• Journal of Fashion Business
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• v.8 no.6
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• pp.57-67
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• 2004

The forms of man's costumes in Byzantine Empire were changed according to each composition of costumes. Those forms of costumes had common features of each period when costumes were included. At the same time, however, the fact that differences existed in accordance with a social position including gender, class, occupation, etc. even though in same period were showed. Analytic elements of man's costumes in Byzantine Empire were selected by important factors. This showed the meanings of position and class in that time. The kinds of analytic elements in man's outwear were various but the forms of costumes were not developed because christianity influenced the forms of clothing in the Middle Ages. As the result of synthesis, the main factor of man's costumes was a tunic in Byzantine Empire of the Middle Ages The phases of the times were reflected on the structure of man's costumes in Byzantine Empire. In particular, religious feature was emphasized, and analytic elements of costumes having meanings showed the features of the society at the Middle Ages. For example, a central analytic element of man's costume, an outer garment was a tunic style of H-silhouette that hid the body line. This was influenced by the phases of the times. Namely, the costume stands as a symbol of the times, and also is a cultural sign that reflects phases like politics, economy, religion.

• International Journal of Costume and Fashion
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• v.8 no.1
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• pp.36-52
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• 2008

Writer Hong Myung-hee, author of the novel Im Kkeok Jeong, provided an excellent description of the costume customs of the Chosun era, based on an understanding of various historical texts and literature by practical science proponents, and experience gained from the Hong household of Pungsan, a noble family of high standing during the Chosun dynasty. However, there is a tendency towards descriptions of late Chosun era customs, rather than 16th century customs, with the intent of heightening the image of what most people felt to represent Chosun and its prestige, thereby generating greater reader sympathy. Therefore, information on the costume customs of the novel 1m Kkeok Jeong is analyzed and re-formed to fit with the temporal setting of the 16th century. By providing data to aid visual understanding and re-creation, the intent is to accept it as material for the rumination of our ancestors and their lifestyles in the 16th century. The novel provides a good description of Chosun economic customs, in which cotton and hemp were used not only as fabric for clothes, but also as currency. The trade value of cotton drapery or hemp drapery with dimensions of 5 strand density at a length of 35 ja per roll was designated as 5 mal (about 90 liters) of rice by national law, but the actual value varied depending on the production of rice. Also, it is possible to confirm the existence of sang po with dimensions of 3 strand density at a length of 30 ja per roll, or 2 strand density seochongdae cotton, which was used only as currency due to the rough quality. Characteristics of the Chosun dynasty, a class-based society, are described through distinctions of attire. The writer's intent regarding the symbolic nature of attire reflecting social position, a characteristic of the entire Chosun period, is analyzed with the presentation of visual material.

• The Journal of the Korea Contents Association
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• v.18 no.5
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• pp.46-57
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• 2018

Fashion is a cultural element expressing general and common aesthetic awareness in a relevant region in the relevant times. On the aspect that shoes are also a part of fashion reflecting the unique aesthetic awareness of Korea, this paper aims to analyze the aesthetic awareness contained in the aesthetic features observed in the traditional boots. The aesthetic features in terms of the form were the balanced usage of each element including curves, straight lines, simple shapes, contrast colors and materials, and the application and ideological significance as the symbol of social position and status in terms of the contents. Aesthetic awareness pursues the beauty of moderation through the compromise between curves and straight lines, as both elements accept each other's features and keep balance without inclination to one element. Next, solid and void are naturally expressed by appropriately adjusting the expression on colors, materials and shapes through the harmony of composure and techniques. While traditional boots were used as the sign indicating social position and status as the unity of spirit and a thing, they pursue the value of rhythmic vitality by giving spiritual meaning to a thing.

