• 복식
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• 제55권6호
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• pp.82-96
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• 2005

This study focuses on the bag design as a creative design resource rather than on typical bag design as shown in previous research. 1'he purpose of this study is to develop creative and harmonious upper garments in good combination of bags and the sides of clothing. This study was performed with female college students whose age are front 18 to 24. The results of this study are as follows. First, bags are ideal for creative fashion in respect that they reflect modern trend. Second, ornamental materials such as string, chain, and buckle, which used to be details of clothing, are useful to present the characteristics of bags more effectively. This result has shown that details of bags are important determinant of entire fashion details. Third, it expands the sphere of expression of the bag, so the possibility of expansion to a distinguished expression of fashion design is recognized. From the study, we understood the structural characteristics and changes of detail of bags, proposing that the bags take important part in fashion design developments.

• 복식문화연구
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• 제17권5호
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• pp.758-768
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• 2009

This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. This study aims to analyze contemporary women's sense of fashion aesthetic by looking into the design and trend of T-panties, which have now carved out a new niche in the world's 21st century female underwear markets. By this, I'd like to reassure readers of the importance of T-panties, which has only been recently recognized, and more generally suggests the future direction of prominent T-panty design development. The domestic formativeness of all styles is divided into three types: modern feminine, mono-bosom, and utopian narcissist image. This study is baseds on the documents study.

• 복식문화연구
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• 제14권5호
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• pp.755-765
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• 2006

This study is on the esthetic characteristics in the haute couture work of Chanel. It first reviews the lives and the fashion philosophy of Chanel, a senior designer and Lagerfeld as representatives of the maison, from the haute couture collection since 2000. The results of the study are the following. First, reinterpreting the tradition, Chanel reproduced historical dress items or silhouette with modern sense, or she created a new modern Chanel image through her original restructuring and dismantling. Second, Chanel expressed balanced beauty of compounded eclecticism by accord between simplicity and ornamentation, which meant her design showed impartial beauty with simple silhouette, decoration with colors, accessories, and ornaments. Third, Chanel did not divide the value between men and women, and instead expressed androgyny through dismantling each gender's characteristics by borrowing or mixing. As a result, she emphasized the female image or created a new style through expressing symbolic image embracing masculinity.

• 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.

• 복식문화연구
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• 제29권5호
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• pp.651-664
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• 2021

The purpose of this study is to first examine the relationship between appearance-enhancing beauty practices and feminism, and secondly, to analyze public images of contemporary women using this paradigm. Through the lens of this relationship, we present a literature review and empirical research focusing on the evolution of public image trends among girl groups, with special attention to the Refund Sisters, a South Korean supergroup currently drawing mainstream attention as female icons. The scope of analysis includes girl groups dating from the 1990's to the year 2020 and photos of the Refund Sisters. Our results indicate that firstly, free sexual expression is evident based on active use of sexuality; images contain bold demonstrations of females desire, expressions previously considered taboo. Secondly, we note deviations from more standardized female images, unique adornment of outward appearance, and rejection of normative female images through freer forms of self-presentation. Lastly, there is greater cultural and racial diversity, rejection of modern race and gender binaries, and increased representation of queer identities. However, the relationship between appearance-enhancing beauty practices and feminism is sometimes considered paradoxical, with some arguing that beautifying one's outward appearance is a compulsory strategy and that it should be rejected in order to resist aesthetic pressure.

• 한국의상디자인학회지
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• 제15권2호
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• pp.91-107
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• 2013

Aesthetic values reflecting the phases of the time are well represented in the clothing styles in paintings. Especially, modern German romantic artists' ideologies on the essence of nature and life are reflected in the figures of paintings. This paper aims at finding out how the sublime beauty of German romantic clothing styles is represented in the paintings of Caspar David Friedrich. The research is summarized as follows. First, the German romanticism led the modern romanticism and was especially enthusiastic about the sublime beauty of arts. Second, the sublime means the exaltation of passionately soaring souls and has the mysterious transcendence that unpleasant feeling is elevated to pleasant feeling inside men who are so feeble compared with vast nature. Third, the male and female clothing styles in his paintings represent the religious, contemplative, paradoxical, transcendental, liberating sublime beauties of the German romanticism. Accordingly, a study on the sublime beauty of the German romantic clothing styles will renew the interpretation and aesthetic values of early modern clothing.

• 복식
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• 제60권9호
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• pp.77-94
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• 2010

It was the era, from 1876 to 1910, that some dramatic changes, including an influx of foreign dyes and the beginning of the modern dyeing manufacture, happened in Korea. This paper explores what dyes were sold in the market in this period, who was the main seller of the goods, and how the dyers produced their products. A wide range of natural dye stuffs coexisted with the various kinds of aniline dyes, alizarin dye and synthetic indigo in the market. Coloring materials had been sold by hwapi-jeon, a group of official merchants who acquired a privilege of monopoly from the government. However, the dyes were also traded by sang-jeon and yakguk merchants in the nineteenth century. Most of the synthetic dyes sold in Korea were produced in Germany or in Japan later, and imported in large amount by Chinese, Japanese and German merchants. Yet there also existed Korean merchants and peddlers who sold the goods to the local consumers. Dyers were male and female who belonged to the middle class. They received the orders and payments from the government or merchants. Not only did they dye textiles, threads, cotton, paper and leather, but they also redyed clothes. Indigo dyers were differentiated from other dyers. Modern dyeing manufacture, which was presumably forced to keep pace with the productivity of the weaving process, appeared in the 1900s. It was a branch of the modern weaving manufacture.

