• Journal of the Korean Society of Costume
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• v.30
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• pp.295-306
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• 1996

A large quantity of exhumed clothing found for recent 20 years has becom-e the material for making a concrete clarification of the structure of clothing in the Chosun dynasty. Exhumed clothing means the clothing found in the coffin when the grave of the ancestor buried several hundred several hundred years ago is removed to another pla-ce and it is almost comprised of ordinary clothes of the grave-owner not mourning clothes as well as clothing and ornaments in the period between the 15th cen-tury and th 19th century. This research is intended to inquire into the kind of chimas in the 16th century before the Imjin Japancese Invasion of Korea during 1592-1598. The after effect of the Imjin Japanese In-vasion was generally reflected in clothing them and the structure of clothing in the Chosun dynasty began to overshadew its di-chotomy with the Imjin Japanese I vasion of Korea as the point. Accordingly this research is concerned with the study of the chima system of the early Chosun dynasty which shows that there is a common point of the identical form though clothing was exhumed in different graves. Therefore it was possible to grasp women's clothing that was fashionable at that time The object for research is the women in the upper class of the 16th century whose representative characteristics are depicted as follows: 1. Women in the upper class wore the splendid clothing similar to the ordinary clothing of court ladies. 2. The division of ordinary chima and ceremonial chima appeared in the concrete. 3. Ceremonial chima had its extra width and length and exhibited its exaggerated silhouette. in particular it had a various forms of over-pleats made at its center front which play a role in supplementing discomfort in walking. This associate bustle and crinolin styles through which the modern design of clothing can be glimpsed. 4. The opposite phenomenon was shown that has been perceived up to now such as folding at the right plain seam the treatment of the edge-and the like. 5. The elaboration of manual needlework shows the culmination of women's workmanship.

• Journal of the Korean Society of Costume
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• v.30
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• pp.275-294
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• 1996

In fashion there was a move away from the ascetic of the Gothic according to the appear-ance of a new spirit at the beginning of the fourteenth centuries initially in Italy. The new spirit Humanism applied their interest not to the universal but to the individual and particular. The Renaissace costume style based on the Humanism was sharp angled and curvy and had a grotesque silhouette with the exaggerated and tense decorations. The purpose of this study is researching the background led to the balanced costume style characterized by unique details. out of the tastte for luxury and beauty grew a new style known as slashing in which seams were left open and colored linigs thrust through or cuts were made in an entire cos-tume and contrasting material puffed out of the cuts. With the slashes another element was characterized in the high Renaissance cos-tume style that was the use of points or lace to hold a costume together. For the masculint costumes pads became into a fashion and were used for forming the antinatural artificial and bulky silhouettes. The body was distorted and tensed by putting the pads into the sleeves and bodice. The jacket with a full rounded bodice like a bow known as peascod belly and haut de chausses a onion-shaped trunk hose with a codipiece ap-peared and grew one of the most characteristic of Renaissance style. According to these sociological changes the view of the beauty based on the human body and in both of men and women the costume style was changed very much to emphasixed their physical beauty and finally it grew a grotesque style and even more a exposed style that exposed a part of their body. Those backgrounds as were stated above can be said to lead to the appearance of the grotesque style in the Renaissance Age.

• Journal of the Korean Society of Costume
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• v.30
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• pp.211-225
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• 1996

In this paper we discuss the corelation be-tween feminism and fashion and examine its influnce on mordern fashion. And we also try to infer what the fashion design will be like in the future by understanding the value of modern fashion from a new viewpoint. The Early Feminism which advocated the similarity between man and women held the thought that women could be equal to men only when they behaved in the same way as men did, In 1970s when the pendulum of the Early Feminism movement reached its highest point a manish look began to flourish. The manish look introduced the items once employed only for men such as trench costs tidy tailored suits shirts and ties to women clothes. It has taken root deeply in women's life and is still employed in various ways by many designers. From the late 1970s the pendulum of feminism movement began to swing toward the Essentialist Feminism which emphasized the differences between men and women. It focused not on the negative image of women seen from male-oriented viewpoints but on their positive image and stressed women's sexual characteristic to make distinction between two genders. in fashion the Essentialist Feminism played a role in bringing about a sexy look which stressed the erotic silhouette of woman's body. The latest feminism is the socio-cultural one. It sees the distinction between men and women as sexual discrimination and introduces the androgynous human which carries the characteristic of two sexes. it leads to ambiguity of sex roles and at the same time serves to make androgynous social atmosphere by admitting the coexistence of two genders. The androgynous idea in fashion is expressed as a new trend which crosses men and women's own beauty while keeping their own identity intact. As we have briefly reviewed feminism in fashion has been presented in various ways with regard to expressing the nature of men and women. And it has continuously indicated the ultimate message of the salvation of mankind such as the respect for humanity and recovery of humanism.