• Journal of the Korea Fashion and Costume Design Association
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• v.4 no.3
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• pp.75-87
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• 2002

The nineteenth century was a watershed - the extreme point of difference in the style of fashion dress and in the roles men and women played in society. This conviction has its roots in the socioeconomic changes of the 19th century and the industrial revolution, and the new working bourgeoisie' value, fashion and taste were on the rise. The bourgeois, who was not considered as having infallible taste, was looking for its own style, while on the other hand it was competing with the nobility. Therefore bourgeois' own etiquette and taste were appeared. There was ideals which the middle classes were hungry for, and it became the basis of judging an individual. The bourgeois tried to get social approval and used fashion was the mean of it. Bourgeois women fashion has a funtion as a complete symbol of the status, wealth and leisure in a patriachal society. Not only the Bourgeois tried to control themselves and to achieve the virtue of moderation, chastity and obedience by the restrictive costume, but also extravagant and cumbersome dresses has a kind of compensative funtion against a sober and simple men's dress. There was a reformative movement to break out of the legal, economic and social restrictions within the confines of respectable Victorian Society. The process of reform was long and slow for not only did laws be changed but the barriers of prejudice in a society convinced of man s mental and physical superiority had to be overcome. But even though there were many difficulties, a small number of progressive women challenged the social recognition and role of women and decisively refused the restrictive and ostentative fashion. Victorian costume was also criticized in the medical and aesthetic aspect for their impracticality. As a result, more funtional and practical women's clothes has appeared, but it have resulted in a peculiar hybrid of traditional female attire in combination with the more uncomfortable aspects of men's clothes. However it was becoming an essential look for new women who were the equals of men and wanted to be treated as such.

• Korean Journal of Heritage: History & Science
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• v.34
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• pp.102-122
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• 2001

Uymsikdimibang(음식디미방) - a book written around 1670 and implying the methods of understanding the taste of food and drink - records many kinds of alcoholic drinks. it is obviously a practical problem to explain the process of brewing alcoholic drinks. However, if we intend to approach the alcoholic drinks on the practical aspect, we can not explain why many kinds of alcoholic drinks were brewed. I acknowledge only that it was true to have brewed rice wine easily on the basis of the increase of the production of rice and the two-crop farming system of rice and barley in a paddy field as well as, for many kinds of alcoholic drinks to have increased as a result of the development of brewage since the middle and second half of Chosun. It is not until we approach the alcoholic drinks of those days on the level of meaning, value, and symbol that we can get a correct answer as to why Uymsikdimibang records many kinds of alcoholic drinks. In the second half of Chosun, confucian ideology was firmly established in country village societies, the idea of clan rules was instituted, and patriarchal system was organized. Such a social atmosphere was to emphasize the practice of confucian moral principle such as performing religious service on one's ancestors and receiving a guest, and in the course of it, the alcoholic drinks were recognized as important materials all the more. It seems that the subdivision and elaborateness of the meaning of the alcoholic drinks were in progress. As a result, I think that the alcoholic drinks would vary in kind and be graded. From ancient times, the alcoholic drinks were men's favorite foods, and the significance of the authority and prestige given to the alcoholic drinks was increasingly promoted by the rise of the social position of men in the second half of Chosun under the influence of confucian ideology. Subsequently, the alcoholic drinks became symbols which represented even the family's tradition and dignity. Therefore, men born of the nobility(Yangban) tried to brew the various and dignified alcoholic drinks relatively. Through the brewage such as this, they endeavored to maintain their privilege. I think that the diversification of alcoholic drinks was developed in the process of a series of social-institutional change.

• Journal of the Korea Furniture Society
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• v.20 no.6
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• pp.590-598
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• 2009

The study of Lurelle Van Arsdale Guild (1898-1986)'s vanity table and stool in the Cooper-Hewitt National Design Museum is essential to understand how the stylistic change was made on industrial design in the 1930s caused by economic necessity. The vanity furniture expresses in such relatively inexpensive image transformations that would attract new customers in the Depression. The objects are donated from a collector and became one of CHM's collections in 1997. In curatorial file, other than the designer's and manufacturer's names there is nothing specified for these objects. Therefore, this study is aimed for researching the exact date for these valuable objects for understanding American Art Deco furniture in the 1930s. Moreover, studying social aspect of these objects gives clear vision for the background. Especially, the History of American Standard (Rodengen, 1999) gives great over view to the history of the manufacturer, C. F. Church Company. The record in Fortune of 1934 suggests the designer, Lurelle Guild's position among other industrial designers at that time. And Profoundly, the objects were assigned design patents. Therefore, the vanity furniture set in the CHM was a significant symbol of early modernism rising from functional areas after the Depression.

