• Journal of the Korean Home Economics Association
• /
• v.35 no.1
• /
• pp.401-414
• /
• 1997

This study examined the transition of costume in middle and high school girls after the abolition of school-uniform. Fashion photographs of $\ulcorner$Junior$\lrcorner$a Korean magazine for girls were used for the investigation. Skirts used mainly were changed in order of pleat tight flare and tight skirt And skirt length was changed in order of knee midi knee and mini. Slim baggy and straight pants together showed high frequency but after 1992 straight pants were used mainly. And pants of ankle length was prevalent. In jacket Hip line natural waist and H-line silhouette dominated. Silhouette of one-piece dress was changed in order or X line H line and A line. Semi fit and natural waist were prevalent. And length was changed in order of midi knee and mini. The coat of H line Loose semi fit and Knee length was the most frequently appeared style. Waist line of coat was changed in order of natural low no natural waist. In skirt blue white black and black were mainly in spring summer fall and winter respectively. In pants blue was used mainly regardless of the season, In jacket blue in spring and black in other seasons were used. In one-piece derss blue in spring red in summer black in fall and winter were used mainly. Black coat was used mainly. Therefore blue was the most frequently used color by middle and high school girls.

• Journal of the Korean Society of Costume
• /
• v.20
• /
• pp.137-150
• /
• 1993

Sonia Delaunay was among the group of avant-garde artists drawn to Paris in the early part of this century who were exploring concepts of art that were felt to capture best the speed and me chanization of the modern world. She believed modernity-and her own attitude toward modern life-could be expressed through the primacy of color in art the dynamic inter-play of its dissonances and harmonies. The metap-hysical implications Delauny felt inherent in this idea made it applicable to all surfaces, and she was compelled to transform the world around her ac-cording to it. She set up a dialogue between fine art and everyday objects and accompplished the transition from representation work to her color theory through her investigation in embroidery and collage. This study is for Sonia Delaunay's field fo work which is close to fine and applied arts. To study Sonia Delaunay's work, I can find some points of her fashion designs. First, Simultaneous, which is to use collage tec-henics such as simultaneous and meterial to com-binate of variety meterial. Seound, Durability which is restoration of mor-dern fashion, Eventhough her work is 60 years old still it is foward to the furture. Imitation of textile which is devdloped by her, always looks new and fresh. Third, The elements of Folklore. Her elements of Russia, it appears on variety colors. Sepecially contemporary cloths has elements of folklore, we should use it and made it to suituble to contem-porary fashion of our country. For the furture, we need more study how to apply pictorial meterial of art into fashion design.

• Journal of the Korean Society of Costume
• /
• v.58 no.6
• /
• pp.1-11
• /
• 2008

The purpose of this study was to investigate how formativeness of shamanism has expressed and developed in modern fashion. Formative expression of shamanism in modern fashion has expressed in the way of on style, color, material and pattern as follows; Style has made animal and human incorporated by expressing abstract animal on the part or whole of costume and it has reconstructed traditional shaman costume into modern costume. Skin colors of living bodies which exist in nature, such as black, blown, yellow and grey, were used to symbolize spirit and low brightness of colors such as blue, white and black were also used to symbolize hyperspace. Artificial materials which imitate animal figure and genuine materials from animal were used. Various natural materials used in traditional shaman costume were also used. Animal patterns and abstract patterns symbolizing the celestial heaven and lower world, and patterns shown on wall painting and rock painting has appeared. The meaning of shamanism in modern fashion can be identified as interchangeable movement of time and space, a cosmic outlook on the world and ration. Spiritually designed costume has made fashion move to hyperspace in spirit trip. Modern fashion with shamanism has expressed its cosmic outlook on the world or universal wish beyond human's real world by patterns such as bird figure which means the celestial heaven and lower world. Corporation and transition of human and animal were symbolized as shaman hypernatural intercourse with designs expressed in costume using a part of animal or animal's characteristics.

