• Journal of the Korean Society of Clothing and Textiles
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• v.23 no.8
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• pp.1206-1217
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• 1999

This study is focused on 'mysticism' in fashion which is recently marked as one of the cultural phenomenon emerging at the end of the century, First of all the concept of 'mysticism' and 'occultism' are reviewed to define the mysticism in fashion. Mysticism as a cultural phenomenon is also examined in historical and social context. With these theoretical basis articles which were publshed in 1990s from Korean newspapers and magazines which reported cultural phenomenon related to mysticism are analyzed and categorized. Finally these categories are applied to fashion phenomenon and 'mysticimsm in fashion' is analyzed and clearly examined as a fashion trend. As a result mysticism in fashion that has arose as an end of the century phenomenon within the historical and social context could be categorized into five groups such as 'primitive religion' ' Christianity ' 'oriental philosophy' 'universe' and 'magic and witchcraft'.

• Journal of the Korean Society of Clothing and Textiles
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• v.22 no.1
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• pp.49-60
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• 1998

This study found through that Fortuny's art world with design aesthetics was devided into historicism, purism, exoticism and mysticism of color. \circled1 Fortuny's aesthetic observation dazzled at that time and he apply well-grounded opinion in historicism of his all creation and then accomplish on the whole mysticism of art and technique dwelled creativity, \circled2 Fortuny's Delphos gown realized new creation of beauty intact by that the simplicity and contingency was inquired into the art at that time. He revived that aesthetic was included in the drapery of ancient Greece, so indirectly express outline of the human body and realized pure image used a natural curved line of the human body. \circled3 Fortuny's creations included a exotic special quality. His clothes expected so many characteristics of 20C fashion and exotic, visionary fashion revolution in addition influenced on stage costume. ㉧ Fortune created new color specially "Tempera" and expressed mysticism of color that found a harmonious color character and texture through the ancient techniques included experimental mind of a multilateral try.teral try.

• Korean Journal of Human Ecology
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• v.2 no.1
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• pp.114-128
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• 1999

In a turn a century, the skepticism, mysticism and eroticism used to prevail, the people becoming anxious, expectative and doubtful about an oncoming age. The costumes tend to become more exciting and erotic in the fashion. This thesis is on understanding “What would 21 century's clothes be\ulcorner” after analyzing the specific points in an end of the century. The characteristics found from 16th century to 20th century are going to the extremes in the shapes, consistent appearance of bustle style costumes and excessive ornaments which are closely interrelated with one another. I expect the fashion in 21st century would be changed in two ways. Firstly, going to the extremes and stressing on the buttock would be going down in the end of 1999. Secondly, the comfortable clothes highest in function and technology, and also friendly to the environment, might be the main stream, rather then outwardly good looking clothes, because spirit and environment is much more emphasized than the mode by the social impact or pressure in the next era. (Korean J Human Ecology 2(1) : 114~128, 1999)

• Journal of Fashion Business
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• v.5 no.4
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• pp.56-72
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• 2001

The purpose of this study is to provide a philosophical basis for a rational, meaningful and systematic development of contemporary Korean fashion and culture industry. The study will begin by comparing traditional aesthetics of Japan and Korea and their respective influences in contemporary fashion design. Japanese aesthetic consciousness can be understood in terms of decorative beauty and undecorated beauty where traditional Korean aesthetic consciousness consists of aesthetic naturalism, beauty of mysticism and beauty of humor. Japanese aesthetic consciousness is generally inclined toward article fanciness, on the other hand, Korean aesthetic consciousness is inclined toward natural beauty. Both Japan and Korea reflect their traditional aesthetic consciousness in their contemporary fashion design. In Japan's case, traditional patterns have been applied to obi(帶, おび). And aesthetic naturalism can be seen in holes, tears and patches present, as well as rough and coarse texture used, in contemporary fashion design. In case of Korea, aesthetic naturalism can be seen in elegant naturally flowing curves and use of plain colored fabric used in fashion design. Beauty of mysticism can be seen in splendid primary colors from shaman ritual costumes, and fortune-telling hexagram patterns. Beauty of humor can be seen in outrageously exaggerated and distorted fit of clothes. The above comparative analysis, with respect to their formative elements, show that both Korean and Japanese contemporary fashion trends reflect and embody their respective traditional aesthetic consciousness. Japan is creating high-grade fashion design of temporal universality and contemporary appeal. Japan has done so by studying their aesthetic tradition from the point of view of philosophy and utilizing its formative elements. Korea, however, is in the middle of transition: Korea is caught between directly grafting traditional aesthetic designs onto contemporary fashion design and integrating the two according to their common internal spirit.

