands Frida Kahlo's fashion style: Tehuanas costume and her masculine style. The Tehuanas costume is a traditional style of the city, Tehuantepec, located in the southeast of Mexico, which is characterized by colorful floral patterns and a long skirt. Three fashion concepts were derived from her fashion style: tradition & modern, love & farewell, and masculine & feminine. The scope of this study investigates the Haute Couture and the Pret-a-porter women's wear collections and photos from 1998 to 2010 in Europe, USA and South America. From classifying the collected photos into each concept, three styles such as ethnic, romantic and androgynous style were derived. These fashion styles were analyzed through the formative elements of dress, color, silhouette, pattern, material and clothing construction in order to figure out how costumes of other cultures influenced on contemporary fashion. As a design inspiration, Frida Kahlo extends her influence into innerwear, accessories and hairstyles, as well as women's wear. These inspirations emerge steadily from the past and far into the future as an expression of a fashion design concept.

• 복식
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• 제58권2호
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• pp.34-47
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• 2008

Recently, as popular interest in costumes in Korean films and TV dramas has increased, traditional dress in works has re-evaluated with modern perspective of the Western color system. The results of this study can be summarized as follows. First, the traditional dress for women appeared in works after the 2000s has shown features similar in the use of red has appeared high. The high frequency of brown and pink, orange and purple used main colors in Western works. Also, what is the most prominent is the high frequency of use of achromatic colors. Second, the color harmonies of the East and the West have been done through color arrangement. The structure with more than 2-colors has been gradually changing into single or 2-colors, which give simple images to people. Third, in order to portray characters' diverse and psychological situations, Korean works have expressed the symbolisms of colors from the Western perspective. Though red symbolizes theory of Yin-Yang and Five-Elements, passion and authority since 2000 have used red to make main images. Also, pink is used as softness and pure images. Though works before the 2000s showed low frequency of the brown. The achromatic color that it has been applied to various parts. Recently black has been developing into a color symbolizing themes. Given the results from this study, it could be expected in future that the categories of color domains will be gradually extended as it is a trend for the traditional dress to escape from primary colors. On the other hand, achromatic colors that minimal and modern sensibility as well as basic color in fashion, especially the black, will increasingly extend ranges of utility or show a tendency of resolute changes.

• 한국의류산업학회지
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• 제12권5호
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• pp.574-581
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• 2010

Trunks like men's underpants are similar to boxer shorts and are made in both modern and traditional styles. Like boxer shorts, trunks cover the mid-section of the body (hence the name "trunk"). As the income level of the nation increases, men as well as women become interested in fashion expressing the individual's character, by not regarding fashion as simply wearing essential items to live in. Men's interest in fashion influences men's underwear designs which has been thought previously just as to be worn for living in. Nowadays, trunks are often worn as lounge wear in the household, therefore the need for sensual and characteristic trunks designs is required in the fashion market to meet the customer's new needs. In modern fashion designs, Chinese letters have been artistically presented and used in decorative fashion design regardless of its original meaning, generally embroidered in traditional costumes. Based on the fact that Chinese letters containing lucky meanings have traditionally been used, other Chinese letters meaning positive and prospective future can be adapted and weaved into men's trunks designs. Therefore, in this study, among many good meaning Chinese letters; four Chinese letters, 高(high), 金(gold), 義(justice), 愛(love), have been selected and applied in the trunks designs. The purpose of this study is to develop men's trunk designs using these Chinese letters which can be massively produced and sold in Asian countries which commonly understand the meaning of the Chinese letters as well as in South Korea.

• 한국의류학회지
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• 제35권7호
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• pp.828-840
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• 2011

Fine art and clothes have been closely connected since art became part of civilization. However, there relationship was one-sided rather than exchanging the essence of each other. In the $20^{th}$ century, modern art began to change. Artists started intervening clothes in their work as conceptual tools. In the 1960s, Marcel Duchamp started to study 'what is fine art?' He tried to perform anti-aesthetic work that denies traditional types and contents of fine art by reconsidering a concept of fine art that started a new chapter of conceptual art in the late $20^{th}$ century. Conceptual art is about concepts and ideas of the work rather than aesthetic and material concerns for the challenges traditional ideas. Conceptual art asks audiences for more active reactions. For these reasons, semi logical ideas and clothes became very important to conceptual art. This study categorizes and analyzes various roles of clothes in conceptual art. Conceptual arts since 1960 were studied in this research and the works of clothes were intervened were analyzed. The types of using clothes in conceptual art can be divided into 'ready made,' 'intervention,' 'data type,' 'language,' and 'action and process.' The different types were mixed together rather than used alone. Conceptual artists tried to deliver the characteristics and attributions of modern society through clothes. They expressed criticism of political society, anti war movements, absence caused by death, new lives, violated femininity, changed meanings of marriage, and absence of individual rights under the social system in their work. Clothes played their roles as concepts of various things including violated femininity, illusions of politicians, autocracy, new lives, social systems, and regulations.