• International Journal of Costume and Fashion
• /
• v.7 no.1
• /
• pp.49-61
• /
• 2007

The subject of study concerns the color characteristics of clothing/accessories from �Chosun�a nd modern Korea. It particularly focuses on the colors of the �Jeogori? traditional jacket) which represents Korean traditional clothing. Color data were collected from 353 woman�s �Jegori�s from �Chosun�a nd modern Korea and divided into the predominant colors & sub colors, and analyzed with HV/C and PCCS. According to the analysis, the representative the predominant color of 'Chosun Jeogori' for woman is YR, Y and side one is R, YR. The p, dp, sf, ltg colors are frequently found and the freshness of most of them is medium or low which shows a calm-feeling. The p, and ltg tones are often found as a the predominant color and p, dp are also often found as a the side color. In the 'Chosun Jeogori' for woman, the predominant colors and the side colors spread in a similar frequency and most of them have medium or low freshness of the color that shows a calm-feeling. The side color is one of the R colors and it shows characteristics of traditional coloring such as �Jajoo Goreum? Among the �Jeogori�f or modern women, the R, YR, Y, and B colors are often used for the single-color �Jeogori? the Y, GY, N, G colors are for the colorful �Jeogori? The P, lt, and b tons of the color are often used for a single-color �Jeogori�a nd the p, lt, and W are for the colorful �Jeogori? For the colorful �Jeogori? the side color have a high freshness which shows that a strong image was used frequently as the dp, s, dk tons of the color were often used. According to an analysis of the coloring, the predominant color and the side color of �Chosun Jeogori�a re applied to create a harmony of analogy & contrast in one aspect of Moon & Spencer�s view. It is found that the predominant color and the side color are similar or contrasting in one view of the color harmony, except that the traditional the �Jeogori�i s colored by ideological and symbolic meanings. The predominant color and the side color of modern the �Jeogori�a re complementary colors which are applied to the indistinct relationship or contrasting harmony in one aspect of Moon & Spencer�s view of the color harmony. The characteristics of the color as above show that traditional the �Jeogori�r egards the side color as both the harmony of the colors in general and also of symbolic meaning, while modern the �Jeogori�f or woman has a tendency toward a cultural transition and is mixed with new colors focusing more on its the predominant color than on the general harmony and character of ideological & traditional coloring.

• Journal of the Korean Society of Costume
• /
• v.64 no.2
• /
• pp.17-34
• /
• 2014

This is a theoretical and empirical study on Kasaya, the Buddhist monk's robe, which is one of the traditional Korean costumes that has kept it original form, as well as it being the most symbolic ritual costume in Buddhism. The purpose of the study is to see the different types of Kasaya, and the transitions it has gone through since Mid Joseon Dynasty. The analysis was performed after categorizing Kasaya in the following manner: layers, the way to wear, symbolism in construction, sewing, etc. Having a variety of Ilwolguangcheop(日月光貼) is a feature of Korean Red Kasaya. In the beginning, Its shape was very similar to shape of Hyungbae(胸背), and this was a royal gift and had the same meaning as an official uniform for a Buddhist monk. So designs of the Cheop(貼) could have been transformed from those of Hyungbae with a Buddhist twist. The conclusion of the study is as follows: Double layered Kasaya shows its transition from double layer to single layer. The fastening ornaments have been simplified in all materials from Yeongja(纓子). The latch type and three-paired Yeongja type transformed into hook type and one-paired Yeongja type. Color is the most common feature above all, and it is mainly in red. The form of Korean Kasaya has a significant relation with development of Buddhism. The integration of the Zen sect would have influenced the integration of Kasaya, which shows diversity throughout the period.

• Journal of the Korea Fashion and Costume Design Association
• /
• v.19 no.1
• /
• pp.55-70
• /
• 2017

This study researched transition process of fur costume from ancient times to 20th century, extracted esthetic characteristics, and then understood how the esthetic characteristics appear in the recent fur collection. The result is as follows. First, magical meaning was revealed on leopard fur that ancient chief priests wore on top of shenti to symbolize immorality and fur tunics to which christian symbol was added in Byzantine. During middle age and the Renaissance, extravagance appeared on sable and amin jackets that the noble decorated to show off their high status. During the rococo age and mid-20th century, sensuality and elegance appeared on the fur dresses that the female body was emphasized. Second, in recent collection, extravagance appeared on over-sized and voluminous fox-coat, sexsuality and elegance were revealed through mink-dresses and jackets with soft touch and gloss that curved-silhouette was emphasized. In addition, practicality and functionality were shown through short length and light, soft material, and activeness was in the mink jacket to which functional elements such as zippers and rubber were added. To pursue uniqueness and fun, fox jackets were made with over-sized vivid green color. Besides, abnormality and vulgarness appeared through the fashion with abnormal and distracted images with ambiguous forms and new processing methods applied.

