• 복식문화연구
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• 제6권3호
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• pp.56-72
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• 1998

Vest is a general term for a sleeveless upper garment and it derives from a kolobus of a sleeveless tunic style that was started to be worn as a substitution of a chiton by the peasantry in Greek period. The kolobus started to be called a colobium or a tunica from Roman period and the former was named for a vest style tunica which was worn by the people of the lower classes in early Roman period. Similarly, a German colobium of North Europe which was worn during the same period was the same kind of clothe as the Roman colobium. The colobium came to be worn over a dalmatica as an outer garment by early Christians when it was the Middle Ages, who succeeded the tradition of colobium as they went through ancient Rome, Creek and Byzantine days. North Germans also succeeded the colobium tradition of ancient Germans as it was and so continued to wear it in tight style. The simple vest style of colobium was getting vanished from the mid of the Middle Agnes and a new style of vest named jupon was started to be worn by soldiers. The jupon was to protect soldiers' bodies from either were cold weather or enemies wearing under armors as it was made with double cotton pad by quilt. From 14th century, the jupon began to be worn by not only soldiers but also the humble of lower classes. All the jupon which were made in quilting and padding of that time began to be named a pourpoint by the humble. When Renaissance in 16th century came, the pourpoint began to be developed to an exaggerating body-line style. The neckline of pourpoint was getting highly influenced by Spain and a peacecod-belly of it emphasized the exaggerated masculine beauty of Renaissance by padding in round. The sleeves were puffed out and the whole purpoint was made to expose an inner chemise by slashing vertically or obliquely. But in 17th century, the pourpoint has been changed into more simple style without padding, puffing out and slashing influenced by the citizens' clothes of Netherlands. The pourpoint came to be more comfortable bulky style with short sleeves or sleeveless and straight side lines. The pourpoint in mid 17th century turned to be a bolero jacket style by gradually being tightened. It had been then changed into a vest style with sleeves and worn under an overcoat with the name of vest in the end of 17th century. The early vest was 2∼3 inches les in length than the overcoat and had long sleeves and many ornamental buttons on front. It was also made as a home wear to be worn it alone at home. In 18th century, the length of the vest became shorter compared with that of 17th century and the most important decorative item in clothes. It again came to have complete sleeveless vest style and had very short length reaching waist in the end of 18th century. When it was in 19th century, the vest had developed into more various style and colors and style had been applied to be worn by individuals with their tastes. Around the end of 19th century, the increasing tendency to be casual by industrialization influenced on clothes in all aspects of life and so the male vest has been gradually changed into more casual style. Nowadays, it has been developing into various uses in modern male clothes to show their characters.

• 복식
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• 제56권7호
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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.

• 한국의상디자인학회지
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• 제14권4호
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• pp.89-98
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• 2012

The purpose of this study is to female child Han-bok reform design for body growth. Nowadays there is common the western style daily life and special day instead of traditional style Han-bok in Korea. So the decrease in the use of Han-bok have being appeared. Specially, Children's Han-bok undesirable clothes for economic, environment, and resources because of their rapid growth and changing trend. Therefor, they do away with used Han-bok without next buying of school age. Children's parents and children are decision together purchase of children's Han-bok on-line for pleasure and economic reasons on pre-school or 1st year student for their tradition-education class. After 2000year, children's Han-bok pup-up on e-market because of the fashion focus on tradition and Korean wave for parody of Korean drama. Flowing the Research of 2010 Size Korea, the elementary school age child height growth 6cm per year, the sleeve length are 3cm growth. But Chi-ma(a pice of Han-bok) from e-market, has only 5cm margin on shoulder and no margin on Jegori(a pice of Han-bok) shoulder and sleeve, reason of that the children can't wear next year. Therefor this study is development female child Han-bok reform design for body growth, for extend to wear Han-bok on school age children and flow tradition custom of Cho-sun Dynasty's clothing custom for boost tradition conscious and reduce of cloth waste for environment.

• 복식문화연구
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• 제3권2호
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• pp.261-275
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• 1995

This paper analyzes the parallelism between the art trend and the fashion. As a representative case, we consider the Modernism and the Flapper look. The Modernism rejected the tradition of the past and pursued something new. This trend was in parallel with the fashion called flapper look which was against the tradition and made drastic change. The factors which represent the spirit of the age the Modernism are the simplicity, the rejection of the tradition, the individualism and the subjectivity, the functionalism, the fragmentation of the self, and the straight line. We discuss the fashion style of the flapper look in terms of these factors.

• 한국의류학회지
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• 제41권3호
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• pp.433-445
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• 2017

This study uses a macro-viewpoint to investigate how female world leaders' clothing behaviors are different by nation and culture. This study conducted a comparative study on clothing behavior by cultural block in order to understand similarities and differences based on Hofstede's cultural dimensions theory. The findings are as follows. First, the clothing styles of female world leaders are categorized into classical suit style, national traditional style, and eclectic style. Second, classic suit style is more often found in countries characterized by high individualism, low power distance index, and low avoidance index. The style represents individual activity and rationality as well as trust towards women acting in men's roles. Third, a national traditional style is found in countries featuring high collectivism, high power distance index, and high uncertainty avoidance index. These countries share a culture that emphasizes harmony with the whole, rather than any one given part; consequently, clothing style represents a national identity (or the roles as a national member) rather than that of the individual level. Fourth, an eclectic clothing style is expressed in a mixture of classical suits and a national traditional style that depends on how much Eastern and Western cultures are reasonably compromised or Eastern tradition and Western culture coexist.