• Journal of the Korean Home Economics Association
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• v.41 no.9
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• pp.17-29
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• 2003

The objective of this study is to investigate the fit preference tendency for ready-to-wears(jackets, skirts, and slacks) of adult women and to find out the respective differences by the age range and the obesity level. The study method was the questionnaire survey with the subjects of 699 women of 20 up to 59 years of age. The questionnaire is composed of fit preference tendency, physical measurements, age, and occupation. For the data analysis, SPSS 90. program was used, and descriptive statistics, Crosstabs, ANOVA, Duncan's test, and t-test were conducted. The findings are as follows. 1. Regarding the fit preferred for each part of jackets, skirts, and slacks, among ready-to-wears, the 'thing with some extra width' in every part was most favored, followed by the 'thing fitting perfectly'. 2. The differences were found in the fit preference tendency by the age of adult women. The fit preference tendency was higher among those in their 20's than among those of the other age range, and those in their 30's and 40's preferred the clothes with less extra width in comparison with those in their 50's. 3. The differences were also found in the fit preference tendency by the obesity level of adult women. The fit preference tendency was high in the order of the emaciation, normalcy, and obesity types. 4. The fit preference tendency was found to be more affected by the obesity level than by the age. The fit preference tendency by the obesity level of each age range showed the differences in all of the age range. However, the normal type did not show the preference difference among the age ranges, in the fit preference tendency by the age range of each obesity level. Clothing manufacturing firms should understand the characteristics of consumers, such as their age, body type, extra width preferred, to provide the consumers of target market with suitable leeway, and they should design the clothing products which meet up these needs in style and silhouette.

• Journal of the Korea Fashion and Costume Design Association
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• v.19 no.2
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• pp.129-144
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• 2017

Throughout the rich human history, patterns have developed as a symbolic sign and representation of the inner psychology of human beings. Thanks to its intrinsic beauty and emotional richness, the flower has been utilized as a one of the major materials for patterns used in everyday life and art. As a product of nature, floral patterns have played a key role in fashion trends as a Surface Design with other elements of fashion design such as silhouette, fabric and color. Therefore, this research sought to identify the trends of floral patterns of women's garments that appeared at the four major global fashion collections (Paris, Milano, New York and London), and to analyze how importantly the fashion magazines' prediction were applied in the actual collections. Furthermore, the research aimed to suggest possible methods to utilize trend magazines for collections in the future. As a main research method, the authors investigated professional fashion literature and internet websites to extract a total of 4,681 items presented by sixteen designers who participated in the four major global fashion collections each time during the period of the 2012 S/S~2017 S/S seasons. First View Korea and Samsung Design Net were used as major sources for the pattern extraction and analysis. According to the analysis, floral patterns account for 31%(1,454 items) among the total number of patterns appearing in the four major global fashion collections(4,681 items). For the reflection ratio, Samsung Design Net recorded a 4% higher ratio(52%) than First View Korea(48%). Based on the data and analysis of this research, the authors expect that floral patterns in various forms will be continuously presented in fashion collections, and conclude that utilizing fashion magazines is highly useful due to their appropriate predictions.

• Journal of the Korean Society of Costume
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• v.54 no.1
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• pp.141-157
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• 2004

The purpose of this study is to clarify the style of romanticism in fashion. Romanticism is advocating the conception called the respect of diversity and individuality in the modern society dominated by postmodernism trying to accept the various values.. In this study, the characteristics of romanticism are examined through the bibliographies on philosophy, aesthetics, architecture and art. In fashion. 19C is based on the costume history books and pictures. The characteristics of romanticism in literature and art which are applied to fashion are sensuality, ornament, exoticism and complexity. On the basis of these characteristics, the 19C fashion of romanticism are analyzed as follows. ㆍ Sensuality to emphasize sexual region of woman's body and to make ‘X’ silhouette is through exaggeration and exposure. This is the characteristic to relieve femininity. ㆍ Ornamentation is expressed in the gorgeous color and the varied material. details and trimming to add the fantastic mood, and the accessory to express the aristocratic elegance. This is a very important characteristic that produces the fantastic and romantic mood. ㆍExoticism to express aspiration for East is expressed either in items or accessories imported from the East. or in exotic material and pattern. This is the characteristic of fashion to express the desire to escape from the reality in the mysterious mood. ㆍMingler is expressed, contrasting or harmonizing the various patterns, color, material in a fashion by the textile with the rich color and print of the various feeling and many trimming. This is the external characteristic of the romanticism fashion combined the experimental mind of the technical progress with the romantic trend in those days. These characteristics of romanticism fashion in the 19th century presented with the various phenomena by working complexly rather than independently.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.115-125
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• 2006