• The Research Journal of the Costume Culture
• /
• v.6 no.3
• /
• pp.185-200
• /
• 1998

The eldest son of the crown prince is very important social status next to the crown prince deciding fundamentals of a state in Chosun dynasty which laying stress royal authority. Accordingly, Chakbong(冊封) of the eldest son of the crown prince has been done independently like as Chakrei(冊禮) of the crown prince. The existig record of Chakrei(冊禮) of the eldest son of the crown prince. The existing record of Charkrei(冊禮) of the eldest son of the crown prince are Hyunjongwangseon(顯宗王世孫), Euisoseson(懿昭世孫), Youngjowangseson(英祖王世孫), Hungjongwangseson(憲宗王世孫) of 4 books for Chakreidogameuigue(冊禮都監儀軌) being preserved in Kyujangkak(奎章閣). The transition of classified clothes are stated on Wangse sonchakreidogameuiguebanchado(王世孫冊禮都監儀軌班次圖) for Chakrei(冊禮) of the eldest son of the crown prince. Its details are as below. Finally, there is no changes in constitution of the costume of the eldest son of the crown prince Chakrei(冊禮) called as Ssanggodong(雙童髮)·Gongjungchak(空頂 )·Ojangbok(五章服) on documentary records depsitefo no explanation of Banchado(班次圖). Secondly, The classified clothes of the eldes sion of the crown prince Hcakreibanchado(冊禮班次圖) are on . We have acknowledged that Kwanmo(冠帽) of Dangbukwanwon(堂部官院) has been changed from Heugrib(黑笠) to Samo(紗帽) since Youngjowangseson(英祖王世孫), Euibok(衣服) from Chungpo(靑袍) to Nokdanryung(綠團領), the costume of Euijangsu(儀仗手) from Chunggun(靑巾) to Whangchorib(黃草笠) and changed again to Hongpimoja(紅皮帽子), Chungeui(靑衣) changed to Hongeui(紅衣). Also we know that Kwanmo(冠帽) of Kyogun(轎軍) has been changed to Pimoja(皮帽子) with high top, Chungeui(靑衣) changed to Hongeui(紅衣). The costume of Byulgam(別監) has been changed from Nokgun(綠巾) to Jogun( 巾), Nokpo(綠袍) changed to Pimoja(皮帽子) with high top, Chungeui(靑衣) changed to Hongeui(紅衣). The costume of Byulgam(別監) has been changed from Nokgun(綠巾) to Jogun( 巾), Nokpo(綠袍) changed to Hongpo(紅袍), that of Suri(書吏) changed from Chungeui(靑衣) to Huekeui(黑衣). Accordingly, the transition of costume color to red stands for the briliance. Thirdly, regarding the constitution of the eldest son of the crown prince Chakrei(冊禮), that of Euisoseson(懿昭世孫) & Youngjowangseson(英祖王世孫) are same for Unggolta(態骨朶), Youngjagi(令字旗), Keumdungja(金 子), Eundungja(銀 子), Mojul( 節), Jaksun(雀扇), Chungkae(靑蓋), Chungyangsol(靑陽率). In case of Hunjongseson(懿昭世孫), Baktakgi(白澤旗) is added. On Youngjowangseson(英祖王世孫), Chungilsol(靑日率) and Kiringi(麒麟旗) are added. However, we know that the constitution of the eldestson of the crown prince Hunjong(憲宗) Chakrei(冊禮) is quite different that of previous constitution. i.e. : Hongae(紅蓋), Baktakgi(白澤旗), Samkaggi(三角旗), Kagdangi(角端旗), Byukbonggi(碧鳳旗), Jujakgi(朱雀旗), Kuemdungja(金 子), Eundungja(銀 子), Eunribgwa(銀立瓜), Kuemhwanggwa(金 瓜), Eunhwhanggwa(銀 瓜), Kuemwolbu(金鉞斧), Bongsun(鳳扇), Huegkae(黑蓋). Also the kinds of Eujanggi(儀仗旗) are various which are similar to the constitution of The Crown Prince(世子) Chakrei(冊禮).