• 한국패션뷰티학회지
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• 제6권1호
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• pp.21-27
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• 2008

The purpose of this study was to observe the Art-Deco style art and hair-style. Art-deco design, which was popular in the 20th century, especially in the 1920s and 1930s, actively absorbed new forms, materials, and aesthetic values that come from technological developments and bridged the tradition to new pupblic culture. Art-Deco style art showed and geometrical decoration tendency to meet modem concept and sense. The over all study on back grounds of Art-Deco style and its art works made possible to figure out the summary on formative characteristics of the style such as simplicity, exoticism, vivid colors, and functionalism. These findings suggest that hair styles borrow its characteristics or image from the past style to create new styles. It was found in the development of new hair styles that patterns or geometric motive appearing the Art-D$\acute{e}$eco style are the source of rich design.

• 복식
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• 제38권
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• pp.233-244
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• 1998

This research wants to find the possibility for new paradigm of modern Korean dress by accepting and harmonizing the tradition and the modernization of Korean design when Korean designers enter into Paris collection and express identity of Korean fashion, and investigates the characteristics of Korean design with concentrating on the works of Young-hee Lee, Shin-woo Lee, Tae-ok Jin who have exhibited their works at Paris Collection. For one of the above characteristics Young-hee Lee, a designer of Korean clothes, emphasized to build up image of Korean fashion as a form of Korea without any modification, and expressed universal western-style silhouette as Korean image by using traditional technique including dyeing and silk made by herself, quil-t and decorative saddle stitching. In the as-pect that a chain of work has made not by westernization of Korean clothes but by re-creation of Korean clothes, it suggested a new way of modern Korean fashion with harmonizing tradition with modernizations as of present based on our own dress tradition and have got good reputation from the press and the field in Paris as well. Therefore the tradition and the modernization of Korean design is not confronted or compromised in form, color, material, motif and decoration but has to be harmonized and reconciled independently in order that visual characteristics of dress can be made as one of Korean image.

• 한국실내디자인학회논문집
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• 제25호
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• pp.205-212
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• 2000

The purpose of this study was to analyze the form of composition and principle of reduction in architectural composition. Theorical category is to find reduction system with the connection between idea of society and tradition in compositional frame. The results were as follows : First, it is appeared the mimesis of style. The mimesis of style is differentiated characteristics between Greek Style or Roman Style and Gothic Revival or Renaissance Revival. Second, it is the reduction of primitive of form. It si divided with mimesis of nature and reduction of primitive hut. Like Laugier the former find the architectural prototype, the latter is convinced of simplicity, purity of nature with us.

• 한국의류산업학회지
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• 제12권6호
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• pp.715-722
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• 2010

The purpose of this study is to consider the characteristics of 'slow' fashion style expressed on fashion magazine in pursuit of sociocultural paradigm change towards 'slowness'. As for the research methodology, content analysis for Vogue magazine has been undertaken. The results of this study can be summarized as followings. First, the concern toward eco-friendly ethics has been involving simple style which is long-lasting, junky style which is reused or recycled, and sustainable style which is motived by nature. Second, the interest toward local diversity has been involving ethnic exotic style which is inspired by global culture and vintage retro style which is applied the old tradition. Third, the attention toward self-made has been involving personal style which is produced through the process such as made-to-measure, made-to-order and reform. Also, anonymous dresses can be personalized easily under mix-n-match. In Conclusion, the 'slow' fashion characteristics has been expressed on contemporary mass fashion in various way and the 'slow' fashion would be expected to improve in accordance with the change toward sociocultural paradigm of 'slowness'.

• 한국조경학회지
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• 제29권4호
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• pp.53-66
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• 2001

Modern art has had a great impact on the concepts and the formal attributes of modern landscape design. This study aimed at examining the origins of modern landscape design languages especially in relation to the influence of find art during the modernist age. The formal reductionism of Cubistic paintings finally lead to the formulation of Geometrical Abstractionism which became the basic formal model for ˝Regular Style˝; one of the representative modern landscape style. This Regular Style is mostly based on the formal structure of ´Grids´, which was developed by many landscape designer like Eckbo, Kley and Halprin. On the other hand, the ´Bio-morphic Form´ originally used in Surrealistic Art became the formal model for ˝Organic Style˝; the other representative modern landscape style, developed mostly by the landscape designers like Church, Burle-Mark and Bye. Thus, ´Grids´ and ´Bio-morphic Form´ became the dual icons of modern art and modern landscape design. Although these modern landscape design styles were ground breaking departure from the conventional formal/informal tradition and expanded possibilities in formal experimentations, They also produced several crucial limitations originated from the scientific reductionism and autonomous aesthetics of modern art, like the physical and cultural discontinuation from surrounding environments and the formal alienation from the real life world, which gave rise to the emergence of post-modern thinking of landscape design.