• The Research Journal of the Costume Culture
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• v.15 no.2 s.67
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• pp.221-231
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• 2007

In the modern society of the 21st century where the visuality is emphasized, the illustration which expresses one symbol by embodying it is getting more spotlight than the use of character. Specifically, the fashion illustration serves the role of image promotion in other fields, for such as book, magazine, etc, as well as the fashion, and is taking root in daily lives. In response to that, this study researched on the fusion style fashion and the fashion illustration by using the violet color. The violet color which symbolizes the mysticism is being applied to society and culture in various forms, and has been considered as a precious color that represents god since ancient time, and still possesses its mysterious image even in the modern times. Moreover, as the appearance of fusion styled clothes which consolidates the latest trend image of the west and east is combined with the mysterious image of the purple to express new cultural image beyond highlighting specific image element of a country, the study on the fashion illustration based on the clothes based on the purple and fusion style would be very interesting. This study tried to produce the work that aims at the practical study based on the purple & fusion style and the theoretical consideration of fashion illustration through the analysis and investigative study of preceding studies. The findings from the study is like this: First, the violet the color, which represents the mysticism, can be confirmed to be an sophisticated, elegant and attractive image color that leads the modern fashion. Second, the fusion style which is coming into the spotlight recently can be found to have a great visual effect of consolidating the image of the west and east through the mixture with the purple color. Third, it was confirmed in our production of works that the fashion illustration was expressing a mysterious and new fusion style by blending appropriately with the purple color.

• Journal of Fashion Business
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• v.6 no.5
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• pp.48-58
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• 2002

The purpose of this study is to analyze four separate elements-sublime beauty, elegant beauty, mysticism, ornament-which appeared in materials, patterns, colors, silhouettes, details, and accessories, laying stress on luxurious, brilliant, mysterious feelings on Gorgeous Images appeared as trend theme of modern fashion by mixing religious mysticism of the Byzantine Empire. Mysticism element is using the effect of splendid and gorgeous colors from the Orient rather than forms. And a philosophy of abundant colors in mosaics, which are seen in art forms such as architecture, paintings, etc., shows that it creates some visual rooms for religious spirits. Influenced by the fashion of the Greco-Roman style, the elegant beauty element is expressing abundant comfort and elegant feminine lines that are from creases, and it is also emphasizing natural beauty which seems to slip down by displaying the splendid images of Gorgeous as drapes that fit a body. Ornament element was reflecting an inspiration from the splendid and brilliant culture of religion in the Byzantine Age. Therefore, it was appeared as a style filling the whole with bulky silks, splendid ornamental materials embroidered in gold or silver thread, the complicated geometric patterns that are two-dimensional and dignified, and so on. It was decorated with crosses which represent Christianity as a motif, and also it emphasized the splendor of the Byzantine and dazzling splendid images of Gorgeous by using accessaries decorated with various jewels. The elements of sublime beauty are showing the beauty adding humble and majestic images to it as designs sought by spiritual values or intrinsic values. Those designs, so to speak, have pretense which does not allow to expose a body and plain pure feeling, so that they are showing some abstinent styles in a solemn atmosphere, with most details removed. We can say the Fashion Theme appearing in Modern Times is the result from representing by combining various factors of the times with formative beauty through creative works for aesthetic expression. The moderners are requiring new designs which is possible to meet their individualities, in addition to their outstanding fashion senses. From this point of view, a variety of textiles, patterns, and colors in the Byzantine have a great meaning to fulfill people's various desires as interesting elements.

• Journal of the Korean Society of Clothing and Textiles
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• v.21 no.8
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• pp.1353-1364
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• 1997