• Journal of the Korean Society of Costume
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• v.18
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• pp.225-245
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• 1992

The button is a part of costume. But it has the symbolism of costume in itself and reflects the sociocultural phenomena. The purpose of this study is to clarify symbolism of button of eighteenth and nineteenth century which had been most popular. This study is based on the library research. Through this paper, I reached conclusions as follows. The symbolism of button is found in various ways. First, Aesthetics is found in material, color, design and type etc. of button. Especially Indian silver button of abstract type shows well distinctive aesthetics of Indians. Second, The material and the number of button vary with one's status and show off one's privilege. I England, there was the rule, in which the symbol of the King was a silver button with a figure of lion. The livery button represents his family to the nble and shows the meaning of obedience to the servant. Third, The button on uniform varies with ranks. This is prominent in a uniform of a soldier or a policeman. Fourth Material and craft of button show one's economic position. The button gives a Very good picture of what one's life was then. Precious button with gold, silver, and other jewels is an index to one's property. Fifth, The button of political event is used for election, which shows the face and the name of runner. Besides that, there were buttons designed for the flag or the slogan for political event. Sixth, The button of social event reflects a social phase of life in war or revolution, for example, it satirizes the burning of the Bastille in the French Revolution, or the taxpayer bearing the burden. Seventh, the buttons that symbolize a historic event are made to commemorante an epochal and critical occurrence or an important person's birth, death, visit to some place, etc., Eighth, there were well-known persons, for example, a president, a king, a queen, a singer, or an artist in the buton of personality. Nineth, The button of one's company shows one's community in figures or pictures, that is, this button is used as a symbol one's community. Tenth, The button varies with the development of science and technology. It gives a very good picture of what it was and what the technological level was. Eleventh, The buttons that symmbolize on occupation most impressively are uniform buttons. Symbolic marks related with a particular occupation are carved on the buttons of compary employees' uniforms. Twelfth, Various natural phenomena are designed to appear on buttons, Some express themselves simply as they are, and others appear as a symbolic form such as environmental relationship between men and nature, four seasons, a constellation and all other natural things occurring during a year. Finally, The button of rebus is a motto expressed by a combination with objects figures, letters, words, or phrases.

• The Research Journal of the Costume Culture
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• v.9 no.3
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• pp.458-484
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• 2001

The costume originated from the idea that it could protect human beings from ferocious beasts. The military costume was from protection against an enemy equipped with weapons. Furthermore, the makers of the costume were afraid of supernatural powers and it made them devise an armour and decorate it by the concept of superstition for the purpose of overcoming it. The function of military uniform was important for increasing the protection against any enemies while they join in battle. However in harmonious time, it represented artwork of peace, dignity, and order. Since the uniform was a king of symbol to show their position, and their role. They could feel proud as a member of a military group they belong to and they gain honor, courage, patriotic sentiment through their military costume. The purpose of this study was to investigate the originality the military costume as it changed and developed continuously from ancient Egypt, Greece and Rome to modern times. This study was performed to show the comparison and characteristic marks of the past, and the influence of them on the modern military uniform. The method used in this study was using past manuscripts of the early times, information attained from domestic and foreign military documents and previously written reports. As a result, the military costume was one of many means of expression of their natural and social environment. It can be said that the most epoche-marking and powerful changes to the social environment are revolution or war. War absolutely has influenced on the changes of the changes of costume and the military armour according to the type of war and the development of weapons. Especially using the amour, the main purpose that of protecting the body has changed into distinguishing our forces from the enemy and instilling fear into enemy, Furthermore, the class who has the power has used it in order to express their power and dignity. Therefore, armour had required two rules to not only protect the body but also discriminating between classes.