• Journal of Fashion Business
• /
• v.23 no.5
• /
• pp.48-66
• /
• 2019

The purpose of this thesis was to investigate the similarities between religious costumes and Kazakh and Tajik minority women's costumes in the Chinese northwestern minority population that believes in both Islam and Shamanism. The research was conducted by investigating the forms, colors, and patterns of 240 representative costume pieces and making quantitative comparisons between religious and traditional costumes. The results showed that the Kazakh and Tajik costumes were similarly formed, both intended to cover the human body. Both the Islamic and traditional headdresses were also similarly shaped. In terms of color, black, white, green, and blue were found frequently in the Islamic religious costumes, as were red and yellow. Red, white, and brown, ascribed to the colors of shamanism, signifying incantations, were also frequent, indicating that this was engrained in their lives. A review of the traditional costumes revealed the patterns of Islam. Plants, geometry, abstraction, and letter patterns were dominant, whereas the meaning of the Islamic patterns, rebirth, sun, life, and hope, influenced the traditional costume patterns. Patterns associated with incantations, like the animal horns shown in the shamanism religious costumes, were persistently observed even after the people were converted to Islam. This study on the similarities between religious and traditional costumes in the Chinese minority might help us understand the connection between religious and traditional costumes and elucidate the cultural costume transition process.

• The Research Journal of the Costume Culture
• /
• v.19 no.2
• /
• pp.296-308
• /
• 2011

The purpose of this study is to understand Qipao, that Chinese traditional women's cloth, and analysis the aesthetic characteristics of that. Joining WTO in 2002 and 2008 Beijing Olympic made China get the attention by the world and get the opportunity that advent of China style. Chinese fashion cultural contents have abundant meanings in internal or external, therefore characteristics aesthetic of Chinese traditional fashion had much influence in world fashion design. Qipao that has influence in contemporary fashion design could be used special fashion design data for China market. A variety of literature and prior researches for Qipao's history and transition process was studied. Internal and external documents, fashion magazines, internet information were investigated to study features of Qipao. Total 20 seasons fashion collections from 2000S/S to 2009F/W was examined, and selected 22 brands that showed Qipao style, after then extracted 418 photos among them. By the seasons, Eit showed 193 pieces in S/S and 225 pieces in F/W, and was put to practical use in F/W season than S/S. The results are as follows. The contemporary fashion collections shown in the Qipao style silhouette, detail, color, material, pattern and the results obtained by each, were in all respects diversity. In silhouette, including traditional tight silhouettes, 'H' silhouettes, boxy silhouette was such a variety. The five colors traditionally preferred color from the color was more of a tendency to be gorgeous. Modern reinterpretation of pattern designs by graphic pattern that has emerged. Also, shown in a contemporary fashion collection Qipao style leather material in application utilizing the glossy feel of a plastic material and has emerged feeling.

• Journal of the Korean Society of Costume
• /
• v.67 no.3
• /
• pp.31-46
• /
• 2017

The purpose of this study is to analyse the occurrence and evolution of Mao suit which is important position in the modern costume history of China and to provide a source of design inspiration to contemporary fashion designers. In the research method, literature review and case studies was conducted in parallel. For the literature review, changes of Mao suit in each age were reviewed with reference to the related documents, Chinese costume and cultural history, prior research papers and internet resources. The case analysis was qualitatively done focusing on the silhouette, color and detail of clothes in fashion collections. The scope of the study was from 1912 to 2000. The case analysis of the Mao suit applied to the contemporary fashion was made on the applications centered around 'London Collection', 'New York Collection', 'Paris Collection', 'Milan Collection' and 'Chinese Fashion Week' from 2008 to 2015. The results found that Mao suit changed into many different forms after Sun Wen designed it for the first time in 1912. This study classified it into Phase 1(1912~1927), Phase 2(1928~1965), Phase 3(1966~1977), and Phase 4(1978~2000) with historical and political issues and conformational changes in Mao suit. The frequency analysis of the cases of the fashion collections using Mao suit from 2008 to 2015 showed an increased application of Mao suit to the western collection in New York, Paris and London in 2008 due to the impact of Beijing Olympics. However, from 2009 onwards, the frequency of the utilization of Mao suit was higher in the Chinese Fashion Week and the New York Collection. This cause is explained by the fact that the designers who inspired from Mao suit in the New York Collection are American Chinese.