The purpose of this study is to present a theoretical framework for analysis and interpretation of medieval look in fashion by investigating its aesthetic values. Accordingly, it would provide a better understanding of the medieval culture with its composite aspects. Modernism sought to make the Middle Ages in its own image.'New Medievalism' has on the whole tried to avoid reading the Middle Ages onto the modern world. Instead it designates a predisposition about the discipline of medieval studies broadly conceived. Consequently, it has changed the viewpoint of medieval culture from the one-sided angle into the diversified one. As recent studies based on New Medievalism have argued, a close look at the medieval culture revealed the dualistic nature of it, with contradictory aspects such as piety and secularity, ideality and formality coexisting. The characteristics of the medieval culture are categorized to asceticism, naturalism, mysticism and secularism. Asceticism, which is responsible for the melancholic and heavy atmosphere of the medieval culture, is related to christianity and despair of life. It is expressed in medieval dress in forms of body-concealing semi-fitted silhouette, coarse texture and dark color. As a reaction to the extreme splendor and exposure of recent fashion, the ascetic medieval look is attracting attention. The monastic look is characterized by body-concealing silhouettes and minimalized usage of colors and details. Naturalism is the feature seeking for purity of the nature and the human itself. It appears in terms of line as a smooth curve flowing along the body contours, or as a revival style of the Greco-Roman drapery in the medieval dress. Naturalism in the medieval look of the late 20th century fashion is expressed as a pure image with the use of sheer and soft fabric to form a smooth curve flowing along the body contours. Mysticism symbolizes the authority of the Christ and the glory of heaven. It is presented in the medieval dress of the body-concealing straight silhouette made of gorgeous fabrics, brilliant colors and decorations by gems and gold. The insecurity caused by the fin-de-siecle mood is creating a strong interest in religion and it is reflected in fashion as a medieval look reviving the solemn and magnificent style of the medieval dress. Secularism is a reflection of the medieval mind of indulging in the beauty of the mundane world. Heraldry and excessive decorations of the medieval dress are forms of this secularism. These styles of gorgeousness are being refined into a new medieval look of the 1990's. The medieval look of the modern fashion is featured in various styles, reflecting the pluralism of the postmodern society.

• Journal of the Korean Society of Costume
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• v.53 no.7
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• pp.125-137
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• 2003

This study is to explore the Post-modern fashion image appeared in the costumes of the movie $\ulcorner$Matrix2-Reloaded$\lrcorner$, which is believed to adapt successfully the Postmodernism ideas on screen. From this study, we can find that the movie costumes express certain formative characteristics considerably affected by the contemporary fashion trends such as Minimalism, Formalism, Futurism, Ethno-eclecticism, Asexualism. These are mostly common tendencies aroused in the complex and pluralistic circumstances of Postmodernism where many diverse values are equally regarded. Finally, the 5 trends lead to represent the following symbolic meanings with entanglement in multiplex ways, that is Virtual Reality, Mechanic Artificiality, Human Dignity, Mysticism, Multi-Culturism, and Nonsexuality to create a strong unified imagery and style in that Post-modern movie.

• The Research Journal of the Costume Culture
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• v.9 no.2
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• pp.277-294
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• 2001

The purpose of this study is to examine characteristics of symbolism as an important trend of the end of centuries, by comparing the symbolic characteristics from two periods, modern(1880∼1910s) and comtemporary(1990s), based on the typical characteristics of symbolic art by Robert R. Delevoy. Af for the study method, the contents analysis is adopted to present an objective data analysis and interpretation accompanied by theoretical approach through literature survey. Delevoy classifies symbolism into three categories such as mysticism, eroticism, and decorativeness. This study is developed based on the Delevoy's three categories. symbolistic costume reflecting systems of the society and the phases of the times, became to contain all aspects of functional, symbolic, and practical. Especially, the costume I contemporary era adopted a new approach, philosophical factors controling human's sensibility, and a sincere and analytical attitude on progress of technology. This study provide the fact that costume is a part to create aesthetic of self-expression as a field of formative art. Contemporary costume allows vital power for daily life of human by pursuing new aesthetic value, and it expresses inner world of human and moves on future-oriented to regain humanity. The symbolistic characteristics will continue to influence varous aspects of our society and play a main role in shaping the purpose of fashion design in the 21st century.

• The Research Journal of the Costume Culture
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• v.19 no.6
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• pp.1302-1319
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• 2011

The purpose of this study is to investigate the means by which designers communicate their philosophies and messages through fashion exhibitions, which are one of the communication methods that use visual images, by focusing on the aesthetics of fashion exhibition design. For this study, previous studies related to design exhibitions were analyzed, in addition to the related theoretical background, by examining the existing literature and conducting an illustrative study on fashion exhibitions. Our illustrative study focused on the aesthetic meanings of exhibitions held by the fashion brand Maison Martin Margiela over the past 10 years. According to our analyses, the fashion philosophy of fashion designer Martin Margiela's was reflected by Maison Martin Margiela in the exhibition design. After studying the features of Maison Martin Margiela's exhibition design, the inner values of deconstructivism and mysticism and appearance techniques of trompe-l'oeil, white spirit and assemblage were observed. This study aims to supply basic data for an active research on consilience and communication conducted in fashion communication field through a fashion exhibition designed to be seen as a work, an objet of the exhibition. In-depth studies on the cultural and aesthetical aspects of fashion exhibitions should be carried out, not only based on the sense of sight but also the senses of touch and hearing. Next, theories should be established on fashion scenography, to consider the use of the space design of fashion shows, presentations and advertising and movies to communicate fashion.