• 기호학연구
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• no.57
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• pp.155-176
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• 2018

This article is a study of Karl Marx's manifesto and the reform in donghak for the modality and their symbolism. As a text, Karl Marx and Friedrich Engels' declaration on the Communist Alliance and the reform program of the peasant Donghak were choose. This Declaration and the Reformation are the works of philosophical practice discourse of the 1800s in this article, which unfolds paradigmatically, deriving its common symbolic meaning in the semiotic sense, and evolving ideologically towards a democracy free of property. In the end, these two historical incident which are published in the contemporary breath, constitute an accusation against a nonhuman policy of surveillance and punishment. Twice a day, the space of the church is transformed into a factory, the act of dividing into two categories by capitalist and work and divorcing by accident is embodied as a social ethic. It is against the phenomenon that the structure of which no man exists is no longer institutionalized. The revolutionary movement aimed at breaking the framework of this hunt manifests itself in the two manifestos mentioned above, and Karl Marx completes the culmination of the utopia that must be achieved through the Declaration of the Communist Alliance by placing his being in the position of "eternal refugee". By choosing to die in his freedom developed during Jeon Bong-joon's trial, he also completes the people's spirit of revolution. In the case of simultaneous exploitation in East and West, the form of oppression is the withdrawal of capital from domination and power, and a new alternative to this is the philosophical context that allows the establishment of a new paradigm with "man is the greatest capital".

• Journal of the Korean Society of Costume
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• v.14
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• pp.99-117
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• 1990

The purpose of this study was to investigate the change of clothes in modem Korean women in terms of a socioeconomical background, the introduction to western clothes, and the improvement of clothes between the opening period of ports in the early 1900's and 1960's. In addition, the study investigated how western clothes became popular in a Korean society along with the traditional' Korean clothes, Hanbok. The radical social change since the opening of ports motivated the change in the way of Korean women's thinking, and consequenty the improvement of Hanbok which developed into the clothes-improvement-movement. It was not until 1905 that the improvement of clothes was hotly debated particularly in the matter of abolishing Jangeui and the extreme length of Jeogori and Chima. The Tongchima-Jeogori style which lengthened Jeogori and shortened Chima was widely accepted as everyday wear until the western clothes substituted them after the Independence from Japanese Conquest. As the length of Chima shortened, there occurred a change in Boson and Jipsin as well. There appeared shoes and Gomoosin in place of Jipsin, socks in stead of Boson and were popularized until after the Liberation in 1945. The popularity of Gomoosin diminished markedly with the diversification of shoes styles, due to the improvement of the standard of living with economic development in the 1960's. The traditional Hanbok was gradually differentiated according to the social status, for instance student, teachers, ordinary women, girls and Kisaeng. Especially since the white clothes caused much trouble in washing and sewing, there came into being the movement of wearing colorful clothes. The Movement of abolishing white clothes and promoting of wearing colorful clothes was enforced during the period of Japaness conquest from the 1920's to the Liberation, which consequently stimulated an interest for colors of clothes. The period under the war between 1937 and 1945 was especially noted for the extreme regulation over the clothes. The Japanese government forced each group of women, e.g., girl students, a young women's association, school teachers, and ordinary women and girls, to wear their own uniforms. Also, It recommended the use of Tongchima in stead of long skirts, and buttons in place of Coreum so as to conserve textile encouraging the use of other substitutes to save resources. The western clothes, a model of clothe's improvement was deemed as a symbol of modernization and enjoyed general popularity. The supply of relief clothes after the Korean war accelerated the expansion of western clothes even further and the trend of westernization along with economic progress in the 1960's resulted in wearing of western clothes as everyday dress. The expansion of western clothes as casual wear rapidly diminished wearing of Hanbok which in turn took the position of ceremonial dress worn in special cases only. Hence the Korean women's clothes were dualized into traditional Hanbok and western clothes and the western clothes that stems on its convenience was settled as everyday wear where as the Hanbok appeared as ceremonial dress stressing on ornamental features. As mentioned aboved, we are able to discovered an orientation in the course of transitional process of modern Korean women's clothes admist diversified changes, which is a consistent pursuit of convenience and practicality based upon progmatism. The trend such as this carne into a finale' as women's dress became dualistic in forms of Hanbok and western clothes, and the change since then is supposed to proceed in two forms of dress featuring its own style.