The study on plane composition in clothing was focused mainly on woven wear earlier but its application has been reaching the knit wear. This study is confined to the utilization with geometrical linear pattern in the modern apparel. The work here intends to grasp the plane structure found in both woven wear and knit wear and, in particular, to understand the aesthetics of fashion. The modern flat patterned clothing has been affected by the oriental style or postmodernism in view of social and cultural aspect while its fabric material and expression method shows the diversity in terms of industrial and technical aspect. It can be characterized as several outstanding patterns: the geometrical pattern in structure, the linear pattern with seam line and 2-dimensional plane pattern without seam line, and the flexible silhouette integrated into one single shape with human body unlike the traditional apparel The aesthetics of fashion in modern flat patterned clothing can be divided into such category as the organically spatial change, the re-creation of tradition and the non-format framework. The organically spatial change shows the geometrical formation in clothes due to change in dimension, where the organically changing uniformity and generosity appears as the dimension progresses. The timeless without any difference of up and down, left and right, and inside and outside and the discontinuity due to limitless spatial change are also imbedded. The re-creation of tradition tells the reshaped spirits of old tradition by integrating and modifying the hereditary features in the old customed clothing into modern clothing. The modern flat patterned clothing implies the contemporaneousness or the frame through which the old and modern cultures may be shared and indicates the re-creation of the past and uniformity. The non-format framework contains the uncertainty in meaning and it doesn't have any certain standards. As both the apparel and the human body with this style aim at the open space, the numerous contingencies are realized.

• Journal of the Korean Society of Costume
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• v.56 no.7 s.107
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• pp.126-141
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• 2006

Clothes and human body are inseparably related. Aesthetic consciousness of the body determines the form of clothing, reflecting the time and culture as well as the individual and society. Clothes can even reorganize the meaning of the body, while transcending their instrumental functions of protecting, expanding and deforming the body. Using 'body' to analyze the clothing farm, my study develops a framework by which to classify the representation of the body in fashion focusing on the representation of physicality. In order to inquire the formative style and aesthetic values expressed in representing body in fashion, my study examines subjects from the 14th century European costumes to fashion collections of the 20th century. In fashion, representation of the body is visually analogous to the ideal body shape and structure, including a realistic presentation of the body as well as reflection of aesthetic ideals. Representation of physicality refers to structural designs and elastic fabrication. Structural designs appeared in tailoring and bias-cut draping, as well as in stretchy clothes such as Lycra body suit and knit garments that highlights the body structure and movements of the body joints. In representing physicality in fashion, clothing forms reflect body silhouette and each body parts. Therefore, the shape of clothes (signifiant) corresponds to the anatomy and movement of the body ($signifi\'{e}$) in pursuit of aptness. Aesthetic ideal of the body is visualized in the form of a dress. Some clothes prioritize the body, particularly the feminine bodily curves, while others focus on the clothing itself as abstract and sculptural forms. Fashion continues to explore forms and images that transcend the traditional representations of the clothed body. As a type of intimate architecture, fashion always mediates the dialogue between clothes and body, or fashion and figure. My study suggests a framework to analyze bodily representation in fashion, focusing on the relationship between the clothes and body.

• Journal of the Korean Society of Costume
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• v.60 no.7
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• pp.14-30
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• 2010

The purpose of this study is to come up with a perspective that can enhance the understanding about the mechanism of fashion change. The starting idea of this study is that fashion has changed according to the ideal body image of the specific society or individual. The theoretical framework about the ideal body image has been studied by the literatures on the subject and it is verified by the analysis of John Galliano & Martin Margiela's fashion works. The results are as follows. First, Galliano exposes the woman's body as a sexual symbol which is articulated by men's eyes. Margiela describes the woman's body as human being which doesn't highlight any sexual characteristics. Second, Galliano emphasizes the body conscious silhouette whereas Margiela perceives the body as a whole, rather than looks into each body part. Third, Galliano uses lots of decoration to make display luxurious. Margiela restrains himself from using decorations and tries to create images by interaction between the clothes and bodies. Forth, Galliano expresses the eroticism by accentuating eyes and lips with strong color cosmetics. Margiela's fashion is not dazzling with makeup. He even covers the face with fabrics. Aesthetics in all societies is articulated by their hidden social power groups, and then it has influence on taking shape of the ideal body image and the mainstream of fashion. But the innate characters of individuals offer challenges to the fashion majority. The tension between the social power and individual character makes and changes the fashion.

• Journal of the Korean Society of Costume
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• v.66 no.5
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• pp.99-112
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• 2016

The purpose of this study is to examine the higher value-added characteristics of tailored jacket designs, which are major items of French luxury brands, in an effort to raise the competitiveness of domestic fashion designs. The characteristics of the jacket designs from the 1940s to the 1970s, the golden age of Haute Couture, were examined. Based on this, the characteristics of the higher value-added expressions of the luxury brands were established by analyzing the tailored jacket designs that appeared in the Paris collection after 2010. The results are as follows: the characteristics were categorized into 'traditional value expression,' 'conceptual value expression,' 'retro value expression,' and 'creative value expression.' Traditional value was expressed as the representation of the styles inherent to the golden age of the Haute Couture houses, and the status of the luxury brands with history was represented by equally arranging the size and characteristics of the elements of the designs related to jacket silhouette. Conceptual value was reestablished as contemporary identity into which the traditional ideology of the houses and the present designers' sentiments were grafted by developing the designs with the theme containing the identity of the past Haute Couture houses. Retro value was utilized as the strategy to differentiate the luxury brands with long history from contemporary products. Creative value was expressed as tailored jackets with new concepts of shape variation and usage conversion by combining creative sentiments with the high quality techniques of Haute Couture and appears to be able to create a new consumption market of luxury brands in the global fashion market.