• 한국의류학회지
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• 제32권5호
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• pp.704-716
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• 2008

This study aims to explore the creation of fashion design that embraces the diversity of human culture by examining oriental images that appear in the modern fashion with a focus on new paradigms that significantly affect human life as the latest trends, and by reflecting the trends of the times. The results of this study are as follows: First, this study examined that with regard to paradigm, a theoretical frame to view universe, the dichotomous, determinist, mechanism, linear paradigm collapsed to convert to undetermined, exoteric, pluralistic, indeterministic, organic, and holistic paradigm. The new paradigm is identified to have emerged before and after 1950s, and through the new paradigm, the characteristics of postmodernism such as historicality, popularity, locality, folkways and the characteristics of deconstructionism, internally mutual text, post phenomenon, undeterminability and externally exposure, destruction, poverty, decomposition and analysis, were identified. Second, the Orient is defined as the generic term referring to the entire Asian areas east of Turkey. Through the developmental process of oriental images, it was converted from the Oriental image, which mysteriously and romantically represents oriental elements, into the ethnic image that represents long time oriental traditions and indigenous culture together with the characteristics of the new paradigm. Third, the artistic characteristics of the Oriental costumes presented by Korea, China and Japan are expressed in developmental types, T-type plane structure, layered style, asymmetrical adjustment and easy silhouette, and they show indigenous characteristics of each country, for example, Chinese styles in dragon pattern, red and yellow, Japanese styles in flower design and achromatic color. Fourth, the Oriental Image, combined with the postmodernism and deconstructionism through the new paradigm, has two: one Oriental image highlights traditional elements by creating new Oriental image such as natural image, folk image, hybrid image and deconstruction image; and another is undetermined and vague by combining or decomposing Oriental or Western elements. It is expected that fashion designs that reflect these contexts of the times will contribute to the strengthening of international competitiveness.

• 복식
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• 제60권9호
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• pp.120-135
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• 2010

Since emotion, creativity, and imagination has become the source of creating added value, the purpose of this study is to grasp the concept of high concept which has appeared as a major key word of modern culture and analyze the types of emotional expression found in modern fashion. Study methods were focused on literature review and case study. The literature review was conducted by news stories at home and abroad. The examples of case study were collected in fashion collection journals and related Internet web sites with their focus on from 2000 S/S to 2009 F/W to analyze emotional expression found in high concept-reflected fashion. The concept of 'high concept' suggested by Pink, Daniel H. lays on stress on ability to creative emotional value or cultural artistic value hidden behind the functional value, to make stories, and to combine ideas which do not seem to be connected with existing things. As a result of study, The forms of emotional expression found in high concept-reflected fashion included: art collaboration and art inspiration which were expressed through cross-category of culture and art; multi-culture design which expresses a mixture between western fashion and oriental costumes; funology design which expresses efficient value by high technology and fun value through humorous elements; and emotional digital design which can be transformed in function, shape and the use of materials representing light which is effectively used for fashion to represent fantasy or illusion connected with digital technology.

• 복식
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• 제65권5호
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• pp.51-61
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• 2015

This study examines the types and forms of underwear worn during the Joseon Dynasty period, and the purpose of this study is to apply the Joseon underwear design elements into designs of modern clothes, and make clothes that have practical use. In addition, it examines natural dyeing in the production of works, using a dye that contains tannin to increase color fastness. This study, first, looked into the types of female underwear during the late-Joseon Dynasty period through literature research and literature study. Second, the study chose artificial silk material (rayon), which was applied with dye containing tannin, and then with indigo (Jjok) and a different dye. Also, the study tested color fastness by washing the material, and rubbing fastness was tested if the material was either dyed with indigo. if it was dyed first with dye stuff containing tannin, and then with indigo dyeing color. Third, using the underwear types in the Joseon Dynasty period, the study developed and produced a dress, a skirt and pants that could be worn in modern life on a daily basis by applying Mujigi-chima (underwearskirt), Dan-sokgot (slip), Salchang-gojaengi (loosedrawers) and Sok-baji (bloomers) forms. Dresses applying underwear skirt using naturally-dyed artificial silk, dresses applying Salchang-gojaengi, dresses applying Dan-sokgot, skirt without a crotch designed in the form of pant swith an open crotch, and pant skirt with a crotch-applying pants with an open crotch were produced. In the future, hopefully, various studies of collaborations of Korean traditional clothing, and natural dyeing will continue to kee) the tradition alive.

• 복식
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• 제61권8호
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• pp.73-84
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• 2011

Upholstery style is the form which bulges a shape by putting fillings in the support and covering them with patterned textile or pile fabric. Modern upholstery style was combined with the various socio-cultural products and artistic styles and expressed in interior furniture and costumes of historical time periods. The style first originated when people built houses for settlement and made furniture to decorate its interior. The characteristics of upholstery style came to be prominent in the Renaissance, Baroque and Rococo times with the development of science and textile industry. The interior furniture represented the ages of the Renaissance, Baroque and Rococo and were made with similar images of the architectural style from those different time periods. Textiles, tapestry, velvet, corduroy, damask, brocade, and the most frequently used velvet are elements that make up the structural and figurative features of the architectural style. The upholstery style of furniture also shows the forms of clothing that represents each of the different periods. This style still continues to be used today. In modern day fashion, the figurative characteristics of the upholstery style that derives from interior furniture and clothing from the different time periods are bulkiness, asymmetry and exoticism. Such figurative characteristics have evolved through the combination of diverse genres but it still maintains similar designs and forms.

• 한국의상디자인학회지
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• 제16권2호
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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.

• 한국의류학회지
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• 제37권8호
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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.