• 복식
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• 제56권4호
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• pp.1-14
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• 2006

This paper is a perspectiveon the reformative costume expressed by Gustav Klimt who led the Secession Movement as a great master in Vienna. Klimt actively expressed a new costume style in his paintings, which influenced heavily on the modern costume design. This paper may contribute to reestablish the constructive direction for the 21st century fashion design based on Klimt's pursuing holistic art concept. The reformative costume in Klimt's paintings has two characteristics; ornamentism, eroticism, and reformativeness. Ornamentism is expressed with fantastic colors, various motives, exotic features, simple style clothes, and so on. Klimt used independent ornaments to express carnal desires metaphorically, which set ornaments free to lead spectators to the dreamy or elusive state and even have spectators indulged in ecstasy. As the Secession Movement focused on reforming all areas of life artistically, the costumes of Klimt's paintings symbolically express the reformativeness; he portrayed the woman in the early 20th century and sought to reform its contemporary value as a visual sensuality. Klimt tried to disrupt from the former era by over-emphasizing eroticism. The erotic expression with the colors and the style of ornaments substitute naturally for suggestive eroticism of the feminine body. With has creativity, Klimt has spectators extract the various senses from the female image in his paintings. Klimt's creative spirit on the holistic art concept could be helpful to develop a unique design as a catalyst foreseeing over the present.

• 복식
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• 제60권1호
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• pp.91-100
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• 2010

In the rapid development of science, technology, information, cultural industry during the 21st century, hybridity is consistently shown in which different techniques, systems, and sorts in society, industry, culture, and art are combined. The purpose of this study is to analyze the formative characteristics of hybrid make-up that is shown in the field of make-up as a practical art reflecting society and culture of a specific period, to understand the tendencies of modern make-up, and to present data for predicting changes in the future. According to the results of this study, the hybrid characteristics of make-up indicate as follows. First, hybrid make-up at a timely aspect in which senses transcending times by mixed expression of traditional classicism and modernism coexist and mingled, Characteristics of hybrid make-up at a local aspect are shown in one make-up by expressing modern tendencies that break from homogeneity, uniformity, and concentration as interests in other cultures and borrowing them in modern images. Also in modern period, characteristics of hybrid make-up at a cultural aspect are shown by mixed expression of conflicting cultural factors such as modern beauty of cutting-edge technology, female & male, and elegance & activeness in one makeup. Within the multiplex, modern social system in this period of cutting-edge technology, "tendency of hybrid design" as a social, cultural phenomenon is shown to be a complex, new designing tendency due to mixture and deconstruction of various genres. Hybrid make-up, seeking diversification and open-mindedness, is predicted to be consistently developed owing to infinite materials of design, being expected to be stronger and newer in the future.

• 복식
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• 제63권4호
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• pp.84-100
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• 2013

Ancient Greece was a patriarchal society that distinguished gender roles between men and women. Although their costumes were composed of simple rectangular fabric without any technical complications in itself, the Greeks did try to express gender differences in their clothing. The final look of the Greek costume was dependent on the way the cloth draped onto its wearer as well as the wearer's identity. Greeks costume could just be seen as a rectangular fabric when it was not draped on a person's body. The purpose of this study is to examine how the gender differences were expressed in the ancient Greek drapery costume, which was made by using a completely different technical process, compared with the modern tailored costume. There are four elements of the costume that give the costume its formative shape, which are the wearer's body, the rectangular fabric (material as the first formative costume), the way the fabric is draped, and the final appearance as the second formative costume (the relationship between the wearer's body and the costume) and this study analyzes these elements individually. It is intended to analyze the gender characteristics and how each element appears in a different way from the perspective of Structuralism, an analytical method that considers a phenomenon as a total sum of the elements. Literature research was conducted and representative sculpture, painting and pottery, were used between the Archaic Period (B.C. 800~500) and the Classical Period (B.C. 500~323). The results show that the gender differences appear in each formative element of costume: First, the body was distinguished by the ancient Greek custom. The man's nudity was accepted while the woman's body was concealed. Second, in regards to the first formative costume, which was the rectangular fabric, men's were made with thick high quality wool because their involvement in outdoor activities meant that they needed clothes to stay warm, while the women wore clothes made of thin wool or hemp cloth, because their most of their activities were at home. Third, the way to drape the fabric shows the gender differences by changing the length of the clothing and its design ; men's short khiton was practical for big movement and at the same time the clothing exposed the man's body. The woman's doric khiton diversified its decoration by the size of the apotigma and by using the belt. Finally the second formative costume reflected the Greeks' social distinction between a man's body and a woman's body. The man's costume naturally exposed the man's body. On the other hand, the woman's long costume has a variety of shapes on the ground, that concealed her lower body, while the ornamental function was more accentuated than the man's costume. The gender differences expressed in Greek costume fundamentally reflected the point of view of the male and female body and their social roles in society.